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A Stained Glass Masterpiece in Victorian Glasgow

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A Stained Glass Masterpiece in Victorian Glasgow A STAINED GLASS MASTERPIECE IN VICTORIAN GLASGOW STEPEHEN ADAM’S CELEBRATION OF INDUSTRIAL LABOR Lionel Gossman with Ian R. Mitchell and Iain B. Galbraith 1 A STAINED GLASS MASTERPIECE IN VICTORIAN GLASGOW STEPHEN ADAM’S CELEBRATION OF INDUSTRIAL LABOR by Lionel Gossman with Ian R. Mitchell and Iain B. Galbraith 2 TABLE OF CONTENTS Prefatory Note and Acknowledgments (pp. 3-9) Maryhill Burgh Halls Album (pp. 10-14) Part I. “Cinderella to her Sister Arts.” Reflections on the Standing of Stained Glass as Art. (pp. 15-38) Part II. Stephen Adam’s Work in Historical Context. 1. The Revival of Stained Glass in the Nineteenth Century. (pp. 39-58) 2. Charles Winston on Stained Glass. (pp. 59-68) 3. Stephen Adam on Stained Glass. (pp. 69-93) Part III. The Maryhill Burgh Halls Panels 1. Stephen Adam: The Early Years and the Glasgow Studio. (pp. 94-117) 2. “A man perfects himself by working.” (pp.118-135) 3. An Original Style. Realism and Neo-Classicism in the Maryhill Panels. (pp. 136-157) Endnotes. (pp. 158-188) Appendix I. “The Maryhill Panels: Stephen Adam’s Stained Glass Workers” by Ian R. Mitchell. (pp. 189-204) Appendix II. “’Always happy in his Designs’: the Legacy of Stephen Adam” by Iain B. Galbraith. (pp. 205-220) Appendix III. Chronology of Works in Stained Glass by Stephen Adam. (pp. 221-236) 3 PREFATORY NOTE AND ACKNOWLEDGMENTS The Burgh Halls of Maryhill – a district in the north-western section of Glasgow1 -- are adorned by twenty stained glass panels of extraordinary power, beauty, and originality. Created some time between 1877 and 1881 by the barely thirty-year old Stephen Adam in collaboration with David Small, his partner in the studio he opened in Glasgow in 1870, these panels are unique among stained glass works of the time in that they depict the workers of the then independent burgh not for the most part in the practice of traditional trades (baker, weaver, flesher, cooper, hammerman, etc.) (see Pt. II, 2, Figs. 1-3), not clad in traditional, biblical or classical costume -- as, for instance, in the contemporary windows of the Trades Hall in Aberdeen, also by Stephen Adam -- but realistically, as workers dressed in modern working clothes and engaged in the tasks required by the many small modern workshops that had opened in Maryhill, even as vast industrial complexes, such as the Tennant chemical works, employing over a thousand workers in the 1840s, were set up in adjacent burghs on the north side of Scotland’s then continuously expanding industrial metropolis. The style is also simpler and starker than was common in stained glass art at the time, with exceptionally strong leadlines, larger than usual glass pieces, and a similarly 4 unusual color palette highlighting the composition and producing an effect of both sober, meticulous realism and neo-classical idealism. Salvaged and kept in storage for many years as the Burgh Halls fell into disrepair following the drastic twentieth-century decline of industry in Glasgow, and partly restored only recently to their original site after the Halls’ rehabilitation as a community and conference centre2 (see Part III:3, fig. 7), the panels have lately attracted the attention and admiration of a small number of scholars and writers -- notably Michael Donnelly, Iain Galbraith, Ian Mitchell, and Gordon R. Urquhart. “The finest collection of secular stained glass in Scotland” (Urquhart 3) rarely figures, however, even in books and articles devoted to nineteenth-century stained glass. I have written this essay with the aim of bringing Stephen Adam’s panels to the attention of amateurs of the arts beyond Glasgow and Scotland and especially in the United States, and thus lending what modest support I can to the pioneering studies of Donnelly, Galbraith, Mitchell, and Urquhart. However, as the history of stained glass and the main esthetic issues that arose concerning it in Adam’s time are a relatively unstudied and unfamiliar topic among non-specialists (including, until quite recently, the writer of these lines), I have devoted a substantial part of my study to questions of context. Part I reflects my puzzlement, on discovering Adam’s panels, at my own general ignorance of and 5 even indifference to the art of stained glass, despite a longstanding interest in and enjoyment of other visual arts. Why is stained glass so little known and poorly understood? In Part II I have attempted to acquaint the reader with the conditions in which Adam’s work was produced: the revival of stained glass in the nineteenth century and the lively debates, in which Adam himself participated, about what authentic stained glass is, what it should and should not be. Part III is devoted to the work of the Adam studio and to the panels themselves and their unusual, perhaps even unique style. Three appendices