The Glazier
The publication of the Worshipful Company of Glaziers and Painters of Glass
Issue Number 40
Summer 2013
The Annual Prizegiving –
reflecting a commitment
to contemporary design
PHILLIDA SHAW reports (with pictures by DAVID WHYMAN):
The Company’s annual Prizegiving Day is one of the major craft events
in its calendar, and this year was no exception. From 12 noon the
Glaziers Hall was thronged with aspiring glass artists and their tutors,
for the afternoon is dedicated to the Stevens Competition Seminar,
when participants in the Stevens Competition meet to view the
entries, exchange views and receive feedback from the judging panel.
How there’s
nothing dull about
stained glass
T
he number of entries this year was
fairly low. Out of 32 glass artists
who registered an interest in the
competition, only 20 succeeded in meeting
all the requirements of the brief in time to
submit their work for judging on 8 April.
This was not altogether surprising, as the
brief was quite demanding: a scheme for five
windows in Furniture Makers Hall, a location
generously offered in 2012 by the Furniture
Makers Company, potentially forming part of
their refurbishment plans for the Maple Room,
one of the hall’s most important spaces.
The standard of the twenty entries was high.
Between 1.30 and 3.30pm the panel of five judges,
chaired by Amber Hiscott and including Douglas
Hogg, Catrin Jones, Jane Campbell and the
Furniture Makers’ representative, Martin Grierson,
discussed the challenges and opportunities of the
brief and its interpretation by the competitors,
who were encouraged to ask questions and
respond to the judges’ observations. The result
was a stimulating and interactive seminar.
From 4.30pm members of the Company
and their guests arrived to join the judges,
artists and tutors for a welcome cup of tea or
coffee in the foyer, in anticipation of the start
of the prizegiving at 5.00pm.
Lead organisers
The prizegiving was introduced by Past
Master Phillida Shaw, and conducted by
Liveryman Neil Maurer, lead organisers of
the Stevens Competition. Phillida expressed
the Glaziers’ appreciation of the support and
The Glazier • Spring 2013
Katie Bracher, representing the competition
sponsors, Worldskills UK and the National
Apprenticeship Service (left), consults with
chairman of judges Amber Hiscott.
interest of the Furniture Makers’ Company in
the 2013 competition.
Before presenting the Stevens Competition
prizes Christopher Claxton-Stevens, chairman
of the Furniture Makers’ Custodians’ Committee,
explained his company’s background and
commitment to contemporary design, and the
plans for the recently acquired Furniture Makers’
Hall in Austin Friars. Our two companies’ shared
commitment to encouraging new talent in our
crafts became evident during his talk.
Chairman of judges Amber Hiscott followed
with a lively presentation and assessment of the
Stevens Competition entries, which guests were
to view later in their entirety in the River Room
during the drinks reception.
>>
Bringing a zest for living to stained glass –
see inside the artistry of Patrick Reyntiens.
International
style in a
Kent parish
church –
Dick Bolton
(left) explains
further on.
Page 1
Stevens Competition judges – background
(left to right): Douglas Hogg, Amber Hiscott
and Martin Grierson; foreground: Jane Campbell.
The show is held in November at the NEC
Birmingham, when the finals of a wide variety
of national competitions showcase to visiting
schools, teachers and parents the occupations
and opportunities currently available to young
people in the workplace. In 2012 the Glaziers
Company, in association with Swansea
Metropolitan University, facilitated a live stained
glass competition at the skills show which
stimulated considerable interest.
The Company is grateful to Worldskills UK
for its sponsorship of the Stevens Competition
and award of Worldskills Certificates to the six
leading prizewinners. The first prize itself is
named the Brian Thomas Memorial Prize and is
sponsored by GQA Qualifications, whose support
is greatly appreciated, along with the Glaziers
Trust, the competition’s other major sponsor.
The 2013 Training Award winners were
congratulated by the Master. Katie Harrison
won the Award for Excellence, comprising
40 weeks work placement in a variety of
leading UK and European studios.
Katie is a graduate of the MA course
in heritage management and stained glass
conservation at the University of York. The two
Ashton Hill Awards – ten week placements in
a leading conservation studio – were made to
Georgina Foster, a student at Swansea
Metropolitan University and Jessica Twyman,
an archaeologist with previous work experience
at Canterbury Cathedral stained glass workshops
who is considering changing her career path.
In closing, the Master expressed sincere
thanks to the sponsors, staff and volunteers
who support the Company’s variety of craft
activities, including the seminar, competition
and training awards, and to the competitors
and tutors who take our national competition
so seriously. Guests repaired to the River
Room to enjoy drinks, canapés and conversation,
and to view the Stevens Competition entries
illuminated by the evening sun glowing on
the River Thames.
■
Stevens third prize winner Eleanor Carr
(independent).
The Master with Jessica Twyman, Ashton Hill
Award Winner.
Ray Taylor, the 2012 Arthur and Helen
Davis Travelling Scholarship winner, gave a
comprehensive and thoughtful presentation
entitled “Artistic Opportunities in Architectural
Glass: contemporary materials and techniques”.
This was very well received, and touched
on some new techniques currently in
development which were previously unfamiliar
to contemporary glass artists in the audience.
Ray was encouraged to make the results of
his research more widely known.
Katie Bracher of Worldskills UK presented
a film explaining and advocating the work of
Worldskills UK in raising awareness of the
value of apprenticeships and vocational training
via the Skills Show.
Wide variety
Page 2
Furniture Maker Christopher Claxton-Stevens
with Stevens Competition first prize winner
Christopher Woodley (Swansea Metropolitan
University), who also won the John Corkill
Memorial Prize for Best Presentation.
Christopher Claxton-Stevens with Stevens
Competition second prize winner Felicity Butler
(North Wales School of Art and Design).
Excellence Award winner Katie Harrison
(University of York).
The Glazier • Summer 2013
Participants of the Master’s visit to Malvern have their picture taken at the Elgar Birthplace Museum.
Motor manufacturing, music
and history – the Master’s
visit to Malvern
RICHARD CARDWELL presents a report on the Master’s visit to
Malvern, which includes pictures by DAVID WHYMAN.
L
ucem tuam da nobis deus. We might
have had splendid light through the
many stained glass windows we
surveyed but, alas, thanks to the pagan
god Pluviosus, the heavens lowered grey
and menacing. Yet, in the event, the sun
did appear reluctantly and at intervals
and the rain and wind did not prevent us
from a thoroughly enjoyable three days
with the Master and his Lady.
Thursday afternoon began with optional
visits to Nicholson and Co., Organ Builders,
the Morgan Motor Company and the Crome
Court National Trust property. For the first two
there emerged a fascinating link in their several
methods of production – namely, both employed
shaped and bent wood in their industries.
THE MASTER writes: Because our
weekend away was close to home for many
of us, it seemed too good an opportunity to
miss for us not to squeeze in an extra
choice of visits on the day of arrival.
Nicholson & Co. have been making organs
in Worcestershire since 1841, and their
modern building (their third home since
that time) is now situated in Malvern.
Pipe organ
So it was, that a party of Glaziers signed
up for a tour of Nicholson’s workshop to see
some of the processes that go into the creation
of a pipe organ. As the way that stained glass
windows are made has not changed for many
hundreds of years, so it is with the organ, with
always the best quality materials used – timber
for the soundboards, sheepskin for the bellows,
and tin and lead for the pipes.
The managing director, Andrew Moyes,
started our tour by showing us a scaled down
model of a soundboard, with the associated
connections between
the keyboard and the
valve under the pipe
that allows the note
to play. This was all
exactly the same as if
it were an organ with
one keyboard and
one set of pipes, or if
it had four keyboards
and a hundred sets
(stops) of pipes.
Metal shop
Windows by Tom Denny in Malvern Priory – he had tried in his design to integrate
his motifs into a symbiosis, including echoes, with all the early glass in the priory.
The Glazier • Summer 2013
A look in the
metal shop showed
some display pipes
being decorated with
The Dream of Gerontius window in
Worcester Cathedral.
gold leaf, and a demonstration in the voicing
room by Guy Russell showed us the art of
getting pipes to speak their proper notes.
This was a special pleasure for me, as it
showed everyone what I have been doing
for the last forty years! A fascinating start
to a lovely weekend.
ANDREW GORDON-LENNOX writes:
For over a hundred years, the Morgan Car
Company have been making exciting sports
cars in the beautiful spa town of Malvern.
The factory we visited is not the original
one, but very close to it, into which this
family firm moved when business took off
after only a few years of production.
We started in the initial assembly area,
where aluminium box structures on individual
trolleys began to grow into the familiar shape,
all according to the thick “build book” sitting
on each one, giving the exact final specification
of the particular car.
>>
Page 3
Window at Great Witley Church – Peter walking
on the water.
One man per car per day at this stage,
and he then moved it along to the end of the
first shed before finally fitting wheels and gently
moving it down to the next level. Luckily,
the factory is on a slight hill!
Wheel arches
Next door the woodwork started, with wheel
arches, flooring and the rest of the body being
built up using the same process as the early days
of the firm, and some of the same equipment
as well.
We were pointed out George, a third
generation carpenter in the factory; next to him
worked his son, just as he had started at Morgan’s
along with the lad’s grandfather. We had already
met his wife: she runs the visitor centre. A family
firm where many craftsmen go back at least three
generations and,with an atmosphere and clear pride
in their work, a product to match. Downhill again,
engines, exhaust systems, all as the “build book”
directs, meticulous attention to detail, wet and dry
sandpaper, exact measurements, perfect curves
and precisely fitting doors.
Down again, electrical looms and
connections, battery, then for the car to be
driven down and across the road into the
paint shop: primer, undercoat, top-coat,
a deep fine gloss and into the leather shed
for seats, trim, hood and that beautiful
dashboard made out of a solid block of
wood and polished until it shone.
Finishing shed
Finally, the finishing shed at the bottom
of the hill, and the engine started for a quick
run around the town on a 4 mile test route.
Final adjustments, checks and signatures in
the “build book” and your Morgan is ready
for delivery. It took about two weeks to build.
The cost? Your starter Morgan Plus 4 1600
would cost you £32,000. Some finishes and
quirky extras will lift that price of course.
The Flagship Plus 8 model reaches about
£90,000 (and 165 mph), depending on your
particular desires as expressed in the build book.
Page 4
Every single car is slightly different, that’s
what “hand built” means. And what becomes
of the build book? It stays at the factory on file.
You may send your car back for accident repair,
and they like to keep a record of every car built.
After all, they have done so for over a hundred
years, and they are still going strong with 65%
of cars going for export, and full order books.
In a real leap of faith in their market
research, they have just started building again
the modern development of how they started:
the “cycle-car three wheeler” but to modern
specs, and they are also selling well. An amazing
visit to the last truly British car maker.
RICHARD CARDWELL continues:
In the evening, as we dined together, we were
treated to an amusing talk by Dudley Brook
of the local Civic Society on Malvern’s
history (we started in 6000 BC and leapt to
the 1840s in almost a single breath). It was
the monks who took advantage of the many
healing springs and fertile land to establish
the Benedictine Priory in the 800s.
Malvern waters
The renown of the Malvern waters was
such that the Victorians in the early 1840s,
two doctors to be precise, set up a spa and
healing centre which soon grew in public
esteem. So much so, that Malvern suddenly
became one of the major centres for the taking
of the waters and, consequently, the town
expanded, witnessed by the fine Victorian villas
around the area. Mr Brook was presented,
appropriately, with some engraved glass from
the Master and the Livery.
in his lifetime, together with other royals of the
new House of Tudor.
Stunning windows
Later glass was described, ending with a
talk by Tom Denny on his stunning twin
windows recently commissioned. He explained
how he had tried in his design to integrate his
motifs into a symbiosis, including echoes, with
all the early glass in the priory. No mean task.
A mixture of mauves, blues, purples, bright
reds, and oranges, Tom Denny’s glass glowed
even on this dullest of days, the refracted light
competing with the medieval windows on the
brighter side of the nave.
“...Malvern suddenly became
one of the major centres
for the taking of the waters
and, consequently, the town
expanded, witnessed by the
fine Victorian villas around
the area.”
At the same time he stressed how he had
attempted to localise his scenes with the local
topography of Malvern. Thus in the right hand
window the hills glowed in red and orange
above the wooded scene below. The allegorical
figures were echoes of the Psalms and the silent
contemplation of prayer and companionship
accompanied with animal emblems – a deer,
an eagle – again from the Psalms.
A further treat was a short organ recital by
Richard Walker, a mixture of resounding
trumpets and softer tones which echoed around
the nave and up into the fretted roof. We had an
opportunity to discover the town itself, to find
the water fountain and the statue of Elgar and
walk the steep hill of the High Street.
Calming effect
Maureen Davies and Brian Hunter attempt to
solve the Master’s puzzle at the last formal
dinner of the visit to Malvern.
Friday began with a visit to Malvern Priory,
next to the Abbey Hotel where we were staying.
The priory stands as the only remaining
building, along with the medieval priory gateway,
of the earlier medieval Benedictine foundation.
The Priory was confiscated and destroyed by
Thomas Cromwell’s purges after 1541 and it
fell to the local inhabitants, later, to restore the
church itself.
An extraordinary building, part Romanesque
with massive circular pillars and an extensive
nave in the Gothic style, the priory boasts a
fine collection of glass. Among its treasures
we were shown a window with an image of
Prince Arthur, heir to Henry VII, and set up
Malvern boasts many small privately-owned
shops which, oddly, did not open until gone
10 o’clock, clearly the calming effect of the spa
water and the quiet of the town itself. The only
disharmony in this attractive street was the
brutalist modern building which houses Boots.
When we had all visited the delicatessens,
the chemist, and sampled the water we returned
to the hotel for the next stage of our visit.
