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Just a silly one today, went running with a friend in all that snow yesterday and when we got back her husband and his Dad were grinning at us from out of the window and who can resist.
Installed in 1967, this is the fhe first and largest of the windows designed by Marc Chagall for All Saints' Tudeley, in Kent. It is a memorial to Sarah d'Avigdor-Goldsmid, daughter of a local landowner, who drowned in a sailing accident off the Isle of Wight at the age of 21.
Combining elements from Sarah's life and death in graphic detail, it moves from despair in the dark , swirling seas of the bottom lights , to hope and the joy in the brighter colours of the top lights, where a crucified Christ awaits Sarah's arrival with welcoming arms out-stretched.
Sarah was the daughter of a Jewish father and an Anglican mother but had been brought up as an Anglican. Having a keen interest in art, she had seen and admired the Twelve Tribes of Israel windows which Chagall had designed for the Hadassah Medical Centre synagogue in Ein Karem, Jerusalem, when they were displayed in Paris prior to their installation. Her parents, therefore, decided to ask Chagall, a Jew himself but with a strong spiritual sense which crossed religious boundaries, to design the memorial window, which he duly did.
If you look on the church website you can also see one of Chagall's earlier sketches for this same window but featuring Sarah floating in a kind of sea of flowers. It's under the heading 'The window that never was' at www.tudeley.org/allsaintstudeley.htm
The face of Christ is actually a photomosaic using the faces of some of the church's parishioners by Véronique Ellena and Pierre-Alain Parot
Strasbourg Cathedral
Strasbourg, France
July 13, 2016
it's all about the view...literally~ I have been practicing with shooting INTO window light. I love to use window light as often as possible, but tend to shy away from placing my subject directly in front of a window. Here, my daughter was using window light to light up her objects of play and I was using it to light her up! ;)
The medieval stone church in Lammi was built in the 15th century and was dedicated to Saina Catherine of Alexandria. The whole inside of the church was destroyed in a fire in 1918 and after that was totally renovated in 1920
Kempe's east window at Tong attempts to recreate the lost medieval glass, using as reference the surviving fragments of four of the main figures (now relocated in the west window) and incorporating a few medieval fragments in the tracery lights.
St Bartholomew's church at Tong is not just one of Shropshire's finest parish churches, it is one of the best in the country. So much antiquity in carved stone and woodwork is contained within it's walls it is a veritable treasure house of medieval art. The most outstanding features are the superb collection of tombs with effigies to members of the Vernon family.
The church building itself would normally be ample reward, and impressive 15th century edifice crowned by battlements, pinnacles and an unusual octagonal central tower with a short spire. It's grand appearance is explained by it's former collegiate status, and ruins of the former college buildings can still be seen in the field immediately to the west.
Within it is somewhat cluttered with history, with many of it's original furnishings surviving, from the nave pews to the superb chancel stalls with a set of misericords and various other interesting carvings. The aisle screens survive too, and are adorned with some particularly fine foliage carving and traces of their original colouring. The medieval glass has mostly disappeared except for some significant fragmentary figures reset in the west window, these were used as reference by Kempe's studio when they created a new stained glass for the east window in the 1880s, incorporating reconstructions of the damaged original figures.
The monuments are too numerous to list here, the main group is concentrated at the east end of the nave and crossing with six major tombs with effigies (except one with brasses instead) all crowded together with little space between, mostly of the 15th and early 16th centuries (only one of the major tombs is post Reformation).
The finest feature of all is the beautiful fan-vaulted Vernon chantry chapel, built in 1515 on the south side, situated behind it's builder, Harry Vernon's tomb, which like the chapel ceiling retains many traces if it's medieval paintwork. The most unusual of Tong's medieval monuments is found on the west wall of this intimate space, the upper half of a figure emerging from a canopied niche, believed to be the portrait of Arthur Vernon who died in 1517.
The church is justly celebrated and much visited, and happily is normally open for visitors.
Near Renfrew in Ontario, Canada, there is a ghost town named Balaclava. It use to be a saw-mill town. We decided to visit the place and take a few shots. I got myself shooting mostly windows and old wood and paint textures.
Unfortunately, one of the buildings has a sign on it saying that a permit was requested to destroy the general store building to transform it into a commercial lot.
Most of the shots got re-worked with Topaz Adjust 3 to enhance the colors and contrast.
Enjoy,
The Verney memorial window in the north aisle at Lighthorne is distinguished by a fine representation of St Elizabeth of Hungary in it's left hand light, shown holding flowers and surrounded by birds, beautifully detailed and a late work by Florence Camm, 1946.
Window of the old Milford, NJ train station. [it is now a bakery and coffee shop]
“An ordinary mirror is silvered at the back but the window of the night train has darkness behind the glass. My face and the faces of other travellers were now mirrored on this darkness in a succession of stillnesses. Consider this, said the darkness: any motion at any speed is a succession of stillnesses; any section through an action will show just such a plane of stillness as this dark window in which your seeking face is mirrored. And in each plane of stillness is the moment of clarity that makes you responsible for what you do.”
― Russell Hoban, The Medusa Frequency
This Rose Window, also the East Window, is the symbol of All Saints' Cathedral. Upon entering the church, it immediately strikes the visitor. This window also heads the Cathedral's stationery.
I sometimes think of it as the star of Bethlehem.
It is hard to photograph it with a simple camera, and this is the best among my many attempts.