The rise of art and craft of stained glass windows took place in the early 19th century in England, beginning with a window of armor made by Thomas Willement in 1811-12. The resurgence led to stained glass windows being a common and popular form of colorful pictorial representation that thousands of people, most of whom would never commission or purchase paintings, contribute to commissions and purchase stained glass for their parish church..
In the early 50 years of commercial manufacture in the 1830s, British stained glass grew into a large and specialized industry, with important centers in Newcastle in Tyne, Birmingham, Whitechapel in London, Edinburgh, Glasgow, Liverpool, Norwich and Dublin. The industry is also growing in the United States, Canada, Australia and New Zealand. In 1900, British windows were installed in Copenhagen, Venice, Athens, Bangalore, Nagasaki, Manila, and Wellington. After the Great War from 1914 to 1918, the stained glass design changed radically.
Video British and Irish stained glass (1811-1918)
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After the conquest of Norman England in 1066, many churches, monasteries and cathedrals were built, initially in Norman or Romanesque styles, later in an increasingly complicated and decorative Gothic style. In these churches the windows are generally large or double so that the light inside the building is maximized. The windows were teary, often with colored glass held by tin stripes. Because flat glass can only be produced in small pieces, the method of glazing lends itself to the pattern. The pictorial representation of biblical characters and narratives is a feature of Christian churches, often taking the form of murals. By the stained glass of the 12th century it has adapted well to serve this purpose. For 500 years the art has evolved and adapted to changes in architectural style.
Most of the English glass was destroyed by the Puritans under Oliver Cromwell. Churches that store large quantities of early glass are rare. Very few large English windows are still intact. Those who contain large quantities of Medieval glasses are usually reconstructed from the salvaged pieces. The transect windows east, west and south of York Minster and Transept windows west and north of Canterbury give an overview of the grandeur that has largely been lost. In Scotland, who never made their own stained glass but bought from the south, they lost much of their glass not because it was destroyed but because the monasteries were dissolved. These monasteries have monks with skill in mending. As they left, the windows gradually fell apart.
Maps British and Irish stained glass (1811-1918)
Influences on stained glass revival
Historic
The medieval windows and their drawings provide the source and inspiration for most of the previous nineteenth-century designers.
Canterbury Cathedral retains more ancient glass than any other British cathedral except York. Most seem to be imported from France and some very early, dating from the 11th century. Most of the glass in the Chartres Cathedral style with blue displays as background color in most of the windows. There is a wide range of stylish flower motifs and small round, square or diaper illustrated panels. Another window contains rows of apostles, saints, and prophets. These windows, including large west windows, have dominance of red, pink, brown and green in color, with smaller blue areas. Most of the glass in this magnificent window is older than the 15th century stone painting that contains it, a figure of Adam that is part of the Christ's Ancestor series which is one of the oldest surviving panels in Britain.
York Minster also contains many original glass including an important narrative window from the Norman period, the famous "Five Sister" window, the 14th century west windows and the 15th century eastern window. The "Five Sisters", though repaired many times so that they now contain spider webs, still reveal their subtle patterns of simple geometric shapes reinforced by grisaille paintings. They are the window style most easily imitated by the early 19th century plumber. The east and west windows of York are remarkable examples because in each case they are large, intact, in their original location and by known craftsmen. The western window, designed around 1340 by Mr. Robert, contains a number of saints and stories about Christ and the Virgin Mary, each overcome by a delicate Gothic canopy with white and yellow, against a red background. The very decorative decorative lights are filled with flower motifs. The white glass rock boundary surrounds each panel, making it appear floating on its frame. The 1405-year-old east window is lined by John Thornton and is the largest medieval window in the world. It presents narrations in the sequential panel Creation , The Fall of Man , Redemption , Apocalypse , Last Judgment and the Glory of God . York also has a window with a quarry little quarry painted with little birds and other motifs reproduced heavily in the 19th century.
Among them, the cathedral windows in York and Canterbury provide examples for different styles of geometric patterns-windows, motifs and flower borders, narratives arranged in small panels, rows of figures, main thematic schemes.
Scattered throughout the UK, sometimes in remote churches, are similar evidence of designs, motifs and techniques used in the past. The two churches, St Neot in Cornwall and Fairford in Gloucestershire, are of great interest. Fairford escaped the destruction of the Puritan era and, uniquely in Britain, retains the complete medieval glass cycle. The theme is York's east window, the Salvation of Mankind , but in this case the theme is spread across all church windows, large and small. The western window, seven lamps, shows a single narrative incident, The Last Judgment . This scheme and these special windows provide a rare source for the designers of the narrative windows for parish churches.