At noon we set off for a tiny cottage and
the heritage centre in Lower Broadheath, the
birthplace of Edward Elgar, our “greatest English
composer” as many insisted. The cottage where
our national icon was born – recall Pomp and
Circumstance and the moving requiem for the
dead of the Great War, the Cello Concerto –
was where the infant prodigy offered the world
his first musical tones in his infant cries and
was unprepossessing indeed.
It is an irony that from here emerged a
man of the humblest background who would,
later, mix with prime ministers, aristocrats
and kings. Small, with tiny rooms, a steep
The Glazier • Summer 2013
stair and despite the fact that Elgar was only two
when the family left for Worcester, nevertheless,
the Elgar Birthplace Trust had managed to
assemble a fascinating treasure house of
memorabilia all reflecting the many passions
of the man.
Musical item
Naturally there was an abundance of musical
items: manuscripts, sheets of music, bound
books of his compositions, volumes of the
great works which made his name. But Elgar
was a rounded man so we were presented
with his golf clubs, fishing tackle, photographs,
his pipes, his own poker-work boxes and caskets,
some given to friends, and an unfinished
crossword which the crytophiles among us
mentally completed.
All this a fitting tribute to a man who
seemed at ease with himself in maturity despite
the setbacks of the early years: a lack of
connections, his hated piano lessons for the
untalented, the opprobrium of the family into
which he married for his humble social status.
It was a shadow he could cast off in later life
when he was raised to a baronetcy.
The garden, by now bathed in sunshine,
was a mixture of tulips, late spring flowers,
rose bushes in bud and cottage plants. At the
garden’s end stood a bench on which sat a
life-size image of a relaxed Elgar at one with
the world, an Edwardian man, moustached, in a
formal suit and waistcoat, with watch chain and
sturdy boots.
In this comfortable pose he seemed, many
admitted, to be about to speak to us. From the
sunshine into the lecture room for a splendid buffet
lunch followed by a lecture. John Goldsmith,
an Elgar specialist, or rather, an Elgar “groupie”
given his total dedication to his subject, talked
about and played excerpts from Elgar’s best and
little known works.
We came away with a refreshed view of the
composer. Our last task was to assemble for
a group photograph with the trust’s cardboard
effigy of Elgar in the centre. And so, back to
the hotel and dinner.
Saturday meant another early start for the
church and house at Great Witley, home of the
Foley family, the Earls of Dudley. All that
remains of the great house is the shell destroyed
by fire, neglect and looting. Yet the church,
miraculously, remains. The home was once a
centre of Victorian and Edwardian house parties:
Queen Adelaide lived here and the future
Edward VII was a guest.
The church fell into semi-ruin but was
saved by local groups in 1965 and the Foley
Baroque conception of the early 1700s was
restored to its former splendour. Stephen Clare,
Comments from some
of the participants
Wonderful glass
STEVE GRAHAM: When the Glaziers go away
we are always treated to wonderful glass
and to the story behind the glass by experts.
What made Malvern different was the Elgar
factor. The Master and Frances orchestrated
the whole thing with a refreshing lack of
“pomp and circumstance”.
stained glass conservator, gave us a talk on the
Joshua Price glass brought from Lord Chandos’
former home in Edgware, pointing out the
damage of the years and the plans for
restoration. And then on to Worcester.
Charming city
On arrival, with bursts of sunshine and
showers, we had some time to explore this
charming city with its black and white houses
on Friar Street and the imposing Jacobean town
house on the high street. Then, after lunch, on
to the cathedral and the chapter house where
we were welcomed by our guides. We sat on the
benches on the circumference of this enormous
room where the members of the chapter would
sit for meetings.
On the walls were vestiges of the paint
which denoted the place of the incumbent who
represented his office or parish. The cathedral
began as a Romano-Christian foundation in 680
and was rebuilt and extended by St. Wulfstan in
1084 with a crypt and the chapter house.
In 1224 the Lady Chapel was added and
then the tower in 1375, subsequently rebuilt
several times. This Benedictine foundation was
dissolved, as with Malvern, under Thomas
Cromwell, leaving the present structure and the
Cathedral School which occupies what remains
of the former monastery.
>>
The visit to Nicholson & Co. was also very special for me, as was the
fascinating insight into organ construction and tuning, all amusingly related.
All in all, a thoroughly well conceived, well organised and seamlessly
successful programme, for which congratulations to the Master
for his inspired choice of venues, and to his secretarial
team for making it all work – no small feat!
French guest
HELEN ARTHUR: I am writing on behalf
of my guest, Sylvie Tymowska, to thank
you all for including her in the Master’s
visit to Malvern. Initially she found the
concept of a livery company difficult to
understand. I don’t believe they exist in
France. Indeed, my dictionary translates the
Plenty of time
words “livery companies” as “Corporation
GRETTAL PLUMBLY: A great success.
Londonienne”. After some discussion we
Very well organised, particularly as there
settled on its similarity to the Confrerie of
were so many of us. At the Elgar birthplace
Beaujolais or les Amis de Truffes de Perigord.
there was plenty of time and room for us
Sylvie was very touched by the warm
all to have lunch, tea, see the museum,
This picture taken by Roger Shrimplin shows
welcome she received from everyone. She
(left to right) Helen Arthur, Charlie Brooks and
the house and enjoy the garden. Evening
Sylvie Tymowska seated on a bench in Elgar's garden, said and I quote: “I knew that your friends
meals and gatherings were excellent with
with Tina Shrimplin standing behind them.
would be well educated and interesting.
the very friendly company of the Glaziers.
What I didn’t expect was how different they would be from the French.
I was particularly interested in the Elgar connection. Many years
In a similar situation in France, I know my compatriots would have been
ago a relative of mine worked as a telephone operator in the Worcester
snobby and patronising. The Glaziers are a very special group of people,
area and often spoke to Elgar before putting him through to his bookmaker
who wanted to know all about me, were genuinely interested in our
for a bet on the horses.
friendship and where I lived, and what I did for a living.
“I would like you to thank them all most sincerely. In addition to
Highly entertaining
CHARLIE BROOKS: Of poignant interest to me as an Elgar enthusiast feeling I was amongst friends, I also had the opportunity of seeing some
beautiful churches and learning a great deal. Thank you.”
was our visit to his birthplace and a restful, privileged view of the
I don't need to add anything to Sylvie's message other than to personally
Malvern Hills from the bench in his garden, in the company of his
thank you for looking after her (and me) so well. Just in case those of you
remarkable bronze effigy (and several charming ladies!). The following
who didn’t attend the Master's trip are wondering, Sylvie and I first met at
talk, interspersed with extracts of Elgar’s music was highly entertaining
the age of 12 when we did a school exchange, and we are still talking!
and informative about the composer on a personal level.
The Glazier • Summer 2013
Page 5
An amusing but comprehensive summary in cartoon form of the
Master’s visit to Malvern by Dick Bolton – this was presented to the
Master following the visit.
During the repair to a stair to the crypt the skeleton of a man was
discovered. His boots and a cockle shell (on display) suggest he was a
pilgrim to Santiago de Compostela, the shell being the badge of St. James.
He is now reburied before the choir. The cloister still bears the vestiges of
the monks who worked there: the brackets for the sills of the scriptorium
and the basins where the monks washed. Next, a gigantic cone of Puginesque
magnificence, a font beneath an equally decorated organ loft.
Then on to the extensive nave looking from the West end to the high
altar, a marvel of white and gold. We studied the West window with its
allegory of the Creation and the Fall and were then guided to the tomb of
King John before the altar.
John died in Newark Castle (the New Work) “of a surfeit of lampreys”
having asked to be buried near to St. Wulfstan. Then Prince Arthur again,
now dead, encased in a tomb with his armorial bearings in a Tudor sanctuary.
The wear on the steps to the side chapel bear witness to the enduring fame
of a prince who never ascended the Tudor throne. Last a refreshing tea in
the chapter house and back to Malvern.
The last formal dinner was a memorable affair with delightful
entertainment. We had related to us the tale of a man who was given a bunch
of asparagus – we had some succulent asparagus as one of the courses –
and did not know what it was. The tender tips were given away so that,
when he got home, he was berated for bringing back damp kindling wood.
The foregoing recital was infinitely better than the telling of it here.
Janet Doe read some very amusing poems, followed by Andrew
Lennox-Gordon who engaged us in a party game of “Heads’ and Tails”, a game
of elimination with only one winner who received a prize from the Master.
The Glaziers are unanimous in thanking the Master, his Lady, Andrew,
Alison and anonymous others for all the work and organisation that went
into this happy visit. It was a feast of glass, stone, wood and heavenly water
mixed with the enduring sunshine of the Master’s smile.
■
Past Master
called out
to help
Past Master Alfred Fisher had to fly to
Singapore to sort out matters on the
subsequent extension of a programme
which he was part of when it originated in
India. Starting about 20 years ago, Alfred
became heavily involved in training a core
of people in India where, although there
was a glorious wealth of 19 century glass
left by the Brits and others, there was
nobody surviving with any knowledge
of how to look after it and repair it.
This initiative seems to have proved successful
for after conservation projects in Mumbai and
Delhi there are now around half a dozen fully
trained studios which vie with each other for work
dotted around the country. One of these teams, led
by Swati Chandgadkar, one of the former trainees,
even landed an important contract outside India,
namely St. Andrew’s Cathedral in Singapore
where the three east windows needed attention.
These had been in characteristic grisaille
glass of the 1860s but after the war, in the
fifties, they were supposedly “restored” but in
fact were totally replaced in England with
bright unpainted glass which added richness if
not authenticity. First suggestions were that the
originals had been destroyed by the Japanese
Page 6
Literally still in harness – Past Master Alfred Fisher up the scaffold at St Andrew’s Cathedral,
Singapore. He comments: “In over 60 years in stained glass I have never had to wear a harness
before – Health and Safety catches up with all of us eventually!”
but the destruction was obviously much later
and quite deliberate!
Although new, they retained the original
19th century arms and inscriptions dedicated to
Sir Stamford Raffles and two early governors,
although unfortunately these became all mixed
up in the wrong places, were hidden behind the
altar and made no sense at all.
Alfred and his wife Pam were flown out
to Singapore for ten days to sort out various
issues with the local conservation watchdogs
who were reassured and the work progressed
well. The Cathedral of St. Andrew was designed
by a Colonel MacPherson in the 1850s who,
in addition to being an engineer, was the
“Superintendent of Convicts”.
Says Alfred: “Unsurprisingly the cathedral
seems to have been built entirely by Indian
prisoners, a nice little saving on labour costs!
Although supposedly based on the remains of
Netley Abbey and having a similarity to
Chichester Cathedral, like most Victorian Gothic
churches in India and the Far East it looks
strangely different when covered in whitewash.
Strangely, such an idea has yet to be adopted in
Canterbury or York I wonder why?”
■
The Glazier • Summer 2013
Washington
Cathedral guide
Past Master Stuart Lever is making
available to members of the Company
a guide book on the glass in Washington
Cathedral, USA which he has placed in
the Clerk’s office for the next few months
so that it may be seen and borrowed for
a few days by anyone interested.
Entitled Jewels of Light, it is a well
documented and detailed record of the
stained glass windows of the cathedral.
It was a surprise present from New Zealand
friends who were in the US visiting
Washington at the time.
Says Stuart: “It really is a ‘jewel’,
containing so many photographs, many of
them in enlarged detail and with corresponding
descriptions and explanation, all at craft
level. Certainly if a future Master wanted
to take the Livery to America, Washington
Cathedral would be well worth a visit.”
■
Autumn
lecture on
historic glass
The autumn lecture of the British Society of
Master Glass Painters, entitled The renewal
of the painted glass at Strawberry Hill, and
given by Michael Peover and Elise Learner,
will take place Friday 11 October,
6.15 for 6.45pm at the Art Workers Guild,
6 Queen Square, London WC1N 3AT.
As Michael Peover of the BSMGP
points out: “When Horace Walpole created
his gothic extravaganza of Strawberry Hill,
his mix of Netherlandish roundels and
English armorials reflected on a domestic
scale the monumental windows of King’s
College Chapel where in his time at
Cambridge he had researched their painters.
“After two major reorganisations of his
collection of painted glass, and the sale of
much of the English glass, the ongoing
restoration of his house presented the chance
to display the glass as originally intended,
and to recreate some of the lost items from
surviving original designs.”
■
Tickets are available from the BSMGP
website or from Helen herself
on 01582 764834.
The Glazier • Summer 2013
Conservator Keith Barley at work on sixteenth century glass from the Beaney Institute, Canterbury.
40 years of design
and mastery in
stained glass
KEITH BARLEY, managing director and head conservator of Barley
Studio in York, is well known for his pioneering work on the use of
“isothermal” protective glazing for the preservation of medieval
stained glass. Now celebrating 40 years in business, he reflects on
other developments in stained glass craft and conservation in which
he has been instrumental.
I
n 1973 I founded my own company,
having completed my apprenticeship
at the newly formed York Glaziers
Trust. During my time at the trust I was
particularly inspired by their academic
adviser Dr Peter Newton, whose
understanding of stained glass and its
iconography allowed him to decipher
subject and meaning from an apparently
meaningless jumble of fragments. His
enthusiasm for the subject was infectious.
Since that time, I have always felt strongly
that any conservation or restoration work
should treat stained glass primarily as a work
of art as much as a work of antiquity, in other
words respecting the imagery, its meaning and,
especially, the intentions of the original artist.
Early projects at All Saints North Street, York
(1977), St Oswald’s Church, Kirk Sandal (1981)
and St Nicholas’ Church, Warndon (1984) involved
the treatment of glass fragments, and allowed me to
develop my ideas in practice. In the first of these, at
All Saints North Street, I created new arrangements
of fragments to be placed in the West window.
