DOCSLIB.ORG

Stained Glass from Saint-Jean-Des-Vignes (Soissons) and Comparisons...” the Journal of Glass Studies Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Stained Glass from Saint-Jean-Des-Vignes (Soissons) and Comparisons...” the Journal of Glass Studies Vol Brill, Robert H., and Patricia Pongracz. “Stained Glass from Saint-Jean-des-Vignes (Soissons) and Comparisons...” The Journal of Glass Studies vol. 46 (2004): 115-144. Stained Glass from Saint-Jean-des-Vignes (Soissons) and Comparisons with Glass from Other Medieval Sites Robert H. Brill and Patricia Pongracz H E ABBEY of Saint-Jean-des-Vignes has glimpsed in the west facade, refectory, and clois- dominated the urban landscape of the ter, all of which still stand on the site. T northern French city of Soissons since Although it has long been known as an im- the 11th century.l Formally established in 1076, portant Gothic monument, the abbey was not the abbey was built, rebuilt, sacked, and re- systematically studied until excavations began stored from its founding to the present day. In in 1982 under the auspices of MonArch, the its Gothic phase, the church measured more Wesleyan-Brown Monastic Archaeology Proj- than 86 meters in length, and its west facade ect. Excavation and research have focused on stood 80 meters at its tallest point. The monas- the Romanesque and Gothic churches, claustral tic complex, built to accommodate 90 resident ranges, latrine building, and the abbey's com- canons, effectively communicated the status of plex water management system. the community within the region.2 From their Surviving sculptural and painted decoration, hilltop in Soissons, the canons administered their as well as excavated sculpture, plaster, wall- holdings, consisting of more than 40 parishes painting fragments, and tiled floors, attests to and nearly 20 farms and mills. 3 Today, rem- the nature of the decoration at the abbey dur- nants of the abbey's Gothic splendor may be ing each of its major phases.4 The recovery of Acknowledgments. Like all collaborative effortS, this project History, ed. Sheila Bonde and Clark Maines, v. 15 of Bibliothe- is the work of many people and several institutions. We are es- ca Victorina, Turnhom: Brepols, 2003. Field reports for all ex- pecially grateful to Profs. Sheila Bonde of Brown University and cavation seasons from 1994 are available online at the MonArch Clark Maines of Wesleyan University, directors of the research Web site, www.wesleyan.edu/monarch. project at Saint-Jean-des-Vignes. We extend our thanks to Jean- 2. For the number of canons li ving there, see Sheila Bonde, Olivier Guilhot, former conservateur regional of the Service Re- Edward Boyden, and Clark Maines, "Centrality and Commu- gional de I' Archeologie de Picardie, and Dominique Roussel, nity: Liturgy and Gothic Chapter Room Design at the Augus- conservateur of the Musee Municipal de Soissons, who made the tinian Abbey of Saint-Jean-des-Vignes, Soissons," Gesta, v. 29, samples avai lable for examination and analys is. We also thank no. 2, 1990, pp. 210-211. Bonde and Maines have aptly char- the numerous donors of the glass fragments from the other sites acterized the architecture at Saint-Jean-des-Vignes, stating that included in the statistical calculations. Those donors are named the west facade in particular "gave material form to the spiritu- in the original publication of our data (see note 14). The field - al and political ambitions of its community," in Saint-Jean-des­ work of Patricia Pongracz on the abbey's stained glass was sup- Vignes [note 1], p. 189. ported by the Wesleyan-Brown Monastic Archaeology Project at 3. For the abbey's holdings, see Edward Boyden and Clark the Augustinian abbey of Saint-Jean-des-Vignes (MonArch) and Maines, "Monastic Settlement and the Abbey's Domain," in by a Rakow Grant for Glass Research, which was awarded to Saint-Jean-des- Vignes [note 1], pp. 84-116. her by The Corning Museum of Glass in 1999. Stephen Koob 4. For the tile floors in the chapter room, see Sheila Bonde, helped with the sample preparations, and Shana Wilson assisted V. Durey-Blary, and Clark Maines, "Soissons, un pavement go- in handling the data and creating the graphs. Both are with The thique a Saint-Jean-des-Vignes," Arche%gia, no. 308, 1995, Corning Museum of Glass. pp. 40-48. For the character of the Romanesque and Gothic 1. On Saint-Jean, see, most recently, Saint-Jean-des-Vignes decorative programs, see Saint-Jean-des-Vignes [note 1], pp. in Soissons: Approaches to Its Architecture, Archaeology and 170, 171, and 236. 