Notre Dame de Rouen. The façade of the Gothic Church in France. Photographer: Hippo1947. Licence: SHUTTERSTOCK.

18 May, 2014

Mont Saint-Michel.


Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.



as viewed along the Couesnon River in
Normandy, France.
Photo: 5 July 2011.
Source: Own work.
Author: Diliff.
Attribution: Photo by DAVID ILIFF.
License: CC-BY-SA 3.0.
(Wikimedia Commons)



Français: Abbaye du Mont-Saint-Michel, Manche, Normandie, France. Le cloître.
English: Abbey of Mont-Saint-Michel, Manche, Normandie, France. The Cloister.
Photo: 9 September 2008.
Source: Own work.
Author: Tango7174.
(Wikimedia Commons)


Mont Saint-Michel (English: Saint Michael's Mount) is an island commune in Normandy, France. It is located approximately one kilometre (0.6 miles) off the country's North-Western coast, at the mouth of the Couesnon River, near Avranches. 100 hectares (247 acres) in size, the island has a population of forty-four (2009).

The island has held strategic fortifications since ancient times, and, since the 8th-Century, has been the Seat of the Monastery from which it draws its name. The structural composition of the town exemplifies the feudal society that constructed it: On top; God, the Abbey and Monastery; Below this; the Great halls, then stores and housing; and, at the bottom, outside the walls, fishermen and farmers' housing.

Its unique position, of being an island only 600 metres from land, made it readily accessible on low tide to the many pilgrims to its Abbey. Equally, this position made it readily defensible, as an incoming tide stranded, or drowned, would-be assailants. By capitalising on this natural defence, the Mont remained unconquered during the Hundred Years' War, with a small garrison successfully defending it against a full attack by the English in 1433. The reverse benefits of its natural defence was not lost on Louis XI, who turned The Mont into a State Prison and, thereafter, the Abbey started to be used more regularly as a jail during the Ancien Régime from the 16th-Century.



The Guests' Hall,
Abbaye du Mont-Saint-Michel.
Photo: 4 August 2012.
Source: Own work.
Author: Parsifall.
(Wikimedia Commons)


One of France's most recognisable landmarks, Mont Saint-Michel and its Bay are part of the UNESCO List of World Heritage Sites and more than three million people visit it each year.

Mont Saint-Michel was used in the 6th- and 7th-Centuries, as an Armorican stronghold of Gallo-Roman culture and power, until it was ransacked by the Franks, thus ending the Trans-Channel culture that had stood since the departure of the Romans in 460 A.D. From the 5th- to the 8th-Century, Mont Saint-Michel belonged to the territory of Neustria, and in the Early-9th-Century was an important place in the Marches of Neustria.



Photochrom print by Photoglob Zürich, between 1890 and 1900.
This picture is in the public domain.
(Wikimedia Commons)


Before the construction of the first Monastic establishment, in the 8th-Century, the island was called Mont Tombe (Latin: tumba). According to legend, the Archangel Michael appeared in 708 A.D., to Saint Aubert, the Bishop of Avranches, and instructed him to build a Church on the rocky islet. Aubert repeatedly ignored the Angel's instruction until Saint Michael burned a hole in the Bishop's skull with his finger.

Unable to defend his kingdom against the assaults of the Vikings, the King of the Franks agreed to grant the Cotentin Peninsula and the Avranchin, including Mont-Saint-Michel, to the Bretons in the 867 A.D., Treaty of Compiègne. This marked the beginning of the brief period of Breton possession of the Mont. In fact, these lands and Mont Saint-Michel were never really included in the Duchy of Brittany and remained independent Bishoprics from the newly-created Breton Archbishopric of Dol. When Rollo confirmed Franco as Archbishop of Rouen, these traditional Dependencies of the Rouen Archbishopric were retained in it.



Mont Saint-Michel.
Photo: 10 May 2009.
Source: Own work.
Author: Nono vlf.
(Wikimedia Commons)
(Wikimedia Commons)


The wealth and influence of the Abbey extended to many Daughter Foundations, including Saint Michael's Mount, in Cornwall. However, its popularity and prestige, as a centre of pilgrimage, waned with the Reformation, and, by the time of the French Revolution, there were scarcely any Monks in residence. The Abbey was closed and converted into a prison, initially to hold Clerical opponents of the Republican Regime.

High-profile political prisoners followed, but, by 1836, influential figures — including Victor Hugo — had launched a campaign to restore what was seen as a national architectural treasure. The prison was finally closed in 1863, and the Mont was declared an historic monument in 1874. Mont Saint-Michel, and its Bay, were added to the UNESCO list of World Heritage Sites in 1979.


