DOCSLIB.ORG

Newsletter No.4 March 2015 (Free to Friends; £2 to Non-Members)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Newsletter No.4 March 2015 (Free to Friends; £2 to Non-Members) Welcome to “The Friends” Newsletter No.4 March 2015 (Free to Friends; £2 to non-members) Welcome to our fourth newsletter. 2015 is already proving to be an exciting year which was kicked off by the very successful Coastival event on 14th Feb when Angela Chalmers exhibited “There’s Something About Mary” of which you can read more in this issue. Our next exciting event will be on Saturday 25th April 2.00pm: A Friends’ event also open to non-members. A talk by Suzanne Fagence Cooper 'The Women of the Pre-Raphaelite World' The illustrated talk will relate directly to the pre-Raphaelite windows and pulpit at St. Martin's Church. The dress created by Angela Chalmers for the Coastival Festival will be redisplayed for this talk as it relates directly to the theme of women as producers and patrons of art as well as wives and models. There will be a question and answer session following the talk, and light refreshments will also be available. Suzanne Fagence Cooper spent 12 years as a curator and research fellow, studying the Victorian collections of the V&A Museum. She has written extensively on the Pre-Raphaelites and Victorian women. Her book, Effie Gray: the Passionate Lives of Effie Gray, Ruskin and Millais is the subject of a film starring Emma Thompson and Dakota Fanning. Tickets: On the door - Members: £3; Non-Members £6. Pre-Book - Members £2.50; Non-Members £5 We’re running a recruitment drive at the moment, so if you have any friends you think might be interested in joining The Friends then they will receive two free tickets for this event on paying their subscription. Order forms for tickets are enclosed with this publication or will be emailed to you if you have opted for paperless copies. CONTENTS OF THIS ISSUE There’s Something About Mary: Angela Chalmers page 3 St Martin’s Snippets: Gillian Sleightholme page 5 A new book about Bodley: Mike Bortoft page 8 A Letter of Appeal from Mary Craven to The Scarborough Gazette 18th June 1861 page 11 What’s in a Window? No 3. The Rose Window, west wall page 13 St Martin’s Scarborough Minute Book No 2 Mike Baines page 18 Friends’ Competition No 1 page 20 The second Christmas Tree Festival was very successful and illuminated the church from early December right through till Epiphany. There were trees from St Martin’s school, local nurseries and church and other organisations including the Women’s Institute. The trees were placed above the level of the pews and each tree with its very individual decorations and lights, later joined by the church Christmas tree and traditional crib, made a cheerful and welcoming aspect to the sombre interior of the church. One hundred years since the fearful bombardment of Scarborough on 16th December 1914 was marked by a service commemorating those who lost their lives on the South Cliff – young and old; errand boys and maids; people going about their morning activities. The service was preceded by a talk and power presentation by Mike Bortoft, who had researched each of the gunshots from the two battleships. We were joined by the Rev , whose grandfather had been curate to Archdeacon McKarness on the day. Sandra Gavin-Duffy Paperless copies, both in pdf and Microsoft Word form, of The Friends Newsletter copies, both in pdf and Microsoft Word form, will be automatically sent to all those with an email address. If you wish for a hard copy as well please email Mike Bortoft at [email protected] and one will be posted to you every time it is published. 2 There’s Something About Mary For many years St Martin’s Church has been used as a venue to showcase the work of contemporary artists participating in Coastival – a Scarborough arts and culture festival. In February of this year I was delighted to have the opportunity to display my work at the west end of the church in association with the event. My piece involved the making of a textile-based sculpture inspired by the history of Mary Craven. The hand- printed Victorian style dress was produced after a period of research and contemplation on the life of the determined and generous lady who provided much of the money to build St Martin’s. I printed the fabric using an early photographic process called cyanotype, which was invented during Mary’s lifetime in 1842. The blue of the dress is specific to the photographic chemicals related to cyanotypes and seemed quite appropriate. The colour blue has been used throughout history to symbolise heaven, and is traditionally associated with the Virgin Mary. I chose to depict nature as the main design and worked with real grass, ivy, twigs and flowers during the printing process. Whilst making studies of