115 Rakow Research Library, The Corning Museum of Glass - http://www.cmog.org Brill, Robert H., and Patricia Pongracz. “Stained Glass from Saint-Jean-des-Vignes (Soissons) and Comparisons...” The Journal of Glass Studies vol. 46 (2004): 115-144. numerous stained glass fragments at Saint-Jean was examined, along with fragments revealed confirms that glazing programs formed part of by the MonArch project excavations conduct- the abbey's overall decorative schema. ed between 1982 and 1996. The "195111952" To appreciate the study of the glass found on fragments, measuring 7,707 cm2, became the the site, a brief overview of the abbey's use and standard against which glasses recovered by changes to its structure over time will be helpful. MonArch were compared. The glass recovered Shortly after its foundation in 1076, a Roman- between 1982 and 1996 was measured in two esque abbey was built. This was followed, in the ways. The main sample numbered 2,278 frag- 13th century, by an ambitious Gothic building ments, and another group of fragments had a campaign that lasted well into the 15th century. surface area of about 8,000 cm2• All of the glass- Glazing programs surely would have been incor- es were examined by one of the authors (P.P.). porated into such a church, and they may have This article presents the results of a chemical been included in the refectory, chapter room, study of some of these fragments. lO cloister, and abbot's room.s On the basis of visual analysis in the field lab- In 1567, Huguenots sacked the abbey, pre- oratory during the 1998 season, all of the glass- sumably knocking out much of the stained es were separated into two categories: grisaille glass. 6 From 1796 through 1976, the French and stained glass. The fragments in each cate- army used Saint-Jean as a military base, altering gory were classified according to the following the site to accommodate its needs.? The church criteria: color, presence or absence of decora- itself, with the exception of the west facade, was tion, style of decoration where present, nature sold by the bishop of Soissons for quarry stone of grozing, thickness, and weathering.ll Exam- early in the 19th century.s During the war of ples of all types were measured and drawn.12 1870 and World War I, the abbey, like much of Three types of grisaille glass were excavated Soissons in general, suffered severe damage.9 at the abbey. There are also stained glasses of The result of all these changes is that none of the four different colors, silver-stained glasses, and glass is left in situ. two pieces of glass that bear fragmentary fig- During the 1998 study season at Saint-Jean, ural and foliate motifs. In addition, one intact a large group of fragments labeled "195111952" panel was found. On the basis of style and con- 5. For the phased site plan, see Saint-jean-des-Vignes [note des-Vignes," at the International Conference of the Corpus 1], fig. 38. Vitrearum Medii Aevi, Bristol, England, in 2000, and as the 6. Archeological evidence suggests substantive damage to the papers "Scientific Investigations of Glass Excavated at the site. See ibid., p. 33, and p. 34, n. 19. Abbey of Saint-Jean-des-Vignes: Toward a Chronology of the 7. Ibid., p. 18, and p. 43, n. 30. Glazing Programs," XIX International Congress on Glass, Ed- 8. Bonde, Boyden, and Maines [note 2], p. 190; Sheila Bonde inburgh, Scotland, 2001, and "Scientific Investigations of and Clark Maines, "Saint-Jean-des-Vignes: An Augustinian Ab- Glass Excavated at the Abbey of Saint-Jean-des-Vignes," The bey in Soissons, France," Archeology, v. 40, no. 5, September- Robert Branner Forum for Medieval Art, Columbia University, October 1987, p. 46. New York, 2002. 