Configuration of Elements: The St Mary's Cathedral Stained Glass Photo Book

STAINED GLASS: WEST WINDOW ST MARY THE VIRGIN CATHEDRAL, OXFORD

#NUR EDZAFIRAH BINTI EDDIE

#19018039

#RESERACH-LED

#STUDIO TASK 2

Fig. 1: The west window of St Mary The Virgin Cathedral. Eddie, N. E., 2019

01

ST MARY THE VIRGIN CATHEDRAL THE WEST STAINED GLASS

The stained glasses installed in this church are high quality, and mostly Victorian. There are also some fragments of medieval 15th-century stained glass in the chancel east window, and 17th- century heraldic shields in the De Brome Chapel.

(Council for the Care of Churches, 2019).

Next west, Jesus ministering to Maria Magdalene and other women. Also commissioned by the Bartley (not Hartley as in OFHS report) family for Thomas’s sister Sophie, died 1846 (not 1886 as given in OFHS). Also by Pugin, executed by Hardman & Co.

Next west is the two tiers of saints above angels in the bottom tier. The Depicts scenes in the life of St Thomas. Beatitudes in memory of Revd Charles A W Pugin (Hardman & Co) designed Marriott died 1858. By Hardman & Co. the east window of the south aisle was designed, in memory of Thomas Bart- Next west, Four Evangelists above Bishley, died 1843. ops, in memory of Revd Isaac Williams, 1850s. By Clayton & Bell.

The next west above the draft lobby is the memorial window to John Keble The Jesse Tree west window in the died 1866. Depicts the Four Evange- nave is in memory of John Burgon died lists. Designed by Clayton and Bell.

1891, vicar of St Mary’s and 46 Dean of Chichester. By C E Kempe.

(Sherwood, J. and Piper, J.,1989) Fig. 2: St Mary The Virgin Church.

Eddie, N. E., 2019 02

The Jesse Tree west window in the nave is in memory of John Burgon died 1891, vicar of St Mary’s and 46 Dean of Chichester. By C E Kempe.

(Sherwood, J. and Piper, J.,1989) Kempe used a silver stain technique which was developed in Europe during the later thirteenth century.

Silver staining had to be rediscovered and refined in the later nineteenth century, and the Kempe Studio from the start played a leading role in recreating sophisticated effects found in late medieval, northern European glass. (Barlow, A. 2019).

The silver stain technique is applied by using brush on the back of the piece of glass. With different thicknesses, treatments and successive firings, the whole range of colours from black to white and from pale lemon to deep gold could appear on a single piece of glass. (Favourite method applying for heads and faces). (Barlow, A. 2019).

03

04

Fig. 3: The west window outside view 1. Eddie, N. E., 2019

Fig. 4: The west window outside view 2. Eddie, N. E., 2019

05

06

Fig. 5: Panels on the left of the stained glass, N. E., 2019

Fig. 6: Top panels on the top of the stained glass, Eddie, N. E., 2019

07

Fig. 7: Right Panels of the stained glass, Eddie, N. E., 2019

Fig. 9: Collage of angels with a shield on th

08

Fig. 8: Stained glass from the interior. Eddie, N. E., 2019

he glass. Eddie, N. E., 2019

STAINED GLASS THE PROCESS Create the cartoon Sketch the pattern and overall composition of a window.

In the early Middle Ages, the initial sketch were drawn on whitewashed boards.

Painting Painted with a pigment (iron oxide + ground copper + powdered glass). Extra material like wine, urine or viegar was added to help apply the pigment.Vitreous paint (liquid binder substance, consist of glass). Paint, heat and repeat.

Cementing The panel is cemented to help secure the glass within the lead and to waterproof the window.

Cutting Different colour glass are choose for seperate parts of the design. The outline of a pattern is paint with white lime wash. Then, it is cut with dividing iron and heat. Grozing iron is ude to chip away the glass until the desired shape is achieve.

Lead & Glazing Use strips of lead came to combine the pieces. Glazing is the term for assembling process. The sections of came are then joined with solder.

