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Mapperley Church Stained Glass Windows in Entry Door

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Hist-WComp4In 1922 the Mapperley Colliery Company built a new office block at the Simon Lane site. During this time, works buildings were not just seen as places of work, but designed as industrial monuments. To enhance the look of the new building, George Spencer the Works Engineer, decided to fit the windows with stained glass. Depicting scenes of early coal mining techniques, this allowed visitors to the colliery the opportunity to see how the industry had developed over the centuries.

Twelve illustrations from the book (a German publication) De Re Metallica by Georgius Agricola, published in 1556, was chosen. Excellent copies were made in yellow and brown glass, giving the new windows an 'aged' appearance. 

With the closing of the Colliery in 1966, the windows were removed and inserted into the office staircase at the NCB Headquarters at Eastwood Hall.

Many local miners resented their removal and relocation, protesting about the villages loss. Then in 1969 with the total disbandment of coal mining in the area, together with the closure of Eastwood Hall Headquarters, there was an opportunity for the villages to reclaim the windows and install them into their new church. This posed a serious problem to the Vicar, Rev. G.C.C. Spencer, who pointed out that the contemporary style church did not lend itself to stained glass panels being fitted. He finally decided that they should be returned but left free-standing, placing them near the entrance. This work was undertaken and they remained in store at the church for a considerable time. Finally, they were inserted into the main church doors, where they can still be seen today.

The press recorded this event saying:-

"It is ironic that the old church had to be demolished because of mining subsidence. The compensation money went to pay for the new church, which opened only a few weeks after the pit, which caused the trouble, was closed by the NCB. Now the Coal Board's administrative set-up has also been disbanded and just the church and panels remain. There must be a moral there some-where?" The twelve panels show surveying techniques, crank pumps, horse gins and shaft boring operations, with tools and equipment used during these early times."

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Mapperley Church Windows

In 1922 the Mapperley Colliery Company built a new office block. During this time, works buildings were not just seen as places of work, but designed as industrial monuments. To enhance the look of the new building, George Spencer the Works Engineer, decided to fit the windows with Stained Glass. Depicting scenes of early coal mining techniques, this allowed visitors to the Colliery the opportunity to see how the industry had developed over the centuries.

Illustrations from the book (a German publication) De Re Metallica by Georgius Agricola, published in 1556, was chosen. Excellent copies were made in yellow and brown glass, giving the new windows an "aged" appearance.

With the closing of the Colliery in 1966, the windows were removed and inserted into the office staircase at the NCB Headquarters at Eastwood Hall. Many local miners resented their removal and relocation, protesting about the village's loss. Then in 1969 with the total disbandment of coal mining in the area, together with the closure of the Eastwood Hall Headquarters, there was an opport­unity for the villagers to reclaim the windows and install them into their new church. This posed a serious problem to the Vicar, Rev G.C.C. Spencer, who pointed out that the contemporary style of church did not lend itself to stained glass panels being fitted. He finally decided that they should be returned but left free­standing, placing them near the entrance. This work was undertaken and they remained in store at the church for a considerable time. Finally they were inserted into the main church doors, where they can be seen today.

The press recorded this event saying, "It is ironic that the old church had to be demolished because of mining sub­sidence. The compensation money went to pay for the new church, which opened only a few weeks after the pit, which caused the trouble, was closed by the NCB. Now the Coal Board's administrative set-up has also been disbanded and just the church and panels remain. There must be a moral there some-where?" The twelve panels show surveying techniques, crank pumps, horse gins and shaft boring operations, with tools and equipment used during these early times.

Roger Wood

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News


Georgius Agricola (1494 - 1555)

GAgricolaHe was a German Physician and Scientist, known as the Father of Mineralogy. DE RE METALLICA was published in 1556. The text had been completed several years before his death, but the delay in publication was due to the many artists required to transfer his detailed drawings into woodcuts, ready for the press. Once printed, it became a standard book for metallurgy and mining students for over a century. Written in Latin, it was not until 1912 that Herbert Clark Hoover, and his wife Lou Henry Hoover, the former President and First Lady of America, translated the book into English.

Printing only a very limited first edition, it quickly sold out to Industrial Historians, book collectors and academics in Metallurgy and Mining.

When out of print, second hand copies of this edition soon started selling for several hundreds of pounds; a signed copy for several thousands.