Philosophy
Romanticism
In the 18th century there was a growing tendency for philosophers, writers, and painters to communicate with nature. Nature is seen as the most interesting if it contains signs of the great aspirations, ideals and stupidity of mankind. Some things are considered more romantic than medieval destruction that conjures up images of traditional "romance" or medieval idealistic stories. England has many great medieval ruins. This was the main palace destroyed by the Civil War in the 17th century and, even more importantly, the vast monastery churches were destroyed in the Dissolution of the Monasteries in the 16th century. These destroyed monastic churches experienced three long-term fate. Some are used as excavation for their building materials. More remote monasteries are only allowed to decay slowly. Those who were conveniently placed were given, with their related lands, to become favorites of King Henry VIII and his heirs. Therefore, many English nobles grew up in houses belonging to their structural parts, Gothic remains from ancient church or monastic buildings associated with it. Some of these houses, such as Byron's poet's house, Newstead Abbey, contain references to their origins in their names.
In the 18th century, the ownership of such piles became fashionable. People of the noble lineage who do not have the ruins or thrown towers or interiors with sharp arcades soon build it. Among the earliest of these creations was the refinement of Horace Walpole's novel from his London villa, which gives its name to the pretty and rather shallow architectural style known as Strawberry Hill Gothick. The movement got a boost - Sir Walter Scott built a large Scottish house, Abbotsford; the castles of Warwick, Arundel and Windsor were restored by their owners. The movement was equally strong in Germany where the "Mad" King Ludwig II of Bavaria indulged his medievalism by building the iconic Disneyland Neuschwanstein. Across Europe, those who were able to do so began the restoration and repair of medieval buildings. The last major romantic development was the construction of Drogo Castle by Sir Edwin Lutyens between 1910 and 1930.
Oxford Movement
Beginning in Oxford in 1833 by the theologian John Keble and endorsed by John Henry Newman, the Oxford Movement emphasized the universal or "catholic" nature of the Christian Church and urged British Church priests to reconsider their pre-Reformation tradition in both the Doctrine and the Liturgy. While strengthening the concept of direct descent from the Apostles through the Roman Church, this movement did not advocate a return to Roman Catholicism. But in practice, several hundred Anglican priests, including Newman, became Roman Catholics. The long-term effects of the Oxford Movement are the rapid expansion of the Roman Catholic Church in Britain and the formation of Anglo-Catholic liturgical styles in many Anglican churches. The emphasis on the liturgical ceremony resulted in an artistic revolution in church building and decoration.
The Cambridge Camden Society
Formed in 1839 as an association of Cambridge students with an interest in medieval architecture, the group developed into a powerful movement for recording, studying the preservation of ancient churches of England, analysis and definition of architectural styles and the dissemination of such information through publications, in particular the monthly journal > The Ecclesiologist (1841-1869). The Cambridge Camden Society does a lot to revive the medieval style in the design and designation of the 19th century church, as well as in the older recovery. Their ideas are often decisive, inflexible and intolerant of diversity within the church. They insist on revival rather than authenticity.
John Ruskin
John Ruskin (1819-1900), an art critic, wrote two very influential books in Art Philosophy. In Seven Architectural Lights (1849) and The Stones of Venice (1851-1853), he discusses the moral, social and religious implications of buildings, emphasizing the desire of an ethical approach to the practice of art. His thinking affected Pre-Raphael, whose artistic style Ruskin defended himself from criticism.
The Pre-Raphaelite Brotherhood, 1849-1853
This group of artists, including Dante Gabriel Rossetti, Edward Burne-Jones, John Everett Millais and William Holman Hunt are central figures, rejecting the indulgent classicism, materialism and lack of social responsibility they feel in the mid-artistic artistic trend of 19th-century Paintings. They seek to recreate in his works simple forms, bright colors, religious devotion and artistic anonymity from the period of art that preceded the emergence of great and famous individuals during the Renaissance. Initially they exhibited their work which was only signed with the initial PRB, the Pre-Raphael Brotherhood.
