Stained Glass Figures

East Window by Morris, Marshall, Faulkner & Co. 1870, St. Martin's on Brabyn's Brow, Low Marple 

The Church of St. Martin's, Low Marple, near Stockport, was designed and built in 1869 -70 by the Arts and Crafts architect, John Dando Sedding. 'The Firm'  (Morris, Marshall, Faulkner & Co.) made three windows for the church; the east window (above), includes figures designed by Burne-Jones, William Morris, Ford Madox Brown and Dante Gabriel Rossetti. Visitors come specially to look at this example of a faulty and unrestored window by the firm. As with many windows from this period by a number of stained glass companies, the paintwork quickly deteriorated - came off, not faded as the guidebooks incorrectly say. This defect, caused by using borax in the paint, was something that William Morris corrected by repainting and firing much of the glass in the firm's early windows, but not this one. Here, the appearance of the mostly unpainted glass, with details and patterns removed, reveals the overall design of the window in quite an appealing way. 

St. Peter from St. Nicholas Beaudesert (left), from St. Martin's Low Marple (right) 

You can learn a lot about stained glass techniques from this window. As you can see in the detail (above right), the silverstain (transparent gold colour) is still there in WM's familiar self portrait as St. Peter although most of the opaque black lines have gone. The comparison with the same figure from Beaudesert also helps.

Since I've started looking at stained glass by Morris & Co. I've had a lot of fun spotting the reappearance of figures throughout their works in tapestry and embroidery as well as stained glass. In this church I found a fourth version of Burne-Jone's Mary, with its paintwork almost intact. 

Marys left to right: St. Martin's Low Marple 1873, St. Nicholas Beaudesert 1865, St. Mary's Sopworth 1873, St. Martin-on-the-Hill Scarborough 1868. 

Christopher Whall at Low Marple: The Lady Chapel added in 1895, South West Window 1899, West Window 1892.

The church is also notable for slightly later works by Christopher Whall. The Lady Chapel, with an eccentric 3D ceiling and an altar painting of The Annunciation, is worth going to see. And in his beautiful West Window is a character I had seen and admired recently in Leicester Cathedral (below). It is interesting to compare the differences in colour, background pattern and detail in the two versions of essentially the same figure. 

St. Martin from Low Marple (left), from Leicester Cathedral 1907 (right)

I generally identify the stained glass of Christopher Whall by the way he paints people's facial features. The faces of the angels in the great East Window in Leicester Cathedral are typical. When you zoom in on the little people in the boat in the otherwise untypical Whall South West window at Low Marple (below) you can tell that this window is one of his.

Details from Christopher Whall windows, Leicester Cathedral 1920 (left), Low Marple (right)

St John The Baptist, Kingston Lisle

Area of painted wall and brightly coloured glass, dated 1859

I found this one by chance when church crawling in the Vale of The White Horse, near Uffington, the territory of William Morris, John Betjeman and John Piper. St John the Baptist is a small 12th century church, allegedly founded in response to pagan worship on nearby White Horse Hill. The interior was largely untouched by the Victorians and it has recently had a thorough restoration. There are relatively large areas of 14th century wall paintings, 15th - 17th century woodwork and an interesting selection of stained glass windows.

Detail of wall painting, lovely colours from the stained glass on the edge of right hand photo.

I'm getting better at guessing the makers of 19th century stained glass, but there is no need in this church. The obviously interesting window with the arts & crafts style red sky (below left) and foliage has a very legible makers' name handwritten in a way you don't often see (below right) under the title, as if it's a line in an exercise book. 

'Be thou faithful unto death and I will give thee a crown of life' by Heaton, Butler & Bayne, London

Left: great painting in detail from HBB window.  Right: St Raphael from the Kempe window

Next, at the belfry end of the church, there appeared to be a smallish Kempe window (below left). There is the general greeny yellowness of the glass and the peacock feather wings, but I mostly identify Charles Eamer Kempe windows by the facial features of, in this case, the three saints. I was very pleased to see his identifying maker's symbol in the bottom left of the window - a castle in a wheat sheaf (below right).