File:Cannons abandonded by Thomas Scalles at Mont Saint-Michel.jpg

The Cannons, abandoned by Thomas Scalles, at Mont Saint-Michel, on 17 June 1434.
Marked by an explanatory plaque with the words: "BOMBARDES ANGLAISES ABANDONNEES PAR L'ARMEE DE THOMAS SCALLES LE 17 JUIN 1434". CALIBRE 380 - 420".
Photo: 14 May 2009.
Source: Own work.
Author: Greenshed.
(Wikimedia Commons)


In the 11th-Century, William de Volpiano, the Italian architect who had built the Abbey of Fécamp, in Normandy, was chosen by Richard II of Normandy, to be the building contractor. He designed the Romanesque Church of the Abbey, daringly placing the Transept Crossing at the top of the Mont. Many underground Crypts and Chapels had to be built, to compensate for this weight; these formed the basis for the supportive upward structure that can be seen today. Today, Mont Saint-Michel is seen as a Romanesque-Style Church.

Robert de Thorigny, a great supporter of Henry II of England, (who was also Duke of Normandy), reinforced the structure of the buildings and built the main façade of the Church in the 12th-Century. In 1204, the Breton, Guy de Thouars, allied to the King of France, undertook the siege of the Mont. After having set fire to the village, and having massacred the population, he was obliged to beat a retreat under the powerful walls of the Abbey. Unfortunately, the fire, which he himself lit, extended to the buildings, and the roofs fell prey to the flames. Horrified by the cruelty and the exactions of his Breton ally, Philip Augustus offered Abbot Jourdain a Grant for the construction of a new Gothic-Style building, which included the addition of the Refectory and Cloister.


File:200506 - Mont Saint-Michel 02.JPG

Mont Saint-Michel.
Photo: 17 June 2005.
Source: Own work.
Author: Semnoz.
{{GFDL}} Copyright Wife of Semnoz,
June 2006.
(Wikimedia Commons)


Charles VI is credited with adding major fortifications to the Abbey-Mont, building Towers, successive Courtyards, and strengthening the Ramparts.

The islet belongs to the French Commune of Mont-Saint-Michel, in the Département of Manche, in Basse-Normandie. Population (1999): Fifty. The nearest major town, with an SNCF Train Station, is Pontorson. Mont Saint-Michel belongs to the Organisation of World Heritage Cities.

Mont Saint-Michel has also been the subject of traditional, but nowadays good-humoured, rivalry between Normans and Bretons. Bretons claim that, since the Couesnon River marks the traditional boundary between Normandy and Brittany, it is only because the river has altered its course over the centuries that the Mont is on the Norman side of the border.

Historically, Mont Saint-Michel was the Norman counterpart of Saint Michael's Mount, Cornwall, England, which was given to the Benedictine Religious Order of Mont Saint-Michel, by King Edward the Confessor in the 11th-Century.


17 May, 2014

Libera Me.


Text from Wikipedia - the free encyclopaedia,
unless otherwise stated.





Baroque Crucifix.
Vienna.
Photo: 2007.
Source: Own work.
Author: Jorgeroyan.
Attribution: © Jorge Royan
(Wikimedia Commons)



Líbera Me ("Deliver me") is a Roman Catholic Responsory that is sung in the Office of the Dead and at the Absolution of the Dead, a Service of Prayers for the Dead said beside the coffin, immediately after the Requiem Mass and before burial.

The Text of Libera Me asks God to have mercy upon the deceased person at the Last Judgment. In addition to the Gregorian Chant in the Roman Gradual, many composers have written settings for the Text, including Tomás Luis de Victoria, Anton Bruckner, Giuseppe Verdi, Gabriel Fauré, Maurice Duruflé, Benjamin Britten, Krzysztof Penderecki and David Maslanka.




Líbera me, Dómine, de morte ætérna, in die illa treménda: in via
Quando cœli movéndi sunt quando et terra.
Dum véneris iudicáre sǽculum per ignem.
Tremens tremens factus sum ego, et tímeo, et timeo dum discússio vénerit, atque ventúra ira.
Quando cœli movendi sunt et terra.
Dies illa, dies iræ, calamitátis et misériæ, dies irae'' dies magna et amára valde.
Dum véneris iudicáre sǽculum per ignem.
Réquiem ætérnam dona eis, Dómine: et lux perpétua lúceat eis.

Deliver me, O Lord, from death eternal on that fearful day,
When the heavens and the earth shall be moved,
When thou shalt come to judge the world by fire.
I am made to tremble, and I fear, till the judgment be upon us, and the coming wrath,
When the heavens and the earth shall be moved.
That day, day of wrath, calamity, and misery, day of great and exceeding bitterness,
When thou shalt come to judge the world by fire.
Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.




