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Records suggest that stained glass windows were first introduced in the first century. However, from the beginning of the 11th century, many churches were built in England and it was during this period that stained glass windows were introduced, using coloured glass held in place with strips of lead.

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These windows typically showed representations of biblical characters and teachings and were used for both decorative and informative purposes. Often windows were donated by members of the congregation or by families as memorials of loved ones.

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However, around this time, William Morris advocated the return to cottage crafts and the use of old skills and together with a of his peers, formed what is now known as the Arts and Crafts Movement. This in turn led to a major revival of the use of stained glass in churches throughout the country, with members of the public contributing to the commissioning of windows for the local parish church.

Churches are generally large buildings, consequently architects deed the building to include large windows to let in as much light as possible.

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Typically, windows tended to be either two or three light lancet windows. This can be seen today in the upper windows of the nave, the large West window and the glazed windows in the tower.

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It was not until August that the first stained glass window, in memory of Isabelle Tomkins nee dePurywas installed in the south wall of the chancel. The windows are a mixture of standard des and des by renowned artists. For many years, Joseph Wilson Forster lived at 36 Falconer Road, Bushey, Herts and used brick built studios at the rear of the premises.

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Described as a Painter and Illustrator and worker in stained glass, he ran a school of Arts and Crafts in Bushey c. He died in Wilson Forster. They lived in Fellows Road, West Hampstead. Jessie became a painter, illuminator and muralist in the traditions of Walter Crane and the Arts and Craft Movement and also a deer of stained glass windows.

Jessie Bayes died whilst living in Paddington in Glenn Carter Glenn Carter was born in and initially trained as a Graphic Deer at Portsmouth College of Art prior to becoming a freelance deer, maker and restorer of painted and stained glass windows, moving to Lincolnshire in His work on ecclesiastical buildings can be seen in Lincolnshire, Yorkshire and Hampshire and during the period of tohe worked at Granny dating in saint luke Cathedral on the restoration of the Dean eye window.

Stained glass windows, st luke’s

Today, the company works in the production and restoration of traditional stained glass and architectural glass. William Aikman moved to Sutton in and died in An example of their work can also be seen in Westminster Abbey and Wimborne Minster. Byhe was known as an artist, painter and sculptor, working with his two brothers.

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The company ature is generally either the Bacon family shield or three bees to represent the three Bacon brothers. James died in and the firm was then run by his sons and later grandsons. It became a major business in the glass making world with a large part of its production relating to church stained glass windows, particularly in the 19th century during the period of the Gothic Revival.

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The business closed in Erridge,a glass painter and deer. A ed board by J. Beneath the Feet of the Christ blooms the Tree of Life- its roses are symbolical of love- as are also the parent birds with their nest of young ones. The lilies are emblems of purity.

The groups of Angels are celestial beings, praising God, and expressing their joy on divers instruments of music- as are also the child Angels playing upon harps. Below is a winged Ox, his symbol in Sacred art. Ezekial The Angel on the left carries a stole, the symbol of Obedience and a cup of Healing.

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The four herbs are Coltsfoot, Euphrasia, Calendula and Balsam. The censer of incense is a symbol of Prayer.

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Revelations The Angel on the right holds the lamp of truth in Holy Scripture. In choosing this symbolism of the Holy Spirit I was also mindful of the dedication given to Guildford Cathedral and the village of Grayshott which lies in an area of breckland where fire has been used as a renewing seasonal control.

At the top of each flame and lit by the fire is a light or star. These are symbolic of the seven lamps and gifts of the Holy Spirit which are wisdom, understanding, counsel, ghostly strength, knowledge, true godliness and holy fear. The landscape around the church is of important ificance and this is featured in the de and detail of the window.

Within the centre light granny dating in saint luke the top is a glowing area of blue.

