Context 146 - September 2016

34 C O N T E X T 1 4 6 : S E P T E M B E R 2 0 1 6 The IHBC would like to thank the sponsors of this year’s Annual School Supported by Annual Dinner Reception Principal Thursday tours The tour culminated with the Commandery, origi- nally a medieval hospital dedicated to StWulfstan and later a private residence, a pioneering school for ‘the blind sons of gentlemen’, a print works, and now a museum. Much of the building dating from the late 15th century, it comprises two parallel ranges, with the infirmary in one and grander rooms for the use of the master in the other, the two linked by the Great Hall. Definitely not to be missed are the medieval wall paintings designed to encourage reflection on death and redemption. The image of St Erasmus being martyred by having his stomach slit open and his intestines wound around a windlass (as a result of which he became the patron saint of abdominal pain) left this viewer wincing. David Boyson Worcester sculptor William Forsyth The sculptor William Forsyth (1833–1915) was influ- ential in establishing the character of late Victorian Worcester and Malvern. His sculptures – in stone, wood, metal, plaster and terracotta – enliven the build- ings of Worcester, inside and outside. Although he is less well known than his brother James, who carved the famous fountains at Witley Court, his practice was typical of many provincial artists of the period. The walking tour around Worcester, led by city archaeologist James Dinn, looked at examples of Forsyth’s work in ecclesiastical, commercial and other contexts. Examples included a hop merchant’s offices, the head office of a local bank, and Forsyth’s own workshop. William Forsyth’s hop pickers frieze in Sansome Street,Worcester (Photo: James Dinn)

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