Libera Me is begun by a Cantor, who sings the Versicles, alone, and the Responses are sung by the Choir. The Text is written in the First Person Singular, "Deliver me, O Lord, from eternal death on that fearful day," a dramatic substitution in which the Choir speaks for the dead person.

In the Traditional Office, Libera Me is also said on All Souls' Day (2 November) and whenever all three Nocturns of Matins of the Dead are recited. On other occasions, the Ninth Responsory of Matins for the Dead begins with "Libera Me", but continues with a different Text (Domine, de viis inferni, etc.).





Libera Me.
Gabriel Fauré.
Requiem Op.48.
Available on YouTube at



Hexham Abbey.


Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.


File:Inside Hexham Abbey, Hexham, United Kingdom.jpg

Hexham Abbey.
Photo: 3 February 2001.
Author: Tim Rogers
(Wikimedia Commons)


Hexham Abbey is a place of Christian worship, dedicated to Saint Andrew, and located in the town of Hexham, Northumberland, in North-East England. Since the Dissolution of the Monasteries, in 1537, the Abbey has been the Parish Church of Hexham.

There has been a Church on the site for over 1,300 years, since Etheldreda, Queen of Northumbria, made a Grant of Lands to Wilfrid, Bishop of Yorkcirca 674 A.D. Of Wilfrid's Benedictine Abbey, which was constructed almost entirely of material salvaged from nearby Roman ruins, the Saxon Crypt still remains; as does a Frith (freedom, security) Stool; and a 7th- 8th-Century Cathedraor Throne (Bishop's Seat). For a little while, around that time, it was the Seat of a Bishopric.

In the year 875 A.D., Halfdene (Halfdan Ragnarsson), the Dane, ravaged the whole of Tyneside and Hexham Church was plundered and burnt to the ground.


File:Hexham abbey - geograph.org.uk - 1177875.jpg

Hexham Abbey,
illuminated at night.
Photo: 24 February 2009.
Source: From geograph.org.uk.
Author: Helen Wilkinson.
(Wikimedia Commons)


About 1050, Eilaf was put in charge of Hexham, although, as Treasurer of Durham, he probably never went there. Eilaf was instructed to rebuild Hexham Church, which then lay in utter ruin. His son, Eilaf II, completed the work, probably building in the Norman Style.

In Norman times, Wilfrid's Abbey was replaced by an Augustinian Priory. The current Church largely dates from that period (circa 1170 – 1250), in the Early English Style of architecture. The Choir, North and South Transepts, and the Cloisters, where Canons studied and meditated, date from this period.


File:Lancet windows, North Transept, Hexham Abbey - geograph.org.uk - 749313.jpg

Lancet Windows, North Transept, Hexham Abbey.
The glass in these windows was designed by W. B. Scott and made by Wailes of Gateshead, in 1873. These Lights depict the Twelve Apostles, with their emblems. (Source: Hexham Abbey Guide).
Photo: 2 April 2008.
Source: From geograph.org.uk.
Author: Mike Quinn.
(Wikimedia Commons)


The East End was re-built in 1860. The Abbey was largely rebuilt during the incumbency of Canon Edwin Sidney Savage, who came to Hexham in 1898 and remained until 1919. This mammoth project involved re-building the Nave, whose walls incorporate some of the earlier Church, and the restoration of the Choir. The Nave was re-consecrated on 8 August 1908.

In 1996, an additional Chapel was created at the East End of the North Choir Aisle. Named Saint Wilfrid's Chapel, it offers a place for Prayer or quiet reflection.


File:Hexham Abbey.jpg

Hexham Abbey,
Northumberland, England.
Photo: 2007.
Source: Own work.
Author: Bob Castle.
(Wikimedia Commons)


File:Blind arcades on the north wall of the North Transept, Hexham Abbey - geograph.org.uk - 749205.jpg

Blind Arcades on the North Wall of the North Transept, Hexham Abbey.
Until 1870, a large 17th-Century doorway, the Mercers' Doorway,
formed the principal entrance to the Abbey
through this wall. {Source: Hexham Abbey Guide, 
Photo: 2 April 2008.
Source: From geograph.org.uk.
Author: Mike Quinn.
(Wikimedia Commons)


Four of the Stained-Glass Windows in the Abbey are the work of Jersey-born Stained-Glass artist, Henry Thomas Bosdet, who was commissioned by the Abbey. The East Window was the first project and was installed about 1907. Two smaller windows followed and the large West Window was installed in 1918.

