WILLIAM MORRIS STAINED GLASS IN YORKSHIRE



WILLIAM MORRIS STAINED GLASS IN YORKSHIRE

Context

William Morris stained glass can be found in some 46 sites in Yorkshire. Morris glass is some of the most beautiful, creative and imaginative stained glass made during the long history of stained glass making in Western Europe from the 12th century onwards. Here, as in the rest of this book, Yorkshire is taken as the historical county, and as such, includes some small areas not now administratively in Yorkshire. The range of churches and other buildings in terms of style, date and location is various. They include churches hidden deep in Pennine valleys, estate chapels such as that at Castle Howard, and churches in densely built up urban areas. Styles range from the Romanesque through the various phases of Gothic, which, particularly in the Perpendicular period, produced local variations characterised by grit stone materials and straight-headed windows, long low buildings with aisles, chapels and clerestories.

In the 19th century Commissioners churches were built, funded by the Million Act of 1818, an act making £1,000,000 available for church building, and also estate churches such as Christ the Consoler at Newby Hall. There were also churches built in inner city areas after the 1851 church census, which had indicated that there were insufficient church seats to meet the size of the population, even if all did not wish to attend. This resulted in a church building boom in inner cities. An example here is St Saviours at the heart of the Leeds industrial area, ministered to by Walter Farquhar Hook, the leading High Churchman.

The reasons for looking at Morris stained glass in Yorkshire are various. First, the county has a wide range of Morris glass from a variety of periods of the existence of the firm. Second, the county has examples of all the types of church that Morris glass was installed in, rural, inner city, estate, etc. Other particular areas associated with Morris stained glass are Shropshire and Northamptonshire. However, Yorkshire provides more diverse settings than these, with its mixture of urban, suburban and rural. Third, concentrating on a geographical area with good Morris glass enables the examination of how well Morris stained glass fitted into ancient and modern churches. This should illuminate how the relationship between Morris stained glass, buildings, and church liturgy worked.

The Firm

Morris stained glass was made using the mosaic technique. This involved making windows from pot metals that is glass coloured in the molten state, and white/green glass. The first stage in this process was the production of a drawing on paper of the image to be featured in the window. This was then scaled up by craftsmen in the Morris studio to produce a full sized cartoon. William Morris as studio master would then select the coloured glass to be used, and the placing of the lead lines. This latter was important not only from the point of view of the stability of the window, but also to create an abstract pattern framing the coloured glass. The glass painters would then paint the images onto the glass, using iron oxide to produce black/brown, and silver nitrate to produce yellows and oranges, which would then be fired to produce the colours. The glass would then be installed, and wired on to iron tie bars to support it. Morris often visited buildings, at the design stage, and indeed to supervise the installation.

William Morris was born in 1834, and educated at Marlborough School and Oxford University. It was at the latter that he met his life-long friend and closest artistic collaborator, Edward Burne-Jones. From the middle 1850s, Morris was at the centre of an artistic circle that included Burne-Jones, Dante Gabriel Rossetti, Val Prinsep, Ford Madox Brown and Philip Webb. It was Webb who designed the Red House at Bexley Heath in Surrey (1859), which was Morris’ first home, and a pioneering piece of architecture. It was the difficulty in obtaining appropriate furnishings for the house that inspired the founding of Morris, Marshall and Faulkner & Co. in 1861. The firm was to exist in various forms until 1940, and produced a large range of furnishings, a notable product from the beginning being stained glass.

The original partners in the firm were Morris (1834-96), Burne-Jones (1833-98), D G Rossetti (1828-82), artist, Ford Madox Brown (1821-93), painter, Charles Faulkner (1833-92), a University friend of Morris, Philip Webb (1831-1915), architect, and Peter Paul Marshall (1830-1900), a sanitary engineer who painted in his spare time and had Pre-Raphaelite connections The new firm produced a prospectus, in which appeared mural painting, architectural carving, metalwork including jewellery, furniture, including embroidery, and stained glass. In relation particularly to stained glass, Morris obtained an Anglican clergy list and circulated the prospectus to those on the list. Workshops were established at 8, Red Lion Square, adjacent to No.17, where Morris and Burne-Jones had lived 1856-1859. The Morris Company moved to 26, Queen Square in 1865, and remained there until 1881, when it moved to Merton Abbey in the South London suburbs. Queen Square doubled as the Morris’ home from 1865 to 1872.

The partners had experience in the design of stained glass. Burne-Jones had designed windows for James Powell and Sons of Whitefriars, an old established glass-manufacturing firm. Webb had a wide experience of Decorative Arts design, including glass. Ford Madox Brown had designed stained glass for Powells. He and Rossetti were well-established artists, in contrast to the younger founders of the firm. Morris was the studio director of the firm, co-ordinating all the various activities that went into the making of stained glass. He drove the firm’s stylistic evolution, and from the 1870s introduced new products such as fabrics, wallpapers, tapestry, and established the distinctive Morris look to domestic furnishing.

Something here has to be said about Morris the man. He was very much a polymath. He was a renowned poet – “The Defence of Guinevere” in 1858 and “The Earthly Paradise” in 1868-70 – established him as one of the major English poets of the Victorian age. He continued writing poetry almost to the end of his life. He was heavily involved in the Eastern Question Association, a body aimed at detaching Britain from its alliance with the Ottoman Empire. Gravely disillusioned with Liberal politics, and enthused by Socialism, he joined the Democratic Federation in 1883, leaving to found the Socialist League in 1884. He put huge effort into these bodies, touring the country lecturing, and conducting meetings, until ultimately, he became frustrated even with the League, retreating into the localised Hammersmith Socialist Society (1890).

He had married Jane Burden, the daughter of an Oxford ostler in 1859. Her image, principally produced by Rossetti, was to become the icon of the 2nd generation Pre-Raphaelites. She and Morris had two daughters, Jenny and May, and while outwardly the marriage appeared happy, Jane conducted long affairs with Rossetti and the landowner/poet Wilfred Scawen Blunt.

After leaving Red House, Morris settled in Queen Square, which became his place of business as well, with stained glass studios located there. He took a lease on Kelmscott Manor in Oxfordshire, an atmospheric and beautiful (mainly) Elizabethan house, by the Thames, with Rossetti. The joint use by Morris and Rossetti failed rapidly following the intensity of the latter’s relationship with Jane Morris. The house was to be owned by the Morris family, and now is owned by the Society of Antiquaries. It has been carefully restored and is open to the public on fixed days.

Morris only periodically visited Kelmscott, and in 1879 settled in Kelmscott House in Hammersmith, named after his Oxfordshire Manor. It was large 18th century house with Thames views. This was to be his home until his death in October 1896. Morris was a bon vivant, loving meals with people from his and Burne-Jones circle. Apart from his male circle, there were female confidants, most notably Burne-Jones’ wife Georgie.

Stained Glass in the 19th Century

The 1860s was a period of Ritualist revival (there was a growing enthusiasm for ritual in the Church of England coming out of the Oxford High Church Movement of Newman, Keble and Pusey of the 1830s), and extensive church building. It was therefore a particularly apposite time to establish a stained glass firm. The art of stained glass making had been revived in the early 19th century, initially by Thomas Willament (1786-1871). By 1811, he had revived the mosaic tradition of stained glass making. Willament’s heraldic work and his architectural backgrounds were particularly effective. A Yorkshire example of his work is the Grantley Chapel at Ripon Cathedral. However, he did not have a complete understanding of techniques and compositional principles of medieval mosaic glass, nor was good pot metal glass available. A W N Pugin, the Gothic Revival architect, next advanced the revival of mosaic stained glass, designing windows, and commissioning their making from William Wailes (1808-81) and persuading his friend John Hardman to open a stained glass workshop in Birmingham, which he supervised.

A number of other firms were established in the 1840s and 50s. Very significant in the revival of mosaic glass was Charles Winston (1814-1865). He was a lawyer with a huge enthusiasm for Gothic architecture and stained glass. He adopted the categories of English medieval architecture devised by Thomas Rickman in the 1820s, namely Early English, Decorated and Perpendicular. He analysed English medieval stained glass, its styles and techniques, using these categories, He produced a two-volume book in 1842, “An Enquiry into the Difference of Style observable in Ancient Glass Painting especially in England with Hints on Glass Painting by an Amateur”. Winston well understood the close relationship between stained glass and its architectural setting, which was very significant in the medieval period and was to be one of Morris’ guiding principles. He appreciated the luminous nature of the medium and the importance of lead-lines and saddle-bars, both as structure and design. He wrote in “An Enquiry “of preserving the brilliancy and the general translucency of the glass and promoting the distinctiveness of the design by the use of clear lights, transparent shadows and strong contrasts of light and shade”.

Winston advocated the use of medieval stains, iron oxide and silver nitrate, and pot metals. Willement had been a copyist, and an insensitive one, of the Middle Ages. Winston was not. He was concerned with the ambience created by the stained glass within its architectural setting and scale and proportions within designs. Significantly he included the medieval theologian and designer Theophilus’ “Schedula Diversorium Artium” as an appendix in the second volume of his book. This outlined the basic design principles of medieval stained glass emphasising the luminous nature of the material, the role of figures and decorative features such as leaf and flower designs, and the importance of lead-lines and saddle-bars, in creating abstract patterns that added another dimension beyond story-telling and the representation of spiritual ideas.

The impact of Winston’s book was considerable and mosaic principle stained glass started to be produced in England in quantity. A number of designers and companies began making mosaic stained glass in the years leading up to 1860, notably Willement and Hardman, but also Thomas Ward, J H Nixon, Charles Clutterbuck, James Powell and Sons, William Wailes and George Hedgeland. Their work found a ready market because of the extensive church building and renovation/restoration programme started in the 1820s, which was to peak in the last years of the 19th century, but was to continue in the years after the Great War. The number of stained glass windows made multiplied greatly in the period 1850-1925. This large increase in the making of stained glass took place in the context of grave technical problems. The use of enamel staining, which is the application of powdered coloured glass on to white glass, which is then fired, had been used from the 16th century onwards. This had resulted in the disappearance of the manufacture of pot metals, that is the production of coloured glass through the addition of chemicals to glass in the molten state. The technical knowledge of the processes had more or less vanished. Various processes were tried, but were not successful, though colours did improve. There was the realisation that the best glass for windows needed to be thicker rather than as thin as possible,

The solution to these problems was to come from Powells of Whitefriars who had been producing flat and vessel glass since the 17th century. A Doctor Medlock of the Royal College of Chemistry started experiments in 1849 on the addition of substances to glass in the molten state. He formed a close personal relationship with Powell’s chemist, Edward Green, and the two shared ideas and results. By 1856 the two enabled Powell’s to produce quality, if thin, pot metals, particularly greens, blues and streaky ruby. As a result of the church building boom after 1851 and new High Church liturgical practices, Powell’s’ business expanded greatly. They employed Burne-Jones to design the St Frideswide window in the Latin chapel at Christchurch Cathedral, Oxford. This was the first example of a major painter designing a stained glass window.

By and large the reintroduction of the mosaic principle was characterised by revivalism that was more or less the copying of medieval originals made by the workshops situated in English cathedral cities. William Wailes established a firm initially in Newcastle-upon-Tyne and then in London, which made windows with formalised medieval style figures, carefully designed architectural detailing and canopies, and flower and leaf backgrounds. Other firms and individuals who made revivalist glass in the middle years of the century were: - Clayton and Bell, George Hedgeland, William Warrington, and Lavers and Barraud. One of the most long-lived was the studio of Charles Eamer Kempe, which continued far into the 20th century. The work of this studio is distinctive, with medieval style figures of angelic sweetness, careful painting, much use of yellow stain, rich pot metals, and can be identified by the wheatsheaf motif, unfortunately, not always used.

Stained glass moved up the church furnishing agenda in the second half of the 19th century. Part of the reason for this was the renewed enthusiasm for liturgical services, which required an appropriate setting and a religious numinous. A further factor was the growing enthusiasm after 1850 for memorial windows, commissioned by individuals or bodies for family members, friends or distinguished people. This trend was launched by J H Markland’s article for the Oxford Architectural Society in 1842 entitled: -

“Remarks on English Churches and the expediency of rendering Sepulchral Memorials subservient to pious and Christian Uses”

In this article he argued that stained glass memorials fitted in better than often large ostentatious sculptures, plaques or monuments. This article appears to have had a significant impact in the parishes of England, but probably reflected an increased enthusiasm for memorial windows, rather than leading to it. The number of memorial windows increased, dramatically, culminating in the huge number produced just after the Great War.

Early Years of the Firm

So by the time of the founding of the Morris Company, the stage was set for major developments in the commissioning, design and making of stained glass. There was a growing market, mainly ecclesiastical. There were re-discovered techniques of making pot metals, painting, staining and leading. The Morris Company responded to these developments by creating a new pictorial form of design that took account of the history of the material, and its nature, but produced a new and artistically successful aesthetic.

The Morris Company got off to a flying start with significant orders for stained glass. The role of Morris as salesman was very significant in this. He used his friendship with G E Street (1824-81), his former architect pupil-master to make contact with George Frederick Bodley (1827-1907), whom he invited to Red House, his Kentish home. Bodley had been a student of Sir George Gilbert Scott (1811-78) in the late 1840s. He developed a creative revivalist style, based on the 13th /14th century styles. His architecture was “muscular” (vigorous) and made much use of polychromatic walls. Bodley commissioned stained glass from the firm for three new churches he was building in 1861. These were All Saints, Selsey, Gloucestershire, St Martin’s on the Hill, Scarborough, and St Michael’s, Brighton. Burne-Jones and Ford Madox Brown had previous experience in designing for stained glass, but it would seem that Morris led these projects. The results were good, with designs produced by the partners, and the glass well executed by the studio. More commissions rapidly followed, a notable highlight of the 1860s being the East Window of 1861-63 at St Michael’s Lyndhurst, Hants, depicting the 3 Mary’s, apostles, angels etc., whose theme is the New Jerusalem. The fine painting of figures is a consequence of Burne-Jones drawings, this, the lead work, and the colours, although paler than later Morris windows, distinguished the firm’s work from contemporary revivalist workshops. So also did background designs by Philip Webb. Another fine window of this time is the East window of All Saint’s. Middleton Cheney, Northants, of 1865.A variety of artists produced designs for this window, even more than usual at this early period. These include Morris, Burne-Jones, Ford Madox Brown, Philip Webb and Simeon Solomon. Webb’s contribution here was very significant, his designs for canopies, predella panels and borders framed the figure panels very effectively. His use of white/green glass quarries was effective and meant that the volume of glass did not sink the church into gloom, unlike some windows post 1875, when he had ceased to design for the firm.

Morris’ own expertise in the design and making of stained glass developed rapidly over the first decade of the firm’s existence. Large numbers of orders for stained glass flooded in, mostly for religious buildings. Patronage came from parishes, colleges and cathedrals, supported by benefactors, occasionally from the old established landed rich such as the Howards, Earl and Countess of Carlisle, but more usually from the new rich, who had achieved wealth through industry, commerce and the professions. There were a considerable number of female patrons. One of the earliest examples of patronage by the industrial and professional classes was the commissioning by Walter Dunlop, a Scottish stuff manufacturer and merchant who had settled in Bradford, but who was to return to his native Scotland. Dunlop was part of a group of Yorkshire manufacturers and merchants who were enthused by Pre-Raphaelite painting, Decorative Art and medievalism. The leader of the group was Aldham Heaton, who left a career in business to become an arts entrepreneur, and the patron and friend of D G Rossetti. The Harden Grange commission of 1862 was a relatively rare example of a commission for a secular building. Here Morris and his circle produced stained glass panels on their beloved Arthurian legends, the bleak story of Tristram and Isoude being imbued with the chivalry and tragedy so beloved by the Victorian medievalists. Most members of the Morris circle were involved in the designing of the cartoons for the series of 13 panels, which depicted scenes from the complex and convoluted story of Tristram and Isoude. The resulting panels were a major landmark in the firm’s development as stained glass makers. These panels will be considered in detail in the gazetteer.

In 1863, probably through Aldham Heaton, manufacturer and artist, the firm obtained a major commission for Bradford Cathedral, then the parish church of St Peter, which was to be elevated to cathedral status in 1919. The Morris firm had been commissioned to install stained glass in the East window (1864). The East window had seven lights with Christ in Majesty, St Peter and Agnus Dei in the centre, surrounded by Prophets, Evangelists and Patriarchs to the sides. As per usual Morris was design coordinator and studio master. This was another of the early windows, which was designed by a variety of the firm’s artists. The window had the firm’s innovatory characteristics, finely designed figures, strong colours and backgrounds. The firm also made the South chancel window, with a central Salvator Mundi figure, designed by Albert Moore, and saints in the sidelights.

The East window was designed by Morris in partnership with Burne-Jones, Ford Madox Brown, Peter Paul Marshall and Philip Webb. It had seven lights with Christ in Majesty designed by Rossetti, St Peter (Marshall), Agnus Dei (Philip Webb) in the centre, with Prophets, Evangelists and Patriarchs to each side. Morris, as studio master and his fellow designers had to be very innovative to ensure that the window made an impact in the space, and convey the relationship between Christ and St Peter as the founder of the Church on earth. Medieval windows usually included a mass of figures approximately the same size, which meant that the main theme was somewhat lost. Morris’ solution was to scale down the size of the lesser figures and increase the size of Christ in Majesty (designed by Burne-Jones) and of St Peter, a rare example of a design by Peter Paul Marshall, a partner in the firm and sanitary engineer whose work is good and much influenced by Rossetti. Morris also increases the size of the backgrounds and borders, so as to effectively frame the main figures in this large Gothic window, with the supporting figures being just that, supporting. The result is a window that hits the viewer in the eye, with the centrality of the relationship between Christ and His Church as represented by St Peter, ensuring clarity of design and message. This was a technique that Morris and Burne-Jones were to develop and hone over succeeding years.

The firm’s first successes were built on the impact of their exhibit at the International Exhibition at South Kensington in 1862. Their largest exhibit was stained glass, appropriately displayed in the Medieval Court (they also displayed furniture and wallpaper). It was the stained glass that attracted attention, and won two gold medals, as well as criticism from established stained glass firms, who falsely accused Morris and Company of putting medieval glass into the display.

During the decade 1861-1871, Morris’ expertise in the making of stained glass developed rapidly. He honed his skills as studio director, developed a deeper understanding of glass as a medium, the use of colour, leadwork and of composition of the overall design. The impact of Fine Artists as stained glass designers was to be of huge significance for the firm, and was an important influence on all future stained glass making in Great Britain, Europe, North America, and what was to become the Commonwealth. These Fine Artists were the second generation of the Pre-Raphaelite movement, but included D G Rossetti, who had been part of the original Brotherhood of 1848. The Brotherhood in the first phase aimed for a simple naturalism that looked back to pre-Renaissance painting and was much concerned with medieval Christian subject matter and influenced by the contemporary German Nazarenes, who were naturalistic, religious and ascetic. From the early 1860s, Edward Burne-Jones was to be the unofficial leader of the second, or “Soft Edge” phase of Pre-Raphaelitism. This phase was characterised by ethereal other-worldly figures, often sexually ambivalent, soft colours and an atmosphere of mystery, which was to merge with “Aestheticism”, the ultimate “art for arts sake” manifestation of Victorian British sensibility. Other artists, such as Simeon Solomon, William Bell Scott and Henry Holiday were to participate in this magical world of images. This later Pre-Raphaelite/Aesthetic Art, with its ethereal scenes from the past, depictions from spiritual worlds, pregnant with half-discernible meaning and poetry, was particularly appropriate for the medium of stained glass.

The Next Years

By the 1870s, Burne- Jones was the main designer for the firm, and was the sole designer from 1875 onwards. He was to be responsible for the aesthetic breakthroughs of the late 1870s and the 1880s – he worked closely with Morris on matters of composition, colour and technique. He produced remarkable visions of the word of God, Christ, the Virgin, angels and saints. These were produced in his own particular aesthetic, which drew on his poetic interpretations of the human form and nature. It also derived from his deep knowledge of Scripture, Church history and contemporary developments in religious thinking, and his enthusiasm for Michelangelo and Botticelli. Morris, Burne-Jones and Webb led the firm’s stained glass making in the 1860s, helped by other members of the firm – but from 1875 this role was split between Morris and Burne-Jones, with the latter having an increasingly significant role.

The firm had from its inception rejected the architectural and crocketed canopies of the revivalists, although it did use areas of quarry glass (plain diamond patterns with basic decoration), which had the advantage of admitting good quantities of natural light into the interiors of buildings. An example here is St Mary’s, Bloxham, Oxford, 1869. The figures, as with All Saints, Middle Cheney, are in horizontal tiers in pairs. The ethereal aesthetic of Burne-Jones is again pronounced. He was the sole drawing designer of the window, working with Morris as colourist and studio master.

The above is a brief summary of the first years of the firm. This will be illuminated in the Gazetteer, looking at the firm through the prism of one of the most representative geographical areas of the firm’s stained glass production. Beyond the wider themes, there will be a careful study of particular windows and of the firm’s vision, concepts and techniques. Morris and Company very often re-used existing designs, sometimes over forty times, hence Christopher Whall’s, the Arts and Crafts stained glass maker, criticism of the firm for re-using images. However, the re-using of designs does mean that a good understanding of the firm’s work can be gained by looking at selected windows rather than the whole oeuvre.

Initially the firm employed twelve people, including boys, but increased considerably, particularly after 1870. George Campfield joined the studio in 1861, as studio foreman and remained there until 1898. He was a glass painter who had worked for Heaton, Butler and Bayne – Morris had met him at the London Working Men’s College, one of John Ruskin’s many good causes, and which Morris had a long association with. Other members of the studio team recruited in 1861 were the brothers Albert and Harry Goodwin and Charles Holloway, all of who were glass painters. The firm continued to recruit and train craftsmen/artists throughout its history. The firm made great strides artistically as well as commercially in the 1860s. After 1864, it started using thicker lead cames which not only more practically efficient, but also aesthetically more pleasing and used Powells of Whitefriars thicker and well coloured glass from the early 1870s.

Another major commission that the firm received at this time was for stained glass for the church of All Saints, Middleton Cheney, Northants (1865). Again, there were a number of designers involved: - Morris, Burne-Jones, Simeon Solomon, Ford Madox Brown and Philip Webb. The window is divided into three tiers. The upper features a procession of saints and martyrs. The middle tier has figures from the Old and New Testaments and saints, as does the bottom tier. The guiding principle of the design seems to have been the unity between the Old and New Testaments. The tracery lights are notable, with a large quatrefoil at the top, depicting the Adoration of the Lamb, the Lamb being shown on a red altar. Further tracery lights depict angels and evangelists. This window is again characterised by the creative style of the figure designs by the firm`s artists, the careful composition and unity of the scheme, and Morris` excellent use of colours and leading.

In the same year the firm received a commission for Oakwood Hall, Bingley. This is a house built by Knowles and Wilcock of Bradford for Thomas Garnett, a wool merchant. The commission was down to personal connections as Garnett was the cousin of the Rev. Charles Beanlands, curate of St. Michaels, Brighton, where Morris had been employed to supply stained glass. The glass is located in the mullioned and transomed staircase window. The upper tier depicts Chaucer and four good women, Dorigen, Griselda, Cresside and Constance. In the lower tier are St. George and the Four Seasons. The designs were by Morris and Burne-Jones. Thicker glass and leads are employed here and produce an aesthetically pleasing result. The firm received a further commission for stained glass in Bradford in1864-1865, possibly again owing to Aldham Heaton’s enthusiasm for the firm. This was for a small scale Christ in Majesty for St. Paul’s’ church, Manningham, a memorial window to G. W. Wilson. Christ is shown in Majesty, above St. Michael, with angels to the side. The designs seem to have been by Burne-Jones. The window is a low key, but evocative piece.

The Morris firm continued with richer, brighter coloured pot metals. Backgrounds became increasingly overall, with leaf, flower and fruit patterns, although architectural backgrounds continued to be used. After 1875, Burne-Jones was the sole figure designer, with Morris as studio master, colourist and provider of backgrounds.

The firm reached a crisis in 1875. Despite the fact that the firm was expanding its stained glass production and achieving great artistic and commercial success, Morris had become increasingly exasperated that while he was artistic director, marketed the firm, and ran it, the other shareholders, in his view, gained a significant and unfair share of the profits. The other shareholders only contribution was designs for which they were paid separately. Additionally, there was less reason for a continuing flow of new designs, as, these could be re-used as they had been in the Middle Ages, with variations in colour and backgrounds. Burne-Jones had developed great expertise as a designer of figures for stained glass, an expertise that continued to grow creatively, as evidenced by the Birmingham Cathedral windows (1885-1888), and the Hawarden memorial window to Gladstone (1898.)

A number of designers had dropped out or been dropped in the early 1870s. These included Albert Moore, Val Prinsep, Simeon Solomon and Arthur Hughes. Matters came to a head in 1874-1875. Morris decided to re-constitute the firm, and buy out the other partners. This became an acrimonious dispute, as some of the partners, particularly Rossetti, no doubt fuelled by the tensions he felt over his affair with Jane Morris, felt they were entitled to a considerable settlement. Morris did not agree, rightly thinking that the firm`s success was in large part down to his creativity, and business and marketing skills. He was the significant capital investor, and had risked his capital and his mother’s in the firm. The dissolution of the firm in March 1875 was acrimonious. Morris agreed to pay £1000 each compensation to Rossetti, F.M. Brown and P.P. Marshall. Burne-Jones and Faulkner waived their claims, as did Philip Webb, who also did not claim outstanding salary payments. On March 31st. 1875, it was announced that the company of Morris, Marshall, Faulkner and Company was dissolved. On 1st. April, a new firm, Morris and Company, was launched, with Morris as sole proprietor, and Burne-Jones as sole stained glass designer. One strange footnote was that Rossetti demanded that his compensation should be passed to Janey Morris. Morris indicated that the money must be settled in a trust. Rossetti hit back by writing a playlet “The Death of Topsy,” which featured Morris being killed by George Wardle’s wife, (Wardle was Morris’ manager) – she was formerly Madeleine Smith and had been tried in 1857 for the murder of her lover, the verdict being not proven.

From 1870, Burne-Jones was almost exclusively the firm`s figurative designer, and sole figure designer from 1875. Morris continued to have a very significant role in the firm`s making of stained glass up until his death. This despite the fact that from the early 1870s, the firm had been manufacturing a whole range of products, including, over the years, curtains, soft furnishings, carpets, tapestries and wallpapers. In addition, Morris continued to write poetry and prose, completing “The Earthly Paradise” in 1870, “Love is Enough” in 1873 and “Sigurd the Volsung” (1877), as well as much translation work from Icelandic. He devoted a great deal of time and effort to the Eastern Question Association,

Later 19th century

From the 1870s on into the early 20th Century, the Morris Company was to have an almost dominant role in the fashionable interior design trade. The continuing growth and increasing wealth of the middle classes in the late 19th Century provided an ideal market for the Morris firm. It became in some ways the Habitat or John Lewis of its day, with decorative interiors and furnishings, which provided a total look. Gone was mid-Victorian clutter, strong coloured and busy wall coverings and heavy revivalist style furniture, to be replaced by plain pastel painted walls, minimalist plain panelling and skirtings, flower and leaf patterned wallpapers and curtains. Morris carpets were simpler in design than most other Victorian carpets. He was great enthusiast for plain floor boarding, with rugs. The firm supplied clean lined functional furniture, with it roots in English tradition of country furniture. The Arts and Crafts movement interior decoration and furnishings were much influenced by the Morris firm`s style, and happily integrated into it visually, as, later, so did Liberty’s ranges of furnishings. Morris and Company did produce stained glass for secular buildings, but almost all of the firm`s stained glass production was ecclesiastical. However, the firm`s success in other fields raised its profile and ensured its financial stability.

