Another gabled section on the north side, further to the east from the tower, is the location for the Franklin Street entrance to the building – and more stained glass windows.
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Five more stained glass windows line each side, separated by simple buttresses. The roof is covered with red clay tile. The interior still contains much of its original Craftsman, oak detailing.
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In the church is stained glass by Shrigley and Hunt, Ward and Hughes, and F. Burrow, and memorial wall tablets by George Webster. There is more stained glass in the vestry by Shrigley and Hunt; this depicts Saints Oswald, Patrick and Aidan.
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The altar sits on a raised concrete platform. Each of the seven sections is separated by a single column with a small capital. They have a recessed arched panel with a statue of a saint. Above are lancet windows with more stained glass.
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These are dated 1853, and consist of quatrefoil scenes. To celebrate the 2000 millennium, more stained glass windows were commissioned for the windows in the north aisle. The two manual pipe organ was built in 1888 by C. Whiteley, and repaired in 1929 by Jardine and Company.
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The flanking windows represent Saint Cuthbert and Saint George. The glass in the side windows of the chancel are by H. Barnett, and depict Saint Joseph and Saint Anne. In the south wall of the nave is more stained glass by Hardman, and also glass by Mayer of Munich.
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The house is elaborately finished with the extensive use of stained glass. Booloominbah contains more stained glass than any other house designed by Hunt, including "Kirkham" and indicates a particular aesthetic of Frederick and Sarah White.Mitchell 1988, p.24 All the main reception rooms have stained glass, as does the day nursery.
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Stained glass in the museum church More stained glass in the museum church Lenox Collegiate Civil War Monument Lenox College was a college in Hopkinton, Iowa that operated from 1859 until its closure in 1944. The institution was initially known as Bowen Collegiate Institute. The name was changed to Lenox Collegiate Institute in October 1864 and to Lenox College in 1884.
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The rear facade of the building is designed to resemble a temple and also features stained glass windows. A stone porte-cochere covers the rear driveway. Inside the building's third floor courtroom is more stained glass, in the form of a skylight. During the early 1980s a made for television movie had scenes filmed in the DeKalb County Courthouse's courtroom.
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The Kiss is an oil painting on canvas, measuring . It depicts a couple surrounded by darkness, with only a sliver of daylight showing through a window which is mostly covered by a curtain. They hold an embrace as they seemingly merge into one, their faces a single, featureless shape. Art critic Roberta Smith notes that Munch favored "long, somewhat slurpy brush strokes that were more stained than painted".
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The south transept contains a window dating from 1855 with stained glass by William Wailes. The east window was reglazed in 1876 by Clayton and Bell; it shows episodes from the life of Christ with figures of apostles and prophets. In the porch is more stained glass by Kempe, dating from 1878. View The original organ was moved from its central position in the crossing to the north transept during Scott's restoration.
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Mammalian cell lines such as Chinese hamster V79 cells, Chinese hamster ovary (CHO) cells or mouse lymphoma cells may be used to test for mutagenesis. Such systems include the HPRT assay for resistance to 8-azaguanine or 6-thioguanine, and ouabain- resistance (OUA) assay. Rat primary hepatocytes may also be used to measure DNA repair following DNA damage. Mutagens may stimulate unscheduled DNA synthesis that results in more stained nuclear material in cells following exposure to mutagens.
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To the west of the chapel, behind the high altar, is a large reredos designed by Scott; this consists of a triptych containing paintings and carvings. The baptistry contains a central marble font, an altar with a reredos, and stained glass windows by Shrigley and Hunt. There is more stained glass by the same firm elsewhere in the cathedral, and other windows are by Hardman. Also in the church are monuments, one dating from about 1860 by Richard Westmacott, junior.
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The Chartists picked up only a few votes despite their popular support, because voting was still restricted to a small percentage of the population. Only 3.17% of the total population voted. It is regarded as having been one of the most corrupt elections in British parliamentary history; the Westminster Review stated in 1843 that the "annals of parliamentary warfare contained no page more stained with the foulness of corruption and falsehood than that which relates the history of the general election in the year 1841".
