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Johannes Wolf

lettering informs me that this is The Book of Margery Kempe . Immediately below these words is an image of a medieval woman – colouring and profile indicate this is a reproduction from stained glass. Long orange hair tumbles down over her shoulders and her head is framed by a halo. Her eyes are directed downwards at a carefully measured angle; her right hand extends from crossed arms to form a blessing. Plunging from the top right-hand corner are a series of arrow-like rays signifying divine inspiration accompanied by the dove of the Holy Ghost. She is a holy woman, a

in Encountering The Book of Margery Kempe
Cultural politics and art films in post-war Britain
Katerina Loukopoulou

(BFI) and international organisations like FIFA. As can be inferred from the correspondence of its film officers, the Arts Council was the first point of contact for regional art galleries and museums in the UK for advice about suitable new films on art. 38 The Council’s direct engagement with the exhibition of art films continued up to the early 1980s. But from 1956, the year that the Arts Council commissioned its first production – The Stained Glass at Fairford (Basil Wright) – until 1998, when the process of direct commissioning ended, the main focus of the

in British art cinema
Zoë Thomas

’s organisations.15 Other artistic women felt increasingly pulled between their professional commitments and the needs of the campaign. In a letter from the suffrage organiser Philippa Strachey to Millicent Garrett Fawcett in 1908, Strachey worried about the impact of Mary Lowndes’s commitment to the campaign on her stained-glass business: ‘Her organising capacities are … remarkable. She got the banners made & she worked out every detail in connection with them without letting me have the smallest trouble about them from first to last … She really did an immense amount of work

in Women art workers and the Arts and Crafts movement
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‘Churchill’s Funeral’ and ‘De Jure Belli ac Pacis’ (Canaan, 1996)
Jeffrey Wainwright

‘seemed to hear’ in the Guildhall. It begins: Endless London mourns for that knowledge under the dim roofs of smoke-stained glass, the men hefting their accoutrements of webbed tin, many in bandages, with cigarettes, with scuffed hands aflare, as though exhaustion drew them to life[.] Here ‘the dim roofs’ are those of the railway stations receiving exhausted soldiers from the trenches or Dunkirk, and the

in Acceptable words
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The Jewish population of Leeds – how many Jews?
Nigel Grizzard

since 1926. 2 Russian here is used for all Jews in the Russian Empire and includes Jews from Poland. 3 In the United Hebrew Congregation, one of the memorial stained-glass windows is to Keetje Hertzveld, born in Arnhem. 4 Research in both Huddersfield and Bradford finds talk about a class of travelling Jewish salesmen, often in the jewellery or gifts trade, who worked across Yorkshire. 5 In Hull Paragon Station there is an Emigrants Platform and a plaque jointly unveiled by Hull City Council and Howard Golden, the President of the Borough of Brooklyn, New York

in Leeds and its Jewish Community
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Peter William Evans

own liberal use of jumpcuts, and fluorescent iris-outs between sequences. ‘Psychedelic’ is how Demy described his approach to Donkey Skin’s mise-en-scène (Simsolo 1971 : 70). Sets by San Francisco designer Jim Leon quote the psychedelic artists of the late 1960s who sought to render visually the effects of hallucinogens on the mind. The kaleidoscopic patterns of the castles’ stained glass windows, the placement of

in From perversion to purity
Ludmilla Jordanova

their training? One answer is through professional institutions, many of which have long pasts upon which to draw. They contain historical deposits of many kinds – medals, portraits, silver, furniture, prints, stained-glass windows, coats of arms and more. Such artefacts prompt a sense of the past, but are not themselves ‘history’, since they require interpretation, narrative, contextualization in order to be activated. Nonetheless, they are

in Communicating the history of medicine
James Naus

best exemplified in the Abbot’s histories of Louis VI and Louis VII. Suger also did much more. In the later part of his career, he embarked on a major renovation campaign at the basilica, incorporating elements of manifestly secular and royal meaning into the western façade of the church, including Roman triumphal arches, crenellated walls and towers, and statues of several of the Merovingian and Carolingian kings buried within. 18 He also commissioned a stained-glass window for the new basilica, which combined images of a French king leading an eastern expedition

in Constructing kingship
Modern merchant princes and the origins of the Manchester Dante Society
Stephen J. Milner

visitors and readers from the stained-glass south window in the Historic Reading Room. Wolff and Savage, Culture in Manchester.indd 62 14/08/2013 11:37:25 M a n u fa c t u r i n g t h e R e n a i s s a n c e 63 Figure 8: C.E. Kempe, stained-glass portrait of Dante (c.1897–99). South window, John Rylands Library, Manchester. Industrial Florence To imagine Dante, the medieval Florentine poet, in Manchester, the shock city of modernity, may initially seem as incongruous as setting him down in contemporary Somerset. Yet on many levels the city furnished an

in Culture in Manchester
Jan Broadway

monuments became less fashionable. The armorial stained glass of the Peyto family, set up at Chesterton in the late fifteenth century, was destroyed during the remodelling of the house after the civil war, once it had been recorded for posterity in the Antiquities of Warwickshire. The Peytos were early converts to classicism, as shown by the development of their funeral monuments at Chesterton and their pre-war building projects. Among the provincial gentry as a whole, the desire to display family connections through heraldry did not die out, although it became less common

in ‘No historie so meete’