Guide to Stained Glass Windows-6
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Daniel Cottier's Aesthetic of Beauty in Australia
Daniel Cottier’s Aesthetic of Beauty in Australia Andrew Montana Detail from Fig. 11. Lyon, Cottier & Co. The Seasons staircase window Glenyarrah mansion, Sydney. c.1876. “A range of performance beyond any modern artist”; so Ford Madox Brown’s appreciation of the work of his former pupil, the brilliant colourist, decorator and stained glass artist, Daniel Cottier (1837-91) was reported in the Glaswegian press. “Here tone and colour are suggestive of paradise itself,” he enthused about Cottier’s decorative enrichment of the interior of Queen’s Park United Presbyterian Church (1867-69), which Brown saw in Glasgow in 1883.1 Brown had befriended Cottier in the late 1850s at the Working Men’s College in Red Lion Square, London, where Cottier attended lectures by John Ruskin and was instructed in draw- ing by Brown, who had taken over from Dante Gabriel Rossetti.2 Through Brown, Cottier studied Pre-Raphaelite art and observed the formation of Morris, Marshall, Faulkner & Co. in London in 1861.3 Following on from Morris’s example, Cottier made a successful career from his decorating businesses in London, New York, and Sydney, where he co-established Lyon, Cottier & Co. in 1873. He brought distinctive expressions of the British Aesthetic movement in painted and 1 “Gossip and Grumbles,” Evening Times (Glasgow), 9 Oct. 1893, p. 1. 2 Margaret H. Hobler: In Search of Daniel Cottier, Artistic Entrepreneur, 1838-1891. The City University of New York: M. A. Thesis (unpub.), Hunter College, 1987, pp. 10, 22. 3 Juliet Kinchin: “Cottier’s in Context: the Significance of Dowanhill Church.” Cottier’s in Context: Daniel Cottier, William Leiper and Dowanhill Church, Glasgow. -
'Daylight Upon Magic': Stained Glass and the Victorian Monarchy
‘Daylight upon magic’: Stained Glass and the Victorian Monarchy Michael Ledger-Lomas If it help, through the senses, to bring home to the heart one more true idea of the glory and the tenderness of God, to stir up one deeper feeling of love, and thankfulness for an example so noble, to mould one life to more earnest walking after such a pattern of self-devotion, or to cast one gleam of brightness and hope over sorrow, by its witness to a continuous life in Christ, in and beyond the grave, their end will have been attained.1 Thus Canon Charles Leslie Courtenay (1816–1894) ended his account of the memorial window to the Prince Consort which the chapter of St George’s Chapel, Windsor had commissioned from George Gilbert Scott and Clayton and Bell. Erected in time for the wedding of Albert’s son the Prince of Wales in 1863, the window attempted to ‘combine the two ele- ments, the purely memorial and the purely religious […] giving to the strictly memorial part, a religious, whilst fully preserving in the strictly religious part, a memorial character’. For Courtenay, a former chaplain- in-ordinary to Queen Victoria, the window asserted the significance of the ‘domestic chapel of the Sovereign’s residence’ in the cult of the Prince Consort, even if Albert’s body had only briefly rested there before being moved to the private mausoleum Victoria was building at Frogmore. This window not only staked a claim but preached a sermon. It proclaimed the ‘Incarnation of the Son of God’, which is the ‘source of all human holiness, the security of the continuousness of life and love in Him, the assurance of the Communion of Saints’. -
Quarterly Journal of the All India Glass Manufacturers' Federation Inside
Vol. 4 | No. 1 | April - June 2016 www.aigmf.com Quarterly Journal of The All India Glass Manufacturers’ Federation Bi-lingual Inside Interview Special Feature Yoshihiko Sano • Sustainability in Glass President of Nipro Corporation • A Note on Closed Glass Companies in the USA • Nipro Injects Innovation into Pre- for Artistic Appreciation filled Syringes and Targets US Expansion • Efficient Workflow: Automation and Digitisation Reduce Production and Handling Costs Upcoming Events (Sept 2, 2016) • FEA Studies of Impact Loads on NNPB Refillable • Enhancing Profitability by Empowering Workforce Bottles • Business Opportunities for Indian Glass Companies at Port of Duqm, • Energy Efficient Renovation Boost for Added- Sultanate of Oman Value Glazing • AIGMF Executive Committee Meeting / AGM Main Story Glass Packaging Supporting Swachh Bharat Abhiyaan (Clean India Campaign) event at Central Glass and Ceramic Research Institute (CSIR-CGCRI), Kolkata Page No. 6 Technical Articles Prof. (Dr.) A. K. Bandyopadhyay Prof. (Dr.) A Sustainable 50 for postage postage for 50 ` ASS ASS www.aigmf.com Building and Packaging material - An Publication GlASS Gl Gl 500 (within India) + + India) (within 500 ` ` Overseas: US$ 60 (including postage and bank charges) bank and postage (including 60 US$ Overseas: Order Print Copies: Print Order Price: Price: PORT OF DUQM Duqm, 100% Foreign Ownership the preferred Tax -exemption for 30 years Free Repatriation of Capital Special Economic & profi ts No minimum capital requirement No currency restrictions Zone for your No personal income tax Exemption from import & overseas export duties Usufruct agreements up to 50 years renewable investment One-stop station service For more information, contact: Port of Duqm Company SAOC Tel: (+968) 24342800 | Fax: (+968) 24587343 | [email protected] | www.portduqm.com 2 Kanch | Vol. -