9. For a description of damage sustained by the glazing pro- 11. Results of the field study were summarized by P. Pon- gram of Soissons Cathedral as a result of wars and the city's mil- gracz in "Vitrail," part of "Saint-Jean-des-Vignes a Soissons: itary occupation, see Madeline Caviness and Elizabeth Pastan, Fouilles programmees de I'ancienne abbaye, Soissons (Aisne). "The Gothic Window from Soissons: A Reconsideration," Fen- Deuxieme rapport provisoire du mobilier des fouilles 1982- way Court, Isabella Stewart Gardner Museum, 1983, Boston: 1996," ed. S. Bonde and C. Maines, unpublished report of the the museum, 1984, pp. 7 and 9; and Jane Hayward and WaI- 1998 study season, pp. 20-25. ter Cahn, Radiance and Reflection: Medieval Art from the 12. Analytic drawings were rendered by Nathaniel Stein and Raymond Pitcairn Collection, New York: The Metropolitan Sheila Bonde. In addition to counting the fragments, the surface Museum of Art, 1982, pp. 138-139. Bonde and Maines note area of each one was measured, a method employed by Rose- damage sustained by the abbey during these times, in Saint- mary Cramp ("Window Glass from the Monastic Site of Jarrow: jean-des-Vignes [note 1], p. 39. Problems of Interpretation," journal of Glass Studies, v. 17, 10. Preliminary results of this research were presented in a 1975, pp. 90-92). poster session, " The Excavated Stained Glass of Saint-Jean- 116 Rakow Research Library, The Corning Museum of Glass - http://www.cmog.org Brill, Robert H., and Patricia Pongracz.
Load more

Recommended publications
  • The Restoration of Medieval Stained Glass*
    The Restoration of Medieval Stained Glass* Gottfried Frenzel The victim ofits own composition and ofmodem air tiny particles. The particles fall out of each panel: thus pollution, Europe's most radiant art is now threat- the window disintegrates. ln England stained-glass windows are exposed to ened ~'ith destruction. The efforts at preservation heavy smog. Canterbury Cathedral displays the re- depend on knowledge of the glass. sults. The cathedral includes the Trinity chapel and its Light bas long served religion as a :symbol. It has ambulatory , or processional aisle, which incorporates signified creation (" Let there be lighlt" was the first the chapel called the Corona, constructed between 1174 and 1220. ln both chapels some of the stained command of the Creator) as weIl as salvation (John glasshas been attacked. Pits have formed, which have the Evangelist saw the Heavenly Jerusalem illumi- nated as if made " of jasper" and its walls " like clear now perforated the panels, leaving them quite porous, so that acid raiD cao reach the ioDer surface of the glass") The earthly reflections of such visions, glass and eat into the paintwork there. achieved throughout the Middle Ages by means of France is the classic repository of stained glass. A light, were the period' s most brilliant works of art: the single cathedral, the one in Chartres, is decorated with stained glass windows of Romanesque and Gothic more than 2,000 square meters of stained glass from chapels, churches, minsters and cathedrals. For al- the 12th and 13th centuries, the period when the art most a millennium, in the caseof the earliest stained- reachedits peak in France.
    [Show full text]
  • The Gothic Revival Character of Ecclesiastical Stained Glass in Britain
    Folia Historiae Artium Seria Nowa, t. 17: 2019 / PL ISSN 0071-6723 MARTIN CRAMPIN University of Wales THE GOTHIC REVIVAL CHARACTER OF ECCLESIASTICAL STAINED GLASS IN BRITAIN At the outset of the nineteenth century, commissions for (1637), which has caused some confusion over the subject new pictorial windows for cathedrals, churches and sec- of the window [Fig. 1].3 ular settings in Britain were few and were usually char- The scene at Shrewsbury is painted on rectangular acterised by the practice of painting on glass in enamels. sheets of glass, although the large window is arched and Skilful use of the technique made it possible to achieve an its framework is subdivided into lancets. The shape of the effect that was similar to oil painting, and had dispensed window demonstrates the influence of the Gothic Revival with the need for leading coloured glass together in the for the design of the new Church of St Alkmund, which medieval manner. In the eighteenth century, exponents was a Georgian building of 1793–1795 built to replace the of the technique included William Price, William Peckitt, medieval church that had been pulled down. The Gothic Thomas Jervais and Francis Eginton, and although the ex- Revival was well underway in Britain by the second half quisite painterly qualities of the best of their windows are of the eighteenth century, particularly among aristocratic sometimes exceptional, their reputation was tarnished for patrons who built and re-fashioned their country homes many years following the rejection of the style in Britain with Gothic features, complete with furniture and stained during the mid-nineteenth century.1 glass inspired by the Middle Ages.