The Crypt is a plain structure of four Chambers. Here were exhibited the Relics, which were a feature of Wilfred's Church. It consists of a Chapel, with an Ante-Chapel at the West End, two side passages with enlarged vestibules, and three stairways. The Chapel and Ante-Chapel are Barrel-Vaulted. All the stones used are of Roman workmanship and many are carved, or with inscriptions. One inscription on a slab, partially erased, is:
IMP •CAES •L •SEP • • •
PERTINAX •ET •IMPC • •
AVR •ANTONINV • • • •
VS • • • • • • • • •
 • • • •HORTE • • •
VEXILLATION • • • • •
FECERVNT SVB • • • • •

Translated, it means: "The Emperor Lucius Septimus Severus Pius Pertinax and his sons the Emperor Marcus Aurelius Antonius Pius Augustus and Publius Geta Caesar the cohorts and detachments made this under the command of . . . "

The words erased are of great interest. After the Emperor Geta was murdered by his brother, Caracalla, an edict was made at Rome ordering that, whenever the two names appeared in combination, that of Geta was to be erased. This was done, but so poorly that the name can still be read.

The first diocese of Lindisfarne was merged into the Diocese of York in 664 A.D. York Diocese was then divided, in 678 A.D., by Theodore of Tarsus, forming a Bishopric for the country between the Rivers Aln and Tees, with a Seat at Hexham and/or Lindisfarne. This gradually, and erratically, merged back into the Bishopric of Lindisfarne. Eleven Bishops of Hexham followed Saint Eata, of which six were Saints.



Hexham Abbey Organ,
installed in 1974.
Photo: 20 March 2008.
Source: From geograph.org.uk.
Author: Mike Quinn.
(Wikimedia Commons)


File:Hexham Abbey - east window - geograph.org.uk - 1583776.jpg

Hexham Abbey's
East Window.
Photo: 3 October 2009.
Source: From geograph.org.uk.
Author: Mike Quinn.
(Wikimedia Commons)


No successor was appointed in 821 A.D., the condition of the country being too unsettled. A period of disorder followed the Danish devastations, after which Hexham Monastery was reconstituted in 1113 as a priory of Austin Canons, which flourished until its Dissolution under King Henry VIII. Meantime, the Bishopric had been merged with that of Lindisfarne, which latter See was removed to Chester-le-Street, in 883 A.D., and thence to Durham in 995 A.D.

In 1856, the Abbey acquired a second-hand Organ from Carlisle Cathedral, dating from 1804. In 1905, this was rebuilt by Norman and Beard, with Sir Frederick Bridge, of Westminster Abbey, as the Consultant. In 1974, a new instrument, by Lawrence Phelps of Pennsylvania, was installed. It is a two-manual, thirty-four-stop, mechanical action instrument.


File:Hexham Abbey - flag of the Northumberland Fusiliers - geograph.org.uk - 1583700.jpg

Hexham Abbey.
The Flag of the Northumberland Fusiliers.
Photo: 3 October 2009.
Source: From geograph.org.uk.
Author: Mike Quinn.
(Wikimedia Commons)


File:The High Altar in Hexham Abbey - geograph.org.uk - 1265071.jpg

Hexham Abbey.
The High Altar.
Photo: 13 April 2009.
Source: From geograph.org.uk.
Author: Rod Allday.
(Wikimedia Commons)


16 May, 2014

Sir John Ninian Comper (1864 – 1960). Scottish Gothic-Revival Architect.


Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.



Interior of Saint Mary The Virgin,
Wellingborough, Northamptonshire, England.
Sir John Ninian Comper designed this Church.


File:The spectacular interior of St. Mary's, Wellingborough. - geograph.org.uk - 1656080.jpg

The spectacular Interior of Saint Mary's, Wellingborough, Northamptonshire, England. The Church is little more than a century old and was designed by the highly regarded architect, Sir Ninian Comper. The Church is extremely ornate, but never vulgar, and the golds and blues blend in perfectly well with the local deep golden stone. The Church is in the Anglo-Catholic tradition 
of the Church of England.
Photo: 18 August 1997.
Source: From geograph.org.uk.
Author: nick macneill.
(Wikimedia Commons)


Sir John Ninian Comper (1864–1960) was a Scottish-born architect. He was one of the last of the great Gothic Revival architects, noted for his Churches and their furnishings. He is well known for his Stained Glass, his use of colour and his subtle integration of Classical and Gothic elements, which he described as "unity by inclusion".

