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CONSERVATION The Studio, .

HISTORY Zeebrugge memorial window at St Mary’s Dover.

design Alexandra Le Rossignol. NEW COMMISSIONS The window at Staple created by Buffy Tucker.

COLOUR TO OUR CHURCHES A feature dedicated to stained glass windows across our

The has some of the finest historical stained glass windows in the country as well as a wealth of new designs that are easy to visit and view. In this feature we look at some of the history of our church windows; we meet the Cathedral design and restoration team and look at how you go about commissioning a stained glass window for your church.

1313 Commissioning window art in your church

Ian Dodd, Secretary to the Diocesan Advisory Committee, discusses commissioning new stained glass. The DAC encourages this will be achieved; we would church communities to be happy to advise on this. introduce works of art It is expected that a newly into their churches, be commissioned stained glass window would have some these sculptures, statues religious purpose, as well as or stained glass. But being a work of art. A good example of this is the window at when you consider how Staple, created by Buffy Tucker, our churches are a one of the team at Canterbury Cathedral. This striking window repository of religious art John Corley’s window at St Nicholas Ash. depicts ascending souls and over the ages, I am includes prismatic glass; it is a musical heritage of the village. church communities to work surprised by how few sight to behold. A window at It is a fine window with an with the artist in harmony with Ash by John Corley, shown intricate design that does not their manner and not expect faculty applications we above, focusses on the life of St give up its secrets quickly. them to produce something in a receive for stained glass Francis and is a richly coloured different style. windows or other art depiction of the created world. Several churches in the Diocese commissioned millennium The aesthetic impact of the installations. There are examples of modern windows. Upchurch houses a window must also be windows that commemorate window that was designed by considered. How the light falls During the Reformation, nearly significant events in a local local school children. Deal artist through the window and across all stained glass was removed community. One example is the John Corley created the the church is part of this. from medieval churches. At the window at St Mary’s, Dover millennium window at Despite predictions, until the time, some people tried to which commemorates the Bethersden. Local artist Graham window is installed, you can preserve the glass by hiding it Zeebrugge disaster of 1987. Clarke designed a fascinating never really be sure of how it within the community or on the interior window for the will look. Some windows look church site and a few churches The church at Lower Halstow millennium at Boughton duller than expected, others are have fragments of medieval has a window that Monchelsea, which includes a more beautiful and radiating stained glass, often found at the commemorates WW1 in snake in the shape of 2000. than you would expect. top of otherwise clear glass memory of local people affected windows. St Mary’s, Nackington by the war, and was installed Windows can commemorate an In summary, I would urge is rare in that it has a complete shortly afterwards. individual who was significant in church communities considering early 13th century medieval a community (such as the commissioning a stained glass window, traditionally said to Rossetti window at Birchington). window to contact me as soon have come from Canterbury Grieving families sometimes as they can in the process. We Cathedral. Most stained glass in wish to commission a window in like to work in partnership with the Diocese is therefore late memory of a loved one. It churches before the faculty is Georgian, Victorian or later. would be unusual for such a submitted, providing advice and Following the , window to actually depict the support along the way. Victorian glass was seen as an individual concerned. opportunity for teaching the faith or adorning our church Churches considering buildings and most Victorian commissioning a stained glass glass tells Biblical stories or window will also need to have shows Biblical or later religious an artist in mind. We are figures. fortunate to have a number of outstanding stained glass artists To commission a new stained in this Diocese, although it is glass window, a church must possible to work with an artist have in mind a suitable window whose medium is not glass. to use, most likely with non- Their designs can sometimes be historic clear glazing. As with all developed in collaboration with faculty applications, parishes a stained glass artist and will need to draft a statement of The large window at Boughton technician. need, which outlines why the Aluph, pictured above, created church is proposing a change by Léonie Selinger, celebrates Finding the right artist is along with the details of how , the singer, and the important and I would urge

14 The stained glass work of Alex Le Rossignol

With an initial training in Theatre Design and a background that includes working as an art teacher, Alexandra Le Rossignol’s work can be seen in churches across the diocese.