    [Show full text]
  • Glass News 19
    Glass of the Roman Empire and Elsewhere Glass A celebration of the contribution of Jennifer Price to the study of archaeological glass th th News Tuesday and Wednesday 14 and 15 March 2006 10.00-16.30 at The Wallace Collection, Manchester Square, Number 19 January 2006 London W1 Published by THE ASSOCIATION FOR THE HISTORY OF GLASS LIMITED This meeting on archaeological glass will include Reg’d Charity: 275236 ISSN 1362-5195 major contributions from David Whitehouse, Yael www.historyofglass.org.uk Israeli, Marie-Dominique Nenna, Marianne Stern, Hilary Cool and Ian Freestone as well as many other speakers. Offers of papers to fill the few remaining IN THIS ISSUE spaces in the programme should be sent as soon as possible to Ian Freestone: School of History and Page 1. AIHV Congress 2006, Meeting: Glass of the Archaeology, Cardiff University, Humanities Roman Empire and Elsewhere Building, Colum Drive, Cardiff CF10 3EU Page 2. The International Festival of Glass and Email: [email protected] British Glass Bienale 2006, 8th ESG Conference on Glass Science and Meeting fee: £40 for AHG members, £45 for non- Technology, CRAFTS 2007 International members, £20 for students, to include tea/coffee each Conference, AHG Bursaries day and a wine reception on the Tuesday evening. Page 3. Glass Collaboration Workshops, Roman Glass Furnace Project 2006, Stained Glass Further details will be available later in January from Weekend, Exhibitions at The Corning the AHG Meetings Secretary, Martine Newby: Page 4. Cylinder Glass for restoring the pinery at Garden Flat, 68 Goldhurst Terrace, Tatton Park, Study Day at the Fitzwilliam London NW6 3HT Museum: Review and abstracts Email: [email protected] Page 7.
    [Show full text]
  • Cathedrals, Stained Glass, and Constructive Painting in Joaquín Torres-García and in the European Avant-Garde
    The Medieval in Modernism: Cathedrals, Stained Glass, and Constructive Painting in Joaquín Torres-García and in the European Avant-garde Begoña Farré Torras Tese de Doutoramento em História da Arte (versão corrigida) Novembro 2019 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em História da Arte, realizada sob a orientação científica da Prof. Doutora Joana Cunha Leal e a coorientação científica da Prof. Doutora Joana Ramôa Melo Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio. Declaro que esta tese/ Dissertação /Relatório /Trabalho de Projecto é o resultado da minha investigação pessoal e independente. O seu conteúdo é original e todas as fontes consultadas estão devidamente mencionadas no texto, nas notas e na bibliografia. O candidato, ____________________ Lisboa, 11 de Novembro de 2019 To Rogério, Marc and Ana (in no particular order) ACKNOWLEDGEMENTS My deepest gratitude to my thesis supervisor, Professor Joana Cunha Leal, for her unfailing support for my project, rigourous and constructive critique of it, and personal encouragement along the way. Many thanks, too, to my thesis co-supervisor, Professor Joana Ramôa Melo, for her incisive reading of my work and encouraging support for it. THE MEDIEVAL IN MODERNISM: CATHEDRALS, STAINED GLASS, AND CONSTRUCTIVE PAINTING IN JOAQUÍN TORRES-GARCÍA AND IN THE EUROPEAN AVANT-GARDE O MEDIEVAL NO MODERNISMO: CATEDRAIS, VITRAIS, E PINTURA CONSTRUTIVA EM JOAQUÍN TORRES-GARCÍA E NA AVANGUARDA EUROPEIA BEGOÑA FARRÉ TORRAS KEYWORDS:
    [Show full text]
  • Download 2012 Transactions