The "Mining  Magazine" in London also published the work in 1912.

Following the Second World War there was considerable interest in industrial literature, and in 1950 Dover Publications of New York published another edition in a complete and unchanged translation.

It is from the 1912 publication that Mr. George Spencer selected his twelve illustrations, with these being used in the making of the windows for the colliery offices at Mapperley.

Roger Wood 2011 


Jubilee Fund 1977 and Interesting Church Timelines.

The fund was to cover the costs of screen curtaining to the alter, new flooring etc

Timelines

Many thanks to Bill Skinner for this very interesting document


Holy Trinity, Mapperley -The Vestry Window

Vestry WindowThis window, in the vicar’s vestry, came from the old church of 1852. However the window is thought to be much older – late Mediaeval – late 1600s!

The window was fully restored (glued and re-leaded) in the 19th century.

However it is hardly seen, very vulnerable and liable to damage.

The Church Council therefore decided to have it taken out and replaced with a modern window to match the others.
The window has been carefully taken out by a specialist glass painter and stained glass window restorer – Michael Stokes. The window will then be placed in an illuminated (back lit) oak box and placed in the sanctuary, where many more can see it and enjoy it. Michael will replace the glass in the top corners with coloured glass and he would like to write a little about its history. If you know anything more about this window please tell any church member.
There is a beautiful, much larger, illuminated window – The Florence Nightingale Window – in St Peter’s Church in Derby and this has been the inspiration to have an oak box (which will also match the lectern and notice board)
A faculty has been granted for this work and Amber Valley Borough Council has confirmed that planning permission is not required.

Elizabeth Campbell 2017

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Update 2018

Back-Lit-Box

The window has now been beautifully fitted into a back lit oak box and fitted into the sanctuary. Generous donations have enabled this and for the window to be enjoyed. Also other work has been completed following the successful application for a grant. New combi boiler, radiator and hot water with further work to follow.

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Holy Trinity Church, Stained Glass Window - Update 2018/19

This stained-glass window, from the old church in Mapperley was placed in the vicar’s vestry in the new church of 1966. In this position it was vulnerable and hardly seen. Therefore, the Parochial Church Council decided to have it taken out by a specialist glass painter and stained-glass window restorer and placed in a back lit illuminated oak box in the sanctuary to one side of the altar, where many more can see and enjoy it. It was completed in 2018.

An inscription at the bottom of the window says that the window was made by (Nathaniel Wood) Lavers, (Francis Philip) Barraud and (N.H.J) Westlake of London in 1871. They were a renowned stained-glass studio that produced stained glass windows from 1855 until 1921. “This stained-glass studio was one of the best in quality and sheer artistry” (Stained and decorative glass by Elizabeth Morris; Grange Books 1995). There is a window by Nathaniel Westlake, who appears to be the most noted designer, in the Victoria and Albert Museum. The studio was part of the Gothic Revival Movement that affected English church architecture in the 19th century. It was a return to a Medieval style, by following pictorial traditions, with “elongated medievalised figures”, but expressed in bold strongly coloured designs and confidently painted large scale Biblical figures and scenes. Sometimes ancient glass from the 15th, 16th or 17th centuries was reused.

How did a London stained glass design studio come to make a window for a little church in Derbyshire? Studios did provide pattern catalogues showing figures within a decorative border so perhaps the window was chosen in this way? Did the window, dating from 1871, mark Mapperley becoming a separate ecclesiastical parish on 22nd July 1870?

The window in Holy Trinity echoes a Medieval design and it shows Sanctus Johnnes (Saint John the evangelist) standing, dressed in cream with a scarlet and green cape. St John has an angelic face, he is looking up intently, has a stylised halo and is holding a book with a web-footed angel on the cover. He holds a quill in his other hand. These features and colours echo designs from the late Medieval period. The surround has a pointed Gothic arch and pinnacles, and within the border foliage (acanthus?) and geometric patterns. Typically, windows of this era contained vignettes of biblical scenes surrounded by borders of foliage or/and geometric designs. It was felt that such Biblical scenes would fix the stories and truths within the memory.

Should you wish to come and see the window – it is always illuminated during services – and one of the key holders, listed on the front door of the church, would show you this window -and also the stained-glass windows in the vestibule, which were formerly in the Mapperley Colliery offices.

Elizabeth Campbell 2019


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