As well as grouping the fragments by date,
I decided to place each fragment both the right
way out (with the painted side to the inside) and
the right way up, thus respecting the importance
and meaning of each individual piece – an idea
I have used ever since.
Piece together
At Kirk Sandal, I was able to piece areas
of the fragmented early 16th century panels
together, and inserted new painted pieces to restore
the original meaning. At Warndon, I rearranged
rather fragmentary early 14th century figures into
full figures, and placed them in newly painted
architectural backgrounds typical of the period.
In 1984 I was asked to conserve the glass of
St Nicholas’ Church, Stanford on Avon, and over
the next 13 years worked on all 13 windows of
the church. This church houses an important
glazing scheme dating back to the first half of
the fourteenth century, with additions of
heraldry and donor figures, relating largely to
members of the locally prominent Cave family,
of the late 15th and 16th centuries.
>>
Page 7
Detail of figure of St Peter from St Nicholas’ Church, Warndon, before and after conservation and
restoration by Barley Studio.
The relocation of this later glass from the
Cave family residence during the 18th century,
along with repairs and restorations over time,
had resulted in the fragmentation of the original
scheme, which by that stage resembled a giant
jigsaw puzzle. The conservation ethics of the
time would have suggested conserving the glass
as found, keeping the interventions and repairs
of previous restorers rather than attempting to
restore the original iconography.
“...I could no longer carry
out all of the work alone,
and I began to recruit and
train other glaziers, artists
and conservators to work
with me.”
Indeed these were the instructions from the
Council for the Care of Churches when I began
working at Stanford on Avon: “There must be
no rearrangement whatsoever without specific
approval from the committee...approval must be
given in each case.” However, from my previous
experiences at All Saints North Street, Kirk
Sandal and Warndon, I felt strongly that the
jigsaw could be reassembled and reordered in
a way which would more closely resemble the
original scheme, allowing future generations
to understand and appreciate these remarkable,
and beautiful, windows.
I inspected each panel and examined the
shapes of the window openings to work out
where each panel might have originated, and
discussed first with Peter and, following Peter’s
death early in the project, with Richard the
implications for the overall scheme. As an
example, small figures of Christ in Majesty
and the Virgin Enthroned were present in
the heads of two different chancel windows.
(Please see the pictures.)
Fragment bank
By close examination of both the panel
shapes and the iconography, it was possible
to deduce that these figures were originally
together, depicting the Coronation of the Virgin;
and thus they were reunited into their original
openings in the south-east aisle window.
As each panel was dismantled, I took out all
the glass pieces that didn’t belong to the panel,
gradually building up a bank of fragments.
Further fragments of glass were found behind
and under monuments in the church, and still
more in a barn at Stanford Hall. Many of these
fragments were identified and placed back into
their original panels.
Some belonged to 19th century repair work
and were put aside. Those pieces which could
not be returned to their original positions were
arranged into panels in the Tower windows at
the end of the project – of course with each
piece placed the right way up!
The work at Stanford on Avon was grant aided
by the National Heritage Memorial Fund, the policy
of whose advisers (English Heritage) was to pay
only for conservation, not restoration. Whilst they
were persuaded to allow us to re-order the windows
and restore the original iconography, they drew
the line at funding the creation of new painted
insertions to replace missing areas of the imagery.
This approach would have left us with
blank spaces in important areas; for example,
the complete figure of the Virgin Enthroned had
been reunited with the nearly complete Christ in
Majesty, who was unfortunately missing his head.
(Again, please see the pictures.) I felt so strongly
that such areas should be restored that I offered
to pay for the painted insertions myself. In this
unusual and unfamiliar situation, English Heritage
decided to leave the final decision to the client,
who willingly accepted the new painted pieces.
Following this work at Stanford on Avon,
I adopted a similar approach to the conservation
and restoration of the remarkable early 16th
century glazing scheme at St Mary’s Church,
Fairford, Gloucestershire. Beginning in 1986,
our 25 year “campaign” here was finally completed
in 2010, and again, we conserved, restored and
protected all 28 windows in the church.
I am extremely proud that our work at
Fairford was recognised in 1998 by the award of
the prestigious National Award for Conservation,
bestowed jointly by the Jerwood Foundation and
the Museums and Galleries Commission. This
remains the only National Award for Conservation
to be made in the stained glass discipline.
Conservation policies
When I started out in the 1970s and 1980s,
the restoration and re-ordering of glass I have
described here was seen by many as somewhat
controversial, as set against the relatively
conservative policies of the time. However,
I believe that the success of these projects can
be measured by the adoption of similar methods
elsewhere, for example in the conservation of
the St William Window and the Great East
Window at York Minster.
Sarah Brown, director of the York Glaziers
Trust, comments: “The sensitive approach to
Art historians
Working on this major project meant that
I could no longer carry out all of the work alone,
and I began to recruit and train other glaziers,
artists and conservators to work with me. As
with many other projects since, I also worked
closely with art historians Dr Peter Newton and
Professor Richard Marks in order to decipher the
original iconography and subject arrangement.
Page 8
Panels depicting the Coronation of the Virgin from St Nicholas’ Church, Stanford on Avon – before
and after work by Barley Studio.
The Glazier • Summer 2013
the balance between conservation and
restoration achieved by Barley Studio at both
Stanford on Avon and Fairford revealed to
many the capacity of stained glass conservation
to transform public engagement with the
medium. Both projects also highlighted the
importance of collaboration between
conservators and scholars, an approach very
much in step with the way we now work at
the York Glaziers Trust.”
Of course, having conserved and restored
these fine examples of medieval art, it was
important to me to protect and preserve them
for future generations to enjoy. My interests in
restoration and in protection have developed
(and reversible) intervention to the
surrounding architecture, and which can
be adopted as an extension of the glazier’s
craft. I investigated the properties of various
materials, and found that bronze alloys such
as manganese and phosphor bronze had
suitable properties (strength, bending,
availability and cost) to construct frames
around stained glass panels.
Share information
Throughout my career I have sought to share
such information and techniques that I have found
useful with others working in the same and
related disciplines, whether by speaking at
conferences or directly
training colleagues in
the studio. I strongly
believe that well
designed, site-specific
protective glazing
systems provide the
best solution currently
available to us to create
a suitable environment
to preserve ancient
glass, while allowing
it to remain in its
Detail of the Crucifixion scene from Fairford’s East window – again,
architectural context.
before and after conservation and restoration by Barley Studio.
It is very heartening
hand in hand, and I have spent much of my
to see “isothermal” protective glazing systems
career championing the idea of installing
now being used by leading cathedral glass
ancient glass in an internally ventilated
conservation studios such as York, Canterbury
(‘isothermal’) protective glazing system.
and Lincoln as well as independent studios
In 1986 I was awarded a Winston Churchill
throughout the country.
Travelling Fellowship to tour Europe studying
More generally, I have always tried to
existing isothermal installations, with the
support and encourage others to raise standards
objective of combining the best materials,
in stained glass conservation above those of the
methods and installation techniques in use
well-meaning but sometimes misguided glazier,
at that time to develop a system applicable to
for the good of the glass and its future.
the specifically British architectural situation.
I was involved in starting up the conservation
The collaborative effort of conservators,
group of the British Society of Master Glass
glaziers, scientists and architects led to the
Painters, which went on to develop its own
design of a system which makes minimal
accreditation system for stained glass
Visit to
Queen’s Chapel
of the Savoy
DAVID EKING reports: On Tuesday 2 July
on a fairly typical English “summer’s”
day, i.e. grey and not very warm, some
50 members of the Company assembled
on Savoy Hill between the Strand and the
Embankment. Inside the Queen’s Chapel
of the Savoy we were treated to a most
polished, entertaining and instructive
talk from the Chaplain, Liveryman the
Reverend Professor Peter Galloway.
Despite his voice having almost succumbed
to the effects of a viral infection he delivered
The Glazier • Summer 2013
Memorial window to HM King George VI in the
Queen’s Chapel of the Savoy.
50 minutes of history and explanation on this
most beautifully maintained building.
I suspect that very few of us were aware
of the whole history of the site and its chapel
conservators and restorers, now part of the
Institute of Conservation’s Professional
Accreditation of Conservator-Restorers (PACR).
I have mentored several colleagues through
their accreditation applications, as well as
undertaking accreditation assessments, and have
always tried to take these opportunities to
educate and to share knowledge.
Glaziers and conservators trained at Barley
Studio have gone on to work in studios and
museums all over the world, and training
placements at the studio are sought after by
students from the UK and abroad, under
schemes such as the European Leonardo
graduate training project, the ICON-HLF
training bursaries programme and the Award
for Excellence and Ashton Hill Award from
the Worshipful Company of Glaziers.
Over the past 40 years, I have been
fortunate to work on some wonderful
examples of the medieval glaziers’ art and
craft, and I do believe that the medieval artists
would approve of our work. In particular,
after years of arguments, the case for
‘isothermal’ protective glazing has been
largely accepted, and vulnerable glass is
being preserved for future generations to enjoy,
and indeed to work on again, should better
techniques become available in the future.
Safe hands
I feel that stained glass conservation is in
increasingly safe hands, with ideas of collaboration
between craftsmen, artists and scholars becoming
the norm, and a new generation of conservators
receiving academic training through programmes
such as the University of York’s MA in Stained
Glass Conservation and Heritage Management,
as well as practical training in studios.
We can learn a great deal by close observation,
study and conservation of the great works of
art of the past; and through discussion and
collaboration, we must pass on this knowledge
to the masters of the future.
■
so clearly laid before us. I for one did not know
that the church has been the chapel of the Royal
Victorian Order since 1937 nor that the site and
its chapel is part of the estate of the Duchy of
Lancaster, and although geographically within
the diocese of London, it is not subject to
diocesan management.
The chaplain is appointed, not by the
diocese, but by letters patent from HM the
Queen as Duke of Lancaster. After the talk we
had time to admire the numerous 20th century
stained glass windows, many marking the long
association of the chapel with the Royal Family,
including a magnificent 21st century one by
Freeman Douglas Hogg, installed in celebration
of Her Majesty’s Diamond Jubilee last year.
After a welcome glass of champagne at the
chapel we strolled through the Embankment
Gardens to the National Liberal Club where
we enjoyed an excellent and convivial lunch
in the Lady Violet Bonham-Carter Room. ■
Page 9
On this and other pages are some of Patrick Reyntiens’ favourite panels. First, floral windows dedicated to the masters of music, which features so much
in the psyche of Patrick’s art.
With zest – an
introduction to
the essence of
Patrick Reyntiens
RICHARD BLAUSTEN introduces the acclaimed stained glass artist
Patrick Reyntiens, whose work appears in cathedrals and churches
in this country and abroad. Patrick’s own article follows immediately
after this, and there is a final article in this section by his son John.
T
his article is a personal perspective of the stained glass artist Patrick Reyntiens and
an introduction to his article which follows next. While I know that many Glaziers will
of course have a good knowledge of the work of this titan of the world of stained glass,
I also know that many others may not have such awareness. For me, having had the immense
privilege of talking to him numerous times – and him being in my house finalising his article
and choosing the pictures of his work which appear in the following pages – has been an
amazing experience.
I felt myself sitting at the feet of a master
who was giving me priceless insights into his
life and work. Although in my career I have
spoken directly to all sorts of leading people
in their fields, I never thought I would be
so excited about talking to any one person.
The man and his art are stupendous. The
American sculptor and artist Danny Lane
(a former pupil of his) calls him “the greatest
stained glass artist since medieval times”.
When I saw a notice in the South Petherton
parish magazine that Patrick Reyntiens would
be talking about his life in stained glass on
a Saturday evening in St Michael RC Church
in South Petherton, Somerset, where I live,
something told me that this was going to be
important. I went onto the internet to find
details of the speaker and found out just
how important.
Page 10
On the evening the church was packed
despite two other major events in the village;
we were jammed on the benches. There
were people from all Christian dominations
listening to this unassuming 87 year old
gentleman with an almost languid air talking
about his life and those elements which drove
his art forward.
Mixed background
Of a mixed Belgian and Scottish family
background, at the end of the war Patrick
Reyntiens found himself as a young officer
in the Scots Guards commanding the British
welcoming detachment for the arrival of
Stalin and Truman at the Potsdam Conference.
Before he and his men had time to take things
in, Stalin swept by surrounded by virtually a
battalion of Red Army soldiers. Still recovering
from the swirl, he missed the approach of
Truman, who sauntered by on his own waving
with his hat in his hand. After that he never
missed anything.
Indeed he attributes his ability to master the
scale of some of the big stained glass projects
he has undertaken over a long career of over
60 years, whether on his own (e.g. the National
Cathedral, Washington DC) or in partnership
with others, to the military discipline of his
youth. But he sees stained glass as generally
requiring discipline – the artist has limited
space for making his statement, so he needs to
focus and make it clear – basically, get on with
it. Which is why, says Patrick, stained glass
sometimes needs bold colour. As Danny Lane
comments: “His art and decision making are
like a bullet.”
True partner
Depicting the theme of confrontation – based
on Patrick's memories of Sean Connery who
was a model at the Edinburgh College of Art
where he was a student.
Patrick Reyntiens achieved great
prominence due to his collaboration with John
Piper on numerous great works, particularly the
Baptistry Window of Coventry Cathedral and
the windows of Liverpool Metropolitan
Cathedral. In principle, Piper designed the
The Glazier • Summer 2013
Heracles and Deianeira – Patrick points out: “The cutting of the glass had
to be done extremely carefully.”
windows with Patrick being left to interpret the
design and then make the windows, including
doing the painting which he always does in any
collaboration. But he was more than just a
facilitator; he was a true partner.
