Bishop Otter College Guild Newsletter 201 7
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Books Available to Buy
The Stained Glass Centre: Books Available to Buy If you are interested in purchasing any of the books listed below, please get in contact with the Friends Administrator by post or email: The Stained Glass Centre Friends Administrator, c/o York Glaziers Trust, 6 Deangate, York YO1 7JB, or [email protected] Books can be picked up from the centre by arrangement, made available to collect at any of our upcoming events, or will be posted to you. Postage and packaging prices will be dependent on the weight and size of purchase. Many thanks The Stained Glass Centre Author Title Price Stock History of York Minster (no cover so title and author £1.00 1 unknown) Albutt, R. Stained Glass Windows of AJ Davies of the £25.00 1 Bromsgrove Guild, Worcestershire Albutt, R. Stained Glass Windows of Bromsgrove and Redditch, £8.00 1 Worcestershire Angus, M. Modern Stained Glass in British Churches £5.00 3 Archer, M. Introduction to English Stained Glass £2.00 7 Archer, M. Stained Glass £1.00 4 Armitage, L. Stained Glass £10.00 1 Atterbury, P. Pugin £25.00 2 Aubert, M. Stained Glass of the Xiith and Xiiith Centuries from £12.00 1 French Cathedrals Aubert, M. Le Vitrail en France £5.00 1 Baker, E. Church Archaeology £5.00 1 Baker, J. English Stained Glass of the Medieval Period (83 £10.00 3 Plates) Beaulah, K. Church Tiles of the Nineteenth Century £1.00 1 Beckett, L. & A. York Minster £3.00 1 Hornak Beckett, W. & G. Pains of Glass: The Story of the Passion from King's £2.00 2 Pattison College Chapel, Cambridgeshire Bell, C.C. -
'Daylight Upon Magic': Stained Glass and the Victorian Monarchy
‘Daylight upon magic’: Stained Glass and the Victorian Monarchy Michael Ledger-Lomas If it help, through the senses, to bring home to the heart one more true idea of the glory and the tenderness of God, to stir up one deeper feeling of love, and thankfulness for an example so noble, to mould one life to more earnest walking after such a pattern of self-devotion, or to cast one gleam of brightness and hope over sorrow, by its witness to a continuous life in Christ, in and beyond the grave, their end will have been attained.1 Thus Canon Charles Leslie Courtenay (1816–1894) ended his account of the memorial window to the Prince Consort which the chapter of St George’s Chapel, Windsor had commissioned from George Gilbert Scott and Clayton and Bell. Erected in time for the wedding of Albert’s son the Prince of Wales in 1863, the window attempted to ‘combine the two ele- ments, the purely memorial and the purely religious […] giving to the strictly memorial part, a religious, whilst fully preserving in the strictly religious part, a memorial character’. For Courtenay, a former chaplain- in-ordinary to Queen Victoria, the window asserted the significance of the ‘domestic chapel of the Sovereign’s residence’ in the cult of the Prince Consort, even if Albert’s body had only briefly rested there before being moved to the private mausoleum Victoria was building at Frogmore. This window not only staked a claim but preached a sermon. It proclaimed the ‘Incarnation of the Son of God’, which is the ‘source of all human holiness, the security of the continuousness of life and love in Him, the assurance of the Communion of Saints’. -
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 Birmingham & Midland Institute
THE BIRMINGHAM & MIDLAND INSTITUTE What's On July - December 2019 SCIENCE ARTS LITERATURE 1 About the BMI The Birmingham & Midland Institute has been at the heart of Birmingham’s cultural life for over 150 years. It was originally founded by Act of Parliament in 1854 for the ‘Diffusion and Advancement of Science, Literature and Art amongst all Classes of Persons resident in Birmingham and Midland Counties’. Charles Dickens was one of its early Presidents. CONTENTS During the late nineteenth century, the BMI played a leading role in the introduction of scientific and technical education in Season Highlights 2 Birmingham until the state gradually took over its functions. It was thus the forerunner of many educational bodies such Art 4 as the Birmingham Conservatoire. Located in a Grade II* listed building, the BMI Room and Venue Hire 6 has a thriving programme of cultural and educational activities, which includes a wide Music 7 spectrum of arts and science lectures, exhibitions and concerts. The building is also a venue for many externally-organised events Literature 8 and can be booked for conferences and meetings. The Birmingham Library 7 The BMI has longstanding associations with a number of independent societies who use Affiliated Societies 18 the premises for their activities and meetings. Affiliated societies have kindred interests and and Joint Events include the Birmingham Philatelic Society and the Birmingham and Midland Society for Genealogy and Heraldry. The BMI receives no public subsidy or direct revenue funding; it depends entirely on income generated through the support of members, visitors, donors, and volunteers. Visit our website, Facebook and Twitter pages for the latest updates on events and activities! SEASON HIGHLIGHTS DRAWING ON RUSKIN FREE ENTRY DROP-IN, NO NEED TO BOOK Keep an eye out for an exciting, long term drawing project starting in the spring and leading to an exhibition in the autumn. -