During the 1870s, Morris and Burne-Jones became increasing dissatisfied with quarry glass leaded in lozenges as backgrounds. The result was that more complex backgrounds were used. Morris developed five types of foliage background. These were: - open foliage with winding stems, rose hedge, Gothic tree, scrolled foliage, and dense foliage with flowers and fruit. The winding stems background seems to have been developed for the Scholars window in the Great Hall at Peterhouse College, Cambridge (1870-1871), the figures being designed by F.M.Brown, and the background by Morris. This background design was used again at St. Peters, Bramley, Leeds in 1875. Morris had to strike a balance as to how naturalistic and how formalised backgrounds should be. He varied his approach, depending on the subject matter and context. The rose hedge pattern was naturalistic and the Gothic tree background more formal. The earliest example of the dense floral/foliate background is at the Old West Kirk, now North Church, Greenock, Renfrewshire (1866-1867), and the first example of the rose hedge is at St. Johns, Dalton, near Thirsk, Yorkshire (1868). These dense patterns were a particular feature after 1870, although the rose hedges were little used after 1880. The Gothic tree motif was introduced after 1875. It was based on the Medieval Jesse tree, and showed the descent of Christ from King Jesse, and continued in use. Scrolled foliage with C and S scrolls became increasingly popular with Morris. The firm also used landscape backgrounds with hills, distant towns and villages, and big blue skies. Quarry backgrounds in lozenges continued to be used. More will be said about the various backgrounds in the Gazetteer.

From the early 1870s, the firm tended to repeat figure designs held in stock more frequently, although it must be said they were employed in different manners and colours. Repeated designs in different locations in Yorkshire can be seen in the figure panels at Mill Hill Chapel and St. Saviour, both Leeds, and St. John, Knaresborough. The firm was criticised for this practice as referred to previously by the Arts and Crafts generation of stained glass makers, particularly vigorously by Christopher Whall, the doyen of the Arts and Crafts makers. Morris and Burne-Jones did ensure that the final results were not mere copies of earlier work, through variations in colour, backgrounds and borders. Morris’ use of dark pot metals in the floral/foliate backgrounds meant that church interiors were darkened to a level that was unacceptable to both clergy and laity. Morris and Burne-Jones solved this by reversing tradition. Figures were painted on white or pale glass, so that as well as allowing good light into the church or other building, the figure panels with their back lighting became clear, prominent, and sung the theme of the window to the viewer or worshipper. Backgrounds could effectively be of darker pot metals – greens, reds, rich blues, etc., highlighting the narrative figure panels and contributing to the contrasts of light and shade that were so important in creating “numinous” or spiritual ambience in churches and chapels. An early example of this tendency was the 1873 window made by the firm for St. Chad, Rochdale, Lancashire, on the theme of “Faith, Hope and Charity”. The figure of Hope shimmers in white brilliance, very effectively contrasting with the dark foliage background.

Apart from major developments in backgrounds and Burne-Jones’ Aesthetic, ambivalent figures, Morris innovated in other ways. He created superb effects of colour, tone and texture. The rich pot metals made by Powell’s of Whitefriars facilitated this development. The use of borders round the edge of windows, which were narrow bands of glass embellished with simple stylised flower and leaf motifs, framed and integrated the figure and background panels into the church architecture.

In 1870, the firm was commissioned to design and make stained glass windows for the church of Holy Trinity at Meole Brace, near Shrewsbury. The commission was to fill the apse windows. In the central window Christ crucified and the Virgin and Child were depicted, flanked by saints. To the left of the central light is a window with figures from the Old Testament, and to the right a window showing scenes from the life of Christ. As with many windows made before 1875, the designs were produced by a variety of artists, including Morris, Burne-Jones, and notably F.M. Brown. The colours are rich, and there are small-scale figures and scenes. The designs are vivid and fresh; Brown’s contribution is notable for its vigour and power. It is located in the left apse window. It depicts Adam and Eve, the finding of Moses, Samuel and Eli, Moses and the burning bush, the building of the Temple, among other subjects. The firm continued to make stained glass for this church on a periodic basis right through until 1921, and the church is virtually filled with their glass.

A notable project developed from 1872 onwards was the making of stained glass for the chapel at Jesus College, Cambridge. The South, South transept window, with its twenty panels of the angelic hierarchy and saints is particularly striking in design and rich colours. Other windows in the chapel are notable. These include the South transept, East wall windows, the central light depicting St. Matthew, which is superbly coloured, with deep blues, pinks, golds, and greens. Likewise the window in the South transept, West wall is similarly excellent, with a central image of St. Mark, white cloaked, against a rich red background.

The firm was commissioned in 1872 by the Howard family to make windows for the chapel at Castle Howard in Yorkshire. This was a rare occasion where the firm was asked to produce stained glass for a Baroque building. The chapel was built in the early 18th century by the partnership of Sir John Vanburgh and Nicholas Hawksmoor, and by the architect Sir Thomas Robinson. It was extensively remodelled in the 1870s in a grand Victorian manner. The windows are rectangular and form part of the façade of the North wing of the house, and so could not be altered. The windows subjects are: - the Annunciation, the Nativity, the Adoration of the Magi, and the Flight into Egypt. Philip Webb was the principal designer. His solution was to place the main scenes in a painted architectural framework, with niches flanked by columns carrying imitation bronze putti, supporting an inscribed panel, and with a tiled floor. Burne-Jones designed the figures and Webb the framing. (See entry on Castle Howard).

The Vyner memorial window is in the Latin chapel at Christ Church cathedral, Oxford. The window is dedicated to the memory of Charles Vyner, a member of a North Yorkshire landowning family, who had been murdered by brigands while travelling in Greece in 1870. (He is also commemorated at the church of Christ the Consoler at Newby Hall, his family home in North Yorkshire). The Oxford window is of 1872-1873. The trademark white figures typical of this period of the firm`s existence depict Old and New Testament figures, including Samuel, David, Goliath, St. John the Evangelist and Timothy, reflecting the Christian view of the unity between the dispensations of the Old and New Testaments. The figure designs are by Burne-Jones and are dignified and fluent. This window indicates how well versed in Christian tradition, history and theology that Morris and Burne-Jones were, although the fact that by inferential evidence they were no longer Christian believers. The glass painter here was Charles Fairfax Murray. Probably the firm’s finest.

Burne-Jones` designs continued to evolve. This can be seen in the Rivers of Paradise window at All Hallows, Allerton, Liverpool of 1875-1876. The church was commissioned by John Bibby, a rich animal feeds manufacturer and merchant in memory of his wife, and it is built in a monumental Perpendicular style. Most of stained glass in the church is by the Morris firm. The most notable is the East window. This was designed by Burne-Jones and has delicate colouring by Morris. The main subject is the Adoration of the Lamb; Burne-Jones source here was the work by the Ghent medieval Flemish painter Jan van Eyck. The background is of idyllic landscape with sky above, and the whole window has become virtually one scene, the scene flowing over all the lights. This pictorial element was to become a dominant element in Burne-Jones designs for the rest of the 19th century. The church of St. Peter, Bramley, Leeds, has in the North wall, North transept, a Seven Acts of Mercy with a similar background. St. Cuthbert, Lytham, Lancs., has a spectacular Transfiguration (1875), designed by Burne-Jones. The upper lights depict Moses, Christ with Elias, with below St. Peter, St. John the Evangelist, and St. James. The colours are rich and vibrant, Moses’ robe being of deep blue, Elias’ is in green and purple, and Christ is in a brilliant white robe with gold embellishments.

Morris designed a window for his old school Marlborough College, Wilts. in 1877. The window is located on the North side of the chapel. It depicts Samuel and Eli, and Timothy, and versions of Burne-Jones designs for the Vyner window in Christ Church cathedral, Oxford, depicting Faith, Hope and Charity The predominant colours are gold, green and yellow. The result is striking and poetic. The artistic achievement is, perhaps, more remarkable, in the Morris had not had a happy time at Marlborough, and so his views on the school were mixed. He withdrew after a riot in 1851 (Burne-Jones son Philip attended, again with mixed results).

One of the firm`s most remarkable windows, which brought together its vision, design creativity, technical expertise and ability to provide stained glass that was to its context appropriate, was the commission to make the East window for St. Mary, Tadcaster, Yorkshire, completed in 1879. The church dates from the late 14th early 15th centuries and in style is a dignified balanced Perpendicular. In 1875-77 the church was taken down and rebuilt on new foundations five feet higher, because of flooding. The Morris company had sent out a circular in 1877, saying that they would no longer supply stained glass to medieval buildings, unless they already had Morris stained glass or were not “monuments of ancient art.” The Tadcaster widow, installed in 1879, must have been exempted from this dictat on the grounds of its major rebuilding, consequent on the Wharfe’s flooding, as it is a superb piece of Perpendicular architecture. The Tadcaster window is on the theme of Christ as Salvator Mundi (Saviour of the World). It was memorial to the wife of a local landowner, Alfred Harris of Oxton Hall. It consists of fifteen lights in three tiers. The designs are by Morris and Burne-Jones, and had been designed years earlier and had been used in other churches from the 1860s. It has to be again emphasised that the same figure designs could effectively be repeatedly used, as was the medieval precedent, in infinite varieties, varying colours and backgrounds. (See gazetteer).

One of Morris` greatest talents as a stained glass designer was to marry naturalism with the necessary abstraction to make stained windows work as flat abstract images, with no unnecessary perspective. Lit from behind the figures and backgrounds merge into a mosaic of colour and pattern, but the subject matter is accessible. The colour harmonies of the window, with its reds, blues and greens in the pot metals, and the use of yellow stain, are very effective. So is the use of white figures against dark backgrounds, making the window coherent and permitting light into the church. Morris` noted skill in coordinating colours is very evident. The backgrounds are one of Morris` particular achievements. This window demonstrates Morris at the height of his powers. Burne- Jones developing Aesthetic style, with its ethereal, somewhat sexless, otherworldly figures introduces a new dynamic to the firm`s stained glass making.

The 1870s had seen the disappearance of the firm as originally constituted. Morris had taken sole charge, and introduced a whole new range of interior design, including carpets, tapestries, wallpapers, furniture and curtains. The firm had become a huge commercial success and a trendsetter for middle class life styles, through Morris` s artistic vision, and his organisation and marketing skills. He and Burne-Jones had developed a whole new style of stained glass, which while rooted in the medieval past and the earlier 19th century revivals was dynamic and forward-looking. Morris glass was dramatic and poetic, with fine figures and rich and innovative backgrounds, which contributed greatly to producing numinous in churches and an ambience of holiness. Both men were at the time involved in or recovering from emotion traumas, Morris from Janey’s affairs with Rossetti and Wilfred Scawen Blunt, and Burne-Jones was involved in his long running affair with sculptress Mary Zambuco, which caused much distress in the Burne-Jones family. Whether these situations helped or hindered the two’s great achievements in stained glass is lost in the past.

The 1880s and 1890s

During this period the firm continued to develop. It has been suggested that it was less creative and significant than in its earlier history. Certainly it was not as radical and innovative as it had been, but continued to produce high quality stained glass and innovated. Morris continued to be artistic director, devoting much time to the firm, and in particular making innovations in the backgrounds, Burne-Jones continuing as the sole figure designer. The firm continued to recruit and train new designers and glass painters, who were to take the firm on into the 20th century, such as George Campfield, and John Henry Dearle.

Morris’ life changed greatly in the 1880s, in that his enthusiasm for new ideas and initiatives took him into the world of politics. He had been a leading member of the Eastern Question Association (a pressure group set up to protect Christian residents of the Ottoman empire in the Balkans from persecution) since1876. Morris was much excited by political developments in England and Europe in the 1880s. He had, from his university days, been of a radical tendency in his politics, although this had been a background matter. In the early 1880s Morris came to an emotional and spiritual crisis. His marriage had ceased to be an emotional relationship, this being partly as a result of his own nature, but also because of Janey’s affairs with Rossetti and subsequently with the poet and landowner Wilfred Scawen Blunt. He continued to doubt the value of his artistic work. Also, his beloved daughter Jenny’s epilepsy, which had developed in 1877, was deeply distressing to him.

Socialism in England developed greatly in the 1880s and 90s. In 1881 H.M. Hyndman, a wealthy lawyer and journalist, founded the Democratic Federation. He has read Karl Marx’s Capital in 1880 and converted to Marxism. He founded the Democratic Federation in 1881, and wrote a Marxist treatise “England for All”. The Federation incorporated both Middle and Working class members. Morris was reading widely of English radical literature, such as Sir Thomas More’s “Utopia”, Robert Owen, the founder of model communities, John Ruskin, and Thomas Carlyle. He was much enthused by Russian revolutionary writing of the period. On January 17th 1883, he joined the Democratic Federation. He was enthusiastically welcomed because of his reputation as an artist, designer and poet. He had a high profile reputation in Britain and Europe. He was soon elected treasurer of the Federation. Immersed in the Federation, he travelled all over Britain giving speeches to large crowds on Socialism and the Federation. He also made designs, and wrote poetry for it, and contributing articles for its journal “Justice”. All this meant that he was soon taking a less active role in the firm. In addition, he continued to spend much time on writing, particularly poetry and translations. He continued to design carpets and tapestries and other textiles, an activity begun in the 1870s. All this meant that his role in the stained glass studios diminished, although he continued to be artistic director, but less directly involved than he had been in the past. The firm’s move into producing textiles, and in particular, carpets, absorbed much time. From 1891, Morris developed the Kelmscott Press, which produced high quality printing of classic prose and poetry from the past, and this again, took up much of his time and energy.

The firm had accumulated a considerable stock of designs, which could be re-used with variations in size and backgrounds and could be reversed. Stained glass did not require a new cartoon for each window, essentially being an art form that, because of the above factors, could produce many variations on one figure design. Burne-Jones was at his busiest as a painter at this period, and the stained glass designing that he did took place at night, as this, unlike painting, did not require daylight. From the middle 1870s, he had increasingly used photographic enlargements of small sketch designs as the basis for full size cartoons, which he then finished. There was also an increasing use of floral/foliate backgrounds in windows, although this was never universal. These were designed by Morris himself, and these dense patterns have been seen as a particular characteristic of the Morris Company, but their use was never universal. They combined naturalistic foliage with a level of stylisation appropriate to the two-dimensional abstractions required for stained glass. This balance was one of Morris’ singular contributions to the art of stained glass. However, there were disadvantages in that the dense foliage backgrounds and the increasingly deep colours reduced the amount of light in the churches and other buildings where these windows were placed. By the 1880s, most of the background designs were being designed by the firm’s glass painters.

Despite the lesser involvement of Morris and Burne-Jones in the stained glass studio, much excellent work was produced in the 1880s and 90s. Where new designs were produced by Burne-Jones the new artistic influences on him that can be seen in his paintings are evident. These were the paintings of the Renaissance masters Botticelli and Michelangelo. Botticelli’s influence resulted in sweet and warm figures, and that of Michelangelo in monumental figures.

Notable examples of the firm’s floral/foliate backgrounds from the 1880s and 90s are as follows: the Faith, Hope and Charity window at St Martin’s, Brampton, Cumberland, has a fine dense background, and the scale of the windows, together with the fact that the figure panels have much white glass in them means that they are not overwhelmed by the background, and that, together with the quarry glass above and below the main panels means that ample light is let into the church. The Quest for the Sangrael panels now in the Victoria and Albert Museum has dense flower and leaf backgrounds. The finely drawn flowers and leaves harmonise with the medievalising figures. These panels demonstrate not only Morris’ subtle use of colour but also his ability to integrate figures and background and to evoke Victorian medievalism. A lighter touch can be seen in the simple leaf motifs that form the background to the James Halliburton window in Dundee Council Chambers. The East window at St Margaret’s, Rottingdean, Sussex, of 1895, depicting St Margaret and angels is back to more dense foliage backgrounds, with subtle, naturalistic leaf patterns, probably with a more direct input from Morris himself, as Rottingdean was the site of Burne-Jones’ holiday home.

Burne-Jones’ continuing evolution as an artist was to have a considerable impact on his designs for the firm. His enthusiasm for the works of Michelangelo resulted in him producing massive monumental figurines in his stained glass designs. He also produced designs in which there is a sense of recession and shadow, which A C Sewter in his “The Stained glass of William Morris and his Circle” criticised, probably rightly, for being inappropriate to a two dimensional art form, which is back lit. He termed this phase of the firm’s work “pictorialism” as he felt that the technique was more appropriate for oil painting on canvas.

These developments can be seen in the series of windows produced by the firm, and designed by Burne-Jones for All Hallows, Allerton, Liverpool, in the 1880s. Here the pictorial images occupy a number of lights, and the main image runs over those lights, ignoring the architectural setting of the window. A characteristic of the firm had been producing windows, which fitted into the architecture and told the narrative through separate but related lights. This pictorial approach can be particularly seen at Allerton in the windows depicting the Crucifixion and the Resurrection of 1885. The Allerton windows are characterised by backgrounds of blocks of coloured glass producing a “scaling” or crazy paving effect, which were to increasingly feature in the firms’ backgrounds for the rest of its history.

During the 1880s, while Morris and Burne-Jones continued to have a directing role in the firm’s making of stained glass, they, for the different reasons, Morris’ involvement in other types of decorative art and politics and Burne-Jones burgeoning painting practice, they had less direct involvement in the day to day running of the studio. Their role in design and supervision was increasingly taken by the glass painters and other members of the firm, including Charles Fairfax Murray, Thomas Matthew Rooke, George Campfield, foreman of the glass painters, George Wardle, H C Marillier, last managing director of the form, J H Dearle, Bowman and Pozzi and the Smith brothers, Frank and Robert, who had been employed in 1877 to mange the shop opened in Oxford Street and the retail aspects of Queen Square. After the move to Merton Abbey all of the retail was centred at Oxford Street. The Smith brothers became partners in the firm in 1891. These people in their turn were to keep the firm functioning into the first half of the 20th century.

It would not be correct to say that the firm produced no high quality windows in the 1880s and 90s. Burne-Jones designed a stunning “Ascension of Christ” in the East window of St Philip’s cathedral, Birmingham, his native city. The figures are in two tiers, with Christ flanked by angels above the Virgin and apostles below. The figures are monumental, reflecting Burne-Jones enthusiasm for Michelangelo, and the colours are deep and rich, blue, pink, dark green. The monumental design and other companion windows by Burne-Jones fit in well with the cathedral’s Baroque architecture, and the overall design in this context works excellently. The window has above it a Burne-Jones Crucifixion, and there is a Last Judgement in the West window. The whole is a remarkable ensemble, although the chancel windows have been criticised for being too dark.

Following the death of Morris in 1896, Burne-Jones took over as studio director, until his own death in 1898. In this brief period he rapidly became aware of the responsibilities and challenge of this role, and realised how much the firm had depended on not only Morris’ artistic abilities, but also on his organisational and management skills. He continued to make new designs, giving up the large pictorial designs, and producing single figure panels. His figures have the dreamy otherworldly ambience of his paintings in his Aesthetic style. A remarkable late work is the East window in the chapel of Manchester College, Oxford. The upper of two tiers depicts Christ as the Good Shepherd, flanked by Mary the Virgin and Mary Magdalene. The lower tier has the four Evangelists and St. Paul. The otherworldly ambience is created by the Aesthetic influence based on Fra Angelico, and with plants, foliage and scrolls. The last window that Burne-Jones designed was the memorial windows to W E Gladstone, prime minister for significant periods in the later 19th century, in St Denziels, Hawarden, Flint.

Morris, before his socialism, and Burne-Jones, before his disconnection from politics, had been enthusiastic supporters of Gladstone and friends of the family. The four light window’s subject was the Nativity with Magi and Angels (1898). The colours were rich, including the Virgin in the traditional blue, the Magi in gold, white, blue and green and the Shepherds in blue and green. The design, which was made by Burne-Jones specifically, flows through all four lights, and the mood is the ambivalence of Aestheticism, with an atmosphere of holiness. Burne-Jones supervised the making of the window closely; visiting the Merton abbey works on several occasions. Scaling leadwork is used. The window is a notable achievement.

The firm may not have made as significant a contribution to stained glass making as it had in the 1860s and 70s, but it contrived to produce high quality glass and was innovative. The firm with its many products was the interior decoration and furnishing leader of the 80s and 90s, merging into the new Arts and Crafts movement of these years. While the Arts and Crafts movement supported the concept of individual craftsmen producing work, as opposed to studios, they in general admired the Morris Company, and stylistically were considerable influenced by it. The firm was at the height of its popularity in these years, and could look to the future, although without the benefit of Morris and Burne Jones it was to lose some of its creativity and innovation.

The Morris Company in the Twentieth Century

The deaths of both Morris and Burne-Jones in 1896 and 1898 respectively, meant that the firm had lost its creative impulse. Also the firm’s style did appear to be behind the times and dated. In the 1880s and 90s, the Arts and Crafts movement was in full spate, and this very much encompassed the making of stained glass. In essence this movement moved away from the studio tradition of Morris and his contemporaries, where a studio master supervised different artist/craftsmen with varying expertises, from design through glass cutting, painting, leading and installation. The Arts and Crafts makers carried out all these processes, or at least closely supervised them. Probably the most notable of this group was Christopher Whall, but other notable artists were Mary Lowndes, Robert Anning Bell, John Sylvester Sparrow and Selwyn Image. These artist/craftsmen came together in various organisations such as the Century Guild (1881), the Art Workers Guild (1884), and the Arts and Exhibitions Society (1888). They all adopted a more naturalistic approach in their design, but sought to be true to the two dimensional, luminous nature of stained glass. The movement continued into the twentieth century. This century was initially to be characterised in Great Britain by a watered down version of 19th century styles. It was only later that the abstract glass that developed on the continent, under the influence of Walter Gropius and Bauhaus was to impact in England. John Piper and Patrick Reytiers were in the mid twentieth century to transform British stained glass making, producing stunning more abstract designs that relied on colour and composition rather than the figurative.

To return to the story of the Morris firm. Morris’ will appointed Janey, together with friends and colleagues of Morris, Sydney Cockerell and Frederick Ellis as trustees. Theses trustees had the option of selling the firm, or continuing in business. They went for the latter option. Frank and Robert Smith continued as Directors, and J H Dearle as manager of the Merton Abbey Works, and head designer. The firm thus continued, but by the early years of the twentieth century, the Smiths wanted to retire. The directors felt that the firm needed a new direction and impetus. They, for reasons now lost in the midst of time, approached Henry Currie Marrillier to be the prospective owner. Marillier had been born in South Africa, the son of a soldier, and had returned to England in the 1870s, and was educated at Peterhouse College, Cambridge. He became an engineer, and subsequently worked for the Swan Electronic Engraving Company in London, which produced book illustrations. This work brought him into contact with London artistic circles, including the members of the New English Art Club, (founded in 1886, a club for, and to promote new art) and designers such as Charles Shannon. He then worked for W A S Benson’s art metal firm for five years. He got to know the Morris firm and the family, as he had purchased Kelmscott House from Janey in 1897, which he shared with his successive two wives. The Smith brothers demanded a large sum for the firm. Marillier’s relatives and friends supplied considerable capital, and the Smith brothers raised capital for the firm, a condition of which was that one of the investor’s son-in-law, the Hon. Claude Lambton was one of the firm’s directors. In 1905, a private limited company, Morris & Co. Decorators Ltd. was formed. The first board of directors was Marillier, as Managing Director, John Withers, Company Secretary, Dearle, Artistic Director, Lambton, the Smiths and W A S Benson. The new firm soon ran into difficulties. The firm’s products had been highly fashionable in the 1880s and 90s, and had been guided by the creative genius of Morris and Burne-Jones. By the 1900s the firms designs and products were not to the taste of London society, or the firm’s national and international clientele, although this did not stop Marillier and his fellow directors from endeavouring to capitalise on Morris’ name.

The firm continued to make stained glass, Dearle producing excellent designs. Woven textiles were modifications of Morris’ own designs, and wallpaper designs were used for printed cotton. Wallpapers were made with dark grounds in the Edwardian fashion. The firm developed its furniture range, producing a wide range of different styles, the Edwardian period was characterised by stylistic eclecticism, which ranged from traditional oak through Rococo to Neo-classicism. These innovations produced a great increase in business. They obtained a commission to provide thrones and altar cloths for the coronation of King George V and Queen Mary in 1911. In the same year, they were commissioned to make chairs for the investiture of the Prince of Wales. Marillier had a particular enthusiasm for tapestry, and was to become a noted tapestry historian. He set up a tapestry restoration studio, using skilled French women. The firm was then asked to maintain the tapestry collection at Hampton Court by the Government Office of Works. During the Great War of 1914-1918, the firm virtually closed down, and Marillier joined the Royal Navy. The furniture department, however became a very profitable propeller works. In 1917, the shop moved into fashionable premises in Hanover Square. The new shop offered, beyond the full range of Morris goods, services such as fabric cleaning, and started selling antique furniture, which was very popular at this time. The firm came back to full life in the 1920s, under the management of Marillier, the Smith brothers having retired in 1920. The firm’s floral chintzes gained a renewed popularity. In November 1925, the firm was re-named, becoming Morris & Co. Art Works Limited. The product range expanded again, Powell’s of Whitefriars vessel glass being introduced, as was bought in Studio pottery and wrought ironwork.

Throughout this period, the firm continued to make stained glass, the studio being supervised by John Henry Dearle. He had joined the firm in 1879 as a glass painter. He designed stained glass backgrounds, and carried out a similar function in the firm’s tapestry department. By the middle 1890s, he was designing figure panels. He designed very much in the manner of Burne-Jones, although he was an imitator rather than a creator. He introduced an element of sentiment that Morris would have deplored. He developed backgrounds characterised by bare hilly landscapes, and foregrounds of wild flowers. He designed a large window for Rugby School Chapel in 1902, a Last Judgement. This had a central seated Archangel Michael, with Christ in Glory at the top, surrounded by figures arranged in concentric circles. He designed a dramatic Ascension of Christ for Troon Old Parish Church. The figure of Christ hovers above the group of Apostles and there is much use of “scaling” in the background.

Also from1881 onwards the glass painters, who painted the designs onto the actual glass, supplied designs particularly for backgrounds and tracery. These included Pozzi, Campfield, Stokes, Bowman, Brown, and W.H. Knight.

Despite his great experience as a glass painter and designer, Dearle fell into the trap of thinking that stained glass design was the same as painting on canvas. He so failed to grasp the principle that had been core to Morris and Burne-Jones’ work, namely that stained glass was essentially a two dimensional medium. Also he reverted to the styles of the late Victorian and Edwardian periods. His “Maries at the Sepulchre” of 1920, at St Stephen, Tonbridge, Kent, lacks drama, and the various scenes are not effectively linked. Dearle varied his style for the spate of memorial windows that the firm made after the Great War. He designed a war memorial window for St Bartholomew’s, Wilmslow, Cheshire in 1920. A further example is the memorial made for Temple Street Methodist chapel in Keighley in a similar mode, and derived from the firm’s design for the tapestry for Eton College of 1921. This window is now at Cliffe Castle Museum in Keighley. (See Gazetteer). There is much use of knights in medieval armour and the overall ambience is of sentimentality. He adapted Burne-Jones designs, and he and the firm took no account of the developments in stained glass design of the generation of Christopher Whall or subsequent innovations. He died in 1932, and was succeeded by W H Knight, who had worked for the firm since 1899, principally designing backgrounds. He was good draughtsman but was not original, continuing in the sub-Burne-Jones manner of Dearle. Two businessmen were engaged to revive the firm’s fortunes.

The centenary of Morris’ birth exhibition at the Victoria and Albert Museum in 1934, only briefly revived the firm’s fortunes. Marillier had a nervous breakdown in 1934, but continued until 1939, when the firm was placed in the hands of a receiver, and assets sold off. Marillier lived on to become in his later years a noted tapestry historian. The firm closed down in 1940, and the stained glass department was sold to Duncan W Dearle, son of J H Dearle. Stained glass making recommenced in 1947, but was not marked by significant achievement, and he died in 1954. Summary

The firm in the 1860s and 70s was immensely creative, taking a medieval art form and reinvigorating it. The glass of this period was revolutionary in its form and content. It took full advantage of the two dimensional nature of the medium, used lead lines to contribute to the overall design, and emphasised the medium’s luminosity. This innovative approach was down to Morris’ genius and the use of sympathetic high quality artists to design for the firm. Post 1875, and the reconstitution of the firm, design rested solely in Morris and Burne-Jones’ hands, but they were able to carry this well. The well-organised studio with its talented craftsmen was crucial to the high quality of the firm’s stained glass. The 1880s and 90s saw innovation in backgrounds and design, and despite the firm’s wide range of products, and the other interests of Morris and Burne-Jones, the glass continued to be high quality. The 20th century saw a decline in the innovation and quality, but some effective and good windows were produced. The firm made a world-class contribution to stained glass making that contributed so very much to the ambience of churches and other buildings.

