THE WESTFIELD LEADER the Leading and Most Widely Circulated Weekly Newspaper in Union County YEAR—No. 23 Entered As Second Class Matter Published Post (Mflce
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The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages. -
The Mammoth Cave ; How I
OUTHBERTSON WHO WAS WHO, 1897-1916 Mails. Publications : The Mammoth Cave ; D'ACHE, Caran (Emmanuel Poire), cari- How I found the Gainsborough Picture ; caturist b. in ; Russia ; grandfather French Conciliation in the North of Coal ; England ; grandmother Russian. Drew political Mine to Cabinet ; Interviews from Prince cartoons in the "Figaro; Caran D'Ache is to Peasant, etc. Recreations : cycling, Russian for lead pencil." Address : fchological studies. Address : 33 Walton Passy, Paris. [Died 27 Feb. 1909. 1 ell Oxford. Club : Koad, Oxford, Reform. Sir D'AGUILAR, Charles Lawrence, G.C.B ; [Died 2 Feb. 1903. cr. 1887 ; Gen. b. 14 (retired) ; May 1821 ; CUTHBERTSON, Sir John Neilson ; Kt. cr, s. of late Lt.-Gen. Sir George D'Aguilar, 1887 ; F.E.I.S., D.L. Chemical LL.D., J.P., ; K.C.B. d. and ; m. Emily, of late Vice-Admiral Produce Broker in Glasgow ; ex-chair- the Hon. J. b. of of School Percy, C.B., 5th Duke of man Board of Glasgow ; member of the Northumberland, 1852. Educ. : Woolwich, University Court, Glasgow ; governor Entered R. 1838 Mil. Sec. to the of the Glasgow and West of Scot. Technical Artillery, ; Commander of the Forces in China, 1843-48 ; Coll. ; b. 13 1829 m. Glasgow, Apr. ; Mary served Crimea and Indian Mutiny ; Gen. Alicia, A. of late W. B. Macdonald, of commanding Woolwich district, 1874-79 Rammerscales, 1865 (d. 1869). Educ. : ; Lieut.-Gen. 1877 ; Col. Commandant School and of R.H.A. High University Glasgow ; Address : 4 Clifton Folkestone. Coll. Royal of Versailles. Recreations: Crescent, Clubs : Travellers', United Service. having been all his life a hard worker, had 2 Nov. -
Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell
Copyrights sought (Albert) Basil (Orme) Wilberforce (Albert) Raymond Blackburn (Alexander Bell) Filson Young (Alexander) Forbes Hendry (Alexander) Frederick Whyte (Alfred Hubert) Roy Fedden (Alfred) Alistair Cooke (Alfred) Guy Garrod (Alfred) James Hawkey (Archibald) Berkeley Milne (Archibald) David Stirling (Archibald) Havergal Downes-Shaw (Arthur) Berriedale Keith (Arthur) Beverley Baxter (Arthur) Cecil Tyrrell Beck (Arthur) Clive Morrison-Bell (Arthur) Hugh (Elsdale) Molson (Arthur) Mervyn Stockwood (Arthur) Paul Boissier, Harrow Heraldry Committee & Harrow School (Arthur) Trevor Dawson (Arwyn) Lynn Ungoed-Thomas (Basil Arthur) John Peto (Basil) Kingsley Martin (Basil) Kingsley Martin (Basil) Kingsley Martin & New Statesman (Borlasse Elward) Wyndham Childs (Cecil Frederick) Nevil Macready (Cecil George) Graham Hayman (Charles Edward) Howard Vincent (Charles Henry) Collins Baker (Charles) Alexander Harris (Charles) Cyril Clarke (Charles) Edgar Wood (Charles) Edward Troup (Charles) Frederick (Howard) Gough (Charles) Michael Duff (Charles) Philip Fothergill (Charles) Philip Fothergill, Liberal National Organisation, N-E Warwickshire Liberal Association & Rt Hon Charles Albert McCurdy (Charles) Vernon (Oldfield) Bartlett (Charles) Vernon (Oldfield) Bartlett & World Review of Reviews (Claude) Nigel (Byam) Davies (Claude) Nigel (Byam) Davies (Colin) Mark Patrick (Crwfurd) Wilfrid Griffin Eady (Cyril) Berkeley Ormerod (Cyril) Desmond Keeling (Cyril) George Toogood (Cyril) Kenneth Bird (David) Euan Wallace (Davies) Evan Bedford (Denis Duncan) -
Gloucester Cathedral Faith, Art and Architecture: 1000 Years