Art and Craft Movement
William Morris (1834-1896) was temporarily a member of the pre-Raphael Brotherhood and influenced by their ideals and those of John Ruskin. As a multifaceted designer, he sees the creation of art in terms of social responsibility. He refused, as did Ruskin, the mass production of decorative items and ornaments of all kinds, such as industrial products on display at the Crystal Palace Exhibition of 1851. Morris advocated returning to cottage crafts and the revival and dissemination of old skills. For this purpose he formed a business partnership with Marshall and Faulkner, employing Ford Madox Brown, another highly creative and dynamic artist and embarked on the so-called "Art and Craft Movement". Stained glass is just one of their many studio products. Morris and Brown see themselves as original artists working in the spirit of their predecessors. They did not reproduce the preceding form properly, and due to differences of opinion with the philosophy of the Camden Cambridge Society, rarely created stained glass windows for ancient churches. William Morris's success as an entrepreneur is such that he is able to keep Rossetti, Burne-Jones, and others in a permanent job as a designer. Through their teaching at Working Men's College in London, the group has a huge influence on many designers of all sorts.
Aesthetic Movement
The Aesthetic Movement is a reaction to the influential socialist and Christian socialist and socialist works of Morris and Ruskin both of which see art directly related to morality. Followers of the Aesthetic Movement, which includes Burne-Jones and other stained glass designers such as Henry Holiday, put forward the philosophy of "Art for the Arts". The style that developed sensual and luxurious, associated with the emergence of Art Nouveau.
Architecture
Augustus Welby Northmore Pugin
AWN Pugin (1812-1852) was the son of Neo-Gothic architect Augustus Charles Pugin and had moved to Roman Catholicism in 1835. He built his first church in 1837. He was a highly productive and meticulous architect of the church and interior designer. With Roman Catholic growth in Britain, and the development of a large industrial center there is plenty of room for his talent. He worked with and hired other designers and was instrumental in pushing corporate John Hardman and Co. Birmingham to turn their attention to glass production. Pugin's most famous design is its interior, especially the House of Lords, which he designed for architect Sir Charles Barry, (1795-1860) at the Parliament Building in London. After the destruction by the fire of the Houses of Parliament in 1834, Barry has won a commission for their redevelopment, the provision being that they must be in the Gothic style, as the most significant part of the Medieval complex, the Great Hall of Westminster, remains standing. Rebuilding, which takes the rest of Barry's life, includes a wide variety of arts and crafts of all types, not the least of stained glass windows, both pictorial and armorial. Pugin's knowledge, elegance and sophistication inspire and unite the interior. As an ecclesiastical designer, its influence on every medium is hard to overstate.
Sir George Gilbert Scott
As an architect, Scott, (1811-1878), was persuaded by Pugin to change his creativity toward the Gothic Awakening. Scott is an Anglican, his first important commission is the Martyrs' Memorial design at Oxford, a strong and highly visible architectural statement against the Oxford Movement. For Sir Gilbert fell the task of restoration of many of England's finest medieval structures including Salisbury, Worcester, Chester, Ely and Durham Cathedral. In the restoration, he employs and influences a large number of designers, including large stained glass companies.
John Loughborough Pearson
Pearson (1817-1897), like Scott, especially the church restorer. His main job is the creation of a new cathedral in Truro in Cornwall.
Thomson Greece
Alexander Thomson, nicknamed "Greek", (1817-1875), was one of Scotland's famous architects of his day and had profound effects on later architects, notably Charles Rennie MacIntosh. The design of the building is a combination of interesting and eclectic elements of Classical, Italian, Egyptian, and Exotic Renaissance. He designed a number of churches with very luxuriously decorated interiors and used several stained glass companies to equip them with glass in an appropriate style.
Manufacturing
Industrial Revolution
With industrial growth in the late 18th and early 19th centuries, and in particular the growth of industries associated with commercial glass production, metallurgical trade, metallurgy and associated technical progress, the scene was set to revive the manufacture of stained glass and the development of the industry on an unprecedented scale. Thomas Willement, a plumber and glass, produced his first armourial window in 1811, and was known as the father of the 19th century stained glass industry. Due to the prevalence of leadlight windows, many glaziers have the skills required to create windows in geometric patterns using colored glass for chapels and churches. Between 1820 and 1840 about 40 different glass painters appeared in the London trading directory. At the exhibition of the Victorian company, Crystal Palace Exhibition of 1851, the manufacture of stained glass has reached the point where 25 companies can showcase their work, including John Hardman from Birmingham, William Wailes from Newcastle, Ballantine and Allen of Edinburgh, Betton and Evans from Shrewsbury and William Holland from Warwick.
Charles Winston
Charles Winston is a 19th-century lawyer whose hobby is studying Medieval glasses. In 1847 he published an influential book on his style and production, including the translation of Theophilus' On Diverse Arts, a medieval treatise on paintings, stained glass and metal, written at the beginning of the 12th century.
