stained glass – TRAVEL WORDS

Truro Cathedral: Stained Glass

It was the largest stained glass project ever executed and has some of the finest Victorian stained glass in the country, produced by the leading company of the time: Clayton and Bell. The scheme has three big themes: the Trinity, Biblical stories and the history of the English church. Alongside these are three lesser themes: Cornwall, baptism and St Mary’s aisle.

There is a recommended route, so that the interrelationships between the windows in each part of the Scheme can be explored, but of course I hadn’t realised that. Now that I do it may be a good reason to return to the cathedral and be more observant.

The rose windows

The greatest windows are the three great rose windows which reflect the Trinity;

God the Father/Creator appears in the great West window which is divided into seven sections for the seven days of creation

Jesus, the Son of God, is at the heart of the North transept rose surrounded by the prophets and his antecedents: Jacob, Isaac, Judah and Abraham, leading through to Mary and Joseph.

The Holy Spirit is at the centre of the South window with the twelve apostles around the edge.

The biblical stories

The biblical stories are told in and around the quire. The great east windows tell the story of Christ and his Passion.

The Deposition. The angels at the top hold the Crown of Thorns and the nails with which Jesus was fixed to the Cross

PLANGENT · EVM · PLANCTV · QVASI · SVPER · VNIGENITVM (They shall mourn for him, as one mourneth for his only son) (Zechariah 12:10).

St Stephen holding, in his left hand, a Gospel Book and, in his right, a martyr’s palm frond

He makes a speech before the Sanhedrin

The stoning of St Stephen

The history of the church

The choices reflect the late Victorian sensibilities and the enthusiasms of the two creators, like, for instance, the execution of King Charles I which I didn’t see. There is a flow to the sequence that does make sense. The theme starts in the South transept through to the retro-quire and quire. This section begins with St Peter receiving the keys from Christ and ends with St Benedict though my photos are rather more random.

Christ gives Peter the keys to the kingdom of Heaven. On the left is the youthful St John.

St James the Lesser, Peter and John receive St Paul and St Barnabas at the Council of Jerusalem.

The opening scene of the Divina Commedia in which Virgil, in a toga with a laurel wreath on his head, starts to guide Dante on his journey through hell and purgatory. Behind Dante stand a lion, panther and she-wolf.

John Colet teaching the boys at St Paul’s Cathedral School in London.

In the foreground are eight boys kneeling and looking at Colet. The scene refers to the end of the preface to the Latin grammar that he wrote for the school: “And lift up your little white hands for me, which prayest for you to God … ” There is a picture of the Child Jesus in the background. In the rear at the High Master’s desk is the celebrated scholar William Lily, the first High Master of the school.

Thomas à Kempis meditating near the monastery of Sint Agnietenberg (Mount St Agnes, shown at the top right) near Zwolle in the Netherlands.

Margaret Godolphin on the point of resigning her post at the court. King Charles II and Queen Catherine are seated on a throne on a podium, and Margaret stands below on the right with her head bowed.

Margaret Godolphin, née Blagge, of Godolphin House between Helston and Penzance was a Lady in Waiting to the Queen at the court of Charles II. She was a vigorous opponent of the lax moral tone of the court and resigned her position there in protest. She died in 1678 and is buried in Breage Church near Helston.

John Wesley preaching to the miners at the famous Gwennap pit near Redruth, the most renowned site for his field preaching in Cornwall. The figure of Wesley is surrounded by eighteen figures of miners and their families. A pit wheel and supports are in the background.

Victoria receiving news of her accession on 20th June 1837. In the foreground the young Queen, bareheaded and clothed in a nightdress and shawl, is holding out her right hand to the kneeling figure of Marquess Conyngham, the Lord Chamberlain. Behind Conyngham stands the bowing figure of Dr William Howley, Archbishop of Canterbury from 1828 to 1848

Albert Edward, Prince of Wales, lays the Foundation Stone of Truro Cathedral on 20th May 1880.

He is dressed in Masonic regalia and holds a maul. He is surrounded by a number of other figures associated with the occasion and the Cathedral, including the Princess of Wales, John Loughborough Pearson (Architect), Prince George and Prince Albert Victor. The background features scaffolding and other evidence of building work.