GLOUCESTER CATHEDRAL FAITH, ART AND ARCHITECTURE: 1000 YEARS SUGGESTIONS FOR FURTHER READING SUPPLIED BY THE AUTHORS CHAPTER 1 ABBOT SERLO AND THE NORMAN ABBEY Fernie, E. The Architecture of Norman England (Oxford University Press, 2000). Fryer, A., ‘The Gloucestershire Fonts’, Transactions of the Bristol and Gloucestershire Archaeological Society 31 (1908), pp 277-9. Available online at http://www2.glos.ac.uk/bgas/tbgas/v031/bg031277.pdf Hare, M., ‘The two Anglo-Saxon minsters of Gloucester’. Deerhurst lecture 1992 (Deerhurst, 1993). Hare, M., ‘The Chronicle of Gregory of Caerwent: a preliminary account, Glevensis 27 (1993), pp. 42-4. Hare, M., ‘Kings Crowns and Festivals: the Origins of Gloucester as a Royal Ceremonial Centre’, Transactions of the Bristol and Gloucestershire Archaeological Society 115 (1997), pp. 41-78. Hare, M., ‘Gloucester Abbey, the First Crusade and Robert Curthose’, Friends of Gloucester Cathedral Annual Report 66 (2002), pp. 13-17. Heighway, C., ‘Gloucester Cathedral and Precinct: an archaeological assessment’. Third edition, produced for incorporation in the Gloucester Cathedral Conservation Plan (2003). Available online at http://www.bgas.org.uk/gcar/index.php Heighway, C. M., ‘Reading the stones: archaeological recording at Gloucester Cathedral’, Transactions of the Bristol and Gloucestershire Archaeological Society 126 (2008), pp. 11-30. McAleer, J.P., The Romanesque Church Façade in Britain (New York and London: Garland, 1984). Morris R. K., ‘Ballflower work in Gloucester and its vicinity’, Medieval Art and Architecture at Gloucester and Tewkesbury. British Archaeological Association Conference Transactions for the year 1981 (1985), pp. 99-115. Thompson, K., ‘Robert, duke of Normandy (b. in or after 1050, d. -
The Chatsworth Fine Art Sale
THE CHATSWORTH FINE ART SALE On the instructions of: • The Executors of the late Mrs. Jane Avril de Montmorency Wright, of Burnchurch House and Castle Morres, Co. Kilkenny; • The Newport Family, descendants of Sir John Newport, formerly of New Park, Co. Waterford, Chancellor of the Irish Exchequer; • Contents of Victoria Lodge, Dublin 4; • Blenheim House, Waterford; • No. 9 Fitzwilliam Square & Tassagart House, Saggart, Co. Dublin; • & Property from other Trustees, Executors and Important Private Clients. AT THE OLD CINEMA, CHATSWORTH STREET, Lot 517 CASTLECOMER, CO. KILKENNy Auction: Wednesday, February 25th, 2015 Commencing at 10.30am sharp Online bidding available Viewing: via the-saleroom.com (surcharge applies) At our Auction Rooms, The Old Cinema Chatsworth Street, Castlecomer, Co. Kilkenny Sunday, February 22nd: 12.00 – 17.00 Monday, February 23rd: 10.30 – 17.00 Tuesday, February 24th: 10.30 – 17.00 Follow us on Twitter @FonsieMealy (Note: Children must be accompanied and supervised by an adult) Inside Front Cover Illustration: Illustrated catalogue: €10.00 (l-r) Lots 23, 122, 25,107, 616, 672, 179, 673 Inside Back Cover Illustration: Lot 566 Sale Reference: 0233 Back Cover Illustration: Lot 565 The Old Cinema, Chatsworth St., Castlecomer, Co. Kilkenny, Ireland fm T: +353 56 4441229 | F: +353 56 4441627 | E: [email protected] | W: www.fonsiemealy.ie PSRA Registration No: 001687 Design & Print: Lion Print, Cashel. 062-61258 Mr. Fonsie Mealy F.R.I.C.S. Mr. George Fonsie Mealy B.A. Director Director [email protected] [email protected] PADDLE BIDDING If the purchaser is attending the auction in person they must register for a paddle prior to the auction. -
Arts & Crafts Stained Glass
Event Review: Summer lecture Friday 19 June : ‘Exploring Arts & Crafts Stained Glass: a 40-year adventure in light and colour – an illustrated lecture’ by Peter Cormack he lecture was an introduction to some of the main themes Tof the speaker’s newly-published book, Arts & Crafts Stained Glass (Yale University Press for the Paul Mellon Centre for Studies in British Art). He began by saying that his discovery of this rich field of research had begun when he was a student at Cambridge in the 1970s, and had developed particularly during his thirty years working as a curator at the William Morris Gallery in London. He paid tribute to the work of other scholars in the