I traveled through the centuries on my recent visit to the UK’s only Stained Glass Museum, located in Ely Cathedral. Over 1,000 examples of stained glass windows are held in their collection dating back to the 14th Century, although the craft is thought to have originated in the late 600s.
All topics are explored from the religious to everyday life, from science to farming, from nature to portraiture. The techniques vary enormously as new skills were introduced over time and the differences will be evident in the photos. The concepts and trends changed dramatically during the centuries.
The introductory window above is a contemporary design entitled Inner Space (1979). This blended art and science and is an interpretation of electron photomighraph of hydra tissue (micro-organism). It illustrates many various techniques of modern design including texturing, acid-etching, tracing as well as traditional leading.
These three traditional -style windows are 600 years apart in age but look as striking and vibrant as ever. Furthest left is Geometric Grisaille (1200-1250s) which is a design expressing the simplicity of the Cistercian monastic ideal and aided the meditation for the monks. The middle panel, The Dawning of the Last Day (1871), is unusual in that it was designed by a clergyman in memory of his father and noticeably moved away from the Gothic Revival towards original motifs. The last of three, The Good Shepherd (1867), uniquely weaves together a painterly style of the figure with the gothic revival surrounds of the rich foliage.
The influence of the Arts and Crafts movement is evident in the window furthest left. Fathers of the Church (1904) depicts St. Augustine, Venerable Bede and St. Cuthbert. The next two windows were commissioned as part of the revival and popularity of stained glass windows in the 1800s and there was a push to return to the ‘True Principle’ of Gothic style windows. The Dance of Solomon (1856), formerly within Ely cathedral, is a lively panel, and one of four depicting St John the Baptist’s life, and martyrdom. The Arms of Queen Margaret of Anjou (c.1840) was designed by a heraldic scholar to blend the arms of 15-year-old Margaret who married Henry VI.
The Typography Panel (c.1930) was most likely a sampler created to demonstrate letter writing on glass, and the use of painted cross-hatching is clearly evident. To the right, this fish experimental piece (1950s) makes effective use of flashed glass and acid-etching within its two layers (to add depth) of pink and blue glass.
Angels are the common factor for these first two windows. Inspired by William Morris and his circle who hoped to rescue the decorative arts from commercialisation and industrial methods of production, the first window is one of two entitled Angel Musicians (1910-1912). It was influenced by famous late 19th-century designers when angel figures were typical of the Italianate style. The centre panel was created 400 years earlier and the Angel Musician (1440-80) shows a unique style of painting particular to the Norfolk area in the UK, which through its riches of the woollen trade produced the majority of stained glass windows at the time. The Annunciation of the Virgin (c.1340) is the oldest of the three panels and created in an era of illiteracy when religious education involved painted windows. It is the finest example of English glass painting of the ‘Decorated’ Gothic style.
Roundels have existed as a form of stained glass windows since their inception. The most modern is self-explanatory entitled Five Victorian Studios (1987). The opulent roundel of gold shows The Suicide of Charondas of Catanea (c.1530) and establishes the theme of justice as he broke his own laws and thereafter committed suicide. It was most likely produced in the Netherlands which was famous for its thousand or so small and exquisite roundels. The last of the three windows heralds from a church in Burgandy, northern France. St. Vincent on the Gridiron (c.1225-50) is part of a narrative by Gothic glass painters and depicts St. Vincent’s suffering for his faith as he is roasted on a gridiron.
These final three windows are from the very early days of stained glass window design. The central panel, Peasant Figure (c.1340-49), was once part of a large and important window in the Lady Chapel of Ely Cathedral and at one stage it would have been richly decorated. It is highly unusual for the mere figure of a peasant to be depicted in a glass window. Also rarely created were windows for patrons, which is the case of Donors of William and Matilda Cele (1350-1400) who ensured the survival of their name and contribution for 700 years and onwards. The bird in Bird Quarry is slightly older and produced in the 15th-century. These simple diamond shaped quarries were made in their thousands using white glass, glass painting and silver stain. They often depicted animals with amusing human motifs; here the robin is shown carrying a rosary.
