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.

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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

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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 , 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.

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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. It is both fortunate and appropriate, therefore, that the roundels remain as a lasting tribute to the man who lived and worked here and put Scarborough on the map of Europe.

Another print of the studios opposite the Fairview

Gillian Sleightholme February 2015

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A New Book on Bodley Relevant to St. Martin’s Church Pub Jan 27, 2015 - £40: various sellers at Amazon 508 p., 8 1/2 x 11 200 colour + 100 b/w illus. ISBN: 9780300208023 British architect George Frederick Bodley (1827–1907) fundamentally shaped the architecture, art, and design of the Anglican Church throughout England and the world; his work survives in the United States, , India, and Italy, as well as the United Kingdom. This important book is the first to explore the life and work of this major Gothic Revival architect, a man with an evolving outlook on style and aesthetics who believed that every element of a building must be part of an integrated design strategy.

A close colleague of William Morris and Edward Burne-Jones, Bodley was the first major patron of Morris’s stained glass and, like Morris, was an accomplished textile and wallpaper designer. In 1874 Bodley founded Watts and Company—now celebrating its 140th anniversary—to manufacture ecclesiastical vestments, textiles, and wallpapers. In a seamless blend of architectural, art, and church history, this lavish volume features over 200 illustrations and offers impeccable scholarship on the work of an influential visionary of Victorian design.

Michael Hall is a noted architectural historian and the author of several books on Victorian architecture and the Gothic Revival.Some reviews:

'George Frederick Bodley was the finest and most consistent practitioner of High Victorian , and as such he richly merits this scholarly, well-illustrated and beautifully produced monograph. . .Hall gives us a vivid portrait of this spirited porcupine, analysing his principles and his undeviating pursuit of beauty (as he saw it). . .This is a great book to honour a great architect . Peyton Skipwith, Literary Review '. . .a brilliant study of the society and culture that produced some of the loveliest and most intellectually sophisticated churches of any age. . .should become essential reading for understanding the later phases of the Gothic Revival; perhaps England’s greatest architectural contribution to civilisation. Gavin Stamp, Country Life. Michael Hall and Yale have combined to give him the magnificent tombstone tomb he deserves, academically disciplined, enthusiastically argued, flatteringly illustrated, merrily readable about his life as well as his art, his many pupils and assistants the subject of a useful appendix; I suspect this is a great book; it is certainly the surprise of the year. Brian Sewell, Evening Standard.

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This, then, is indisputably the standard work on its subject: not just Bodley, but also the late- 19th century Gothic Revival that he was so instrumental in shaping. Architectural historians will love it. It should also be read, and read with enjoyment by anyone interested in the people who built some of our most intriguing churches. Rev. Dr. William Whyte, Church Times. Scarborough, 55 The excerpt from the index (right) shows the very All Saints 41, 55, 444 good coverage St. Martin’s receives in the book. St Martin-on-the-Hill 94-9, 102, 105,106, 112, 116, 117, 133, Considering the highly successful exhibition by 174,260, 270, 442-3; Figs 57, 59 - Angela Chalmers “There’s Something About Mary” 63, 86, 269 th as part of the Coastival Festival on 14 Feb this year, St Martin's school 445 the following synopsis the beginning of Chapter Seven: “The Return to Englishness” throws greater St Martin's vicarage 120-1, 444; Fig. 77 light onto Mary’s character. The chapter commences with a brief reference to the Hull connection between Mary and Bodley, followed by a very interesting description of the slowness of the established church to react to the rapid growth of Scarborough following the arrival of the railway in 1845, largely due to the reluctance of the incumbent at St. May’s to subdivide his parish. However, the attempts to raise money to build St. Martin’s is given a detailed description, and the efforts of Mary Craven to bolster this make very interesting reading, particularly as the Building Committee were willing to accept her initial £2000 donation together with her request to name the church St. Martin’s in honour of her father “Robert Martin Craven”, but much less reluctant to acquiesce to her demands that Bodley be appointed architect. Much to Mary’s and Bodley’s chagrin when he visited Mary in the summer of 1860 to discuss the designs the Building Committee threw the design of the church open to five other architects as well, in a competition. This may have been because the committee feared that Bodley’s designs would prove too expensive, and possible they resented being dictated to by a (rich) woman. Nevertheless, it is a reflection on Mary’s character that she was not going to take this sitting down, and so she wrote to the Scarborough under the pseudonym of “C” to express he annoyance: The architect recommended by Miss Mary Craven to the South Cliff Committee is Mr Bodley, of London (son of the late Dr Bodley of Hull), and for some years the acknowledged favourite of Gilbert Scott …. Mr Beresford Hope, and other great authorities, speak of him as the coming man of his years in real architecture.

