reorganisation and destruction of irish catholic churches
- This topic has 7,926 replies, 103 voices, and was last updated 9 years, 6 months ago by
.
- Posts
Some interesting pictures of the Abbey of Notre Dame de l’Assomption at Le Barroux near Avignon:
Here is a list of 19th century stained glass makers in France dated 1887 and arranged according to department:
http://forezhistoire.free.fr/images/peintres-verriers-de-france.pdf
Some examples oft he work of Albert-Louis Vermonet in France and Quebeq:
http://recit-us.cspi.qc.ca/histoire/2003-2004/equip03/Pages/joliettevitraux.html
Something on glass painters in Toulouse:
http://www.societes-savantes-toulouse.asso.fr/samf/memoires/t_65/163-184_Bayle.pdf
Painted glass in the Cathedral of Quimper:
Just coming off the Press:
The Stained Glass of A.W.N. Pugin
by Stanley Shepherd
420 pp, Hardbound“This eagerly awaited study provides a complete record of Pugin’s extraordinary achievements in stained glass design and manufacture. Beautifully illustrated with photography by Alastair Carew-Cox, it shows how Pugin rose to the challenges of creating stained glass in the early Victorian period according to medieval principles; how he worked with leading makers of the day; how he forged a partnership with John Hardman of Birmingham; how this relationship worked; who his clients were; and what he sought to express in the windows. These were made for churches and houses throughout Britain and Ireland and some also found their way to North America, Europe and the Antipodes. A detailed gazetter gives all the known information about each window. This book is the culmination of many years research by the author and is based on his Ph.D these about Pugin’s stained glass.”
Design for stained glass, Bolton Abbey
Drawing: A.W.N. Pugin (c. 1840)
Source: RIBA British Architectural Library Drawings & Archives CollectionStained glass was extremely important to Pugin. He delighted in the striking effects that could be gained from its rich colours and stylized forms. Also, as a devout Catholic, he employed stained glass for its potential to teach and inspire.
Dating from the end of his career, this drawing reveals Pugin’s expertise as a stained glass designer. One of a set of cartoons describing the life of Christ, this was prepared for the decorative firm of J.G. Crace, who had been commissioned by the Duke of Devonshire to begin the restoration of Bolton Abbey. Pugin’s glass was intended for its nave, the only part of the abbey to survive the Dissolution of the Monasteries.
Like the Easter Sepulchre design for Cheadle, this is a working drawing. Scribbled all over the figures are notes for the craftsmen, indicating which colours should be used. These, however, do not detract from the drawing. Pugin’s ability to combine strong lines with a sense of movement is clear. And despite the simplicity of the figures, this scene possesses a great deal of emotion: the grief of Christ’s followers is inescapable.
John Hardman (1811 – 67) was one of the pioneers of the stained glass revival of the nineteenth century. His Birmingham based operation started out as an ecclesiastical metal works but, at the suggestion of A.W.N. Pugin, the business expanded into glass manufacture in 1845. Pugin designed for the firm until his death in 1852 when this role passed onto his nephew John Hardman Powell.
The Chapel glazing scheme was designed in house in the 1860s as part of Principal Forbes’ restoration project. Unlike Forbes’ architectural improvements, which were funded by the government, the stained glass was paid for by donations from private individuals. The whole process of the commission can be traced through documentation kept in the University Library and the unusually complete records of Hardman’s (now in the collections of Birmingham Museums and Art Gallery).
Only two of the windows survive in situ but the University Collections hold the panels removed in the 1960s to make way for William Wilson’s new windows. The surviving windows occupy bays four and five (counting from the Chapel’s west end) and are excellent examples of the Gothic Revival style. Intricate tracery forms the matrix for designs that reflect the Victorians’ profound respect of the twelfth century stained glass of Canterbury and Chartres. Ruby reds and deep blues predominate in the compositions. Each window is divided into three lights which feature a Biblical scene framed by an elaborate canopy above and a Latin inscription beneath. Below the figurative scenes are placed square memorial panels. The centre panel bears heraldic motifs relevant to the personage commemorated in the winding scrolls of the flanking panels. All of the inscriptions are drawn in the Lombardic script popular in the twelfth century. The top third of each window is given over to ornamental, foliate designs and intricate tracery – trefoils, quatrefoils and similar Gothic forms.
