DECEMBER 2008 » book review

Windows of Wonder

English Stained Glass
by Painton Cowen
Thames & Hudson, Inc., New York, NY; 2008
128 pp; hardcover; 200 color illustrations; $29.95
ISBN 978-0-500-23846-2

Reviewed by Annabel Hsin

Some scholars believe that the transition from the small openings of Romanesque architecture to the soaring heights of Gothic architecture was driven by the desire to achieve larger stained-glass window panels. Despite Gothic architecture's bright and airy aesthetic, the stained-glass windows developed in its early era were dark and the panels were dominated by figures in deep red and blue colors. By the mid 13th century, a clear or pale green grisaille glass gained precedent over the deep-colored glass. The grisaille glass was arranged in geometric patterns and avoided figurative designs. "The Five Sisters" from c. 1250 in York Minster, England, consists of five huge panels of grisaille glass in a geometric floral design. Indeed, a majority of the design was assembled using clear or pale green glass with thin lines of blues or reds to outline the pattern. It is among many famous panels featured in Painton Cowen's latest book, English Stained Glass.

In his introduction, titled "The Art of Light," Cowen writes, "English stained glass inhabits a curious position within the study of the visual arts. For many years seen by scholars as having little artistic value, it tended to be of more interest to antiquarians who took delight in poring over the heraldry found in so much English glass." Yet for countless centuries, stained-glass windows have dazzled us, and set trends in many artistic areas such as sculpture, painted murals and altarpiece carvings. Through 200 photographs, most of which are detailed shots of figures in stained glass, Cowen lets his readers decide whether stained glass should be considered art or mere decoration.

The characteristics of English stained glass are defined by different regional schools and Cowen uses these to divide his book into four chapters: "The North," "The Midlands," "East Anglia" and "The South and South-West." The introduction also includes a brief history on the development of stained-glass windows from 1100 to 1530 – the golden age of stained glass. There are also brief sections on window making, window conservation and the symbols and figures depicted in stained glass.

Located in the north, York is widely considered the most significant city for stained glass. Not only were its painters highly influential – elements such as the bulbous nose were much-copied – but it also had a bearing on glass painters from other regions, including John Thornton of Coventry who created the famous east window in York Minster (the world's largest single expanse of stained glass still in existence).

Construction on the Gothic cathedral York Minster began around the year 1080 and took approximately 250 years to complete. It contains stained glass and window fragments that date from the early 12th century to the 20th century. The rose window in the south transept encompasses work from several centuries; the stonework dates from the mid-13th century; much of the stained glass is from the 16th century; and the glass in the center – William Peckitt's depiction of a sunflower – is from the 18th century.

Also located at York Minster, are the 30 panels depicting the Te Deum, from c. 1420. They demonstrate an important technique developed during the 14th century, when it was discovered that yellow stained glass could be created by simply painting a silver chemical on the surface of glass and heating it. The colors varied from pale yellow to deep orange and, when the technique was applied to green glass, blue. Figures and architectural details in yellow, orange and white were painted on single pieces of clear glass to create the frame that surrounds the colored-glass scenes on the panels of Te Deum. A number of panels from other churches are also housed at York Minister, included the "Tree of Jesse" from New College Chapel, Oxford. As such, Cowen considers the stained-glass collection at York Minster the most important in the field.

English Stained Glass is essentially a guide book on where to find the most significant stained-glass windows in the featured regions. It is filled with close-up shots of windows that would certainly be overlooked even by visitors to the churches (many of the windows are high above ground) and the images are sure to provide inspiration for ecclesiastical specialists. As noted by Cowen, stained-glass windows are subject to damage caused by chemical reactions between air, water and glass. While careful conservation can preserve them, the process is time consuming and expensive. English Stained Glass serves as a reminder of why they are worth it. TB

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