Key Questions: Preparing for a Levels
Key Questions: Preparing for A Levels Name: College Number:402 Thank you for applying for A Levels at Chichester College. Please complete these questions in as much detail as you can. Please bring this with you when you come to our meeting. 1. Whatever educational path you choose for your next step, the most important thing is that it is the right path for you. You could choose A levels, a vocational course such as a BTEC Level 3 Extended Diploma, or an Apprenticeship. What is the difference? Why have you chosen A levels and why do you think this is the best path for you? 2. At school, how do you perform best? Do you perform better in coursework elements or do you perform better with examinations? Why do you think this is? 3. What is your future goal? What do you want to do after A levels? What qualifications do you need to achieve that future goal? (Eg Have you looked up the entry requirements on the UCAS website for a degree you might have identified?) If you are unsure of your future goal, it’s fine just to write that. 4. Successful A level students need to be resilient, well organised, able to study independently and work well under pressure. Describe a situation where you have demonstrated one or more of these skills. Do any of these skills concern you? 5. What subjects have you chosen and why? Outline what you know about each subject and why you have chosen it. Subject 1: Subject 2: Subject 3: Subject 4: (only available for students who achieve six GCSEs grade 9-7 (A*-A) and need 4th subject for University, eg Medicine, Dentistry etc.). -
Chichester City Local Cycling & Walking Infrastructure Plan (LCWIP)
Chichester City Local Cycling & Walking Infrastructure Plan (LCWIP) May 2020 Chichester LCWIP Chichester DC Produced by Transport Initiatives supported by Chichester City Local Cycling & Walking Infrastructure Plan (LCWIP) Contents Executive Summary ............................................. 2 1. Introduction ......................................................... 4 2. Existing cycling & walking ................................... 9 3. Potential for cycling & walking ........................ 21 4. Cycling assessment & proposals ..................... 29 5. Walking assessment & proposals .................... 33 6. Detailed proposals ........................................... 39 7. Conclusions ....................................................... 51 Appendices A. Glossary (acronyms & technical terms) .......... 53 B. Cycling audit & RST assessments (separate document) C. Walking audit (separate document) Checking / sign off Job: Chichester Local Cycling & Walking Infrastructure Plan Client: Chichester District Council Job number: CSSE29 Version number: 5.1 Issued by: Mark Strong Checked by: Ken Spence Date: 30/6/20 Date: 30/6/20 Chichester City LCWIP revised final Page 1 of 57 Chichester LCWIP Chichester DC © Chichester DC / Transport Initiatives LLP 2020 All photos © Transport Initiatives except where stated All OS mapping © Crown copyright and database rights 2020 Ordnance Survey 100018803 Transport Initiatives LLP www.transport-initiatives.com [email protected] 0845 345 7623 Registered Office: Office 4, 145 Islingword -
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 Stained Glass of St. Nicholas' Church, Blundellsands
The Stained Glass of St. Nicholas’ Church, Blundellsands Text: Philip Collins; Photographs: Peter Batey Of the twenty three stained glass windows in St. Nicholas’ Church, fifteen are the work of four firms and the remaining eight are by unidentified studios. Apart from the three apsidal east windows, there is no overall subject scheme, the donors, albeit in a number of cases with the input of Caröe, being apparently free to choose their own subjects. The earliest glass is a window with a commemorative date of 1875 and therefore more or less contemporary with the building of the church, and the latest, a window inserted in 1924. In the beginning, the appearance of the windows from inside would have looked quite different. For one thing, the intensity of light on a dark day would have been much stronger, but then gradually, as windows were filled over the years, the glare would have softened until the present effect we see today was reached. 1 This description of the windows follows the sequence shown on the Stained Glass Plan (see below) and it begins in the sanctuary. For studying windows 1-5 and 12-14 the use of a pair of binoculars is recommended. List of windows and page number 1. Transfiguration 4 2. Crucifixion 5 3. Ascension 7 4. St. Paul 8 5. Parable of the talents 9 6. Suffer the little children 11 7. Good works 12 8. St. Balbina and Dorcas 13 9. Martha and Mary 15 10. Good works 17 11. Christ with the doctors 19 12. War 20 13. -