Along one wall of the exhibition, there were mock-up models of stained glass studios showing the various stages of creating a window and some of these are pictured below.
All photos ©Annika Perry
Credit for post title to The Stained Glass Museum guide which uses this as a chapter heading.
Annika Perry 
Annika, the images and your descriptions are SO interesting. There is much more stained-glass-window variety (in subject, style, and when created) than I had realized!
Dave, it is an incredible and unique museum. I hadn’t known what to expect and was in awe of the collection, information; ever since I appreciate stained glass windows so much more! Thank you very much for reading and for your great comment.
Awe-inspiring indeed, Annika! I can see how a collection like that would enhance the way anyone would view stained-glass windows after that. 🙂
Pingback: FANFARE WITHIN – Annika Perry
Gorgeous and spectacular. Thank you for so much background about these artworks. Isn’t it wonderful that the true beauty of glass art is dependent upon light pouring through the pieces?
Sharon, I thought I’d answered your comment earlier this year! I’m so sorry!
Your first words capture the museum exactly and I had just to share about it here – it was a matter of finding the nuggets within all the information and photos. How true about the need for light through the windows for the glory of windows to be revealed. In some of the displays, the lights were deliberately turned off so one could see the before / after moment! Wow! Really brings home the pivotal importance of light!
Gorgeous windows! Thank you for giving us the history.
It was a fantastic and memorable visit, Rob! Looking at this today makes me long to return and just had a friend who was at Lincoln Castle over the weekend and saw the original copies of Magna Carta (1215) and the Charter of the Forest (1217) in one place. Can’t wait to see these myself – and no doubt write a post!
Gorgeous windows, and such workmanship! It was a skill I would have loved to learn but never did pursue.
Amanda, looking through the history of these windows I was overwhelmed with their beauty and skill involved … it’s great that you were so interested in this art. Any chance you might take it up at some time?
Probably not. I have too many other hobbies that take precedence- like blogging 🙂
It’s amazing how well they hold up. Thinking about taking some classes unit myself to restore some of my 100 year old windows.
Thank you for your comment and I’m sorry I missed replying before until now! I totally agree, the old ones looked great, and you couldn’t see much difference compared to the new ones – I felt they were actually more detailed at times. I hope you have a chance to find some classes and opportunity to restore your windows – that would be fantastic. How many do you have to restore? Good luck!
What a wonderful art You presented. Thank You. These will last from year to year, but snow and ice art not. Thank You showing these.
It it amazing when you really take in the age of some of these … centuries old and still amazing and delighting us! Snow and ice art is the other end of the spectrum … off to check your your post about them.
Very Interesting!
Thank you so much! 😀
Very interesting, Annika, and such beautiful works. The colours and shapes in that first one remind me of (Indigenous) Woodland style of art here in Canada.
Cynthia, I’m always hungry to learn and your mention of the Woodland style of art gave me a wonderful new art style to explore! Thank You! 😀😀 The colours are glorious and such inventive and creative designs … I’m going to read up even more about this. I can see why the first window reminded you of this art style.
Really enjoyed this as I love to travel to experience art…
It’s a wonderful place to visit and one I will return to again … in the summer! 😀
Very nice indeed
Thank you so much!!😀😃
You’re welcome!
I loved the variety of windows. Your pictures were great. I’ve seen windows like these in cathedrals and it’s absolutely breathtaking. Thanks for sharing.
Thank you very much! 😀 It’s not so easy to photograph windows in situ in cathedrals but luckily these were much easier being at head height! It was amazing to see them so closely. Always a pleasure to share!
Beautiful artwork. Thank you for posting this
It was a wonderful visit and an absolute joy to share here … so happy you enjoyed reading the post. 😀
Beautiful photos.
Many thanks, Nikole! 😀
Such an amazing art form.
Gorgeous stuff that I never get tired of looking at.
Take care, Annika —
Neil S.
Neil, same here…I’ll never tire at looking at windows such as these and I ended up wandering round twice as I didn’t want to leave! Many thanks for your lovely comment and take care yourself. Annika