Comper was born in Aberdeen, Scotland, the eldest of five children of Ellen Taylor, of Hull, and the Reverend John ComperRector of St John's, Aberdeen (and, later, St Margaret of Scotland). He was educated at Glenalmond School, in Perthshire, and attended a year at the Ruskin School of Art in Oxford. On moving to London, he was Articled to Charles Eamer Kempe, and, later, to George Frederick Bodley and Thomas Garner. His fellow-Scot, William Bucknall, took him into partnership in London in 1888 and Ninian was married to Grace Bucknall in 1890. Bucknall and Comper remained in partnership until 1905.



Reredos, in Wymondham Abbey, Norfolk, England, designed by Comper.
Reredos (Altar Screen), with Tester and Rood Figures,
designed by Sir Ninian Comper, 1922.
Photographer: Richard Barton-Wood.
Date: 1922 (object created); 27 February 2007 (original upload date).
Source: Transferred from en.wikipedia; transferred to
Commons using CommonsHelper.
Author: Sir Ninian Comper (creator of the object);
Photographer and Original uploader was Richard Barton-Wood.
(Wikimedia Commons)


Sir John Ninian Comper's ecclesiastical commissions include:

A line of windows in the North Wall of the Nave of Westminster Abbey;
Saint Peter's Parish Church, Huddersfield, Yorkshire, the Baldachino/Ciborium, High Altar and
East Window, in memory of the Dead of the Great War;
Saint Mary's, Wellingborough;
Saint Michael and All Angels, Inverness;
the Ciborium, and House Chapel extension, for the Society of Saint John the Evangelist, in Oxford (now Saint Stephen's House, Oxford);
Lady Chapel and Gilded Paintings in the Chancel of All Saints, Margaret Street, London.


File:All Saints, Margaret Street, London W1 - Sanctuary - geograph.org.uk - 1668267.jpg

The Sanctuary, All Saints Church, 
Margaret Street, London.
One of Sir John Ninian Comper's commissions.
Photo: 3 November 2001.
Source: From geograph.org.uk; transferred by 
Author: John Salmon.
(Wikimedia Commons)


Comper is noted for re-introducing the 'English Altar', an Altar surrounded by Riddel Posts. [Images, and documentary mentions of early examples [of Ciboria], often have Curtains, called tetravela, hung between the Columns; these Altar-Curtains were used to cover, and then reveal, the view of the Altar by the Congregation at points during Services — exactly which points varied, and is often unclear. Altar-Curtains survived the decline of the Ciborium in both East and West, and in English are often called "Riddels" (from French, rideau, a word once also used for ordinary domestic curtains).


File:Charles Eamer Kempe, 1860.jpg

Charles Eamer Kempe, (1860).
Upon moving to London, John Ninian Comper was Articled to Charles Eamer Kempe.
Charles Eamer Kempe (29 June 1837 – 29 April 1907) was a Victorian Stained Glass designer and manufacturer. His studios produced over 4,000 windows and also designs for Altars and Altar Frontals, furniture and furnishings, Lichgates and Memorials, that helped to define a later 19th-Century Anglican style. The list of English Cathedrals containing examples of his work includes: Chester, Gloucester, Hereford, Lichfield, Wells, Winchester, York.
This File: 21 July 2006.
Source: Found at [http://homepage.ntlworld.com/peter.fairweather/docs/kempe.htm].
Author: Unknown.
(Wikipedia)


A few Churches have "Riddle Posts", or "Riddel Posts", around the Altar, which supported the Curtain-Rails, and perhaps a Cloth stretched above. Such an arrangement can be seen in Folio 199v of the Très Riches Heures du duc de Berry. Late-Mediaeval examples in Northern Europe were often topped by Angels, and the Posts, but not the Curtains, were revived in some new or refitted Anglo-Catholic Churches by Ninian Comper and others around 1900.



Altar Frontal (Antependium) designed by Charles Eamer Kempe.

Upon moving to London, John Ninian Comper was Articled to Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART




Altar Frontal (Antependium) designed by Charles Eamer Kempe.

Upon moving to London, John Ninian Comper was Articled to Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART




Altar Frontal (Antependium) designed by Charles Eamer Kempe.

Upon moving to London, John Ninian Comper was Articled to Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART




Altar Frontal (Antependium) designed by Charles Eamer Kempe.

Upon moving to London, John Ninian Comper was Articled to Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART



In earlier periods, the Curtains were closed at the most solemn part of the Mass, a practice that continues to the present day in the Coptic and Armenian Churches. A comparison to the Biblical Veil of the Temple was intended. The small domed structures, usually with red curtains, that are often shown near the Writing Saint in early Evangelist portraits, especially in the East, represent a Ciborium, as do the structures surrounding many manuscript portraits of Mediaeval Rulers.]