the church, I was particularly drawn towards the white lilies revealed in the stained glass windows. They represent new life and are symbolic of both the sacrifice of Christ and of the purity of the Virgin Mary. In Dante Gabriel Rossetti ‘The Annunciation’ on the pulpit, the artist illustrates the Angel Gabriel presenting lilies to the Virgin Mary, as if they are a romantic gift. Miss Craven was clearly devoted to her religion and passionate about St Martin’s as a new place of worship – a romance (of sorts) with the church itself, perhaps! Detail of pattern on the dress 3 I am very fond of the tale about Mary In ‘The Book of Scarborough Spaw’, by Meredith Whittaker “When Miss Craven, a respected and substantial citizen of the South Cliff, who had provided most of the money to build St Martin’s Church, was caught ‘purloining flowers from the grounds’ she was threatened with proceedings if there was any repetition”. The lower pattern of the dress refers to this story of 1870 – a cliff top walk through oak saplings, ground-creeping ivy, long grasses and wild flowers. I decorated the bodice with a solitary house martin, digitally captured and silhouetted from a design by Rossetti that alludes to St Martin of Tours, Mary’s chosen name-saint for the church after her late father, Robert Martin Craven. The bodice also includes a detail from a painting by Rossetti, ‘Sancta Lilias (Sacred Lily)’. The spirit and generosity of Mary Craven is still is clearly evident the moment you set foot in the church, from her name adorning many windows to a particular church pew - marked with the inscription ‘Miss Mary Craven’s Seat’. When Mary died she left a remarkable legacy. Her obituary stated that: “Ever since Mary came to reside in Scarborough she has been conspicuous for unbounded liberality. Her generosity manifested in many ways, but whatever was done was performed in a quiet and retiring spirit, which was of the lady’s marked characteristics. So long as the church continues to stand the name of Miss Craven cannot be forgotten.” A few years ago, I discovered that I actually live in the former residence of Mary Craven. I often wonder if the Pre-Raphaelites such as William Morris, Edward Burne-Jones, or Dante Gabriel Rossetti visited Mary for afternoon tea. A wonderful thought! I decided to construct the artwork at my home instead of the art studio. For me, developing the project in her former abode was central to the project. My fascination with Mary continues along with photographer Oliver Sarony. It’s a rich history and a contemporary artist’s dream! Angela Chalmers Photography by David Chalmers and Tony Bartholomew. 4 St Martin’s Snippets An Early view of St. Martin’s Church This unusual picture of the West Facade of St Martin’s Church shows the original building before the extension of 1879 so the photograph must precede this date. It was taken from the other side of Ramshill Road either before the building of St Andrew’s Church (1865) or from its grounds. Built to accommodate the swelling congregations of the time the extension to St Martin’s clearly remained faithful to the original design of the West Facade since the stained glass windows we see today retain the exact position of the originals with the exception of the lancet window below the tower .The later baptistery obscured nearly all of this window, leaving only the top of the stone arch still visible. It is particularly interesting to see quite a substantial glimpse of the building behind the East Facade. This was Gainsborough House built in 1858 to accommodate the studios of the world- famous photographer Oliver Sarony. 5 Just evident, between the two visible windows of that building, is one of the roundels which now adorn the former Fairview Hotel on Montpellier Terrace where Sarony lived at Number 5 when the terrace was composed of separate houses. Apparently he wanted to display lasting likenesses of artists and dignitaries who visited his studios and whom he called “Patrons of the Arts”. It is said that when Gainsborough House was pulled down after WW1 because of irreparable damage wrought by troops billeted there, the owners of the Fairview rescued the roundels and had them re-sited on their property where they can be seen to this day. Rumour has it that one of the heads looking out to sea is actually that of Sarony himself with his tongue sticking out! However this is very difficult to authenticate since the enthusiastic repainting of the roundels has allowed any tongue to disappear into the blackness of the beard! Could this be Sarony? Gainsborough House showing the East Facade of St Martin’s 6 Today there is little left to remind us that Sarony Square in its heyday was once one of the busiest parts of Scarborough although one side of the Square, Oliver Street, still bears his Christian name.
