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Martin Ferguson Smith

Helen known to survive and be on public display is a fine stained-glass window, installed in March 1896, in the Church of St John the Evangelist at High Cross, Hertfordshire. It was not her only stained-glass work to be much admired. It was followed by her beautiful decoration of the so-called “Green Harpsichord” made by Arnold Dolmetsch and exhibited at the Fifth Exhibition of the Arts and Crafts Exhibition Society in October–December 1896. Three years later she exquisitely decorated another instrument for

in In and out of Bloomsbury
Deborah Youngs

buildings, tapestries, manuscript illuminations and stained-glass windows. Examples are found in the stained glass of Canterbury Cathedral, the fourteenth-century frescos of the Eremitani in Padua and the fifteenth-century marble floor of the duomo in Siena. Images of life’s stages also became, according to Elizabeth Sears, ‘part of the stock in trade of the late medieval house decorator’. Two walls of a

in The life–cycle in Western Europe, c.1300-c.1500
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"The Pest House," "Hell House," and "The Murder House"
Julia M. Wright

, but no locks because of Desmond’s suicide attempts, for instance; in American Horror Story , the Tiffany stained glass was meant to reflect the color of Nora’s eyes (1.3), and the walls bear the traces of different owners’ tastes. Constance (Jessica Lange) repeatedly echoes scenes from Wilder’s film, and her larger narrative echoes the basic plot: in “Spooky Little Girl” (1.9), she talks at length to

in Men with stakes
Lindsay J. Proudfoot and Dianne P. Hall

Ryan designed several small Catholic churches, including those at Dimboola, Jerparit, Goroke and Willaura. These were all similar in design and employed simplified Gothic features, including roundel stained-glass windows, porches, and paired lancet windows in the nave. 51 As in many other Catholic churches, no overt Irish or Celtic ornamentation was included. This suggests that if ethnic memory

in Imperial spaces
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Helen Barr

recounts how Samson slew thousands with a jawbone (Judges 15:15–16), more likely as a source of inspiration for the Cambridge illustration is the story that Cain slew his brother Abel with the cheekbone of an ass.80 While the murder weapon is not mentioned in the biblical account, the jawbone tradition, both pictorial and verbal, is well attested from the ninth century onwards. It is illustrated in the Holkham picture bible and in a stained glass window in York Minster81 and features in medieval drama.82 Cambridge’s iconographical hand translates the Pardoner into Cain

in Transporting Chaucer
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David Annwn Jones

dark grey walls of the edifice – the strange effect being enhanced by the prismatic reflection of the lurid blaze from the stained glass of the oriel window. The solemn spectacle seemed to madden the Wehrwolf. His speed increased – he dashed through the funeral train. (Reynolds, [1846] 2008 : 60

in Gothic effigy
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Reading Old Testament women in early modern England, 1550–1700
Victoria Brownlee and Laura Gallagher

Holbein’s officially commissioned miniature, ‘Solomon Receiving the Homage of the Queen of Sheba’ (c.1534), and also in a stained-glass window commemorating Henry’s reign in King’s College Chapel. 12 As these images attest, the Bible’s female figures can be found in a variety of genres and in works that, although biblically inspired, might be political in emphasis

in Biblical women in early modern literary culture 1550–1700
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Carmen M. Mangion

(Berkeley: University of California Press, 1999); Susan O’Brien, ‘Making Catholic Spaces: Women, Décor, and Devotion in the English Catholic Church, 1840–1900’, in Diana Woods, ed., The Church and the Arts (Oxford: Blackwell Publishers, 1992), pp. 449–64. Susan O’Brien presents convincing evidence of how women religious played an important role in promoting the devotion to female saints through donations of statues, pictures and stained glass. 126 Working identities As discussed earlier, perhaps the most striking evidence of women’s work as missionaries was their

in Contested identities
Chaplaincy and verse in early seventeenth-century Oxford
Christopher Burlinson

instance, both Corbett and Strode wrote poems on the fortuitous survival of the stained glass windows at Fairford church in Gloucestershire (as did Jeremiel Terrent, another student of Christ Church), and their poems on the subject are frequently adjacent in contemporary manuscript copies.16 Strode also translated a number of Corbett’s poems into Latin; one of these translations, of Corbett’s poem written on the birthday of his son, Vincent (‘What I shall leave thee none can tell’), appears in a number of manuscript copies. That the author of this particular poem should

in Chaplains in early modern England
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Carol Engelhardt Herringer

Revival of Monastic Life on Medieval Lines in the Post-­Reformation Church of England (Leighton Buzzard: The Faith Press, 1973), p. 34. 26 O’Brien, ‘Making Catholic spaces’, 456–7. 27 Ibid., 458. 28 Ibid., 459–60. 29 Labouré herself was canonised by Pius XII in 1947. 30 O’Brien, ‘French nuns’, 170–1. 31 For more detailed discussion of the Victorian reception of the doctrine of the Immaculate Conception, see Herringer, Victorians, ch. 4. 32 June Osborne, Stained Glass in England (1981; rev. edn, Stroud: Sutton, 1997), p.  86; Norton, ‘History’, p. 18; W. D

in Making and remaking saints in nineteenth-century Britain