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

Monday 21 November 2016

The Presentation Of The Blessed Virgin Mary. Feast Day 21 November.


Text from The Saint Andrew Daily Missal,
unless otherwise stated.

The Presentation of The Blessed Virgin Mary.
Feast Day 21 November.

Greater-Double.

White Vestments.




English: The Presentation of The Virgin Mary (detail).
Titian (1490–1576).
Italiano: Tiziano. Presentazione al Tempio (dettaglio).
Date: 1534 - 1538.
Current location: Accademia of Venice, Italy.
Source: Gallerie dell'Accademia, Venice, Italy.
(Wikimedia Commons)

After having Solemnised, on 8 September, The Nativity of The Blessed Virgin, and, four days later, The Feast of The Holy Name of Mary, a name given to her a short time before her Birth, The Cycle celebrates on this day The Presentation in the Temple of The Child of Benediction.

These first three Feasts of Mary's Cycle are an echo of The Christological Cycle, which, likewise, celebrates: The Birth of Jesus, 25 December; The Imposition of His Holy Name, 2 January; and His Presentation in the Temple, 2 February.



English: The Presentation of The Blessed Virgin Mary in the Temple.
Italiano: Presentazione di maria al tempio.
Artist: Alfonso Boschi.
Date: 17th-Century.
Source: Giovanni Piccirillo (a cura di),
La chiesa dei Santi Michele e Gaetano,
Becocci Editore, Firenze 2006.
Author: sailko.
(Wikimedia Commons)

The Feast of The Presentation of Mary is founded on a pious Tradition, originated by two apocryphal Gospels, which relate that The Blessed Virgin was Presented in the Temple of Jerusalem, when three years old, and that she lived there, with other girls and the Holy Women, who had them in their care. Already in the 6th-Century A.D., the event is Commemorated in The East and the Emperor, Michael Comnenus, alludes to it in a Constitution of 1166.



English: Fresco of The Presentation of The Blessed Virgin Mary.
The Monastery Church of The Assumption,
der Dillinger Franziskanerinnen in Dillingen an der Donau,
Fresko mit der Darstellung des Tempelganges Mariens.
Photo: 26 September 2010.
Source: Own work.
Author: GFreihalter.
(Wikimedia Commons)

A French nobleman, Philippe de Maizières, who was Chancellor at the Court of the King of Cyprus, having been sent in 1372 as Ambassador to Pope Gregory XI, at Avignon, related to the Pope with what magnificence The Feast was Solemnised in Greece, on 21 November. His Holiness introduced The Feast at Avignon and Pope Sixtus V introduced it at Rome in 1585. Pope Clement VIII raised it to the Rank of Greater-Double and re-arranged The Office.

Mass: Salve, Sancta Parens.
Preface: Of The Blessed Virgin Mary: Et te in Praesentatione.


THE SAINT ANDREW DAILY MISSAL



THE SAINT ANDREW DAILY MISSAL

Available (in U.K.) from

Available (in U.S.A.) from

Saint Mary The Virgin Church. Designed By Sir John Ninian Comper (1864 – 1960). Scottish Gothic-Revival Architect.


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



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


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;
Lady Chapel at Downside Abbey,Somerset;
The Ciborium, and House Chapel extension, for The Society of Saint John the Evangelist, in Oxford (now Saint Stephen's House, Oxford);
Saint Cyprian's, Clarence GateLondon;
Lady Chapel at Saint Matthew's, Westminster;
Lady Chapel and Gilded Paintings in the Chancel of All Saints, Margaret Street, London.



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).


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.]


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 and 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.


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


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 and 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.

Sunday 20 November 2016

Bravo Zulu, Andy.


                        


"Bravo" and "Zulu" Signal Flags.
Bravo Zulu is a Naval Signal, typically conveyed by Flag or Voice Radio,
meaning "Well Done";


Andy Murray, after defeating Novak Djokovic,
to win his first ATP World Tour Finals Title
and end 2016 as The World Number One.
Photo Credit: Getty Images
Illustration: BBC SPORT

Don't Forget To Say Your Night Prayers.