Load more

Recommended publications
  • Y\5$ in History
    THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 A thesis submitted to the faculty of San Francisco State University A5 In partial fulfillment of The Requirements for The Degree Mi ST Master of Arts . Y\5$ In History by James Harvey Mitchell, Jr. San Francisco, California May, 2016 Copyright by James Harvey Mitchell, Jr. 2016 CERTIFICATION OF APPROVAL I certify that I have read The Gargoyles of San Francisco: Medievalist Architecture in Northern California 1900-1940 by James Harvey Mitchell, Jr., and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirements for the degree Master of Arts in History at San Francisco State University. <2 . d. rbel Rodriguez, lessor of History Philip Dreyfus Professor of History THE GARGOYLES OF SAN FRANCISCO: MEDIEVALIST ARCHITECTURE IN NORTHERN CALIFORNIA 1900-1940 James Harvey Mitchell, Jr. San Francisco, California 2016 After the fire and earthquake of 1906, the reconstruction of San Francisco initiated a profusion of neo-Gothic churches, public buildings and residential architecture. This thesis examines the development from the novel perspective of medievalism—the study of the Middle Ages as an imaginative construct in western society after their actual demise. It offers a selection of the best known neo-Gothic artifacts in the city, describes the technological innovations which distinguish them from the medievalist architecture of the nineteenth century, and shows the motivation for their creation. The significance of the California Arts and Crafts movement is explained, and profiles are offered of the two leading medievalist architects of the period, Bernard Maybeck and Julia Morgan.
    [Show full text]
  • Applicable." for Functions, Architectural Classification, Materials, and Areas of Significance, Enter Only Categories and Subcategories from the Instructions
    NPS Form 10-900 OMB No. 1024-0018 (Rev. 10-90) United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form Is for use in nominating or requesting determinations for individual properties and districts. See instructions in How to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking "x" in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property historic name._---'-___--=s'-'-T~ • .:....M::...A=R~Y_"S~EP=_=I=SC=O=_'_'PA:....:..=.L~C:.:..H~U=R=C=H..!.._ ______________ other names/site number___________________________________ _ 2. Location city or town_-=.B=O-=.ST..:...O=..:...,:N:.....J(..::;D-=O:...,:.R.=C=.H.:.=E=ST..:...E=R.=) ________________ _ vicinity state MASSACHUSETTS code MA county SUFFOLK code 025 zip code 02125 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that thi~ nomination o request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60.
