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Sharman Kadish

. Leeds Jewry is remarkable for its relentless suburbanisation – and its fractious congregational history; umpteen synagogues, none of which have survived from the Victorian era. Leeds Jewry has more than halved in size since 1945, today numbering about 6,850 (2011 Census). The historic city-centre Great Synagogue at Belgrave Street was closed in 1983 and blown up by a Jewish demolition expert. Happily, the stained glass windows were rescued and reused in the suburban Leeds United Hebrew Congregation (known as UHC or Shadwell Lane). Since

in Leeds and its Jewish Community
The development of a new design aesthetic
Anca I. Lasc

second in a series of volumes of interior decoration designs by Alexandre-Eugène Prignot.44 Right next to window curtain designs for a drawing room in the style of Louis XIV, standing out through the metaphor of the Sun King, or for a vestibule in the English Gothic style with characteristic stained-glass windows, Prignot’s La Tenture moderne proposed such decorative schemes as a window curtain “De fantaisie ou 199 200 Interior decorating in nineteenth-century France genre moderne.” This last design combined stained-glass windows in the style of the Middle Ages

in Interior decorating in nineteenth-century France
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Michaela Benson

leading out to the courtyard between the three buildings had small curved feature windows above them, which Daniel had decorated with small stained-glass birds. Once the coffee was made, we carried it upstairs with a plate of biscuits and settled ourselves in the alcove seating area on the first floor. On one wall, a large selection of small watercolours and pastel pictures were displayed; behind Alannah was a large bookcase stretching from floor to ceiling, and apart from the top shelf, where there was a collection of very colourful pottery, it was full of books piled

in The British in rural France
Yulia Karpova

stained glass was just a tool for creating figurative imagery in architecture. At that time, the Moscow Research Institute of Decorative and Applied Art was developing new techniques for decorating stained glass, such as etching, engraving and counter-reliefs. According to Kalinin, these innovations enabled the artist to ‘render more adequately and realistically life-affirming images of our reality, first of all, images of Soviet people in the fullest of their spiritual wealth’. He used two examples to illustrate his point: The stained glass by the student V. Statun

in Comradely objects
Mark Ormrod, Bart Lambert, and Jonathan Mackman

fifteen immigrant glaziers in the country between 1440 and 1487, most of them from the Low Countries. William Mundeford, a native of the bishopric of Utrecht, started his career as an apprentice in the workshop of the Englishman John Wighton in Norwich before 1432. He swore the oath of fealty in 1436 and was assessed for the alien subsidies from 1440 to 1468. 81 Written sources suggest that he worked on the dormitory windows in Norwich Cathedral; and a body of stained glass in Norfolk has been attributed to him on the basis of his style, which had a lot in common with

in Immigrant England, 1300–1550
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Zoë Thomas

, and several houses on the banks of the river in Hammersmith. At these premises, art was designed and made – from bookcases, to stained-glass windows, necklaces, and chess sets – which was sent to customers around the world. Women art workers played a critical role in disseminating the Arts and Crafts ethos of the social importance of the arts across new local, national, and international spheres of influence, and simultaneously altering that same ethos to be more receptive to public interest in domestic consumerism. By the dawn of the twentieth century they had

in Women art workers and the Arts and Crafts movement
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Babel Tower and A Whistling Woman
Alexa Alfer and Amy J. Edwards de Campos

metaphors and images which make productive comparisons between the perceived crisis of language and the socio-historical upheavals that appear to be rocking the foundations of society. Consider, for example, this description of the reconstructed stained glass window in St Simeon’s church: It once had gaudy nineteenth-century stained glass

in A. S. Byatt
Zoë Thomas

, when, in fact, societal interest was clearly on the ascendant. The exhibition was the brainchild of Mary Lowndes, stained-glass worker and Women’s Guild of Arts member. In the early twentieth century, at the height of her success, Lowndes turned her attention towards establishing several alternative artistic spaces for women across the capital. Alongside setting up the Glass House in 1906, an enterprise   66    EX H IBIT IN G T H E ART S AN D C RAF TS which rented rooms to stained-glass designers – many female – she was the driving force in the Artists

in Women art workers and the Arts and Crafts movement
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André Benhaïm

of amazing stained-glass windows. This is what one could gather from the first memory told in detail in ‘Combray’, when the Narrator evokes the bedroom in which, to entertain him and assuage his anxiety, his parents placed a magic lantern that ‘in the manner of the master-builders and glass-builders of gothic days it substituted for the opaqueness of the walls an impalpable iridescence, supernatural phenomena of many colours’ (à l’instar des premiers architectes et des maîtres verriers, substituait à l’opacité des murs d’impalpables irisations, de surnaturelles

in 1913: The year of French modernism
Ekphrasis and historical materiality in Shakespeare’s The Rape of Lucrece
Rachel Eisendrath

, which purled up to the sky’. For Renaissance readers, this description may have evoked not so much the illusionistic experience of a voice, as rather a curling speech scroll, also known as a banderole (commonly used in the period to represent speech in tapestries, book illustrations, etchings, paintings, and stained-glass windows). Ekphrasis in Shakespeare’s The Rape of Lucrece 33 Shakespeare directs our attention to the object itself, instead of to the illusion that this object is supposed to create: About him [Nestor] were a press of gaping faces… Some high

in Ekphrastic encounters