GAZETTEER

All Saints, Bingley

All Saints is in the 15th century Yorkshire Perpendicular style. It has aisles, a tower, a chancel, and is built in gritstone. Like almost all medieval churches, it has been much modified over the centuries. The most extensive modifications took place around 1870, when Bradford architectural practice T H and F Healey restored the aisles, the South chapel and the East window. At the same time the notable Victorian architect Norman Shaw (1831-1912) carried out extensive restoration to the North chapel. The involvement of Shaw is significant, and is explained by the fact that John Aldham Heaton, a textile manufacturer who turned to interior decoration, and the Bradford banker Alfred Harris, who were friends and patrons of the Pre-Raphaelite circle, lived in the locality. Heaton commissioned stained glass for Woodbank, a house dating from various periods owned by the long established landowning family the Ferrands that he tenanted between 1870 and 1876. These were designed by Rossetti, who was also part of Heaton’s circle – the present location of this glass is not known. Walter Dunlop, a textile magnate, who lived at nearby Harden Grange was part of this circle and commissioned the Morris “Tristan and Isoude” series (see Bradford Art Galleries and Museums entries on the Harden Grange glass). The window is at the East end of the North chapel. It is from a design by Burne-Jones, and was made in 1874, and depicts 3 angels with long trumpets. The angels are painted on white glass with iron oxide (black/brown) and their cloaks are richly decorated with nitrate yellow motifs. The angel wings (left to right) are pink, blue and red, and the tracery lights have stylised foliate motifs. The window is dedicated to the children of the Busfield family and relatives who died in infancy. A similar window, from the same design was made for St. Edward the Confessor at Cheddleton, Staffordshire in1869. The window is obscured by the organ. The windows are a fine example of the angel figures designed by Burne-Jones that were such a feature of the firm’s stained glass throughout its existence. There is other stained glass in the church. notably the East window of 1890 made by Powell and Sons from a design by Henry Holiday, and the West window by Kempe and Co. There are a considerable number of wall memorial tablets from a variety of periods. There is a fine sarcophagus designed by Joseph Gott, with a figure of Hope.

Harden Grange, Bingley

See Bradford Art Galleries and Museums

Holy Trinity, Bingley

This Norman Shaw church was demolished in 1974. It had an East window, the upper part of which depicts the Crucifixion, designed by Burne-Jones and the lower Abraham and Isaac, by Rossetti. The Crucifixion was relocated in the new Holy Trinity and the Abraham and Isaac to Bradford Art Galleries and Museums, and at the present time is displayed at Cliffe Castle Museum, Keighley (see entry on Bradford Art Galleries and Museums). The new Holy Trinity is in a 1970s Modernist utilitarian style, and the Crucifixion is displayed cased and backlit with electric lights. This Burne-Jones design was much used by the firm. Another version of it can be seen at St. Martin-on-the-Hill, at Scarborough. Christ is depicted as a suffering dignified figure with mourners. The figure of Christ is on white glass, painted with brown iron oxide and nitrate yellow. Background of green glass quarries.

Oakwood Hall, Bingley

Located on the slopes to the East of the town centre, the hall was built in 1864 for the textile merchant Thomas Garnett. The house is in a plain Gothic style, and was designed by the Bradford architectural practice Knowles and Willcock. In addition to the Morris stained glass, the house has a superb chimneypiece designed by William Burges (1827-81), the noted Gothic Revival architect, who specialised in the revival of 13th century architecture. Burges and the Morris company both obtained their commissions through Garnett’s cousin the Rev. Charles Beanlands of St Michael’s, Brighton, where both Morris and Burges had worked. The chimneypiece has a prominent overmantel with a large imp figure holding a bracket. Burges is reputed to have designed furniture and a large chimneypiece for the house, but these have vanished.

The Morris stained glass is located in the mullioned staircase window. This is divided into 3 tiers of 5 lights each, and date from 1865. The top tier depicts Chaucer and 4 good women. They are taken from designs by Burne-Jones. They are set in roundels and read from left to right: -

Dorigen, Griselda, Chaucer, Cresside, and Constance

The figures are finely drawn, and show Burne-Jones early facility in the art of designing for stained glass.

The middle tier depicts: -

Spring, Summer, St. George, Autumn, and Winter. St. George is from a design by Burne-Jones, all the others are from designs by Morris. These are some of the best of Morris` figure designs, an area of work that he struggled with. St. George is depicted in nitrate yellow armour. Spring is depicted in white, summer in nitrate yellow, autumn likewise and winter in brown/purple.

The bottom tier is filled with green glass quarries.

These windows show the early accomplishments of the firm in terms of technique and artistic achievement with well-designed figures. The glass is thin and pale in colour compared with the firm’s later work. The colours include brown and purple, and there is much use of nitrate yellow.

All Saints, Bolton Percy

All Saints was consecrated in 1424, its building been paid for by the late rector. It is in a bold Perpendicular style, and is built in the local brilliant white magnesian limestone. The church has a large West tower, lancet windows, arcades and a fine 5 light East window with surviving fragments of medieval stained glass. Inside it has a spacious air, a tall and wide chancel, and surviving medieval stalls.

The Morris stained glass is situated in the North aisle, Northern wall, Easternmost window, and dates from 1909. The central light has a figure of Charity, from a Burne-Jones design, initially made in the 1860s. The side- lights depict angels with long trumpets, a much re-used Burne-Jones design from the 1860s. There is much use of nitrate yellow stain, and the background is blue. The upper lights are filled with architectural canopies, which link with earlier similar work in the other widows. This is an example of Morris and the firm’s determination to make their glass fit into its context. The window bears the inscription: -

“To the Glory of God and in affectionate Remembrance of Sophia daughter of the late Alfred Harris of Oxton Hall who died 24th of July 1906. Her nephews and niece dedicate this window.”

Alfred Harris was a local landowner whose family had connections with the Bradford textile trade.

The entry in the Catalogue of Designs for March 1909 records that the angel in the left hand light is by Bowman, that in the right hand light by Titcomb, the Charity in the central light being painted by Stokes. The canopy was drawn by Knight and painted by Watson, who was also responsible for the inscription. The window is of high quality, and fits into its context, although it is a further example of the firm breaking Morris’ principle of not placing modern stained glass in ancient churches, a principle not always adhered to in his lifetime. The church also has stained glass by Charles Eamer Kempe. The parish commissioned a Millennium window from the artist Tom Denny, which is concerned with spirituality and water, relating to nearby rivers, which is a fine addition to this lovely church.

Bradford Art Galleries and Museums – Holy Trinity, Bingley

Holy Trinity was designed by Norman Shaw (1831-1912), built in 1870-71, and was a notable example of his early Gothic Revival style. It was demolished in 1974. The East window of 1873 had an upper panel by Burne-Jones depicting the Crucifixion and the lower by Rossetti depicted Abraham and Isaac. The Crucifixion was transferred to the new All Saints, (see entry on new All Saints) and the Abraham and Isaac to Bradford Art Galleries and Museums, and is at the present time displayed at Cliffe Castle Museum, Keighley.

The Abraham and Isaac panel by Rossetti has a tightly conceived figure group, with Abraham at the centre, turning to sacrifice his son, knife in his right hand. Isaac, bound, kneels on a stone altar, and a winged angel stays Abraham’s hand. The angel has finely painted blond hair (nitrate yellow), and a patterned robe trailing behind him. Abraham’s robe is richly patterned. Below is a ram, caught in a thicket. The colours are rich – reds, blues and greens. The whole is characterised by violent action. The design is set in green leaf quarries.

Bradford Art Galleries and Museums

Bradford Art Galleries and Museums have a fine collection of 19th century stained glass. Arguably the finest part of the collection is: -

The Morris and Co. Tristan and Isoude windows

These were made for Harden Grange in 1862. The Grange was built for the local landowner W.B. Ferrand, a member of a long established family about 1859. The house was let to John Dunlop, a Scottish born textile entrepreneur, who was part of the Bingley Pre-Raphaelite circle. He commissioned the Morris Company to make series of stained glass panels for the entrance hall. Dunlop’s commission resulted in 13 panels, with designs being supplied by most of the leading Pre-Raphaelite artists, namely: -

Ford Madox Brown, Burne-Jones, Arthur Hughes, Morris, Rossetti and Val Prinsep.

The subject was the story of Tristram and Isoude, the medieval star-crossed lovers, as recounted in Sir Thomas Malory’s “Morte d’Arthur.” This medieval tale reflected the harshness and brutality of life in the middle Ages, as compared to the more sentimental nature of Alfred, Lord Tennyson’s poetry on medieval subjects. Morris and his friends became obsessed with Malory’s work, correctly seeing it as a piece of authentic medieval culture. The firm produced 13 panels, which did not so much tell the story as illustrate incidents from it. The medieval story in essence is that Tristram after marrying Isoude les Blanches Mains, drank a love potion intended to make him love her, but the first person he saw was La Belle Isoude (confusing bearing the same Christian name as her rival). He consequently fell in love with her. There is much feuding among the protagonists and ultimately Tristram is killed by King Mark of Cornwall, who desired Isoude and her property. Isoude dies of a broken heart. The panels were a notable, even revolutionary, achievement it terms of 19th century stained glass with dramatic designs created by the artists and the Morris studio’s re-inventing and developing of medieval stained glass techniques, and set the tone for the firm’s future development. The panels were also rare in the firm’s production in that they were of a secular subject, the great majority of the firm’s stained glass being for churches.

Panel 1 in the sequence is: -

The Birth of Tristram

This was from a design by Arthur Hughes (1832-1915). The inscription reads: -

“How the father of Sir Tristan de Lyonesse was slain in battle and how his mother fled into the wild woods – there was Sir Tristan born and there his mother died.”

The panel depicts Tristan’s mother raising herself from her deathbed to look at the infant Tristan, who is held by a nurse, standing left and behind her. The background is of green glass with leaf motifs, designed by Morris, and is a form he developed, and which the firm repeatedly re-used. Colours are red, blue and green, with iron oxide brown and nitrate yellow stains. These are used in all the panels.

Panel 2 is: -

The Fight between Sir Tristram and Sir Marhaus

The design is by Rossetti, and the inscription reads: -

“How Sir Tristan fought with Sir Marhaus the King’s son of Ireland and how Sir Tristan wounded him sore; of which wound Sir Marhaus died.”

The 2 fighting figures are a tightly knit group in the centre of the panel, their swords forming a diagonal cross. The 2 figures colouring contrasts. The knights 2 horses, right and back, are depicted plunging in fright. Colours are predominantly reds and greens. The background is of leaves and trees.

The Departure of Tristram and La Belle Isoude from Ireland

The inscription is: -

“How Sir Tristan demanded La Belle Isoude daughter of King Anguisshe of Ireland for his uncle King Mark: and how he set sail to carry Isoude into Cornwall.”

The panel shows Tristram and Isoude saying farewell to her father. Tristram in the centre is flanked by Anguisshe and Isoude. The panel is influenced, like all Morris stained glass by medieval precedents, but the background of sea, wall, ship and rising sun owes much to oil painting techniques, which is not remarkable in that the design was by Val Prinsep, a very notable painter, and member of one of the leading families of London’s artistic intelligentsia.

Tristram and La Belle Isoude drink the love potion

The inscription reads: -

“How, as they sailed to Cornwall, they saw on a day the flasket wherein was the love-filtre which the Queen of Ireland was sending by the hand of Dame Branguaine for Isoude to drink with King Mark and how Tristram drank it with her, both unwitting and how they loved each other ever after.”

This panel was designed by Rossetti. It depicts Tristram drinking the love potion with La Belle Isoude in the presence of Cupid. Tristram is shown in the stance of a communicant, leaning over a table, his hand linked with Isoude, and drinking with her. Cupid, winged and with a bow looks down on them. Tristram wears a white robe, and Isoude a green one, with a flowered bodice, and a wimple. In the background is the ship’s interior with decorated furniture and pewter, and beyond the ship’s rigging and the sea. Colours include red, blue and green. The scene, like much of Rossetti’s stained glass work, combines balance with great drama. The scene is filled with the spirit of the Victorians’ enthusiasm for the past and their empathy for Arthurian legend.

The Marriage of Tristram and Isoude les Blanches Mains

The inscription reads: -

“How Sir Tristram was banished by King Mark and how he came into Brittany and did many great deeds for King Howell of Brittany, who gave him to wife his daughter Isoude les Blanches Mains.”

This panel is from a design by Burne-Jones. It depicts the marriage of Tristram and Isoude les Blanches Mains. Tristram is at the left in a finely painted green robe, Isoude, at the right, is in white, her robe having finely painted shading. The central figure conducting the ceremony has red robes and a bishop’s mitre. This central group of figures is flanked by King Mark and his queen to the left, and by a lady-in-waiting to the right. The group stands on a green tiled floor, the background being red and green draperies. Colours are green, red and blue.

Burne-Jones was the major figure designer for the firm’s stained glass from its inception and the sole figure designer after1875. His figure designs have a dreamy, ethereal and otherworldly quality about them that also characterises his later work as a painter. It is essentially soft-edged Pre-Raphaelitism, and is very much of the later 19th century Aesthetic movement. Here this style effectively conveys a romantic sense of the past, and the mind-set of the Victorian view of the middle ages and in particular of the Arthurian legends. Images by Burne-Jones were to become a leitmotif of the firm’s stained glass throughout its existence.

The Madness of Tristram

The inscription reads: -

“How Sir Tristram fled into the wild woods and there lost his wit because he might not see Isoude and how a lady brought him his harp wherein he played to the herdsmen who mocked him yet whiles they brought him victual.”

The panel, from a design by Burne-Jones, shows Tristram harping to herdsmen in the wilds. Tristram is the central figure playing a harp, in rustic clothes, to the right are 3 herdsmen with leering faces, and to the left is the lady, who has given him the harp. Burne-Jones’ design draws the figures into a tightly knit group. The background shows trees, a castle, the sun breaking, and leaves and flowers. This was designed by Morris, and anticipates the leafy and landscape backgrounds that were to become characteristic of the firm in later years. Colours are greens, reds and blues.

The Attempted suicide of La Belle Isoude

The inscription reads: -

“How Sir Tristram being returned from Brittany into Cornwall, fled again thence and how La Belle Isoude would have slain herself for his sake with the sword had not King Mark been.”

The panel depicts La Belle Isoude and King Mark in a garden, the King restraining Isoude. The latter is wearing a white gown, embellished with nitrate yellow floral motifs, and her crown has tumbled into the grass. King Mark has a red robe and a nitrate yellow chain across his chest. The treatment of Isoude’s face, with its ambivalence and other worldliness, foreshadows the treatment of female faces that was to become characteristic of Burne-Jones. The background has foliate forms that were to become typical of the firm’s stained glass. Other background features include a drinking fountain and a heraldic shield. Colours are greens, red and blue.

The Recognition of Tristram by La Belle Isoude

The inscription reads: -

“How Sir Tristram slew a giant who would have slain King Mark and how King Mark not knowing him brought him to Tintagel and how he got his wit again and how Isoude knew him again by cause of the bracket which Tristram had given her which leaped upon him and licked him.”

This is another Burne-Jones design, and depicts the recognition. To the left, Tristram is lying against a wall with the bracket (dog) licking his face. The central figure is Isoude, who leans towards Tristram in a gesture of surprise. The crowned figure to the right (Mark) has a robe decorated with trellis pattern. The background depicts a walled garden with trees and lilies. Colours are greens, reds and blue.

Tristram and La Belle Isoude at the Court of King Arthur

The inscription reads: -

“How Sir Tristram being known of King Mark fled from Cornwall and came to King Arthur’s court and how afterwards brought Isoude there where they lived for long with great joy.”

This panel was designed by Morris. It depicts King Arthur’s court in a garden. The figure group includes King Arthur, Tristram, Isoude, a harpist and a courtly lady. The composition has a static quality, as compared to the drama of other panels. Isoude’s robe is finely painted, and Tristram’s clothing and ornaments are in nitrate yellow. The background includes trees, grass, flowers and walls. Colours include greens, red and blue. The panel has an arched head, which relates to its original position in Harden Grange.

The Death of Tristram

The inscription is: -

“How Sir Tristram and King Mark were made at one again by King Arthur’s means, and how nevertheless King Mark slew Sir Tristram by treachery as he sat harping to La Belle Isoude, and how Isoude died the third day after.”

This panel was designed by F.M.Brown. He was somewhat older than the other artist /designers in the group, having been born in 1821, and was well-established painter in oils already. He specialised in vigorous, dramatic, action-filled scenes. The panel shows the murder of Tristram by King Mark. Tristram lies dying comforted by Isoude, who cradles his head. Isoude is clad in red and white, and Tristram in a white flowered robe with much use of nitrate yellow. Above is the looming figure of King Mark, with a shafted weapon with a long curved blade. The violent action and the emotionally charged faces are typical of Brown’s work and contrast greatly with designs by other members of the group, notably Burne-Jones. The action is set on a tiled floor, in the background is a settee decorated with carved figures, with a dog sitting on it, and a green curtain. Beyond are onlookers outside an open casement. Tristram’s sword and hat hang at the upper right. Colours are again red, greens and blue. The panel has an arched head, again relating to it former location in Harden Grange.

The Tomb of Tristram and Isoude

The inscription reads: -

“How Sir Tristram and Isoude were buried together in one tomb in Cornwall. How Tristram invented all manner of words that the use in hunting and the writing of notes in music: He was a mighty and a great minstrel.”

This panel depicts the tomb and was designed by Burne-Jones. On top of the tomb are carved recumbent figures of Tristram and Isoude, which echo the earlier panels in the series. Below the tomb are flowers, grass and 2 hunting dogs. Above are angels looking down, and symbols of hunting (a horn), music (a harp), and bravery (an eagle). There is a foliage background. The whole breathes the spirit of Victorian medievalism, and the developing Aestheticism of Burne-Jones. The use of pale green glass and the fine design and painting give the whole an ethereal quality. Colours are greens, blue and red.

Queen Guenevere and Isoude Les Blanches Mains

The inscription is: -

“Domina Guenevere Conuix Arturi Regis” (Lady Guenevere, wife of King Arthur) and “Domina Isoude Les Blanches Mains” (Lady Isoude of the White Hands).

On the left of the panel, designed by Morris, Guenevere is shown as a dignified, proud and queenly figure. She wears a crown, and a white robe decorated with nitrate yellow flowers. To the right is the sorrowing figure of Isoude Les Blanches Mains, head inclined to the left, with green and white robes, below are flowers and leaves, with a background of sky and foliage. The window is divided into sections by painted tree trunks, which link the foreground and the background. Colours are greens, blue and red. One of the central themes of Arthurian legend was the affair between Guenevere and Launcelot, which led to the break-up of the Round Table, and is here enmeshed in the story of Tristram and Isoude.

King Arthur and Sir Launcelot

The inscription reads: -

“Magnus Arturus Rex Potentitissimus Angliae” (Great King Arthur most powerful of the English), and Dominus Launcelot Du Lac Euques Invictus” (Lord Launcelot of the Lake undefeated Knight).

The panel was designed by Morris. It depicts on the left Arthur as a dignified kingly figure, with a white robe, embellished with flower heads, painted with nitrate yellow. He wears a crown and has a sceptre in his right hand. To his right Launcelot is shown as a young warrior. He wears chain mail as if fully equipped for battle. The foreground is of grass and flowers. The background has an intricate pattern of branches and foliage and a band of deep blue sky. Tree trunks link the foreground and background. Colours are greens, blue and red. Again in style, mood and execution, this panel anticipates the later work of the firm.

Bradford Art Galleries and Museums

St. John and St. Matthew windows

These 2 panels were installed in St. James church, Brighouse in 1874. They were presented to Bradford Art Galleries and Museums by St. James in 1972. St. James, formerly located in Bradford Road, Brighouse, was built by Mallinson and Barber in 1870. The church had some fine Morris glass installed in the 1870s,including an East window with a Christ Blessing Children, a Crucifixion, and Sts. John and Joseph, and Nicodemus, not now traced, and also some fine C. E. Kempe windows. The St. John and the St. Matthew windows, formerly located in the chancel on the North side, were given to Bradford Art Galleries and Museums at the time of the church’s demolition in 1972.

St. John, from a design by Burne-Jones, is depicted, as was often customary, as a young man, and is furnished with his attributes. As an Evangelist, he holds a book, decorated with arabesques, and a pen. His head is turned towards his emblem, the eagle, whose out-stretched wings have finely painted nitrate yellow feathers. His robes are green, and the details of the draperies are finely drawn. A red nimbus surrounds his blond curly hair. The borders are of green glass, and are decorated with stylised trailing leaf motifs. Colours are blues, greens and red. The lower (predella) section of the window depicts the Education of the Virgin bears the inscription: -

“S. Johannes Evgista.”

The figures of the Virgin and her mother St. Anne form a tight triangular group, with St. Anne’s arm encircling the young Virgin’s head. The robes on both figures are finely painted and have flower and leaf motifs. Colours are greens, red and blue.

St. Matthew is seated amongst his attributes, an open book on his knee and a quill in his right hand, as Evangelist. One foot is raised to reveal a purse, indicating his previous occupation as a tax collector. A winged apocalyptic beast dictates to him from a scroll, over his shoulder. The borders are as in the St. John. Colours are blues and reds. The lower panel depicts the Repose on the Flight into Egypt. It bears the inscription: -

“S. Matthaus Evgista.”

The virgin is seated, wearing a pale green robe, and has a white nimbus encircling her blond hair. She holds the infant Jesus, whose nimbus is yellow and pink. Flanking this central group are 2 winged and blue robed angels, one with a garland of flowers in the hair. Borders are as for St. John, and colours are green, red and blue.

These 2 windows show the firm at its best and are typical of the 1870s. Burne-Jones can seen developing as a designer, moving into his Aesthetic mode, a style that was to become the image of the firm’s stained glass. However, the loss after 1875 of some of the firm’ most dynamic designers, notably Rossetti, Webb and F.M. Brown, meant that the firm lost a deal of its innovation and dynamism. The floral/foliate backgrounds and borders developed by Morris were aesthetically successful, combing the stylisation necessary for stained glass with naturalistic elements.

Bradford Cathedral

The parish church of St. Peter was raised to cathedral status in 1919. The church was originally built in the Yorkshire Perpendicular style in gritstone in the 15th century, but incorporating parts from the earlier Middle Ages. The West tower was added, by repute, in 1493-1508. The church was extensively restored and added to in the 19thcentury. Transepts and a vestry were added, designed by the Bradford architectural practice Mallinson and Healey. More radical, and particularly from the point of view of the conservation of the Morris stained glass in the cathedral, were the demolitions and rebuilding carried by the architect Sir Edward Maufe in 1951-65. He added 2 West wings, one on the North side housing a Song Room (1951-54), and on the South side Cathedral Offices (1956-59). Major building work at the East end was carried out in 1958-63. These included a choir, sanctuary with ambulatory, a Lady Chapel, a North chapel with a chapter house above. At the extreme east there is a 3-sided apse, and there is a lantern tower above the choir. The whole is built in a very pared down Gothic, which is at odds with, rather than being in sympathy with the building of earlier periods. Further alterations were made in 1987, which included blocking up the West ends of the aisles and the removal of the organ case from the West.

The original Morris East window of 1863 was magnificent. The window was in 3 tiers. In the top tier at the centre was a Christ in Majesty designed, in a strikingly vigorous manner, by Rossetti. Christ is crowned, holding an orb in His left hand and with His right hand raised in benediction. Above and below were 2 angels with crossed wings. The middle tier central figure was St. Peter, reflecting the cathedral’s dedication. This was designed by Peter Paul Marshall, and shows the saint in a contemplative mood, holding his chin. The central light in the bottom tier was an Agnus Dei (Lamb of God), designed by Philip Webb. These central figures were flanked by a plethora of figures from the Old and New Testaments. These were: -

Top tier (left to right): -

Anna Prophetissa – designed by Marshall.

St. Elizabeth with the boy John-the-Baptist under her robe – designed by Brown.

Mary Virgin with a lily stalk and a book in her hand - designed by Burne-Jones.

St. Mary Magdalene holding a pot – designed by Rossetti.

Martha with sleeves rolled up and carrying a jug, saucepan and ladle – designed by Rossetti.

Mary of Bethany wearing a long cloak – designed by Morris.

Middle tier (left to right)

St. John the Baptist with crossed arms, holding a cross and wearing a long hair vest – designed by Morris.

St. Matthew depicted beardless and with an angel on his left arm – designed by Brown.

St. Mark depicted turning, holding a book in his left hand and with a winged lion (his emblem) to the right – designed by Burne-Jones.

St. Luke shown turning holding up his cloak. He holds a winged bull (his emblem) to his breast – designed by Morris.

St. John the Evangelist holding a cup with a winged serpent in his right hand and his cloak in his left – designed by Brown.

3rd. tier (left to right)

Abraham with the child Isaac and holding a knife in his hand, relating to the proposed Sacrifice of Isaac – designed by Brown.

Isaac with right raised in blessing and carrying a wooden container in his left hand, wearing a fur robe – designed by Brown.

Jacob carrying a bowl – designed by Rossetti.

David – crowned and playing a harp and with a dove on his right shoulder – designed by Burne-Jones.

Solomon - crowned, with a sceptre in his left hand and right hand raised – designed by Marshall.

Joseph of Nazareth turning, cloaked, with bare feet and leaning on a staff – designed by Morris.

Bottom tier

Moses with cloak and holding commandment tablets in both hands – designed by Marshall.

Isaiah holding a scroll – designed by Morris.

Jeremiah prophet holding a scroll – designed by Morris.

Ezekiel hooded, turning, hands clasped – designed by Rossetti.

Daniel pointing upward – designed by Rossetti.

Elijah being fed by a raven on his shoulder

The window is inscribed: -

“To the Glory of God withal love, in memory of Richard Tolson late of Bradford, who entered into Rest the 23rd. of October A.D. 1847 in the 54th year of his age, this window is dedicated by Sarah Elizabeth Tolson his widow and Sarah Martha Mary Rebecca & Sophia Louisa Tolson his children in the year of Grace 1863.”

All these lights had quarry backgrounds and wide floral/foliate borders and names in diagonal bands. The tracery lights originally had angels, with harps, crowns, and palms. Colours are reds, blues and greens, although all of the firm’s early glass the colours are less rich and the glass thinner than later. The stylistic variation between the various members of the group can be see in embryo, the poetry of Burne- Jones, the vigour of Brown, the drama of Rossetti, the colour and design of Morris, etc. When Maufe remodelled the East end of the cathedral, the window was taken out, and cleaned, repaired and re-leaded by Pickett of Leeds. The original widow was divided into 3 windows, and fitted into the then newly built Lady Chapel in 1964, located in the East, South East and North East windows of the Chapel. The sequence can be followed, although some of the impact has been lost. Not all the seraphs and minstrels could be accommodated, some had deteriorated, and others were given to the Whitworth Art Gallery in Manchester.

A further Morris window was originally located in the South wall of the pre-Maufe chancel. This was originally in 2 tiers of 5 lights each, and was made in 1864. The theme was Christ as Salvator Mundi (Christ as Saviour of the World), who was depicted in the centre, the image covering both tiers. The design was unusually provided by the artist Albert Moore (1841-1893) was usually noted as a painter of languorous women, often nude, in sensual settings derived from the Classical world of ancient Greece and Rome). Christ is depicted as a dignified regal figure, holding a cross, and is Aesthetic in feel. The window’s original layout had, flanking Christ on the upper tier, figures, from left to right: -

St. Stephen designed by Burne-Jones, with a stone on his head.

St. Andrew designed by F. M. Brown – the figure is cloaked, and holds a palm.

St. James the Less, designed by Burne-Jones. The saint has a forked beard and holds a book in his left hand and a palm in his right.

St. James the Great, designed by Morris. The figure wears a pilgrim’s cap. He holds a staff in his right hand and a palm in his left.

Figures on the lower tier flanking Christ, left to right: -

St. Barnabus, designed by Morris. The figure is cloaked and holds in his left hand a palm.

St. Jude, designed by Burne-Jones. He has a staff in his left and hand a palm in his right.

Pelican on nest, symbol of the crucifixion, designed by Webb.