Winston's interest in the technical production of colored glass made him take the medieval glass shards to James Powell and Sons of Whitefriars for analysis and reproduction. Winston observed that the medieval glass windows looked lighter than the early 19th century production windows, and decided to discover why this happened. Winston observed that the flow of light through the nineteenth-century window generally made a colored pattern on the floor. This is rare with medieval glasses. He concluded that the reason that the 19th century glasses had no brilliance was because it was too flat and orderly, allowing light to pass through directly. He recommends returning to the manufacture of handmade crowns and cylindrical glass with all bias irregularities attached to the specific purpose of creating stained glass windows.
The development of styles in 19th century stained glass windows
The style trends below do not always follow each other in sequence. Instead, they overlap and co-exist. Some stained glass studios are basically a one-man show where one craftsman designs and makes windows with a certain style. Other companies are managed with considerable entrepreneurial skills, employing a number of designers. Some freelanced designers- their work can be viewed in windows by a number of companies. Some companies change with tastes that change and survive well until the 20th century. John Hardman & amp; Co is still in business.
(For Glossary , see below.)
Armor window
It contains a well-painted shield and decoration that clearly uses aspiring skills that remained in use during the 17th and 18th centuries. Thomas Willement is a window-armored painter.
Geometric pattern
These windows are simple and decorative, often using the skill of a provincial plumber/glazier. Many of these windows are the earliest use of colored glass but relatively few survive because then Victorians replace it with more complicated picture windows. Some of these windows are from the 1820s.
Quarry
These windows are usually patterned with fleur de lys and other flower motifs that match the shape of the diamond pane . They added a pleasant glow to the interior and in many churches in the early nineteenth century made up of the whole glass. They can be painted or stencilled by design and sometimes molds or have motifs impressed. They are systematically replaced one after the other when more complicated windows are donated. These windows generally date from 1830 to 1860. Powell is a major supplier of mines that are impressed and scratched.
Medieval foliath window
From studying the Medieval windows, especially in Canterbury Cathedral, many stained glass artists became proficient in designing foliage and decorative borders that reproduce the original archeology. There are windows of this type where the foliate design is lined with banners containing scriptural texts.
In the windows that are set with figurative rondels , the style in them is often Classical (see below) but sometimes Medievalising and sometimes trying to reproduce the original style is so accurate that for them their ordinary eyes have the appearance of the ancient windows. The ancient windows in Canterbury Cathedral were removed in the 19th century and replaced with copies. There is a very beautiful window of the Jesse Tree of this nature at the eastern end. Two original panels have been restored.
Classic number
Though often struggling for exotic performances, the figures in many early 19th century windows were in classical style. Set with background geometry , mine or foliage , small incidents painted in rondels and quatrefoils almost always conservative in their appearance, with figures based on carvings of works by respected painters, Raphael, Titian, Andrea del Sarto and Perugino. Often in the case of windows with foliage ornaments, the true archeological surroundings are different from those of rondels that do not attempt to reproduce medieval times. William Wailes and Charles Edmund Clutterbuck are among the most important companies.
Gothic Awakening
Inspired by Ruskin, Pugin and Gothic Revival, some artists attempt to reproduce the style of figures they see in ancient glass, illuminated manuscripts and some of the remaining British frescoes from the Gothic period. The main source is given by Biblia Pauperum or the so-called "Poor Man's Bible". The resulting numbers are elongated, curved and stylish rather than naturalistic. The folding curtains and rolls are exaggerated and the movements are very wide. Details that are painted are very linear, firm and elegant. Style lends itself to narration, pure color, and a very high decorative effect. Although the numbers may seem strange or even naive, the quality of many windows design is often very sophisticated and the details are very beautiful. The gentlemen of the Gothic revival are John Hardman and Co of Birmingham, Clayton, and Bell.
Arts and Crafts Movement
The group surrounded and influenced by William Morris passes through a series of trends, originally Pre-Raphael, which, although embraced by the Middle Ages, was not a Gothic Awakening in the sense of archeology, into an esoteric mix of the Middle Ages, Early Renaissance and highly personal influences. The Arts and Crafts Style lends itself to the depictions of the working class apostles and the powerful virtues with a mine-like pottery ceramic background. Accurate and semi-realistic grape plants, sunflowers and other growing objects are more prominent than the Gothic canopy. Narratives that emphasize hard work, human merit, and love are themes that push themselves to be enthusiastically treated by Morris and Ford Madox Brown. Burne-Jones and Dante Gabriel Rossetti became the philosophical traitors of the Arts and Crafts Movement by their association with the Aesthetic Movement.