C.E. Kempe window and detail from bottom left panel with the identifying mark.

There are two fragmentary windows to the right of the altar, shown up beautifully on a dull day with soft light and trees as a backdrop. I would say the green man in silverstain is medieval glass. The other is a piece of painted and etched glass patched together, showing a crest with a fabulously easy latin motto: VIRTUS IN ACTIONE CONSISTIT. The date of this one is, for me, hard to guess.

Modern Stained Glass/Medieval Beauty

In Poland I discovered the work of two artists; Karol Frycz (1877-1963) painter, stage designer, theatre director and Stanisław Wyspianski (1869-1907) playwright, painter, poet. They both also worked extensively in stained glass and church decoration. This work was new to me as there were no illustrations of their windows in the stained glass books I pored over when I was studying (pre internet era), although this is true of many figurative stained glass artists from that period. I have now seen several examples of their work in different settings, but here I have chosen one church decorated by each artist to show how good new glass can look in an old church.

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St. Jacobus, Sandomierz, chancel windows by Frycz, made in Krakow by the firm of Gabriel Zelenski in 1914.

In Sandomierz, we found the Dominican Church of St. Jacobus by chance. It's one of the oldest brick churches in Poland, completed around 1211, and its beautifully shaped windows are filled with the magical stained glass of Karol Frycz.

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The side chapel in the church was closed, but offered tantalising glimpse of Frycz's wall paintings through the grille.

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Views towards the west wall inside St. Jacobus with four figure windows and gorgeous white canopy shapes above.

How well this type of stained glass - small pieces of every colour - goes with the brick work. I particularly admired the four women, Adelaide, Kinga, Salomea, Jolanta, high up on the west wall. The figures themselves, including their clothes and objects, are what make up the decorative pattern and rhythm of the compositions, so much more powerful than those windows where the most interesting parts are the decorative backgrounds and borders to a wishy washy figure. 

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Adelaide, Kinga, Salomea, Jolanta

The Basilica of St. Francis of Assisi, Krakow, looking west and up.

The Basilica of St. Francis in Krakow is totally filled with pattern and colour, the walls and almost every window were designed by the great Stanisław Wyspianski. It is an amazing example of clashing patterns and subject matter, with decoration and architecture from different periods coming together to create a thrilling, strange interior. The west window, seen in context above, is completely filled with the figure of God bringing the world out of chaos. No borders, hardly any glass painting, instead ribbons of colour. The hand detail may help you imagine the monumentality of scale, even the pieces of brown glass that make up the veins in God's right hand are quite big (below right).

West window, 1901 (astonishingly) and detail of God's right hand.

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Windows to the left of the high altar, showing poppies, lilies and St. Clare.

The clerestory windows contain a series of quite realistic but equally huge wildflowers, a theme that is continued in the six windows around the apse and high altar. Sometimes, depending on the time of day, you can see how beautifully these windows mingle with the rich wall paintings beside them. I loved the poppy window and the one with the subtle figure of St. Clare (both shown above). Again they are made of huge pieces of sinuous pale coloured glass with very little painting. In the wall decoration (just visible in the photo above left, detail below right) realistic flowers flow across a geometric background, a classic combination of wall decoration where the rectilinear background shapes anchor the flowing plants as the glazing bars do on the massive panes of stained glass.

Windows to the right of the high altar, and section of wall decoration from the same area.

I had been searching for good examples of modern stained glass in medieval buildings since reading Jonathan Jones' excellent piece in The Guardian last November. Read it in its full glory here. Below are two quotes to whet your appetite:

"I’ve got a dread of modern stained glass. It is often painful to look at the windows of old cathedrals and churches. Above your head soars a vaulted roof, supported by massive columns and gothic arches. Tombs and epitaphs tell of bearded Tudor merchants, Jane Austen-era gentlefolk, Victorian bishops. The past has been bottled. Then you catch sight of a bright, abstract 1970s window, and it is blindingly out of place. The past is shattered like a glass hurled at a pub wall."