This flagrant attempt at lobbying stirred one of the competing architects from London to complain bitterly by responding “it would be impossible for anyone to write a more indecent and improper letter – a letter which, from my personal knowledge of him as a Christian gentleman, Mr Bodley would repudiate and condemn.”

The Committee ignored Mary’s underhand attempts to pursue her goals and exhibited the six designs for the proposed church in July. However, Mary was not to be thwarted; before

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the results of the competition had been finalised she announced that her sister, Alice, would donate a further £1000 towards the building of the church. Furthermore, between them they would guarantee the whole cost of the church should there be a shortfall. Money talks louder than competitive architectural designs, and the committee appointed Bodley as architect in the November! Mary won - God bless her, considering the money she continued to lavish on the church throughout her life, which has made it into the gallery of pre-Raphaelite art it is today. Well, the rest is history. Bodley’s original design was exhibited in April 1861, shown to the committee of the Ecclesiological Society in June and published in December 1861. Those of you familiar with our website: (www.friendsofstmartins.co.uk) will realise that this original design, with a spire instead of the tower that was eventually settled upon, is the one that appears in the web header on each page. Bodley, in the end, settled for the saddle-back tower we all know today … but that’s another story. Who were the unsuccessful candidates in the church design competition? Evidently only one is known: Cuthbert Broderick, architect of Town Hall. Finally, the book itself. Well, it’s quite a tome– a coffee table book if you like, and it costs £40. There’s a lot to read, but for the serious student of Bodley it’s a must, and, if like me, you’re simply interested in this great man it is an eye-opener to see just what compass he had. It is remarkable that the church was so fortunate to have an architect who became world famous … and who do we have to thank for that? I don’t know whether I’ll ever read it all, but I don’t regret buying it. There is a growing group of people both within and without the church at Scarborough who feel that Mary Craven should have greater recognition, possibly through a blue plaque or some dedication within the church. You might say the church itself is her memorial, and her seat within it has always been recognised as such. On the other hand her character and passion may need greater recognition.

Anyway, whatever you think, we are trying very hard to obtain an image of her. It seems unlikely that such a prominent citizen of Scarborough never left any record of her physical features, particularly with Oliver Sarony just next door to the church! So … if you can help in anyway please let us know. On the next page you might like to read the letter Mary wrote to the Scarborough Gazette exhorting more support for building the church. Mike Bortoft ([email protected])

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Published Thursday 18 June 1861 (ADVERTISEMENT) APPEAL TO THE INHABITANTS AND VISITORS OF SCARBOROUGH ON BEHALF OF THE SOUTH CLIFF CHURCH