The other themes

Cornwall’s industry is included in the west nave windows, which feature mining and fishing through images of miners, fishermen, Newlyn harbour and Dolcoath mine.

The guardian angel of fishermen dressed in flowing robes and depicted with long wings, bare feet, and a nimbus with a bejewelled rim. The angel holds a net full of fish with floats.

In the foreground is a fishing boat, with an older sailor sorting the fishing net while his younger companion raises the sail. In the distance is a fleet of fishing boats, and to the right is the Newlyn lighthouse and jetty.

The guardian angel of miners, dressed in flowing robes and depicted with long wings, bare feet, and a nimbus with a bejewelled rim. The angel holds a miner’s Davy safety lamp in its right hand, and its left hand holds a pickaxe resting against its left shoulder.

To the left and centre are the pit head with part of the pit wheel and men working. The hill in the background is Carn Brea; the cross on top of it is a monument to Francis Basset, 1st Baron de Dunstanville and Basset, and to the left are the remains of Carn Brea Castle. The Basset family were the original owners of the mineral rights to Dolcoath mine.

And finally, there are the windows in St Mary’s aisle, which has some mid-Victorian windows from the original St Mary’s church on traditional biblical subjects, as well as some medieval fragments.

On the left: Christ summons James and John, who are in a fishing boat with their father Zebedee. On the right: The Sermon on the Mount.

This five-light window is the largest in the south wall of the aisle.

Each light shows a main figure above a related scene, and all are connected by the imagery and symbolism of water. This was, and still is, the baptistry area for the old parish church.

In the first light, Noah, holding a model of the Ark and a leaf to represent the one the dove brought back to the Ark, is placed above a scene with Noah, his wife and sons supervising the entry of the animals (including giraffe and lion) into the Ark. (I appear to have unfortunately cut this one in half).
In the second, Moses is shown carrying the two tablets of the Ten Commandments above a scene in which he leads the Israelites across the Red Sea.
St John the Baptist, holding in his left hand a staff to which is attached a banner on which is written Ecce agnus Dei (Behold the lamb of God) above the scene of the Baptism of Christ.
St Peter holding his keys and a clasped book above a scene of his baptism of Cornelius.
Finally, St Philip holding a scallop shell is shown above a scene of his baptism of the Ethiopian eunuch, whose chariot and horse are in the background.

The six south wall windows are all by William Warrington. They are typical examples of his use of bold primary colours, strong leading, dramatic design, and heavy painted shading.

a. The supper at Bethany. Mary, the sister of Martha, anoints Christ. b. Visitation of the sick. c. The Raising of Lazarus. d. The Good Samaritan.

It’s obvious that I need to return!

Exeter Cathedral

Exeter Cathedral was founded in 1050 with the enthronement of the first Bishop of Exeter and construction began in 1114, initially in the Norman (Romansque) style. The two towers are from this period. A major rebuild was done between 1270 and 1350.

Although it is 18 months since my visit to this cathedral I didn’t get around to posting about it. You may wonder why someone who is nonreligious enjoys visiting churches and other religious buildings. I can’t help admiring the craftsmanship that goes into these religious buildings. And of course they are a big part of our history.

The view from the west shows what appears to be a single tower on the left (north) side, but there is another one on the south.

White and honey stone was used to face the building, brought from quarries along the East Devon coast. Above the rows of statues is the beautiful 14th century tracery of the great west window and high up in a niche at the top of the west front is a modern statue of St Peter, the patron saint of the cathedral, depicted as a naked fisherman

Let’s head inside.

Measuring approx. 96m in length, Exeter Cathedral’s ceiling is the longest continuous medieval stone vault in the world. This style of vaulting is known as tierceron. The round stones (bosses) of the vault act as keystones and there are more than 400 of them carved with a variety of Gothic images including plants, animals, heads, figures and coats of arms.

The central boss over the high altar depicts the coronation of the Virgin

Ribs and bosses of the vaulted ceiling

One of the bosses shows the murder of Thomas Becket, Archbishop of Canterbury by King Henry II’s knights. It is a rare survival as Henry VIII proclaimed in 1538 that all images of Becket were to be destroyed. Unfortunately I didn’t manage to photograph that one.