"When I complain about “modern” stained glass, what dates are we talking? It’s possible that I mean any coloured window made later than 1642. Almost all Victorian stained glass is terrible: dull in colour, mawkish in mood, grey and melancholy in effect. It is easy to see why, confronted with so many Victorian windows filling parish churches with mediocrity, modern artists decided they could do better."

From "Be careful, Hockney - modern stained glass can shatter medieval beauty" by Jonathan Jones in The Guardian, 22 November 2016

Painted or plain

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Painting on external wall of shed and museum

The village of Zalipie, Małopolska, Poland, is famous for its painted houses. These have been decorated by the women of the village since the late 19th century, with an annual competition and the cottage of the best known painter, Felicja Curyłowa, maintained as a museum. Flowers dominate the traditional, (dare I say it) formulaic designs; although it's fun to see painting on the electric trunking and the rabbit cages, we did start to wonder whether there was just too much decoration, and for my taste (trunking excepted) not enough geometry.

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Electric trunking and rabbit cages

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Sitting room of Felicja Curyłowa and the equivalent room in an unpainted interior next door.

One of the reasons given for the outburst of internal nineteenth century decoration is that the introduction of external cottage chimneys meant the rooms were no longer blackened by soot. The sitting room of Felicja Curyłowa's beautifully maintained cottage (above left) is dominated by the stove. You wonder at its marvellous, warm shape disguised by flowers whose charm, by now, has started to fade. When you visit the cottage next door help is at hand - in its whitewashed interior you can appreciate the sculptural blocks that make up the stove and see the wood that the cottage is made of.

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The cottage next door, front windows inside and outside

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On the way we had looked at an abandoned cottage with fine detailing in its decorative porch and windows, beautiful corner joints visible, unpainted. Similarly, the sheds in Zalipie using light pigment on dark wood, traditionally clay with wood ash on soot covered backgrounds, looked great - more simple (below). Simple in form, and therefore to my eyes preferable to the bouquets, are the blue flowers in stripes on the exterior of Felicja's cottage (above right) on a strong ochre background.

On the road home, in a village near the Vistula, I was thrilled to see another painted cottage that I actually liked. More strong colours and a pattern that relates to the shape of the building, with ochre spilling out of the roadside window and three huge triangles marching along its side.

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Drawing from the roof, Stopnica

Glass panel beautifully installed in internal window & view from sitting room showing all 3 panels

In a departure from my usual working methods, I made some windows in 2015 without knowing exactly where they would go - I described the commission in a previous post here www.sashaward.co.uk/blog/2015/7/8/transformation  Last year, I made a third window for the house in Stopnica, Poland and this year we visited. It was a massive relief to see the windows fitting in so well with their surroundings and in particular with the colours used in the local vernacular architecture - of the old variety.

Fanlight windows, Transformation I & II installed in the house in Stopnica

Drawing station on the roof: looking towards mansion no 1

The architecture of the new variety is equally fascinating, with mansions springing up on plots all around my friends' modest ochre house. I took a chair on to the roof, my favourite type of drawing station, and drew in each direction. All my drawings are dominated by the distinctive bulbous roofs and dormer windows of the new houses that are bordered by undulating concrete panels - the shape uncannily echoed in the lines on my glass.

View towards town & mansion no 2: a favourite local colour combination, ochre & plum

The best view looks west into the setting sun, where the road goes past a nice pair of decorative gates and into town. This area (south central Poland, just north of the river Vistula) is full of wooden architecture - more about the painted houses later.

View of the house: view from the roof showing mansion no 3 & site of future mansion no 4 behind workshop