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St Michael and All Angels, Sowton and St Mary the Virgin, Ottery St Mary

in the nave, creating an aesthetic and theological demarcation between the accommodation for the laity and the clergy. The stained glass of the nave windows takes a representational step backwards: patterned quarries and bands of text run around the windows surrounding the congregation. The creed runs clockwise from the easternmost nave south window round into the north aisle. The change in tone, from colourful pictorial glass in the chancel to

in Stained Glass and the Victorian Gothic Revival

, for the Church of England was most effective in a parish where one or two sources of power acted in unison with the church. This typically meant an alliance between landowners, clergymen and civil authorities. 13 The ‘closed parish’ was perhaps the ultimate example of this relationship, where the major landowner was also the clergyman and the magistrate. In this situation, religious, civil and financial power were in the

in Stained Glass and the Victorian Gothic Revival
How and why the market spread

evidence to suggest that the Great Exhibition made the reputation of any glass-painter, or that stained glass took the exhibition by storm, yet the fact that this famous event was beyond the control of the church makes it particularly significant. Despite the quasi-religious terminology applied to the Crystal Palace (which had a ‘nave’ and ‘transepts’) and despite the blessing offered by the archbishop of Canterbury at the

in Stained Glass and the Victorian Gothic Revival