The first Hardman window to be seen on entering the Chapel (in bay four) is dedicated to Lord Colonsay. The scenes depicted are, from left to right: Moses and the Ten Commandments; Christ Healing the Sick; and The Judgement of Solomon. The other window commemorates Jesse Playfair, the wife of the famous Provost Playfair who carried out a major renovation of the Chapel in the 1840s. The scenes depicted are: Moses and the Burning Bush; Joseph Triumphant in Egypt; and Joseph Sold by his Brethren.
Mid-nineteenth century stained glass is often viewed with derision by those more used to the agonies and ecstasies of the Pre-Raphaelite designs of Morris & Co. but there is much to commend in the windows of firms such as Hardman’s. The crisp, bright colouring and vigorous modelling of the figures in the Chapel windows is typical of the firm’s work. The juxtaposition of the Hardman windows with the neighbouring designs by Henry Holiday and William Wilson presents a striking contrast to the viewer. It is one not altogether unfavourable to the oldest surviving windows in St Salvator’s Chapel.
Judging stainedglass in Class 30 at th Great Exhibition at the CrystalPalace in 1850:
On John Hardman of Birmingham:
http://www.themagazineantiques.com/articles/john-hardman-and-company-pugins-glasspainters/3/
John Hardman is still trading from 25 Frederick Street, Birmingham is is currently experiencing a renaissance of interest in neo-Gothic art work.
Some more information on the company:
The Pugin Society is coming to Ireland:
Wed 20–Mon 25 May: Pugin in Ireland – the not to be missed definitive tour
At long last the Pugin Society is going to Ireland for what promises to be the definite tour of Pugin’s work in Ireland. Do not miss this once-in-a-lifetime opportunity. The tour has been devised by the distinguished architectural historian Professor Alistair Rowan and will be led jointly by him and Dr Rory O’Donnell of English Heritage. We will visit almost all of A.W.N.Pugin’s major works in Ireland, together with a number of important buildings by his son Edward Pugin and his son-in-law George Ashlin. Visits will be made to other Irish buildings to set the work of Pugin in its context including John Henry Newman’s University Church in St.Stephen’s Green, Dublin, the twin churches in Wexford, University College Cork, the Dominican Church, Popes Quay, Cork, Lismore Castle and Muckross House. We will stay for two nights in Dublin and three in Cork.
Itinerary
Wednesday 20 May: The tour starts at 5.00 with a walking tour of the centre of Dublin including Deane and Woodward’s Museum in Trinity College and Hungerford Pollen’s University Church on St Stephen’s Green.
Thursday 21 May: Maynooth College, Glasnevin cemetery, Rathfarnham Convent, Pugin & Ashlin at St Thomas’ church, J.J.McCarthy at St Saviours, Ashlin’s house at Killiney.
Friday 22 May: Tour of Pugin in the south-east including St Michael’s Gorey, St Aidan’s Cathedral, Enniscorthy, Tagoat Church and St Peter’s College and the twin churches in Wexford. The day ends with a drive to Cork.
Saturday 23 May: Walk around Cork seeing, among other things, Deane’s University College, William Burges’ St Finbarre’s Cathedral and Pugin and Ashlin’s St Peter’s and St Paul’s. Afternoon bus trip including Pugin and Ashlin’s Cobh Cathedral, Midletown parish church, Lismore Castle and Cathedral, Youghal town and Cloyne Cathedral.
Sunday 24 May: Bus tour to Killarney Cathedral, Muckross House and Abbey and scenic Co. Kerry.
Monday 25May: morning in Cork, followed by departure from Cork airport.Hotels: We will be staying in comfortable central hotels, The Mespil, Dublin, and Lancaster Lodge in Cork. If you are single and would like to share, please contact Julia Twigg.
Travel to Ireland: Flights are not included but Ryanair flies to both Dublin and Cork. Please note that the tour starts in Dublin and finishes in Cork.
Cost: Single 695 Euros: Double 525 Euros per person. Please note that the tour is priced in Euros not pounds because of uncertainties over the exchange rate. With luck it will move in our favour. We are asking people to send a deposit of £150 to secure a place. The remaining sum will be due two weeks before the tour.
- You must be logged in to reply to this topic.