    [Show full text]
  • Information 123
    ISSN 0960-7870 BRITISH BRICK SOCIETY INFORMATION 123 FEBRUARY 2013 BRICK CHURCHES ISSUE OFFICERS OF THE BRITISH BRICK SOCIETY Chairman Michael Chapman 8 Pinfold Close Tel: 0115-965-2489 NOTTINGHAM NG14 6DP E-mail: [email protected] Honorary Secretary Michael S Oliver 19 Woodcroft Avenue Tel. 020-8954-4976 STANMORE E-mail: [email protected] Middlesex HA7 3PT Honorary Treasurer Graeme Perry 62 Carter Street Tel: 01889-566107 UTTOXETER E-mail: [email protected] Staffordshire ST14 8EU Enquiries Secretary Michael Hammett ARIBA 9 Bailey Close and Liason Officer with the BAA HIGH WYCOMBE Tel: 01494-520299 Buckinghamshire HP13 6QA E-mail: brick so c @mh 1936.plus. c om Membership Secretary Dr Anthony A. Preston 11 Harcourt Way (Receives all direct subscriptions, £12-00 per annum*) SELSEY, West Sussex P020 0PF Tel: 01243-607628 Editor of BBS Information David H. Kennett BA, MSc 7 Watery Lane (Receives all articles and items for BBS Information) SHIPSTON-ON-STOUR Tel: 01608-664039 Warwickshire CV36 4BE E-mail: [email protected] Printing and Distribution Chris Blanchett Holly Tree House, 18 Woodlands Road Secretary LITTLEHAMPTON Tel: 01903-717648 West Sussex BN17 5PP E-mail: [email protected] Web Officer Vacant The society's Auditor is: Adrian Corder-Birch F.Inst.L.Ex . Rustlings, Howe Drive E-mail: [email protected] HALSTEAD, Essex C09 2QL The annual subscription to the British Brick Society is £10-00 per annum. Telephone numbers and e-mail addresses of members would be helpful for contact purposes. but these will not be included in the Membership List.
    [Show full text]
  • 1 the Stones of Science: Charles Harriot Smith and the Importance of Geology in Architecture, 1834-1864 in the Stones of Venice
    1 The Stones of Science: Charles Harriot Smith and the importance of geology in architecture, 1834-1864 In The Stones of Venice England’s leading art critic, John Ruskin (1819-1900), made explicit the importance of geological knowledge for architecture. Clearly an architect’s choice of stone was central to the character of a building, but Ruskin used the composition of rock to help define the nature of the Gothic style. He invoked a powerful geological analogy which he believed would have resonance with his readers, explaining how the Gothic character could be submitted to analysis, ‘just as the rough mineral is submitted to that of the chemist’. Like geological minerals, Ruskin asserted that the Gothic was not pure, but composed of several elements. Elaborating on this chemical analogy, he observed that, ‘in defining a mineral by its constituent parts, it is not one nor another of them, that can make up the mineral, but the union of all: for instance, it is neither in charcoal, nor in oxygen, nor in lime, that there is the making of chalk, but in the combination of all three’.1 Ruskin concluded that the same was true for the Gothic; the style was a union of specific elements, such as naturalism (the love of nature) and grotesqueness (the use of disturbing imagination).2 Ruskin’s analogy between moral elements in architecture and chemical elements in geology was not just rhetorical. His choice to use geology in connection with architecture was part of a growing consensus that the two disciplines were fundamentally linked. In early-Victorian Britain, the study of geology invoked radically new ways of conceptualizing the earth’s history.
    [Show full text]
  • KJ MASTER THESIS FINAL Corrections
    Ordered Spaces, Separate Spheres: Women and the Building of British Convents, 1829-1939 Kate Jordan University College London Submitted for the Degree of Doctor of Philosophy I, Kate Jordan confirm that the work present- ed in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. _______________________________ Kate Jordan !2 Abstract Over the last forty years, feminist discourses have made considerable impact on the way that we understand women’s historical agency. Linda Nochlin’s question, ‘why have there been no great women artists’ challenged assumptions about the way we consider women in art history and Amanda Vickery brought to the fore questions of women’s authority within ‘separate spheres’ ideology. The paucity of research on women’s historical contributions to architecture, however, is a gap that misrepresents their significant roles. This thesis explores a hitherto overlooked group of buildings designed by and for women; nineteenth and twentieth century English convents. Many of these sites were built according to the rules of communities whose ministries extended beyond contemplative prayer and into the wider community, requiring spaces that allowed lay-women to live and work within the convent walls but without disrupting the real and imagined fabric of monastic traditions - spaces that were able to synthesise contemporary domestic, industrial and institutional architecture with the medieval cloister. The demanding specifications for these highly innovative and complex spaces were drawn up, overwhelmingly, by nuns. While convents might be read as spaces which operated at the interstices between different architectures, I will argue they were instead conceived as sites that per- formed varying and contradictory functions simultaneously.