field, especially Martin Harrison’s V ictorian Stained Glass , Birkin Haward’s two books on 19th-century glass in Norfolk and Suffolk and Nicola Gordon Bowe’s studies of Irish stained glass. He also emphasized the critical importance of ‘field-work’ – actually going to the places where windows are located to see them in their architectural context. He felt that the internet, with its wealth of images, could sometimes deter people from studying stained glass properly. This was why the BSMGP’s conferences, with their focussed study-visits to churches and other sites, were such a valuable exercise. He then took us through the main narrative of his book, beginning with the pioneers who, from the late 1870s onwards, had championed stained glass as a modern and expressive art form, instead of the formulaic and imitative productions of firms like C. E. Kempe. Henry Holiday was one of the most effective campaigners against commercialism and historicism: his windows Christopher Whall: detail of window in Gloucester Cathedral Lady Chapel, 1901 feature superb figure-drawing combined with a real knowledge of his craft. -
Politics, Profit and Reform
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Essex Research Repository Jnl of Ecclesiastical History, Vol. , No. , October . # Cambridge University Press DOI: .\SX Printed in the United Kingdom The Montmorencys and the Abbey of Sainte TriniteT, Caen: Politics, Profit and Reform by JOAN DAVIES Female religious, especially holders of benefices, made significant contributions to aristocratic family strategy and fortune in early modern France. This study of members of the wider Montmorency family in the sixteenth and early seventeenth centuries demonstrates the financial and political benefits derived from female benefice holding. Abbey stewards and surintendants of aristocratic households collaborated in the administration of religious revenues. Montmorency control of Sainte TriniteT, the Abbaye aux Dames, Caen, for over a century was associated with attempts to assert political influence in Normandy. Conflict ostensibly over religious reform could have a political dimension. Yet reform could be pursued vigorously by those originally cloistered for mercenary or political reasons. ecent studies of early modern nuns have emphasised the importance of family strategy in their experience. Dynasticism Rwithin convents and enforced monachisation of women to preserve family inheritances are two aspects of this strategy evident in early modern Italy, particularly Tuscany; in sixteenth-century France, the importance of female networks centred on abbeys has been noted as a significant dimension of aristocratic patronage. Such phenomena were not incompatible with reform in female religious orders which, in the context of early modern France, embraces both the impact of Protestan- " tism and renewal of Catholic devotion. This survey of nuns from the extended Montmorency family in the sixteenth and early seventeenth AMC, L l Archives du Muse! e Conde! Chantilly, series L; AN l Archives nationales; BN, Fr. -
St Etheldreda's, Old Hatfield
ST ETHELDREDA’S, OLD HATFIELD THE TRANSFORMATION OF THE WEST END 01 CONTENTS Foreword 2 Introduction 5 History & Heritage 7 The Proposals 17 The Need 23 An Opportunity 26 The production of this document has been kindly sponsored by Turnberry. 