Illustration: PINTEREST

William Morris. Arts And Crafts.



"Compton"
A William Morris Wallpaper.
'Compton' was designed by John Henry Dearle in 1895, specially for Compton Hall in Wolverhampton, England, the home of Laurence Hodson. The original design required two sets of wood blocks to print all twenty-eight colours, owing to the large vertical repeating pattern, but has since been scaled down and adapted for a wider audience. Compton" is still a popular wallpaper and is also available in a printed cotton.

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

William Morris (24 March 1834 – 3 October 1896) was an English textile designer, poet, novelist, translator, and socialist activist. Associated with The British Arts and Crafts Movement, he was a major contributor to the revival of traditional British textile arts and methods of production. His literary contributions helped to establish the modern fantasy genre, while he played a significant role in propagating the early socialist movement in Britain.

Born in Walthamstow, Essex, to a wealthy middle-class family, Morris came under the strong influence of Mediaevalism while studying Classics at Oxford University, there joining the Birmingham Set.


"Mary Isobel" Embroidery.

"Mary Isobel" is a beautifully-ornate design created by John Henry Dearle and originally sold
as an embroidery kit by Morris and Co., circa 1890. Named after the lady who embroidered it,
"Mary Isobel" comes richly-embroidered on linen and on 100% silk and is also available
in a printed fabric in the Morris V Collection.

After University, he trained as an architect, married Jane Burden, and developed close friendships with the Pre-Raphaelite artists Edward Burne-Jones and Dante Gabriel Rossetti and with the Neo-Gothic architect Philip Webb.

Webb and Morris designed a family home, Red House, in Bexleyheath, Kent, where the latter lived from 1859 to 1865, before moving to Bloomsbury, central London. In 1861, Morris founded a decorative arts firm with Burne-Jones, Rossetti, Webb, and others: The Morris, Marshall, Faulkner and Co. Becoming highly fashionable and much in demand, the firm profoundly influenced interior decoration throughout The Victorian Period, with Morris designing tapestries, wallpaper, fabrics, furniture, and Stained-Glass Windows. In 1875, Morris assumed total control of the company, which was renamed Morris and Co.


"Pimpernel".
Morris designed "Pimpernel" in 1876 and later chose it to decorate his dining room at
Kelmscott House in Hammersmith London. With its complex structure and swirling rhythms, Pimpernel is available in five stunning colourways, based on the originals.

Although retaining a main home in London, from 1871 Morris rented the rural retreat of Kelmscott Manor, Oxfordshire. Greatly influenced by visits to Iceland, with Eiríkr Magnússon he produced a series of English-language translations of Icelandic Sagas.

He also achieved success with the publication of his epic poems and novels, namely The Earthly Paradise (1868–1870), A Dream of John Ball (1888), the utopian News from Nowhere (1890), and the fantasy romance The Well at The World's End (1896).


"The Red House",
Bexleyheath, Kent.
Co-designed by William Morris and
where Morris lived from 1859 to 1865.
Photo: 27 May 2014.
Source: Own work.
(Wikimedia Commons)

In 1877, he founded The Society For The Protection of Ancient Buildings to campaign against the damage caused by architectural restoration. Embracing Marxism and influenced by Anarchism, in the 1880s Morris became a committed revolutionary socialist activist; after an involvement in The Social Democratic Federation (SDF), he founded The Socialist League in 1884, but broke with that organisation in 1890. In 1891, he founded The Kelmscott Press, to publish limited-edition, illuminated-style, print books, a cause to which he devoted his final years.

