Guide Angels on the Walls

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Angels on the Walls [Wallace Brown, Mary Brown] on leondumoulin.nl *FREE* shipping on qualifying offers. Situated in the middle of three large housing estates in.
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Still there, still watching - the angels and demons of the medieval church. The angels and demons are sometimes easy to see.

The carved angels that support the timbers of the most complex and inspiring of roof trusses. Wings outstretched and, despite the impact of many a sour hearted puritan musket ball, still glowing with their original colour. Angels carved in attitudes of prayer on dark oak bench-ends; details worn smooth and pale by the passage of a thousand caressing hands and the passing of the years.

And then there are the angels of light. Those ethereal creatures that survive in stained and painted glass, that radiate sunlight in a dozen different colours, and who watched on in mute horror at the destruction wrought upon many thousands of their fellows. Who watched as painted majesty became mere fragments of shattered glass, and windows fell from golden glory to become mere holes to let in the light.

And the others.

4. Some angels rebelled against God.

The ones that still adorn the walls in a bare handful of churches. Those that sit upon the right hand of God in the Doom paintings that once shouted out their message of salvation and damnation from above the chancel arch, giving a helping hand to those souls that were destined for the eternal joys of heaven. And, in a few remote and blessed churches such as Barton Turf in Norfolk, the massed choirs of angels that march in triumph along the painted panels of the rood screen, missing only the faces that once so offended the iconoclast reformers.


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And then there are the demons. The grinning, contorted faces that balance their angelic counterparts above the chancel arches, casting the souls of the damned down into the pit; an open mouthed devil that spews forth flames and the stink of sulphurous burnt flesh. The carved wooden demons that decorate the misericords in dozens of church choirs, grinning lewdly up at the fat clerical arse above them.

Angels on the Walls by Brown Wallace Brown Mary - AbeBooks

The demonic gargoyles and grotesques that roost and colonise the corners and buttresses of a hundred church towers; leering, jeering and fondling themselves in an attempt to drive off the evil eye and outrage the rector and timid goodwife. You are never far from the demons of the medieval church. Peeking from behind stiff-leaved stone foliage, peering down from the rafters, or scuttling beneath the choir stalls. They are there. Their millennia long battles with the angelic host put aside at the creaking of a church door, a glimpse of sunlight, and your arrival Our churches are full of angels and demons.

The church NEEDED devils and demons to exist, to balance each other out and show that salvation wasn't a given; that the fate of your soul was in your own hands, and that a single act on your own behalf would determine which side of the chancel arch you would eventually find yourself on. The battle between the light and the dark wasn't won, but was an ongoing struggle that, despite God's reassurance of eventual victory over Satan, would have many casualties along the way.

A battle that, you would expect, would be echoed in the graffiti on the walls of our churches. It isn't. There are certainly echoes of the great medieval battle for the souls of the congregation amongst the thousands of graffiti inscriptions that we have recorded. The multitude of witch-marks that adorn almost every surface you can think of, designed to ward off evil and the unkindly, death bringing, gaze of the ever watchful evil-eye.

There are the prayers too. The names of God etched into the stones, the Latin invocations and the images of hands raised, and forever frozen, in the act of blessing and benediction. And there are the demons there too. Etched deep into the surface, like the wide-mouthed, sharp toothed demon of Troston, or the devil of Beachamwell; armed with a metal meat-hook, to strip the eternal souls of the damned from their earthly and stinkingly corrupt flesh. The demons are to be found everywhere. Staring right back at you from the walls.

But where then are the angels on the walls? Where are the agents of eternal balance, that celestial militia whose vigilance keeps the evil at bay? They are simply not there. They have not been obliterated with the passage of time. No Victorian restoration has wiped them from the walls. The massed ranks of Demons did not drive them upwards to the rafters in one last great battle across the stonework.

To meet the time deadlines involved and to make the weaving reflect the source images directly, Nava, working with Bay Area artist Donald Farnsworth, developed a method of making weavable digital files of the tapestry designs. These final weaving files were then e-mailed directly to Flanders Tapestries near Bruges, Belgium from Nava's studio in Ojai, California. What would have taken in the 16th century decades to make with scores of weavers and dozens of looms, took twenty months of designing and two months of weaving.

Revelation 21:9-27 ICB

Nava and Flanders Tapestries developed a custom palate of two hundred forty colors based on sixteen colors of fiber going in two directions to create the images. Multiple tests and "a hair-raising," as he describes it, twenty months of intense work brought about a precise calibration of the computer monitors and the woven output so that what Nava saw in his studio was what the mill would produce.

All of the tapestries are made from cotton with a small percentage of viscose to ensure the colors, a subtle interplay of neutral tones evocative of the ancient frescoes of Italy, will remain true. Cloth woven from cotton by the Egyptians has survived intact for thousands of years. The large stone texture patterns used in the background of the Communion of Saints are from actual scans of excavations of the Via Dolorosa in Jerusalem from the time of the Romans.

He created a library of backyard stones, paper, chipped paint, rust, and more, bringing them all together into a group of textures and images to be compiled individually, scanned by digital cameras. Nava believes the deteriorated "fresco" texture "marries with the building in a beautiful way," blending with the walls as paintings.

The fictive wall textures and colors of the tapestries restate the massive walls of the Cathedral themselves and serve to integrate the ensemble. The tapestries vary in height but average about eighteen feet and cover about three hundred forty square yards of area.

Behind the Baptismal Font is a set of five tapestries with a central depiction of Jesus being baptized by St. John the Baptist in the River Jordan.

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They are each forty seven and a half feet high and seven feet wide. The total square yardage is one hundred seventy six square yards of tapestry. The great circular pattern above the Baptism scene is based on "Cosmati" stone floor decorations from the 11th century found in St. Mark's Cathedral in Venice, Italy.

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The stylized "wavy" water patterns in the lower portion are derived from Byzantine mosaic patterns found at Ravenna and that were used throughout the early Christian period. The seven tapestries behind the altar depict a schematic map of the streets of Los Angeles converging with an overall circular "Cosmati" pattern traditionally associated with the divine. Fittingly, a quote from the Book of Revelation is sewn into the tapestries that reflects the union of God and man here and now as the New Jerusalem.