St. Cyprianus, designed by Morris. The saint is mitred and wears gloves. He holds a palm in his left hand and a cross in his right

St. Alban, designed by Burne-Jones. The saint wears a square cap, and holds a palm in his left hand and a sword in his right.

The window had quarry grounds, and dark borders with the names inscribed. The centre light had a patterned background. Colours are reds, blues and greens. The window was removed in 1958 to make way for the construction of the Lady Chapel. It remained in store for many years, being restored by the York Glaziers Trust in 1990, and then re-installed. The layout is not effective, some of the figure panels are set in the West windows of the transepts, and others are artificially lit in the North ambulatory.

There is other good stained glass in the cathedral, notably windows by the noted 19th century firm of Heaton, Butler and Bayne and also work by Charles Eamer Kempe. Other fine features in the cathedral are a font with a magnificent cover with a crocketed spire above tracery and buttresses, an early 18th century Royal coat of arms (these were often displayed in churches in the 18th century as a symbol of loyalty to the crown), and a fine bishop’s throne of 1935 designed by Sir Charles Nicholson. The Morris stained glass in the cathedral excellent, and is a remarkable testament to Morris and his friends to have mastered the techniques of stained glass making so soon after the inception of the firm, and to have taken the art of stained glass forward in a creative, aesthetically pleasing and spiritual manner, while mastering the principles of 2 dimensional design and realising the advantages of stained glass as a medium and its limitations.

St. Paul, Manningham, Bradford

St. Paul is located at the top of Church Street, which provided a grand approach to the church. It was built in 1846-48 by the Bradford architectural practice of Mallinson and Healey, to serve the rapidly expanding population of Manningham. The style is Early English, with a central steepled tower, aisles and transepts. The decoration is fine, and the South porch and the crossing are embellished with stiff-leaf capitals. Additions were made later in the 19th century, including the outer aisles of 1856. There were drastic changes made in 1971 to the roofs, and the aisles and transepts were partitioned off.

The Morris stained glass was originally located at the West end of the church, at the end of the North aisle. It depicts Christ in Majesty, with angels above and below, and dates from 1864. It is a smaller version of that included in the East window of Bradford Cathedral, and has the same vigour of design. The designer was Rossetti. The inscription reads: -

“In Memory of George Wilson Addison who died Jan 25 1861… erected by William Addison Esq.”

The window was moved in 1971 to the West of the South aisle, but following further re-ordering, it is now displayed in an illuminated case on the North side of the nave.

St. Peter, Bramley, Leeds

The church is situated on Hough Lane. It was built in 1861, replacing an 18th century chapel on the site. St. Peter was designed by the Leeds architectural practice of Perkin and Backhouse in the Decorated style, with transepts and chancel. The church was radically reduced in size in the 1970s. The steeple at the North West corner survives

The Morris stained glass was originally located in the North wall of the North transept, Seven Acts of Mercy, and in the North aisle Eastern-most, St. Margaret and St. Peter. The Seven Acts of Mercy of 1875 were to designs by Burne-Jones. The scenes are set in roundels. The left hand lights depict, from top to bottom: -

Clothing the Naked.

Teaching the Ignorant.

Visiting the Sick.

The right hand lights depict, from top to bottom: -

Giving Drink to the Thirsty.

Visiting Those in Prison.

Giving Food to the Hungry

In the Rose window above: -

Leading the Blind.

Each of the Acts has a small scene illustrating each Mercy. The roundels have a background of foliage, painted on green glass, designed by Morris. The Burne-Jones figures have the soft edge feel of his Aesthetic period, the figures being painted on white glass, and have a poetic mood. Colours are reds, blues and greens. The background is foliage A. brass plate reads: -

“To the Glory of God and the Memory ever dear of Dillingham William Seppings, M.A., who served as priest in this church for 7 years and spent his life for the children the sorrowful and the dying and departed in peace on the feast of the Circumcision in the year of grace 1874.”

The St. Margaret and St. Peter window in the North aisle consists of 2 lights and a roundel, and dates from 1882.The window is from designs by Burne-Jones. St. Peter is depicted as a dignified figure, with an open book in his left hand and a key in his right (symbolising his role as gate-keeper of heaven). Colours are dark blue over light blue St. Margaret is in blue, stands on a dragon, and holds a palm in her left hand. She looks down, and, like St. Peter, is Aesthetic in mood. Both figures have finely drawn draperies, and name inscriptions. The rose window above has foliate motifs. The background is quarries of green glass with leaf motifs. A brass plaque had the following inscription: -

“To the Glory of God and in loving Memory of Richard Nichols, born 23rd August 1803, died 20th February 1879 this window is erected by his children.”

The Book of Designs 1882 records the glass painters as Bowman (St. Peter), Dearle (St. Margaret) and Singleton (quarries). The windows were re-set in the 1970s, the Seven Acts of Mercy roundels in the chancel, the St. Margaret and St. Peter window in the North aisle. These windows are typical of the lesser work by the firm in the later 70s and early 80s. The figures are re-uses of Burne-Jones designs, and the backgrounds are typical examples of Morris’ foliate designs. While not innovatory, these windows show the usually consistent quality of the firm’s stained glass at this time.

St. Martin, Brighouse

The church is situated on Church Lane. It was built in 1830-31, the architect being L. Hammerton. It is an early Gothic Revival style, that is Gothic detailing applied to an essentially Classical/utilitarian building. It has Y tracery lancet windows. It has a West tower, but no aisles, and a chancel added in 1905 to a design by Hodgson Fowler. The church was re-ordered in 2000-2006.

The Morris stained glass is situated in the North aisle, in the Easternmost window, which is of 2 lights with tracery. The window was installed in 2 stages in 1874 and 1897. The left hand lights from the top: -

Transfiguration, from a design by Burne-Jones. Christ is strikingly lit and the Apostles are grouped around Him. Colours are reds, blues and greens.

The middle panel is Christ the Sower, from a design by Burne-Jones. This was installed in 1897; the reason for this late addition was the removal of the gallery in 1896, which had blocked this window. The finely painted panel is in Burne-Jones’ late Aesthetic style. The bottom panel is from a Burne-Jones design of the 1860s. The Holy Family is depicted encircling the crib. The right hand lancet has at the top the Resurrection, again from a Burne-Jones’ design, and was installed in 1874. The middle panel depicts Christ Stilling the Waves, again from a Burne-Jones design, and was installed in 1897, the reason again being the removal of the gallery. The bottom panel shows the Adoration of the Magi, from a Burne-Jones design. The panel is dramatic, more so than usual in a Burne-Jones design.

The backgrounds are willow motifs on green glass. The tracery light features an Angel holding the Sun, designed by Morris. The Catalogue of Designs for January 1897 notes the glass painters as Walters for Christ the Sower, Titcomb Stilling the Waves, and the background by Wren. The inscription reads: -

“in memory of john brooke of the ridings brighouse born apr 4th 1819 died may 17th. 1870.”

The long period in which this window was created offer an insight into the changes in the firm’s designs over the years. The work of the firm’s break-through designs of the 1860s, contrast with the Aestheticism of the firm’s later life and the manner in which the firm had embraced late 19th century design developments.

Castle Howard Chapel, North Yorkshire

Castle Howard is one of the grandest Baroque houses in England. It was built for the Howard family, who had been significant landowners in Yorkshire and Cumberland since the Middle Ages. In 1699, the Howard 3rd Earl of Carlisle commissioned Sir John Vanburgh and Nicholas Hawksmoor to build a grand mansion in North Yorkshire. Vanburgh was a soldier and a playwright, as well as an architect, and Hawksmoor, an architect, who had been Sir Christopher Wren’s assistant. The 2 were a redoubtable partnership, building magnificent Baroque churches in the City of London, and houses in London and the countryside, a notable example of the latter being Blenheim Palace for the Duke of Marlborough. The partnership produced in Castle Howard a gigantic house for the 3rd Earl, built in the Classically derived Baroque style that had swept Europe in the later 17th century. With its lowering Northern façade and the contrasting sunnier Southern elevation, the house was a monument to the power and influence of the Howard family. Building commenced in 1700 and the first and main phase was completed by 1737, by the patron and architect’s successors. The chapel is located in the West part of the house, and was initially designed by Sir Thomas Robinson, Carlisle’s son-in-law, an amateur architect. The term “amateur architect” does not reflect on the ability and creativity of those described as such, but means that architecture was not their sole profession, and in knowledge, creativity and results, they were very much what today would be called professional. The results at Castle Howard are stunning.

Robinson’ contribution was Palladian in style, a purer more static version of Classicism. The chapel was transformed in c. 1800 by the architect C.H. Tatham as a part of his redecoration of the West wing, in Neo-classical style. It was again remodelled in 1870-78, with an exuberant Victorian Classicism. The floor was lowered, and the ceiling repainted with a version of Holbein’s 16th century design for the Royal Chapel at St. James’ Palace in London. The altar painting of Christ at the Column is by Charles Eamer Kempe, who also provided the designs for the murals, which show the Annunciation and Old Testament figures painted by W.H.Hughes and his student.

The relationship between the Morris and Burne-Jones families, and the Howards, were particularly close. The Burne-Jones’s and the Howards had first met in the middle 1860s, and the Morris’s became part of this circle shortly thereafter. George Howard, Earl of Carlisle from 1889 was a major landowner and a noted amateur painter, who spent periods of each year painting in Italy. He was a leading light of the so-called Etruscan School of English painters, along with the noted English painters, Frederick, Lord Leighton, Walter Crane, Henry Holiday and William Blake Richmond. He painted poetic scenes of Italy, filled with light. His wife. Rosalind, was from another grand Liberal family, the Stanleys, her father being Lord Stanley of Alderley, a sometime Liberal minister. She was a vigorous campaigner for women’s suffrage and the temperance movement. She formed a close friendship with Georgie Burne-Jones, and sympathised and helped over the matter of Burne-Jones’ affair with Mary Zambuco. Later she became a friend of Janey Morris, and also with Morris. She looked after the Morris children during their illnesses. The Morris and Burne-Jones families stayed at Naworth, the Howard’s’ medieval fortress, near the Scottish Border in Cumberland, and holidayed together in Italy. The firm was to make furnishings for Naworth Castle, Castle Howard, and the Howard’s’ London home.

The firm was, therefore, the obvious choice to make stained glass windows for the chapel during the refurbishment. The panels depict scenes from the life of Christ, and were made in 1874-75. They were designed by Burne-Jones, but with the architectural setting and layout by Philip Webb. This is a rare example of Morris stained glass designed for a Classical/Baroque setting. The glass is in 5 rectangular windows on the North side of the chapel, mounted in wooden frames, which are hinged and open inwards. The upper section of each window has an emblem of the appropriate Evangelist to the lower section, with bronze coloured putti with trumpets above, or as Burne-Jones described them as “bronze boys.” Colours are green and gold. Each panel bears a relevant Latin inscription from the appropriate Gospel. The most Westerly window depicts the: -

Annunciation

The figures and their faces are painted in Burne-Jones’ Aesthetic style. The Virgin has a white robe with nitrate yellow embellishments, and the Archangel Gabriel in deep red. The background is blue drapery, and the architectural framework is in green and gold. The winged beast emblem of St. Matthew is deep green, and the putti bronze.

Nativity

This window was again designed by Burne-Jones, and the figures are carefully grouped around the infant. The Virgin is again in white, with nitrate yellow dressings, and St. Joseph is wearing purple. The drawing is as for the Annunciation, as are the surroundings. Above is the Lion emblem of St. Mark, scheme and colours as for the Annunciation.

Adoration of the Magi

Again designed by Burne-Jones, the Virgin is in white, and the Magi have purple and blue robes. Much use of white glass, and nitrate yellow stain. Above is St. Luke’s winged ox emblem. Backgrounds, etc. as for other windows.

Flight into Egypt

St. Joseph is in a purple cloak and blue tunic. The Virgin again in white. There is a grey rock in the background. Above is St. John’s emblem, backgrounds as above

Fifth window

This window contains square quarries. It seems that the original intention was to have a Resurrection panel in this window.

This group of windows are notable not only for their intrinsic artistic merit, but also in their adaptation to their Classical/Baroque setting, whereas stained glass fits very naturally into Gothic pointed architecture, Morris, Webb and Burne-Jones have done brilliantly to frame the glass so effectively in a Classical space. They show the 3 designers at a creative high. The windows were highly regarded at the time of their making, and subsequently, the cartoons for the figure panels and emblems of the Evangelists were exhibited widely, the former now being in the William Morris Gallery, and the latter in the V & A.

All Saints, Catton, Nr. Pocklington

All Saints, situated in Lower Catton, was initially Norman, and cruciform (the West transept survives). Norman waterleaf motifs are evident. During the 13th century a North aisle was added, in Early English Gothic. A South aisle was added in the early 14th century, again in the same period windows were added to the aisles. There was further building in the late 14thand 15th centuries, in the Perpendicular style, including the top to the tower and the windows to the South aisle. The chancel has a much higher roof than the nave, and was rebuilt by the architect G.E. Street, sometime pupil-master to Morris, in 1866. Further restoration was carried out by Walter Brierley in 1908, who also added the South porch.

The church has a considerable quantity of stained glass. The East window by the Morris company in 1866 is one of the more notable windows made by the firm during one of their its most creative periods. The window has 3 lights. The centre light, designed by Burne-Jones, depicts Christ on the Cross, with above angels carrying the sun and the moon, 2 angels on either side of the crucifixion, the upper ones weeping, and 2 angels at the foot of the Cross. Below is a Nativity scene. There is much use of nitrate yellow, colours are reds, blues and greens. The left hand light again from a design by Burne-Jones, depicts the 3 Maries. Above are weeping angels on white glass, wings are red. Below is the Annunciation to the Shepherds. The right hand light depicts Nicodemus, the Pharisee and member of the Sanhedrin, St. John, and Joseph of Nazareth, and is from a Burne-Jones design. There are weeping angels above, painted on white glass and with red wings. Below is an Adoration the Magi, again a Burne-Jones design, The tracery above was designed by Philip Webb, and reflects his careful architectural style, as acts well as a foil to the main lights. Burne-Jones’ figures have an intensity of expression. The use of figures on white glass against rich dark backgrounds is very effective aesthetically and also allows good light into the church, and prefigures the firm’s use of this design technique in the 1870s and 80s.

All Saints, Cawthorne, Nr. Barnsley

This church as designed by the distinguished Gothic Revival architect G.F.Bodley (1827-97). The style is Early English. Parts of the original medieval church are incorporated. The church has aisles, a chancel and a West tower. The North chapel is medieval with lancet windows on the North side, and intersected tracery in the East window. The North aisle windows are Perpendicular in style, as is the tower.

The Morris stained glass is in the East window of the North chapel, dates from 1867, and is from a design by Burne-Jones. It depicts Faith, painted on white glass with nitrate yellow embellishments, holding a book in his left hand, and a cup and a bird in his right. He is Standing on Unbelief, a deformed and crouching male figure, painted on white glass with nitrate yellow decorations and a green hat. The background is red with a black (iron oxide) foliate pattern. An upper scroll is inscribed “FIDES.” Inscribed below is: -

“In Memory of Mary only child of Roddam and Lilla Spencer Stanhope who died at Florence Feb. 23rd. 1867 and was buried in that City aged 7.”

Roddam Spencer Stanhope (1829-1908) was an artist closely associated with Burne-Jones and George Frederic Watts.

St. James, Brighouse

See Bradford Art Galleries and Museums.

St. John, Coley, Nr. Hipperholme

The church was built in 1816. It is in Gothic Revival style, but pre the serious revivalism initiated by the Pugin generation and the revival and development of the 2nd half of the 19th century. It was designed by local architect William Bradley of Halifax. It has lancet windows and a short chancel. Pevsner comments in his “Yorkshire: The West Riding” of 1967 and subsequent revisions that St. John is: -

“A remarkably serious design for its date.”

Morris stained glass is located on the South side, central upper with tracery. It depicts the Ascension. The design spreads over the 3 lights, and was designed by J.H.Dearle, and dates from1914. The mood is derivative of late Burne-Jones. Christ is painted on white glass, with nitrate yellow decoration. He is surrounded by red seraph heads. A scroll below is inscribed: -

“To the Glory of God and in loving Memory of Eliza Jagger a worshipper from childhood in this Church who died February 15th. 1905 erected by her son J.W.Jagger of Cape Town.” The Catalogue of Designs (1914) notes the glass painters as Stokes, Titcomb and Edge. The tracery lights have a floral/foliate design. In the chancel, East Wall, most Northerly, is a 2 light window, with a triangle of tracery above. The window depicts the Adoration of the Magi, and adapted from a tapestry design by Burne-Jones. The Virgin and Child are shown under a thatched shelter. The Magi are shown to the left, and to the right in the sky are minstrel angels. There is a landscape background. There is a minstrel angel in the tracery light. The window is inscribed: -

“In memory of Mary Wilkinson Sunderland.”

No date has been ascribed to this window, but it appears to be c. 1940, and the designer was Duncan W.Dearle, son of J.H.Dearle.

The 3 Marys at the Sepulchre in the East wall most Southerly, is again c. 1940, and designed by Duncan W. Dearle and is of 2 lights. The left hand light has an angel on white glass, nitrate yellow, against a blue background. The 3 Marys are depicted in the right hand light, colours being blue, purple and nitrate yellow. Both lights have a landscape background. Above are minstrel angels, and a further one in the tracery. The window is inscribed: -

“In memory of John and Emma Sunderland parents of Joshua Wilkinson Sunderland.”

A further Morris window, the Presentation of the Child Jesus in the Temple, is located on the North side of the nave, 2nd upper window from the West. This is of 3 lights, with Joseph and Mary in the left hand light, Simeon holding the Child in the centre, and in the right hand light a woman and 2 men kneeling. A scroll below is inscribed: -

“Mine eyes have seen thy Salvation.”

The tracery light has minstrel angels. Colours are blue, white and nitrate yellow. A tablet records that the window was given in memory of Samuel Watkinson of Shelf Hall, 1848-1939, by his surviving children. This window is again design by Duncan W. Dearle, and is from c. 1940. These late windows in St. John’s demonstrate that while the innovation and creativity were no longer present, the firm continued to produce quality windows, with good design and colours that evoked spiritual feelings, and fitted into a Gothic ecclesiastical setting.

St. John, Dalton, Nr. Topcliffe

The church was built in 1868, as a chapel of ease or subsidiary church of the parish church of Topcliffe, to serve the expanding population of the village of Dalton, which was increasing because of the development of agriculture and related industries at this time. The architect was William Butterfield (1814-1900), one of the most important figures in the Gothic Revival. He set up his own architectural practice in 1840, and was involved with the Cambridge Camden Society and the Ecclesiological Society from 1842, writing articles and producing designs for publications, such as the Ecclesiologist. He was noted for his free interpretation of the Gothic styles of the past, being much influenced by Pugin, and in turn was to have a great influence on the architects of the 2nd half of the 19th century, such as Webb, Shaw and W.E.Nesfield. He was particularly keen to build churches that could provide an appropriate setting for the Ritualist services that became increasing popular in the 2nd half of the 19th century. He avoided symmetry, and was a master of bringing together disparate elements into a coordinated visual and intellectual entity. He was early in his career much influenced by English Gothic, but later in life he looked to French architecture. He made much use of red and cream brick on exteriors and interiors. These vivid colours gave rise to Butterfield’s buildings being nick-named “streaky bacon.” St. John’s is in an Early English Gothic style, predominantly of rough ashlar, with finished ashlar surrounds to the windows, which have cinquefoil heads. There is a raised chancel to the East, a small South transept, and an octagonal turret to the West. Inside the walls have the distinctive geometrical patterns of red and cream brickwork of Butterfield’s “streaky bacon.” The church had no individual patron, and was funded by the Ecclesiastical Commissioners, as part of their post 1851 programme of church building, following on from the Church Census of 1851, which had shown that there was a grave shortage of church seats in parts of the country, particularly in inner city areas, but also in expanding rural districts such as Dalton.

All the stained glass in the church is by the Morris Company, and dates from 1868-69. Atypically, the glass formed part of the design of the original church and formed a unified scheme, the church and its glazing being conceived as one, rather than being inserted into an existing fabric. The commission was no doubt obtained because of Morris’ close personal connection with Butterfield. A number of the firm’s commissions for stained glass resulted from Morris’ friendships and empathy with leading Gothic Revival architects, such as Butterfield and G.E.Street. The glass is very typical of the firm’s production of the later 1860s, with designs by the Morris circle of Fine Artists, good pot metals were being used, and backgrounds were being refined. The windows at St. John’s with their creativity and brilliance of design, fine pot metals, and honed technique were a prologue to the achievements of the 1870s and 80s.

The East window is of 2 lights, with a six-foil above, and dates from 1868 –69. The left hand light shows an angel swinging a censer, with green wings and was designed by Morris, below is an angel with an organ and crimson wings, again designed by Morris. The right hand light has (top) an angel swinging a censer, with crimson wings, and (bottom) an angel with cymbals, again both designed by Morris. The figures are painted on white glass, which contrast with the coloured backgrounds, which is an early use of this design device, which was to become a major characteristic of the firm after 1870. The figures have something of the otherworldly ambience of the Aesthetic Movement, but the designs with rather sweet and wooden faces reflect Morris’s limitations as a designer of the human figure, and particularly of faces. The backgrounds are blue shell patterns, flame motifs, with gold (nitrate yellow) stars. The censing angels are, it seems, the first instance are the first use of this design in stained glass, which was to become a very common characteristic of the firm for the rest of its life. They do not seem to have been designed for St. John’s, but derived from designs made for tapestries. The six-foil light depicts Christ in Majesty, and was designed by Burne-Jones. The bearded Christ bears a striking resemblance to Burne-Jones, and seems to be a somewhat idealised self-portrait. Christ is enthroned on a brightly coloured rainbow of pot metals above a blue wavy sea. The figure is painted on white glass, sharply contrasting with the other elements of the design. The draperies are beautifully drawn, with brown stain shading and nitrate yellow flower motifs. Christ has a green and red cloak. Above, encircling Christ’s crowned and haloed head are winged angels in the upper trefoils. The whole is a fine small panel, the composition being particularly effective in the tracery lights, while Christ dominates, the other design elements are very well integrated, the overall conveys a poetic sense of the majesty of Christ and the spiritual world.

The overall composition of the six-foil and the flanking lights is singularly effective as a whole, design being integrated, and colours effectively chosen, and the whole provides an excellent climax to the raised chancel. The overall effect of the windows is stunning, and provides numinous, an atmosphere of holiness, in the chancel, which is the epicentre of the church.

The 2 light North widow of the chancel depicts the Annunciation, and was designed by Morris and dates from c.1868. The Archangel Gabriel is shown in the left hand light, the figure again being painted on white glass. The archangel has a robe painted with nitrate yellow flower motifs, and a cloak of flashed ruby. The archangel’s right hand is raised in salute to the Virgin. There is a grass and leaf foreground, and below an inscription: - “Gabria.” Above is an angel, and the inscription in Gothic lettering: -

“Ave Plenigrati Dominus Te.”

However, the great glory of this panel is the rose hedge background to the middle of the design (which is repeated in the right hand light). Beautifully drawn and coloured roses climb up a trellis, set in a context of wonderful bluebells and cornflowers. Pot metals and brown and yellow stain are used to produce a stunning backlit image of an English cottage garden as the backdrop to the Annunciation. To the left rises a pomegranate tree, emblem of fecundity, painted on green glass with pomegranates, painted in brown and nitrate yellow stain. Above and below are quarries, with stylised leaf motifs. The window, as a whole, perhaps, lacks the drama and power of expression of others of this period by the firm, but this is compensated for by the brilliance of the rose hedge, which combines fine design, strong colours and sublime vision, and can be regarded as one of the finest of the firm’s achievements.

The right hand light depicts the Virgin, painted on white glass with brown stain and nitrate yellow. Her bowed head has long yellow stain hair and is Aesthetic in mood. She holds the Old Testament in her right hand. The design is by Morris, and again lacks the subtlety and brilliance of Burne-Jones’ draughtsmanship. The foreground depicts leaves and grass and there is an inscription: -

“S. Maria Virgo.”

The rose hedge background to the middle of the light is as for the left hand light, only with the pomegranate tree to the right, literally bursting with pomegranates. There is a lily, symbol of purity in Christian iconography, in a pot at her feet. The light is the exact counter-point to that in the left light, the overall effect being transformed by the rose hedge, and the use of brilliant white glass for the figures. It is again an early example, like the left hand light, of Morris using white glass for figures, against a dark numinous background, which, after 1870, was to become one of the defining design elements of the firm’s stained glass making.

There is more excellent Morris stained glass in the nave. Morris was able to work closely with the architect Butterfield and the church in devising an overall scheme for the stained glass in the church, a circumstance that rarely happened. Butterfield and Morris were so able to design a scheme that worked aesthetically and theologically. There are 6 windows on the South side of the nave, and 5 on the North. The New Testament is featured on the South side, which is liturgically more important than the North. The stained glass windows deal with ideas and images from the New Testament. The North side windows reflect the contents of the Old Testament. The juxtaposition of these images in this manner, rooted in the tradition of English church architecture, was intended to reinforce the theological point that the New Testament grew out of the Old, and was a new and more direct revelation of God. The windows in the nave, which are relatively small for a Gothic Revival church, were made in 1869. The overall impression is uniform, with similar leaf and flower backgrounds, with plain quarries above and below. All have trefoil heads. The designs were the work of Burne-Jones and Morris, and in one case F.M.Brown.

The nave windows on the South side, reading from East to West are: -

St. Mary Magdalene – designed by Morris in a style that reflects the transition between soft edged Pre-Raphaelitism and Aestheticism that can be seen in the firm’s stained glass. The Magdalene has a dignified face, and auburn hair, (nitrate yellow stain). The model was Jane Morris. There is good use of brown stain in the painting of the shading and in the guilloche motif halo. Her dress, on white glass, is embellished with nitrate yellow flower motifs, and with green glass in the lower part of the light. She holds a flask aloft in her right hand, containing the oil with which she anointed Christ’s feet, and in her left hand she holds a garland of forget-me-nots, symbolising her memory of her former life as a prostitute. Below is an inscription: “S Maria Magdalena.”

St. Stephen – designed by Burne-Jones and reflects his movement towards an Aesthetic style. The face is filled with the pain of martyrdom by stoning, and he has nitrate yellow painted hair. The figure on white glass has robes decorated with large-scale flower and leaf motifs in yellow and brown stain, and a green and red pot metal stole. The saint holds a New Testament in his right hand, painted with yellow and brown stain, and a quill. Stones are painted in brown stain by his shoulders, emblems of his martyrdom. He has a scalloped halo, painted in brown stain. Below is the inscription: “St Stephanus.”

St. John the Baptist – again from a design by Burne-Jones. The saint is depicted as a clean-shaven young man with a wild expression. The shading is brown stain, and the wild auburn hair is nitrate yellow stain. He has a red halo, and is barelegged with a woollen loincloth, and a blue robe of pot metal thrown over his shoulders. He holds in his right hand a staff, with a pennant, which is inscribed: “Ecce Agnus.” Below is the inscription: “St Ionn Baptisto.”

St. Paul – this was designed by Morris. This is painted with brown stain on white glass to produce a dignified white bearded St. Paul with a white halo. He has a green cloak, and robe decorated with flower and leaf motifs. He holds an open Bible in his right hand, the symbol of the perceived role of the Church of England as the champion of democratic Protestantism, as opposed to authority, and a 2 handed sword in his left, an emblem of the positive nature of the Protestant believer. Both are painted with yellow stain on white glass. Below is the inscription: “S Paulus.”

St. Peter – from a Morris design. The figure is painted on white glass, and has a dignified bearded head with a red halo. He wears a white robe, decorated with stained flower and leaf motifs. He holds a massive pair of keys in his right hand, emblem of his role as gatekeeper to the Kingdom of Heaven, and a Bible in his left. A notice in the church says that the design was by F.M.Brown, but this seems unlikely stylistically, and has been identified as a Morris design held in the Berger collection at Berkeley. Below is an inscription: “S Petrus.”

The widows on the North side of the nave are identical to those on the South in layout, setting and backgrounds. All the figures are from the Old Testament, reading from the West they are: -

Isaiah – this window was designed by Morris. The prophet has a dignified head, painted in brown stain in an Aesthetic manner. He has a blue robe, and a white robe embellished with nitrate yellow motifs. Below in the inscription: “Isia.”