Source: •

Khan Academy. (2019). How stained glass is made. [online] Available at: https://www.khanacademy.org/humanities/medieval-world/gothic1/a/ how-stained-glass-is-made [Accessed 10 Oct. 2019].

09

10

Fig. 10: Stained glass with the structures. Eddie, N. E., 2019

Fig. 11: Collage of different perspectives. Eddie, N. E., 2019

11

12

Fig. 12: View of stained glass from the nave, N. E., 2019

01T

02T

03T

04T

05T

06T

07T

01B2

02B2

03B2

04B2

05B2

06B2

07B2

01B1 02B1 03B1 04B1 Fig. 13: Stained glass main panesl. Eddie, N. E., 2019

05B1

06B1

07B1

13

Fig. 14: Panels 01B1 - 03B1, N. E., 2019 14

Fig. 15: Panels 05B1 - 07B1. Eddie, N. E., 2019 15

16

Fig. 16: Panel 04B1. N. E., 2019

Fig. 17: Panel 04B2. N. E., 2019

17

Fig. 18: Panels 01B2 - 03B2, N. E., 2019 18

Fig. 19: Panels 05B2 - 07B2. Eddie, N. E., 2019 19

Fig. 20: Panels 01T1 - 07T1, N. E., 2019 20

21

DECORATIVE ELEMENT IN CATHEDRAL STAINED GLASS: Oldest stained glass was in C12, C13.

Material: Wooden shutters, framed parchment or oil linen on windows.

Shield with heraldic decoration appear during C13.

Colours: Dark, rich, grisaille.

Grisaille: A decoration in tones of a single colour, especially grey, designed to produce a three dimensional effect brought by a French Painter, Jean Auguste Dominique Ingres.

C14. Glazier enhanced the C15. Inscription adopted the lighter effects achievable in strong vertical Gothic form silver-stain glass by combining known as blackletter. figures or narrative scenes in Colour: horizontal zones with large ar- Softer, less intense, boldness in eas of grisaille or clear glass. the use of white glass.

In C14, glass became thinner and narrative scenes are common.

The use of silver stain.

Colour: Lighter.

Fig. 21: Stained glass timeline diagram. Eddie, N. E., 2019 22

Late C14. Large grisaille patterns decline.

Colour: Darker tones.

C19. The turning point.

Stained glass is produce with medieval idiom.

Post-Medieval Stained Glass

C17,C18. Limited revivals of the medium did occur during these years.

Most glass of this period makes extensive and painterly use of bright enamels.

C19. Turn Renaissance-type pictorialism for figures themselves.

Central Figure: • A.W.N Pugin • Clayton & Bell • William Morris • C.E. Kempe • Edward Burne-Jones, etc

C19.

Capable matching intense medieval colour.

Bolder composition and fierer colours.

Influential use of dark foliage as a background for figures.

C19 Style.

Late Gothic, Renaissance, Arts & Crafts styles all carried on after the 1920’s.

Arts & Crafts traditions were refreshed by Modernist ideas of simplified draughtsmanship and non-naturalistic colours.

Source: •

Bradley, S. (2016). Churches An Architectural Guide. New Haven & London: Yale University Press, pp.98-103,150-155.

23

24

Fig. 22: Model with light background. Eddie, N. E., 2019

Fig. 23: Model with different background. Eddie, N. E., 2019

25

BIBLIOGRAPHY • • • • •

26

Sherwood, J. and Piper, J. (1989). A Guide to the Churches of Oxfordshire. 1st ed. Oxford: Robert Dugdale, pp.149-151.

Bradley, S. (2016). Churches An Architectural Guide. New Haven & London: Yale University Press, pp.98103,150-155.

Barlow, A. (2019). Espying Heaven. The Stained Glass of Charles Eamer Kempe and His Artists. Cambridge: James Clarke & Co Ltd, pp.48-54.

Council for the Care of Churches (2019). The Parish and University Church of St Mary The Virgin, Oxford. Oxford: PCC, pp. 45.

Khan Academy. (2019). How stained glass is made. [online] Available at: https://www.khanacademy.org/humanities/medieval-world/gothic1/a/how-stained-glass-is-made [Accessed 10 Oct. 2019].