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No stained glass had been introduced into the church since 1541, but in 1889 the central light of the east window was filled with Munich glass and in 1894 more stained glass was inserted. In 1552 the church possessed a pair of organs. A barrel organ had been introduced in 1813, although the innovation was not welcomed by all the parishioners, and a new organ was built in the chantry in 1889. The square baptismal font dates from the 13th century and has 14th century panelling on the pier.
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Montgomery also commissioned Miller to create more stained- glass windows for her home. Three Chicago admirers, Jannine Aldinger, Mark Mamolen and Fleming Wilson, flew to San Francisco in 1986 to see Edgar and potentially bring him back to Chicago. Although living in questionable circumstances in the Bay Area, and seemingly on the decline, Miller revitalized when he returned to Chicago and began to actively produce art. In 1987 he was declared one of the founders of Old Town when he received an award from two Old Town organizations.
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Below are the modern pioneers and heroes of the continent from right to left, Charles Mackenzie, bishop of Nyasaland, Angela Burdett-Coutts who endowed the bishopric of Cape Town. Above is master mason Neil Black; the martyr, Bernard Mizeki who was confirmed in Cape Town, Sophy Gray, wife of the first bishop Of Cape Town. The three centre panels depict the Flight into Egypt. More stained glass is to be seen in the north transept, in the west wall are St Cyril of Jerusalem and St Antony of Egypt, the work of C.L. Grove a lecturer at the Michaelis School of Fine Art.
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Inset is a Gothic-style arch with trefoils and wooden railing; the iron railing on the steps was added later. The double doorway which serves as a church entrance retains its original doors, patterned with a herringbone design and set with quatrefoils of stained glass, set inside a pointed arch. The porch is flanked by more stained glass windows on either side, quite narrow, and a rose window, also of stained glass, is set in the gable. At the very top of the roof is a cross; a finial and pendants make up the decoration of the gable.
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According to the reference quoted below, 'it is said that Nettlestead church owes its enormous stained glass windows to a 15th-century Agincourt veteran who came back from France very impressed with what had already been done with stained glass decoration for churches there. The man was Reginald de Pympe, and his son, John, added more stained glass later in the same century. The de Pympes made quite an impression upon Nettlestead in their day. Reginald moved into Nettlestead Place, which he rebuilt at about the same time as he had the church rebuilt and embellished with the new glass.
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A restoration took place in 1685, which included some alterations to the nave roof. A clock was installed in 1701, and during the first half of the 18th century a spire of metal and wood was added; this was replaced by another spire in 1810. The church was restored again in 1858–59 by William Butterfield; this included removal of the three galleries and the box pews, re-laying the chancel floor, and replacement of the pulpit. Stained glass made by Hardman & Co. was installed in some of the windows, and more stained glass by Hardman was installed later in the century.
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Internally there is a great hall with an organ gallery and an open roof. In the great hall are a mantlepiece dated 1527, from a house of the father of Sir Thomas More, stained glass windows by William Morris, and a pair of church screen doors dating from the 13th century. In a room now used as a restaurant is a fire surround dated 1795 and designed by Robert Adam. It has been claimed that Bidston Court so impressed Crown Prince Wilhelm of Germany when visiting Cammel Laird shipyards, that he built a copy of it in Potsdam.
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The next architect assigned to work on the project was Frederick George Castleden, prominent in Newcastle as the designer of many houses and commercial buildings in the region. Castleden's firm supervised the completion of the cathedral between 1909 and 1928. In 1911, the ambulatory around the east end of the church and the Tyrrell Chapel was built and in 1912 the eastern walls were completed and roofed and the east window finished with yet more stained glass from the firm of Kempe & Co. The Warriors' Chapel followed in 1924. It was intended as a permanent memorial to all those who died in World War I, especially men and women of Newcastle and the Hunter Valley.
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