    [Show full text]
  • 'Perhaps the Greatest Artist of the Lot'
    INTRODUCTION ‘PERHAPS THE GREATEST ARTIST OF THE LOT’ By all accounts Henry Wilson was a quiet man, modest to a fault. At first sight, apart from his distinctive aquiline profile, his appearance was unremarkable. He was not widely known to the general public, and even amongst friends it was hard to get him to talk much about his own works, which were mostly unsigned. When he died in Menton, France in 1934, he was buried in a leased plot, long since obliterated. Such unassuming worldly credentials belie the powerful originality of his work and his prodigious skills as a craftsman. In dramatic architectural schemes, and in the expressiveness of his executed buildings and sculptures; in his richly evocative jewellery and fine metalwork, in inspirational lectures and writings; in all these, he displays an exceptional intensity of invention and insight. The works summon up deep-seated meanings which often surpass their material reality. They, and the thinking that underlies them, most thoroughly represent Henry Wilson. And it is through the diverse, yet linked, aspects of his creativity that his character and impact is most properly revealed. As he himself wrote in 1902 ‘design is the expression of your personality in terms of the material in which you work’.1 Janet, the astute and observant wife of Wilson’s fellow designer and ideologist C.R. Ashbee, testified to the admiration felt for Wilson in arts and crafts circles when she described a group of Art Workers’ Guild members gathering for a rehearsal of their masque Beauty’s Awakening in May 1899. Gradually they assemble: Selwyn Image, Walter Crane, Louis Davis ..
    [Show full text]
  • Download 2012 Transactions
    Monumental Brass Society 2012 TRANSACTIONS Monumental Brass Society Volume XVIII, Part 4, 2012. ISSN 0143-1250 Obligations and Strategy: Managing Memory in the Later Medieval Parish 289 Clive Burgess Each According to their Degree: the Lost Brasses of the Thorpes of Northamptonshire 311 Robert Kinsey Embellishment and Restoration: the Barttelots and their Brasses at Stopham, Sussex 334 Jerome Bertram The Brass to the Revd. Montague Henry Noel, d. 1929, St. Barnabas, Oxford 363 David Meara Conservation of brasses, 2011 370 William Lack Reviews 374 Portfolio of Small Plates 381 Contributors are solely responsible for all views and opinions contained in the Transactions, which do not necessarily represent those of the Society. © Monumental Brass Society and the authors, 2012 Registered Charity No. 214336 www.mbs-brasses.co.uk Obligations and Strategy: Managing Memory in the Later Medieval Parish Clive Burgess Primarily concerned with commemorative practice within I England’s late medieval parishes, this essay first explores When starting to consider the nature of later the means by which the commemorative impulse became medieval commemoration a number of embedded in the twelfth and thirteenth centuries and, questions immediately arise. Why did men and second, looks at factors, both general and local, which women strive so assiduously to be remembered? particularly assisted with managing memory within How generally did they contrive to maintain parishes. The essay then turns to consider how their presence? And what, therefore, was the individuals endeavoured to weave themselves into the broader array of commemorative devices parish liturgy, especially through repeated ceremonial such among which memorial brasses took their as anniversaries and by commissioning chantry Masses.
