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Bust of Dean Stanley at Trinity Church

I took the picture, I did the research and this is what I learned:  On Easter Monday in 1877, Rev. Phillips Brooks was given leave by his parish, Trinity Church in the City of Boston, to take a sojourn to Europe.  While in England, he spent time with Arthur Stanley, Dean of Westminster Abbey. Brooks was invited to preach at Westminster in July, and it is written that Dean Stanley listened with delight to a doctrine after his own heart.  Brooks would later share in a letter, “Last Sunday I preached for Mr. Stanley at his church in London, and William and I were much in the little man’s company while we were in his town.  He is very pleasant and entertaining, but much changed since his wife’s [Lady Augusta Stanley] death. He has grown old and fights hard to keep up an interest in things.”(1)


In the autumn of 1878, Dean Stanley traveled to America. In Boston he preached for the Rev. Phillips Brooks at Trinity Church.  Brooks would later write that no one who heard the benediction at the close of the service would ever forget it. “He had been but a few days in America. It was the first time he had looked an American congregation in the face. The church was crowded with men and women of whom he knew that to him they represented the New World. He was for a moment a representative of English Christianity. And as he spoke the solemn words, it was not a clergyman dismissing a congregation, it was the Old World blessing the New; it was England blessing America.  The voice trembled while it grew rich and deep, and took every man’s heart into the great conception of the act that filled itself.”


In 1881, following Dean Stanley’s death, Phillips Brooks would write a 12-page retrospective for The Atlantic Monthly.  In conclusion Brooks would highlight lessons of faith and good will he thought taught by Stanley’s life, and then end with these words:

“These lessons will be taught by many lives in many languages before the end shall come; but for many years years yet to come there will be men who will find not the least persuasive and impressive teachings of them in Dean Stanley’s life. The heavens will still be bright with stars, and younger men will never miss the radiance which they never saw. But for those who once watched for his light there will always be a special darkness in the heavens, where a star of special beauty went out when he died.” (3)

Miss Mary Grant, an eminent British sculptor and Stanley’s niece by marriage, would execute a memorial bust.  That bust would be given to Trinity Church to commemorate his visit.  It is located in an area that I believe is known as the baptistry.  His visage “stands upon a bracket of Sienna marble … beneath which is a tablet of Mexican onyx, on which is engraved a tribute by Robert C. Winthrop.” (4) And sitting across from him?  A bust of Phillips Brooks.

Bust of Phillips Brooks by Daniel Chester French

Bust of Phillips Brooks by Daniel Chester French

Learn more about Trinity stories in stone and glass with a tour: http://trinitychurchboston.org/art-history/tours

Sources for this post …

(1) Phillips Brooks, 1835-1893: Memories of his life … by Alexander Viets Griswold Allen (1907)

(2) Life and Correspondence of Arthur Penrhyn Stanley, Volume 2 by Rowland Edmund Prothero (1893)

(3) The Atlantic Monthly, Volume 48, October 1881

(4) Trinity Church in the City of Boston, 1888, pp. 31-32

(5) Mary Grant

(6) Phillips Brooks Bust image is from Wiki Commons

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leaves

found on the ground and simply held up to sunlight

… I had a lot more fun photographing the flowering dill on the black plate.

trinity’s west porch

At some point, I’ll set myself up in Copley Square with a tripod, and photograph the church’s whole West Porch.  At least I will do my best.  Meanwhile, I am having great fun photographing the porch details.

sparrow

I’m sure there’s a story here, about the metal spikes put in place upon this roof to discourage birds, and how this sparrow built a nest in their pointed midst, and when the mood strikes, she stands upon their length and sings the day away.

peeking over fences

It’s mid-July, and here in New England, we’re still talking about this past winter.  The seemingly unending piles of snow will long live in the memory, and for me, so will the unexpected creativity born out of solitude watching things grow even in the dead of winter.  I’m honored to have a series of images from that period featured in the latest Alimentum The Literature of Food.  Enjoy!

 

just a bit of orange

Recently I learned of an image in stained glass also appearing in thread, both based on a design by Burne-Jones.  I couldn’t help but do a bit of digging and learned this:  the stained glass window, David’s Charge to Solomon, was first commissioned in memory of George Minot Dexter (1802-1872) by his son Frederic Dexter. It is located at Trinity Church in the City of Boston.  I’ve had the great pleasure of photographing details over the years.

The window was designed by Edward Burne-Jones, the color harmonies developed by William Morris and the window fabricated in the William Morris & Co studio.

The window was installed at Trinity Church in 1882 in an area known as the baptistry.

William Morris (1834-1896) and Edward Burne Jones (1833-1898)

William Morris (1834-1896) and Edward Burne Jones (1833-1898)

While Morris and Burne Jones would both pass away in the late 1890s, Morris & Co.’s design work and manufacturing would continue for decades at Merton Abbey, a village in Surrey, England where textile printing had taken place since the mid-19th Century.

Sir George Brookman c. 1920

Sir George Brookman c. 1920

While attending an exhibit at the 1900 Paris International Exhibition, and later visiting Merton Abbey in England, Australian mining magnate George Brookman saw Morris tapestries being custom woven for individual and corporate clients.  He also saw original designs, still being used, to reproduce artwork.  After seeing the Burne-Jones cartoon for David’s Charge to Solomon, he commissioned a tapestry to be made of that image.

Known as David giving Solomon directions for building of the Temple, the tapestry would be described as “a spacious and complex weaving of unusual size.  The soft, abundant reds beloved of the [Pre-Raphaelite] Brotherhood were in evidence.  Of especial beauty were the figures clad in silver-threaded armor.” Weavers were Walter Taylor, John Martin and Robert Ellis.

In 1920, Brookman sold the tapestry back to Morris & Co.  May Morris, the daughter of William Morris, would exhibit the tapestry along with other Merton Abbey works at the Detroit Society of Art and Crafts Exhibit.

May Morris (1862-1938)

May Morris (1862-1938)

excerpt from International Studio Magazine, 1922

excerpt from International Studio Magazine, 1922

Newspaper businessman, philanthropist and art benefactor George G. Booth and his wife, Ellen Scripps Booth, would purchase the tapestry to hang in Christ Church Cranbrook in Bloomfield Hills, Michigan, where I believe it still hangs to this day.

One design expressed in two different ways sharing one of the most influential stories in human history.

Sources/Additional Reading

Cranbrook Digital Archives

Details for comparison taken from David giving Solomon directions for building of the Temple, photograph by Jack Kausch, copyright Cranbrook Archives.

The William Morris Society in the United States