Sussex Connections, an Article on Charles Eamer Kempe (1837 -1907) and His Home 'The Old Place' Lindfield
Sussex Connections, an article on Charles Eamer Kempe (1837 -1907) and his home 'The Old Place' Lindfield By Sally Walker, Sussex Gardens Trust, Autumn 2000 The Kemp family has been of note in Sussex for centuries but Lindfield, near Haywards Heath, boasts its own famous son. Charles Eamer Kempe (1837 -1907) was an artist and designer of all aspects of ecclesiastical decoration and is particularly remembered for his stained glass. Many are the windows of churches in Sussex which are adorned with examples of his skilled glassmaking. Charles Kempe visited Lindfield while still at Oxford and in 1875, the year after his mother’s death in Brighton, he purchased what was then Townlands Farm, the estate consisting of 200 acres, which he renamed Old Place. The house was a small manor dating from 1590 and owned by the Chal(l)oners. Kempe’s maternal grandfather had been a a city magnate and Lord Mayor of London, so he was able to combine his love of craftsmanship with the ability to employ and buy the best for in his new home in Sussex. The house he had bought had rooms too small for his purposes and more space was needed if he was to offer the hospitality that he had in mind for his friends. He much increased the size, and his purist style led him to create the additions strictly in keeping with the date of the existing house, without the affectations of his Victorian peers. The gardens are a testament to Charles Kempe’s vision. The style is arts and crafts blended with a simplicity that was in keeping with the style of the time he was emulating. -
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. -
Forming an Anglo-Catholic Parish
ety under the care of the Bishop of Wakefield . Serving Tradition - alists in Calderdale. Sunday Mass 9.30am, Rosary/Benediction usually last Sunday, 5pm. Mass Tuesday, Friday & Saturday, parish directory 9.30am. Canon David Burrows SSC , 01422 373184, rectorofel - [email protected] BATH Bathwick Parishes , St.Mary’s (bottom of Bathwick Hill), Wednesday 9.30am, Holy Hour, 10am Mass Friday 9.30am, Sat - www.ellandoccasionals.blogspot.co.uk St.John's (opposite the fire station) Sunday - 9.00am Sung Mass at urday 9.30am Mass & Rosary. Fr.Richard Norman 0208 295 6411. FOLKESTONE Kent , St Peter on the East Cliff A Society St.John's, 10.30am at St.Mary's 6.00pm Evening Service - 1st, Parish website: www.stgeorgebickley.co.uk Parish under the episcopal care of the Bishop of Richborough . 3rd &5th Sunday at St.Mary's and 2nd & 4th at St.John's. Con - BURGH-LE-MARSH Ss Peter & Paul , (near Skegness) PE24 Sunday: 8am Low Mass, 10.30am Solemn Mass. Evensong 6pm. tact Fr.Peter Edwards 01225 460052 or www.bathwick - Weekdays - Low Mass: Tues 7pm, Thur 12 noon. parishes.org.uk 5DY A resolution parish in the care of the Bishop of Richborough . Sunday Services: 9.30am Sung Mass (& Junior Church in term http://stpetersfolk.church e-mail :[email protected] BEXHILL on SEA St Augustine’s , Cooden Drive, TN39 3AZ time) On 5th Sunday a Group Mass takes place in one of the 6 GRIMSBY St Augustine , Legsby Avenue Lovely Grade II Saturday: Mass at 6pm (first Mass of Sunday)Sunday: Mass at churches in the Benefice. -
Bishop Otter College Guild Newsletter 2015
Bishop Otter College Guild Newsletter 2015 Guild Newsletter 2015 | 1 Welcome to the Bishop Otter College Guild Newsletter 2015 Next time you visit Bishop Otter campus, you may like to visit the newly restored stained glass windows which have recently been installed in the new extension of the Chapel of the Ascension. Originally situated in the Old Chapel, they were removed and discarded when the Old Chapel was turned into a laboratory in 1962. When the building was decommissioned as a library and turned into a sport science library, the windows were found under the floorboards. On further investigation, some were also found in the basement of University House. The windows, which would have been in the East Window above the altar, were made by Charles Eamer Kempe, a renowned 19th century stained glass artist whose work, inspired by early Renaissance style, is distinguished by its detailed face drawings and shimmering greens. Kempe designed the windows to look at their most splendid on a bright sunny day with the sun illuminating them from behind. These windows are the last to be completed as part of a four-year project which began with the restoration of the three windows installed in Cloisters in 2011. The restoration has been sensitively fulfilled by Horsham-based stained glass artisan Cliff Durrant. A grant of £25,000 from the Bishop Otter Trust made the restoration project possible. See how you can help the University. A chance to double the value of your donation to the University. Please see inside back page for details. 2 | Guild Newsletter