David – from a design by Burne-Jones. The face is of an Aesthetic youth, with a painted nitrate yellow stained crown and a white glass halo. The cloak is of red pot metal, and the robe is of white glass, with flower and leaf motifs. The king holds a harp, painted with brown and yellow stain. Below is the inscription: “David.”

Moses – this panel is from a design by Burne-Jones. The head and face are very much in Aesthetic mode. The lawgiver is appropriately seriously depicted, with a bearded and severe face. He has a robe of white glass, embellished with brown and yellow stain leaf motifs. He holds a Torah with its copy of the Law. Below is the inscription: “Moses.”

Noah – This panel is from a design by F.M.Brown. It is more naturalistic and vigorous in design than the other panels in the nave, but only marginally so in that, no doubt, Morris and his studio team, in translating the design into stained glass wished to ensure a consistency to the various panels to achieve artistic unity. The fierce bearded patriarch has a purple cap and a nitrate yellow halo. His cloak is of white glass with flower and leaf motifs, and shading, painted with brown and yellow stains. His robe is of red pot metal. He holds a model of the Ark. The inscription below reads: “Noe.”

These windows reflect the success of the firm in producing effective designs that fit in with the nature of stained glass as a medium, use good pot metals and are effectively leaded. They succeed both as images, and as abstract glass and lead patterns. The use of white glass for figures contrasted with dark backgrounds is effective, and foreshadows developments in the 1870s and 80s. The concept of facing the New and Old Testaments across the nave, with the New Testament located on the Church of England’s favoured South side, reflects a profound Christian view that the revelation of the New Testament grows out of the dispensation of the Old, and that both make a unity. The whole ensemble is a profound exposition of Christian thought, and creates an evocative numinous.

The West window was installed in 1869, and depicts St. John the Evangelist, the patron saint of the church. The liturgical significance of the placing of this window, lies in it directly facing the Christ in Majesty window in the sanctuary at the East end. The figure of St. John is on white glass, and beautifully designed in the Aesthetic manner by Burne-Jones. The figure is painted with brown and yellow stain; the whole is infused with dignity and intellectual gravitas, indicating the role of St. John as the philosophical writer among the authors of the New Testament. His robe is decorated with floral/foliate motifs, painted in brown and yellow stain. In his right hand the saint holds a chalice with an eagle (his emblem) perched on it, and his left hand is raised. The figure of St. John is framed in an architectural setting, including quatrefoils, pinnacles and gables, painted with brown and nitrate yellow stains on white and green glass, with iron oxide shading. Halfway up the design are lion heads. The background has blue glass with scrolling leaves. The leaf motifs leap upwards towards a sea of Gothic architectural detailing, with trefoils, crenellations, pinnacles and towers, painted with brown and yellow stain. The designer of this architectural extravaganza, which frames the St. John figure, was Philip Webb. Above, again, is the eagle emblem of St. John, inscribed: “St Johannes.” The trefoil head of the window has leaf motifs painted on blue and red glass. The bottom of the window has a brown painted trailing leaf motif on white glass, and the inscription: “Sanctus Johannes.” The overall effect of the window is stunning. The saint is depicted amongst architecture and foliage, a successful format that was to be discontinued after 1875, with the disappearance of Webb as an active partner of the firm. The drawing, the glass, the colour scheme, the painting and the lead work come together to produce an image of beauty, which reflects theological truths and add to the atmosphere of the church. The window is one of the finest produced by the firm in the 1860s.

St. John’s is one of the most interesting churches in Yorkshire, and indeed in England, in terms of Morris stained glass. As described earlier, the partnership between Morris and the architect Butterfield did enable the creation of an overall scheme by architect and stained glass designer in close collaboration, which brilliantly integrated glass and architecture. The fact that St. John’s was funded by the Church of England meant that the disparate views of different patrons of different parts of the church and its decorations did not have to be reconciled by compromise, so facilitating an integrated and brilliantly successful result. The glass being made in 1868/69, means it was made, when the firm ad come to grips with technical problems, had secured a supply of good quality pot metals from Powell’s of Whitefriars, and was successfully integrating pictorial design with the back-lit 2 dimensional nature of the medium. The use of white glass for the figures, contrasting with dark backgrounds, is a precursor of one of the major design devices of the 1870s and 80s, which was aesthetically successful, but also resolved the problem of churches being too darkened by the installing of stained glass. While the stained glass at Dalton may not wholly compare with some of the firm’s glass of the 1870s and 80s in sophistication of design and technical excellence, it is still of stunningly high quality, and enhances its physical and spiritual setting. The East lights are excellent in design, techniques, and intellectual and spiritual content. The West window is similarly remarkable and an even greater achievement, showing a happy marriage between Burne-Jones’ Aesthetic designs and Webb’s architectural backgrounds. The rose hedges are a marvellous example of the firm’s vision at its best and of its technical expertise. The nave windows provide a context. For anyone interested in Morris stained glass, a visit to St. John’ is both essential and a huge pleasure.

St. Lawrence, East Roundton, North Yorkshire

St. Lawrence was built in 1884, and designed by the architect R.J.Johnson. Johnson was a fashionable exponent of the Queen Anne revival style that had been initiated by Eden Nesfield (1835-88), but also worked in the Arts and Craft revivalist style. Arts and Crafts was the style employed by Johnson at East Roundton, being his own interpretation of the Perpendicular. The building of St. Lawrence was financed by Sir Lowthian Bell, bart. (1816-1904), who was an iron master on a vast scale. He was part of the same Liberal nexus that included Morris and the Howards; his daughter Katherine married the 4th Baron Stanley of Alderly, great nephew of Rosalind Howard, Countess of Carlisle. Philip Webb designed Roundton Grange, one of Webb’s most remarkable buildings, sadly now demolished. Some ancillary buildings survive, notably the coach house in vernacular revival style, and other service buildings by Webb’s associate George Jack. The church is in Arts and Crafts Perpendicular revival style, with nave, chancel and bell-cote. It is a restrained and effective design.

The Morris stained glass dates from 1885, and is situated on the South side of the nave, 2nd from the East. It is of 3 lights, the central light depicting the Virgin and Child, is from a Burne-Jones design, colours being blue and white, with nitrate yellow. The left and right lights have full-length angels, from designs by Burne-Jones, with red scrolled dulcimers, with much yellow nitrate painted detailing. The backgrounds are quarries, with tulip motifs. There are Latin inscriptions, and below is inscribed: -

“dedicated to the memory of mary bell born 24th august 1843 died 19 april 1871 by her beloved husband thomas hugh bell and her children gertrude and morris july 1885.”

The glass painters were Dearle, Bowman, Stokes and Campfield.

Other interesting stained glass in the church is the East window, which is a memorial to Sir Lowthian Bell and his wife of c. 1926 of built up glass by Douglas Strachan, and the again by Strachan, North window to the chancel, commemorative window to Gertrude Bell, family member, and a noted explorer/archaeologist. The church has a monumental reredos dating from c. 1700, with giant Corinthian columns with pediments and delicate garlands, which was moved to East Rounton from its original site in Newcastle Cathedral. The Morris stained glass, while not innovative or particularly remarkable in the firm’s production, again demonstrates its continuing excellence in stained glass making.

St. Oswald, Farnham, Nr. Knaresborough

St. Oswald, like many Yorkshire churches has a long building history. The earliest surviving part is a fine Norman chancel, built on a considerable scale and with typical round-headed windows. The church has arcades, work being carried out in the 13th and 14th centuries (Early English and Decorated styles). The nave was lengthened westwards in the late14th/early 15th centuries. The west tower was added c. 1500. The church was restored by Sir George Gilbert Scott in 1854, and he made extensive modifications to the building, endeavouring to standardise its style as Decorated. He balanced the roof levels, that of the nave now being marginally lower than the chancel. It is doubtful that Morris would have approved, bearing in mind his view of Scott’s restorations, but the overall effect is satisfactory. The church was re-ordered in 2000-2001, by R.G.Sims.

The Morris stained glass is situated in the South aisle, in the East wall, and is a single light. It was made c. 1875, from a Burne-Jones design. It depicts St. Cecilia, a saint of the 2nd/3rd centuries, who was brought up as a Christian. She married a Roman nobleman, Valerius, and ultimately they were both martyred for their Christian faith. An angel placed roses and lilies on their heads during their story, and these became Cecilia’s emblems. She is the patron saint of music; this attribute dates from the 15th century, so one of her attributes is a portable organ, later being replaced by a clavichord, harp, lute or bowed instrument.

The window is a version of the design for Christ Church Cathedral, Oxford, made in 1874, although the colours differ. A.C.Sewter dates the Farnham version to c.1875. The saint is in blue, has finely painted Aesthetic features, and stands on a tiled floor, against a background of lemon-trees. It is inscribed: -

“In Memory of Elizabeth Kinnear.”

The window has a poetic Aesthetic quality, very typical of Burne-Jones` work of this period.

A.C. Sewter notes a reference in the “Book of Designs” for June 1878, to Morris windows at Farnham Hall in 1900. He was unable to locate these, and more recent enquiries have also produced a negative result.

St. Oswald, Flamborough

The church of St. Oswald is of Norman origin, partly dating from the first half of the 12th century. The Norman chancel arch, with scallop capitals and roll mouldings is very fine. The nave is from the 14th and 15th centuries, in the Decorated and Perpendicular styles. The architect R.G.Smith rebuilt the chancel and the South aisle in 1864-69. The South porch was added in 1892, and the West tower in 1897, both being designed by C. Hodgson Fowler. A notable feature of the church is the magnificent 16th century rood screen, attributed to the Ripon School of Carving. The rood loft is thought to have originally been at Bridlington Priory. The church has an interesting wall painting of Christ in the Temple, painted in 1829, by local artist Robert Brown.

The Morris stained glass widow is located in the South wall of the South chapel. It is of 3 lights, the centre light depicting St. Francis and the Birds. It was designed by J.H.Dearle, dates from 1930, and is based on an earlier window at Brighton College, designed by Burne-Jones. In style it is Aesthetic with ethereal figures. It is much more sentimental in Dearle’s interpretation, than Burne-Jones would have intended. The background has a blue curtain and dense foliage. It bears the inscription: -

“Laus Deo.a Thank offering from Isa J. Postgate.”

The 2 side windows are plain leaded backgrounds with coloured borders, bands and beading. The Catalogue of Designs entry for 1930 notes the glass painters as Titcomb and Chadwick. A brass memorial plaque records: -

“This window was dedicated on the 18th. June 1930 by the Reverend Canon Langdale Horwood Postgate brother of the donor and vicar of Shillington, Hitchin, called to rest September 8th. 1934.”

Other interesting windows in St. Oswald’s are the East window of 1871 by Powell and Sons, the clerestory windows in the chancel, 1873 by Usher and Kelly, and the 20th century windows by L.C.Evetts and J.E.Nuttgens.

St. James the Great, Flockton, Nr. Wakefield

The church of St. James was built in 1869. It is of dark sandstone, in the Decorated style, with curvilinear tracery. It has a bell-cope, clasping buttresses and a chancel.

The Morris window is situated at the East end, is of 3 lights with tracery, and dates from 1872.The centre light depicts Christ as the Good Shepherd, and was from a design by F.M.Brown. Christ is holding a crook in His right hand and has a lamb tucked under His left arm; another lamb walks by His side. Christ is in white, with a green and blue cloak. The whole is characterised by Brown’s dynamism and vigour in his designs. The left hand light depicts St. James the Less, by tradition the brother or cousin of Christ, and is from a Burne-Jones design, the mood being more poetic and gentle than Brown’s adjacent work. St. James wears a bishop’s mitre, carries a model of the church, and a St. John’s cross. Colours are green, brown and white. The right hand light shows St. Anne, from a design by Brown. Colours are green and white. The backgrounds to the lights are green glass with leaf motifs, scrolls below. They bear identifying Latin inscriptions. The tracery lights was designed by Philip Webb, and have patterns of leaves typical of Webb. A tablet below is inscribed: -

“To the Glory of God and in pious Memory of James Milnes and Mary Ann Milnes, born in the year of Salvation 1744 and 1769, fell asleep in the years of Salvation 1803 and 1858. Placed by their daughter Margaret Stansfield.”

The window represents the firm at the very height of its powers, when technical problems had been resolved, and designs were creatively flowing, and all the major designers of the Pre-Raphaelite circle were involved. The result is magnificent.

Harden, Woodbank, Nr. Bingley

Woodbank is a 17th century, c.1635, Yorkshire manor house, built for Stephen and Mary Ferrand. The Ferrands were a long established and important family in the Bingley district by this date, and were to continue to be so for centuries. It is a compact house with wings to the rear. It has mullioned windows, and a splendid 17th style “Renaissance” doorway. It was tenanted in the mid-19th century by Aldham Heaton, the designer and member of the Bingley Pre-Raphaelite circle and friend of Rossetti, between 1860 and 1876. Heaton commissioned the firm in 1861 to design and make 3 panels of stained glass. The centre panel depicted the Lady of Woodbank. It was designed by Rossetti. The alternative title is: “The Genius of the House.” She wears a gold (nitrate yellow) cloak over a white dress, holds a model of the house in her right hand, and a floral spray in her left. There is a swan at the lower left, and at the top left an inscription that reads: - “AH EH (for the Heatons)/Woodbank DGR (Rossetti) AD 1861.”

The left hand panel depicts a small girl in a brown checked dress, again designed by Rossetti. The right hand panel shows a similar girl, climbing up a slope picking flowers. The panels are notable and pre-figure the firm’s mature style, but while innovatory have problems, particularly in regard to the alignment of the leadwork to the design. Rossetti was closely involved with this scheme, as he had stayed at Woodbank for a month in 1861. He painted a portrait of Mrs. Heaton.

When the Heatons left Woodbank in 1876, they took the glass with them. The glass was returned to the house in 1952, and was fitted in the dining room windows. It was removed in the 1970s, and placed in store. Present whereabouts are not known.

St. James, Heckmondwike

The church of St. James was built in 1830-31, and was designed by Peter Atkinson the younger. It is in a plain early Gothic Revival style with lancet windows. It does not have aisles, but has a West tower with a broach spire. The chancel was added in 1906.

The Morris stained glass is situated in the South chapel, South wall, in a 4 light window. It dates from 1912, and depicts angels. They are derived from designs made by Burne-Jones many years before and much re-used. They read from left to right: -

Full-length angel with palm and lyre – colours pink and white.

Full-length angel with palm and violin – colours blue and white

St. Gabriel (archangel) white cloak, blue lining with nitrate yellow motifs.

St Raphael, in a blue cloak over a white robe with nitrate yellow patterning.

All angels have red wings. The background is of the hedge pattern developed by Morris in the 1880s, above is sky. The angels stand on a foreground of flowers and foliage The inscription reads: -

“To the Glory of God and in affectionate Memory of George Henry Walker and Ada his wife these windows were erected by their daughter Clare A.A.1912.”

The 1912 Catalogue of Designs names the glass painters as left to right windows – Titcomb (1), Stokes (2), and windows (3) and (4), also sky and backgrounds, by Watson. This a notable early 20th century window, where Burne-Jones’ Aesthetic angels juxtapose with the floral foreground and the hedge back-drop, the hedge designs were a particular success of Morris as designer. They mixed the necessary abstraction that is required for stained glass as a 2 dimensional medium, with naturalistic flowers and foliage.

All Saints, Hessle

This is an extraordinarily fine, predominantly medieval church. The architecture is mainly Early English in style, with a Perpendicular tower, with spire, at the West. The church was much restored in the 19th century. The North aisle of the chancel was rebuilt in 1841. A further more complete restoration was carried out in 1852-53, by Cuthbert Brodrick (1821-1905). A Hull born architect, he was a creative revivalist of French and Italian Baroque architecture, and was the designer of Leeds Town Hall and the Grand Hotel, Scarborough. This restoration seems to have been carried out sympathetically, but was followed by a more radical rearrangement, carried out by R.G.Smith in 1868-71. The chancel and its chapels were taken down and rebuilt further East, in Early English style, the nave was lengthened and the aisles rebuilt. The church doubled in size. The Early English arcades are painted with scrolls, and, although re-painted, give something of a sense of church decoration in the 13th century. The South aisle arcade is Perpendicular in style, and the North aisle Decorated with reticulated tracery. The porch was added in 1874, and the vestry in 1901-02. The church has battlements, as was common in the 15th century. Inside there is a reredos of Caen stone, with mosaics.

The Morris stained glass is in the North aisle, adjacent to the door. The window dates from 1899, and is of 3 lights with tracery. The centre light depicts St. Luke, and is taken from a Burne-Jones design made much earlier. The figure has Burne-Jones’ late Pre-Raphaelite/Aesthetic ambience of the 1870s. The saint has a white robe and green cloak, and holds a scroll. The left hand light depicts St. Anne, again from a Burne-Jones design. She wears a blue dress and a white cloak. In the right hand light is St.Agnes, the virgin saint martyred in the reign of the Roman emperor Diocletion. The design is again by Burne-Jones. The saint holds her attribute, a lamb. She is dressed in white and pink. There are drapery backgrounds to all 3 lights, dark blue in the centre, and red in the left and right hand lights. The tracery lights have leaf patterns. The inscription reads: -

“to the glory of god and in loving memory of francis bine anderson and ann his wife also ann spicer anderson their daughter this window is dedicated by their surviving daughter mary elizabeth anderson and their adopted daughter anne bateson latimer easterday april 2nd 1899.”

The upper background is sky, and has scrolls, naming the figures. The Catalogue of Designs for March 1899, names the glass painters as Stokes (St. Anne), Walters (St. Luke), Bowman (St. Agnes), the curtains, trees, sky and tracery being designed by Dearle, and painted by Wren. This is a very good window, and while it does not have the innovation and creativity of the firm’s earlier work, it does demonstrate that, following the deaths of it principals, Morris and Burne-Jones, it made excellent stained glass.

There is other significant stained glass in the church, notably the Hardman East and West windows and the aisle windows from the 1870s, the North aisle West window by Percy Bacon and Bros., and the North chapel windows by L.C. Evetts, as well as the reset heraldic glass, dating from the 15th century. The church has a fine reredos of Caen stone, mosaics, tiles by Maw and Co., and monuments.

St. Andrew, Hoyland

The church was built in 1830, in a plain early Gothic Revival style. It has tall 3 light windows, arched and cusped lights, with straight heads. Inside it is again basic restrained early Gothic Revival, derived from the 14th and 15th centuries.

The Morris stained glass is on the North side, centre window, which has 3 lights, each in 3 tiers, and dates from 1919. It depicts Christ, St. Stephen and angels. In the centre is Christ, as Love, taken from a design by Burne-Jones. Below is Christ carrying the cross, probably designed by J.H.Dearle, above is a full-length angel with a viol, taken from a Burne-Jones design. In the left hand light, middle, is a depiction of St. George, holding a spear with a banner and leaning on a shield, designed by Dearle. Below is another panel by Dearle of St. George killing the dragon, and above, again by Dearle, an angel with a dulcimer. The right hand light has a middle panel showing St. Michael, with below the martyrdom of St. Stephen, and above another angel with a dulcimer, all designed by Dearle, but originating in Burne-Jones designs. The window bears the inscription: -

“To the Glory of God and in Memory of the members of this Congregation who fell in the Great War 1914-1919.”

The Catalogue of Designs for November 1919, records the glass painters as Titcomb (figures), Watson (scroll), and inscription by Chadwick. The window is competent, but not remarkable.

All Saints, Ilkley

All Saints at its core is Perpendicular in style, and dates from the 15th century. It has aisles, and a chancel. It was radically altered in 1860-61, virtually being taken down and rebuilt. The nave was lengthened, the South aisle rebuilt, and a chancel added. Some 15th century windows, straight-headed and with arched lights, survive on the North side, as does the short tower at the West, again Perpendicular in style. The South doorway is Early English is style, and something of a puzzle as to its origin. The North clerestory windows were added in 1880, and those to the North chapel in 1927.

The Morris stained glass is situated is situated in the North aisle by the chapel. It dates from 1922,and consists of 3 lights. It depicts the Marys at the empty sepulchre of Christ. It was designed by J.H.Dearle, but has its roots in Burne-Jones’ work. It has a typical late Morris/Dearle landscape background. The figures and faces have a watered down version of the poetic ambience of Burne-Jones. A scroll is inscribed: -

“Ye seek Jesus He is not here He is risen.”

An inscription reads: -

“To the Glory of God and in Memory of Henry and Jane Legge and James and Bessie Critchley, erected 1922.

Colours are blue, red, nitrate yellow and green. The figures are clothed in fine white draperies. The entry for August 1922 in the Catalogue of Designs names the glass painters as Titcomb (figures and landscape background), and Watson (scrolls and inscription).

Other interesting stained glass in All Saints includes the large East window, depicting the Crucifixion by William Warrington of 1861. There are also notable stained glass windows by Clayton and Bell (chancel, South side), William Wailes (South aisle), and Ward and Hughes, West window. Other items of interest in All Saints include a notable medieval font with an elaborately carved cover with obelisks. Also to be seen are 2 Roman altars, and remarkable Anglo-Saxon cross-shafts dating from the 8th and 9th centuries, the tallest depicting Christ, beasts, and on the back the 4 Evangelists, and on the sides vine scrolls, is particularly notable. Also, there is a fine medieval cross-legged effigy of a knight, a member of the Middleton family, who had a long history as Ilkley landowners, a notable pew at the West end of the North aisle with baluster decoration dating from 1633, and 17th century brasses.

St. Margaret, Ilkley

The church was built in 1878-79, and was designed by Richard Norman Shaw (1831-1912). Shaw was one of the most remarkable architects of the later 19th and early 20th centuries. He was a pupil of G.E.Street, in whose office Morris had worked. He was particularly noted for reviving English domestic architecture, principally of the 16th and 17th centuries, notably that of Sussex, using mullioned windows, tall chimneystacks, and hanging tiles. His architecture was poetic, evocative and picturesque. He entered into partnership with Eden Nesfield in 1863, who was the leading light of the Queen Anne Revival movement, and, while differing, their buildings were complementary. Early in his career, he was the architect of Holy Trinity, Bingley, rated as one of the finest churches of its era (see page 41). He mainly concentrated on domestic and commercial buildings, but St. Margaret’s is an example of his ecclesiastical architecture at its best. He was an innovative architect of revivalism, with a huge enthusiasm for “Old English,” but he was an original in using the past as a basis for a complex new architecture. One of his grandest projects was the huge Cragside at Rothbury in Northumberland, where he used local materials and vernacular details. His influence on the Arts and Crafts movement in all its various aspects was profound, and the publication of his designs in “The Builder” ensured that his influence was not confined to England, but had a major impact in North America. St. Margaret’s is very fine, and is predominantly Shaw’s interpretation of the Perpendicular style. The church has a long nave with aisles and a clerestory, and a soaring dramatic chancel with blind arches. It has transepts, and a bell-cote above the chancel arch. In the interior, there are a number of fittings, designed by Shaw and his associates. The pulpit of 1881 is by him, and the dramatic chancel screen is by him and Percy Ginham. The font has been attributed to the noted Arts and Crafts architect Edward Schroeder Prior (1852-1932), who was part of the Morris circle, being a friend of Burne-Jones and the designer Ernest Gimson. Prior acted as Shaw’s clerk of works at St. Margaret’s. The font canopy of 1911 was designed by Shaw. Another notable feature is the reredos of carved and painted wood, designed in 1925 by J.H.Gibbons.

The Morris stained glass is situated in the South aisle. The window of 1894 is in the East bay, and consists of 4 lights in 2 tiers. It depicts full-length angels. The upper tier has at the left an angel with a mandolin, and to the right an angel with a harp, both from designs by Morris. The lower tier has to the left has an angel with a dulcimer, and to the right an angel with an organ, again Morris designs. Colours are blues, greens, red, white and nitrate yellow. The background is of green glass quarries. Scrolls below read: -

“in heaven their angels do always behold/the face of my father which is in heaven.”

The glass painters are noted in the Catalogue of Designs for March 1894, as Stokes and Walters. The quarries are by Wren. The tracery lights have floral/foliate motifs. The 1902 Morris window in the South aisle is above the door. It is of 2 lights with tracery. The left hand light has a cherub with book, and is from a design by Burne-Jones, and the right a Seraph with censer, again from Burne-Jones designs. There are green glass quarry grounds. In the tracery lights are half-length angels with scrolls. The Catalogue of Designs for November 1902, records the glass painters as Titcomb (Seraph), Watson (tracery angels), and tracery ornament by Knight and Wren, the latter also being responsible for the quarry background of leaf motifs. Colours are reds, blues, greens, nitrate yellow and white. These windows are of quality, and feature again the firm’s ability to use colour, and to make effective 2 dimensional designs, and they sit particularly well in this magnificent Shaw church, creating a powerful spiritual numinous. It is surprising that more stained glass was not commissioned from the firm, bearing mind the network of friendships which Shaw, his friends and associates, had with the Morris circle.

There is much other stained glass in St. Margaret’s. The East window is of Christ in Majesty, made by Powells of Whitefriars in 1897. Powells also made the West window (the Creation), windows depicting prophets and kings on the South side, and on the North side widows depicting the Nunc Dimittis, the Resurrection, and the Ascension, this being the War Memorial. Powells were a beacon of excellence, whose roots go back to the 17th century. They had been prominent in the mid 19th century revival of stained glass making. They were, however, very much revivalists, rather than having the creative originality of the Morris firm. Also on the North side is a window by Martin Travers showing the Incarnation of dating from 1937.

St Andrew, Keighley

The present St Andrews’ was built in 1846 on the site of the medieval church and its replacement of 1805. The architect was Robert Dennis Chantrell (1793-1872), who was a pupil of Sir John Soane, the Neo-Classical architect. He built not only in the Neo-Classical style, but also in Gothic. He settled in Leeds in 1819, and established a practice notable for Greek Revival public buildings and also for Gothic churches, which were true to the principles of Gothic architecture, St. Peter’s in Leeds of 1837-41 being a fine example. The style of St. Andrew’s is 15th century Perpendicular. The church has aisles, a low chancel and a clerestory. There is a large West gallery, and a West doorway of 1900. There is a West tower. The scale of the rebuilding of 1846 reflects the booming prosperity and population of Keighley, based on the rapid growth of the local textile and iron industries. The population was over 11,000 by 1831, and by 1891 was over 36,000. Inside the church has octagonal arcade piers. The font dates from 1661, and has had a chequered history, and was reinstated in 1934, and a has a Victorian canopy. There are 4 surviving medieval gravestones.

The Morris stained glass is located on the North side of the chancel, and is in 4 lights, and dates from 1881.The upper 2 lights depict Samuel (left) and Elijah (right). The designs are by Burne-Jones, colours are blue, red, nitrate yellow and white. Below are St. John the Baptist (left) and St. Paul (right), colours being purple, green, blue and nitrate yellow, designs again by Burne-Jones. The background is of green glass quarries. The windows are inscribed: -

“to the glory of god and in loving remembrance of william busfield m.a. oxon. thirty years rector of keighley died 12th april aged 76 his widow hopeful of a happy and eternal reunion erected this window a.d. 1881.”

The Catalogue of Designs for September 1881 names the glass painters as Bowman (St. John and St. Paul). Dearle (Samuel and Elijah), and Stokes (quarries). The glass is notable, being made at one of the high points of the firm’s existence, the poetic nature of Burne-Jones’ figures being juxtaposed with a medieval style quarry background. The East window is by Shrigley and Hunt.

Temple Street Methodist Chapel

Now Temple Street Mosque. The Morris stained glass is now at Cliffe Castle Museum, Keighley. See entry for Bradford Art Galleries and Museums.

St. Mark, Utley

St. Marks’ was built in 1889, as a subsidiary church of St. Andrew’s, Keighley, to serve the growing population of this suburb of Keighley, in a robust plain Gothic style in millstone grit. Plain arched windows, with some tracery. Squat and compact with a slate roof. The church was reordered in 1982.