Morris is recognised as one of the most significant cultural figures of Victorian Britain; though best known in his lifetime as a poet, he posthumously became better known for his designs. Founded in 1955, The William Morris Society is devoted to his legacy, while multiple biographies and studies of his work have seen publication. Many of the buildings associated with his life are open to visitors, much of his work can be found in art galleries and museums, and his designs are still in production.


Portrait of William Morris, aged 53.
Date: First published 1899 (photo, circa, 1887).
Google Books edition of J. W. Mackail The Life of William Morris in two volumes, 
London, New York and Bombay: Longmans, Green and Co., 1899.
Author: Frederick Hollyer (1838–1933).
(Wikimedia Commons)

Stir-Up Sunday. 20 November 2016.


Text from FR. Z's BLOG



All Illustrations: FR. Z's BLOG

Today, Sunday, 20 November, is The Last Sunday of The Church’s Liturgical Year.

It is therefore . . .

STIR UP SUNDAY !

The “Stir Up” comes from the first words of the Traditional Collect in The Roman Rite. It also comes from the Tradition of stirring up the ingredients of The Christmas Pudding !

What are your plans for Christmas Pudding ?

The more important question is: What are MY plans for Christmas Pudding.

I must give this some thought.


UPDATE:

Since I will be moving to a new dwelling in the near future, I have been going through things.

I found a Christmas Pudding from TWO YEARS AGO, tucked away for ageing.

I would say that it is sufficiently Seasoned.

QUAERITUR:

Will it be lethal ?

If not, maybe I won’t make one.

I invite input, especially from experts in Blighty.

The Rock Island Line.



Chicago, Rock Island and Pacific 938 was under steam for the very last time on 16 September 1953, just before proceeding to Chicago's LaSalle Street Station for a Press Announcement of Rock Island's attaining its 100% Diesel goal.
Locomotive 938 had been specially painted and striped for the event. Later in the day, 938 returned to storage at Blue Island. The accession of 4-6-2 Pacific Type Locomotive 938 marks a significant milestone for the Museum's collection, as it represents one of the most common passenger-service wheel arrangements. Photo by R. W Buhrmaster.


"Rock Island Line".
Sung by Lonnie Donegan (1961).
Available on YouTube at

The following Text is from Wikipedia - the free encyclopaedia.

"Rock Island Line" is an American blues/folk song, first recorded by John Lomax in 1934, as sung by inmates in an Arkansas State Prison, and later popularised by Lead Belly. Many versions have been recorded by other artists, most significantly the World-Wide hit version in the Mid-1950s by Lonnie Donegan. The song is ostensibly about The Chicago, Rock Island and Pacific Railroad.

The chorus to the old song reads:

The Rock Island Line is a mighty good road
The Rock Island Line is the road to ride
The Rock Island Line is a mighty good road
If you want to ride you gotta ride it like you find it
Get your ticket at the station for the Rock Island Line

The verses tell a humorous story about a train operator who smuggled pig iron through a toll gate by claiming all he had on board was livestock.

The Chicago, Rock Island and Pacific Railroad was a Class I Railroad in The United States. It was also known as The Rock Island Line, or, in its final years, The Rock.

Friday 18 November 2016

Day-Return To Mississippi, Please.



Illustration: PINTEREST

Kirkstall Abbey.


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


Kirkstall Abbey,
Yorkshire, England.
Photo: 30 March 2013.
Source: Own work.
Author: Minda.
(Wikimedia Commons)


The Nave,
Kirkstall Abbey,
Leeds, Yorkshire,
England.
Date: 1890s.
This File: 1 May 2006.
User: Jungpionier.
(Wikimedia Commons)

Kirkstall Abbey is a ruined Cistercian Monastery in Kirkstall, North-West of Leeds, Yorkshire. It is set in a public park on the North Bank of the River Aire. It was founded circa 1152. It was dis-established during the Dissolution of the Monasteries, under the auspices of Henry VIII.

The picturesque ruins have been drawn and painted by artists such as J.M.W. Turner, Thomas Girtin and John Sell Cotman.

