Stained Glass Plan for the East Transept Elevation of the Church

Total Page:16

File Type:pdf, Size:1020Kb

Stained Glass Plan for the East Transept Elevation of the Church Stained Glass Plan for the East Transept Elevation of the Church. v 9 crossing Tower Windows This is v 8 Clerestory Windows the east SOLD SOLD Note: All saints and religious icons selected for the Crossing Tower transept h and Clerestory Windows are based on existing glass from one of h m. St. Mary n. Cross, Banner, o. St. Martha the closed churches in Cleveland. wall. Magdalene sold Chalice, Palms sold sold v 8 Saint Windows v 4 Small Rose Windows above a set of Saint Windows SOLD v 2 windows in the south and north Shrines. SOLD Note: The Saint Windows, Small Rose Windows and two Shrine SOLD windows are being created from new glass and are not coming p. Bible q. St. John the r. Rose sold from one of the closed churches. with Lilies Evangelist sold sold h This is a Crossing Tower Window. Each window Crossing Tower Windows will include this design SOLD SOLD with a saint or religious icon. sold sold sold sold s. St. Gabriel sold sold sold sold t. Hosanna u. St. Raphael m n o psold q r s t u the Archangel with Palms the Archangel sold sold sold St. Joseph & Child Good Shepherd St. Cunegunda St. Gerard h This is a Clerestory Window. Each window will include this design with a saint or religious icon. Blessed Sacred HeartSt. Dymphnaof Jesus Virgin MarySt. Barbara SOLD SOLD SOLD SOLD SOLD SOLD SOLD SOLD Clerestory Windows - Southeast Transept Wall Clerestory Windows - Northeast Transept Wall Illustration h h h sold sold sold soldh of Saint h Windows with small sold sold sold sold sold sold sold sold sold Rose sold 17 18 19 20 Window 37 38 39 40 Saint Windows -Southeast Transept Wall above. Saint Windows - Northeast Transept Wall Crossing Tower Windows - $6,000 each Note: The Saint 17. St. John SOLD SOLD 37. St. Paul Windows and Small Clerestory Windows - $4,800 each Rose Windows are 18. St. Luke SOLD SOLD 38. St. Peter being created from 19. St. Mark SOLD Saint Windows - $12,000 each SOLD 39. St. Anne new glass and are not 20. St. Matthew SOLD Small Rose Window - $1,800 each SOLD 40. St. Teresa of Avila coming from one of (above a set of Saint Windows) the closed churches. Shrine Windows - being designed revised 6/25/2015.
Recommended publications
  • The Capital Sculpture of Wells Cathedral: Masons, Patrons and The
    The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig.
    [Show full text]
  • York Minster Timeline There Has Been a Minster in York Since AD 627
    York Minster Timeline There has been a Minster in York since AD 627. Earlier Minster buildings may have looked like this. The exact location of York Minster the Saxon Minster is not known. From AD 71 From AD 627 Treasure Hunt Discover Where the Minster stands today was The first Minster in York, was small and the treasure once the site of the Roman HQ building. It was in wooden. It was built for the baptism of Edwin, map inside! the middle of a Roman fort. the Saxon King of Northumbria. By AD 640 AD 1080 to AD 1100 A stone Minster had replaced the wooden building. Archbishop Thomas of Bayeux built a This was probably enlarged and improved several Norman Cathedral on the present site. This Minster times before the coming of the Normans. was altered in the 1160s by Archbishop Roger of Pont l’Evéque. AD 1220 Archbishop Walter Gray started to rebuild the South Transept in the Gothic style. (Look at the front page to see it.) Over the next 250 years, the whole of the Minster was slowly rebuilt. The Cathedral you see today was finished in 1472. Welcome to our magnificent Cathedral. This Follow the instructions on your map inside. You Minster or cathedral? What’s the difference? place of Christian worship has been here for will need a pencil to mark the position of each A cathedral church is the mother church of the diocese. It’s where the centuries. It is full of beautiful things waiting treasure. bishop has his seat or ‘cathedra’.