File:Cardiff St.John - Fenster 2a Lukas und Maria.jpg

English: Saint John the Baptist Parish Church, Cardiff, Wales.
Stained Glass window (1915) by Ninian Comper
Saint Luke painting Madonna and Child (detail).
Deutsch: Cardiff (Wales). Pfarrkirche St. Johannes der Täufer -
Buntglasfenster (1915) von Ninian Comper:
Heiliger Lukas malt Madonna mit Kind (Detail).
Photo: 28 July 2011.
Source: Own work.
Author: Wolfgang Sauber.
(Wikimedia Commons)


Comper designed a number of remarkable Altar Screens (Reredos), inspired by Mediaeval originals. Wymondham Abbey, Norfolk, has one of the finest examples.

Only one major ecclesiastical work of Comper's is in the United States, the Leslie Lindsey Chapel of Boston's Emmanuel Episcopal Church. The work is an all-encompassing product of, and testimony to, Comper's design capability, comprising the entire decorative scheme of the Chapel, designed by the architectural firm of Allen & Collins. Comper designed its Altar, Altar Screen, Pulpit, Lectern, dozens of statues, all its furnishings and appointments, and most notably the Stained Glass windows. The Chapel commemorates Leslie Lindsey and Stewart Mason, her husband of ten days, who were married at Emmanuel Church, and perished when the Lusitania was torpedoed in 1915.


File:Heritage Inspited Photographs 048.jpg

Detail of Reredos at Saint James Church,
High Melton, England, by Ninian Comper.
Photo: 27 July 2007.
Source: Own work.
Author: Dearnesman.
(Wikimedia Commons)


File:St John the Baptist's church - the rood screen - geograph.org.uk - 1507429.jpg

Sir John Ninian Comper's Rood Screen, 
Saint John the Baptist Church,
Lound, Nottinghamshire, England.
Photo: 24 September 2009.
Source: From geograph.org.uk.
Author: Evelyn Simak.
(Wikimedia Commons)

Saint John the Baptist's Church 1507412 - 1507426 , in Lound, is widely known as the 'Golden Church', its fame originating from the generosity of Father Booth Lyes, a past Rector, who employed Sir Ninian Comper's genius to restore it. The Round Tower 1507419 - the oldest part of the Church and believed to be Early-Norman - was probably rebuilt at some later time. The Church was extensively restored in 1912/1913. The High Altar 1507434 was raised on new flooring, and richly decorated Posts, surmounted by gilded bronze Angels, support curtains of Spanish silk. 

Below the Altar, Ninian Comper's magnificent Rood Screen is adjoined at the South End by the Altar of Our Lady, above which Saint Mary Salome, Saint Mary the Virgin, and Saint Elizabeth, are depicted on boards with richly gilded gesso backgrounds 1507432. By Comper is also the only modern wall painting in Suffolk depicting a Saint Christopher 1507439 - the Saint is surrounded by a water mill, with a Suffolk Punch horse and its rider, waiting patiently in front of it, and a portrait of Sir Ninian driving his Rolls Royce along the river bank. The airplane, at top right, 
was added during the 1964 restoration of the painting. 

The Organ Case 1507447, at the West End of the Church, was installed in 1913. The Organ 
was built by Harrison & Harrison Ltd, of Durham. The original Norman Font Bowl 
now serves as a base for the Pulpit. The present Octagonal Font 1507445 - given in 1389
by Robert Bertelot - is of the traditional East Anglian type and the inscription 
at its base, commemorating the donor, is still legible. Saint John the Baptist's Church 
has a 'Welcome' banner above the South Doorway and is open every day.




Saint Mary The Virgin Church,
Wellingborough, Northamptonshire, England.
One of Sir John Ninian Comper's masterpieces of creation.


From 1912, Ninian and Grace lived in London at The Priory, Beulah Hill, a house designed by Decimus Burton (1800–1881), where he entertained friends such as John Betjeman. He had a studio nearby at Knights Hill, close to the world's first Gothic Cemetery at West Norwood. After the studio was destroyed in World War II, it was relocated to a building in his garden, which had previously been used by his son, Nicholas Comper (1897–1939), to design aircraft. Comper was knighted by King George VI in 1950.

On 22 December 1960, he died in The Hostel of God (now Trinity Hospice) in Clapham, London. His body was brought back to Norwood for cremation at West Norwood Cemetery. His ashes were then interred beneath the windows he designed in Westminster Abbey.

14 May, 2014

Charles Eamer Kempe (1837 - 1907). Victorian Stained-Glass Designer. "If I Was Not Permitted To Minister In The Sanctuary, I Would Use My Talents To Adorn It".


Text and Illustrations from Wikipedia - the free encyclopaedia,
unless otherwise stated.





