Harry Stammers, Lady Chapel / February 20, 2017 by Sasha Ward

On entering St. Mary Redcliffe, Bristol                                              Bursting into prayer inside The Lady Chapel — On entering St. Mary Redcliffe, Bristol Bursting into prayer inside The Lady Chapel

If you need your faith in twentieth century stained glass restored, go and see Harry Stammers' windows for The Lady Chapel in St. Mary Redcliffe, Bristol. Even on entering the church the colour is overpowering, the windows are amazing from a distance and so amazing when you are in the chapel that people were bursting into prayer in front of them. I have included a photo of every window here, but still they do not convey how well the stained glass, rich and beautiful both in overall design and in the detailed painting, works in its setting. There is a complete set of five large windows made from 1960-65, the colours becoming stronger from the front to the back (east) wall, where the central nativity window is filled with colour and detail arranged in a satisfying pattern of blocks and columns.

Angels at the top of the nativity window

After much reflection, I chose the red and yellow angels (above) as my favourite part of the scheme: it's the part that sings out from a distance and is full of the silverstain/red flashed glass pattern-making that is a distinguishing characteristic of the work of Harry Stammers (see Jane Brocket's blog on the subject here).

Other sections that fascinated me were Mary lying on straw (below) painted in exactly the way that I show grass and straw in my coloured glass, and the three blue columns that turn into figures when you look at them closely (below right).

Details from the centre and the bottom right of the nativity window

Windows 2 & 4 (either side of the nativity window)

The other four windows contain large amounts of clear glass, something that I hold against a lot of mid twentieth century stained glass, especially in churches where these types of windows are contrasted with older, less transparent ones. However, here the white and tinted glass sections are not cut into diamond-shaped quarries only, there are some beautifully designed passages where the diamonds change into irregular shapes as they border the blocks of colour.

North facing window from inside and outside

The high ratio of transparent glass, coupled with the crisp linear painting style, also allows some of the images to be read from the outside, at least on the north side where the light shines right through the chapel.

The whole series of windows shows the life of Mary alongside other female saints, figures from familiar bible stories and groups of people dressed in the clothes of the 1950s and 60s. But I find, as usual, that I am more interested in the abstract/pattern-making qualities that you can find in every panel - like the towers of diamonds pointing to the fabulous jade green triangle (below left). Right at the bottom is a section full of shapes covered in a network of lines and brush marks, so that each piece of blue glass is like a beautiful miniature painting.

Two Churches in Shrewsbury / January 26, 2017 by Sasha Ward

I wandered into these two Shrewsbury churches, St. Alkmund's and St. Chad's, by chance. I found two amazing interiors featuring huge and distinctive stained glass windows with the sort of painted detail - soft clouds and hills and panoramas - that has always inspired my own work.

St. Alkmund's: clear leaded glass window & The Francis Eginton window

St. Alkmund's has windows of plain glass in wonderful leaded patterns and an enamelled window behind the altar. It was painted by Francis Eginton of Birmingham in 1795 and recently restored. It is based on a painting, The Assumption of the Virgin by Guido Reni, but the landscape and background to the figure are the interesting part and quite different from Reni's painting. Through fabulous purple and yellow smoky clouds you can make out details of scenery, layers of depth and intricate detail.

Foreground thistle, bottom left:  background hills, centre right — Foreground thistle, bottom left: background hills, centre right

More than half of the window is sky, the translucent billowing clouds achieved by painting and firing vitreous enamel on layers of glass that are framed in a cast iron gilded grid. The grid seems to work particularly well with the top section where the clouds make a pattern, or an abstract composition.

St. Chad's: window by David Evans & detail showing left hand panel with leaded cloud and little vignette below

St. Chad's is the only grade 1 listed circular Georgian church in England, the interior is lofty and decorative. There are many patterned windows, but also a series from the 1840s by a Shrewsbury stained glass artist, David Evans. His windows include one behind the altar that is also based on a painting, Ruben's The Descent From The Cross. Here it was a dazzling little vignette at bottom left that caught my eye. The shape of the hole, the bright light it transmits and the hardly visible painted details seem to me a great use of the medium - again the glass is cut in a rectangular grid. As a contrast, look at the cloud detail above it, a lead line delineating its edge - could anything be less cloud like?

Interior of St. Chad's showing two of the David Evans window and a landscape with cloud detail from another

In one of the soft, panoramic landscapes that I particularly like, lead lines also do a bad job around the edge of a hillside (below right). From the same window comes an example where the lead lines are either hidden in the painting or part of an unobtrusive grid, techniques that will be familiar to people taught traditional stained glass. It shows two figures and a tree in front of a blue hole that creates another little eye-catching vignette.

Details from "Lazarus Come Forth" one of four windows by Evans donated by Reverend Richard Scott 1842

Analysis Of The Christmas Cards Part 2 / January 3, 2017 by Sasha Ward

Part One analysed the spread of cards from Christmas 2015, as you can see if you follow this link http://www.sashaward.co.uk/blog/2016/1/2/analysis-of-the-christmas-cards This year, I enjoyed the arrival of the cards even more as I anticipated what fun I would have counting up the varieties of manufacture, shape and subject matter once the whole business of Christmas was over (hooray!).

The 2016 statistics are as follows: 20% home made, 14% home printed, 66% bought. 34% square, 43% portrait, 12% landscape, 5% postcards, 5% shaped. Not much change from last year, but I'm glad to see that home made cards are slightly on the increase while square cards - awkward to display I find - are slightly on the decrease.