It was because he was such a great artist
in his own right that he was able to work with
Piper on solving problems and taking things
forward. He describes his contribution in
cooking terms: “It’s like making an apple pie.
I make the crust and add a bit of cream.”
Patrick has been so overwhelmingly
effective in enabling artists who don’t normally
work with stained glass to achieve great results
because he frees them from the perceived
constraints of working in that environment,
what he calls the tyranny of the leadlines.
“Forget the leadlines,” he says. This was
something which liberated both John Piper
and later the artist Graham Jones when he and
Jones worked on the windows of St Martin’s
Apollo slaying the daughters of Niobe.
“Allied to his profound
Catholicism is an immense
knowledge of literature and
art from which he has
drawn inspiration…”
Church in Cochem, Germany. However, with
his own work, if a window needs to reflect a
traditional setting he will make the leadlines
part of his art.
To fully understand the artist, you have to
appreciate his incredibly deep Catholic faith.
He says his belief in Faith, Hope and Charity
permeate his work. He defines “charity” as
sometimes being just “good mannerliness”.
He says: “You’ve got to be very careful with
people – good mannered.” Indeed this explains
the impression of a very courtly gentleman in
his later years. It also explains the symbiotic
relationships he has with other artists. They see
him as only interested in helping them to take
the whole project forward.
Hercules strangling the Nemean lion – note the
similarity of expression on the faces of both
man and beast which reflects the intensity of
their exertions.
Artistic solutions
Allied to his profound Catholicism is an
immense knowledge of literature and art from
which he has drawn inspiration, whether to
help provide artistic solutions when working
with others or to make a startling impact with
his own painting. He is enthused by this
drawing on the wisdom and achievements
of great writers and artists of the past as it
has helped power his own work into new
dimensions. Dante, Bernini and Warhol are
among those who have inspired him.
Great teacher
Orpheus charming the trees – this prompted
Patrick to comment: “The leadwork should be to
the stained glass what the meal is to the banquet.”
The Glazier • Summer 2013
Another aspect of Patrick Reyntiens’
importance in the world of stained glass is that
he is a great teacher. With his late wife, the
painter Anne Bruce, he turned the marital home,
Burleighfield House in Buckinghamshire, into an
art school from 1964 to 1976 concentrating on
stained glass.
It was the first international school in stained
glass of any standing at all and over those years
some of the most talented young people in the
field passed through its doors, leaving as
The mares of Diomedes – Patrick wants us to
note how beautiful the human body can be and
also the expressions on the animals’ faces.
thoroughly trained artists. Sir Roy Strong sums
it up: “He taught so many people who have
such respect for him. They are hugely trained.”
Patrick has always had this ability to
inspire young people, partly because he is a
fun person. Life at Burleighfield was never
dull. The days rarely followed a set pattern –
there were often unexpected trips into the
countryside and sudden lessons in the evening.
Page 11
helped Patrick’s work. According to former pupil
Danny Lane, “there is new life in his creativity”.
In these pages are pictures of some of Patrick’s
favourite pieces of work. They are single glass panels
which he painted over the years really because the
fancy took him. They are either in public or private
collections, or are now being prepared for sale. He
says: “So much of stained glass is commercial work.
It is very rare when you get an artist who just does
his own thing and not because he wants to sell it.”
Because of shortage of space we have had to
be highly selective, and it has been very interesting
listening to him choose and discard examples from
a catalogue that is being put together. He is
sharp as always, quickly dismissing items as
not being suitable for this particular exercise.
Positioning interest
From Patrick Reyntiens’ Comedia Del Arte
Series – Goodbye Pantaloon.
Music was an important reference point –as it
has always been for Patrick. He regards the
analogy between music and art as a strong one.
It is hardly a surprise that Patrick’s son
John has become a leading stained glass artist,
following in his father’s “painterly” footsteps.
He made the Diamond Jubilee stained glass
window presented to the Queen by Parliament
on the occasion of her Diamond Jubilee. John
has been a great source of support for Patrick in
relation to taking on certain practical burdens
involved in stained glass art. This has really
“What is the core of your artistry?” I ask. He
replies: “Colour, although John has a much better
sense of colour than I have. Colour is to sight what
music is to sound. You can do it beautifully and if
you can put a slight bit of zest in the glass that
makes all the difference.” But he is ever the
teacher, leading people by the hand to where he
wants. He explains: “Stained glass is also the art
of positioning interest, taking the viewer to what
you want him to see. The late 18th and 19th
century Japanese woodcutters were expert at that.”
So let Patrick take your eye where he
wants to as you look at the glass panels in
these and the following pages, and enjoy the
zest that he brings to them.
■
Having stained glass
as an everyday
experience
PATRICK REYNTIENS argues that there should be a place for
stained glass in modern buildings.
A
ll arts are the result of the action of the hand and the eye. The eye comes first. What
we see in the course of our lives is the first stimulus to our reaction to a world outside
our own bodies and minds. There are a few visual arts which have a relationship to
other arts, based on our other senses. Of these I think stained glass is one visual art, amongst
many, that has a particular relationship to music.
From a historical point of view this is
interesting. The glass in churches beginning
in the late 13th and early 14th centuries began
to have a more subtle colour sense than the
marvellous heraldic, and clearly defined,
colours of the glass of a hundred and fifty
years before.
We all know that the particular brilliance
of early glass, from St Denis onwards, was as
a result of the heraldic brilliance of fighting
banners which, held high up on long sticks,
identified the particular knight or nobleman
who demanded the loyalty of his men and their
Page 12
determination to fight under his command.
The colour had to be seen from a great distance
to make sure of full loyalty and immediate
association with the heraldic duties due by all
men to their masters.
Heraldic immediacy
But why did the colour change? The
heraldic immediacy of the colour in glass was
abandoned because it became necessary to be
able to read music in the choirs of every church
and cathedral. The simple Gregorian chant
easily learnt by heart, and very persuasive in its
The Conversion of St Paul – see how Patrick’s
favourite elements of his work come together
in a Christian theme. This panel has some
bright colour (where the point has to be made
quickly and thus with impact); the leadlines
are an integral part of the painting; there is
the expression on the face of the animal;
and there is the strength in the human form;
plus the whole work has a flow about it. Like
most of the pictures chosen by Patrick here,
it is an action picture.
singing, was superseded by a multi-patterned,
almost symphonic, complexity of many-voiced
choirs. Everyone in the hundreds of church
choirs learnt to be able to read musical scores.
Again, this oral complication may possibly
be compared to the more and more complex
carving of stone in cathedrals and churches in
the three centuries following the 13th. Porches,
screens, choirs, chapels, altarpieces became
more and more detailed and of a refined order.
The eye had been given a visual world as
diffuse in its appearance as the world of
woods, trees, water and mountains outside.
“The knowledge of the
historical connection of
musical complication and
visual luminosity is very
helpful in the understanding
of what can be done in
stained glass today.”
The knowledge of the historical connection
of musical complication and visual luminosity
is very helpful in the understanding of what
can be done in stained glass today. The work
of most stained glass is used in the decoration
of churches – so that the interior is of an
experience different from, but parallel to, the
world of vision outside that particular building.
The Glazier • Summer 2013
Stained glass in churches is an imaginative
reminder that the world of our experience is far
more complex than at first we know. It suggests
with conviction that we approach a different
world completely on the arrival of our death.
The difference of architecture in the 20th
and 21st centuries to that of the previous times is
certainly to do with the revolution in construction,
and the technology available for the making.
From the days of the Modern Movement onwards
(in the 1920s and 1930s) and thanks to the
dominance of architects of enormous selfauthority, such as le Corbusier, there is now
no decorative detail in architecture at all.
All is concrete; no stone. All is plain wood
and large areas of completely clear glass windows
on an enormous scale. Any art which is associated
with “the Modern Style” is generally of
particular, isolated, experiences not physically
in connection with the material of the building.
Arches are abandoned, curves are most
infrequent and double curves are, to Modernism,
a ridiculous idiocy. The idea of details in
architecture of carving based on clever and
sensitive chisel working is completely of the past.
Straight lines
These three panels by Patrick Reyntiens depict
scenes from the circus. There may be fun in
them, and there is certainly zest, but they are
not light hearted. It’s hard work being a circus
performer. Here the figure at the front definitely
dominates but there is a lot going on behind him.
See again the very different faces, reflecting the
intensity of their activity. With this piece Patrick has
waved or dabbed onto the glass extra bits of activity.
As he says: “We have a bit here and a bit there.”
In such a situation the art of stained glass
as a companion to Modernism – and its straight
lines, white walls, and direct artificial light and
unarguable simplicity – is a difficult number.
The use of areas of colour and design, based on
collage – as seen in the windows at the chapel at
Vence designed by Henri Matisse, is an approach
which could well be carried on with great success.
But this would depend on the commissioning
of the glass design by patrons who really know
what they want. And those who really know the
history of the medium and who can encourage
the production of something as original as the
simplicity of Vence.
The visual aspects of stained glass are not
based on pure aesthetics, such as can be found
in painting. Its authentic possibilities are entirely
its own. But a good knowledge and experience
of painting, and the sensitive appreciation of the
great architecture of today are essential.
For it is no use being an efficient craftsman,
and thinking that just the physical making of
a stained glass window will endow it with that
extra spiritual and mental dimension that will
turn it into an authoritative work of art.
Curiously enough, there is a place for glass
in the structure and expression of a “modern
architectural “ building. The historical decorative
arts of carving and moulding have been absolutely
abandoned. But we can still use colour, form
and detail in glass for memorable reminders of
things past, of importance, of vital matters for
serious thought.
and in every place. The memories of our history
and religion still have a place in the enjoyment
of our lives, and it should be there as an
everyday experience – not to be confined to
war memorials. The art of light and the beauty
of expression in stained glass, as a medium,
is still to be understood as an infinite possibility
of expression. All we need to do is to work and
be inspired by what we hope – but it depends
on our being good artists.
However, for the serious artist in stained glass
the choice of colour, and darkness or lightness,
is of primary importance. And for this we must be
thankful for the makers of enormous variations of
colour panes of glass mostly made in Germany
now. A visit to the colour possibilities of Derix
or Peters is essential to the growing maturity of
anyone who wants to fulfil all their hopes and
dreams of colour in glass.
Real experience
As well as a real knowledge of the possibilities
of expression in the medium, some real experience
of the personal clientele and commissioners of the
medium is essential. But this is far more difficult
than the visiting of great glass studios and makers
of glass in Germany. It depends on a sincere
friendship with understanding architectural critics
and writers on art.
It is they who can bridge the gap of ignorance
which may well exist between the growing
artist/designer and the commission possibility
of committees who may well have the money
to pay the artist for what they commission,
but don’t actually know of the artist. This should
change, and I certainly hope it will.
■
Complex technology
Lots of fluidity, a reference to bodily strength and
still the strain of being a circus performer.
The Glazier • Summer 2013
Of course we are all aware that these moral
and mental activities are now transferred to travel,
television, film and e-mail and all the connections
possible through the complex technology that is
available. So much for reminders of our more
serious convictions through the cursory
application of two or three of these recent
dimensions as an addition to the remorseless
visual experience of modern architecture.
We are deemed to have no more need for
permanent reminders of such important history
in the visual and tactile values of modern
interiors. We can switch them off, or switch
them on. Electricity has it! But not all the time
Our final picture of some of Patrick Reyntiens' work
is the companion panel to the one on the front cover.
They are on sale together for a total of £50,000,
and they reflect the influence of Andy Warhol.
The Triumph of Dame Edna – as we see her and as
Patrick Reyntiens sees her: with Barry Humphries
featured and as a woman totally in her own right.
Page 13
Father and son – Patrick and John Reyntiens
against the background of the Baptistry Window,
Coventry Cathedral, the result of John Piper’s
partnership with Patrick. As John says of his own
work with his father: “Stained glass is so often a
collaborative venture.”
HM the Queen’s Diamond Jubilee gift from the Houses of Parliament 2012; put into Westminster Hall's
north window, July 2013. The first piece of permanent artwork installed in the hall since the Reformation.
A particular kind of challenge for John.
The making of
John Reyntiens
JOHN REYNTIENS, a stained glass artist of national prominence
in his own right, tells his story – describing his artistry and how he
works with others, including his father Patrick.
A
blank piece of paper. How terrifying. Perhaps the difference between commissioned
art (and stained glass is almost always commissioned) and personal art is that the
latter pleases oneself, at least initially, and the former has to please however many
people represent the client. So I think that there are three parts to talking about stained glass
artistry and its practice: the commissioning process, design and making.
For me the act of competition has to
become an obsession. By the time I stand in
front of a commissioning committee, I want
to be mentally in the frame of mind that when
I walk out of the meeting the commission’s
mine. Preparation is crucial, it’s what I have
done in the weeks beforehand which is the
difference between success and failure.
The passion for what one wishes to achieve
has to be real and needs to come out during
the process. The activity of making art does
Page 14
not come easy for me, so I have to work at
my designs. I use collage and painting before
anything else. I work in a Piper/Reyntiens
tradition of artwork – that’s my inheritance.
When I look at the apparent ease with which
my father draws, I feel as though I have no
natural abilities from which to draw upon.
Self doubt
So what I do is always a struggle and there
is forever present that feeling of self doubt.
How the Queen’s Diamond Jubilee gift started –
John Reyntiens explains: “This is the design for
Westminster before it was coloured. I worked on
this design with a draftsman and heraldic artist.
The draftsman set the design to my instructions
and the heraldic artist helped keep us on the
straight and narrow heraldically. At a certain
stage in the composition I took the drawing over
and completed it, making the adjustments that
I felt were necessary to complete the design in
the way I wanted.”
Like many of Patrick’s former students I am in
awe of his innate ability as a draftsman. Unlike
his students I never formally studied under him,
and as his son I’ve had to find my own way.