Overlooking the nave is this unique 14th century Minstrels’ Gallery. The purpose of it is uncertain; its name derives from the 12 angels along the front, all playing medieval musical instruments including the cittern, bagpipe, hautboy, crwth, harp, trumpet, organ, guitar, tambourine and cymbals.

Part of the great west window, by Reginald Bell and Michael Farrar-Bell c.1950 depicts figures from the history of the cathedral. The central figure of St Peter is flanked by the cathedral’s founder, King Edward the Confessor and his queen.

High Altar and double arches below the Great East Window.

The Chapel of St Saviour and St Boniface or Bishop Oldham’s Chantry.

Bishop Walter Bronescombe (died 1280) includes his effigy which retains medieval paint

Bishop Edmund Stafford (died 1419) includes his alabaster effigy covered with graffiti

Carew family, installed in 1589

As is the norm in any cathedral you will find a number of tombs.

Tomb, or effigy of Sir Robert Stapleton, 1320, with headless attendant figures

Stories of Christian martyrdom through the ages are depicted in the stone panels of the 19th century Martyrs’ Pulpit. Designed 1876-7 by George Gilbert Scott, it shows the martyrdoms of St Alban, St Boniface and the Victorian missionary bishop, John Coleridge Patteson.

Scene on the Martyrs’ Pulpit depicts the beheading of St Alban, the first British Christian martyr, around 300AD during the Roman occupation of Britain.

Scene on the Martyrs’ Pulpit showing the murder of Bishop Patteson of Melanesia in 1871

The Martyrs’ Pulpit

Choir Stalls by Sir George Gilbert Scott completed in 1876, with John Loosemore’s 1665 organ case

The Quire stalls were installed by Sir George Gilbert Scott in 1876 during a 19th century restoration of the cathedral. It is uncertain when the medieval choir stalls were removed, but the seats in the back row incorporate one of the oldest sets of misericords. Unfortunately they are not in good condition and only one is on display.

The Elephant Misericord is the most famous of a complete set surviving from the 13th century under the Prebendaries’ stalls. The carving may have been done from a drawing of the animal given as a present to Henry III

Window by Christopher Webb (1886-1966) commemorating the bombing of Exeter in May 1942.

The clock in the north tower is an early attempt to represent the relationship of the earth, moon and sun.

The Astronomical Clock

Tower door

A hole at the bottom of the tower door in the north transept of Exeter Cathedral for the Cathedral Cat. The cat kept down the population of rats and mice and had a recognised position as a member of staff, with salary of 13d a quarter or 4s. 4d. a year. (s = shillling and d = penny)

Memorial to the men of the 9th Queen’s Royal Lancers who died in India

Also in the Nave is a memorial to the Polish 307 Squadron night-fighters who fought the Luftwaffe over the skies in Britain. On 15th November 1942 they helped protect Exeter from potential destruction. It was dedicated on the 15th November 2017, the 75th anniversary of the day that the squadron presented the city with the Polish flag as a sign of international co-operation.

Outside the cathedral, situated on the Exeter Cathedral Green, a statue of Richard Hooker dates from 1907 and is sculpted from white Pentilicon marble from Greece. Born in Heavitree in 1554, Hooker became an Anglican priest and influential theologian. Hooker was exceptional in promoting religious tolerance.

If the world should lose her qualities. If the celestial spheres should forget their wonted motions. If nature should intermit her course and leave altogether the observations of her own laws. If the moon should wander from her beaten way, the times and seasons blend themselves by disordered and confused mixture, what shall become of man who sees not plainly that obedience unto the law of nature is the stay of the whole world?

The quotation, from Hooker’s masterwork, Of The Laws of Ecclesiastical Politie

Lincoln Cathedral: Stained Glass

There’s a lot of stained-glass in Lincoln cathedral. Many different dates and styles from medieval (†13C) to the mid-nineteenth century. The nave is lit by intense colours from the mainly mid-nineteenth century windows such as these memorial windows.

Several different studios made the windows on the south side of the nave, which explains the variations in style. The windows in the Chapter House were all by one studio, Clayton & Bell, to give a more cohesive look.