    [Show full text]
  • The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE)
    ABSTRACT MARY ELIZABETH BLUME The English Claim to Gothic: Contemporary Approaches to an Age-Old Debate (Under the Direction of DR STEFAAN VAN LIEFFERINGE) The Gothic Revival of the nineteenth century in Europe aroused a debate concerning the origin of a style already six centuries old. Besides the underlying quandary of how to define or identify “Gothic” structures, the Victorian revivalists fought vehemently over the national birthright of the style. Although Gothic has been traditionally acknowledged as having French origins, English revivalists insisted on the autonomy of English Gothic as a distinct and independent style of architecture in origin and development. Surprisingly, nearly two centuries later, the debate over Gothic’s nationality persists, though the nationalistic tug-of-war has given way to the more scholarly contest to uncover the style’s authentic origins. Traditionally, scholarship took structural or formal approaches, which struggled to classify structures into rigidly defined periods of formal development. As the Gothic style did not develop in such a cleanly linear fashion, this practice of retrospective labeling took a second place to cultural approaches that consider the Gothic style as a material manifestation of an overarching conscious Gothic cultural movement. Nevertheless, scholars still frequently look to the Isle-de-France when discussing Gothic’s formal and cultural beginnings. Gothic historians have entered a period of reflection upon the field’s historiography, questioning methodological paradigms. This
    [Show full text]
  • The Cathedral Close
    Welcome. No matter your background, your faith, or your reason for visiting, we welcome you to Washington National Cathedral. Each year, the Cathedral opens its doors to hundreds of thousands of worshipers and visitors who come to find peace and inspiration, listen to beautiful music, and experience the 1 2 2 north rose south rose 4 5 5 6 7 8 8 9 Cathedral’s extraordinary art and architecture. CATHEDRAL ART AND ARCHITECTURE Built of Indiana limestone, the Cathedral is the sixth largest in Main Level (the Nave) 4 A tribute to those who have served in our armed forces, the 7 At the east end of the Cathedral nave is the HIGH 9 The Cathedral’s great iconographic story—the movement i The artwork in the BAPTISTRY depicts symbols the world. Its design is unique and not copied from any earlier art of WAR MEMORIAL CHAPEL tells stories of sacrifice ALTAR. One-hundred-and-ten figures of men and women of humankind from creation to redemption—begins outside representing baptism. A nearby elevator provides building. The building is shaped like a cross, with a long nave— 30 minutes—highlights and the struggle for freedom. exemplifying the highest ideals of Christianity surround at the WEST FAÇADE. The art here explores themes of wheelchair access to the lower level. the central figure of Christ in Majesty, completing the creation. The carved tympana above three massive portals a tenth of a mile—and two shorter transepts. Follow the numbered items to tour the “must see” highlights A statue of the Christ Child welcomes visitors to memorial bays—north 5 iconographic story with the redemption of humankind show the creation of day, the creation of humankind, and the of the Cathedral’s art and architecture.
