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Sam Smiles

, in his painting Merlin and Nimue for the Oxford Union murals (1858–59), his 1861 watercolour The Enchantments of Nimue (now in the collection of the Victoria and Albert Museum) and his designs for stained glass at Walter Dunlop’s home Harden Grange, on the theme of Tristram and Isoude (1862). 6

in Cultural identities and the aesthetics of Britishness
Thomas A. Prendergast and Stephanie Trigg

, the facsimile allows the individual to own, to domesticate, to touch and to display a more or less affordable piece of the exotic medieval, through the same love and desire for the medieval fulfilled by the thousands of tea towels, replicas of jewellery, stained glass, carved bosses, books, facsimiles, and key rings sold to a variety of budgets in gallery, library, and art museum shops around the

in Affective medievalism
David W. Gutzke

expansion. At Motcomb’s (Motcomb Street), opened in 1974 across from Sotheby’s auctioneering house in Belgravia, Susie Gwyn offered her exclusive customers a sumptuous décor (including stained glass, gothic arches, historic pews and William Morris carpeting), together with cheeses flown from Paris. Winner of the wine bar of the year award in 1985, Le Metro in Knightsbridge had an authentic French atmosphere, including a wine list of some seventy French wines, all priced between £5 and £8 a bottle, and fillets of smoked goose. Even in the provinces wines bars made a mark

in Women drinking out in Britain since the early twentieth century
Des O’Rawe

only uses the documentary form to explore this aspect of Gaudí’s style, he renders it through the eyes of ikebana, as in, for example: the low-­angle shots of plant-­crowned balustrades along the viaduct at Parc Güell; the floral stained-­glass windows in the Colònia Güell Crypt; the bamboo garden and oriental fountain at Palau Reial de Pedralbes; the wrought-­iron floral railings and general decorative style of the Casa Vicens (a sequence which even includes shots of a woman arranging flowers in a spacious front room). Ultimately, it is in its mise en scène that

in Regarding the real
Leon Hunt

storytelling have ‘old media’ precedents – Jenkins gives the example of how in the Middle Ages Jesus’s story would have been told through stained-glass windows, tapestries and psalms, amongst other things (2006: 125). Comedy series have been generating spinoff books of varying quality since Monty Python’s Big Red Book (1971). A more recent example is The League of Gentlemen’s A Local Book for Local People (2000), which in some respects features similar kinds of material to that offered in ‘The Psychoville Experience’ – letters, diaries, flyers, ads and newspaper cuttings

in Cult British TV comedy
Abstract only
Gender trouble in Siddiq Barmak’s Osama
Gabrielle Simm

’ forthcoming Collected Courses of the Hague Academy of International Law; Daniel Litwin, ‘Stained Glass Windows, the Great Hall of Justice of the Peace Palace’ in Jessie Hohmann and Daniel Joyce (eds), International Law’s Objects (Oxford: Oxford University Press , 2018 ) 463 ; Aoife Duffy , ‘Bearing Witness to Atrocity Crimes: Photography and International Law’ ( 2018 ) 40 Human Rights Quarterly 776 . 14 E.g. ‘Expert Medical Consulting for Film and Television’ , accessed 30 April 2019; ‘Being a Hollywood Science Consultant

in Cinematic perspectives on international law
The auteur as an ekphrastic ghost
Maaret Koskinen

’s Children , which Bergman wrote a few years later. Take the following example in which the boy Pu accompanies his father, the parish parson, to a church sermon: He couldn’t care less—the service is so boring it’s almost incomprehensible. Pu looks around, and what he sees keeps him alive: the altarpiece, the stained-glass window, the murals, Jesus and the robbers in blood and torment. Mary leaning toward Saint John: ‘Look upon your son, look upon your mother.’ Mary Magdalene

in Ingmar Bergman
Martin Ferguson Smith

, and a very talented one. I describe and assess her life, personality, training, and career elsewhere in this book, 4 and I will be very brief here. After studying at the St John’s Wood Art Schools in London, she was admitted to the Royal Academy of Arts Schools (RAS) in December 1882. On leaving the RAS at a date unknown, but not later than 1888, she turned her attention to the decorative arts. In 1896, the year of her marriage, her fine Mary-and-Martha stained-glass window, commissioned in memory of Elizabeth Martin

in In and out of Bloomsbury
Murray Stewart Leith and Duncan Sim

we associate with Pictish stones and early Christianity. But Scotland suffered, first from the Reformation whose Calvinists frowned on much medieval church art and this resulted in the loss of a lot of early stained glass and paintings. Second, the Union of the Crowns led to a loss of royal patronage and so it was not perhaps until the eighteenth century that a more recent distinctive Scottish art began to appear. Painters from that period, such as Allan Ramsay, Henry Raeburn and David Wilkie, were essentially portrait painters, often commissioned to record

in Scotland
Richard Cust and Peter Lake

panelling, the reduced cost and increased availability of domestic stained glass and the proliferation of sculpted fireplaces and plasterwork ceilings, displays of family heraldry became a conspicuous feature of house interiors.39 The significance attached to these displays depended a good deal on where in the house they were located. Although the medieval great hall was falling out of use during the early sixteenth century and being replaced by smaller, often single-storied, structures, the hall retained its place as the principal reception room for visitors and

in Gentry culture and the politics of religion