Kirkstall Abbey was acquired by Leeds Corporation, as a gift from Colonel North, and opened to the public in the Late-19th-Century. The gatehouse became a museum.


Roger de Lacy Coat of Arms.
Roger de Lacy (died after 1106) was an Anglo-Norman nobleman,
a Marcher Lord on the Welsh border. Roger was a Castle builder, particularly at Ludlow Castle.
Description: Or, a lion rampant purpure.
Source: Own work.
Author: Dlkeller999
(Wikipedia)


Ludlow Castle,
which Roger de Lacy (see, above)
helped to build.
Photo: 29 May 2007.
Source: Ludlow Castle
Author: Sam Saunders
(Wikimedia Commons)

De Lacy (Laci, Lacie, Lascy, Lacey) is the surname of an old Norman noble family, which originated from Lassy, Calvados, France. The family took a major role in The Norman Conquest of England and the later Norman Invasion of Ireland. The name is first recorded for Hugh de Lacy (1020 – 1049). His sons, Walter and Ilbert, left Normandy and travelled to England with William the Conqueror, playing a major role in The Battle of Hastings.

The awards of land by The Conqueror, to the de Lacy sons, led to two distinct branches of the family: The Northern Branch, centred around Blackburnshire and Yorkshire, was held by Ilbert's descendants; The Southern Branch, of Marcher Lords, centred on Herefordshire and Shropshire, was held by Walter's descendants.

Until 1399, The Northern Branch of the family held the great Lordship of Bowland, before it passed through marriage to The Duchy of Lancaster, as well as being Barons of Pontefract and, later, Earls of Lincoln.

The Southern Branch of the family became substantial landholders in The Lordship of Ireland, and was linked to The Scottish Royal Family; Elizabeth de Burgh, whose great grandfather was Walter de Lacy, married Robert the Bruce, King of Scotland.


Kirkstall Abbey,
Leeds, Yorkshire.
Photo: 30 April 2006.
Source: Own work.
Author: Jungpionier.
(Wikimedia Commons)

Henry de Lacy (1070 – 1123), Lord of the Manor of Pontefract, 2nd Lord of Bowland, promised to dedicate an Abbey to The Virgin Mary, should he survive a serious illness. He recovered and agreed to give the Abbot of Fountains Abbey land at Barnoldswick in The West Riding of Yorkshire (now in Lancashire), on which to found a Daughter Abbey.

Abbot Alexander, with twelve Cistercian Monks from Fountains Abbey [Editor: Near Rievaulx Abbey], went to Barnoldswick and, after demolishing the existing Church, attempted to build the Abbey on Henry de Lacy's land. They stayed for six years, but found the place inhospitable. Abbot Alexander set about finding a more suitable place for the Abbey and came across a site in the heavily-wooded Aire Valley, occupied by Hermits.

Alexander sought help from de Lacy, who was sympathetic and helped acquire the land from William de Poitou. The Monks moved from Barnoldswick to Kirkstall, displacing the Hermits, some of whom joined the Abbey, the rest being paid to move. The buildings were mostly completed between 1152, when the Monks arrived in Kirkstall, and the end of Alexander's Abbacy in 1182. Millstone Grit for building came from Bramley Fall on the opposite side of the river.


Kirkstall Abbey.
Photo: 20 July 2010.
Source: Own work.
Author: Tony Grist.
(Wikimedia Commons)

The English Cistercian houses, of which there are ruins at Fountains, Rievaulx, Kirkstall, Tintern and Netley, were mainly arranged after the same plan, with slight local variations.

The Church is of the Cistercian type, with a short Chancel and Transepts, with three Eastward Chapels to each, divided by solid walls. The building is plain, the windows are not ornamented, and the Nave has no Triforium. The Cloister, to the South, occupies the whole length of the Nave. On the East side, stands the Two-Aisled Chapter-House, between which and The South Transept is a small Sacristy, and, on the other side, two small apartments, one of which was probably the Parlour. Beyond this, is the Calefactory, or day-room, of the Monks. Above this whole range of building, runs the Monks' Dormitory, opening by Stairs into The South Transept of the Church.

