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The Fairford stained glass windows (circa 1500) in St Mary's Church, Fairford, Gloucestershire, England, were once known as an example of the Netherlandish style of glass painting. The pre- Reformation medieval stained glass panes are of national historical and architectural importance as they constitute what is "probably the most complete set of medieval stained glass in Britain" consisting of 28 windows displaying biblical scenes. They were added after the church had been rebuilt by the wealthy wool merchant John Tame (c.1430-1500). The glass was made between 1500 and 1517 under the instructions of son Edward Tame.

The panes are now attributed to the Flemish glazier Barnard Flower (d.1517), glazier to King Henry VII (1485-1509), and according to some sources, also to John Thornton of Coventry and Galyon Hone. Several sources indicate that the overall design windows can probably be credited to Richard Fox, Bishop of Durham, later of Winchester.

The traditional story concerning the origin of the windows is related as follows by the Gloucestershire historian Bigland (d.1784) in his Account of the Parish of Fairford:

"About the year 1492 soon after the Siege of Boloigne, a vessel bound to the port of Rome from the Low Countries and laden with painted glass, is said to have been taken by him (i.e. John Tame) who instantly determined on preparing a church here for its reception".

Most of the 28 windows comprise four separate lancets, usually each one displaying a different but related, biblical scene, beneath painted gothic canopy-work. Six smaller lights occupy the space at the apex of the gothic arched windows, usually displaying decorative features of angels, where the scenes below are supportive of the Christian faith, or of devils where opposed.

The glass survived the Reformation when many images in English churches were destroyed. In 1642, during the Civil War, they narrowly avoided destruction when the Roundhead army was marching on the nearby town of Cirencester. It was customary at that time for cavalry of both sides to convert churches into temporary stables and barracks with little regard paid to the fabric of the buildings. The more puritan elements amongst the Roundheads were opposed to the pre-Reformation's so-called idolatrous imagery, making it likely that the stained glass would be destroyed. However, on the quick-thinking order of William Oldysworth, the impropriator (lessee) of the tithes of Fairford, the windows were hurriedly dismantled and the glass concealed before the troops arrived in the vicinity. "To him the lovers of ancient art are indebted for its present existence" (Bigland, 1791).

It may have been during the re-erection of the glass after the Civil War when some of the panes were replaced in the wrong positions. In 1725 the glass was protected by the addition of a "lattice of wire" to each window, paid for at the great cost of £200 by Elizabeth Fermor, a daughter of William Fermor, 1st Baron Leominster (1648-1711), by his first wife Jane Barker, a daughter of Andrew Barker of Fairford. Andrew Barker was of the ancient Barker ( alias De Calverhall) family of Coverall (or Calverhall) castle and Hopton Castle both in Shropshire, and had acquired the manor of Fairford in about 1660.

A few of the panes were damaged during a storm in November 1703; they were either repaired, some being modified or replaced. During 1889-90 twenty-six windows were repaired and re-leaded.

During the Second World War, the stained glass windows were removed and stored in a cellar for safekeeping from 1939 to 1945.

A conservation and restoration programme began in 1988 and finished in 2010.Clear glass now protects the old glass.

Descriptions of the history and imagery of the windows is contained in the following sources:

Bigland, Ralph, An Account of the Parish of Fairford in the County of Gloucester with a Particular Description of the Stained Glass in the Windows of the Church, Engravings of Ancient Monuments with Inscriptions, etc., etc., London, 1791, pp. 6-10

Neale, John Mason, (ed.) Illustrations of Monumental Brasses, No.VI, Cambridge Camden Society, Cambridge, 1846, pp. 115-132

The 28 stained glass windows in St Mary's Church, Fairford, are shown below, numbered and described by Neale, John Mason, (ed.) Illustrations of Monumental Brasses, No.VI, Cambridge Camden Society, Cambridge, 1846, pp. 115-132

Window no.

Image & scene title (l to r)

Description by Neale (1846)

1

Serpent's Temptation of Eve; Moses and the Burning Bush; Joshua and the Angel (Joshua 5:13-15); Queen of Sheba and King Solomon (1 Kings 10:1-13).