    [Show full text]
  • Constantine Triumphal Arch 313 AD Basilica of St. Peter Ca. 324
    Constantine Triumphal Arch 313 AD Basilica of St. Peter ca. 324 ff. Old St. Peter’s: reconstruction of nave, plus shrine, transept and apse. Tetrarchs from Constantinople, now in Venice Constantine defeated the rival Augustus, Maxentius, at the Pons Mulvius or Milvian Bridge north of Rome, at a place called Saxa Rubra (“Red rocks”), after seeing a vision (“In hoc signo vinces”) before the battle that he eventually associated with the protection of the Christian God. Maxentius’s Special Forces (Equites Singulares) were defeated, many drowned; the corps was abolished and their barracks given to the Bishop of Rome for the Lateran basilica. To the Emperor Flavius Constantinus Maximus Father of the Fatherland the Senate and the Roman People Because with inspiration from the divine and the might of his intelligence Together with his army he took revenge by just arms on the tyrant And his following at one and the same time, Have dedicated this arch made proud by triumphs INSTINCTV DIVINITATIS TYRANNO Reconstruction of view of colossal Sol statue (Nero, Hadrian) seen through the Arch of Constantine (from E. Marlow in Art Bulletin) Lorsch, Germany: abbey gatehouse in the form of a triumphal arch, 9th c. St. Peter’s Basilicas: vaulted vs. columns with wooden roofs Central Hall of the Markets of Trajan Basilica of Maxentius, 3018-312, completed by Constantine after 313 Basilica of Maxentius: Vaulting in concrete Basilica of Maxentius, 3018-312, completed by Constantine after 313 Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore Monolithic Corinthian column from the Basilica of Maxentius, removed in early 1600s by Pope Paul V and brought to the piazza in front of Santa Maria Maggiore BATHS OF DIOCLETIAN 298-306 AD Penn Station NY (McKim, Mead, and White) St.
    [Show full text]
  • Canterbury Cathedral: Repairs to the North West Transept (1 of 2 Projects Funded) Awarded £150,000 in November 2014 Towards a £1,006,500 Project
    Canterbury Cathedral: repairs to the North West Transept (1 of 2 projects funded) Awarded £150,000 in November 2014 towards a £1,006,500 project The need The North West Transept is, internally, one of the most visited and historically significant areas of Canterbury Cathedral, providing the main access to the Crypt and up towards the High Altar. Externally there was a need for emergency repair and stabilisation of previous failing repairs from the 19th and early 20th century to the Vice Turret Spirelet, in order to keep the area weather-tight and safe. New movement was recorded in the 2012 Quinquennial Inspection: cracks were evident through stones in addition to visible separation of stone joints. Failed cement-rich render had fallen on the roofs of the Cloister below. If the work had not taken place the cathedral would have had to close the site of the Martyrdom, where Archbishop Thomas Becket was murdered, which is the most visited part of the building. Outcomes The repair needs were urgent prior to the work taking place but will now require only routine maintenance, with no major work needed for the next 70 to 100 years. The improved condition of the Detail of the spirelet pinnacles. Photo Credit: Purcell Architects. stonework inspires confidence in the public and potential donors that the cathedral is being looked after. Economic and social impact During the project, the contractor had two stonemason apprentices and a leadworker apprentice. Two others were mature students doing a Foundation degree in Applied Historic Building Conservation and Repair, making five full- time equivalent apprentices.
    [Show full text]
  • Canterbury Cathedral C. 1167
    1 CANTERBURY CATHEDRAL C. 1167 “The story begins on ground level, with footsteps.” —MICHEL DE CERTEAU THE VIEW FROM THE TOP of Canterbury Cathedral is abso- lutely breathtaking. Looking out from Bell Harry Tower, the view extends to the horizon in every direction, with the English Chan- nel to the south and London to the west. From the top of the 235-foot tall bell tower, even the enormous nave of the cathe- dral seems small. Further down below the nave lies the town of Canterbury, founded by the Romans nearly two thousand years ago. The Roman walls still mark the circumference of the city cen- ter, encompassing a street plan that largely dates from the Middle Ages. There is layer upon layer of ancient, medieval, and modern history in Canterbury, and at the center of it all, just as it has been for more than fourteen hundred years, is the cathedral. After soak- ing in the view from the tower, I headed down inside the cathe- dral, entering through the western portal, moving slowly eastward through the nave, the transept—where the two axes of the cathe- dral intersect, the choir—where wooden stalls serve as seating for worship leaders, the high altar, and finally to the Trinity Chapel. The cathedral interior is jaw-droppingly beautiful. The vaulted ceilings seem to rise all the way up to heaven as light pours into the space through the tall stained glass windows. Every surface is 13 14 THE DIGITAL CATHEDRAL covered with highly detailed artwork, which all together proclaim the glory of God and reflect the beauty of heaven.