Until the age of 12, I grew up in the unique
environment of Burleighfield House, the art school
my parents set up and ran between 1962-1976.
In the context of that creative environment I made
my first stained glass panel aged 9 in my father’s
studio, which he had built for him to make the
windows for Liverpool’s Metropolitan Cathedral.
The Glazier • Summer 2013
As a dyslexic in the 1970s, secondary school
was a nightmare. From the age of 18-32 I didn’t
have to write anything. I went to the Central
School of Ballet where Christopher Gable was
my inspiration, and then moved to City and
Guilds of London art school where I studied
decorative arts. During that time, and until my
early 30s I worked in Café Pacifico, a Mexican
restaurant, as a waiter.
Westminster Abbey
I was still working there when I took a job
with Graham Jones as his assistant on his
windows for Poets’ Corner, Westminster Abbey.
Graham trained at Swansea, and through him
I saw a different angle on stained glass, and,
more importantly, on the business of selling
oneself and one’s work. From Graham I learnt
that it is very important to be both an entertainer
and a salesman.
Once I had my own studio, and having taken
on the making of my father’s work, and having
gone with him to interviews or to meet church
congregations to show them designs, I realised –
though he doesn’t realise it himself – that my
father is also perfect on both scores.
Patrick’s passion, his knowledge of
literature, art and architecture are phenomenal.
I recall my mother saying to me that John Piper
used to love the fact that he could go along with
Patrick and that Patrick could just get on with
the job of selling a project whilst he worked out
the finances.
Windsor Castle
My own first professional project in stained
glass was for the restoration of Windsor Castle’s
stained glass after the fire. I was working for the
art dealer Jamie Maclean, sticking together
erotic pop-up books, when I tendered for the
job. Jamie very kindly typed up my tender
document and I was called to interview.
Having never had an interview before I didn’t
really know what to expect. My interview was
double booked, so they put me off till the
St Michael’s Church, South Petherton, Somerset. Painted and stained on laminated antique glass.
Local resident Richard Blausten writes: “At first glance, this Roman Catholic church appears to be a
large, nondescript wooden shed with a pitched roof. But as soon as you step inside you are captured
by the airy, gently uplifting atmosphere. This is produced by the simple decoration – largely bare walls
but pleasantly complementing light colours – and minimal religious objects. Undistracted, one’s gaze
cannot help moving upwards along the high rear wall to be drawn into John Reyntiens’ circular window
near the roof. The colours of John’s work, which he says is meant to represent the seven days of
Creation, are a perfect fit with the decoration of the church, but are such that they take you to the
peak of your visual experience. In the evening, any light inside the church streams through John’s high
window, transforming the nondescript exterior into something meaningful. It is clear to any passer-by
that this building has a friendly message for all.”
afternoon and I had to spend four hours waiting
for the interview. So I went from being nervous,
to tired and fed up and wanting to go home by
the time I was called in.
During that time I bumped into Paul Chapman
who then ran Nimbus Conservation and he said,
“last time I saw you, you were working in that
Mexican restaurant”. I replied “a lot’s happened
since then”, with full knowledge that I was still
working there, and couldn’t hand in my notice
until I got this job.
Indeed, during the next few weeks before
I heard from Windsor, and then before I handed
in my notice, I was very worried someone
from the interview panel would come into the
restaurant and find me serving tacos. It was
very much a case of “don’t give up the day job” –
or in my case, evening job.
Ornate plasterwork
This heraldic window at a private residence by John Reyntiens was painted by Simon Ratcliffe. The work
was very challenging. It is made with two pieces of glass, one red and one pink. On the glass the colour
has been etched away using hydrofluoric acid. The red and pink have also had shades taken out of the
colours to give tonal depth. John says: “A huge effort has gone into achieving the result in this image
and I had never done anything like this before. If asked again to quote on this type of window, the price
would be double what I charged.”
The Glazier • Summer 2013
During the interview there were six people
present. They seemed to ask me a lot of
questions, and I didn’t get nervous. I was
asked a question about how I would put
right the ornate plasterwork if I damaged it.
I needed an answer so I came up with “polyfilla”,
which they all laughed at thinking I was joking.
I wasn’t – but it taught me if you can make
people laugh at some point you get people on
side and if there is someone who looks
Page 15
I do everything else – the business side of the
commission, and the practical: measuring, selecting
the glass, cutting, firing, glazing and installing.
In my own work, such as with the window
for St Michael’s Church, South Petherton or the
windows for St Paul’s, Mill Hill, I work on the
design until the client is happy, and then I figure
out how to make it – whether it is laminated,
as in the case of South Petherton, or traditional
stained glass (St Paul’s, Mill Hill; St Mary’s
Church, Ilminster).
The techniques chosen depend on the
architecture of the building, and the feel the
client is after. I tend to use a lot of acid etching
in my work, and I enjoy exploring different
painting, staining and slumping techniques.
I’ve learnt a lot from working with my father
as well as looking at his use of colour and line,
as have so many post war stained glass artists.
The energy of his work from the 1950s and 60s
is still exciting today.
Heraldic projects
The William Wilberforce Freedom Window by
John Reyntiens, 2012, reflecting the fact that
Wilberforce was responsible for ending slavery
in the UK. This is in St Paul's Church, Mill Hill,
which Wilberforce built between 1828-29.
miserable, grumpy and sad if you can get them
to smile or laugh half the battle is won.
As to the artistic side of this business I like
not to think about technique. I like to design in
a way that is not dictated by available techniques.
I like to be free to dictate what I want at an
artistic or aesthetic level and work out how to
make it later.
I have been in one interview in the US where
they’ve asked me at the end of the interview
“John, how are you going to make this into
glass?” and I stood there and said “I’ve got no
idea”. All 27 of them laughed. I got the job and
then spent weeks figuring out how we were
going to make it.
I had samples made by different German
companies thinking it would be a relief for once
to hand over the physical side of things. In the
end I made it in England with David Proto of
Proto Studios Ltd, and between us we figured
out methods of working to create a complex art
vision that was more exciting than my original
collage, playing with the properties of glass,
light and colour, which is what it’s all about.
Collaborative venture
Stained glass is so often a collaborative
venture. When I make my father’s work there
is a definite division of labour. He designs,
works out the cut lines – often they end up
pretty complex – and then paints the glass.
Page 16
Whilst much of my work has been abstract,
and I do all my own painting on those windows,
I’ve also worked on some very exciting heraldic
projects in recent years, some private, some
public which have been more collaborative.
The Diamond Jubilee Window for Her
Majesty the Queen represented a particular
kind of challenge. In the extraordinary space
of Westminster Hall with its thousand years
of history it was a special challenge to make
a window which was worthy of its environment,
although in a sense that’s always the key to any
site specific artwork.
Circus ringmaster
I felt like a circus ringmaster during the
Westminster project. I worked with a group
of talented people to achieve the vision
I wanted. I knew how I wanted to work,
and I knew there were two painters I wanted
to work with. Artist David Williams of
Williams & Byrne, a brilliant painter who
trained and worked with my father in the
80s, and Simon Ratcliffe, a master glass
painter trained with Goddard and Gibbs
since the age of 15, and now in his early 70s.
“I like to be free to dictate
what I want at an artistic
or aesthetic level, and work
out how to make it later.”
I was lucky enough to coax Simon out of
retirement to carry on using his awesome talent,
and through him this window has links to a
tradition of learning under threat. Since Goddard
and Gibbs closed, the extremely thorough
training those kinds of companies nurtured is in
danger of being lost. There are only a few studios
dotted around the country where techniques
developed from the medieval period onwards
are still practised.
St Mary’s Church, Ilminster, Somerset – painted
and stained by John Reyntiens on leaded antique
glass. The window commemorates Ilminster
Grammar School, which thrived in the town from
1549-1971. Commissioned by the old Ilminsterian
Association, the window suggests the strength
and continuity of community and faith. The blue
triangles represent both the Holy Trinity and the
waters of the River Isle, which then nourish the
community suggested by the new growth in the
central lancet reaching up towards the golden
triangles at the top.
St Mary’s Church, Ilminster – again, as this detail
shows, painted and stained on leaded antique glass.
Glass artwork is now required to be more
cost effective, and one of the drawbacks to
designing fantastic rich stained glass windows
is simply cost. It is an extremely labour intensive
activity. But the more economical solutions
now in fashion do not necessarily mean you
get better artwork. However, it is driven by the
economic climate that we live in. Our challenge
is to ensure that creativity and innovation, as well
as a great tradition, survive.
■
The Glazier • Summer 2013
Signature of the man who came from Paris
to paint all the windows in Tudeley Church.
International style in
a Kent parish church
DICK BOLTON describes how Marc Chagall and Charles Marq
brought some international artistry to Tudeley Church.
I
t came to the notice of the Editor that
in February I gave a talk in Canterbury
to raise funds for our Cathedral Appeal.
He politely enquired if the talk might inspire
me to write an article! I have therefore
chosen to “take you” into the county of Kent,
just south east of Tonbridge, to All Saints
Church, Tudeley.
All Saints is a small country church of
mellow sandstone and warm 18th century
brick work. As you enter the south door
nothing prepares you for an interior bathed
with blue and yellow light from 12 windows,
the work of Marc Chagall.
Marc Chagall – with an international
reputation as an artist, designer and sculptor –
realised that after 50 years of trying to represent
light on paper and canvas he could use light
itself to be central to his creations. So in 1957,
at the age of 70, he turned his attention to
stained glass.
Chagal’s windows which eventually went to Israel
spurred the initial commission for Tudeley
Church. Here is one of the 12 Tribes of Israel
(Joseph) from the Hadassah University Medical
Centre (which supplied the picture).
The Glazier • Summer 2013
Remarkable partnership
The following year he met Charles Marq,
master glass maker and director of the Ateliers
Jacques Simon in Rheims, and his wife and
Adam and Eve in the north nave, Tudeley Church.
assistant Brigitte (daughter of Maitre Simon).
Chagal and Marq formed a remarkable partnership
based on trust and a true understanding of each
other’s work.
In 1961 an exhibition of Chagall’s windows
was held in Paris. They were destined for the
synagogue of the medical centre at the Hadrassah
Hebrew University in Jerusalem and depicted the
twelve tribes of Israel. Among those who admired
the windows were Lady d’Avigdor-Goldsmid of
Tudeley and her eldest daughter Sarah.
>>
Page 17
into the rich blues of darkness and gradually
lighten again as there is hope in the gloom.
A white dove the messenger of Hope leads
to the final palette of mauves, greens and gold.
Charles Marq used the changing pattern of the
leadlines to emphasise the changing moods.
Here they give the impression of flames.
Complete contrast
More of Marc Chagall’s and Charles Marq’s work –
“Death leading to Resurrection”, the east
window of Tudely Church – “one of the enduring
monuments of 20th century sacred art”.
Sadly two years later Sarah, then aged 21,
died in a sailing accident off Rye harbour.
Her father, Sir Henry, was Jewish but the ladies
of the family were Anglican and worshipped
in Tudeley Church. So it was here that the
d’Avigdor-Goldsmids wished to commemorate
Sarah’s life with a window designed by Marc
Chagall, whose work she had so much admired
in Paris.
With the help of a family friend who knew
the artist, Chagall agreed to create a memorial
window. In 1967 Chagall was present for the
dedication of his new window and probably to
everyone’s surprise offered to fill the remaining
eleven windows of the church!
Readily accepted
His offer was readily accepted, but caused
considerable upset in the parish. When the Rector
suggested removing the 19th century chancel
glass to a neighbouring church neither the
traditionalists nor the modernists were happy
and the Rector resigned.
The two larger windows of the south nave
are in complete contrast. An explosion of
yellows and gold acid-etched to white promise
eternal life and joy and hope for mankind.
It is as if Marq has captured the artist’s brush
strokes. Here the lead lines seem to create lush
foliage inhabited by Chagall’s characteristic
animals, birds and angels.
Patrick Reyntiens thought that Marq’s
use of acid-etching to represent water colours
“had never been done better”, but he was less
complimentary of Marq’s leadwork!
These bright south facing windows contrast
with the sombre colours on the north side and
seem to make the blue glass there deeper and
more mysterious.
“These bright south facing
windows contrast with
the sombre colours on
the north side...”
In the small dark chancel five windows
create “The Heavenly Sphere”. Once again blue
predominates but now the lead lines emphasise
the form of fish, birds and angels, all defying
gravity as they “float” in front of us.
Beside one of the angels Chagall has written
“Vava”, his second wife and personal angel.
The glass in the body of the church leads us
symbolically to the east window. In contrast to
the “gothic” settings of the Nave and Chancel,
Chagall chose to use a Romanesque space, as he
had used for the hospital synagogue in Jerusalem.
“The muted colours of Eden
blend into the rich blues
of darkness and gradually
lighten again as there is
hope in the gloom.”
Sir Hugh Cassons was asked to mediate.
The Victorian glass was moved to the vestry
and the new scheme was eventually unveiled
in December 1985. Chagall had died in March
that year aged 98.
I will briefly describe the windows. In the
small north nave aisle are five windows
representing: “The Garden of Eden”, “Darkness
outside the garden” and “A new dawn in the light
of God’s grace”. The muted colours of Eden blend
Page 18
Vava – Chagall’s second wife and “personal angel”.
From the seventeenth century the Romanesque
window space became popular in new churches
built in the classical style. These spaces provided
a large surface for decoration but the artists’
efforts were often spoilt by the rigid rectangular
imprint of the ferramenta (supporting frame)
on the eye. As you can see from the illustration,
Marq overcame this by off setting some of the
vertical bars allowing the design to dominate.
