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Glass Painting in Scotland, 1830-70 Rush-Bambrough, Sally (2001) Glass painting in Scotland, 1830-70. PhD thesis, The Glasgow School of Art http://radar.gsa.ac.uk/4928 Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given RADAR http://radar.gsa.ac.uk/ [email protected] ·.Diilif 102388 GLASS PAINTING IN SCOTLAND, 1830-70 SALLY RUSH-BAMBROUGH Ph.D thesis submitted to the University of Glasgow from the Mackintosh School of Architecture, Glasgow School of Art July, 2001 © Sally Rush-Bambrough 2001 To my father Gilbert Edward Rush (1923-69) Volume One ACKNOWLEDGEMENTS The research for this thesis was generously supported by the Inches Carr Trust. Thank you to: - first and foremost, my supervisor Dr. James Macaulay for taking me on as a postgraduate student and for his constant encouragement and support lan Gow for suggesting that research into nineteenth century Scottish glass painting might prove useful - Colin McWilliam for helping me to get started - John Sanders for showing me how to get started and all those Sundays chasing stained glass windows - Martin Harrison for taking me seriously and being so generous my sister Anne Casement for discovering William Cooper - George Rawson for his companionship along the way and sharing my obscure interests Richard Bapty for the instant solution to the Soane problem - the guardians of important archives, particularly: Joanna Soden of the Royal Scottish Academy and Mr. Sim of the George Heriot's Hospital Trust Elgin Vaassen and Peter van Treek for inviting me to Munich and helping me sought out nineteenth century German glass painting - Catherine Brisac and Nicole Blondel for an education in nineteenth century French glass painting - the Scottish stained glass fraternity for being an interested audience, particularly: Unda Cannon, Marie Stumpff, Sue Bradbury and Paul Lucky - my husband Mark Bambrough for enduring the Ph.D so patiently and the technology - Molly Gabriel Bambrough (b. 2 March 200 1) for sleeping ABSTRACT This is a thesis in two parts. Chapters one to four examine the circumstances of the stained glass revival in Scotland while chapters five to eight identify the particular character of nineteenth century Scottish glass painting up to the 1870s. The opening question is whether or not by the early nineteenth century glass painting was truly an art in decline and this discussion leads into the investigation of the significance of progress in the glass industry to the stained glass revival. This line of questioning continues with the identification of the pioneers of the stained glass revival in Scotland, re-assessing the contribution of James Ballantine and introducing William Cooper. The initial demand for stained glass in Scotland is explored through reference to genealogy, antiquarianism and High Church practice. Edinburgh offered unique opportunities for apprentice glass painters to acquire an art education and this thesis moves on to discuss how this influenced their approach to glass