    [Show full text]
  • Rose Window ­ Wikipedia, the Free Encyclopedia Rose Window from Wikipedia, the Free Encyclopedia
    6/19/2016 Rose window ­ Wikipedia, the free encyclopedia Rose window From Wikipedia, the free encyclopedia A rose window or Catherine window is often used as a generic term applied to a circular window, but is especially used for those found in churches of the Gothic architectural style and being divided into segments by stone mullions and tracery. The name “rose window” was not used before the 17th century and according to the Oxford English Dictionary, among other authorities, comes from the English flower name rose.[1] The term “wheel window” is often applied to a window divided by simple spokes radiating from a central boss or opening, while the term “rose window” is reserved for those windows, sometimes of a highly complex design, which can be seen to bear similarity to a multi­petalled rose. Rose windows are also called Catherine windows after Saint Catherine of Alexandria who was sentenced to be executed on a spiked wheel. A circular Exterior of the rose at Strasbourg window without tracery such as are found in many Italian churches, is Cathedral, France. referred to as an ocular window or oculus. Rose windows are particularly characteristic of Gothic architecture and may be seen in all the major Gothic Cathedrals of Northern France. Their origins are much earlier and rose windows may be seen in various forms throughout the Medieval period. Their popularity was revived, with other medieval features, during the Gothic revival of the 19th century so that they are seen in Christian churches all over the world. Contents 1 History 1.1 Origin 1.2 The windows of Oviedo Interior of the rose at Strasbourg 1.3 Romanesque circular windows Cathedral.
    [Show full text]
  • Carolyn S. Snively
    Ni{ i Vizantija VI 59 Carolyn S. Snively TRANSEPTS IN THE ECCLESIASTICAL ARCHITECTURE OF EASTERN ILLYRICUM AND THE EPISCOPAL BASILICA AT STOBI In this paper the nature and definition of the transept, which sometimes appears as a feature of Early Byzantine ecclesiastical architecture in the Balkan Peninsula, will be considered. Before examining the transept and its variations, however, the methods of transmission of such concepts will be considered. Communication and the Spread of New Ideas In antiquity the system of Roman roads, constructed initially for military purposes, connected the distant provinces of the Roman geographical empire with each other and with Rome and facilitated the relatively rapid movement of people and goods around the Mediterranean world. It may be useful to re- member, in this day of superhighways and transportation by air, that within the Roman territorial empire located around the Mediterranean Sea, there were only two methods of travel, by land along Roman roads and over the sea during some seasons of the year. Not only people and merchandise, but also concepts and ideas, such as transepts and monasticism, traveled by road and in ships. They moved more quickly along major highways and in and out of seaports. Communication was slower along secondary roads, but with relative hot spots where such roads crossed. Great parts of the rural countryside, however, re- mained relatively untouched and unaware of new ideas that passed by. The Via Egnatia (Fig. 1), built shortly after the final Roman takeover of the Macedonian kingdom in the mid 2nd century BC, followed the line of earlier, less formal routes.