Compelling window
This compelling window represents
“Death leading to Resurrection”. In the lower
half of the window Sarah’s life and death move
in a whirlpool of leadlines. Human figures are
absorbed into an intense blue sea, a blue of
grief, sorrow and contemplation. From here
the movement is upwards to the top half of
the window.
Sarah’s journey is first on a red horse
(the artist’s symbol of happiness), then by
ladder to a welcoming and triumphant Christ,
with jolly angels in support.
June Osborne, the glass historian, has quoted
Chagall as saying “for me work is praying” and
added “in the glass he designed, colour is never
accidental or decorative; rather, it is an expression
of his emotional involvement, and deeply
significant”. Picasso said of Chagall, “When he
paints, you can’t tell if he is asleep or awake.
He must have an angel in his head somewhere”.
Chagall has said: “When I paint the wings
of an angel, these are also flames, thoughts or
desires...Judge me by shape and colour, by a
vision of this world.” To him angels were real.
Enduring monument
Tudeley nave south – Marq’s leadlines seem
to create lush foliage inhabited by Chagall’s
animals, birds and angels.
Patrick Reyntiens’s view was that Tudeley’s
east window “is one of the enduring monuments
of 20th century sacred art and deserves to be
accorded far more attention and respect than it
has hitherto received”.
Please go to judge for yourselves.
■
The Glazier • Summer 2013
English antique glass blowing – this and the glass shown in all the
other pictures coming from the company English Antique Glass (EAG).
Meeting the
challenges
encountered
in contemporary
glass practice
HELEN ROBINSON, BSMGP Events coordinator and a member
of the Glaziers’ Crafts and Competitions Committee, leads us into
a joint report on the BSMGP/Glaziers Discussion Day, which included
participation by manufacturer English Antique Glass.
F
or many years the Company has
organised an annual Glass Forum,
its broad aim to improve the
understanding between glass colleges and
working professionals. Many colleges have
now closed their stained glass courses and
the dynamic of the group had changed,
making this seem an appropriate time to
review its purpose.
In the past five years the British Society
of Master Glass Painters (BSMGP), the
professional body for stained glass artists and
historians, has held a Discussion Day airing
issues of particular importance to practising
artists/craftsmen.
With a desire to streamline the activities of
the two organisations, it was decided to merge
these events and so for the first time a joint
initiative was planned, arranged by the BSMGP
with financial support from the Worshipful
Company of Glaziers. The event was held in
London on 8 May, the day after the Glaziers
Annual Prizegiving in order to encourage as
many students as possible to attend.
demand making it increasingly difficult for
them to stock the range of materials needed
to produce high quality windows.
To address this issue, a meeting was
planned with English Antique Glass from
Birmingham, the last surviving maker of
English mouth blown sheet. The company
has recently been acquired by a new owner
so this is a timely opportunity to look at the
unique qualities of their material.
On the day over 70 attended, broadly a 50:50
mix of students and practicing professionals.
Such events are enormously valuable, giving a
Biggest challenges
One of the biggest challenges for
contemporary stained glass artists is the
diminishing range of glass available to them.
Manufacturers and suppliers have been affected
by the economic recession and diminishing
The Glazier • Summer 2013
English antique glass in the furnace.
rare opportunity for often small independent
practitioners to speak to a manufacturer directly,
discuss their needs and understand important
commercial pressures. It is also vital that
students see and understand the use of high
quality materials as well as the issues that will
affect their own future professional lives.
The BSMGP would like to thank the
Worshipful Company for their support and
look forward to working with the Glaziers
Foundation in the future.
The following two reports, first published
in the BSMGP newsletter, describe the day and
pass on the appreciation felt by students, tutors
and practising artists.
RACHEL PHILIPS, tutor at the Swansea
School of Glass, reports: On 8 May students
from the Swansea School of Glass, Swansea
Metropolitan University took up the
invitation to attend the BSMGP/Glaziers
Discussion Day held at the Art Workers
Guild in London. On 7 May we attended
the Worshipful Company of Glaziers Stevens
Competition Seminar and Prizegiving,
having been delighted to win, as a school,
First Prize, Best Presentation, Commended
and the Ashton Hill Award for Excellence.
This was followed by attending the
Discussion Day the following morning, having
been tempted by the itinerary, fabulous venue
at the Art Workers Guild, student ticket rates
and the promise of a sandwich!
We are happy to report that the day
was enjoyed by all for a variety of reasons.
The involvement of English Antique Glass
(EAG) was a resounding success, due not
only to the unprompted and generous gesture
of its new owner, Peter Bowles, to pay for
all student BSMGP subscriptions that day
(although this was, of course, much
appreciated!), but in greatly increasing the
ability to appreciate the nature, variety and
unique potential of the glass in question.
Artists’ enthusiasm
Students were encouraged by the
enthusiasm of the artists, as seen in the
presentations given by Glenn Carter, Emma
Butler Cole Aiken and Nicola Hopwood.
They were interested to see how each one
used the glass in different ways, both in the
variety of projects (i.e. workshops with
children, schools and community projects),
as well as the attitudes and approaches
towards using the glass’ inherent qualities.
This was a great way to illuminate and
inspire but also, in seeing individual artists’
work and careers, in the words of one student,
of “seeing a future after university”. Students
spoke of feeling welcomed and of a greater
realization that they form part of a larger
glass community, with a role to play in the
continuation of the art and craft of glass.
>>
Page 19
Turquoise blue streaky English antique glass.
EAG technician David Gwilt demonstrating English antique glass.
The time spent looking at EAG’s products,
both on screen and in the flesh via the examples/
samples they provided (as well as the various
pieces squirrelled in by BSMGP members –
surreptitiously revealed and handed around!)
felt like pure and unadulterated indulgence!
RACHEL PHILLIPS continues: It is,
perhaps, hard for the glass artist suckled at
the Hartley-Woods bosom to imagine what
it is like to grow up in a world bereft of the
many acres of splendid, subtle, streaky and
heart-stopping antique glass to choose from
as there once was, but this is the situation
that today’s architectural and stained glass
student is faced with.
Handling glass
They, being taught at Swansea in the
artist/maker tradition (and like all who have
gone before them in the same manner), learn
about the potential of glass only by seeing,
handling and working with it – so this day
formed another important part of that process.
The more they can work with different and
quality glasses the better and, although this has
consequences for both practice and education
in terms of funding, it is something we are
constantly seeking to address (more of this
another time perhaps!).
The students were particularly encouraged
by EAG’s openness and approachability and
surprised by the affordability of their glass.
This connection with, and understanding of,
their position alongside current practitioners,
manufacturers and other interested parties is
one of the primary, but understated, benefits
of attendance at these type of events and one
of the reasons we, at Swansea, are pursuing
greater involvement and links with the BSMGP,
Glaziers and other organisations.
We would like to express our thanks to
all at the BSMGP for organizing the day and
Page 20
facilitating our visit, especially Helen Robinson
and chairman Caroline Benyon. We look
forward to further such days and events.
CHRISTINA DEMBINSKA, artist/maker
and BSMGP member, reports: The fifth annual
Discussion Day was held at the Art Workers’
Guild, Queen Square, London, the subject
being the manufacture and use of English
antique glass. First an introduction from
Caroline Benyon reminded everyone that as
designers we should look at using the highest
quality glass and whilst Lambert’s Glass is
Europe’s main supplier for architectural glass
work, they have not mastered the subtleties of
English streaky glass.
Mike Tuffey then spoke about the history
of English antique glass from 1837, when the
Hartley brothers started Ware Glassworks
declining by 1880 when Alfred Wood began
the Hartley Wood Company, which lasted for
100 years. This finally folded in 1990 after
efforts by Sunderland Glassworks to move it
to the National Glass Centre.
Mike formed a business that eventually
became known as English Antique Glass (EAG)
using some of the equipment formerly used by
the Hartley Wood Company. EAG is still
running after 12 years and is now expanding
with its new owner Peter Bowles.
Bright colours
EAG is manufacturing: cylinder glass (muffs
made into flat sheets by cutting and flattening),
mainly flashes in bright colours (greens, ambers
and blues) that Hartley Wood used to make
and streaky, reamy, seedy and Venetian glass;
Norman slabs (made on demand); bullions
(up to 60cm diameter); a range of tableware;
and lighting ware (industrial).
The glass is lead free, which gives it its
characteristic sparkle. In practice 7-8 colours
are utilised but many shades of these can be made
Ruby on clear streaky English antique glass.
to order. Muff ends are sold as scrap and can be
flattened in a kiln providing a beautiful and cheap
material. EAG glass can also be fused and is
compatible with Spectrum glass. The pricing is very
reasonable in comparison with foreign competitors.
The new owner, Peter Bowles, talked about
his enthusiasm for the mouth-blown glass that
EAG produce, describing it as a treasure not to
be lost and how he acquired the company to
secure its future. He wants to work more closely
with glass makers and is happy to discuss their
needs with them. EAG is willing to blend
colours and also consider making items to
order. Dave Gwilt is a good contact for initial
discussion about this.
CHRISTINA DEMBINSKA continues:
Stained glass artists Glenn Carter, Emma
Butler Cole Aiken and Nicola Hopwood then
talked about their work using English
antique glass and showed slides, sharing
their passion for this wonderful material
bursting with life and movement, describing
the surface quality for painting, how
beautifully it transmits light and its strong
colour which does not change on firing.
Huge potential
English antique glass has huge potential
in architectural work and there is nowhere else
that makes glass like this. The artists paid
tribute to Mike Tuffey for his stubborn
determination to keep EAG going and they
encouraged students and workers alike to use
this exquisite English glass as much as possible.
The day ended with Tom Kupper, a
conservator, who talked about his interest in
19th century enthusiasts (amateurs) making
stained glass windows – for example, ladies
of means, vicars’ wives and daughters – and
would welcome contact from anyone who
comes across windows they think may have
been by amateurs during this period.
■
The Glazier • Summer 2013
The Worshipful Company of Glaziers and Painters of Glass at the Mansion House – left to right: Upper Warden John Dallimore, Master’s Lady Frances
Broadway, Master Michael Broadway, Renter Warden’s Lady Suzanne Galloway, and Renter Warden Alex Galloway.
The Annual Banquet – a
gathering at ease with itself
RICHARD BLAUSTEN reports on an evening at the Mansion House where there was some special music
and plenty of references to Gilbert and Sullivan.
“
T
he English always seem to be
carrying sticks,” said the French
guest of a long-time Glazier as
members of the Company and their guests
gathered with their drinks prior to moving
into the columned dining hall of the
Mansion House for the Glaziers’ Annual
Banquet. And he was right – there were
rather a large number of people carrying
sticks dotted around the place, albeit they
wore impressive badges of office and the
sticks were really wands of office, suitably
topped with silver.
With great attentiveness and courtesy these
worthies ensured that anyone who needed a
helping hand received one and that no visitor
temporarily without their host was left on their own
even for that period. The natural fellowship of the
Livery was seen at its best, most appropriately at
one of its most important functions.
Pleasant dinner
The actual dinner itself was most pleasant –
the ambience, the food and the whole dining
experience. People were comfortable with their
environment, with each other, with the speakers –
and the speakers with them. There were no great
speeches – it simply wasn’t that kind of occasion,
just warm words with some humour.
Much of the relaxed atmosphere was down
to the nature of the architecture and decoration
The Glazier • Summer 2013
of the Egyptian Hall where we dined. The
Mansion House was billed in the invitation
from the Master and Wardens as “one of the
grandest surviving Georgian town palaces in
London”. Well, you have to remember that
the upper classes of those days did everything
with a lofty elegance (as personified by the
high, gold leaf ceiling of the Egyptian Hall).
A casual bearing was the order of those
times – an urgent focus on pressing events did
not come within the purview of those who
inhabited the London palaces of the nobility.
Hence the politicians of the day literally missed
the seriousness of the growing confrontation
with the American colonies.
So it was fitting that in the speeches of
the Master, Alderman Sir Robert Finch
(standing in the for the Lord Mayor), the
Upper Warden and opera singer and actor
Richard Suart were full of elegantly turned
phrases and even gentle banter.
The Master said all the right things
including mentioning the cheque the Livery
was handing over to the Lord Mayor’s
Charitable Appeal; acknowledging the presence
of honoured guests, including Jonathan Shiels,
Master of the Parish Clerks Company (of which
the Master is also a member); doffing his hat to
the Livery’s co-residents in Montague Close:
the Scientific Instrument Makers and Launderers;
and praising the brief recital which had been
played in the hall on the Mansion House Organ.
The playing of the organ by Ed Kemp-Luck
for the benefit of the diners was quite a treat
because, as a gift from the Lord Mayor and
Corporation of London to the Queen on her
Diamond Jubilee, it is to be moved at the end of the
year to Westminster Abbey. The music played was
“jolly” or rather, lively, perhaps in recognition of
the spirit of the Glaziers’ Annual Banquet – and as
a little fling before the organ’s move to much more
solemn surroundings. The Master called it “almost
teasing”. The entrance music earlier was “Behold
the Lord High Executioner” from The Mikado.
Tribute
Sir Robert Finch paid tribute to the Livery’s
supply of numerous persons to fill the City’s
high offices, namely as Lord Mayors and
Aldermen. He made particular reference to
Sir John Stuttard and his driving around the
countryside in his pink Rolls Royce. He noted
with approval the fact that every year a Master
brings a special interest to their office, and paid
tribute to Michael Broadway’s skill in music.
Of course, the star turn, as one would
expect, was Richard Suart, known in particular
for his roles in Gilbert and Sullivan operas.