1 FOREWORD St. Etheldreda’s has been the parish church of Bishop’s Hatfield Our predecessors have altered the building over succeeding centuries for many centuries. Named after the patron saint of Ely Cathedral, and now the parish needs to adapt the building to meet the needs of the a monastic foundation to which it was intimately linked until the present congregation. I hope you will agree with me that what the Rector Reformation, it has served our parish faithfully and well from the and his advisers propose is not only practical, but will enhance the beauty eminence which dominates the old town of Hatfield. of the building. Very sensibly they have not only proposed a scheme for the rear of the church, but also a comprehensive plan of restoration. Like many such buildings, it has been added to and adapted to meet the changing demands of liturgy, convenience and prevailing theological There is a great spirit of optimism and community within the parish and fashion. It has acquired over the centuries a handsome square tower, if any group can raise the money to pay for what is proposed, we can. but has lost the distinctive Hertfordshire ‘spike’ that originally topped it. The success of the plans will not only be an outward and visible sign of The Salisbury Chapel, with its remarkable tomb of Robert Cecil, builder that spirit, but a means of bringing the plans for our future to fruition. -
Exhibitions & Art Fairs Exhibiting
Alan J. Poole (Dan Klein Associates) Promoting British & Irish Contemporary Glass. 43 Hugh Street, London SW1V 1QJ. ENGLAND. Tel: (00 44) Ø20 7821 6040. Email: [email protected] Website: www.dankleinglass.com Alan J. Poole’s Contemporary Glass News Letter. A monthly newsletter listing information relating to British & Irish Contemporary Glass events and activities, within the UK, Ireland and internationally. Covering both British and Irish based Artists, those living elsewhere and, any foreign nationals that have ever resided or studied for any period of time in the UK or Ireland. JUNE EDITION 2015. * - indicates new or amended entries since the last edition. 2014. EXHIBITIONS, FAIRS, MARKETS & OPEN STUDIO EVENTS. 08/11/1431/08/15. “Now & Then”. inc: Guan Dong Hai, Yi Peng, Ayako Tani, Wendi Xie & Lu ‘Shelly’ Xue. The Shanghai Museum Of Glass. Shanghai. PRC. Tel: 00 86 21 6618 1970. Email: [email protected] Website: http://en.shmog.org/cp/html/?118.html 15/09/1430/08/15. “North Lands Creative Glass: A Selection Of Works From The North Lands Collection”. inc: Karen Akester, Peter Aldridge, Fabrizia Bazzo, Jane Bruce, Marianne Buus, Tessa Clegg, Katharine Coleman M.B.E., Keith Cummings, Philip Eglin, Carrie Fertig, Catherine Forsyth, Carole Frève, Catherine Forsyth, ‘Gillies · Jones’ (Stephen Gillies & Kate Jones), Mieke Groot, Diana Hobson, Angela Jarman, Alison Kinnaird M.B.E., Richard Meitner, Tobias Møhl, Patricia Niemann, Magdalene Odundo, Zora Palová, Anne Petters, Janusz Pozniak, David Reekie, Bruno Romanelli, Elizabeth Swinburne, Richard Whiteley & Gareth Williams. National Glass Centre. University Of Sunderland. Sunderland. GB. Tel: 0191 515 5555. Email: [email protected] Website: www.nationalglasscentre.com/about/whatson/details/?id=410&to=2014-10- 19%2017:00:00&from=2014-10-19%2000:00:00 2015. -
Churches in West Kent with Fine Stained Glass
CHURCHES IN WEST KENT WITH FINE STAINED GLASS Chiddingstone Causeway, St Luke Chancel windows by WG von Glehn in German expressionist style, 1906. Higham, St Mary (old church) Outstanding chancel windows by Robert Bayne of Heaton, Butler and Bayne influenced by the Pre-Raphaelites, 1863-4. Kemsing, St Mary Nave S window: roundel of Virgin & child, early 14thC. Chancel SE: figure of St Anne, 15thC. Chancel SW by Dixon & Vesey, 1880. Otherwise a good collection of 20thC glass. E & W windows plus N aisle windows by Ninian Comper, 1901-10; nave S by Henry Wilson & Christopher Whall, 1905; N aisle W by Douglas Strachan, 1935. Langton Green, All Saints Important collection of early Pre-Raphaelite glass. Vestry E window by William Morris, c1862. Chancel side windows by Edward Burne-Jones, 1865. Nave W by Burne-Jones, 1865. S aisle W by Morris, Burne-Jones & Ford Madox Brown, 1865. All eclipsed visually by CE Kempe's E window of 1904. Lullingstone, St Botolph E & nave S windows early 16thC. Nave N, painted glass by William Peckitt of York, 1754. N chapel windows contain 3 early 14thC figures, 3 panels dated 1563 (probably Netherlandish) & some armorial glass of the 17th/18thC. Mereworth, St Lawrence Upper E window filled with armorial glass of 16th-18thC. Nave SW magnificent armorial glass of c1750 by William Price. Otherwise a good collection of 19thC glass. Lower E window by Nathaniel Westlake, 1873; nave SE by John Hardman, c1885; nave S central window by Heaton Butler & Bayne, 1889; nave NE by Powell's, 1913. Nettlestead, St Mary Nave glazed some time between 1425 & 1438. -
