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This East window in St Thomas's church, Noak Hill, is a composite. The upper lights show a Crucifixion scene and include the unusual and distinctively Flemish feature of angels flying round the Cross, each holding a chalice in which to collect Christ's blood. According to notes made by the vicar (P Brown) in 2008, these lights were originally installed in the church of Notre Dame du Lac at Tirlemont (Tienen) in Flemish Brabant. The glass dates from about 1535.
The lower lights are of a slightly later date ( circa 1590). St John the Baptist in the left hand light (with Agnus Dei) and St Peter in the right hand light ( with enormous key). These lights are French and came from Rouen.
The centre light in the lower half has been dated to the early 17th century and comes from Brussels. It shows the Blessed Virgin with Elizabeth and Zacharias.
Unfortunately the streaming sunlight was completely wrong for photographing this window, so this was the best I could manage.
East window of St Andrew's, Chelmondiston, Suffolk. The original church (medieval with substantial Victorian restoration) was pretty much flattened by a flying bomb in 1944 ( doubtless intended for Ipswich Docks further up the river) and, after a complete new build this stained glass was installed at the East end in 1961. The arist was Francis Skeat.
Laser light show beaming from the Fairmont Hotel into the Rose Window at Grace Cathedral
San Francisco, California
the frontal view
This is the first Anglo Chinese School (ACS) in Parit Buntar, Perak and it was built in 1918 by Mr. Tan Lo Heong located in Jalan Dewan (formerly known as Brewster Street). The then 135 ASC pupils was relocated to Jalan Sekolah (formerly known as Maxwell Street) in 1936. This building was later utilized as Methodist Secondary School until 1990, beginning from 1991, the building was taken over as “Tadika Methodist” until the year 2000, now abandoned, the building stood still.
© Copyright MagnusCaleb 2011 - All Rights Reserved
I'm definitely not a fan of cities, but once in a while I brave the parking and lack of trees . . .
112 Pictures in 2012, #61. Window(s)
this is the first shot was taken by my canon 40D
I know this is not a special shot or anything ,, but its special for me coz its remind me by the first day I had the camera ..
there was nothing to take a shot of .. so I look through my window in the "Lakside" and I liked the sky ..
A detail from the mauve house shot. Seemed to me they could just as well be little girls from the Victorian Age.
Rose windows are particularly characteristic of gothic architecture. Their origins are much earlier and they have been seen in various forms throughout the medieval period. Their popularity was revived, with other medieval features, during the gothic revival of the 19th century.
Brass pendant, manufactured via i.materialise.com 3D printing service.
St Ann, Manchester, 1709-12.
Queen Victoria Diamond Jubilee Window, 1897.
By Heaton, Butler & Bayne.
This north aisle window was installed in commemoration of The Diamond Jubilee of Queen Victoria. After a bomb attack by the IRA on Manchester in 1996 the window was restored in memory of Maria Isabella Blythe Nicholls (1898-1985).
Clement Heaton (1824-1882).
James Butler (1830-1913).
Robert Turnill Bayne (1837-1915).
Clement Heaton, the son of a Methodist minister in Bradford on Avon, Wiltshire, was in 1851 a glass painter for William Holland of Warwick. He was in London by 1853 and briefly in business alone before going into partnership with James Butler in 1855. Around 1860 the two briefly shared premises with Clayton and Bell, an association of lasting importance, as the third member of the firm, Robert Turnill Bayne, who was also from Warwick and became chief designer in 1862, was an employee of theirs. Heaton pioneered the use of softer colours, but Bayne’s advent brought the firm to widespread attention. Most of their earlier glass was gothic in style, but the firm adapted to later influences, notably that of Dante Gabriel Rossetti. The firm was used widely by Sir Arthur Blomfield, but in later years less of its output was glass for churches. Heaton’s son Clement John joined for a short time, but fell out with his partners. The firm continued until 1953 under descendants of other partners, after which most of its archives were destroyed for lack of interest.
Voodou for him? He was patiently waiting a delicious lunch as I sorted a good shot through the art deco wavey windows for the T189 Feb/March challenge.
Shot from inside looking out just before the rain pelted down.
Leaf on Bold Street, Liverpool serves quality loose leaf tea (and other goodies) in a bohemian space. For more information www.thisisleaf.co.uk
One of the windows of the south aisle depicting the Apostles.
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.