The most popular subject matter was one of my favourites, a snow scene (7), see above, with examples showing Vermont, London, Siberia; streets, parks and gardens. There were 6 cards of single trees, 6 of birds - 4 of these actually recognisable species, see below.

The main difference between this and last year's cards is the dropping off of reproductions of well known artworks. Last year's most popular category was down to one example this year, a disturbing state of affairs slightly alleviated by the two stained glass cards we received. You can see these on the mantlepiece below, particularly thrilling is the card on the right which shows the stained glass before and after restoration.

My favourite cards on the mantlepiece, particularly the patterned ones in the middle with seasonal colours and glitter! Click to enlarge.

Sliding squares / December 9, 2016 by Sasha Ward

The Motorway from a field in Wanborough, 146 x 217mm    View of Motorway and Swindon, 146 x 217 mm — The Motorway from a field in Wanborough, 146 x 217mm View of Motorway and Swindon, 146 x 217 mm

I found some of my old glass squares and decided they needed rearranging, much like the sliding squares game in feel (especially as I tried to use the thinnest possible lead and the slightly smaller blue piece kept dropping out of place). The glass came from a project I worked on for The Community Forest in Wanborough in 1993, where I did pages of sketches looking at the view towards Swindon.

Drawings from a field in Wanborough 1993, the two views were used in the glass panels above. — Drawings from a field in Wanborough 1993, the two views were used in the glass panels above.

I still find that area fascinating, just a couple of fields separating some classic Wiltshire villages from the motorway cutting and the dual carriageway that marks the start of Swindon. I particularly love the view of the Honda factory on the east edge of town, in the sunshine it looks like a shiny ocean liner.

'Honda Factory and Charlbury Hill', drawings numbered 7 & 8 from my 1993 series.

I was so happy with the results, it seemed such an easy way of getting somewhere that I thought I'd do some more - pulling apart old stained glass panels, sandblasting, painting and refiring sections. However, it is hard to make something that looks effortless. My next composition needed a lot of shifting around, eliminating unnecessary pieces, trying to keep hold of my original intentions and retain an element of playfulness.

Work still in progress 'Sliding Squares: Honda Factory' 1993 -2016

Windows at night / November 17, 2016 by Sasha Ward

As you drive from the west into Marlborough along the A4 the road kinks through the buildings of Marlborough College. On the bend the windows of The Mount House Gallery are visible from a distance and are lit up at night, until the end of this week, with the faces of forty of the 749 Old Marlburians whose deaths were caused by the First World War. One of those incredible WW1 statistics that we hoped to bring to life with this window display which is part of the exhibition "Have You Forgotten Yet?" The title is from the poem "Aftermath" by Siegfried Sassoon, an OM who survived the war although his brother Hamo, (2nd across, 2nd up in the left hand window below) did not.

The window vinyls look great from outside when the building is illuminated, and from inside the gallery in the daytime. I devised a patterned scheme for background colours and for the heads that were chosen from the photos the men had taken before they left for the front. We chose the heads on looks - direction of gaze, variety of age, no hats, no obvious uniforms - laying them out on the screen and getting to know their faces, before we read their individual stories in the citations that accompany the photographs in the Rolls of Honour housed in Marlborough College. Discovering the fate of each individual in this way was incredibly poignant.

The individual stories are varied. You can be moved by a phrase ("shot through the heart") a death on Armistice Day, or his youth when he died. Here are four examples with portraits alongside.

HENRY FRANCIS SEVERNE, eldest son of A. de M. Severne, Esq. of Wirksworth, Derbyshire, was born February 16th 1892. He was at MC from 1906 to 1909. At Marlborough he was noted for his fine swimming. After leaving he became a mining engineer. On the outbreak of war he joined the 6th Sherwood Foresters and got his commission in September 1914. When his regiment was sent to the front he was mentioned in despatches of May 1915, and was awarded the Military Cross for saving the life of an Officer. On May 16th 1915 he was shot through the heart by a sniper at Kemmel, Belgium and was buried there.

GILBERT THOMAS GORE McMICKING, the son of Major G. McMicking D.S.O., M.P., of Miltonise, Wigtownshire, was born 1st August 1894 and was at MC from 1905 to 1912. In 1913 he entered Trinity College, Cambridge, and took a commission in the Cambridgeshire Regiment. When war broke out he was studying at Weimar and was at once interned. He spent three and a half years in captivity at Celle, suffering many privations, especially during an attempt to escape in February 1917. In January 1918 he was moved to internment in Holland, where he died, after a short illness, at Bois-le-Duc on Armistice Day, 11th November 1918.

JOHN STUART WAGNER, the son of J.H. Wagner, Esq. of Ditton Hill, Surrey, was at MC from 1914 to 1917. On leaving Marlborough he joined the ranks of the Middlesex Regiment and served with them until October 26th 1918 when he died of pneumonia in a military hospital.

ARTHUR BRYAN PHELPS McCLENAGHAN, 2nd Lieutenant, 1st Wiltshire Regiment, was at MC from 1909 to 1914. He was the eldest son of the Reverend G.R. McClenaghan of Bildeston Rectory, Suffolk. He came to A House in September 1909 with a foundation scholarship and by 1914 was a school prefect and Captain of Mitre at cricket. In September 1914 he joined the 1st. Wiltshire Regiment and was killed during a charge at Hooge, on 16th June 1915, aged 20.