    Monumental Brass Society 2012 TRANSACTIONS Monumental Brass Society Volume XVIII, Part 4, 2012. ISSN 0143-1250 Obligations and Strategy: Managing Memory in the Later Medieval Parish 289 Clive Burgess Each According to their Degree: the Lost Brasses of the Thorpes of Northamptonshire 311 Robert Kinsey Embellishment and Restoration: the Barttelots and their Brasses at Stopham, Sussex 334 Jerome Bertram The Brass to the Revd. Montague Henry Noel, d. 1929, St. Barnabas, Oxford 363 David Meara Conservation of brasses, 2011 370 William Lack Reviews 374 Portfolio of Small Plates 381 Contributors are solely responsible for all views and opinions contained in the Transactions, which do not necessarily represent those of the Society. © Monumental Brass Society and the authors, 2012 Registered Charity No. 214336 www.mbs-brasses.co.uk Obligations and Strategy: Managing Memory in the Later Medieval Parish Clive Burgess Primarily concerned with commemorative practice within I England’s late medieval parishes, this essay first explores When starting to consider the nature of later the means by which the commemorative impulse became medieval commemoration a number of embedded in the twelfth and thirteenth centuries and, questions immediately arise. Why did men and second, looks at factors, both general and local, which women strive so assiduously to be remembered? particularly assisted with managing memory within How generally did they contrive to maintain parishes. The essay then turns to consider how their presence? And what, therefore, was the individuals endeavoured to weave themselves into the broader array of commemorative devices parish liturgy, especially through repeated ceremonial such among which memorial brasses took their as anniversaries and by commissioning chantry Masses.
    [Show full text]
  • Medieval Stained Glass Centuries Old Glass the First Stained Glass Was Made in the 1140S—About Half Way Through the Middle Ages
    Medieval Stained Glass Centuries Old Glass The first stained glass was made in the 1140s—about half way through the Middle Ages. This beautiful art form appeared mostly in religious buildings like churches and cathedrals. Glencairn Museum is home to many stained-glass panels both from the Middle Ages, and from modern times! Throughout this re- source you will have a chance to explore some of the An Elder of the Apocalypse, from an glass in Glencairn’s collections, as well as research Flight into Egypt, from the Infancy of Unknown Window, France, About other medieval stained glass and do some stained- Christ window of the Abbey Church of 1240-1245, Pot-metal glass, Diameter glass inspired projects and activities! Saint-Denis, France, c. 1140-1145 43.1cm (17 in.) 03.SG.208 03.SG.114 What’s In This Resource? This resource includes information and activities that will allow you to explore both the medieval stained-glass collections on display at Glencairn Museum, as well as the medieval style stained glass that was created for and built into the Museum itself. Each page has been designed with an age range in mind, and includes discussion questions, project ideas, multisensory prompts and opportunities to see stained-glass artwork digitally. Scroll through to find the page for your age or grade, or learn from and explore all the pages! Observing Glencairn’s Collections The Five W’s of Medieval For All Ages Stained Glass Object Observations Throughout this resource we will explore the Five W’s of medieval Let’s begin by observing stained glass on display at Glencairn.