    [Show full text]
  • FLYER DEC 17B Final
    Friends to help fund display of vestments The Parochial Church Council is preparing plans for the regular display of vestments from the very fine collection held at St Michael’s. The Friends have agreed to provide matching funding to a maximum of £10,000. Vestments on display at the Annual Lecture with a fine Bodley designed fron- tal on the altar. The intention is to mount a rotating display of individual vestments in the north aisle. A supporting set of photographs of the full collection will be mounted with an accompany- ing guide to its cultural and artistic significance. Digital copies of the Flyer by email Most Friends are happy to receive their copy of the Flyer by email. This allows us to publish more at a much reduced cost. We will continue to send out hard copies. But if you are able to receive the digital copy please con- tact the Flyer at: [email protected] G F Bodley and his family in Brighton youngest son, George Frederick Bodley, was born in Hull Michael Hall on 14 March 1827, in a house in Albion Street that does Many visitors admiring the stained glass by William Mor- not survive. In 1838, a year after his wife gave birth to ris’s company in St Michael and All Angels will have no- her last child (she was then forty-seven), W. H. Bodley ticed that the window by the font, depicting the Baptism retired because of ill health, and the family returned to of Christ, is dedicated to the memory of ‘W.H.
    [Show full text]
  • All Saints Cambridge Guide
    ALL SAINTS’ CHURCH Cambridge 1 West Smithfield London EC1A 9EE Tel: 020 7213 0660 Fax: 020 7213 0678 Email: [email protected] £2.50 www.visitchurches.org.uk Registered Charity No. 258612 Winter 2004 Jesus Lane, Cambridge ALL SAINTS’ CHURCH by Roy Tricker (Field Officer with The Churches Conservation Trust 1991–2002, church enthusiast, historian and lay canon) and others Having stood for barely 130 years, All Saints’ church is by no means ancient in comparison to some of the city’s churches. However, it is considered by many to be one of the finest churches of its period in the country. All Saints’ is the creation of George Frederick Bodley (1827–1907), an architect of international repute. In the tradition of the Tractarian movement he created a building which, through its dignity, beauty and craftsmanship, continues to bring visitors to their knees. The mediaeval church of All Saints in the Jewry, (i.e. near where the city’s Jewish community once lived), stood in St John’s Street, opposite the east end of Trinity College Chapel. Its history is documented from the late 11th century. By the 13th century patronage of All Saints had passed to St Radegunde’s nunnery. This nunnery was re-established as Jesus College in 1497, after which the vicars were normally graduates of that college. The mediaeval church was rebuilt several times, but by the 19th century it had become cramped and dark, with insufficient space for the congregation. In 1849 it was hoped to enlarge the old church. Three years later, due to the continuing development of the University and expansion of the city, the parishioners decided to build a completely new church in Jesus Lane, on land given by Jesus College, which would be nearer to where most of the population of the parish lived.
    [Show full text]
  • Supplement – February 2021
    Supplement – February 2021 Why a supplement? Not a month went by when, within a day or so of submitting my pieces to the David Parr House, I would stumble across additional information or a picture which would have been perfect. And, what to do with the interesting information that didn’t make my 2020 ‘Afterword’s? Moreover, new discoveries have come to light in the interim. ‘The Adventure of Sir Scrope’ In ‘The Adventure of Sir Scrope’, David Parr’s fictional alias, Mr Willis, is invited by Sherlock Holmes to accompany him to London to solve the murder of a Cambridge college board member. Sir Scrope’s body had been found on London’s Embankment. Between 1914 – 1915, artist According to Peter Haining's Illustration: public domain – Frank Wiles provided ‘Sherlock Sherlock Holmes Scrapbook, artist unknown Holmes’ illustrations for The Sir Arthur Conan Doyle had Strand Magazine. noted on the back of a print The Victoria Embankment (near of Frank Wiles's profile Westminster Bridge) was lit by The first Sherlock Holmes stories portrait of Holmes (above) gas. In 1878, it was illuminated appeared in print from 1887 – that it looked more like the with Jablochkoff Candle arc light 1893. There followed a hiatus way he envisioned Holmes in alternating with the original gas which lasted eight years. Sir his mind's eye than any standards to show the Arthur Conan Doyle resumed other portrait. difference. In June 1884, gas writing his Sherlock Holmes lighting was re-established as stories in 1903 until 1927. electricity was not competitive. © 2021 Nicola Gifford 1 Having established that David Parr and Sherlock Holmes were both born in 1854, I was inspired to write one of the Sherlock Holmes’s adventures which Sir Arthur Conan Doyle only alluded to in one of his stories: the case of ‘Vamberry the wine merchant’.