The window dates from 1935, and is of 3 lights. The central light depicts St. Mark, designed in his Aesthetic mode, long before, by Burne-Jones. The saint is shown with his lion emblem above, on a rocky hillock, with a sky background, which fills the sidelights and the tracery. A scroll identifies the saint. The Catalogue of Designs for October 1935, states that the saint and his emblem are painted by Seeley (emblem from a drawing by Knight), and the landscape and sky are by Simmons. The window is not remarkable, but is of quality, the landscape background being particularly interesting, as a late development of the backgrounds that were just a part of the varied approach taken by the firm in the 1870s, 80s and 90s

St. John the Baptist, Knaresborough

St. John is principally Perpendicular in style, dating from the earlier 15th century, its nave and aisles being so. Much earlier building is incorporated though. Parts of the chancel walls are Norman, note the filled in Norman windows. Much of the chancel is Decorated in period. There is fine reticulated window at the East end of the chancel from the mid-14thcentury, and another in the South chapel. The North chapel is from the late 13th century, and has Geometrical windows. The South chapel is 14th century, and is in the Decorated style, with ogee arches and crockets. It is built in the local magnesian limestone. The grand central tower is of various periods, the lower stage being Early English, and the upper Decorated. The church was very extensively restored in 1871-72 by Ewan Christian. Significant alterations were carried out, including replacing the window tracery, and the roof was renewed with the present steeply pitched structure. The clerestory was added. The church is a remarkable ensemble.

The Morris stained glass is located in the West window to the South aisle. The window has 3 lights, the figures being in 2 tiers, and dates from 1873. Reading from left to right, in the upper tier is Zaccharias, and below Elkanah, both from designs by F.M. Brown. Zaccharias is depicted in a golden cape, lined with green. He holds a censer. Elkanah stoops to the right, and is in a blue robe with a purple sash. He holds a staff and a bottle. Zaccharias was John the Baptist’s father and a priest of the Temple in Jerusalem. Elkanah was a prophet. In the upper central panel John the Baptist is shown, this being taken from a design by Morris. The Baptist wears a blue robe and carries a banner. Below him is Samuel, designed by Burne-Jones. Samuel was a prophet and the last of the Judges. The right hand light, upper, depicts St. Elizabeth, and was designed by F.M.Brown. She was the mother of John the Baptist. She is depicted, as per tradition, as an elderly woman. She wears a blue robe, with a green lining over white. Below is Hannah, mother of Samuel, designed by F.M.Brown. She wears a pale blue patterned cloak, lined with yellow over a white robe, with a white headdress. She holds a vase in her right hand. The panels are inscribed with names, and there is a quarry ground. The tracery lights depict full-length angels, which appear to have been designed by Morris. They hold harps, an organ and a dulcimer. All are winged, and painted with nitrate yellow. The colours for the whole window are blue, greenish/blue and white. This is a particularly fine window, made when the firm was at its most creative, innovative and accomplished in stained glass making. The panels by F.M.Brown of Zaccharias, Elkanah, Elizabeth and Hannah, drive home what a loss to the firm’s creativity in terms of stained glass his departure in 1875 was.

Further Morris stained glass is situated on the South side of the chancel, and again dates from 1873. The window is of 3 lights with tracery. The figure panels are in 2 tiers. From left to right the window reads as follows: -

Left top, St. Anne, mother of John the Baptist, designed by Peter Paul Marshall. Her arms are folded, and she wears a blue patterned dress, with orange sleeves and a green coat.

Left, lower, is St. Anne Prophesying, designed by F.M.Brown. She stands in front of an altar, with the Virgin holding the Child, and Joseph. Colours are red, green and white.

Centre, top, depicts the Virgin and Child, designed by Burne-Jones. Colours are red, green and white.

Centre, lower, shows the Presentation in the Temple, designed by Morris.

Right, top, depicts Simeon, designed by F.M.Brown. Simeon is looking up in a dramatic manner, characteristic of Brown’s designs. He has an orange cloak, a blue robe and a yellow and white girdle.

Right, lower, depicts Simeon Blessing the Child Jesus. Simeon carries the swaddled Child, with background figures to the right, from a design by Brown. Inscriptions give names, and the Nunc Dimittis in Latin is below. The background is of quarries. The tracery lights are filled with images of Seraphs, designed by Morris. The central panels have full-length angels and the side panels’ half-length. Colours are greens, blues, and red for the angel wings. These windows again demonstrate the excellence of Brown as a designer of vigour with a particular aptitude for the medium of stained glass, and also show again P.P.Marshall’s skill as a stained glass designer.

Other interesting stained glass in the church include the windows by Michael O’Connor in the aisles and the South chapel, the West window by Clayton and Bell, and the East window of 1861 by R.B.Edmundson. Other items of interest include: -

Reredos of Caen stone 1872

Royal coat of arms of 1700

Perpendicular font, with elaborate 18th century cover

Several fine stone carved monuments, mainly to members of the Slingsby family.

Mill Hill Unitarian Chapel, Leeds

The chapel was built in 1847-48. It was one of the earliest examples of a Nonconformist chapel built in the Gothic Revival style. Unitarians in 19th century England, as were other Nonconformist denominations, noted for their positive role in the development of civic politics, the civic gospel as it came to be known, in towns and cities. It is no coincidence that the chapel stands right in the centre of Leeds City Square. The chapel was built on the site of its 17th century predecessor. The architects were Bowman and Crowther of Manchester, and the style is predominantly Perpendicular. Originally, there were more crocketed pinnacles and finials. The clustered columns support the braced roof. There are aisles, a North chancel, porch, and a divider of the chapel, dating from the 1960s.

The Morris stained glass is situated in the South aisle, 4th window from the East. The window is of 4 lights, arranged in 2 tiers, and dates from 1875. The upper tier light at the left depicts Ruth, and was designed by Morris. Ruth was the great grand mother of King David, and so an ancestress of Christ. She wears a deep blue cloak, with a crimson lining, right arm raised. The upper tier light on the right shows Martha, and was designed by Morris. The colours are greenish/blue over white. The left hand light, lower tier, depicts St. Mary Magdalene, and was designed by Morris. Her robe is of yellow, with a white and yellow lining (nitrate yellow). The design is by Morris. The lower right hand light shows Dorcas, a woman of Joppa, who was raised from the dead by St. Peter. She had made clothes for poor widows, and here holds these clothes. The panel was designed by F.M.Brown, colours are blue and nitrate yellow. All the panels have quarry grounds and broad borders with vine pattern, colours being blue and green, names are inscribed below.

The tracery lights have 4 half-length angels, in white robes, from left to right, they hold a harp, cymbals, trumpet and pipe. The angels have red wings (inner), and green wings (outer), and were designed by Morris. Above is a Pelican on Nest. The Pelican piercing its breast to feed its young is the symbolic representation of the sacrifice of Christ on the Cross. It is a personification Charity “in her piety.” The designer was Philip Webb. The window is inscribed: -

“to the memory of ann kitson wife of james kitson engineer leeds this window is dedicated by her children, died December 20th 1865.”

These windows were made at one of the high points of the firm as stained glass makers. F.M.Brown again demonstrates his vigorously structured style and his empathy with the medium of stained glass. Webb shows a strong sense of the relationship between stained glass and the surrounding architecture.

Other stained glass in the chapel includes: -

Warrington of London, West side and North West side – scenes from the life of Christ.

H.K. Nicholson in the chancel – memorial to James Kitson, Lord Airedale

Clayton and Bell and James Powell and Sons – memorial windows in the East wall.

The chapel has other interesting features. These include the reredos of 1884 with mosaics of Christ and the Prophets by Salviati, carved angels, the Caen stone pulpit,

and green marble flooring.

St. Saviour, Cavalier Hill, Leeds

St Saviour’s was built in 1842-45. The church was designed by the Irish architect John Macduff Derick. The person behind the building of this large and grand church was Walter Farquhar Hook, a noted High Churchman. He was vicar of Leeds, and incumbent of the parish church of St. Peter 1837-59. Hook had supervised the entire rebuilding of the church, between 1837 and 1841. The architect was Chantrell, who designed the rebuild in a transitional Decorative/Perpendicular. Hook was at the centre of the church movement that aimed to enthuse the inhabitants of poor deprived urban areas for Christianity through the use of spectacular High Church services, filled with ritual, music, incense, and understandable liturgical services. Hook broke up the parish of St. Peter into a number of new parishes, and ensured that they moved in a Ritualist direction. St. Saviour’s was paid for by Edward Bouverie Pusey, who, along with the later Cardinal Newman, John Keble and Hurrell Froude, had established the Oxford Movement. St. Saviour’s was a first example of a type of theatrical Ritualistic churchmanship that was to become one of the characteristic approaches of the Church of England to poor inner city parishes.

Pusey insisted on a carved inscription on the floor at the West door that read: -

“Ye who enter this Holy place, pray for the sinner who built it.”

The High Church nature of the church, and the Ritualism of services at St. Saviour’s caused controversy, as it was the first Church of England building since the 16th century where daily mass was celebrated. The response was riots. A number of the clergy at St. Saviour’s defected to the Roman Catholic Church. The Roman Church was deeply unpopular with parts of the English community during the 19th century.

The style of the church is Decorated revival, with many windows with curvilinear geometric tracery, and is built of local sandstone. It has aisles, a chancel, a central tower, and pinnacles, but is less grand and extensive than originally planned. The church has undergone 3 major refurbishments. The first was in 1866-67, the architect being G.E. Street, Morris’ one-time pupil master. The altar was raised, as might be expected in a Ritualist church. Street employed Clayton and Bell, church decorators and stained glass makers, to decorate the roofs, and paint frescoes in the chancel. In 1888-90, a 2nd refurbishment was carried out, under the direction of G.F. Bodley, which included stencilling the nave roof in a Gothic Decorated manner, and the building of the Pusey Memorial chapel. In 1963, the architect George Pace had the interior painted white, covering all the wall paintings. This has now been reversed. The church is on a grand scale and has a soaring verticality, is perched above the river Aire, and is approached by giant stairs.

The Morris stained glass is located in the aisles. Of 1870, is the 3 light window at the West of the North aisle. The window depicts from left to right: -

Martha - designed by Morris – on the theme of the Mary and Martha story, carefully drawn and coloured, green predominating. The centre light depicts Fra Angelico from a design by Burne-Jones. Fra Angelico was much beloved by the Morris circle, and a truly Gothic artist, whose image would find favour with the Ritualist clergy and congregation at St. Saviours’. He is depicted in carefully drawn robes and breathes the spirit of Burne-Jones’s Aestheticism. Colours are predominantly grey and white. The right hand light depicts St. Catherine, designed by Morris. Colours are dark blue and white. All 3 lights have green glass quarry grounds. Above are 3 quatrefoil tracery lights. These are filled with angels, designed by Burne-Jones, all of which are half-length, and from left to right, hold a harp, an organ, and a dulcimer. Colours are blue and nitrate yellow. Above again is a trefoil with abstract patterns.

There is a 2 light Morris window in the South aisle, most Westerly. It dates from 1872, and is from designs made by F.M. Brown. The left hand light depicts St. Thomas, holding a spear and a square in his left hand. He wears a green cloak, lined with yellow. The right hand light shows St. Anne, holding a rose in a pot, an attribute. Colours are blue and white. There are to both lights quarry grounds of green glass, and names below. The tracery light has intertwined foliage, from a design by Philip Webb. A further Morris window is located over the North door. It is of 3 lights with tracery, and dates from 1878. The window depicts from left to right: -

St. John the Evangelist

St. Richard (12th century mystic theologian).

St. Agnes

All are carefully drawn in Burne-Jones Aesthetic mode. Colours are greens, reds and nitrate yellow. Backgrounds to the lights are green drapery, with quarries above and below. The tracery lights are a cinquefoil at the top, with an angel with a ribbon scroll, from a design by Burne-Jones, and below 2 quatrefoils with lilies, designed by Webb.

These windows are again from the period when the firm was at the height of its powers. The colours are rich and vibrant, the leadwork excellent, and the figure painting and backgrounds remarkable. The excellence of Brown’s designs again indicate what a loss to the firm he was after 1875.

There is much other notable stained glass in the church by other firms and artists. Michael O’Connor was responsible for much of the glass in the nave, clerestory and chancel, designed to Dr. Pusey’s directions and worked on by Benjamin Webb of the Cambridge Camden Society, the Gothic Revival group. The East window, depicting the Ascension, is considered to have been made by O’Connor. The style is 13thcentury. The church has a number of notable furnishings including: -

High altar, with a tabernacle, designed by G.F.Bodley.

Reredos, Rood, pulpit and chancel screen all designed by Bodley (c. 1890).

Font by G.E.Street 1871.

Reredos in the Pusey chapel, the war memorial of 1922, by Francis Dartington.

Statue of Our Lady designed by Temple Moore (1856-1920), a notable architect, of the late phases of the Gothic Revival, who designed St.Wilfrid’s church in Harrogate. He was architect of Pusey House in Oxford, the High Church Anglicans monument to Pusey and an important High Church centre for the enthusing and training of clergy, and as a High Church Christian leaven in the University.

St. Giles, Lockton

The church is predominantly 15th century Perpendicular in style, but there are earlier survivals, notably the lancet to the South side of the chancel, and the surround to the East window. The church has a chancel and a short Perpendicular West tower. The communion rail, pulpit and reredos desk are all of a piece, are in English Baroque style and date from the late 17th century.

The Morris stained glass is located in the East window, and dates from 1926. The window is of 3 lights, with tracery. The subject is Christ as the Good Shepherd. The designer was J.H.Dearle. The central light depicts Christ as the Good Shepherd, and the sidelights show sheep. In the background to the lights, are landscape and sky. The colours are greens, blues, and nitrate yellow. The tracery lights have stylised flowers. The window bears the following inscription: -

“To the Glory of God and in loving Memory of George Woolley Sanders his wife Sara and his father Jonathon John Sanders 1925.”

The Catalogue of Designs for 4th August 1926 names the glass painters as Titcomb (Christ), the remainder, including the tracery and inscription by Chadwick. This window demonstrates that, in its later days that the firm made good stained glass, even if the results were less creative and original than the high points of the firm in the 19th century.

All Saints, Linthorpe Road, Middlesbrough

All Saints was designed by Street and was built in 1878. The exterior was of local sandstone and the interior of brick. The windows have Geometrical tracery, influenced by 14th century France. The church has aisles, transepts, and a chancel. The West front has stepped lancets, and the East end a rose window. The church was from its beginnings was High Church and Ritualist. The first vicar, Father Alberic Bertie had commissioned the design and was a Ritualist. Father John Burn succeeded him in 1884. The church’s Ritualism became more pronounced, leading to a decades long dispute with the Archdiocese of York.

Some of the Morris stained glass is located in the North aisle in the most Easterly window. It consists of 2 lights and tracery, and dates from 1889. It depicts, at left, St. Aidan, and, at right, St. Boniface. St. Aidan was Irish and was summoned by King Oswald of Northumbria to convert the Anglo-Saxons of that kingdom in the 7th century. This he did. He was founder and first bishop of the monastery at Lindisfarne. He was active in the first half of the 7th century, dying in 651. St. Boniface was an 8th century saint. Born in Devon, he became the evangelist of Germany and became archbishop of Mainz. He was martyred in Frisia in A.D. 755. He became patron saint of Germany.

The stained glass is from Burne-Jones designs. The mood is the Aestheticism of his later years. St. Aidan is depicted dressed in green and gold over white, St. Boniface in red over white. Both figures stand on pink tiles, and have blue scroll backgrounds. Names are below. A brass plate states that the windows are in memory of John Thompson, manager of the Clarence Ironworks, who died in 1887, aged 55. The entry in the Catalogue of Designs for May 1889, records the glass painters as Dearle (St. Aidan), Bowman (St. Boniface), Stokes (background), and Campfield (labels). While not outstanding, this window reflects the continued competence of the firm.

There is further Morris stained glass in the South aisle, in the 2 light window, 2nd from the West. It dates from 1915, and depicts St. Alban and St. Thomas of Canterbury. St. Alban was the first British Christian martyr. He was martyred in the 3rd century A.D., being decapitated on the site of what is now St. Albans Cathedral. St. Thomas of Canterbury was martyred in 1170, following disputes with King Henry II, regarding secular and ecclesiastical powers. He was martyred in Canterbury Cathedral by knights supporting the King. St. Thomas was archbishop of Canterbury and also Lord Chancellor, combining Church and secular power. His decision to become wholly a Churchman, rather than chancellor led to his death.

St. Alban is depicted in the left hand light, and St. Thomas in the right. The designs are taken from Burne-Jones designs, and are Aesthetic. Colours are reds, blues and greens. There are scroll backgrounds, with names below. Stylised leaf motifs in the tracery lights. The window is inscribed: -

“In memory of Joseph Fowler Witly, died 1914.”

The Catalogue of Designs for 15th April 1915 notes the glass painters as Stokes (figures), and Watson (background and inscriptions).

All Saints, North Dalton

This church was built over a considerable period. The chancel arch and South doorway are Norman. The chancel is Early English in style, but is mainly 19th century. The Western tower is Perpendicular, as is the Western part of the nave. In 1821, major alterations were made, and, in particular, Gothick style windows were introduced. The church was restored again in 1872-74, by J.B.Atkinson, and the predominant appearance of the church is from this Gothic Revival restoration.

The Morris stained glass is situated in the 3 light East window, and dates from 1892. The left hand light depicts the Virgin, taken from a design by Burne-Jones. Colours are blue over purple and white. The central light, again from a Burne-Jones design, shows Christ on the Cross, with a serpent at His feet, colours are reds and greens. The right hand light depicts St. John, again from a Burne-Jones design, the predominant colour being red. All 3 lights have diamond quarry backgrounds, with yellow nitrate flowers. The left hand light bears the inscription: -

“to the glory of god in loving memory of mary annette holt who died mdcccliv by her daughter.”

The centre light has the inscription: -

“in memory of thomas collins m.a. for xi years the beloved vicar of this parish died ap. xith mdcccxci aged lviii erected by his parishioners and friends.”

The right land light has the inscription: -

“the disciple whom jesus loved erected by subscription in the year mdcccxcii.”

The entry in the Catalogue of Designs for November 1892 names the glass painters as Campfield (Virgin), Bowman (Christ on the Cross and St. John), Brown (scrolls), and Stokes (quarries). The upper parts of all 3 lights were lost, when the top of the East wall collapsed in 1953-54. These lights are good, but not outstanding stained glass, partly restored in 1961. Another interesting piece of glass in the church is the North nave window of 1924 by Leyland and Sons of Manchester. Other interesting item in the church are memorial wall tablets, and an early 18th century hatchment to the Barnard family. In the churchyard is a table tomb to Henry Woodall c. 1858, designed by J.L.Pearson.

St. Mary, Nun Monckton

St. Mary is the surviving remnant of a priory founded by William des Arches around 1150, for Benedictine nuns. The nave is the main survival, and appears to have been built in phases in the late 12th and early 13th centuries. The West front is Norman, with colonettes, embellished chevrons and mouldings. The doorway is in a gabled projection, with an upper trefoil, richly decorated with small shafts and waterleaf motif capitals. The gable above the doorway is decorated with pellet motifs, and 2 round-headed niches, one containing a much-weathered statue of the early 13th century. The remainder of the nave is externally plain, but inside are a series of arcades with single lancet windows. A small passage runs along at sill level, and between each 2 windows are tall detached arches with niches above. Ornament includes shaft rings and nail-head. The East of the church was demolished after the Reformation, and was replaced in 1873 by the architect J.W.Walton in Early English style.

The Morris stained glass is situated in the East window of 3 lancets, and dates from 1873. The left hand lights have from top to bottom, full length angels, with mandolin (1) and harps (2), and at the bottom a depiction of St. Anne teaching the Virgin. The angels are from Morris designs, and St. Anne by Burne-Jones. The central light, reading from top to bottom, shows a crown, designed by Philip Webb, below a full length angel with dulcimer designed by Morris, below again a Nativity with a Choir of Angels, by Burne-Jones, and, at the bottom, an Annunciation, again by Burne-Jones. The right hand light depicts, from top to bottom, full length angels, with harp, with pipe and organ, and below again Virgin and Child. The angels are all from Morris designs, and the Virgin and Child by Burne-Jones. The figures largely consist of white glass and nitrate yellow, which contrast very effectively with the all over foliage background to all lights. The inscription below the Nativity reads: -

“verbum caro factum est alleluia alleluia.” Nikolaus Pevsner was particularly impressed with these windows, writing in his guide to “Yorkshire: The West Riding” (2nd edition 1967 “Penguin”): -

“In this East wall are also three lancet windows, and they contain the finest STAINED GLASS in the West Riding, work by William Morris with figures and a scene surrounded by beautiful foliage. They were no doubt put in 1873.”

The West window is by Powells of Whitefriars. It supplies a fine contrast, with its scholarly Revivalism, as compared to the creativity and dynamism of Morris and the firm. There a number of ornate grave slabs. Pevsner is correct about the quality of this window; it is a consummate achievement at one of the high points of the firm’s creative life.

St. Wilfrid’s, Poole-in-Wharfedale

St. Wilfrid’s was built in 1838-40, replacing a chapel of the 17th century. The architect was Chantrell. It is in early Gothic Revival style, basically being a rectangular box, with plain Gothic windows in 2s. There is a West tower, with a broach spire. The church was re-ordered in 1880, and T.H. and F. Healey added an apse in 1891, the Bradford architectural practice, one of whose members had been a pupil of Chantrell.

The Morris stained glass is in the apse at the East, having been originally installed in the East end in 1866, and relocated in 1891, when the apse was added. The window is of 3 lights. The figure panels were designed by Morris, and the backgrounds by Philip Webb. The left hand light depicts the Raising of Jairus’ Daughter. Christ is to the left in blue and red, with His left hand lifting Jairus’ daughter from a carriage. This light is of white glass, with much nitrate yellow painting. Grouped around Christ are 5 figures, including Mary Magdalene, praying to facilitate the miracle. Much of the light is taken up by geometrical stylised leaf patterns, using red glass, but predominantly stains of nitrate yellow and iron oxide brown. Green glass background. The borders are rich, with trailing stylised leaf and flower motifs with paterae.

The central light depicts the Resurrection. Christ is shown as a patriarchal figure, naked to the waist, showing the stigmata, wrapped in a robe decorated with flower and leaf motifs. He has a halo, and holds a staff with the flag of St. George. The background is an early example of the overall leaf motifs, which were to become one of the firm’s characteristic features. Below are 3 amazed soldiers, dressed in 13th century style. Christ stands on a podium. Red, green and white glass, with much use of nitrate yellow. The background is as for the left hand light. The right hand light shows the Raising of Lazarus. He is depicted to the left, bearded and in a loose blue robe. St. Peter with a red halo grasps his hands. Above Peter is Christ in a blue robe, with a halo. There are, to the upper left, female figures in 14th century costume. There is much white glass, with nitrate yellow and brown iron oxide stain, and also pot metals of reds and blues. Green glass background and borders as for the other lights. The window is inscribed: -

“In Memory of Francis Thomas Ridsdale from MZM.”

The figure panels are effectively composed, and use lead lines well. The portraiture is a little mechanical. The pot metals are somewhat thin, this because the window was made before the firm had started using Powells of Whitefriars enriched pot metals, and before Powells’ full success. The church has other interesting stained glass windows, 1st and 2nd from the East, on the South side by Heaton, Butler and Bayne of 1873.

St. Peter, Rawdon

The church dates from the mid to late 17th century, but was rebuilt in 1864 to the design of the architect Alexander Crawford of Leeds. The short tower is dated 1706, and is the earliest discernable part of the church. The upper stage was added in 1864. The style of the Victorian church is Decorated, mimicking the 17th century work. There is a short chancel, and a cross-gabled South aisle. The church was re-ordered in the early 1980s, and an oak altar was installed.

The Morris stained glass is situated in the East widow to the South aisle. It is of 2 lights and dates from 1867, and depicts St. Michael (left), and St. Gabriel (right), archangels. St. Michael is from a design by F.M.Brown, and is shown armoured and with a mauve cape. St. Gabriel was designed by Morris, and has a red cape, lined with green. Both lights make effective use of nitrate yellow stain. While not major examples of the firm’s work, they are very typical of the first years of its stained glass making. Colours are subdued, and Brown and Morris’ designs are individual and creative. The overall effect is atmospheric and well composed. The East window is by William Wailes of Newcastle of 1864.

St. Martin-on-the-Hill, Scarborough

The church of St. Martin was built in 1861-62, with minor additions later in the 19th century and in the 20th century. The architect was George Frederick Bodley (1827-1907). He had been a pupil of George Gilbert Scott in the 1840s. He was much influenced by 13th century French architecture, and developed a particular enthusiasm for polychromatic brickwork. Later he was greatly influenced by the English Decorated style of the 14th century. He was a friend of G.E. Street, Morris’ pupil master as architect. Morris invited Bodley to the Red House, and in a meeting that was to be of great significance for the early development of the firm, particularly in terms of its stained glass. The new firm obtained commissions for stained glass for 3 of Bodley’s churches in 1862. These were: - All Saints, Selsey, Gloucestershire, St. Michael and All Angels, Brighton, and St. Martin’s in Scarborough. The firm, working in partnership with Bodley, more or less completely fitted out St. Martin’s with stained glass and other decorative pieces.

From the 1840s, the South Cliff area of Scarborough was built up with hotels and houses, with the population of residents and visitors growing very rapidly. One of the residents in this area was Robert Martin Craven, a wealthy surgeon from Hull, and after his death, his daughter Mary Craven saw building and endowing St. Martin’s as a suitable memorial for her father, and its dedication to St. Martin was in recognition of his name saint. She was responsible for the appointment the Rev. Robert Henning Parr as first incumbent. Parr was a notable High Churchman and Ritualist clergyman. Bodley, like Mary Craven, was the offspring of a Hull surgeon, and this connection may have contributed to the selection of Bodley as architect for St. Martin’s.

The church is in an austere French Gothic, and is built in dark Whitby stone. It is aisled, and has a chancel. In the French tradition, it soars high, and has a great wagon roof. It has a North West tower, with a saddleback roof. It has arched windows with plate tracery, and pilastered buttresses. Bodley made additions to the church, namely a vestry and a sacristy in 1869, and a school was built in 1872. A narthex and a baptistery were subsequently added by Bodley in a simpler version of the original style. A lady chapel was added in 1902. The church is magnificent piece of creative Gothic Revival, designed by one of the style’s great masters at his best.

There is a great deal of Morris stained glass in the church. To start with the East window. This is of 3 lights, with a rose window above and circles. It depicts Christ on the Cross, with the Virgin and St. John, dates from 1861-62, and designs were made by F.M.Brown. The Virgin and St. John are both kneeling. The window has blue glass, with much use of nitrate yellow and stipple shading. St. John, on the left, is in green and red, and the Virgin, on the right, in blue and red. There is an arc of seraph heads above. There is a sun and moon above, and a gold background of nitrate yellow. There are square quarries above and below. Above in the left and right hand lights, on a level with the Crucifixion and below are 7 scenes, depicting the Parable of the Vineyard. These were designed by Rossetti; models included Swinburne, Morris, Val Princep and Gambart (art dealer). The subjects are: -

The Planting of the Vines (top left).

The Letting of the Vineyard (top right).

The Stoning of the Servant (middle left).

The Arrival of the Lord’s Son (middle right).

The Feast of the Vintage (bottom left).

The Slaying of the Lord’s Son (bottom centre).

The Judgement and Condemnation (bottom right).

Above in the rose window, in a circle, is a Virgin and Child, from a design by Burne-Jones, and in other circles are stylised patterns, designed by Philip Webb. The whole window has wonderful colour harmonies, although the glass is not as rich in colours as that of the 1870s and 80s. Colours include blues, greens, reds and nitrate yellow. The whole window is a significant achievement so early in the firm’s history, and represents the collaboration of the firm’s artists at its best. There is Brown’s robustness with Burne-Jones’ poetry and Rossetti’ inventiveness. However, A.C.Sewter did comment that Rossetti’s panels in particular were difficult to decipher from a distance. The Parable of the Vineyard panels were shown at the 1862 International Exhibition in London, where the firm’s exhibits raised its profile greatly and won prizes. It is of note that, as was common practice in medieval and later stained glass workshops, the Christ on the Cross by F.M.Brown was a reversed version of the design used for All Saints, Selsey, Glos. A considerable part of the firm’s early success is down to George Campfield, foreman of the glass painters. He was a highly experienced glass painter, who had been recruited from the established firm of Heaton, Butler and Bayne, who was to have an important role in realising the partners’ designs.