The Serpent tempting of Eve to eat the forbidden Fruit. God appears to Moses in the fiery Bush, and commands him to put off his Shoes, for the Ground whereon he stood was holy Ground, he being then keeping his Father in Law Jethro's Sheep. Then there is Josuah that succeeded Moses, and the Angel that guided him to War. There is Gideon's Fleece under Josuah. Next is Sheba a Queen of the South, who came to hear, and try the great Wisdom of King Solomon.

6

Descent from the Cross; Entombment of Christ; Harrowing of Hell

Here is Joseph of Arimathaea that begged the body of our Saviour, which he is taking down from the Crosse. There is the Print of the Nayles in his Hands and Feet, and the Crown of Thornes that is platted about his Head. There is Nicodemus stands ready to receive him to lay him in the Sepulchre. Here they are laying him in the Sepulchre, Mary and other Women lamenting over him. There is the Darkness that came over the Face of. the Earth at the ninth Hour. There is St. Michael the Arch-Angel fighting with the Devil and his Angels, and overcoming them, and there is Beelzebub peeping thro' the Fiery Grate

7

Christ visiting his Mother on Easter Morning;[16] The Transfiguration; Noli me Tangere

The Transfiguration on the Mount, Moses and Elias with the 2 Tables of the ten Commandments. Here they are going to anoint his Body for his Buryal with the Box of Oyntment which his Disciples asked why it was not sold and the Money given to the Poor. How they are anointing him in the Sepulchre, to which when they came they saw the Stone rolled away from the Door of it, and looking in they saw an Angel sitting in the midst of it asking them, why they came to seek the living among the dead, our Saviour was risen and gone. There is the Napkin that was about his Head. His first Appearance after his Resurrection was unto Mary, out of whom he cast seven devils. He beckened with two of his fingers, that she should not touch him, because he was not yet ascended to his Father. He appeared unto Mary in the Garden, and she did not know him, but took him to be the Gardener, and there is the Garden and Pyramids of Egipt.

9

Miraculous Draught of Fishes; Ascension from Mt of Olives; Pentecost

Here they were fishing all night, and could catch nothing. Our Saviour walking on the shore commanded them to cast the Net on the right side of the Ship. Then they inclosed such a multitude of Fishes, that the Net was ready to break. There is a Fire and a Gridiron with Fish broyling on it. Next is our Saviour's Ascension into Heaven. He was taken off of Mount Olivet into the Cloudes, and only the print of his feet left behind. All those under the Mount are gazeing up into Heaven after him. When he departed from them he said he would not leave them comfortless, but would send them a Comforter at the Feast of Pentecost, at which time being all gathered together in one place, the Holy Ghost descended upon them in the likeness of a Dove.

13

Four Great Fathers of the Church

(l to r): Saint Jerome (347-420); Saint Gregory the Great (540-604); Saint Ambrose (340-397); Saint Augustine (354-430)

25

(Probably Maxentius with the head of St Catherine; possibly King of the Huns; Herod murdering an innocent; with devils above).[17]

26

Annas offering money to Judas, Judas putting it into his bag, Caiaphas counting 30 pieces of silver. With devils above.[18]

Neale, John Mason, (ed.) Illustrations of Monumental Brasses, No.VI, Cambridge, Cambridge Camden Society, 1846, pp. 115-132 [1]

Joyce, Rev.J.G., On The Fairford Windows, 1872, pp. 15-40, history of Tame family.

Henry F. Holt, ESQ. (1871). "The Tames of Fairford". Journal of the British Archaeological Association. First. 27 (1): 110-148. doi:10.1080/00681288.1871.11887565.

Gloucestershire Notes & Queries: Monumental Brasses, pp. 141-149 & 99-103.

Bigland, Ralph, History of Gloucestershire, Vol.1, p. 571, illustration.

Bigland, Ralph (1791). An Account of the Parish of Fairford in the County of Gloucester with a Particular Description of the Stained Glass in the Windows of the Church, Engravings of Ancient Monuments with Inscriptions, etc., etc. London: Richard Bigland.</ref>

Davis, Cecil T., The Monumental Brasses of Gloucestershire, 1899.