    [Show full text]
  • Ecclesiology Today No. 53 – Winter 2016
    ET 53 First 6 pages 21/9/16 13:03 Page 1 ECCLESIOLOGY TODAY ET 53 First 6 pages 21/9/16 13:03 Page 2 ET 53 First 6 pages 21/9/16 13:03 Page 3 ECCLESIOLOGY TODAY Ecclesiology Today . Issue 53 . Winter 2016 ET 53 First 6 pages 21/9/16 13:03 Page 4 © Copyright the authors and photographers 2016.All rights reserved. ISSN: 1460-4213 Published 2016 by the Ecclesiological Society c/o The Society of Antiquaries of London Burlington House Piccadilly London WIV 0HS The Ecclesiological Society is a registered charity. Charity No. 210501. www.ecclsoc.org The views expressed in this publication are those of the authors, and do not necessarily represent those of the Ecclesiological Society or its officers. Printed in the United Kingdom by Henry Ling Limited, at the Dorset Press, Dorchester, DT1 1HD Cover image:The west end of All Saints', Cambridge; wall decorations by F.R. Leach. (Photo:Trevor Cooper) ET 53 First 6 pages 21/9/16 13:03 Page 5 Ecclesiology Today C ontents Journal of the Ecclesiological Society Editor’s letter 2 F.R. Leach and the Leach family, Cambridge artist-craftsmen by Robert Halliday 3 In search of Penarth alabaster by Michael Statham 35 J. Harold Gibbons, an architect of refinement by Robert Drake 47 A collection of British church guides in America by M. Patrick Graham 59 Book Reviews 63 Issue 53 Winter 2016 published September 2016 ET 53 First 6 pages 21/9/16 13:03 Page 6 Editor’s letter Dear Fellow Member, welcome to the fifty-third edition of Ecclesiology Today.
    [Show full text]
  • The William Shipley Group for Rsa History
    THE WILLIAM SHIPLEY GROUP FOR RSA HISTORY Newsletter 46: September 2015 FORTHCOMING EVENTS Friday 23 October 2015 at 11.30am. Royal Designers for Industry & Liberty by Susan Bennett, Honorary Secretary, WSG. Fashion & Textile Museum, 83 Bermondsey Street, London SE1 3XF. Entrance: £9.00 (concessions £7) This talk will consider the long standing connection between the RSA, the Royal Designers for Industry and the department store named after its founder, Arthur Lasenby Liberty. Liberty took an active interest in the work of the Society’s Applied Arts Section. Alongside other key names in the design world he gave lectures to the RSA. The continuing connection with Liberty through the work of the RSA’s Faculty of Royal Designers for Industry will also be considered. Tuesday 24 November 2015 at 1pm. Wax Anatomies in the Medical Museum by Dr Sam Alberti. Hunterian Museum, Royal College of Surgeons, 35-43 Lincoln’s Inn Fields, London WC2A 3PE. Tickets: £4 (Free to RCS Fellows, Members, Hunterian Society members) Alberti explores Towne and his waxes in their historical context and compares themJoseph with Towne other worked models for fiftyin modern years crafting medical exquisite collections. bodies Many in wax. of Towne’s Dr Sam Joseph Towne, Wax model of the brain techniques died with him. EXHIBITIONS Pen to Printer: the influence of Edward Johnston. Crafts Study Centre, Falkner Road, Farnham, Surrey GU9 7DS 28 July to 26 September 2015. Open Tuesday to Saturday This exhibition brings together the Crafts Study Centre and the Edward Johnston Foundation in exploring how Johnston’s researches into the tools, materials and methods of the ancient scribes has led to teaching has spread through all branches of calligraphy, letter cutting anda new the understanding printed word.
    [Show full text]