The 14th-century glass of west window of York Minster has figures set beneath brightly coloured canopies, adopted by 19th-century designers such as Clayton and Bell Historic Influences on the revival of stained glass
#Wicked stained glass design windows
When they went, windows gradually fell apart. These monasteries had monks with skills in repairing. In Scotland, which never manufactured its own stained glass but bought from the south, they lost much of their glass not because it was smashed but because the monasteries were disbanded. The east, west and south transept windows of York Minster and the west and north Transept windows of Canterbury give an idea of the splendours that have been mostly lost. Those that contain a large amount of Medieval glass are usually reconstructed from salvaged fragments. Very few of England's large windows are intact. Churches which retain a substantial amount of early glass are rare. The vast majority of English glass was smashed by Puritans under Oliver Cromwell. For 500 years the art flourished and adapted to changing architectural styles. By the 12th century stained glass was well adapted to serve this purpose. The pictorial representation of biblical characters and narratives was a feature of Christian churches, often taking the form of murals. Because flat glass could only be manufactured in small pieces, the method of glazing lent itself to patterning. The windows were glazed, frequently with coloured glass held in place by strips of lead. In these churches the windows were generally either large or in multiples so that the light within the building was maximised. The Bishop's Eye, (1320) at Lincoln Cathedral, is filled with salvaged fragments.įollowing the Norman conquest of England in 1066, many churches, abbeys and cathedrals were built, initially in the Norman or Romanesque style, then in the increasingly elaborate and decorative Gothic style.
After the Great War from 1914 to 1918, stained glass design was to change radically. By 1900 British windows had been installed in Copenhagen, Venice, Athens, Bangalore, Nagasaki, Manila and Wellington.
The industry also flourished in the United States, Canada, Australia and New Zealand. Within 50 years of the beginnings of commercial manufacture in the 1830s, British stained glass grew into an enormous and specialised industry, with important centres in Newcastle upon Tyne, Birmingham, Whitechapel in London, Edinburgh, Glasgow, Liverpool, Norwich and Dublin.
The revival led to stained-glass windows becoming such a common and popular form of coloured pictorial representation that many thousands of people, most of whom would never commission or purchase a painting, contributed to the commission and purchase of stained-glass windows for their parish church. One of the most prestigious stained glass commissions of the 19th century, the re-glazing of the 13th-century east window of Lincoln Cathedral, Ward and Nixon, 1855.Ī revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12.
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