Naturalism
The 1870s was a period of rich decoration and eclecticism in art. The Gothic canopy treatment which was a feature of so many windows began to change from two-dimensional, bright, two-dimensional, and cute two-dimensional appearance in the 1850s and 60s to an appearance carved out of fine white limestone. The architectural details of Tudor and Renaissance appear and are often used without reference to the original architectural properties that close the window. The art of painting the canopy in this way was diligently maintained until after World War I.
The Gothic style of painting begins to give way to a more naturalistic style in which the figures appear to be more three-dimensional and portrait-like. Important sources today are German wood carvings and paintings. It is available in a number of forms. Bibles and Bible books are available with different series of engravings. The works of Albrecht DÃÆ'¼rer are highly admired. One of the advantages of using engraving as a source is that essentially the linear technique used by the engraver to define the form can be easily interpreted in lead and fine linear shadow treatment is also easy for stained glass artists to achieve using monochrome paint techniques. There are also windows imported into the UK today from the Mayer of Munich studio that influenced the British designers of this style.
At the end of the 19th century there was often considerable wealth in coloring windows, characterized by the use of tertiary colors including rich purple, pink salmon, olive green, blood red, saffron and chocolate. Flashing Glass is skillfully used to increase the folds in the cloak. With this color interest, many windows illustrate the effects of the atmosphere. The sunset, the glittering storm clouds and the glowing splendor appeared behind the numbers.
In line with the naturalistic formulation of the characters, there is a pictorial emphasis on describing human interaction and response, often with detailed facial expressions and rather flamboyant movements. The big scene with great figures is very popular. Among the main exponents are Lavers, Barraud and Westlake; and Heaton, Butler and Bayne. This trend continued, taking two basic directions until World War I.
An important exception to the general trend is the large number of windows made by Clayton and Bell that produce a variety of styles and continue to supply Gothic-style windows with bright colors with bright red and yellow proliferation to catch the morning sun in church echoes.
Refinement
A rather quiet style arises in which soft-living colors support a basically white background, silently enhanced by yellow-stain . The outfits of its characters often have darker shades, royal blue, dark red and green grapes and are coated or bordered with stainedly decorated yellow stained glass. Canopy paintings and curtains are lifted to new heights. Monochrome painting of the face is very detailed. The style is lent to the depictions of saints and prophets, bishops and admirals, and Christ (or Queen Victoria) reigns. The most influential companies in this style are Burlison and Grylls. There are many windows by Charles Eamer Kempe of this type.
Aestheticism
The Aesthetic Movement includes Dante Gabriel Rossetti, Burne-Jones, illustrator Aubrey Beardsley and author Oscar Wilde. They point out "Art for the Arts", claiming that Beauty is an end in itself and that the creation of art should not be tied to any social or moral ideal. The Aesthetic artists are especially concerned about the beautiful creation. Therefore, the windows made by these artists are often stylishly diverse from each other and from other styles, yet very recognizable as the work of a particular designer, not from a particular workshop.
These windows seldom pay homage to the origins of the Middle Ages. They are closely related to Art Nouveau. The designs are often tortuous, tasty and rich in textures, making highly creative use of flashing glass and repetitive shapes. The drifting clouds, sweeping curtains, and angel wings lend themselves to the art of Aesthetes. Burne-Jones's strangeness makes the window very recognizable. While Charles Eamer Kempe made many traditional and "safe" windows, he designed others that were obviously aesthetic. Christopher Whall and, in America, Tiffany is an aesthetic designer.
Opulence
In the last days of the Empire, the technical ability and artistic excess of traditional stained glass artists reached its peak. Large windows of this period show mastery over figures and stained glass paintings. The artists have developed a way to achieve every possible texture effect through the application of ground-glass and yellow-stain paint experts: - baby 'curls, old man beard, silk brocade, dove feather, ripe wine, gold braid, luminous pearls and oily wool sheep can all be painted with realistic perfection by a number of studios. Many windows in the Edwardian period are the most luxurious creations of the stained glass industry. The young Virgin of the Annunciation, Peter the fisherman, John, the traveling preacher and Joseph, the carpenter, all portrayed in the most luxurious robe of nature, was lined with gold fabrics and adorned with luxury on the edges with rubies and pearls.
In the years immediately after World War I, many of these windows were created by more conservative studios as a warning to fallen soldiers. Therefore there are many windows of two lights St. George and St. Michael and even more lancets from the Good Shepherd collect the lost sheep to the cage. This is the last product of the second Golden Age from the production of stained glass windows.
Gallery
Common type of 19th century windows based on content
Source of the article : Wikipedia
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