Of a pronounced comic bent, Richard’ s speech,
delivered in a sonorous voice, was deprecating
about his career, which at one time involved
him impersonating a llama for quite a while. >>
Page 21
Master Glazier
carries
distinguished
passengers
DAVID EKING reports: On the evening of
Monday 17 July the Company’s Thames
Waterman Cutter, the Master Glazier,
took part in the first of this year’s annual
cutter races on the River Thames, in this
case upstream from Westminster Bridge
to the Westminster Boating base in
Pimlico. Each cutter has to carry two
passengers for this the Admiral of the
Port’s Challenge, and the Master and
Frances were our passengers.
Ed Kemp-Luck demonstrated the capabilities of the Mansion House Organ, a gift to Her Majesty the
Queen and to be housed in Westminster Abbey at the end of the year.
He pointed out that there was something
wonderful about performing on the stage: you can’t
see the audience...slipping away. Well, no one
would have dreamed of slipping away from his
performance that evening at the Mansion House.
He certainly had better manners than a llama.
Enthusiastic participation
The all-women crew of the Master Glazier row
the Master and his Lady past the London Eye
during the Admiral of the Port’s Challenge.
It was a far from balmy summer evening
and I am sure the Master was grateful for his
gown as he was rowed by our all female
crew through choppy grey waters to a
creditable fifth place. The chairman of the
Cutter Trust and the Honorary Bargemaster
had a more comfortable ride following the
race in the umpire’s craft, powered by a very
large outboard motor rather than oars.
At the reception and prizegiving after
the race we all had the opportunity to talk
to Tansy Foulger and her four fellow crew
members, all but one of whom have been
crewing the cutter for more years than they
probably care to remember.
■
BELATED CONGRATULATIONS
to David Wootton and Matthew
Carrington – David on his knighthood
after a very successful year in office as
Lord Mayor, and Matthew on his peerage
after a distinguished political career.
So what did the diners think of it all? Apart
from enthusiastically participating in the ritual,
e.g. the passing around of the Loving Cup,
and in the toasts to the Royal Family, the Lord
Mayor etc, and the guests, they simply loved
the whole thing.
Said Master’s Steward Phil Fortey: “It was
a good dinner. Very acceptable cooking. We had
the fine surroundings of the Egyptian Hall,
and the Loving Cup reminds us of the importance
of tradition.” (Phil was one of the English always
seeming to be “carrying sticks” referred to by
the French guest at the beginning of this report.
He had parked his ceremonial wand somewhere
while enjoying his meal and prior to helping
escort the Master and the top table notables out
at the end of the proceedings.)
Simon Walton, a guest of Phil Fortey and
both a teacher of music and a classical singer,
commented: “It was spectacular. The hall was
beautifully lit. The quality of service was
extraordinary. Congratulations to the caterers.
Lovely food and lovely company.”
Particularly pleased was the Honorary
Chaplain, Christopher Kevill-Davies. He had an
inkling right at the beginning that it was going to
be a really good evening. He had brought in a
specially adapted grace in Gilbert and Sullivan
style for the start of the proceedings in honour of
the guest speaker. It was based on King Gama’s
aria in the first part of Princess Ida, and supposed
only to be used for the benefit of Richard Suart.
Summing up
Here it is below, both setting the scene for the Annual Banquet at the Mansion House of the
Worshipful Company of Glaziers and Painters of Glass, and acting as a very good summing up of
the whole evening.
Heavenly Father,
If you give me your attention, I will tell you who we are We are Glaziers with our motto, Tuam Lucem Nobis Da.
We are erring human creatures, we acknowledge that at least,
But we humbly pray your blessing now on this, our annual feast.
You know we are aesthetic, we’re convivial as can be;
You’ll always find us ready with a Glazier’s repartee
Of grozing irons and closing nails and conservation skills,
And how to save your churches’ glass from all polluting ills.
We’ve been painting and preserving glass since 1328,
And the stories from your bible we in windows illustrate;
So give us light and bless our craft and make us Glaziers true,
As gathered here tonight we owe our gratitude to you,
And we say, Amen.
And we say, Amen.
Page 22
The Glazier • Summer 2013
The Churches Conservation Trust is using the conservation of this window in Princetown church, donated to commemorate American soldiers who
perished while in Dartmoor Prison during the Napoleonic wars, to encourage and deepen local and scholarly interest in stained glass.
The Churches Conservation
Trust and its stained glass
GABRIEL BYNG of the Churches Conservation Trust, and an architectural historian at Cambridge
University, reflects the CTT's deep appreciation of the stained glass it is responsible for in the churches
under its care, as he describes examples of particularly interesting works.
E
xceptional windows survive in unusual
places. Like medieval pilgrims before
them, visitors to some of the best glass
in buildings looked after by the Churches
Conservation Trust (CCT) sometimes have
to seek it out in all but hidden locations.
The church of Holy Trinity Goodramgate is
tucked away off one of York’s busiest shopping
streets. Past the throng of the high street is a
surprisingly quiet churchyard, with ash trees
and mossy gravestones, an image of picturesque
decay. There is little to suggest that a remarkable
example of late medieval glass survives inside.
Above the altar, the 15th century east window
still dominates the church’s chancel. It is divided
into five lights with large figures in the top of each
light above more complex scenes. The window’s
design unfolds with a dramatic intensity as it is
approached. The large figures come into focus
first, then the smaller scenes resolve themselves
as, finally, does the rich architectural detail that
surrounds each light.
The tracery of the window is deliberately
simple, throwing attention onto its contents.
To the left St George runs his spear through the
The Glazier • Summer 2013
mouth of a dragon as it contorts under his feet,
his body flexing with the effort.
Complementing and opposing his posture
is St Christopher, to the right, holding the Christ
child aloft on his shoulders, his powerful
body straining under the weight of this tiny
boy. Between them, in the largest window,
Christ is shown as the Man of Sorrows,
his body carried by God the Father, lifeless,
bleeding and almost naked.
Remarkable condition
Most remarkable of all is the condition of
the glass. The cycle is complete, with only a
few replacements and restorations across the
five and a half centuries during which they
have occupied the church. The colours are still
exceptionally rich. It is the sharp, metallic blues
which dominate, but so too do the delicate
purples on some of the gowns, the cherry reds
for the slain dragon and the flecks of yellow,
green and brown. The architectural frame is
in grisaille, forming a bright, almost white,
surround which emphasises the spatial depth
of the coloured figures.
Medieval glass had a range of functions
but the first was to please aesthetically,
with lavish colouring and exciting
compositions. The window at Holy Trinity
is, however, primarily commemorative.
Its donor, John Walker, was the parish priest.
He is shown kneeling by Christ’s right knee,
hands clasped in prayer, while the final two
saints in the set of five, one to each side of
Christ, are Walker’s namesakes: John the
Baptist and John the Evangelist.
The scene was, and is, an invitation for
those kneeling at the Mass or visiting the
church to pray for the passage of Walker’s
soul through Purgatory, the cleansing
netherworld between this one and the next.
There was a corporate aspect to the
glass too. Walker was a member of the
Corpus Christi guild. The celebration of
communion, even if the parishioners
received it just once a year, was held and
observed communally, and the window
would be kept in good repair using the
tithes of the parishioners, or perhaps by
the churchwardens.
>>
Page 23
The iconography of the window was more
complicated still. The window stands above the
altar where Christ’s body, shown lifeless above,
was present in the sacrament, while the blood
which was shown flowing from the wounds in
his hands and feet would be drunk in the wine
of the Mass. When the priest lifted the host at
the moment of consecration, the bread would
have been visually superimposed above the
depiction of Christ’s body.
“The quality and antiquity
of the artistry in parish
churches is often as good
as anything in a national
museum, but free to access
and sited across Britian.”
The congregation, when they knelt for the
Mass, were echoing the posture of their priest
in the window. Walker was, after all, a member
of a guild dedicated to the Christ’s body.
For all its apparent bloodthirstiness, the image
is one of hope. The saints are intercessors, ready to
plead on the sinner’s behalf for their entry to heaven.
The sacrificial Christ, like the bread and wine of
the Mass, is a passport to the afterlife. His body,
in glass and on the altar, was a visceral promise
of salvation, and all the more powerful for it.
The window is interesting too for what it
reveals about the practice of glass makers – it
was probably taken from the same cartoon as
a window in St Martin-le-Grand, Coney Street,
also in York. The same glazier may have
completed both windows but we know also that
cartoons were passed between generations of
glass makers. Possibly, the original design was
deemed so successful that the parishioners
ordered a duplicate, or perhaps they just wanted
the cheapest option.
Hot iron
Cartoons were designs to which each
individual pane of glass was cut with a hot iron
before they were fitted together. The glass,
having been cut to size, was painted on both
sides to give three-dimensional modelling
effects. The outlines were painted first, followed
by washes, details and highlights. After being
fired, the glass was fitted together using lead
cames and secured with closing nails, and
panels were soldered together. Finally it was
inserted into the embrasure.
The quality and antiquity of the artistry in
parish churches is often as good as anything in
a national museum, but free to access and sited
across Britain. The figures at Holy Trinity are
well modelled with highly psychological faces,
from beatific saints to the agony of the crucified
Christ. The figures play with pictorial space –
Ss George and Christopher burst through their
architectural frames with the energy of their
actions. The carefully balanced iconography
combines an intellectual approach to these
scenes with a taste for action and excitement.
Page 24
Most remarkable of all is to find medieval
artworks still in their original settings, rather
than transplanted to a secular museum or gallery
to be displayed alongside dozens of other objects.
These are ancient works presented today in
essentially the same context as when they were
first made. The drama of a slow walk between
two arcades of arches to a window which
dominates the east end of a church and is still
its major light source cannot be recreated on
well lit gallery walls. The process of seeking
it out in a tucked away church only accentuates
the pleasure of discovery.
The range of glass in CCT churches is not
limited to medieval windows. Perhaps the most
unusual example of modern glass, and the recent
recipient of a Heritage Lottery Fund grant, is at
Princetown on Dartmoor.
It was donated to the church in 1910 to
commemorate American soldiers who perished
while incarcerated at Dartmoor Prison during
the Napoleonic wars. Prisoners’ gravestones
still survive in the churchyard. Uniquely,
the church was built by prisoners of war in
1812-14, first by French and then by American
soldiers once they arrived at the prison exactly
200 years ago. It is a monument not to the
generosity of a pious priest, as at Holy Trinity
Goodramgate, but to the forced labour of
dozens of prisoners.
Many exceptional stained and painted glass
windows survive in parish churches but publicising
them is challenging. The CCT is using the
conservation of the window at Princetown to
encourage and deepen local and scholarly interest
in stained glass. Schoolchildren will make their
own windows, university students will be invited
to events and members of the public given the
opportunity to meet conservators.
Student joy
at Foundation
grant
The Glaziers Foundation has awarded
student Georgina Foster a grant of
£3,300 to allow her to complete the final
year of her degree in architectural glass
at Swansea University. Her deeply felt
response demonstrates the impact the
work of the foundation can make.
Georgina sent the foundation’s Susan
Mathews the following email: “I am
absolutely ecstatic!!! When I read your
email I burst into tears!!! Subsequently
when I tried to tell my parents they couldn’t
understand me as I was still crying!!!
“I’m so happy, and completely
overwhelmed at the Glaziers Trust and
Foundation’s generosity and so completely
grateful that they can help me. I’m almost
at a loss for words! I cannot describe what
it will mean to me to be able to graduate.
What a wonderful thing. Wow. Thank you!
Thank you!”
■
Stained glass
librarian
required
Imaginative work
It is this kind of local, imaginative work
which characterises the efforts of the CCT to
help the public understand and appreciate church
buildings. As a collective inheritance the parish
churches of England are simply extraordinary
in their quality and quantity, not to mention
being free to access and located in almost every
village in the country. But while people are
willing to flock to country houses or museums,
no matter the entrance costs, churches remain
strangely neglected.
Without visitor numbers churches remain
underfunded and, more importantly,
underappreciated. The challenge is both to
encourage visitors and to help demystify church
architecture and religious history. Doing so
requires entrepreneurial and imaginative
approaches by congregations and conservation
bodies, producing clear guides, grouping churches
into trails, and using social media and the internet.
Artworks like the windows in York and
Princetown can and should be part of the
appeal of visiting parish churches. The CCT,
and organisations like it, exist to protect these
exceptional parts of England’s heritage for
generations to come and to keep them at the
heart of their communities.
■
Here’s a nice little voluntary, flexible job
for people interested in glass. The British
Society of Master Glass Painters is looking
for a voluntary librarian to manage its
collection of reference books and journals
housed at the Society of Antiquaries,
Burlington House, London. The role can
be carried out at home but does require
occasional visits to London to liaise with
the Society of Antiquaries librarian and
to attend BSMGP meetings etc.
Anyone interested, including
wanting further details, should contact
BSMGP chairman Caroline Benyon
on 020 8941 9975 or
email [email protected]
■
The Glazier • Summer 2013
A look at 19th and 20th century
stained glass in East Anglia
CHRISTOPHER PARKINSON reports: The Friends of The Stained Glass Museum, Ely Annual
Study Day in June was spent in East Anglia. Jasmine Allen (curator), members of the CVMA
(the international medieval stained glass research project) and myself spent an enjoyable and
fascinating time studying how the art of stained glass had developed through to the 19th and
20th centuries.
in this window to Maharajah Duleep Singh
(who commissioned the 1869 restoration of
the church) and British imperialism at this
time. Other early 20th century windows by
Clayton and Bell showed the subtle changes
in design this great firm was undergoing,
while two windows with glass by H. Easton
added splashes of colour.
The greatest treasure in the church,
however, was the west window of 1937
by F. Brangwyn. Having seen paintings by
Brangwyn at the William Morris Gallery
a few weeks before I was half expecting
a dark and gloomy window. However, I was
delighted to be met by bright, colourful glass
which rewarded closer inspection. To complete
the glazing was an equally interesting abstract
window from 1971 by L. Lee.