Whilst Alex has designed windows for secular buildings, including a window near Calais at the end of the cross-channel electrical link, and windows at an Ashford hospice, two hospitals and a library, the majority of Alex’s commissions have been for churches and Christian buildings, including a Romanian hospice chapel and Diocesan churches including Smeeth, Westwell, Sellindge, Barham, and Milstead. Alex, who is married to Richard, Rector of the A20 Benefice, sees her work as an opportunity to share her faith through glass. “Prayer is important in the process of creating a window and people remark that God is in my work. Hopefully people see things in my windows that help them reflect on His Glory.” Looking to the natural world for inspiration, many of Alex’s windows feature local wildlife. “In our unchurched society, traditional Christian symbols are not always known. I find that reflecting the environment in which the windows are placed seems to draw people in to discuss and enjoy spiritual truths.” Her millennium window at St Mary’s, Westwell, features dragonflies, their wings as intricate as lace, their faces human and sombre. In contrast, Alex’s window on the at St Mary’s, Sellindge, portrays a web of lilies and butterflies. “The first book I bought as a child was a nature book and I am inspired by the parables I see of Christian life in the natural world. Living in a rural benefice, I look to the natural world to provide me with direct reference for drawing which helps me, together with Alex’s window at the Holy Land Institute for the Deaf. reading to get into the design process.” Alex’s current projects include two windows for Ashurst Church Hands also feature heavily in Alex’s work, an example being a near Tonbridge and she will be exhibiting with Ashford Visual window designed and created by Alex and a group of Art Scholars Artists in their Places exhibition at The Horsebridge from Ashford School for the Holy Whitstable in September. She runs occasional stained glass workshops at her home in Smeeth. Land Institute for the Deaf in Salt Jordan. The window was designed to reflect the importance of the Baptism area in Jordan which Jews, Christians and Muslims all recognise as a place where God has spoken. “Hands bring in the human dimension, symbols of care, protection and sacrifice and are conveniently at the end of my arms for reference! Working with The Holy Land Institute of The Deaf in Jordan underlined how hands can communicate across cultures and languages. The hands on their window spell ‘Allah Kariem’ - God provides - which is recognised across the faiths.”

15 Shedding light on window conservation

Léonie Seliger is director of Stained Glass Conservation at Canterbury Cathedral. Here she gives an insight into the Studio’s work and also reveals the history behind some of the great cathedral windows.

Through the ages people has to have right of way. In The Reformation was the first The Chapter were also working with stained glass the 1950s, 800 year old kick in the teeth for the distressed and tried to hide a have always done their ferramenta was removed cathedral glass. Art relating to window of the crucifixion in best. However, what is from the South East was removed the behind a considered to be best of Canterbury Cathedral to along with anything that false wall. But Culmer was not changes with history. make way for the Bossanyi could be sold or melted down to be fooled and he ripped Today, there needs to be a windows. Although the to contribute to the King’s down the wall and the windows are magnificent, coffers. window. principle of reversibility. commissioned following An image of Thomas Becket bomb damage in the Second Great care must be taken 17th century in the Great North Window, World War, it is an example of before removing anything. which had only survived the people doing their best in the Something that appears Puritan reforms Reformation because it was moment, but something we There followed another period old-fashioned or awkward so high up, was also not would never even consider of organised destruction in now may in fact be able to beyond Richard Culmer’s doing now. the 17th century as part of contribute something reach. He acquired the town’s the Puritan reforms. We know important to our historic great ladder and hammered exactly what happened understanding, or be seen to Medieval glass out the window remarking during this period because add flavour and colour by that he ‘rattled down proud the gang leader, Richard future generations. I would - an organised Becket’s glassy bones’. An Culmer, kept an account of always argue for the retention investigation by parliament destruction the destruction. He was one of the ferramenta (the One of the most surprising afterwards found that Culmer of the Six Preachers of the supporting metalwork) when things about stained glass in had been so single-minded in cathedral and was instructed commissioning a new the cathedral is how much his remit to remove images by parliament to cleanse the window. As an artist you need medieval glass still exists. It is relating to Christ, that in one building of idolatrous images. to remember you are a late a wonder that 3mm thin window, he bashed out the This meant that images of tenant in a building. pieces of glass survived the glass that depicted Christ and , the Trinity, the , Reformation and the age of the Crucifix, but left an image It is your job to create the Virgin Mary and even Puritanical reforms, they of the devil (the original something beautiful and Christ were removed. We survived being moved and window portrayed Christ contemporary, but in my know from records that the re-shaped; they survived leading people away from opinion, you mustn’t interrupt citizens of Canterbury were in disinterest, neglect, vandalism idol worship). Windows that the story of the building; that revolt against the destruction. and even war. showed ordinary people – not

‘Salvation’ by Ervin Bossanyl, Dedicated to Allan Willett, a Cathedral benefactor, this window, designed by Cathedral glass conservator, located in the south eastern Alison Eaton, was added to the West walk of the Great in the summer of 2014. transept of the Cathedral.