On the South Side of the Cloister, there are the remains of the old Refectory, running, as in Benedictine Houses, from East to West, and the new Refectory, which, with the increase of the inmates of the house, superseded it, stretching, as is usual in Cistercian houses, from North to South. Adjacent to this Apartment are the remains of the Kitchen, Pantry and Buttery. The Arches of the Lavatory are to be seen near the Refectory entrance. The Western Side of the Cloister is occupied by Vaulted Cellars, supporting, on the Upper Storey, the Dormitory of the Lay Brothers.


Kirkstall Abbey, Yorkshire.
Artist: Charles Alban Buckler.
Date: 1850.
Current location: British Library.
Source/Photographer: [1].
This File: 9 May 2011.
(Wikimedia Commons)

Extending from the South-East angle of the main group of buildings, are the walls and foundations of a secondary group of buildings. These have been identified as the hospitium, or The Abbot's House, but they occupy the position in which the Infirmary is more usually found. The Hall was a very spacious Apartment, measuring 83 ft. in length by 48 ft. 9 inches in breadth, which was divided by two rows of Columns. The fish-ponds lay between the Monastery and the River, to the South. The Abbey Mill was situated about 80 yards to the North-West. The Mill Pool may be distinctly traced, together with the Goit or Mill Stream.

On 22 November 1539, the Abbey was surrendered to Henry VIII's Commissioners in The Dissolution of The Monasteries. It was awarded to Thomas Cranmer, in 1542, but reverted to The Crown when Cranmer was executed, in 1556. Sir Robert Savile purchased the estate in 1584, and it remained in his family's hands for almost a hundred years. In 1671, it passed into the hands of The Brudenell family, The Earls of Cardigan. Much of the stone was removed for re-use in other buildings in the area, including the steps leading to Leeds Bridge.

During the 18th-Century, the picturesque ruins attracted artists of The Romantic Movement and were painted by artists including J. M. W. Turner, John Sell Cotman and Thomas Girtin. In 1889, the Abbey was sold to Colonel John North, who presented it to Leeds City Council. The Council undertook a major restoration project and the Abbey was opened to the public in 1895.


Kirkstall Abbey.
Photo: 23 August 2007.
Source: Own work.
Author: JohnArmagh.
(Wikimedia Commons)


Kirkstall Abbey,
Photo: 30 April 2006.
Source: Own work.
Author: Jungpionier.
(Wikimedia Commons)

The Abbey is a Grade I Listed Building and Scheduled Ancient Monument. After a £5.5 million renovation programme, there is a new Visitor Centre, with interactive exhibits, which illustrates the history of the Abbey and the lives of the Monks. Entry to the Abbey is via the Visitor Centre - free of charge, but with a donation box. Occasionally, guided tours are available (free of charge).

The Leeds Shakespeare Festival, performed by the British Shakespeare Company, took place annually in the Cloisters, from 1995 until 2009. The Abbey grounds are a public park, and are used for occasional events, such as the annual Kirkstall Festival and the Kirkstall Fantasia open-air concerts.

On the other side of the main road, the grade II* Listed former Abbey Gatehouse now forms the Abbey House Museum.


Kirkstall Abbey.
Image courtesy of Leeds City Council.
Copyright notice states:"You are free to use imagery as you wish,
with no royalty payments or lengthy registration process.
Our aim is to promote Leeds and encourage the use
of quality, up-to-date, images of the City."
This File: 23 May 2006.
User: GeeJo.
(Wikimedia Commons)


Kirkstall Abbey.
Photo: 30 April 2006.
Source: Own work.
Author: Jungpionier.
(Wikimedia Commons)
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