After lunch at West Stow, we moved onto
All Saints’ Church at Icklingham. Here we were
met by Dr Frank Woodman who very ably put
the architecture and glazing of this relatively
unrestored medieval church into context.
Oxfordshire’s
churches
revealed in all
their glory
An important new book on the churches
of Oxfordshire, written by local author
Richard Wheeler, has been published by
Fircone Books. Among the richest and
most diverse of any county, Oxfordshire’s
churches range from offering rich to
simple historical treasures. Their building
materials range from chalk and flint in
the south, through creamy limestone,
to rust-coloured ironstone in the north.
Immediately impressed
Arts and Craft glass – St Ethelbert’s
Church, Suffolk, Suffer Little Children by
Paul Woodroffe, c1901.
Our day started at St Mary’s Church West
Tofts, situated in the Norfolk Battle Training
Area and not usually accessible to the public.
Having been met by Colonel Powell, we were
escorted to the church. The interior contained
sufficient furnishings and decoration by A. W.N.
Pugin to give a real impression of a Gothic Revival
church from the mid-19th century.
Needless to say the glazing perfectly
complemented the building with glass designed
and installed under Pugin’s direction by Hardman
together with later glass of 1859 by J. H. Powell
from the same company.
We next travelled the short distance to the
church of St Andrew and St Patrick at Elvedon,
Suffolk. The original medieval church underwent
several restorations during the 19th and early
20th centuries to give us the proud Edwardian
building with its accompanying furnishings
we have today.
The earliest glass of 1894 was made by
C. E. Kempe. Jasmine described references
The Glazier • Summer 2013
On entering the church I was immediately
impressed with the quantity of apparent 14th
century glass present. However, Dr Woodman
showed that it was not all it first seemed with the
addition of some 19th century heads to figures
and a suggestion that some of the glass may have
come from elsewhere, perhaps as late as the
mid-20th century. An eagle motif that repeatedly
occurred in the borders was of special interest
and believed by Dr Woodman to be unique.
Our final visit was to St Ethelbert’s Church
at Herringswell. This church is justly famous
for having the largest collection of Arts and
Craft glass in Suffolk by C. Whall and his
pupils. Particularly memorable was Whall’s east
window on the theme of the Good Shepherd,
where architectural canopy work had been
replaced by interwoven skeins of dyed wool!
The power of art to divide opinions was
also shown in a depiction of Suffer Little
Children by Woodroffe. Some present declared
it to be the best glass in the chancel, while others
found it disturbing and unsettling. Before our
journey back to Ely, very welcome tea and cake
were supplied my Mr and Mrs Upton in the
garden of the adjacent farm.
Thanks are due to all those mentioned
who helped made the day so successful,
not least Jasmine for the excellent preparation
and organisation.
■
The west window at Radley church, possibly
depicting Henry VII, taken from Oxford’s
Best Churches published by Fircone Books.
In his foreword, Matthew Saunders, secretary
of the Ancient Monuments Society, writes:
“...the most enticing of all combinations is
authoritative, individual text interlaced with
photography that saturates you in the colour
and atmosphere of the given church.”
Richard Wheeler’s book, entitled
Oxfordshire’s Best Churches, has been
endorsed by Sir Simon Jenkins who describes
Oxford’s churches as “a vignette of the
nation. From Chilterns to Cotswolds, Thames
valley to Midlands plain, they display the art
of the middle ages in all its glory”.
■
Page 25
Craftsperson and conservator (foreground,
Dan Beal; left background, H. Tom Kupper) –
the multi-talented skills of modern stained
glass restorers.
Meeting the challenge of
restoring 19th century glass
In the second of his series of articles about stained glass projects in Lincoln Cathedral, H. TOM KUPPER
of the Glazing Department of Lincoln Cathedral describes the conservation of five Apostle windows.
T
he conservation and preservation of
Lincoln Cathedral as a gothic piece
of architecture and as a place of
worship relies very much on the amount
of funding available to give a measured
response to the buildings restoration
needs. The type of work and the complexity
of the individual projects also varies from
year to year and all of the work is based on
the architects findings in his quinquennial
inspection. Some of the restoration projects
are straightforward and can be dealt with
in a quick turnaround, whereas others
can be quite involved and may go on for
several years.
Page 26
The projects are all led by the architect
together with the works manager and the
individual team leaders of the departments such
as stone masonry and sculpture conservation,
joinery, plumbing and roofing, the Domus
department and of course the glazing department.
Once a project is agreed and the funding is in
place, it needs to go through a series of internal
and external approval procedures until the final
consent is given to start the work.
Conservation studio
Having a well equipped and modern stained
glass conservation studio is essential to meet all
the requirements of caring for a large collection
of stained glass. The individuals working on the
historic windows need to have all the necessary
crafts and conservation skills to deal with a wide
range of restoration issues and each glazier at the
cathedral is highly trained, having his or her own
particular specialism and subject knowledge.
From traditional glass painting, glass
cutting, Zen glazing and site work, to more
delicate conservation and preservation
techniques; these are all part and parcel of the
ever growing role of the profession.
Over the last two decades the work of the
glazier has increasingly developed into a hybrid
of a traditional hands-on crafts person and a
university trained conservator, always trying to
The Glazier • Summer 2013
window depends upon the technical ability of
the designer and craftsman setting out and
making the window, the quality of the materials,
and the use of lead matrix; not only as a net to
hold the pieces of glass in place, but also as a
structural design component.
Original materials
How frequently a window needs to be
restored depends on the original materials used,
such as the strength of the lead, and the design
of the window or its ferramenta (i.e. tie and
saddle bars).
“...as far as treatments are
concerned, most of the
conservation methods
which are applied in the
restoration of medieval
glass are transferable and
can also be used on windows
of the Victorian era.”
Perhaps not fully understanding the structural
design methodology of medieval windows,
19th century studios began creating large
expanses of glass with some windows lacking
the necessary structural support element and
were subsequently destined to fail. The evidence
is plainly visible when windows buckle and bow,
and panels start to separate from each other.
The upper panels push their dead weight
slowly down to the lower sections, creating
stress points which cause glass damage and
splits in the lead work. The longevity of a
The location of the window is of equal
importance. A mediocre made window in a
sheltered area of a building may last as long if
not longer than a well made window which is
constantly exposed and battered by the weather
or by lateral stresses. In the belief that stained
glass windows should be re-leaded at least
every one hundred years, well meaning repairers
often re-glazed regardless of condition.
This widespread practice is a
misconception and over the recent decades
the attitude towards a blanket releading has
changed. Each project must be assessed on
its own merit, considering all aspects and
alternatives before carrying out such a radical
intervention. The conservator always looks
for the option of minimum intervention first.
Nowadays the lead matrix of a window
is considered an integral part of the historic
object and it needs to be retained as much
as possible. In many instances only certain
sections of a window may need to be worked
on, and a partial re-leading could be an
alternative choice.
At other times allocated areas of the lead
joints may benefit from being de-soldered and
opened up, thereby creating room and space
so as to gently flatten the window. On some
occasions however, re-leading may be necessary
and it is the only option. Here the conservator/
craftsman needs to use sensitivity and skill in
carefully dismantling the window, taking it
through the conservation process, and eventually
leading it back together again.
Partial re-glazing of a 19th century stained
glass window saving as much of the original
glass and lead as possible. Window by
Reverend J. Mansell, 1872 from the former
St. Mark’s Church, Lincoln (demolished 1972).
19th century studios and firms working
hard to cope with the demands and pressures
of completing contracts could be tempted to
cut corners to hit target dates or to reduce
production costs. This may have led to yet
External view of a buckled window clearly showing stress points and splitting lead joints.
Window by G. Hedgeland, 1856.
compliment the opposite skill. At one end of the
scale we find ourselves climbing about scaffolding
armed with hammer and chisels carefully
removing a window. At the other we are looking
through a microscope within the controlled
environment of the studio discussing corrosion
products, paint consolidation and trying to find
the gel layer.
Structural support
Having mainly focused in the previous article
“A great restoration achievement in Lincoln
Cathedral” ( Issue Number 39, Spring 2013
pp16-18) on the conservation of medieval glass,
stained glass of the 19th century can show an
entirely different catalogue of deterioration and
preservation issues. However, as far as treatments
are concerned, most of the conservation methods
which are applied in the restoration of medieval
glass are transferable and can also be used on
windows of the Victorian era.
With the decline and almost the entire loss of
the art of stained glass during the 17th and 18th
century, manufacturing techniques and production
methods were, for a time at least, in a state of
rediscovery. However, by the mid 19th century
stained glass was once again fully established with
a large number of firms and studios producing vast
quantities of high quality windows on a scale not
seen since the medieval times.
The Glazier • Summer 2013
Ghostly image
Page 27
another malfunction of Victorian stained glass,
which is far more serious. Paint loss! Some
19th century windows have lost their entire
applied surface decoration.
“The longevity of a window
depends upon the technical
ability of the designer and
craftsman setting out and
making the window, the
quality of the materials,
and the use of lead matrix...”
Glass paint failure is often due to the under
firing of the artwork in the kiln. If the vitreous
paint is not fused appropriately to the carrier
glass, moisture will creep underneath the applied
paint and over a period of time the painted details
will become friable and unstable. The paint will
eventually lift and is simply washed away by
frequent condensation leaving behind a faint
outline of the original artwork.
I have been to churches which were so
damp and miserable that the paint had become
so unstable that it was literally running down
the glass. Once a highly decorated stained
glass window, it has over time become a
ghostly shadow of its former self. With all the
conservator’s expertise and scientific knowledge
at hand there is no straightforward solution to
this problem, and paint loss projects often
present major challenges to the conservator
involving ethical and preventative discussion.
Modern resins may help to consolidate
loose paint and painted backing plates are an
option to bring back some legibility to such
windows. But the damage is done and the
artwork needs a regime of care and monitoring.
Evidence of severe paint loss. Expulsion from
Paradise. Window possibly by Mathias Schneider,
Regensburg, Germany, 1868.
A designed protective glazing system could
assist in some instances, safeguarding vulnerable
windows from long term paint loss, and extending
the life of the window by limiting its exposure
to environmental influences or willful damage.
Case study
Here is a case study concerning the
restoration of 19th century glass in Lincoln
Cathedral. During May 2008 and November 2009
the glazing department restored a set of Apostle
windows in the clerestory of St Hugh’s Choir.
The five windows were designed, painted and
fabricated by the Reverend Augustus Sutton
and his brother Reverend Frederick Heathcote
Sutton in the early 1860s. The brothers were
serious amateur glaziers who installed nearly
30 windows in Lincoln Cathedral with many more
in and around Lincolnshire and Nottinghamshire.
Detail of Apostle (Sanctus Matthew) window
in the St. Hugh’s choir clerestory, post
conservation. Window by A. & F. Sutton 1860.
The Apostle windows are a central part of
the glazing scheme in this very intimate area of
Lincoln Cathedral. Some years after the windows
were installed, the firm of Clayton and Bell was
instructed to change the majority of the dark
canopy background glass of the windows
replacing it with some lighter less heavily painted
glass, keeping only the central Apostle figures.
During the architect’s quinquennial inspection
in 2008 it was found that parts of the original
Sutton glazing with its weak leads was badly
deteriorating. Some of the ferramenta was also
rusting at the ends, splitting some of the limestone
jambs. Falling in line with the works programme
of the masonry department, it was decided to
remove and restore the five Apostle windows.
The glass was fully documented and recorded
and brought into the workshop. Here the windows
were further examined as to their structural
stability and the difficult decision was taken
to partly dismantle the windows, keeping
as much of the original strong leading from
the Clayton & Bell alterations as possible.
All the glass was cleaned of its surface dirt
using conservation grade materials, being careful
not to disturb any of the painted artwork. Some of
the painted detail, however, was found to be quite
friable and had to be consolidated using surface
bonding techniques and resins. Unfortunately a
small number of pieces had severely deteriorated
and thus needed replacement.
Head of King Ahab, pre and post cleaning.
Window by A. & F. Sutton 1857.
The new insertion glass was matched up
to the original, painted and dated so as to blend
harmoniously with the rest of the 19th century
glazing. Many of the broken and cracked pieces
of glass could be saved by bonding them together
using mechanical and chemical applications.
Finally, the windows were part re-leaded,
soldered and carefully waterproofed by hand so
as not to disturb or contaminate the delicate paint.
Most of the early glazing in the cathedral
was originally supported by oak timber frames,
many of which have degraded or have been
lost over the centuries. In the case of the five
clerestory windows, the decision was taken by
the architect and the glazing department to
reinstate these timber sub frames. By November
2009 all the glass was returned, each window
receiving additional support using modern non
ferrous ferramenta to carry the weight of each
individual panel.
“Nowadays the lead matrix
of a window is considered
an integral part of the
historic object and it
needs to be retained
as much as possible.”
The five Apostles are now restored once
again taking their prominent position in the
cathedral, proudly keeping a watchful eye on
the worshipper and the many daily pilgrims
down below visiting this awe inspiring and most
magnificent of cathedrals.
■
NEXT ISSUE: The next issue of The Glazier will be somewhat smaller because of time factors. The preliminary deadline for all contributions is 11 October.
Thanks are due to all contributors, without whose support and
enthusiasm this publication would not be possible.
All contributions or comments should be sent to the editor:
Richard Blausten [email protected] 01460 241106
Published by the Worshipful Company of Glaziers and Painters of Glass.
Andrew Gordon-Lennox, Clerk, Glaziers Hall, 9 Montague Close, London Bridge, London SE1 9DD.
Telephone/Fax: 020 7403 6652; www.worshipfulglaziers.com; e-mail: [email protected]
Printed by Deltaprint, Sudbury, Suffolk.