    [Show full text]
  • York Minster Conservation Management Plan 2021
    CONSERVATION MANAGEMENT PLAN VOL. 2 GAZETTEERS DRAFT APRIL 2021 Alan Baxter YORK MINSTER CONSERVATION MANAGEMENT PLAN VOL. 2 GAZETTEERS PREPARED FOR THE CHAPTER OF YORK DRAFT APRIL 2021 HOW TO USE THIS DOCUMENT This document is designed to be viewed digitally using a number of interactive features to aid navigation. These features include bookmarks (in the left-hand panel), hyperlinks (identified by blue text) to cross reference between sections, and interactive plans at the beginning of Vol III, the Gazetteers, which areAPRIL used to locate individual 2021 gazetteer entries. DRAFT It can be useful to load a ‘previous view’ button in the pdf reader software in order to retrace steps having followed a hyperlink. To load the previous view button in Adobe Acrobat X go to View/Show/ Hide/Toolbar Items/Page Navigation/Show All Page Navigation Tools. The ‘previous view’ button is a blue circle with a white arrow pointing left. York Minster CMP / April 2021 DRAFT Alan Baxter CONTENTS CONTENTS Introduction to the Gazetteers ................................................................................................ i Exterior .................................................................................................................................... 1 01: West Towers and West Front ................................................................................. 1 02: Nave north elevation ............................................................................................... 7 03: North Transept elevations....................................................................................
    [Show full text]
  • Factsheet 1 a Short History Until 1472
    A Short History until 1472 306 Roman York 1 Constantine was proclaimed Emperor in York. This probably happened in the Principia building which stood on the site of the present Minster. Factsheet 314 Eborius, the bishop of York, attended the Council of Arles. Constantine proclaimed 627 The Anglo‐Saxons Minsters King Edwin of Northumbria is baptised in a wooden church. Traditionally this is regarded as the first Minster C.640 King Oswald replaced the wooden church with a stone one dedicated to St Peter. The site of this church is unknown. 741 The Church was rebuilt following a fire. The first Minster may have looked like this. 1069 Destruction of the Anglo‐Saxon Cathedral during the harrying of the North. c.1080 The Norman Minster to 1100 Thomas of Bayeux built a vast unaisled cross‐ shaped cathedral the remains of the Transepts and Nave walls can be seen in the Undercroft. The line of the semicircular apse is marked on the floor of the Eastern Crypt The Minster of Archbishop Thomas. This was the ancestor of the Minster we have today c.1170 Whilst Roger de Pont l’Eveque was Archbishop the original Quire was replaced with one with aisles. Remains of this can be seen in the Western Crypt. Some kind of façade or a pair of towers, was added to the West End at this time, or possibly a little later. Produced by the York Minster Learning Team © The Chapter of York 2013 [email protected] A Short History until 1472 The Gothic Minster c.1220 to The expansion of the Minster continued with the 1253 rebuilding of the two Transepts in the contemporary Early English style.
    [Show full text]
  • St. Peter's Basilica As Templum Dei: Continuation of the Ancient Near Eastern Temple Tradition in the Christian Cathedral
    Studia Antiqua Volume 4 Number 1 Article 6 April 2005 St. Peter's Basilica as Templum Dei: Continuation of the Ancient Near Eastern Temple Tradition in the Christian Cathedral Rachel Ann Seely Follow this and additional works at: https://scholarsarchive.byu.edu/studiaantiqua Part of the History of Art, Architecture, and Archaeology Commons BYU ScholarsArchive Citation Seely, Rachel A. "St. Peter's Basilica as Templum Dei: Continuation of the Ancient Near Eastern Temple Tradition in the Christian Cathedral." Studia Antiqua 4, no. 1 (2005). https://scholarsarchive.byu.edu/ studiaantiqua/vol4/iss1/6 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in Studia Antiqua by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. St. Peter's Basilica as Templum Dei: Continuation of the Ancient Near Eastern Temple Tradition in the Christian Cathedral RACHEL ANN SEELY nscribed on the entrance of St. Peter's Basilica in Rome is Templum Vaticani (Temple of the Vatican). Upon entering I St. Peter's, one can see many parallels between it and Solomon's Temple in both architecture and orientation. Even more striking are the similarities between the political and reli­ gious roles of St. Peter's Basilica and those of an ancient Near Eastern temple. Christians believed that Christ fulfilled the Levitical temple functions and that temple worshlp finally ended with the destruction of the Second Temple at Jerusalem in AD 70, but Christians never completely escaped from the idea that a temple was necessary.
    [Show full text]