2017 Leicestershire and Rutland Conference
A UTUMN C ONFERENCE : L EICESTERSHIRE & R UTLAND THURSDAY The first visit of the conference was the 12C Leicester his 1913 E chancel window here in his typical style of heavy black- Cathedral, extensively restored in the 19C. The 1906 W window of lined figures with delicate-coloured shading against a background St Martin donating his cloak is by Christopher Whall, possibly of simple patterns influenced by 14 –15C glazing. A 1920s flower one of the first made by Lowndes & Drury at the Glass House; window is by Leonard Walker, who was at that time in the in the background he uses his typical tinted-glass glazing, with process of reducing the amount of painting on glass, instead just ruby glass lozenges at the top and, notably, white pressed slab for using leading to define outlines. His glass was mould-blown for the snow. The design was reused from one at Manchester. The E him by Powell & Sons, on top of which ore was scattered but not window (1920) – a WWI memorial to the Leicestershire dead – of mixed in, imparting colour variation and brilliance (top centre). Christ in Heaven surrounded by angels in glorious gold-pink, At the third stop, All Saints, Newtown Linford, we found a purple and much brilliant white is also by Christopher Whall, small window by Theodora Salusbury, a local Leicester Arts & with cartoons by daughter Veronica. On the left stands Joan of Crafts artist who had studied with Christopher Whall and Karl Arc (above left), symbolizing Britain’s wartime collaboration with Parsons, and worked in Whall’s studio – whose influence is France, with the buildings behind on fire depicting their wartime obvious here, in the use of gold-pink slab glass and bold leading. -
Newton Country Day School Chapel
Newton Country Day School Chapel In 1925, the Religious of the Sacred Heart transferred their Boston school for girls to the former Tudor-Revival style estate of Loren D. Towle in Newton, Massachusetts. The Boston architectural firm of Maginnis and Walsh (founded in 1898 as Maginnis, Walsh, and Sullivan) built the chapel and a four-story school wing between 1926 and 1928. The senior partner was Charles D. Maginnis (1867-1955), an immigrant from Londonderry, Ireland by way of Toronto, Canada. Maginnis’ leadership revolutionized the architecture of Roman Catholic institutions in America. In 1909, the firm won the competition to design Boston College and in the 1920s would build the library, chapel, and dining hall for the College of the Holy Cross, Worcester. The firm had then become highly honored; Boston College’s Devlin Hall had received the J. Harleston Parker Gold Medal in 1925 and the Carmelite Convent in Carmel, California (1925) and Trinity College Chapel in Washington, DC (1927) both won the American Institute of Architects’ Gold Medal. Maginnis was an admirer of the American Eclectic movement (1880s-1930s) which made use of a variety of historic expressions. The Newton Country Day School Chapel is English 15th- century Gothic. Its style shows an admirably simple practicality, yet evokes warmth through the use of wood for side paneling and roof. In the center, for the students, the seats face the front and the altar. The outer seating, used by the Religious for community prayer, is set in a choir-stall structure, aligned with the sides of the chapel and equipped with seats that fold up when they are not being used.