painting, focussing upon the career of Francis Wilson Oliphant. It argues that the commissions which shaped the future direction of Scottish glass painting were the rebuilding of the Houses of Parliament and the re-glazing of Glasgow Cathedral where, in both cases, German glass painting was nominated as the approved artistic model. As it was eventually decided that the new windows for Glasgow Cathedral should be designed and executed by the Konigliche G/asmalereianstalt of Munich, thesis concludes with a demonstration of the subsequent German influence upon Scottish glass painting. AB BREVIA nONS Bl British Library ECl Edinburgh City Libraries GCA Glasgow City Archives GUl Glasgow University Library Ml Mitchell Library NCl Newcastle Central Library NlS National Library of Scotland PRO Public Records Office RSA Royal Scottish Academy SRO Scottish Records Office LIST OF CONTENTS Volume One INTRODUCTION pJ 1. THE NINETEENTH CENTURY STAINED GLASS REVIVAL: RESTRICTION AND ENCOURAGEMENT p.l 1: 1 THE DEMISE OF COLOURED WINDOW GLASS MANUFACTURE p.3 1:2 JOHN MARTIN AND REGENCY GLASS PAINTING pA 1:3 INJURIOUS EFFECTS OF THE EXCISE DUTIES AND REGULATIONS ON GLASS MANUFACTURE AND TRADE p.8 EXCISE DUTIES ON GLASS BETWEEN 1800-1845 p.1O FLINT GLASS p.ll PLATE GLASS p.12 CROWN AND GERMAN SHEET GLASS p.14 1:4 THE REVIVAL OF POT METAL GLASS MANUFACTURE IN FRANCE AND GERMANY p.16 FRANCE p.16 URGENT NECESSITY: VANDALISM AND RESTORATION p.20 ADOLFE NAPOLEON DIDRON p.21 GUSTAV BONTEMPS, CHANCE BROTHERS AND NEW COLOURS p.23 GERMANY p.28 1:5 DEEP COLOUR AND LOW TONE: COLOURED WINDOW GLASS AFTER 1862 p.29 ANTIQUE WINDOW GLASS p.31 LESS EFFICIENT FURNACE CONDITIONS p.33 IMPURITIES p.34 WINSTON AND POWELL p.35 1:6 ALKALI p.36 THE KELP INDUSTRY IN SCOTLAND pAl 2. GLASS PAINTING IN SCOTLAND IN THE MID-NINETEENTH CENTURY: TRADE OR ART? pA8 2:1 JAMES BALLANTIINE: A SELF-MADE MAN p.51 APPRENTICESHIP TO ARCHIBALD CLELAND p.51 ART EDUCATION p.56 2:2 PROSPERITY p.57 2:3 LITERARY FAME p.59 2:4 INFLUENTIAL FRIENDS p.61 DAVID ROBERTS AND DAVID RAMSA Y HAY p.62 EDINBURGH ALE p.73 3. PIONEERS p.80 3.1 BALLANTlNE & ALLAN: GLASS PAINTING STAFF p.82 3:2 BALLANTINE & ALLAN: GLASS PAINTING FACILITIES p.86 6 and 92 ROSE STREET p.86 15 HANOVER STREET p.86 42 GEORGE STREET p.87 3:3 WILLlAM COOPER p.89 BIOGRAPHY OF WILLlAM COOPER p.91 COOPER'S WRITINGS AND CORRESPONDENCE p.91 WILLlAM COOPER AND EDINBURGH p.93 BANKRUPTCY p.95 WILLlAM COOPER AND THE WINDOW GLASS INDUSTRY p.97 THE DUMBARTON GLASS WORKS p.99 3:4 WILLlAM COOPER AND BALLANTINE & ALLAN p.l03 3:5 GLASS STAINING, PAINTING AND EMBOSSING AT 18 PICARDY PLACE p.l04 DESIGN p.I04 COPYING p.106 DAVENPORT'S AND COOPER'S PATENT PROCESSES p.106 SUBJECTS p.l08 GLASS CUTTING p.l09 STAINING AN ENAMELLING p.112 FIRING p.116 LEADING p.118 4. BALLANTINE WATCHING AND WAITING p.123 4:l. GOTHIC GLOOM: THE SUBLIME ASSOCIATIONS OF STAINED GLASS p.123 LITERATURE p.123 TRANSPARENCY, ASTONISHMENT AND REGENCY THEATRE p.127 PAINTING, TRANSPARENCIES AND STAINED GLASS p.l30 MORE GOTHIC GLOOM p.136 THE PANORAMA