Church Stained Glass 1830's - 1920's. Part1

Church Stained Glass1830’s – 1920’s

Part 1

A look at local examples of stained glass from the period.

Using photographs by Mike Sleigh from Polypodphoto of Guildford

The Victorian period experienced a deep interest in the study of Gothic design, this

coupled with the upsurge in religious activity and new church building lead to

an explosion of stained glass manufacturers and designers.

The style became Neo-Gothic, with the major influences being A W N Pugin,

The Oxford Movement and The Cambridge Camden Society

The influence on Neo-Gothic design by Augustus Welby Northmore Pugin

(1812 – 1852)Contrasts (1841)

True Principals of Pointed or Christian Architecture (1841)

An Apology for the Revival of Christian Architecture (1843)

Drummond Chapel, Albury Old Church. Design: A W N Pugin. Maker: William Wailes of Newcastle.

1839


1839


1839

The increase in population and the rise in religion lead to a boom in church building

Populace expected to attend church which became the centre of the community

Anglican, Roman Catholic and Non-conformists all needed new churches

Wealthy benefactors and sponsors contributed money

New Stained glass windows were often paid for by subscription ‘In-memoriam’

St Mary’s, Guildford. Memorial window to Thomas Andrews.The Life of St John. Maker: Zettler of Munich. 1896

Holy Trinity, Aldershot. Glass by Lavers & Westlake. 1893

The study of medieval architecture lead by The Cambridge Camden Society.

Founded 1839 by undergraduates at Cambridge University to promote “The

study of Gothic Architecture and of ecclesiastical antiques”

Later known as the Ecclesiological Society from 1845.

Monthly journal The Ecclesiologist. Peak influence in 1840’s. Disbanded 1868.

The Oxford Movement. ‘Tractarianism’ Begun in 1833 by John Keble and

John Henry Newman. Lead to the establishment of Anglo-Catholic liturgical styles in Anglican

churches. Anglo-Catholicism.The movement had a major influence in the layout of churches with the re-

instatement of chancels, alters and the other trappings of ritual and ceremony.

St Nicolas, Guildford.Glass by Clayton & Bell.

Major expansion in Stained Glass window production from 1860’s onwards.

Many new and restored churches required new Stained Glass windows.

Architects worked closely with glass designers and manufacturers.

By the 1860’s the main companies were using production line processes to keep up with the

demand for new windows.Clayton & Bell and Powell & Sons were main players

along with many smaller companies producing high quality stained glass windows.

St Laurence, Seale.Glass by Clayton & Bell. 1882

St Laurence, Seale.Glass by Clayton & Bell. Window details.

St Faith, HavantGlass by Clayton & Bell. 1882

John Hardman was one of the first to produce quality stained glass. Pugin persuaded him to expand into glass manufacture in 1845, Pugin was their chief

designer until his death in 1852.

Many stained glass artists trained in the workshops of the main manufacturers, such as Clayton & Bell, went

onto set up their own glass studios. Such as C E Kempe , Burlison & Grylls, and Heaton, Butler &

Bayne.All the firms were in the mainstream of the High

Anglican Gothic Revival but each developed their own style but mostly based on medieval examples.

St John, Stoke. East WindowGlass by A L Moore & Co.1881

St Mary’s, Guildford. Jesse WindowHolland of Warwick 1876

Holy Trinity, GuildfordClayton & Bell 1881

St Laurence, SealeClayton & Bell

1868

St Nicolas, GuildfordClayton & Bell 1880

St Martin, DorkingDesigner: H Holiday of James Powell & Sons 1884

St Michael & St George, AldershotGlass by Heaton, Butler & Bayne 1890’s

Continues with Part 2

www.polypodphoto.co.uk

Mike Sleigh. [email protected]

http://polypodphoto.blogspot.com/http://britishheritage.blogspot.com/