There is Morris stained glass in the aisles. The most Easterly window on the South aisle is the Mary window, installed in 1868. It depicts, left to right, Mary Magdalene, Mary Virgin, and Mary of Bethany, who had anointed Christ’s feet at Bethany in Holy Week. Mary Virgin was designed by Burne-Jones, and the model was his wife Georgie. Morris made the design for Mary Magdalene, the model being Annie Miller, one of Rossetti’s models and mistress, and Elizabeth Rossetti, nee Siddal, being Mary of Bethany. This window had originally been made for the church of St. Michael, Brighton, in 1862. It is thought that it was rejected there because Lizzie, Rossetti’s wife, model for Mary of Bethany had died of an overdose of laudanum, and was seen as a suicide. It remained in storage, until it was installed at St. Martins’. St. Mary Magdalene is painted on white glass with iron oxide and nitrate yellow. Mary Virgin is again on white glass with oxide and nitrate yellow, with a red background, and with quarries above and below. St. Mary of Bethany is again on white glass, with nitrate yellow cloak over crimson, and a blue background. All 3 lights have double narrow borders all around, and stylised ornament in the heads, designed by Webb. An inscription below reads: -

“To the Glory of God and in Memory of Agnes Phoebe Marshall who died at Scarborough Jan. 3rd 1868 aged 58.”

The window is a notable achievement. Burne-Jones’ poetic style is brilliantly combined with Morris’ colour and pattern.

The centre window on the South aisle depicts Sts. Peter, Stephen, and Paul. All 3 lights were designed by Burne-Jones, and date from 1873. St. Peter is on white glass with oxide and nitrate yellow painting, and the background is red. He holds his attribute, the key to heaven. St Stephen, the first martyr, is shown kneeling with his head in his hands, with stones, the emblems of his martyrdom. He is depicted on white glass, painted in iron oxide and nitrate yellow, against a blue background. St. Paul is again on white glass with pale blue, and a red background. The model for Peter and Paul was William Michael Rossetti, the painter’s brother. The inscription refers to the appearance of St. Stephen before the high priest and council. It reads: -

“And they saw his face as it had been the face of an angel.” (Acts of the Apostles).

Burne-Jones style is an early version of his soft – edge Aestheticism, naturalistic and restrained. The 3 lights all have narrow borders with stylised foliate motifs. The left and right hand lights have stylised pattern work in the heads, designed by Webb. The rose window above has a shield in the centre of a circle, surrounded by 6 smaller circles, all with formalised pattern work, designed by Webb. An inscription below reads: -

“a thank offering for the recovery of the prince of wales 1872 by mary craven.”

This window contrasts interestingly with the earlier Morris windows in the church, in that the colours are richer and subtler, and painting of faces more refined.

Again made by the Morris firm, is the 3 light most Westerly window on the South aisle, which depict Sts. Dorothy and Theophilus, and dates from 1873. Dorothy was a 4th century Roman martyr, who was executed in Caesarea. She was on her way to martyrdom, when she was mocked by a group of law students, one of whom was Theophilus. He was later confronted by an angel, bearing the apples of Paradise, associated with Dorothy. He converted and was subsequently martyred. The left hand light depicts St. Dorothy, who is on white glass and painted with iron oxide and nitrate yellow. The design is by Burne-Jones. Dorothy was modelled by Jane Morris, She holds a spray of apples, and is set against a blue background. The centre light shows the angel and apples that appeared to St. Theophilus, after the death of Dorothy. The angel is in white, and has red wings. The model was Jane Morris, and the designer was Burne-Jones. The background is red, including flashed ruby, and there are quarries above and below. The right hand light depicts Theophilus, from a design by Burne-Jones. Theophilus is shown in purple with nitrate yellow painting. All 3 lights have narrow formalised foliate borders. The window heads have stylised ornamental motifs, probably by Webb, and below the figure panels are bands of flower and leaf motifs. The inscription below the centre light reads: -

“a tribute of respect and sympathy to the princess of wales 1872 by mary craven.”

This window contrasts interestingly with the earlier windows by the firm in St. Martins’, as noted before with other later windows in the church, in terms of design, colour, and painting. This window is again the firm at the height of its powers. Burne-Jones’ poetic style has developed and foreshadows the firm’s style when he became their sole designer in 1875.

There is more Morris stained glass in the North aisle. The most Easterly window dates from 1873, and depicts Isaiah, Daniel, and Ezekiel (left to right). Isaiah is from a Morris design. The prophet is in a pale green cloak, lined with nitrate yellow over white. The figure of Daniel is from a Burne-Jones design. Daniel is kneeling in prayer, on one knee, and is in white with nitrate yellow breeches. The model is said to be A. C. Swinburne, poet and intimate of Rossetti and the Pre-Raphaelite circle, and an icon of late 19th century decadence. Ezekiel is again taken from a Burne-Jones design. The prophet is shown in white and blue, with a nitrate yellow background. All 3 lights have scrolled backgrounds, and double floral/foliate borders, designed by Morris, and with stylised motifs in the heads of the windows by Webb. The rose window above has a central shield, depicting a lion, with an inscription taken from the Book of Daniel: -

“Thy God whom thou servest continually, he will deliver thee” – words spoken by King Darius as he threw Daniel into the lions’ den.”

The shield is surrounded by circles, with Webb stylised motifs. The window was commissioned by Mary Craven, as an offering of thanks for the success of the mission work carried out in St. Martin’s parish in 1872. It bears an inscription at the lower right, which reads: -

“a thank offering for god’s blessing on the mission in st martins 1872 by mary craven.”

The window is from the firm’s golden period, and combines excellent painting, rich colours, and very good leadwork

The next most Westerly 3 light window, more or less central to the North aisle depicts in the centre St. Michael Archangel, flanked by Joshua and Gideon, Old Testament warrior kings, and dates from 1862. Peter Paul Marshall, one of the founder members of the firm, designed St. Michael and Joshua. Marshall was a sanitary engineer, and this is one on of the few designs that he made. St. Michael is depicted winged, and with a spear, painted with nitrate yellow on white glass. It is very successful, and it is a pity that he did not make more designs for the firm. The left hand light shows Joshua, armoured and holding a spear and a shield with a sun motif, on white glass and with nitrate yellow painting, again by Marshall. The right hand light shows Gideon, designed by Ford Maddox Brown. The warrior king is armoured, and has a sheathed sword. The design has the robustness in the drawing of the figure that was characteristic of Brown’s art. Again the figure is painted on white glass with nitrate yellow and brown iron oxide. Joshua and Gideon stand on grassy foregrounds, and the Archangel on rocks. The backgrounds are blue, and there are stylised foliate motifs in the window heads that appear to be by Webb, who it would seem had also designed the similar patterns in the tracery lights, and the borders. An inscription below reads: -

“In Memory of Major William Godfrey Clarke Monins of the Royal Welsh Fusiliers and afterwards of the Royal Cumberland Militia who died at Scarborough Apl 25 A.D. 1860 Aet 46.”

This is a particularly fine window, showing the creativity of the artists engaged by the firm, and Morris’ ability as studio master, in co-ordinating the various designers, and the aesthetic and technical processes necessary to make good stained glass, rooted in the medieval tradition, but bringing a new expressiveness to the medium.

The next most Westerly window is of 3 lights and dates from 1862. It depicts, from left to right, Hezekiah, David and Josiah, and commemorates the death of Prince Albert. The design for Hezekiah was by George Campfield, David by Morris, and Josiah by Campfield. The figure of Hezekiah is on white glass and painted in nitrate yellow, with red and green pot metals. He has a crown and a staff. The crowned central figure of David is seated on a red throne, harping. Colours are green, and red, on a white ground. The figure seems to be a self-portrait by Morris. Josiah is on white glass, painted in nitrate yellow and iron oxide, with green and red pot metals. He holds a sceptre. All the figures stand on green grass mounds, with blue backgrounds. All 3 lights have stylised double borders. The window heads have stylised pattern work, designed by Webb. An inscription reads: -

“To the Glory of God and in Memory of H.R.H. Prince Albert A. D. 1861 the Gift of Mary Craven.”

Mary Craven was a strong monarchist, in an age when this was not universal, and had a particular admiration of Prince Albert. This is another fine example of the firm’s early work, with poetic design and well-placed leadwork.

The most Westerly window on the North aisle, depicts the Old Testament figures Moses, Melchisedek, and Aaron, left to right, one to each light. They date from 1872, and were all from designs by Burne-Jones. They are all in his Aesthetic mode. Moses is on white glass, painted with nitrate yellow, with blue and red robes, and a blue background. Melchisedek is in nitrate yellow, with panels of quarries above and below. Aaron is depicted in white and nitrate yellow. He holds a censer in his right hand and flowering rod in his left. The window has stylised borders all around. There are bands of floral/foliate motifs below the figures in the sidelights. Inscribed below the figure of Melchisedek is: -

“a tribute of loyal respect to queen victoria 1872 by mary craven.”

These panels again show the firm and Burne-Jones at the height of their powers, with fine design, painting, colouring and leading.

The west window dates from1862, and consists of 2 large lancets, with a rose above. It is one of the firm’s great achievements of the early years. The left hand light depicts Eve, and the right Adam. They are both from designs by Ford Madox Brown, the models being his wife and himself. They have the robustness typical of Brown’s art. The glass is pale in colour, but Morris has produced good colour harmonies, blues, reds, greens, and nitrate yellow. There are backgrounds of foliage. There is a bear, designed by Webb, tickling Adam’s foot. The rose window was designed by Morris and Burne-Jones. The central circle depicts the Annunciation, and was designed by Burne-Jones. The scene is tightly composed, and there is a hint of Burne-Jones’ later Aesthetic/poetic style. The central circle is surrounded by 9 cusps depicting from top and then from left, clockwise: -

Angel with dulcimer (from a design by Morris).

Angel striking bell (Burne-Jones).

Angel with bulbed pipe (Morris).

Angel with striking bell Burne-Jones).

Angel with scroll (Morris).

Angel with striking bell (Burne-Jones).

Angel with harp (Morris).

Angel with striking bell (Burne-Jones).

Angel with organ (Morris).

The images are effective both at a distance and close to. They show how successful Morris and Burne-Jones were at designing and making stained glass that became a unity with the church’s architecture, and how the 2 artists formed a visual synthesis together.

The chapel at the North corner of the church has a 3 light window with a rose above, dating from 1862. The left hand light shows: -

A Group of Men Listening to St. John the Baptist, designed by Morris and Burne-Jones. 3 men are standing and one sitting. Colours are restrained greens and reds. The background is quarries, and above are stylised patterns designed by Webb. There is an inset designed by Webb of a Pelican on its Nest, the symbol of Christ’s Crucifixion, here the design is particularly sensitive and emotive. The centre light depicts: -

St. John the Baptist Preaching, designed by Morris and Burne-Jones. The saint wears a green cloak over a brown vest, and has his right arm raised. The right hand light shows: -

A Group of Women Listening, again by Morris and Burne-Jones. An inset shows Agnus Dei (the Lamb of God), designed by Webb. The colours are as for the left hand light. The upper parts of the left and right hand lights have geometric patterns, designed by Webb. The rose window above has foliate motifs, again by Webb. Below is an inscription that reads: -

“To the Glory of God and in affectionate Remembrance of John Esp” (rest obscured).

The chapel at the East end of the North aisle has a 2 light window with tracery, dating from 1863, depicting the Old Testament figures Boaz (left), and Ruth (right). Both were designed by Morris. Boaz is shown in white over crimson, and Ruth on white glass with nitrate yellow painting, again with a crimson background. Both lights have backgrounds of trees and corn. The borders are wide, with the initials B and R, for Boaz and Ruth, alternating with foliage. The tracery lights have a prophet with scroll, designed by Webb, flanked by trefoils of pattern-work, again by Webb. Below is an inscription reading: -

“A Thank Offering for the bountiful Harvest of 1863.”

There is a superb pair of stained glass windows in the former Requiem chapel, where coffins used to rest before burial, now the parish office, at the East end of the South aisle. They date from 1864 and depict: -

St. Martin Dividing His Cloak with a Beggar (left).

St. Martin in Heaven (right) – the Cloak is now in the hands of Christ, supported by angels.

Brown designed both, in his vigorous style. The lights have narrow borders; the backgrounds are quarries, and above is pattern-work. Colours are blues, with nitrate yellow. The tracery lights have Webb pattern-work. An inscription below reads: -

“In Memory of Jane widow of R. Martin Craven who died October 15 1862 aged 80 by her daughter Mary Craven.”

This is a particularly good window by the firm in its early years. Brown’s robust design skills are again demonstrated. Morris stained glass marked a radical new departure in the medium, although rooted in the medieval past, with good design and leadwork, colours and expressiveness.

The firm also made stained glass for the clerestory lights. There are 4 in the chancel, 2 each on North and South sides. They have central roses, surrounded by circles. They date from 1871, and were designed by Webb. They depict in the roses the 4 Evangelists, embellished with scrolls. The circles have stars. The nave clerestory windows, designed by Webb and Morris, date from 1871-73. On the North side, there are 4 windows, each of 2 lights with a rose above. From West to East these lights illustrate:-

Angel in green with scroll (left).

Angel in blue, over white with scroll (right).

Angel in gold (nitrate yellow) with scroll (left).

Angel in white, with red ribbons and scroll (right).

Angel in blue over white, nitrate yellow decoration with scroll (left).

Angel in green, with blue ribbons and scroll (right).

Angel in blue, with nitrate yellow decoration with scroll (left).

Angel in green, with blue ribbons and scroll (right).

Angel in blue over white, with scroll (left).

Angel in blue with white ribbons, holding scroll (right).

The South side 2 light clerestories, 3 2 light windows and 1 single, reading from East to West, depict:-

Angel in nitrate yellow painted robes, with scroll (left).

Angel in gold (nitrate yellow) robe with green lining, and blue, and holding scroll (right).

Angel in green, with scroll (left).

Angel in blue, with purple lined cloak, with scroll (right).

Angel in white, with red ribbons and scroll (left).

Angel in blue, with scroll (right).

Angel in nitrate yellow and red, with scroll (left).

Angel in pale blue, nitrate yellow patterning, flowers in hair, and holding a scroll.

The angels all have golden (nitrate yellow) wings, and quarry backgrounds. They are from Morris designs originally made in 1866 for the painted ceiling in the chapel at Jesus College, Cambridge. The rose windows have stylised foliate motifs from Webb designs. The 5th window from the East depicts St. John the Baptist, and is from a design by Morris, made in 1864. The saint has a long brown hair vest, over a green cloak, lined with red. The background is of quarries, and has broad stylised leaf border.

The windows at St. Martin’s are one of the most remarkable collections of Morris stained glass in one place, comparable with the outstanding windows at Holy Trinity, Meole Brace in Shropshire, and All Saints, Middleton Cheney in Northamptonshire. They cover the very early years of the firm on into the 1870s, where the marriage between Morris as designer, colourist and studio master, and the artist designers who worked for the firm was at its most productive. A new creativity was introduced into stained glass making, the results, while rooted in the past, had created a new stained glass. This all resulted from the meeting of the firm at its most creative period with Mary Craven, who was a very wealthy and sympathetic patron, who wanted to create a memorial to her father, and to support the High Church cause. Sadly some of the stained glass has faded over the years.

The church is filled with other superb artwork created by the Morris circle. The East wall has blank tracery, framing the painting of the “Adoration of the Magi.” This was from a design by Burne-Jones, painted by Campfield. The ceilings of the chancel and the North chapel are austere Gothic, designed by Morris, Burne-Jones and Webb. The screen of 1894 was made to a design by Bodley, and features a rood (cross), and figures of the Virgin and St. John the Evangelist, the adjacent wall being painted by Bodley. The pulpit and its paintings were designed by Morris, Burne-Jones and Rossetti. The front panels were designed by Morris and Burne-Jones, and painted by George Campfield. The upper panels depict the 4 Evangelists, and the lower the 4 doctors of the Western Church (Augustine of Hippo, Gregory, Jerome and Ambrose). These are a faithful re-interpretation of medieval paintings. On the North side is an Annunciation, designed by Rossetti. The Virgin is sitting in a medieval rose garden reading, and the angel looks over a trellis. The enclosed garden is symbolic of Mary’s virginity. The framing is decorated with fleur de lys, referring to the Virgin, and martens, these alluding to the dedication of the church. The church was considered at the time of its building by some of the residents of the town as being too Papist, an opinion shared by Archbishop Thompson of York, who refused to licence the 4 pulpit panels depicting the 4 Doctors of the Church, which were seen as being particularly Popish. They were not licensed until 1873.

The reredos was added in 1890, being from a design by Bodley. The panels are in low relief, and were made by Farmer and Brindley, the noted London based architectural sculpture firm, active in the 2nd half of the 19th century and the 1st quarter of the 20th. The central panel is of the Annunciation, flanked by bishops St. Wilfrid (left), and St. Paulinus (right). Winged panels feature archangels. It is reputed that one of the church’s altar frontels was worked on by Janey Morris. The Lady chapel was extended in 1902, again designed by Bodley, and is painted with patterns, crowns, lilies and monograms on the East and South walls. The Baptistery of 1879, again by Bodley contains stained glass by Burlisson and Grylls, depicting Christ Triumphant, as a memorial to Mary Craven. There is more stained glass by this firm in the narthex.

The church of St. Martin is of immense interest. This not only because of the outstanding Morris stained glass. The building’s austere Gothic architecture provides a magnificent setting for this glass, with other notable artworks, and provides a place for worship full of poetry and numinous.

Holy Ascension, Settle

Holy Ascension was built in 1836-38, and was designed by Thomas Rickman. The style is early Gothic Revival, reviving elements of the Early English style. There is a chancel, but no aisles. There are plain lancet windows, and the church is built of the local gritstone. There is a tower with battlements at the South West corner, with an attached stair turret with a spire capped with a ball.

The Morris stained glass is located on the North side of the nave, 2nd window

from the East. It dates from 1913, and depicts the Annunciation to the Shepherds. The composition, to fit the lancet, is strongly vertical, with the announcing angel at the top and the shepherds and the sheep descending the design, which is derived from an earlier work by Burne-Jones. There is a landscape background. Colours are blues, browns and nitrate yellow. The border is decorated with formalised foliate motifs, notably creeper. A brass plaque records:-

“in memory of Mary Louisa Jarry died 17th. April 1893. and Alphonsine Sarah Jarry died 6th. November 1912.”

The window is effectively sited in the lancet, and the design reflects the Aesthetic style of Burne-Jones later life.

Other interesting stained glass is situated in the East window. It shows the Crucifixion, the Ascension, and the 4 Evangelists, with a rose above. It was made by the distinguished maker Michael O’Connor, in 1848, and is Puginesque in manner. Other interesting features in the church are marble pulpit and font, with fine Gothic detailing, dating from1867. There is a very good wrought iron Gothic chancel screen. The gallery has a painted royal coat of arms dating from 1838. The apse has marble inlays. In the porch is a marble tablet to those killed in the building of the Settle to Dent section of the Settle to Carlisle Railway. The roof is a fine example of a queen post double-framed structure, with trefoil decoration.

St. John, Sharow, Ripon

St. John dates from 1824-5. It is built in an early Perpendicular revival style, and was designed by the engineer George Knowles. It was a chapel of ease of Ripon Cathedral. It has 15th century 3 light traceried windows. It is wide, and has carved ceiling bosses. St. John’s has battlements and a West tower with buttresses and battlements. A chancel was added in 1873-4, the original East window being incorporated.

The Morris glass is located in the North wall of the nave, most Westerly. It consists of 3 lights and tracery, and depicts the Adoration of the Magi. The Virgin and Child are depicted under a thatched shelter, with a landscape background. The design was adapted by J H Dearle, from the Star of Bethlehem tapestry. In the heads of the lights are angels and seraph heads. Inscribed in the base panels are the words: -

“To the Memory of William Topham Moss and Ann his wife this window was placed here by their son Dennis Topham Moss.”, and on a scroll is written “Quia natus est vobis Salvator”

The tracery lights have angels with trumpets, praying angels and seraph heads.

The window dates from 1939, and the Catalogue of Designs names the glass-painters as follows: -

Main lights –Rees.

Background, wings and base – Knight.

Tracery and inscription – Chadwick.

Although a very late example of the firm’s stained glass it works as a window, the dark colours being particularly effective. There is other interesting stained glass in St. Johns. The East window of 1853 is by George Hedgeland, and has brilliant scenes, 2 of them after Raphael, The West window to the tower (1886) and in the chancel window South side (1935), are both by Heaton Butler, and Bayne There is a. wall tablet, with a broken bridge motif to the church’s designer George Knowles (c1856). In the churchyard are stones to the astronomer and Egyptologist Charles Pizzi Smith and his wife, in the form of a pyramid, topped by a cross. Adjacent is a brick school with stone dressings and mullioned windows

St. Mary, Tadcaster

St. Mary’s dates from the late 14th / early 15th centuries, although there are surviving Anglo-Saxon and Norman fragments. It is built in the local shimmering white magnesian limestone, a beautiful, if fragile, material. The style is a dignified balanced Perpendicular. The church rises against the background of the verdant River Wharfe, and the never used viaduct, built by the railway king George Hudson. The church is aisled, has a chancel, a clerestory, a South porch, and a West tower, with transomed bell openings, battlements and pinnacles. The windows are flat headed, except for the East and West windows. By the 1870s the church was in a parlous state, the walls leaning, and the upper storey of the tower overhung the lower and was pronounced unsafe. Much of the stonework had perished, and in the interior the whitewashed walls and pews were not considered appropriate in the 2nd half of the 19th century. Most significant was the proximity of the fast flowing and prone to flooding River Wharfe, which had become an increasing problem. In 1875, a meeting of parishioners was convened, presided over by the Archbishop of York, and it was decided that the church should be taken down, except the West tower, and rebuilt on foundations 5 feet higher. The architect was Edward Birchall of Leeds. Work commenced in August 1876 and was completed in May 1877; the total cost being £8000, had been raised by public subscription. The church interior was enhanced at the same time, being faced with bosted limestone. The oak roofs over the nave and the South chancel were restored, and have gilded and coloured bosses. The seating, pulpit, screens, and choir stalls are of oak and decorated in the revival Perpendicular style very popular in the later 19th century and early 20th century, were installed by Bromet and Thorman of Tadcaster in the early 20th century, who had been responsible for widening the North aisle and chapel in 1897-8.

St. Mary’s is of particular note in that the East window is, one of the finest stained glass window made by the firm, located in a wonderful church, which it happily harmonises with. It is also notable as illustrating some of the issues that the firm and Morris were faced with. Morris was highly critical of the Scott architectural dynasty for over-restoring, and sometimes massively altering churches that had evolved over several centuries in a variety of Gothic styles, by deciding which style should be preferred and demolishing/altering to produce a stylistically uniform building, ignoring the essential unity of the Gothic styles and their variations. It was a common practice in the 19th century for churches facing structural problems to be demolished and rebuilt, as in the case of St. Mary’s. This was a practice deplored by Morris. The firm sent out a circular in April 1877, stating that they would no longer supply stained glass for medieval buildings, unless they already had examples of Morris glass, or were not “monuments of ancient art.” St. Mary’s had no Morris stained glass, and it would seem doubtful that Morris, with his huge knowledge of, and empathy with, medieval Gothic buildings, would not have considered this church to be of merit. The East window of St. Mary’s dates from 2 years after the firm’s pronouncement, so it can only be concluded that the necessity to rebuild the church because of its condition and surroundings removed it from the firm’s edict.

The church’s most notable feature is this East window, which dates from 1879. Its subject is Christ as Salvator Mundi (Saviour of the World), a subject that the firm reproduced many times. Stained glass windows, using the same figure designs could be produced in an infinite variety of colours and varying backgrounds. The Tadcaster version is particularly successful in terms of colours and backgrounds. It consists of 15 main lights in 3 tiers. The designs had been made years before and not specifically for St. Mary’s. The top tier of figures has Christ at the centre as Salvator Mundi. The figure of Christ is from a design by Burne-Jones, is crowned with a halo, and has carefully drawn white robes. Christ looks right and raises His right hand in benediction. The figure has a handsome dignity and an Aesthetic mood very typical of Burne- Jones’ later style. The background is of dense flower, leaf and fruit motifs in rich colours. Christ is flanked by Angels from left to right: -

Angel with Palm and Lyre, designed by Burne-Jones. The figure looks to the right and has richly painted clothes and wings.

2 panels of Angels, Swinging Censers, designed by Morris. The figures are winged, look to Christ, and swing the censers vigorously. There is much use of blue glass.

Angel with Palm and Lyre. All figures have haloes. Behind the figures are scrolls are scrolls inscribed with verses of the “Sanctus.”

The 2nd tier has a figure of the Virgin in the centre. The draperies are carefully painted, the designer being Burne-Jones. The Virgin looks right and downwards, and has a ruby halo. The mood is again the Aestheticism of Burne-Jones’ later style. The background is Morris’ rich flower and fruit patterns. Above the Virgin is a pattern of sunrays, which also occur in the panels to the left and right of the Virgin, tying them together with the panels of the 3rd tier. The panels from left to right are: -

St. Cecilia. The figure is wonderfully drawn by Burne-Jones. St. Cecilia was martyred in the 6th century. By the 15th century, she had become patron saint of musicians. By the 16th century, her attribute was the portable organ, with pipes descending in size from right to left, from low notes to high. Burne-Jones’ design reflects this tradition, which was revived in the 19th century.

St. Catherine. This design was by Morris. St. Catherine was martyred in the 4th century. Her attributes are the wheel of martyrdom, and as here, an open book symbolising learning. She also holds a sword symbolising her execution. She was of royal birth, and as such wears a crown. The draperies are detailed, with reds and nitrate yellow, but the figure and particularly the face do not have the accomplishment of Burne-Jones’ designs. The background is as for the other panels, with sunray motifs above and the Sanctus.

St. Dorothy. Another excellent design by Burne-Jones. St. Dorothy, or Dorothea, was martyred in the early 4th century. Here she holds her emblem, a bunch of roses, and looks left. The head and face are again soft edge late Pre-Raphaelitism. The blue gown and figure are again examples of Burne-Jones’ excellence as a designer of stained glass. The background and sunrays are as for the other windows on this tier.

The 3rd tier depicts St. Peter in the centre. The design is by Burne-Jones. It depicts a balding or tonsured, bearded Peter, with a nitrate yellow halo. Peter is regarded as the founder of the Church, and known as the “Prince of the Apostles.” He was the brother of Andrew, and a Galilean fisherman. He was the leader of the Apostles, and went to Rome, where he was martyred by the Emperor Nero in A.D. 64. As is general in Western European Art, he is depicted as short, vigorous, and elderly, with a curly beard. He holds a gold key, emblem of his role as gatekeeper to Heaven.

He is flanked from left to right: -

St. John the Baptist. This is a Burne-Jones design. St. John was seen by the Church as the last of the Old Testament prophets, and also the 1st saint. He was martyred by Herod Antipas in the 1st century. He is shown here as a young man in a red tunic, holding his attribute, a reed cross with a long slender stem. He looks down.

Moses. He is seen as the founder and lawgiver of the institutional Jewish religion. The Church saw Moses as the pre-eminent Old Testament figure, foreshadowing Christ. He is here, as per tradition, shown as bearded and with long white hair. He carries the Law and wears a deep blue robe. The figure is characterised by dignity and gravitas.

St. John the Evangelist. The design is by Burne-Jones. St. John was the son of Zebedee and brother of James. He is the assumed author of the 4th Gospel and by tradition the Apocalypse. He was at the centre of Christ’s ministry. He is said to have died at Ephesus at a great age. He looks downwards and left towards St. Peter. He holds a chalice, and is depicted as a young man, with a gold halo. The drawing and painting of the figure, and the red and blue robes are very fine.

St. Stephen. Again, the designer of the window is Burne-Jones. St. Stephen was the 1st. Christian martyr, and was one of the 7 deacons appointed by the Apostles. He is depicted as a young man with a blue halo with his martyr’s palm, dalmatic robe in deep brown, and with a censer. He was martyred in the 1st. century, and the instruments of his martyrdom, stones, are depicted. The marriage of Burne-Jones’ design and Morris’ colourist skills, and his role as studio master is very effective.