Memorial to Lincoln mathematician Dr George Boole: Jesus conversing in the Temple (Ward & Hughes after 1864)

Boole is a name that I am very familiar with and not in a good way! It was George Boole who devised the Boolean Logic system, based on the idea that a thing cannot simultaneously have a set of properties and not have them. The power in an electronic circuit is either on or off. Sounds pretty simple. Boole converted this concept into abstract symbols to help solve complex problems. In the Boolean system ‘true’ or ‘on’ is represented by 1 and ‘false’ or ‘off is 0. Known as Boolean Gates. His ideas laid the foundation of mathematical logic and provided the theoretical underpinning for all modern computer logic.

So why do I dislike Boole? Because part of my computer degree was in mathematics, more precisely, Boolean Algebra. Not only did I find it impossible to understand, it almost caused me to fail my first year math’s exam! But I did seek out his memorial window.

At the crossing you find the Dean’s Eye to the north which contains some original pieces depicting the Last Judgment. This window survives from the time of Hugh of Avalon’s re-building between 1192 and 1235.

To the south is the Bishop’s Eye filled with a kaleidoscope of ancient glass. It was most likely rebuilt circa 1325–1350 after the completion of the Minster and shows the beginning of the decorated style with the flowing tracery representing leaves – a unique pattern.

The impressive West Window is from 1859 and contains Old Testament kings and prophets. (Augustus and Frederick Sutton)

The Great East Window was only the second nineteenth century window to be installed in the cathedral and subject of a great debate. Such is its size that it is not possible to photograph it without tilting the camera upwards – hence the peculiar angle.

The nearby Service Chapels allow a contrasting glimpse of modernism on stained glass in the twentieth century.

Memorial to a Rhodesian Airman

And in the Chapter House an oculus showing ‘The Council at Jerusalem, surrounded by various other scenes from The Acts of the Apostles’. In memory of Jacob Clements, (1820-98) sometime SubDean at the Cathedral. (Clayton & Bell).

And another window in the Chapter House depicts the 12th century cathedral burning (Clayton & Bell 1874)

Moses prays before the bush which burns but is not consumed (Augustus and Frederick Sutton, 1860)

So many scenes catch my eye, and the colours are incredible.

Below, Dean Kaye escorts John Wesley on his last visit to Lincoln Cathedral in 1799 (Clayton & Bell 1909) in the Chapter House.

Familiar Old Testament and New Testament scenes are depicted. My eyes are drawn to the different styles, the stylised flowers, the geometric shapes and patterns.

Boole

Joshua

Mark

Joshua

Mark

Scene from the Uppleby memorial window

And finally I have a question for you, the viewer. I’m not entirely happy with showing the full length of the windows, because they are narrow and not very easy to see, which is why I select portions to enlarge. However I do realise that it is nice to see the whole window as then you get a sense of the patterns and tone. So I would be grateful for any feedback you can give me on this subject. In future should I just select samples of the windows so you get a better view, or not?

Thanks 🙂

Norwich Cathedral Part V: Windows

Finally, the windows. I am only going to show you a few glimpses of some of the windows, to be honest it is was quite dark inside this cathedral on this day (it was raining) and not easy to photograph the stained-glass. There are some lovely pieces so if you are able to visit then make sure you examine the windows or visit the Norfolk Stained Glass site which provided much of the information about the windows in Norwich Cathedral.

The Bauchon Window was designed by Maria Forsyth and made by Dennis King of G King & Son in 1964. The window given in honour of Julian of Norwich is in memory of Harriet Mabel Campbell (1874 – 53). The main lights depict Julian of Norwich, unusually dressed as a Benedictine nun, together with another eleven Benedictine Saints and other personages.

The tracery lights contain angels (some playing musical instruments) flanking a cross proclaiming “Pax.”

Continue reading Norwich Cathedral Part V: Windows

Windows at Wightwick

It has been a while since I found some interesting windows to post, but at last here are some from the marvellous Wightwick Manor in Staffordshire (near Wolverhampton) which is designed in the Arts and Crafts style.

Just look at those carved faces on the header photo and all the detail in the window frames. You have to admit it is much more beautiful than uPVC windows. Continue reading Windows at Wightwick