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Launch of British Corpus Vitrearum Volume at Merton College, Oxford

Posted By ltempest On May 17, 2013 @ 1:21 pm In Issue 69,News | Comments Disabled

Fig. 1. Dr Ayers presents his two-part work to invited guests.

Fig. 1. Dr Ayers presents his two-part work to invited guests.

The most recent monograph in the British Corpus Vitrearum series, The Medieval Stained Glass of Merton College, Oxford, by Tim Ayers of the University of York, was launched last month on a beautiful spring day at Merton College, Oxford [Fig. 1]. A number of individuals who work for the British CVMA attended [Figs 2–4].

Fig. 2. Dr Penny Hebgin-Barnes, author of no fewer than three Summary Catalogues in the British CVMA series, and Brigid Hamilton-Jones, Publications Officer of the British Academy.

Fig. 2. Dr Penny Hebgin-Barnes, author of no fewer than three Summary Catalogues in the British CVMA series, and Brigid Hamilton-Jones, Publications Officer of the British Academy.

Fig. 3. Three British CVMA stalwarts: Brian Sprakes, author of ‘The Medieval Stained Glass of South Yorkshire’; Roger Rosewell, Features Editor of ‘Vidimus’; and the Revd Gordon Plumb, a long-time photographer for the Corpus.

Fig. 3. Three British CVMA stalwarts: Brian Sprakes, author of ‘The Medieval Stained Glass of South Yorkshire’; Roger Rosewell, Features Editor of ‘Vidimus’; and the Revd Gordon Plumb, a long-time photographer for the Corpus.

Fig. 4. Anna Eavis, Project Director for the British CVMA, and Christopher Parkinson, photographer working on the county of Essex.

Fig. 4. Anna Eavis, Project Director for the British CVMA, and Christopher Parkinson, photographer working on the county of Essex.

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Dr Ayers presented his important work to invited guests, who were able to peruse advance copies, and there were celebratory drinks afterwards. Warms thanks were offered for this important contribution to scholarship on the college by the current warden, Professor Sir Martin Taylor, and the former warden, Dame Jessica Rawson, whose support for the project over a number of years was indispensable.

Fig. 6. St Christopher in the west window.

Fig. 6. St Christopher in the west window.

Fig. 5. The west window.

Fig. 5. The west window.

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Guests subsequently admired the chapel’s rightly famous glazing, and were able to take advantage of the temporary absence of the organ to view the figures in the tracery of the west window [Figs 5–6].


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