To the editor of the Scarborough Gazette

IR, — May I be permitted to trouble your pages with a statement of truths to explain Show it is I have made myself responsible for the contract beyond the money already in hand, for building the South Cliff Church. I will begin with my first feeling at the early infancy of the Esplanade, the desire came to my mind that a church should be there. Through carefulness, I saved fifty pounds, giving this to a gentleman (one of the late committee) with a request that at the first opportunity this little matter of mine might begin a church. As the time ran on the feeling became stronger, and I was able to give more money. A committee was formed and leave granted to build a Church on the Hill. Then came another feeling to my mind, — that because of the nearness to Old Ocean, it ought to be a strong-built church and because of the growing importance of that part of Scarborough called the South Cliff, it ought to be a well-sized church. The desirableness of these two points I strongly urged upon the committee, who objected to permit a spending of money beyond the original limit. On this account my sister gave a thousand pounds for tower and spire; her previous giving was twenty pounds. I myself having given one thousand pounds towards the building fund; one thousand pounds to the endowment fund, besides gifts for the interior of the church. When all was seemingly arranged, a letter came from the committee asking me to participate in THEIR guarantee bond by GIVING to the building fund two thousand five hundred pounds. In justice to my feelings, I declined on the score that ourselves — one family only — had helped the guarantee bond by GIVING to the building fund two thousand five hundred pounds. Abstracting this, the committee were running no further risk than their original permitted expense. When I denied their request, so set was my heart to the church that I spoke in this sort — “If you decline the risk, and will give the affair into my hands, I will take the entire responsibility, “and thus I am the one person only. My mother’s very serious illness during the last nine weeks has hitherto obliged me to refrain from business matters. I am told a report has gone abroad that I am rich, and can well afford to build the church. This is far from the truth. I have already given

11 beyond what perhaps I consistently ought, according to my worldly means. My father was a medical man — poor at the beginning of his life, but rich in character throughout his life. May my appeal meet with similar respond as was given to your most admirable institution — the Royal Northern Sea Bathing Infirmary. If it is well and good, and it is very well and good, to help and minister to the wants and suffering of our fellow- beings for the comfort of their lives in this world, it must be all as well and good to help and to aid that which is intended to better the condition of that part of our being which is to live in another world and for ever. Tis to be hoped, although the committee have no longer a responsible people, that they have every good feeling towards the church, as well in themselves as in their influence with others, the more especially those who reside, or are about to reside on the South Cliff. I can truly say, and I say it with intentions that my only object throughout has been to serve right. I am asking support and subscriptions from the inhabitants of Scarborough, their having opportunity of helping the building of a church in their own town, where church room is so much needed. I appeal to visitors, who will be enabled to attend church at the ordinary hours. I would desire to appeal to the great of the land, who are a blessing to England (because of their help to right things) if such could visit these shores may they be inclined to give me some small somewhat of their substance towards this new church at Scarborough, and I ask of my poorer brethren, who can give me no money, that they give me sympathy of feeling — their hearts desire for another place of worship. May the building of St Martins be example for another church — for other churches — in your town. More than Three Thousand Pounds is still required towards the building fund. May God speed me in my endeavour, — and if the Almighty permits me time and strength, my energies will be given to the doing. And with every faithfulness to St. Martin’s.

I am yours etc. MARY CRAVEN 5, Esplanade, June 6, 1861

The text of this letter in Word form was kindly provided by Angela Chalmers as part of her research into the life of Mary Craven.

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What’s in a Window? No 3

The Rose Window West Wall: The Annunciation by Sir Edward Burne-Jones

Pictured left with William Morris Burne- Jones was involved in the design of seven of St. Martin’s Windows.

The Rose Window on the west wall (pictured right) has a central round window depicting the Annunciation surrounded by nine angels playing musical instruments.

Professor David Crouch in his paper entitled “ST. MARTIN-ON-THE HILL and the MIDDLE AGES” (1993) provides an interesting insight into the background to this window: 1861, according to the report in the Builder which is our only evidence for Bodley's thinking behind St. Martin's (apart from St. Martin's itself), the idea was to have a last Judgement in the west rose window.

This was in line with the symbolic meaning behind orientation. The west was where the sun set, and it represented death and finality. Judgements were commonly to be found either here, or painted above chancel arches which, as we have seen, also symbolise an aspect of death.

A number of cartoons by Rossetti for the Judgement which was never executed still survive. But at some time in 1862 the scheme was changed. A new message was devised to make more of the lancets showing Adam and Eve executed by Ford Maddox Brown for the west wall below the rose window.

The new theme was Christ as the second Adam bringing redemption through sacrifice. The Crucifixion to be placed in the East Window was augmented by the narrative glass panels surrounding it which portray the parable of the Vineyard, in which Christ figures as the King's son murdered by his treacherous servants.

