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 stainedglass. 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
Cultural politics and art films in post-war Britain
(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 StainedGlass at Fairford (Basil Wright) – until 1998, when the process of direct commissioning ended, the main focus of the
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
‘Churchill’s Funeral’ and ‘De Jure Belli ac Pacis’ (Canaan, 1996)
‘seemed to hear’ in the Guildhall. It begins:
Endless London mourns for that knowledge under the dim roofs of smoke-stainedglass,
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
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
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’ stainedglass
windows, the placement of
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
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
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
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
Figure 8: C.E. Kempe, stained-glass portrait of Dante
(c.1897–99). South window, John Rylands Library,
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
monuments became less fashionable. The armorial stainedglass 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