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Below these blues lie tinted granny dating in saint luke forming a backdrop across the whole three windows being interspersed with yellows. The flames offer a strong yet lapping movement upwards through the lights and will be of orangey reds and yellows, interspersed with colours of the landscape; purples for heather, pinks for coniferous woodland. Within each light there is a small cameo taken from the local landscape. The left hand window contains a spray of heather in a bed of purple and violets. The centre window shows a representation of oak leaves and acorns surrounded by deciduous greens; symbolic of one of the trees that were considered when building the cross and considered a wood of endurance and strength of faith and virtue.

It is also the emblem of the National Trust who oversee a lot of the local landscape. In the right hand window and set in a brown tinted background is a gorse branch, again a plant found on the heath and a representative of the fragrance and beauty of the open heath-land.

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Originally, the district of what is now Grayshott parish was part of the Parish of Headley and the early residents of Grayshott had to travel the four miles or so to worship at Headley church. As the population of Grayshott increased and with it the of residents without transport, the requirement to provide a place of worship in Grayshott became more apparent. As a result of this requirement, in the Rector of Headley, Reverend Laverty, commenced regular services for the parishioners in a room in Grayshott school which continued until when Canon Granny dating in saint luke, Rector of Bramshott and Rural Dean, took over the responsibility of spiritual care of the Grayshott area of Headley Parish.

He continued to hold services in the school and then in the former Dame school at the top of Kingswood Lane, until the growing population eventually resulted in a need for extra facilities. An Iron Room was then built with funding provided by Canon Capes and Miss James, which was used for services and meetings until Jeakes, both of whom were curates of Bramshott church. It remained as such untilwhen it was sold to developers for what is now Vicarage Gardens and a new, smaller vicarage was built.

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However, a resolution was eventually reached for Grayshott to become a parish in its own right. Miss C. By June the plans had been agreed and were displayed in the Iron Room for viewing by the public, by which time the building work had commenced. The tower and spire, which was a later addition, was deed to be feet in height.

Granny dating in saint luke arches of the doors and windows, together with the tracery, were to be of Bath stone. All of the windows of the original building were of plain glass, the stained glass windows we see today being later additions.

The first stained glass window, depicting the Resurrection, was a gift from M. This installation, which was carried out following alterations to the form and tracery of the original window, is the subject of Christ in Glory and was dedicated at a special service in November by the Bishop of Guildford. The window was deed by J. The window in the south wall of the nave, installed in earlywas a gift of Sir John and Lady Brickwood dedicated to the memory of their son 2nd Lieutenant Arthur Brickwood who died in the First World war in April The Foundation Stone was laid on Saturday 30th July at a ceremony attended by more than people, drawn by the ringing of the Iron Church bell, together with the choir of men and boys of Grayshott and the Bramshott Church choir.

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In MayMr Whitaker invited all those involved in the actual building of the church, some 36 men, to Grayshott Hall where they were treated to supper. By the summer of that year the church was nearing completion and arrangements being made for the Service of Dedication.

The interior of the church was not fully complete at this time, the choir stalls and some of the planned seating had yet to be fitted. However, many of the fittings, the credence and altar rails, the pulpit, the heating, the organ and many other items, granny dating in saint luke been gifted or promised by members of the congregation. Lyndon to act as Churchwardens It was also agreed at this meeting that a portion of the Church seating would be allocated to individual parishioners.

Early years of st luke’s

Parishioners were invited to apply to the Churchwardens, stating the of seats required and in which part of the Church they preferred to sit. There would be no charge but it was intended that every other row of pew throughout the Church should remain unallocated. Appropriation granny dating in saint luke seating continued untilwhen it was decided to allow free seating throughout the Church at all services except Morning Prayer on Sundays and was abolished totally in July In MayGrayshott Magazine published a supplement setting out the position of the Building and Endowment Fund and contributions received from each individual.

In all, in addition to the many gifts which had been received for fitting out the Church, cash donations had been received from over people. All other funds for the Church and the Endowment Fund had been received through donations from the residents of Grayshott and the surrounding area.

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