16 “One of the most surprising things about stained glass in the cathedral is how much medieval glass still exists” The stained glass studio team fitting a ferramenta window Fake medieval Thomas Becket pane frame at the Cathedral. created by Samuel Caldwell those sainted - also survived, the Ancestors of Christ glass, including a face, and working very well. so most of the Miracle windows being re-located to treated the other panes to Along with the Bossanyi Windows and the Ancestors various places in the look convincingly medieval. It windows which represent of Christ windows survived cathedral, in the process their was an audacious act and can peace and salvation, the Culmer’s purge. progression looking forward still be seen in the North cathedral has a number of to was lost. Out of 86 Ambulatory. other post war windows. original figures that There is the St Anselm Chapel Early restoration comprised the Ancestors of There followed a period of window created by Harry Christ, only 8 figures remain World War II repairing, reglazing and In World War II, all the Stammers in 1959 and just in their original home. Mary, patching up. People did their medieval glass was removed this summer we installed two Joseph and Christ were best mending small holes and stored in the . Blast new windows in the certainly destroyed, another with fragments of glass damage destroyed many of to recognise major 40 were probably simply lost stuffed into the wrong places; the Victorian windows, includ- contributions to the life and by neglect and 35 were windows that were ing many of the replicas of the conservation of the moved to the Great South completely destroyed were the Ancestors of Christ. cathedral. The Cloisters were and West windows. glazed with clear glass. chosen because that space After the war, the ancient However, for a good century has a tradition of recognising glass was re-installed but by and a half, people were the link between the Fraudulent the 1960s it was clear that the simply not interested in cathedral and community. medieval glass was decaying stained glass. Victorians The numerous coats of arms by corrosion. Rain and The nineteenth century saw a on the ceiling of the north, The Reformation had tainted condensation ate away at the more scholarly approach and east and west walk of the it as an aid to faith; people surface of the glass; whilst you restoration became the focus. cloister were mounted in the wanted the clear light of can never completely stop Between 1819-1952, four fifteenth century in reason and not to be glass corrosion, you can create members of the same family recognition of the support distracted by imagery. Around conditions in which the (Austin/Caldwell) led the provided by some of the this time there was also a corrosion is slowed down to restorations. These craftsmen benefactors of the day. We shift away from ‘seeing’ to such an extent that the also created a number of hope these new windows listening/reading the word, windows will last for many replicas, including inventing contribute to that great story which coincided with the more centuries. In 1973 the the missing 43 ancestors. that is Canterbury Cathedral. being printed in English stained glass conservation and increasing levels of Samuel Caldwell junior, the studio was created at the Learn more about the last of the Austin/Caldwell literacy. cathedral. Our team of nine history of Canterbury dynasty, became so good at highly trained conservators The Georgians, with their Cathedral. replicating medieval glass clean, consolidate, mend re-emerging love of the Open Evening on Tuesday 7 that he could not resist fractures and stabilise loose gothic and appreciation of October 2014. There will be passing off a window of a paint. We then install aesthetics, moved some of displays running from 18:30 – seated Thomas Becket that protective modern glazing on the surviving stained glass to 20:40 and the evening will finish he created as an original the outside. We monitor lower parts of the cathedral with a special concert sung by medieval work. He used a few conditions and I am pleased where worshippers could see the Cathedral choristers, small panes of medieval to say that this approach is it better. These actions led to followed by Compline at 21:00.

17 Commissioning new windows Interesting windows in the Diocese at Holy Trinity,

Selling, St Mary the Virgin East window c. 1300.

Holy Trinity Church, Folkestone, recently installed a series of six modern stained glass windows in its south entrance porch which were dedicated by Trevor in July.

Designed and created by Alison • Reflect the life of the donor and Eaton from the Cathedral Studios to be a memorial. Stowting, St Mary the Virgin in Canterbury, the windows are • No change to be made to the 15th century glass in the south based on the creation story in the shape of the existing windows. Bible and enhance the newly window with pilgrim saints. cleaned south porch walls with The Trustees of the donor’s estate their beauty. have been closely consulted throughout the process and were The six panels are full of local happy with our choice. I have sent detail, incorporating seagulls and them regular updates and photos a Martello tower to reflect the and they attended the dedication church’s life within a coastal and were really very happy with parish. A rainbow portrays the the result. They were also pleased Folkestone Rainbow Centre, with with the cleaning of the porch which the church is closely linked. (also from the legacy) and we are Wickhambreaux, St Andrew Sarah Bristow, Chair of the Holy working with them on the use of The late 19th century east window Trinity Legacy Committee explains the remaining part of the legacy. designed by Arild Rosencrantz, the process the church went The congregation have made by LaFarge. through to commission: commented positively about the “The process started in 2010 on vibrant colours and the way they receipt of a legacy which specified reflect on the floor of the porch in ‘a permanent memorial’ to be the sunshine. They also have created and we were tasked to commented on the detail within find something that could each window and the way the enhance the building and be natural world is contained within attributed to the donor family. A the windows, not to mention PCC member came up with the details that are specific to Patrixbourne, St Mary idea of the windows in the south Folkestone and the ‘story’ it tells. The Swiss 16th and 17th century glass porch, at which point we consulted I hope future generations will look in the east and south windows. Ian Dodd who, as ever, was very at the windows and wonder about helpful and who worked with us the donor, the church’s close link throughout the process. to the town (as it is today) and, We consulted the Cathedral not least, think about the story of Studios quite early on and as we creation, which is read at our were impressed we invited them to Easter fire service each year. submit designs. Four potential Many people were involved in this designers visited the church and process in many different ways, Ramsgate, St Augustine three submitted designs, as did overseen by our Legacy one other local designer. A complete set of mid-19th century Committee. It has been windows designed by A.W. Pugin and The brief was: challenging and sometimes it felt • The need for modern glass, as though it would never happen! made by Hardman. colour and brightness, also to We were trying to improve our complement the existing windows welcome to Holy Trinity and the Marden, St Michael from the 19th and 20th centuries. porch was very drab and boring, The 20th century East window • Biblical context, but also to but I am pleased to say, it has by . reflect Folkestone. now been transformed.”

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