Stained-Glass, in the West Window of the South Transept of Bristol Cathedral, featuring, from left:
King Alfred the Great; the writer, Richard Hakluyt; the Priest and Theologian, Richard Hooker;
and the playwright and poet, William Shakespeare.
Date: Circa 1905.
(Wikimedia Commons)





Charles Eamer Kempe, (1860).
Charles Eamer Kempe (29 June 1837 – 29 April 1907) was a Victorian Stained-Glass designer
and manufacturer. His studios produced over 4,000 windows and also designs for Altars and Altar Frontals, Furniture and Furnishings, Lichgates and Memorials, that helped to define a later
19th-Century Anglican Style. The list of English Cathedrals containing examples of his work includes: Chester, Gloucester, Hereford, Lichfield, Wells, Winchester, York.
This File: 21 July 2006.
Source: Found at [http://homepage.ntlworld.com/peter.
fairweather/docs/kempe.htm].
Author: Unknown.
(Wikipedia)



Charles Eamer Kempe (29 June 1837 – 29 April 1907) was a Victorian Stained-Glass designer and manufacturer. His studios produced over 4,000 windows and also designs for Altars and Altar Frontals, furniture and furnishings, Lichgates (Lychgates) and Memorials, that helped to define a Later-19th-Century Anglican Style. The list of English Cathedrals containing examples of his work includes: Chester, Gloucester, Hereford, Lichfield, Wells, Winchester, York.

Charles Kempe was born at Ovingdean Hall, near Brighton, West Sussex, in 1837. He was the youngest son of Nathaniel Kemp, a cousin of the Thomas Read Kemp, a politician and property developer responsible for the Kemptown area of Brighton [Note: Kemp added the final "e" to his surname in later life], and the maternal grandson of Sir John Eamer, who served as Lord Mayor of London in 1801.




Interior of Church of Saint Paul, Mirfield, West Yorkshire, England, designed by William Swinden Barber in 1881. Showing a particularly fine window on the South Wall, by Charles Eamer Kempe. The East and West Windows were there in 1881 at the Consecration ceremony, but the date of this one is unknown - possibly 1902, after the Second Boer War, since it shows war-like Mediaeval heroes, King Arthur, Saint George, and Saint Oswald (Oswald of Northumbria).
Photo: 8 April 2014.
Source: Own work.
Author: Linda Spashett Storye book.
(Wikimedia Commons)



After attending Twyford School, he attended Pembroke College, Oxford, where he was influenced by the Anglo-Catholic Tractarian revival and considered a vocation to the Priesthood. When it became clear that his severe stammer would be an impediment to preaching, Kempe decided that "if I was not permitted to Minister in the Sanctuary, I would use my talents to adorn it", and subsequently went to study architecture with the firm of a leading ecclesiastical architect, George Frederick Bodley, where he learned the aesthetic principles of Mediaeval Church Art, particularly Stained-Glass.

During the 1860s, Kempe collaborated with Bodley on the internal painting of two Churches, All Saints, Jesus Lane, in Cambridge, and Saint John’s, The Brook, in Liverpool. Later, in 1892, Bodley and Kempe would work together once more on All Saints, Danehill, East Sussex.




Altar Frontal (Antependium) designed by Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART





Altar Frontal (Antependium) designed by Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART



In 1866, he opened a studio of his own in London, supplying and creating Stained-Glass and Furnishings and Vestments. The firm prospered and by 1899 he had over fifty employees. As a trademark, the firm used a Golden Garb, or Wheat-Sheaf, taken from Kempe's own Coat-of-Arms. The Mid-Victorian period were important years in the history of the design of English Churches and Kempe’s influence is found in numerous examples, many in his home County of Sussex, which has 116 examples of his work.

The works at Saint Mark’s, Staplefield, near Horsham, West Sussex, dating from 1869, are regarded as especially important, representing the earliest of three known examples of Kempe’s Wall Painting. They contain key elements of Kempe’s figurative work. The Angels, holding the scroll, are magnificently apparelled and the borders of their cloaks are embellished with pearls, each individually highlighted, although they don’t contain a design of peacock feathers, a well-used embellishment in later works.




Interior of Church of Saint Paul, Mirfield, West Yorkshire, England,
designed by William Swinden Barber in 1881. A particularly fine window
on the South Wall,
by Charles Eamer Kempe.
Photo: 8 April 2014.
Source: Own work.
Author: Linda Spashett Storye book.
(Wikimedia Commons)



Rosalie Glynn Grylls, Lady Mander, whose home, Wightwick Manor, near Wolverhampton, contains many pieces of Kempe's Stained-Glass, wrote in 1973: "Kempe's work has a unique charm; its colours shine out from jewels, that cluster on the Mitres or the Crowns that his figures wear, and from their peacocks' feathers, while Angels, playing their instruments, are drawn with tender delicacy and scattered above the main windows informally, but making a pattern of precision. Above all, the prevailing yellow-wash is literally translucent, for it lets through the rays of the full-, or the setting-, sun . . ."