The final scheme is founded on the medieval idea of Christ as the new Adam sent to redeem the world from the sin of the original. The west rose window under the new scheme contained an Annunciation by Burne-Jones. This features the Virgin Mary as the physical means of redemption. As God drew the original Eve from the side of Adam so the second Adam was drawn by God from the second Eve. Ave Maria were the words by which the angel greeted the Virgin. Medieval commentators made much of the similarity between Ave (meaning 'greetings') and Eva, (Latin form

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of Eve). In this way Bodley and Morris neatly repackaged several medieval ideas into something quite original. West and East windows complement and answer each other, or at least they did, until the rood cross and screen introduced a discordant echo.

The screen was added in 1894 five years after the death of Mary Craven, and will be the subject of a future article in the Friends’ Newsletter.

The Rose Window has a central Annunciation by Burne-Jones, and Jones used Jane Morris, the wife of William Morris, as the model for both Mary and the young man.

This cropped and horizontally flipped photo of Jane, posed by Rossetti, in 1865 provides a comparison for the Burne-Jones cartoon which was apparently designed as a tile panel. For an excellent view of this visit: http://www.preraphaelites.org/the- collection/1931P64/The-Annunciation/

or scan this qr code:

The banner in the centre piece reads AVE MARIA, gratia plena, Dominus tecum. (Hail Mary, full of grace, the Lord is with you.) This is again a subtle reference to the revival of Catholic rituals in the Anglo-Catholic church.

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What may be easily identified on the cartoon, but is unlikely to be seen on the window itself, is that the archangel Gabriel is holding a willow twig in his left hand. This relates to the Resurrection, although the process of realising this is quite obscure.

Eastern Christians of Byzantine/Slavic liturgical tradition customs are found among most Slavs whether Orthodox, Greek Catholic or Roman Catholic.

In the week before Easter Christians celebrate the great feast – Jesus’ entry into Jerusalem - or Palm Sunday. The people of Jerusalem welcomed Jesus with palm branches and cloaks, carpeting his way to meet a kings in the custom of their day. In this way the people expressed their recognition of the divinity of Christ, their faith in him.

Branches of palm trees are a symbol of victory, and the people met Jesus as the King who had conquered death – he had recently raised from the dead, his friend Lazarus. People shouted, “Hosanna: Blessed is he that cometh in the name of God, the King of Israel!”

In Russia, palms do not grow, so the adoption of Christianity replaced the palms with the plant that first blooms in their area – willow. The willow heralded the end of harsh winter and the renewal of spring, while protecting people and livestock from diseases, the homes from lightening and misfortune and by fostering the fertility of man and beast.

Willow has become a symbol of spring, rebirth, joy and divine resurrection, symbol of the victory of Jesus over evil. Which is why Gabriel is holding a twig of willow in his left hand.

Another Christian symbol of the resurrection is the bay laurel bush we see coming through the open windows behind Gabriel, signifying the future child’s victory over death.

Gabriel’s right hand is raised in the traditional symbol of The Trinity – the thumb, index and middle fingers representing the Father, Son and Holy Spirit, who are divinely impregnating Mary.

The nine cusped panels around it show angels with instruments, to designs by Burne-Jones and Morris. It may be that the central roundel with all its imagery might cause one to discount these as mere embroidery. However, angels play a very significant role in the symbolism of the church and will be the subject of a future article in the Friends Newsletter.

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The four bell ringers intersperse five other angels; four are playing musical instruments – a portable organ, a zither, a pipe and a harp or lyre, while he last angel carries an Alleluia Banner of praise. This is Heaven celebrating the announcement of the forthcoming birth of the Saviour of the world - the Son of God!

You can see all these figures in detail on our website at: (or scan the QR code right) http://www.friendsofstmartins.co.uk/Window3.html

The first six verses of psalm 150 famously exhort us to:

Praise the Lord! Praise God in his sanctuary; praise him in his mighty heavens! Praise him for his mighty deeds; praise him according to his excellent greatness! Praise him with trumpet sound; praise him with lute and harp! Praise him with tambourine and dance; praise him with strings and pipe! Praise him with sounding cymbals; praise him with loud clashing cymbals!