Visitation of the County of Gloucester Taken in the Year 1623 by Henry Chitty and John Phillipot, ed. Maclean, Sir John, London, 1885, p. 260, pedigree of Tame

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The Fairford stained glass windows (circa 1500) in St Mary's Church, Fairford, Gloucestershire, England, were once known as an example of the Netherlandish style of glass painting. The pre- Reformation medieval stained glass panes are of national historical and architectural importance as they constitute what is "probably the most complete set of medieval stained glass in Britain" consisting of 28 windows displaying biblical scenes.

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Place: Tonga

Name: Tapas

Description: Tapas are the art of making cloth from the bark of trees, and they are the most valued of the Tongan handicrafts. Tapas are often painted with animals and/or geometric designs.
https://www.livingoceansfoundation.org/ancient-art-of-tonga/

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Place: Art from Pakistan
Name: Calligraphy Art
Description:
Calligraphy is a visual art which is associated with writing. It is defined as the art of giving form to written letters that incites the emotions of the viewers. Islamic calligraphy is associated with geometric Islamic art that is often found on walls and ceilings of mosque as a part of Arabic heritage. This is used mostly in Pakistan with their unique patterns and designs around the beautiful words of Allah SWT.
Calligraphy in pakistan was developed first by Sadequain Naqqash.
(https://artsedge.kennedy-center.org/interactives/pakistan/arts-of-pakistan/calligraphy.htm)

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place: egypt
name: hieroglyphs
descriptions: Egyptian hieroglyphs were the formal writing system used in Ancient Egypt. Hieroglyphs combined logographic, syllabic and alphabetic elements, with a total of some 1,000 distinct characters. Cursive hieroglyphs were used for religious literature on papyrus and wood. (https://en.wikipedia.org/wiki/Egyptian_hieroglyphs)
Why did you select this?
its a very ahead of its time language it was one of the first ones ever recorded. and it looks a bit werd

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Sumhah Najeeb, Zainab Arefeen, Maryam Mohmand

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Sumhah Najeeb, Zainab Arefeen, Maryam Mohmand

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Place: France
Name: Impressionism
Description: "Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, and most crucially, the inclusion of movement."
Impressionism was developed by Claude Monet, and was not popular until long after its invention. Famous impressionist artists are Claude Monet, Vincent Van Gogh, Edouard Manet, and Pierre-Auguste Renoir.

Why did you select this?
We selected this because it is a compelling and unique style of art. It absorbs both the viewer and the painter, and involves different perspectives.

Starry Night Over the Rhône
(https://www.vincentvangogh.org/starry-night-over-the-rhone.jsp)

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Bayan Bellusa, Hania Hashmi, Fajor Ahmed

# data[].attributes.subject
Bayan Bellusa, Hania Hashmi, Fajor Ahmed

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Place: art from England
Name: stained glass
Description: The Fairford stained glass windows (circa 1500) in St Mary's Church, Fairford, Gloucestershire, England, were once known as an example of
the Netherlandish style of glass painting. The pre-Reformation medieval stained glass panes are of national historical and architectural
importance as they constitute what is "probably the most complete set of
medieval stained glass in Britain" consisting of 28 windows displaying biblical scenes. They were added after the church had been rebuilt by
the wealthy wool merchant John Tame (c.1430–1500). The glass was made between 1500 and 1517 under the instructions of son Edward Tame.

why did you select this?
Stained glass windows are very delicate and hard to make. They are also very unique and pretty.

# data[].attributes.body
Place: England
Name: Art Nouveau
Description: Art Nouveau (/ˌɑːrt nuːˈvoʊ, ˌɑːr/; French: [aʁ nuvo]) is an international style of art, architecture, and applied art, especially the decorative arts, known in different languages by different names: Jugendstil in German, Stile Liberty in Italian, Modernisme català in Catalan, etc. In English it is also known as the Modern Style (British Art Nouveau style). The style was most popular between 1890 and 1910.[1] It was a reaction against the academic art, eclecticism and historicism of 19th century architecture and decoration. It was often inspired by natural forms such as the sinuous curves of plants and flowers.[2] Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces.[3]
https://en.wikipedia.org/wiki/Art_Nouveau

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Place: Art from Norway
Name: Norwegian Rosemaling
Description: "Rosemaling is the decorative folk painting of Norway and its history began in the low-land areas of Eastern Norway about 1750 inspired by upper-class artistic styles when Baroque, Regency and Rococo were introduced to Norway’s rural cultures."
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Why did you select this?
It is a distinctive style of traditional art and it would be fun to paint.