    [Show full text]
  • A Study of Residential Stained Glass: the Work of Nicola D'ascenzo Studios from 1896 to 1954
    University of Pennsylvania ScholarlyCommons Theses (Historic Preservation) Graduate Program in Historic Preservation 1990 A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954 Lisa Weilbacker University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/hp_theses Part of the Historic Preservation and Conservation Commons Weilbacker, Lisa, "A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954" (1990). Theses (Historic Preservation). 252. https://repository.upenn.edu/hp_theses/252 Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Weilbacker, Lisa (1990). A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954. (Masters Thesis). University of Pennsylvania, Philadelphia, PA. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/hp_theses/252 For more information, please contact [email protected]. A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954 Disciplines Historic Preservation and Conservation Comments Copyright note: Penn School of Design permits distribution and display of this student work by University of Pennsylvania Libraries. Suggested Citation: Weilbacker, Lisa (1990). A Study of Residential Stained Glass: The Work of Nicola D'Ascenzo Studios from 1896 to 1954. (Masters Thesis). University of Pennsylvania, Philadelphia,
    [Show full text]
  • Let There Be Light Catalogue
    LET THERE BE LIGHT Stained Glass and Drawings from the Collection of Oakbrook Esser Studios 1 LET THERE BE LIGHT Stained Glass and Drawings from the Collection of The exhibition Let There be Light Stained Glass and Drawings Oakbrook Esser Studios from the Collection of Oakbrook Esser Studios and related programs have been made possible through funding by the Marquette University Andrew W. Mellon Fund, the Kathleen and Frank Thometz Charitable Foundation, the Eleanor H. Boheim Endowment Fund and the John P. Raynor, S.J. Endowment Fund. This exhibition came to fruition through the dedication and work of many people. First and foremost, we would like to extend our sincere thanks to Paul Phelps, owner of Oakbrook Esser Studios in Oconomowoc, Wisconsin. Paul treated us with great kindness and generously gave his time and knowledge throughout the two year process of putting this exhibition together. The incredibly talented staff of Oakbrook Esser welcomed us to the studio time and again and graciously worked around our many intrusions. Warm thanks in particular go to Dondi Griffin and Johann Minten. Davida Fernandez-Barkan, Haggerty intern and art history major at Harvard University, was integral in laying the groundwork for the exhibition. Her thorough research paved the way for the show to come to life. We also want to thank essayists Dr. Deirdre Dempsey (associate professor, Marquette University, Department of Theology) and James Walker (glass artist, New Zealand) for their contributions Cover image to this catalogue. Unknown Artist and Studio St. Agnus, (detail), c. 1900 Antique glass, flashed glass, pigment, enamels, silver staining 57 x 22” checklist #7 Attributed to Tiffany Studios New York, New York Ross Taylor (1916-2001) Setting fabricated by Oakbrook Esser Studios Enterprise Art Glass Works Oconomowoc, Wisconsin Milwaukee, Wisconsin Head of Christ, c.
    [Show full text]
  • The Stained Glass of John Hardman and Company Under the Leadership of John Hardman Powell from 1867 to 1895
    The Stained Glass of John Hardman and Company under the leadership of John Hardman Powell from 1867 to 1895 Mathé Shepheard Volume I Text Based on a thesis presented at Birmingham City University in January 2007 Copyright © 2010 Mathé Shepheard This text is Volume I of The Stained Glass of John Hardman and Company under the leadership of John Hardman Powell from 1867 to 1895 by Mathé Shepheard. The accompanying two volumes of Plates can be downloaded from the same site. CONTENTS Page Acknowledgements 11 Preface 12 Note on viewing 14 Chapter One The Historical and Religious Background 15 Chapter Two The Crucifixion 32 Chapter Three Typology 49 Chapter Four Events in the life of the Lord 58 Chapter Five Saints 72 Chapter Six The Virgin Mary 92 Chapter Seven Conclusion 103 Appendix One Saints 112 Appendix Two Note on Kempe 115 Appendix Three Further considerations on viewing 117 Tables: Table 1. Analysis of 106 Crucifixion windows by content and decade 120 Table 2. Lady Patrons’ windows 1865-76 121 Table 3. Production of Windows in selected years with cost ranges 122 Table 4. Number of Schemes by Architect 1865 to 1890 123 Archive Abbreviations 124 Bibliography 124 Previous Publication 132 3 List of Plates Volume II – Plates 1 to 54 Plates 1 to 26–Illustrations for Chapter 2, The Crucifixion. Plate Number 1. East Window, St. Bartholomew and All Saints, Wootton Bassett, 1870. 2. East Window, Lady Chapel, Hereford Cathedral, 1874. 3. East Window, The Immaculate Conception and St. Dominic, Stone, 1866. 4. East Window, St. John the Baptist, Halesowen, Window and Sketch, 1875.