Numerous references to music and musical instruments can be found in both the Old and New Testaments, as well as frequent episodes involving music, song, dance and praises to God in religious ceremonies, and mournful occasions such as burial rites. The instruments mentioned in the Bible include: harps (and other stringed instruments), pipes, flutes, organs, horns, trumpets (and other wind instruments), and percussion instruments such as bells, cymbals, timbrels (or tambourines).

Angels announce the Last Judgment by blowing on trumpets, they serenade God and the blessed in heaven with harps and other stringed instruments, and may accompany the Virgin and Child, or various saints, with instruments such as portative organs.

There are several other locations throughout St. Martin’s where angels appear playing similar instruments, and this theme is the subject of our first competition for Friends detailed in this Newsletter.

Finally, William Morris & Co. made good use of Burne-Jones’ cartoon by installing windows closely based on the same design in churches throughout the country.

These two small windows were made in 1863 for All Saints Church Dedworth, and were originally installed in the South Aisle. The left hand window shows the Angel Gabriel standing holding a large scroll. The right hand window shows Mary in a small room, kneeling with a large lily in a pot on the floor. The inscription below the Angel is ‘Ecce virgo concipiet et pariet filiumet volcabitur nomen eius Emmanuel’. This translates as ‘Behold a virgin shall conceive and bear a son and his name shall be called Emmanuel’.

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The scroll that is held by the Angel says ‘Ave Maria gratia plena Dominustecum’ which translates as ‘Hail Mary full of Grace, the Lord is with you’.

The inscription below Mary is ‘Spiritus Sanctus superveniet in te et virtus Altissimi obumbrabit tibi’. This translates as ‘The Holy Spirit shall come over you and the power of the Most High shall overshadow you’.

Visit: http://www.allsaintschurchwindsor.co.uk/history-of-all-saints/

Dedworth Church, by Bodley opened in 1863 and was demolished in 1973. Pevsner thought the Annunciation "specially lovely". Burne-Jones was paid 15s to adapt the tile design to stained glass. (Parry -pg. 126, V&A Morris Centenary Exhibition Catalogue).

The same cartoon was also used in an 1873 window at St Michael, Forden in Wales. You can see images of it on the site of the University of Wales 'Imaging the Bible': imagingthebible.llgc.org.uk//image/708

Finally, the east window of St. Mary’s at Nun Monkton has and identical panel by Burne-Jones. The whole window has been the subject of a fund-raising talk A Pre-Raphaelite Masterpiece in Yorkshire: the stained glass of St Mary's, Nun Monkton by Suzanne Fagence Cooper. The research for this talk can be read on Suzanne’s Blog at: http://suzannefagencecooper.blogspot.co.uk/2012/05/pre-raphaelite-masterpiece-in- yorkshire.html

The Annunciation by Burne-Jones, St. Martin-on-the-Hill, Scarborough

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.A competition for Friends WIN 2 free tickets for Suzanne Fagence Cooper’s talk “Women of the pre-Raphaelite World” Angels playing musical instruments have an important role in the decoration of St. Martin’s church. There are four locations throughout the building where angel musicians are grouped. One of them has been detailed in the article about the rose window on the west wall. Where are the other three locations, and how many angels are there playing musical instruments? Answers may be researched by using our website. The following or any similar proforma for entering the competition may be emailed, text of posted using the details below:

Name: Email or Contact No: I have identified the following three locations for angel musicians in the church: Location No. of angels playing musical instruments: 1: 2: 3:

The order of the answers is unimportant. Email: [email protected] text: 07554 070205 post: Friend’s Competition No 1: c/o Flat 1, 26, Queen Margaret’s Road, Scarborough, YO11 2SA Winning entries will be put into a draw which will take place in church on Easter Sunday.5th April, after the10.30 mass. The winner will receive the tickets the following week. Already bought some? Then bring two

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