GLASS CONE” - CONTENTS Numbers 1 to 111 and Glass Matters
THE “GLASS CONE” - CONTENTS Numbers 1 to 111 and Glass Matters PURCHASING BACK COPIES OF OUR PUBLICATIONS. Back issues of most editions of the Glass Cone and The Glass Association Journal are available from this website via Paypal. Members get discounted rates please e mail for a quotation. There is a discount for three or more publications, please e mail [email protected] for a quotation & your individual Paypal invoice. You can also order by post & pay by UK cheque by contacting the membership secretary 150 Braemar Road Sutton Coldfield B73 6LZ or [email protected] Buy from The Glass Association stands at the Cambridge / Knebworth & Motor Cycle Museum Birmingham Glass Fairs and save on post & packing costs etc. Document revised 18 February 2018 Revised 18 February 2018 Page 1 of 51 THE “GLASS CONE” - CONTENTS Numbers 1 to 111 and Glass Matters No. I MARCH 1984 Glass Makers’ Union Certificate ..................................................................................................... Cover Glass on Tyne and Wear Simon Cottle .................................................................................. p3-5 Setting up a Glass Studio Richard Golding ................................................................................. p6 Glassworks Closed (Trent Valley Glassworks, Tutbury) .......................................................................................................... p7 Crystal Glass Billiard Table, 1884 .......................................................................................................... -
The History of the Worshipful Company of Glaziers and Painters of Glass, London
THE HISTORY OF THE WORSHIPFUL COMPANY OF GLAZIERS AND PAINTERS OF GLASS, LONDON FROM 1919 TO 1999 EDITED BY R.F. LANE, P. S. LONDON, P. H. TROLLOPE Hi - Dedicated to Glaziers past and present. 1. The Glass Stainers. To every Man his Mystery A trade and only one; The Masons make the hives of men, The domes of grey or dun, But we have wrought in rose and gold The houses of the sun. From "The Five Guilds" by G.K. Chesterton THE COMPANY'S ARMORIAL BEARINGS ii TABLE OF CONTENTS 1. Foreword by The Master. 2. Introduction. 3. Chapter 1. Rights, Privileges and Charters of the Glaziers' Company. Chapter 2. The Company's Armorial Bearings. Chapter 3. The Craft and other charitable activities of the Company. Chapter 4. The story of the Glaziers' Halls. Chapter 5. Extracts from the Minutes Books of the Court of Assistants. Appendices. 1. Masters, Upper Wardens, Clerks, Chaplains and Beadles. 2. Senior Officers that did not proceed. 3. Members of the Company upon whom Honours were conferred and/or who held high office in the City and Corporation of London. 4. Members of the Royal Family and Honorary Freeman of the Company. 5. Persons admitted to the Livery by Gift. 6. Livery Halls and other accommodation used by the Company. 7. Dinners then and now. Chapter 6. The Glaziers' Company's associations with other organisation. Chapter 7. Some valued possessions. Chapter 8. Some famous names in glazing. IV - FOREWORD Since Ashdown's History of the Glaziers' Company from its earliest recorded existence in 1328 until 1918 was published, those wishing to know something of events during the succeeding eight decades have had to be content with the brief accounts in the Company's Livery List (the Blue Book) and, more recently, the Silver Booklet. -
William Peckitt's Great West Window at Exeter Cathedral