    [Show full text]
  • Stained and Painted Glass Janette Ray Booksellers, York, England
    Stained and Painted Glass Janette Ray Booksellers, York, England Janette Ray Booksellers, 8 Bootham, York YO30 7BL UK. Tel: +44 (0)1904 623088 email [email protected] STAINED AND PAINTED GLASS: CATALOGUE 16 Introduction: This catalogue is our first specialist list on aspects of stained and painted glass. It includes material on making glass, commentaries on glass in situ, including a selection of out of print volumes from Corpus Vitrearum, monographs on individual makers and a small group of items which comprise original designs for glass. It is designed to appeal to those who have a general interest in the subject alongside those with specific interests in periods or individual artists. We would particularly draw your attention to Christopher Whall’s rare promotional booklet for his own firm which has original photographs of items he made,(no 31 ) and other trade catalogues, the massive colour illustrated portfolio Vorbildliche Glasmalereien aus dem späten Mittelalter und der Renaissancezeit which records glass in pre First World War Germany (no 99), the original heraldic designs recorded by F C Eden at Aveley Belhus. (no 187) and the substantial collection of original material from Hardman’s in Birmingham when the company was under the jurisdiction of Patrick Feeney and Donald Taunton. (no 188 ) [Cover design from the collection S268] We have not included Journals in the list but have a large stock of the major academic publication of the Society of Glass Painters and other journals and welcome any enquiries on this subject. Furthermore, there are many small pamphlets which provide valuable insights into the windows in churches all over Great Britain and beyond.
    [Show full text]
  • Glass Shards Fall 2010
    GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN GLASS CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Fall 2010 When East Meets West at Corning A new exhibit opening at The Corn- that porcelain was a vitreous, not Eastern decorative styles on Western ing Museum of Glass East Meets clay-based, substance. The alchemi- markets and objects,” said curator of West: Cross-Cultural Influences in cal knowledge needed to create glass European glass Florian Knothe. “With Glassmaking in the 18th and 19th Cen- imitating porcelain was transferred this exhibition, we will showcase an turies begins November 18, 2010, and from glassmaker to glassmaker across incredible cultural and technological explores the cultural exchanges of exchange that is, in fact, much more glass techniques and styles between textured and fluid, with channels of East Asia and Western Europe. influence running in both directions. When East met West in the courts The role of Western craftsmen and and trade centers of the 13th century, scientists—such as Stumpf—in facili- a fruitful international exchange was tating advancements in Eastern glass born and lasted through several centu- manufacturing cannot be overlooked.” ries. This exhibition will explore the Drawing on the long tradition of por- resulting cross-cultural influences in celain making, glassmakers in China technology, scientific experimenta- blew and enameled opaque white tion, and decoration among glassmak- glass for foreign and local markets. ers in Europe, China, and Japan in the The Museum’s scientific analysis by 18th and 19th centuries. X-ray fluorescence of a few of these Through a range of Museum objects objects in its collection has revealed from the early modern period, East that the composition of some of the Meets West: Cross-Cultural Influenc- white glass used in the East is closely es in Glassmaking in the 18th and 19th related to the milk glass made by Ger- Centuries will document the Europe- man craftsmen.
    [Show full text]
  • STAINED GLASS in SCOTLAND: a PERSPECTIVE Lain B
    The Church Service Society Record STAINED GLASS IN SCOTLAND: A PERSPECTIVE lain B. Galbraith This introductory sketch to a large subject endeavours to outline some of the trends, styles and influences at work in stained glass in Scotland from its revival around 1820 to the present time. In the massive chronological survey of stained glass published in 1976, Lawrence Lee describes glass as an enigmatic natural substance formed by melting certain materials and cooling them in a certain way1 The use of the adjective `enigmatic' is both interesting and apposite and serves as an introduction to this article. There is sometimes present in stained glass, because of its relationship with light, an elusive, inexplicable element that defies description — a mysterious factor that is indeed enigmatic. This is not totally surprising considering the different strands that combine to form stained glass — colour, form, symbolism, craftsmanship; all contained within a living relationship with light. And it is light that gives life to stained glass. Light and life and mystery. Glass has an ancient history, as Pliny's account in Historia Naturalis illustrates. There is evidence that coloured glass existed in Egypt, and in the Mediterranean world.' Within the Roman Empire, glass makers practised and developed their art and the glazing of window spaces became a custom. Thus, when the Christian Church became established upon a European scale, the basis for the making of stained glass was already established. Stained glass, however, is principally a Christian art form, and, as such, its origins go back to the sixth century, when Saint Gregory had the windows of Saint Martin of Tours glazed with coloured glass.
    [Show full text]