fill out this section. The first, by Ian R. Mitchell, a revised version of a section on the Maryhill panels in his highly readable and richly informed 2013 book A Glasgow Mosaic: Cultural Icons of the City (Edinburgh: Luath Press) describes and explains the real historical background of the various activities reflected in the panels; the second, an article by Iain B. Galbraith in the Journal of Stained Glass, vol. XXX (2006), provides a brief but comprehensive overview, by a scholar of stained glass, of Adam’s career and accomplishments in his chosen medium; and the third offers a provisional chronology of Adam’s work in glass over the four decades of his productive life. I have been helped and encouraged by many people as I explored Adam’s work or sought to obtain images of it or information about it. The generosity and 6 responsiveness of almost everyone I contacted has been moving and inspiring. I would like to express my gratitude, first and foremost, to Ian Mitchell and Iain Galbraith, not only for permitting me to include sections from their own work on Adam in the present volume but for their continued advice, and for acting as my proxies in Glasgow, providing me with photographs, and looking into the historical background of particular works. In particular, I could not have done without Ian Mitchell’s constant encouragement and active intervention. In addition, I am indebted to Tom Barclay of the Carnegie Public Library in Ayr for photographs of the Adam window; to Gil Barlow for a photograph of one of Frederick Preedy’s windows at Church Lench in Worcestershire; to the energetic Scottish conservationist and gifted photographer Gordon Barr, for sharing his remarkable photographs of Adam’s Clyde Navigation Trust building (Clydeport) panels with me; to Mary Kay Bosshart for photographs of guild windows at Chartres; to Dr. Phil Brown for a photograph of a modern window marking the 750th anniversary of the Church of Our Lady and All Saints in Chesterfield, Derbyshire; to Ray J. Brown in distant Australia for permission to reproduce a photograph of one of many Munich windows installed in Australian churches in the nineteenth century; to Kathleen Cohen of San Jose State University in California for an image, from her vast collection, of a panel 7 representing workmen at Freiburg Cathedral; to the eminent scholar and photographer of stained glass Painton Cowen for permission to reproduce part of his photograph of a window by Charles Connick at the Cathedral of St. John the Divine in New York; to Dr. Robin Darwall-Smith, F.S.A., F.R.Hist.S., archivist for University College and Magdalen College in Oxford, who generously donated an outstanding photograph of a Van Linge window at University College; to Sam Fogg of the Sam Fogg gallery in London for permission to use two photographic reproductions of 16th century roundels displayed on the gallery’s website; to John Gorevan, an authority on Glasgow pubs, for taking pictures of Adam’s humorous but hard to reach stained glass panels in the Imperial Bar on Howard Street; to Rev. Roddy Hamilton, the minister of New Kilpatrick Church in Bearsden, for checking on windows in his church for me; and to History Girls Scotland -- Karen Mailley-Watt and Rachel Purse -- for a high resolution image of the fine window in that church that Alf Webster designed in tribute to his teacher, employer, and friend, as well as for other images of windows by Alf Webster; to David Lewis, for images of the windows in the parish church at Alloway; to Andrew Macnair for permission to use images from his father’s book on the stained glass windows of Glasgow Cathedral; to Brian McCormick, Jim McCreery, and Andy Shearer of Eastwood Photographic Society, who made their photographs of the windows in 8 Clark Memorial Church in Largs available to me, and to Dr. Nigel Lawrie, also of Eastwood Photographic Society, who made me a CD with very high resolution images of those windows; to Ian Munro of St. Machar’s Cathedral in Aberdeen for a photograph of Adam’s Clark Memorial window there; to Nondas Pitticas, the community administrator at St. Luke’s Greek Orthodox Cathedral in Glasgow (formerly Belhaven Church), who took photographs of the Adam windows in his church specifically for my use; to David Robertson, a project director at Four Acres Trust, an agency dedicated to restoring important Victorian buildings in Glasgow, for providing me with a fine high-resolution photograph of Daniel Cottier’s “Miriam” in the former Dowanhill Church; to Gilda Smith of Dalry, Ayrshire, for photographs of the Munich windows in St. Margaret’s Church there; to Lindsay Watkins of Helensburgh Heritage for identifying work by Adam at St. Michael’s and All Angels Episcopal Church in Helensburgh and for much valuable help and support; to Stephen Weir, the director of a contemporary stained glass studio in Glasgow, for a photograph of and information concerning a window by Adam and Alf Webster in St.
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