Surrounding all the figures on the 3 tiers are scrolls painted with the Sanctus hymn. The backgrounds are of densely packed rich flower, leaf and fruit motifs, a particular characteristic of the firm at this period. These motifs are stylised to fit in with backlit and 2 dimensional nature of stained glass as a medium, but relate closely to the natural world. Motifs include oak leaves, acorns, pomegranates, peaches, roses, and vines.

Above are tracery lights, depicting angels, with musical instruments, including dulcimers, harps and pipes. There are also mouchettes, decorated with stylised leaf motifs. All these were designed by Morris, and demonstrate his singular felicity in designing images for tracery, which add to the overall impact of the window, and are readable from ground level.

One of William Morris’ greatest talents as a stained glass was to marry naturalism with the necessary abstraction required to make stained glass windows work as flat abstract images, with no unnecessary perspective. Lit from behind, his figures and backgrounds merge into a mosaic of colour and pattern, but their subject matter is very accessible. The panels in tiers 2 and 3 are headed with a golden pattern of sunrays, which illuminate the panels and tie the composition together. The use of lead lines is skilful and effective, the lines delineating the outline of the composition, and producing in certain lights a dark abstract pattern.

The colour harmonies of the whole window, with its reds, blues and greens in the pot metals, and the use of nitrate yellow stain, are very effective. So is the use of white figures against the densely coloured backgrounds, making the window coherent, and permitting light into the church. Morris’ expertise in coordinating colours, a skill he was noted for, is particularly evident in this window, as is his creativity as director of the studio. The dense, colourful leaf, flower and fruit backgrounds are a particular achievement of Morris as a designer and show him at the height of his powers. It is certainly one of the finest window made by the firm, and, indeed, in the history of stained glass. A C. Sewter wrote in his “Stained Glass of William Morris and His Circle. A catalogue” (Published for Paul Mellon Centre for Studies in British Art by Yale University Press, 1975, pp, 183-184): -

“This is certainly one of the most splendid Morris windows of the 1870s. The figures stand out in brilliant tones against the rich dark backgrounds; and the golden rays give an effect of extraordinary jubilation. No other Morris window is quite like it; and since not one of the figures was specially designed for the occasion, this effect is due primarily to the colouring and the background devises, for which, most probably, Morris himself was responsible.”

There is a brass plaque adjacent which reads: -

“ To the Glory of God and in loving Memory of Anna Elizabeth, wife of Alfred Harris of Oxton Hall, who was taken to her rest, 18th December 1876.”

Alfred Harris of the neighbouring Oxton Hall was a prominent local landowner, with connections to the Bradford textile trade commissioned the window. The Harris family was obviously pleased with the window, as they commissioned a further window from the firm, to the memory of Alfred Harris’ daughter, Sophia, in the nearby church of All Saints, Bolton Percy in 1906. See entry on Bolton Percy.

Other interesting stained glass in St. Mary’s include a fine Arts and Crafts window in the North aisle by Adam and Small of Glasgow, 3 windows by W. H. Constable of Cambridge of 1879, and Powells of Whitefriars glass in the South chapel of 1887. Overall, the church is one of the most significant in Yorkshire for its stained glass, and other features, and well repays a visit.

St. Peter, Tankersley, Barnsley

St. Peter’s dates from the 1st half of the 14th century, and is in the local sandstone. In style, it is transitional between Decorated and Perpendicular. It has a chancel, transepts, aisles, a clerestory, and a Western tower. The East window has reticulated tracery (Perpendicular). There are ogee arches (Decorated), notably that to the South porch. The North aisle was rebuilt in 1861. Fragments from the 12th and 13thcenturies survive, built into the present church, notably the13th century chancel.

The Morris stained glass is located on the South side of the nave, in the most Easterly window. It is of 3 lights, with tracery above. It dates from 1881, and the subjects are Faith, Hope, and Charity. Hope is depicted in the left hand light, Charity in the centre, and Faith in the right hand light. All 3 are from Burne-Jones designs. The figures are in white robes, embellished with nitrate yellow ribbons. They are in Burne-Jones’ Aesthetic poetic style, and are infused with other worldly spiritualism. They contrast very effectively with the dense background of leaves and fruit. This background scheme was one of the firm’s innovations of the 1870s and 80s. Below are Latin titles, set in similar foliage patterns. The tracery lights are trefoils, with half length angels. The left hand light has an angel with a lute, the centre an angel with an organ, and the right hand an angel with a curved horn. The angels are painted on white glass with nitrate yellow, and have wings similarly painted. The window bears the inscription: -

“in memory of the sweet life of ellen walker born 1828 died 1879.”

The Catalogue of Designs for July 1881 names the glass painters, as follows: -

Faith and Hope by Dearle.

Charity by Bowman.

Foliage background by Pozzi.

The order reading from left to right differs from the usual Faith, Hope, and Charity. The window is a notable achievement, with good colours and leading, the contrast between the figures on white glass and the rich background is wonderful, and represents an important aspect of the firm’s later development. Other interesting features of the church are the porch gates, designed by Sir Edwin Lutyens in 1901, and the War Memorial in a vibrant late Arts and Crafts style. The porch has parts of coffin lids, dating from the 12th and 13th centuries. In the chancel is the 15th century tomb of the priest Thomas Taytill. There are a number of medieval monuments to local landowners.

All Saints, Terrington

All Saints has a long history, reaching back to the Anglo-Saxon period. It has aisles, a chancel, clerestories, and a West tower. It is built of the local limestone, and has a slate roof. The South nave wall dates from the 11th century, and the North arcade from the 12th century, with robust Norman arches. The South wall of the nave has herringbone masonry. The South wall has Decorated style windows, and the North wall has 2 light Perpendicular windows, with an earlier mass dial inserted. The clerestory has 2 light flat-headed windows. The East window is 19th century, and Decorated in style, as is the vestry window. The tower at the West end has 2 stages, from different periods, but is Perpendicular in style with Panel tracery in the West window, which dates from the later 19th century. It has battlements and pinnacles. The chancel has square-headed windows to the North and the South, the latter having a pointed arched priest’s door. There is a 14th century South chapel.

The Morris stained glass is located in the South aisle, and is 3 lights, with tracery. It dates from 1910, and depicts from left to right: -

Mary Virgin

Christ on the Cross – the Cross as a living tree

St. John.

All 3 lights that make up the window are taken from designs by Burne-Jones, in his later Aesthetic manner. The Virgin and St. John’s are as usual in Burne-Jones designs, and in more general Christian iconography. The Crucifixion is different. The stem of the Cross has burst into life, symbolising the Crucifixion as overcoming Satan, the serpent at the base of the Cross. The background is of square quarries of green glass, and there are stylised rose and crown borders. Above in the quatrefoil tracery lights, are from left to right: -

Angel with scroll

Angel with Crown of Thorns

Angel with Chalice.

Colours for the whole window are reds, blues, greens, with much use of nitrate yellow. It bears the inscription: -

“This window is dedicated to the Glory of God in memory of Samuel Wimbush, Rector of this Parish 1865-1908 by his Parishioners, relatives and friends.”

The Catalogue of Designs for June 1910 notes the glass painters as follows: -

Stokes – Virgin Mary

Titcomb – Christ on the Cross and background, tracery angels, and St. John,

Knight – designed background

Howard – quarries, rose and crown border, and inscription.

This window is a fine example of the firm’s later work The designs by Burne-Jones are good examples of his later Aesthetic style, and the sumptuous colours show that Morris’ successors in the firm effectively followed his example as colourist. There are a number of interesting monuments in the church, notably those to Lewis Estrob, 1735, and Rev. John Forth obit 1816, by Taylor of York.

St. James, Thornton, Nr. Bradford

The church of St. James was built in 1870-72, by the Bradford architectural firm of T. H. & E. Healey, who were notable practitioners of Gothic Revival style building in the Bradford district in the 19th century. The style of St. James is Early English, and the result is a visually cohesive design. There is much use of lancet windows, and there are plate tracery rose windows in the clerestories and at the West. The nave and the chancel are equal in size. There is a South aisle, but no matching North one. There is a tower at the South East corner. It does not have buttresses, but has an austere broach spire.

The Morris stained glass is located in the East window, and dates from 1876. It is of 3 lancet lights; each has 2 subjects, one above the other. The window reads from left to right: -

Upper left – 2 full length angels with censers, from a design by Burne-Jones. These are in a version of his Aesthetic style, with poetic faces and asexual bodies, colours being reds and blues, with much use of nitrate yellow.

Lower left – this features the figure of King Alfred the Great, designed by Morris, and St. Louis, the medieval saint king of France. St. Louis (1214-70) was a deeply devout and effective king of France. He went on a crusade to Egypt and Palestine, and brought back supposed relics of the crucifixion, the crown of thorns, and part of the True Cross. These were housed in the Sainte-Chapelle in Paris. He died of the plague in Tunis, while on his 2nd crusade. He is patron saint of France. Colours are blues and greens, and both figures are haloed.

Upper centre – this depicts the prophet Ezekiel and John the Baptist, both from designs by Burne-Jones, again in his Aesthetic manner. The prophet holds the double wheel that symbolises the unity of the Old and New Testaments, and John is depicted as the vigorous precursor to Christ.

Lower centre – this light shows St. James the Less and St. Augustine, from Burne-Jones designs. St. James the Less was the brother, or more likely the cousin of Christ, and for this reason traditionally has a very similar face to Christ. James was bishop of Jerusalem, and was supposedly martyred by being thrown from the Temple there, and then beaten to death with a fuller’s staff. He is called St. James the Less, in relation to St. James the Greater, son of Zebedee and brother of St. John the Evangelist. St. Augustine of Hippo (354-430 A.D.) was the bishop of Hippo in North Africa, and was one of the 4 Latin Fathers of the Church. He is dressed as a bishop, and depicted as middle aged. He was a noted theologian, and was author of “Confessions.” Both figures are mitred, hold crosses, and St. James an open book. Colours are blue and nitrate yellow.

Upper right – this depicts Saints Peter and Paul, from designs by Burne-Jones, again in his Aesthetic style. The robes are particularly finely drawn. The predominant colour is a rich blue, and there is much use of nitrate yellow.

Lower right – this light shows Saints Catherine and Cecilia. St. Catherine was martyred in the 4th century in Alexandria, on the orders of the Roman emperor Maxentius, being bound to 4 spiked wheels, hence her attribute of the wheel. A thunderbolt shattered the wheel, but she was then beheaded. Her attributes include a book bearing the inscription: - “I have offered myself as a bride to Christ,” a wheel, and a crown, this latter referring to her royal descent. As no substantial evidence could be found, she was removed from the Roman Catholic Church’s Calendar of Saints in 1969. St. Cecilia was a martyr of the 2nd/3rdcenturies. The designs are by Burne–Jones, and have a poetic otherworldly quality. Both figures have haloes, and their respective attributes a wheel and a book. The colours are rich blues and greens.

The background to the window is of diamond quarries. The borders, with their abstract stylised leaf motifs are from designs by Philip Webb. The 7-foil rose light above depicts Christ on the Cross with the Virgin and St. John, all to designs by Burne-Jones. Colours are rich blues and greens. The firm again demonstrates its ability to make good tracery lights that are readable from the ground. The window as a whole is very fine, and an example of the work of the Morris firm at the height of its powers. The rich colours, finely drawn figures and robes, and the appreciation of stained glass as a 2 dimensional backlit medium, all come together beautifully.

Other interesting items in St. James include the stained glass in the South aisle of 1879 by Mayor and Co. of Munich, contrasting very much with the Morris glass. The present church replaced the Old Chapel, the remains of which can be seen on the other side of the road, mainly consisting of a gable end wall and a turret. This chapel seems to have been built over a long period from the 16th to the early 19th centuries. The incumbent in the early 19th century was the Rev. Patrick Bronte, father of the renowned literary sisters. Their birthplace is in Thornton village. Some items from the Old Chapel are in the present of St. James. These include the font of 1679, which consists of an octagonal bowl on an octagonal shaft. In the porch is a 3 foot high pillar, which probably originally supported a sundial. There are a number of wall tablets in the church, including one commemorating John Hirst (obit 1789), made by Stead of York. St. James is well worth a visit, not just for the excellent Morris window, but for the church itself, and its surroundings.

St. Helen, Thurnscoe

There was a church on this site from medieval times, and Anglo-Saxon fragments have been discovered. The earliest part of the present church above ground is the West tower. This is of limestone, and has pronounced quoins, arched belfry openings and round-headed windows of the Norman period, and is a classic of this type. The rest of the building is late 19th century, the nave being dated 1887, and like the rest of the church is built of local sandstone, and is in Norman revival style. There is a chancel, a South chapel and a porch to the South. All the windows are round headed, except the East window, which consists of 3 lancets with cusped heads.

The Morris stained glass is situated in the 2 light window next to the porch. It dates from 1922, and is a war memorial. The left hand light depicts St. Martin, and the right St. George. Both are taken from Burne-Jones designs made many years before. The figures are in his Aesthetic manner. Both are set against blue drapery backgrounds, with grass below and bushes and trees above. There are quarry panels above and below. An inscription reads: -

“In memory of the men we loved who died for England 1914-1918. Requiescent in Pace.”

The glass painters noted in the Catalogue of Designs for January 1922 are Titcomb (figures), Knight (curtains and trees with Titcomb), Jennings (quarries), and Watson (scroll labels and inscription). This is a good late example of the firm’s work, with effective design and good colours. It does light up the church.

Other interesting features in the church include a stained glass window at the North East of the chancel, dated 1885, depicting St. Cecilia. There are 2 good windows, dating from 1955 by Francis Speer. The font dates from the 18th century, and has a wooden bowl, embellished with carved gadrooning on the base, carved acanthus on the cover, and rests on a stone pillar. The late 19th century rood screen has good carved figures of Christ, the Virgin and St. John, which seem to date from the 16th century.

St Columba, Topcliffe

St Columba’s does not have any Morris glass, but on the south side it does

have a window of `1857 designed by Burne-Jones, prior to the establishment of the

firm.

St. Mark, Utley, Nr. Keighley

St. Mark’s was built in 1889. It is in the local sandstone, in style it is in a very spare Gothic Revival. It has some windows with pointed arches and minimalist tracery, and also round-headed ones. It has a short chancel, and a large porch/transept. The whole is very compact. The interior is austere and was re-ordered in 1982.

The church has at the East an interesting stained glass window, which strictly speaking should not have included, as it dates from after the demise of the firm, but it is very much in the spirit and style of the last years of the firm, is of merit, and suits its setting. The window was made by Duncan W. Dearle, son of J.H.Dearle. The 3 light window depicts St. Mark against a rocky background, with his lion emblem above. The figure is derived from a design made by Burne-Jones for Jesus College, Cambridge in 1874. The actual designer of the Utley version seems to have been W.H. Knight, the glass painter being Simmonds, and dates from the late 1940s or 50s. The colours are restrained and there is much use of browns. The sky is light blue with a scaling pattern of rectangles, painted, not leaded. The window is a good example of the work of this successor to the Morris firm.

St. Helen, Welton, nr. Brough

St. Helen’s was built over a long period, and included Norman, Decorated and Perpendicular parts. However, the present church is virtually a new build by the renowned Gothic Revival architect Sir George Gilbert Scott, (1811-78). The church has a nave, a chancel with vestry, aisles, transepts, and a central tower. The windows have flowing Decorated style tracery, except for the North aisle windows, which are Perpendicular.

The church contains some of the finest stained glass produced by the Morris firm. Perhaps, most notable is that in the chancel on the South side, 2nd from the East. The window is of 2 lights, and has a trefoil above. The left hand light depicts St. Ursula, martyred in the early Christian era at Cologne, (patron saint of Germany) and the right hand light shows St. Catherine martyred by the Roman emperor Maxintius in the early 4th century. The St. Ursula light is from a Burne-Jones design. She is depicted in a blue gown, lined with gold (nitrate yellow), over white, and with a red halo. St Catherine is from a design by Morris, and is depicted in a patterned blue and green robe, and with a blue halo. The backgrounds are of quarries, and scrolled labels are above. The trefoils tracery light has pattern-work designed by Philip Webb. The window is inscribed: -

“in memory of jane eliza galland who died the 11th. October 1858 aged 25 years and of susannah alice galland who died at exeter the 3rd. 1861 and was buried there aged 25 years.”

There is some dispute as to the date of this window. Marillier dates the window to 1877 in his notes, but there is no entry for it in the Catalogue of Designs, which began in 1876. It may be around 1872, and stylistically this would fit. Colours are blues, greens, and nitrate yellow.

Further Morris stained glass is situated in the 2 light window on the South side of the chancel, 2nd window from the East, which dates from 1877. The left hand light depicts St. Cecilia, taken from a design by Burne-Jones. Above is an angel with a dulcimer, from a Morris design. In the right hand light St. Agnes is shown, with an angel with a trumpet above, from a design by Burne-Jones and Morris. As had increasingly become the firm’s practice in the 1870s, the figures are on white glass, against a darker background of blue drapery background. St. Cecilia, as patron saint of music, holds a portable organ, and St Agnes a lamb, her emblem. The technique of using white figures made sure that the narrative was clear, and meant that sufficient light was let into the church. The figures stand on grass with flowers, and there is foliage between the upper and lower sections. There are scrolls with names at the bottom. The window is inscribed: -

“in memory of the only child of alfred galland, frances margaret, born 11th. oct. 1855 died 10th. may 1875.”

The tracery lights contain pattern-work, from a Philip Webb design. The Catalogue of Designs for May 1876 records Pozzi as the painter of the angels’ wings. The window is technically fine, and excellent artistically. They were made when the firm was at the height of its powers. Burne-Jones figures are in his Aesthetic mode, and Morris has put them together with the backgrounds seamlessly. The result is superb.

The West window is filled with Morris stained glass. It is of 4 lights, with tracery, and dates from 1879. The figures are from Burne-Jones designs; the overall design and supervision of the making were, as per usual, by Morris. The window reads from left to right: -

Constantine the Great – 3rd/4th century’s Roman emperor, who encouraged the spread of Christianity in the Roman Empire. He is depicted in golden (nitrate yellow) armour, with an imperial purple cloak.

St. Helena – mother of Constantine. She is shown in imperial purple, holding a cross.

Queen Bertha – wife King Ethelbert. She is dressed in blue.

King Ethelbert, Anglo-Saxon king, known as the “Unready,” because of his failure to stem the Danish invasions of England. He is dressed in green, with a nitrate yellow cloak. An inscription reads: -

“to the glory of god and in memory of mary galland of welton hill, her only son thomas galland and frances his wife, her grandson john fawsitt galland and her nephew of hunsley house who are buried in this churchyard.”

There are Latin inscriptions behind the heads of the figures, and names below. The background is green glass quarries. The tracery is 33 circles, within sexfoils, depicting from left to right charitable acts: -

Visiting the Sick.

Feeding the Hungary.

Clothing the Naked.

The designer was Burne-Jones.

The other smaller lights have pattern-work.

These lights show how the firm successfully managed to make high up windows readable.

There is further Morris stained glass, South side West end. The window is of 2 lights, with a trefoil above, and dates from 1882. The left hand light depicts the Virgin and Child, and is from a design by Burne-Jones, colours are blue and green .The right hand light, designed by Morris, shows St. Nicholas, sometime Bishop of Myra in Asia Minor, who lived in the 4th century, patron saint of sailors, his attributes being an anchor, and 3 golden bells or purses. Here St. Nicholas is shown in a red cape, and with a mitre and a crook. Both lights have backgrounds of blue drapery. Names are inscribed below, and there is a general background of green glass quarries. There is an inscription below which reads: -

“grant o merciful god that whosoever is here dedicated to thee may also be endued with heavenly virtues and everlastingly rewarded thy mercy who dost live and govern all things world without end amen.”

The tracery trefoil shows a dove descending. The Catalogue of Designs for May 1882 identifies the glass painters as Dearle (Virgin and Child), Bowman (St. Nicholas), Pozzi (dove in tracery), and the quarries by Singleton. This is again a notable window by the firm. Burne-Jones is in Aesthetic mode, producing dreamy poetic figures. Morris has integrated the figures with the drapery background effectively, unifying the window aesthetically and blending it into its architectural context.

There is further Morris stained glass in the West window of the North aisle. This dates from 1896, and consists of 2 lights and trefoil tracery. The left hand light has a full-length angel with a half scroll, and is from a Burne-Jones design. The right hand light has a similar angel, again by Burne-Jones. Both angels are on white glass, with a pink setting, and have blue wings. The background is blue patterned drapery, with green glass quarries above. The trefoil tracery has a seraph head. The window is inscribed: -

“in memory of ann riggall galland died may 22nd 1883 aged 61, basil arthur galland died February 19th 1894 aged 50, thomas spicer galland died october 30th 1895 aged 71, and robert galland died February 17th. 1896 aged 70.”

The entry in the Catalogue of Designs for September 1896 names the glass painters as Walters (angel in the left hand light), Stokes (angel in the right hand light and tracery), Wren (quarries), and Campfield (inscription). This is a fine window, the overall appearance reflecting Burne-Jones’ late ambivalent poetic style.

Further Morris stained glass is situated on the South side of the chancel, in the Eastern most window. This is of 2 lights, with tracery, and dates from 1898. It is taken from Burne-Jones designs, and depicts, left to right, St. Barbara and St. Agatha. St. Barbara was a 3rd century martyr from Asia Minor, present day Turkey. Her father, Dioscurus, shut her in a tower to discourage suitors. The tower has 2 windows, but St. Barbara persuaded the workmen building it to add a 3rd, so symbolising the Trinity, and admitting a priest to baptise her. Her father handed her over to the Roman authorities, where, subsequent to torture, she was executed with her father’s sword. He was subsequently struck by lightning and his body consumed by fire. Her special attribute as saint was the emblem of the tower. St. Agatha was a 3rd. century saint, born in Catania, Sicily. She was martyred by the Roman emperor Decius. She was of noble birth. Legend says that she rejected the love of the Roman governor of Sicily, and was thrown into a brothel. She was then tortured, and had her breast sheared. She was subsequently visited in her cell by St.Peter, who healed her wounds, but she subsequently died from further tortures. On the anniversary of her death, Mount Etna erupted, and according to legend Catania was saved by her veil, which deflected the flow of lava. Her veil is in the Duomo at Florence. As a saint, she is invoked against earthquakes, volcanic eruptions and fire.

St. Barbara is depicted in the left hand light. She wears a blue robe, and is flanked by her emblem the tower. In the right hand light, St. Agatha is shown in green, and holding a palm. The backgrounds are of green glass quarries. The tracery lights are filled with pattern-work, originating from Philip Webb designs. An inscription reads: -

“to the glory of god and in memory of william henry harrison broadly who died at welton the 28thmarch 1896 aged 76 years and was buried in this churchyard.”

The entry in the Catalogue of Designs for January 1898, names the glass painters as Stokes (St. Barbara), Walters (St. Agatha), Wren (quarries), Campfield (scrolls and inscriptions), and the tracery was drawn by Brown and painted by Wren. This is a good window derived from the otherworldly Aesthetic designs of Burne-Jones late period. It is competent, and the colour combinations are very effective. The Galland family were related to Burne-Jones by marriage.

There is other interesting stained glass in the church. These include the South chancel window and the South transept South window and are by Capronnier, dating from 1865. The North transept window is by Jones and Willis, and dates from 1916. Behind the organ in the North aisle is a Harry Stammers window of 1954. The church has a number of fine interior features. These include the 13th century effigy of a knight in chain mail, grasping a sword, which unusually for the North of England, is made of Purbeck marble. Other monuments are to James Shaw Williamson 1819, wall tablet with draped sarcophagus, Charles Whitaker 1856 by Waudley of York, and Sophia Bradley 1864, a Gothic Revival brass with a figure of a kneeling woman. The pulpit of 1863 has marble columns and an arcade. The font, again of 1863, is square and of stone and marble. The piscina is in Perpendicular style.

Morris would have been disapproved of what is virtually a re-building of a medieval church by his adversary Scott. It is exactly the sort of thing he condemned most vigorously, that is of the virtual destruction of a church with a long building history, and re-building it in an arbitrarily decided style, in this case the style of the late 13th and early 14th centuries. However, the church has a quality of grandeur, and houses some of the Morris firm’s finest stained glass.

St. Catherine, West Bradford, Nr. Clitheroe

Historically West Bradford was in Yorkshire, for this reason it is included. It is now in the Ribble Valley District of Lancashire. St. Catherine’s was built in 1898-99. It is small, and was built as a chapel-of-ease of St. Helen, Waddington. It is a plain rectangular box in the local sandstone with minimalist Gothic Revival detailing, with no aisles, crossing or separate chancel.

The Morris stained glass is in the 3 light East window, and depicts the Nativity. It dates from 1899. Burne-Jones designs were used. The left hand light depicts Angels with Shepherds. The centre light shows the Virgin and Child, the Virgin kneeling, in a thatched open shed, with an Angel with a Star above. The right hand light shows 2 Angels with Dulcimers. The inscription below reads: -

“To the Glory of the ever Blessed Trinity and in affectionate Memory of Edward Burton who departed this life September 22nd. 1898.”

The Catalogue of Designs for August 1899 notes the glass painters as follows: -

Walters – left hand light.

Bowman – centre light.

Stokes – right hand light.

Wren – inscription.

Colours are reds, greens, and nitrate yellow. The window is competent, with good leadwork, if not particularly inspiring.

St. Peter, Woolley.

St. Peter’s was established by 1158, as a chapel-of-ease of St. John the Baptist, Royston. The church seems to have been with added to, with South and North aisles, and chantry chapel on the North side. However, the church was largely rebuilt in the period 1470-1520, in the local sandstone. It was at this time a dependency of Monk Bretton Priory. Chancel aisles were added, the tower built, and the 3 light East window was made. Stained glass was installed, and the magnificent ceiling bosses were created. The benches, with their superb carved poppy head ends were installed during the 17th century. The church was massively re-ordered in 1871, the architect being famous later 19th century Gothic Revivalist John Loughborough Pearson (1817-97).

The level of the chancel was raised, this being a common development during the later 19th century, when raised chancels, particularly in High churches, became a liturgical requirement. New roofs with stone slates and collar bracing were put up over both the nave and the chancel. A 5 light chancel window was installed, and the 18th century box pews were replaced by pine pews. The West gallery was removed, and a new font was installed. The medieval stained glass was restored by the notable glassmakers Clayton and Bell, and new stained glass windows were donated, including one by Morris and Company. The church was restored in 1930, by Guy and Eleanor Wentworth, local landowners.

The Morris stained glass is located in the West window to the South aisle, and dates from 1871. It is of 3 lights and depicts Christ, St. Peter and St. Paul. St. Peter is shown in the left hand light, and is from a design by Morris. The saint is in green, set against a white background. The central light shows Christ, holding a banner, from a design by Burne-Jones. The figure is on white glass, with a nitrate yellow surround. The right hand light depicts St. Paul, the design being by Morris. The figure is in pale blue, with nitrate yellow over green. The backgrounds are of green quarries. Below the figures are inscriptions: -

“sanctus petri.”

“salvator mundi.” (Saviour of the World).

“sanctus pauli.”

The window bears the inscription at the lower right: -

“A.D. 1871 in affectionate Remembrance of Godfrey Wentworth Wentworth and Amelia his wife who both died in 1834 this window was placed by Charlotte Campbell their daughter.”

Nicholas Pevsner did not consider this window to be by the firm, but A.C.Sewter thought it was. Examination of it shows that it is by the firm. It is a fine example of the firm’s work, at on of its high points. The figure of Christ is poetic and evocative, the colours are subtle harmonies, and the quarries are a very appropriate background.

The church has in the North and South chapels the well re-constructed stained glass figures from the 15th century. In the churchyard are 2 fine tomb chests. St. Peter’s is well worth a visit for the Morris glass, the architecture and decorative arts, and its ambience.

1. Bradford Art Galleries and Museums –Tristan and Isoude –Harden Grange 1862.

2. St John,Coley, Nr Hipperholme, Ascension 1914

3. All Saints Ilkley. Marys at the empty Sepulchre 1922

4. St Margarets Ilkley Angels 1894

5. St Martins Scarborough –east window –Christ on the Cross – 1861-62

6. St Martins Scarborough –Marys window 1868-King David harpin

7. St Mary’s Tadcaster – detail 1879

8. St James Thornton- east window 1876

9. St Wilfrid Poole in Wharfedale

10. St John the Baptist Knareseborough.

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