On Kempe’s death, in 1907, the firm passed to his relative, Walter Earnest Tower (1873–1955), who re-named the firm C. E Kempe and Co., who, thenceforth, used a Black Tower above the Golden Garb. A lack of orders, caused by the Great Depression, ended the firm's life in 1934.




Altar Frontal (Antependium) designed by Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART





Altar Frontal (Antependium) designed by Charles Eamer Kempe.
Illustration: MEDIEVAL CHURCH ART



Kempe was a rather shy person, who never married. He continued to live in Sussex most of his life and, in 1875, he bought and renovated an Elizabethan House at Lindfield, near Haywards Heath, in West Sussex. Kempe would entertain his clients and professional colleagues from his home, enjoying the role of a Country Squire.

Kempe died in 1907 and is buried in the Churchyard at Saint Wulfran's Church, Ovingdean. Unfortunately, most of Kempe's records were disposed of after the firm shut in 1934.




The East Window of Saint Mary the Virgin Church,
Baldock, Hertfordshire, England, showing Christ and the Four Evangelists.
The window was designed by Charles Eamer Kempe.
Photo: 2009.
Source: Own work.
Author. Jack1956.
(Wikipedia)



The following Text is taken from THE KEMPE SOCIETY

In 1869, dissatisfied with the quality of the work produced for him, Kempe started his own workshop at Millbrook Place, London, with the professional co-operation of Fred Leach. The idea for a design would first be drawn by Kempe, and then the full size cartoon would be produced in his studios by his chief draughtsman and a team of artists, who added the detailed decoration. The cartoon was then taken to his Millbrook works for glass cutting, painting and leading. The glass was always carefully selected, supplied by either Messrs Miller Beal and Hilder Ltd., or James Hetley and Co., at 35 Soho Square, London, who reserved a room for Kempe’s glass.

In 1888, the studios and offices moved to 28 Nottingham Place, in Central London., and by the end of the Century he employed over fifty people.

Such success and demand was bound to lead to repetition, and some of Kempe’s later work involved adapting earlier designs. But, unlike other large Victorian studios, he never allowed the quality or individuality of his work to deteriorate. The senses are always thrilled by the spirituality of his Stained-Glass.




Kempe's Family Coat-of-Arms,
"Gules three garbs within a bordure engrailed".
Pre-1895 Logo.
Usually found in the top Tracery of a window.
Illustration: KEMPE STAINED GLASS



His studios, in spite of their heavy commitment to Stained-Glass, also produced designs for Church Furniture, Reredos, Screens, Altars, and Panelling. Kempe continued to design splendid Vestments and Altar Frontals (Antependiums) that were embroidered exquisitely by the Anglican Order of Clewer Sisters.

The decade from 1895-1905 was the busiest the Kempe Glass-Works were to experience and it was to culminate in a commission to produce a window of Saint George, for Buckingham Palace. This window, the victim of wartime bombing, can now be seen in the Ely Stained-Glass Museum in Ely Cathedral, Cambridgeshire, England.




After 1895, the Shield Logo was replaced by a Single Wheatsheaf,
usually in the bottom left-hand corner of a Stained-Glass Window.
Illustration: KEMPE STAINED GLASS



Kempe kept up his business interests with great energy, busily visiting sites ("such motor journeys !" he writes in 1905); making sketches for designs and watching the effects in the Glass-Works. But for some years before Kempe’s death, John Lisle had become the ghost designer for the firm and Kempe, who still enjoyed initiating a project and making suggestions, came to rely more and more on his junior’s collaboration, eventually handing responsibility for designs to him.

From 1895, the studios used the Wheatsheaf, taken from Kempe’s Family Coat-of-Arms, to sign their work. This simplified the complete Arms of "Gules three garbs within a bordure engrailed", which had been used sparingly.




On Kempe's death in 1907, the Single Wheatsheaf Logo was replaced with the Single Golden Wheatsheaf with a Black Tower superimposed on the head. The last Stained-Glass Window of the firm's production had the Black Tower laid on its side to denote the last of its line.
Illustration: KEMPE STAINED GLASS





Saint George,
in the South Aisle,
Church of Saint Mary and Saint Helen,
Neston, Cheshire, England.
1905.
Illustration: KEMPE STAINED GLASS



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