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The Story of Norwegian Rosemaling

Rosemaling is the decorative folk painting of Norway and its history began in the low-land areas of Eastern Norway about 1750 inspired by upper-class artistic styles when Baroque, Regency and Rococo were introduced to Norway's rural cultures. At first Norway's painters followed these European styles closely.

If you came across this article as a student preparing a research paper, consider delegating the task to https://essayhub.com/ essay writing help professionals. Yet, in case a brief overview will suffice, keep reading this article!

At the beginning of the century, Norway had a population of a mere 500,000 - with only 40,000 people living in what was defined as urban areas. It was a society based on the age-old ways of agriculture, fishing and hunting - and people lived on farms or in cottages scattered across the long-stretched landscape.

The story of Norwegian rosemaling
Compared to the art of woodcarving and textile art, rosemaling is a much younger art form, at least on a larger scale, and it may come as a surprise that the history of rose painting and its place in Norwegian folk art is not as old as one might think. Painter and author, Nils Ellingsgard, has chronicled the journey of the art form.

The painters who rosemaled for their livelihood were trained within a "guild" and they traveled from county to county painting churches and/or the homes of the wealthy for a commission of either money or merely room and board. Thus, rosemaling was carried over the mountains and toward Norway's western coast.

Related: Norwegian Stave Churches

How did Rosemaling come to America?
Norwegian rosemaling continued its westward migration all the way to America. Emigration was heavy from some of the areas where rosemaling was well established. Travelers packed beautifully rosemaled trunks to make their journey across the Atlantic. Well-known as well as lesser known painters traveled to the New World.

Per Lysne, a Norwegian immigrant from Stoughton, Wisconsin rekindled an interest in Scandinavian folk art when his "Smørgaasbord" plates were sold in Chicago's Marshall Fields department store in the late 1930's. European folk art was rediscovered through home decorating magazine articles in the 1930's and 1940's.

Related: Art and Culture in Norway

A traditional form of art
Some of the artists in Norway often worked as farmers during the summer, subsidizing their living in the winter months painting rooms and furniture for more successful farmers.

The art displays many stylized flowers and scroll forms, combining blended colors and fine outlines on a plain background color. Traditional paint colors were derived from local raw materials, for example, rust red came from red iron oxide in the ground. Brushes were made of hairs from a squirrel's tail or a cow's ear.

Related: A Short Introduction to Norwegian Literature, Art and Music

Once farther away from the influence of the guilds, these artists tried new ideas and motifs. Soon strong regional styles developed. The Norwegian authority on the art of decorative painting - or rosemaling Nils Ellingsgard has through his gem of a book, Norsk rosemaling, given us a better understanding of this world of artistic beauty.

As time passed the Telemark and Hallingdal valleys became known for their fine rosemaling.Upon their exposure to rosemaling, rural folk would often imitate this folk art. Not having been taught in an urban guild, the amateur became spontaneous and expressive in his work on smaller objects such as drinking vessels and boxes.

The future of rosemaling
Rosemaling went out of style in about 1860-1870. Whether the traditions will continue to bloom is difficult to predict, but the many surviving objects will stay on and give joy to future generations for centuries to come. Objects that are symbols of our common history - and the many people who created them.

The Story of Norwegian Rosemaling, written by Tor Kjolberg

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The Story of Norwegian Rosemaling - Daily Scandinavian

# data[].attributes.attachment_link.description
The Story of Norwegian Rosemaling Rosemaling is the decorative folk painting of Norway and its history began in the low-land areas of Eastern Norway about 1750 inspired by upper-class artistic styles when Baroque, Regency and Rococo were introduced to Norway's rural cultures. At first Norway's painters followed these European styles closely.