WILLIAM PECKITT’S GREAT WEST WINDOW AT EXETER CATHEDRAL C S Atkinson A thesis submitted to the University of Plymouth In partial fulfilment for the degree of MASTER OF PHILOSOPHY October 2011 i Copyright This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. All photographs are by the author, unless otherwise stated All quotations, pictures and images have been utilised under the Fair Dealing for review principle of the UK Copyright, Design and Patents Act 1988. Additionally, every attempt has been made to identify and obtain direct permission to use pictures and images that are not my own property. ii Abstract This thesis examines the Great West Window at Exeter Cathedral designed by William Peckitt of York (1731-95). Peckitt was arguably the most important glass designer of the eighteenth century and undertook prestigious commissions at York, Oxford and elsewhere. In 1764 he was contracted by the Dean of Exeter, Jeremiah Milles, to supply glass to complete the restoration of the Cathedral’s glazing and to make the new window, which has often been considered to be his masterpiece. Peckitt’s Great West Window is no longer extant (although portions of it have been salvaged), having been replaced in 1904 with a window, designed by Messrs Burlison and Grylls, which was itself destroyed by enemy action in 1942. The Burlison and Grylls window was more in keeping with the Gothic revival aesthetic typical of the later nineteenth century and its proponents had argued forcefully that Peckitt’s Great West Window was an aberration that needed to be removed. -
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. -
CHAPTER 1 Introduction
27 CHAPTER 1 Introduction The aim of this study is to investigate the well-known and widespread problem of severe paint loss from stained glass windows made by many firms in the mid- to late-nineteenth century. This problem results in the fading of painted detail from the surface of the glass, in the worst cases leaving pieces completely blank, as well as ‘ghosting’ of areas where the paint has been lost (Figures 1 and 2). It has become known as the ‘borax problem’,1 most likely due to a letter sent by William Morris to George Howard, around 1880, in which he writes: We (and I believe all other glass painters) were beguiled by an untrustworthy colour, having borax in it, some years ago, and the windows painted with this are going all over the country. Of course we have taken warning and our work will now be all right. We have given instructions to our man to take out the faulty glass, which we will – restore! – at once, and pay for that same ourselves – worst luck! Borax is the name of the culprit: the colour makers, finding that the glass- painters wanted a colour that would burn well at a lowish temperature, mixed borax with it to that end; but unluckily glass of borax is soluble in water, and hence the tears wept by our windows – and our purses. We use harder colour now, so that if any window of ours goes now it must be from other causes; bad burning or the like; I don’t think as things go that this is like to happen to us.2 As Morris suggests, many (although not all) stained glass firms of the period experienced the problem of paint loss. -
A Regional Study of Its Birth in Northwest Ohio
THE AMERICAN STUDIO GLASS MOVEMENT: A REGIONAL STUDY OF ITS BIRTH IN NORTHWEST OHIO Kaysie Harrington A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2018 Committee: Douglas Forsyth, Committee Chair Katerina Ray © 2018 Kaysie Harrington All Rights Reserved iii ABSTRACT Douglas Forsyth, Committee Chair In 1962 the Toledo Museum of Art hosted the first studio glass workshop. For the first time, artists were able to experiment with glass as an artistic medium outside of the factory setting. This thesis investigates how the Studio Glass Movement began and grew within Toledo and the greater Northwest, Ohio area, with a focus on the social networks which made its formation possible. It argues that the Studio Glass Movement’s success was a product of cooperation between Toledo’s glass industry, educational organizations, community clubs and the artists themselves. iv ACKNOWLEDGMENTS This project would not have been possible without the support of BGSU’s History Department faculty, especially my Committee Chair, Dr. Douglas Forsyth, whose enthusiasm for this topic and continual direction kept me motivated throughout my research. Thank you to Dr. Katerina Ruedi Ray, for offering insightful commentary and suggestions in the final stages of my writing, and to Dr. Steven Seubert, for first introducing me to studio glass as a potential research topic. I also extend my gratitude towards the knowledgeable and helpful staff of the Rakow Research Library. A special thank you to Alli Hoag, who allowed me to join her introductory glassblowing course and who gave me the opportunity to explore the captivating medium of glass myself. -
Former Places of Worship Research Project