AND DIORAMA p.l38 4:2 FEUDALISM, GENEALOGY AND WILLlAM RAPHAEL EGINTON'S SCOTTISH COMMISSIONS p.139 FONTHILL ABBEY p.141 TAY MOUTH CASTLE, PERTHSHIRE p.l44 JAMES GILLESPIE GRAHAM p.146 4:3 ANTIQUARIANISM p.l48 4:4 HIGH CHURCH PRACTICE: GEORGE HERIOT'S HOSPITAL, EDINBURGH p.157 CHRONOLOGY p.157 GILLESPIE GRAHAM, A.W.N. PUGIN AND GEORGE HERIOT'S HOSPITAL CHAPEL p.160 WAS PUGIN DESIGNING FOR GILLESPIE GRAHAM? p.165 WILL/AM COOPER AND GEORGE HERIOT'S HOSPITAL CHAPEL p.167 BALLANTINE & ALLAN AND GEORGE HERIOT'S HOSPITAL CHAPEL p.l68 5. ARCHAIC TRUTH AND GOOD ART p.l77 5:1 THE MOULDING OF AN EDINBURGH GLASS PAINTER p.178 OLlPHANT AND BALLANTINE & ALLAN p.178 WILL/AM WAILES AND THE TRUSTEES' ACADEMY p.183 OL/PHANT'S APPRENTICESHIP p.186 JOHN AND FRANCIS OLlPHANT AND THE TRUSTEES' ACADEMY p.187 A FAVOURITE PUPIL p.189 ORA WING FROM THE ROUND AND LIFE DRAWING p.19l CRITICISM p.192 THE TRUSTEES' ACADEMY AND THE ROYAL SCOTIlSH ACADEMY p.195 THE ROYAL SCOTIlSH ACADEMY SCHOOLS p.197 GLASS PAINTING AND BAS RELIEF p.199 WILLlAM AlLAN AND HISTORY PAINTING p.204 5:2 GLASS PAINTING AND HISTORY PAINTING p.205 5:3 OLlPHANT AND A.W.N.PUGIN: ARCHAIC TRUTH p.209 VISITS TO THE CONTINENT p.212 HUMAN GRACE AND SACRED STORY p.214 5:4 OLlPHANT AND WILLlAM DYCE p.21B 5:5 OLlPHANT ALONE p.222 6. STATE PATRONAGE OF GLASS PAINTING p.231 6:1 CHRONOLOGY p.233 6:2 THE ROYAL FINE ARTS COMMISSION AND PICTORIAL GLASS PAINTING p.237 6:3 STATE PATRONAGE OF THE ARTS IN MUNICH p.244 6:4 FRESCO PAINTING AND GLASS PAINTING p.246 6:5 GLASS PAINTING AS PUBLIC ART p.249 7. THE REGLAZING OF GLASGOW CATHEDRAL: A GRAND REVOLUTION p.256 7:1 CHRONOLOGY p.257 7:2 THE NINETEENTH CENTURY REGLAZING OF THIRTEENTH CENTURY CATHEDRALS p.259 WINSTON AND A MODERN SCHOOL OF GLASS PAINTING p.260 LINCOLN CATHEDRAL p.262 NORWICH CATHEDRAL p.266 ElY CATHEDRAL p.267 73 THE CATHEDRAL AS ART GALLERY: WHY THE KONIGLlCHE GLASMALEREIANSTALT? p.269 7.4 UNITY OF ARCHITECTURAL EFFECT p.272 7:5 TRANSP ARENT ART p.276 7:6 PRESBYTERIAN RESISTANCE p.279 APPEARANCE OF STAINED GLASS IN PRESBYTERIAN CHURCHES p.280 SANDYFORD CHURCH p.2Bl 8. CONCLUSION: THE ART OF SCOnlSH GLASS PAINTING p.285 8: 1 GREYFRIARS CHURCH, EDINBURGH p.290 8:2 THE LOWER CHURCH, GLASGOW CATHEDRAL p.291 8:3 THE OLD WEST KIRK, GREENOCK p.295 APPENDIX p.302 BIBLIOGRAPHY p.309 Volume Two LIST OF IMAGES IMAGES INTRODUCTION Research for this thesis began with the investigation of the significance of James Ballantine, of Ballantine & Allan, Edinburgh, as a pioneer of the nineteenth century stained glass revival in Scotland. The stained glass revival in England can be explained as a response to the expression of national identity through the revival of Gothic architecture and the emerging science of ecclesiology. As Scotland, however, is a predominantly Presbyterian country with a relatively modest Gothic heritage, this thesis necessarily begins with a fundamental questioning of the demand for stained glass within such a seemingly adverse cultural climate.
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