The Diocese of Diocesan Mission & Pastoral Committee (DMPC) Southwark and Diocesan Advisory Committee for the Care of Churches (DAC) Former Places of Worship research project: booklet published in Autumn 2020 Photo: closed church of St Mary-at-Lambeth, now the Garden Museum The Diocese of Southwark The South London Church Fund and Southwark Diocesan Board of Finance is a company limited by guarantee (No 236594) Registered Office: Trinity House, 4 Chapel Court, Borough High Street, London SE1 1HW. Charity No 249678 Company Secretary: Ruth Martin Background to the project From approx. 2004 until 2015, the staff of the Pastoral Department, on behalf of the DMPC and DAC, carried out a research project to gain a more thorough knowledge of those buildings previously used for Anglican worship which were formerly connected with the Diocese of Southwark or its predecessor dioceses. Our thanks go in particular to Stephen Craven (previously Pastoral Department Administrator) and Andrew Lane (Deputy Diocesan Secretary, and Secretary to the DMPC and DAC) for their work on this project. Who is this booklet for? For the first time this booklet compiles, in one place, the results of the project’s findings. The resource is offered with the intention of assisting: • parishes wishing to explore the history of their former buildings; • academics and others carrying out research on topics such church architecture, or the history of the Anglican Church in South London and East Surrey; and • members of the public investigating their family history. Why might a church be ‘closed’? There are many reasons why these buildings have ceased to be used for regular services of Anglican public worship, including bomb-damage in the Second World War, ‘redundancy’ (formal closure), or replacement by newer church buildings. -
The Gothic Revival the Stained Glass of Buckland St Mary Church
THE GOTHIC REVIVAL THE STAINED GLASS OF BUCKLAND ST MARY CHURCH Between the sixteenth and the nineteenth century in England the art of making stained glass, which had been one of the great achievements of the Middle Ages, was almost lost. Mediaeval techniques were no longer used, and instead piures were painted in enamels onto clear glass. The religious revival, known as the Oxford movement, and the founding of the Cambridge Camden Society in 1839, stimulated a new direion in art, architeure, – and stained glass. Pugin launched the Gothic revival in architeure. He also studied the magnificent Mediaeval stained glass at Chartres cathedral, and, in order to revive the true principles of Gothic architeure, insisted on the careful reproduion of the colours, designs and techniques of manufaure used in the original creation of this glass. In 1847 Charles Winston, a barrister by profession, but an amateur stained glass enthusiast, published the most important book of the period on this subje, entitled: “An enquiry into the difference in style observable in ancient glass paintings, especially in England, with hints on glass painting; by an amateur.” It outlined the principles of the composition of Mediaeval windows. He also researched the techniques of Mediaeval glass manufaure and colouring, and persuaded James Powell & Sons to manufaure “antique” glass according to his principles. The Powells had been producing glass at Whitefriars for many years, and in the 1840s began to make stained glass. With the help of Charles Winston they became the earliest manufaurer of Gothic revival glass. This remarkable man, by scientific investigation, was able to improve the quality of glass, and to find a material similar to the real Mediaeval produ rather than the thin homogeneous glass then currently available. -
The Christ Church Stained Glass Restoration Project 12
F ROM THE P RESIDENT T HE N EW Y ORK L ANDMARKS C O N S E RVA N cy Peg Breen, President Dear Friends, Ann-Isabel Friedman, Sacred Sites Program Director We are pleased to present our latest edition of Colleen Heemeyer, Manager of Grants and Technical Services “Common Bond,” which focuses on the remarkable and diverse stained glass that illuminates so many of our religious institutions. S AC RED S ITES C OMMITTEE “Stained Glass: Windows on this World and the Ronne Fisher, Chair Next” is also the theme of this year’s annual Sacred Justin Abelow Sites Open House Weekend on May 20 and 21. Oscar K. Anderson III The Landmarks Conservancy’s 31 year old Sacred Sites program is dedicated to The Reverend Canon George W. Brandt Jr. the preservation of historic religious architecture throughout New York State. Our Bernadette Castro program has granted close to $10 million over the past three decades, helping to restore 760 religious buildings of all denominations. Many institutions have August Ceradini received several grants through the years. Gus Christensen Lynne Crofton Religious buildings are often the most beautiful structures in their locales. They illustrate changing architectural styles and immigration patterns. Many also Stuart P. Feld provide social service and cultural programs that serve the wider community. You Michael Jaffe don’t have to be religious at all to appreciate them. The Reverend John A. Kamas As wonderful as these buildings are, the public has seldom been inside them. Miriam Kelly That’s why we began our Sacred Sites Open House Weekend seven years Malcolm MacKay ago.