"John Thornton (glass painter) John Thornton of Coventry (fl. 1405-1433) was a master glazier and stained glass artist active in England during the 15th century. The output of his workshop includes some of the finest English medieval glass. The first certain record of Thornton, apart from a possible 1371 reference in Coventry, is his 1405 contract with the Dean of York Minster to glaze the choir east window. The Archbishop of York at the time was Richard le Scrope, a former Bishop of Lichfield and Coventry, and the window was funded by Walter Skirlaw, also previously Bishop of Coventry, so"
"by Patricia Jordan Evans of Bohun Gallery, examined his relationship with the Church and his contribution to the development of modern art within churches. In 2016, the Pallant House Gallery mounted an exhibition entitled ""John Piper: The Fabric of Modernism"" which focused on Piper’s textile designs, while 2017/ 2018 saw Tate Liverpool and Mead Gallery at Warwick Arts Centre mount a joint exhibition focusing on Piper's early career, with an emphasis on the 1930s-1940s. Examples of stained glass designed by John Piper: John Piper (artist) John Egerton Christmas Piper CH (13 December 1903 – 28 June 1992) was an English"
"John Piper (artist) John Egerton Christmas Piper CH (13 December 1903 – 28 June 1992) was an English painter, printmaker and designer of stained-glass windows and both opera and theatre sets. His work often focused on the British landscape, especially churches and monuments, and included tapestry designs, book jackets, screen-prints, photography, fabrics and ceramics. He was educated at Epsom College and trained at the Richmond School of Art followed by the Royal College of Art in London. He turned from abstraction early in his career, concentrating on a more naturalistic but distinctive approach, but often worked in several different styles"
"Reyntiens went on to design large stained-glass windows for the Chapel of Robinson College, Cambridge, and ""The Land Is Bright"", a large window in the Washington National Cathedral, as well as windows for many smaller churches.. Liverpool Metropolitan Cathedral, completed in 1967, features an innovative stained glass lantern by Piper and Reyntiens. The lantern panels were cemented together with epoxy resin within thin concrete ribs, a technique invented for the job. Side chapels were also framed in glass to their designs. In 1966 Walter Hussey, the Dean of Chichester Cathedral commissioned Piper to produce a tapestry to enliven the dark"
"Stained glass in Liverpool Cathedral The stained glass in Liverpool Cathedral all dates from the 20th century. The designs were planned by a committee working in conjunction with the architect of the cathedral, Giles Gilbert Scott, with the intention of forming an integrated scheme throughout the cathedral. A number of stained glass designers were involved in the scheme, but the major contributors came from James Powell and Sons (Whitefriars Glass), in particular J. W. Brown, James Hogan, and Carl Edwards. The subjects portrayed in the windows are numerous and diverse. They include scenes and characters from the Old and New"
"performances. A third area of worship – the Marsden Chapel named after Samuel Marsden, separated from the body of the Cathedral by glass doors and panels – provides an intimate space for private devotions. The inspiration for this small chapel was the small medieval churches of Europe. The decoration in this part of the Cathedral is very simple in direct contrast to the rest of the building. A set of five stained glass windows designed by prominent English artist John Baker fit perfectly into the chapel. The Cathedral is renowned for its modern stained glass, including the unique window featuring"
"glass commissions for churches and cathedrals, including the Traherne windows at Hereford Cathedral (2007), the Transfiguration window at Durham Cathedral (2010), and the Wisdom window at St Catharine's College, Cambridge (2012). In 2016 two windows inspired by the life of Richard III were installed in Leicester Cathedral. The windows, which cost £75,000, are sited near the king's tomb in the cathedral. Thomas Denny (artist) Thomas Denny (born 1956) is a contemporary British painter and stained glass artist. Tom Denny was educated at King Alfred's School, Hampstead, and trained at the Edinburgh College of Art and now lives and works in"
"was able by an annual tour on the Continent to maintain himself in comparative vigour."" Anthony Symondson tells that thereafter his eldest son, Ninian Comper, signed all his painted glass windows with a wild strawberry, the leaves and stems entwining the date of execution. The first window to be so signed was his father's own memorial in St Margaret of Scotland, Aberdeen in 1908. John Comper married Ellen Taylor of Hull in 1853; they had five children. Mrs Ellen Comper died on 10 June 1908. Ninian Comper, born in 1864, was to become one of the greatest church architects of"
"colourful designs. The foundation stone of Liverpool Cathedral was laid on 19 July 1904, and it was completed in 1979. Giles Gilbert Scott won the competition to design the cathedral, and a Stained Glass Committee under the chairmanship of Sir Frederick Radcliffe was established to organise the design of the stained glass in the windows. The architect worked with the committee initially to decide on ""the main lines on which the design of the window should be based and the extent to which is to be of clear glass or coloured"". The committee then decided on the subjects to be"
"Probably its most conspicuous usage has been its incorporation in stained glass windows notably in Cambridge and Edinburgh. In Cambridge it is found in the baptismal window of the Church of the Holy Sepulchre, together with other allied Christian symbols, originating in the 19th century. In Scotland, it is found in a window in the Scottish National War Memorial in Edinburgh. The work was undertaken by Dr Robert Strachan and installed during the 1920s. He was also responsible for a window in the chapel of Westminster College, Cambridge. A similar usage is to be found in the Central Congregational Church"
"were in the stained glass revival of the 1850s, pioneered by James Ballantine (1808–77). His major works included the great west window of Dunfermline Abbey and the scheme for St. Giles Cathedral, Edinburgh. In Glasgow it was pioneered by Daniel Cottier (1838–91), who had probably studied with Ballantine, and was directly influenced by William Morris, Ford Madox Brown and John Ruskin. His key works included the ""Baptism of Christ"" in Paisley Abbey (c. 1880). Among his followers were Stephen Adam and his son of the same name. The Glasgow-born designer and theorist Christopher Dresser (1834–1904) was one of the first,"
"(Whitefriars), Ltd., of London, provided most of the stained glass designs. John William Brown (1842–1928) designed the ""Te Deum"" window in the east end of the cathedral, as well as the original windows for the Lady Chapel, which was heavily damaged during German bombing raids in 1940. The glass in the Lady Chapel was replaced with designs, based on the originals, by James Humphries Hogan (1883–1948). He was one of the most prolific of the Powell and Sons designers; his designs can also be seen in the large north and south windows in the central space of the cathedral (each"
"by Clayton and Bell is thought to be the finest Victorian stained glass in England and tells the story of the Christian Church, starting with the birth of Jesus and finishing with the building of Truro Cathedral.” "" In London, another new cathedral was under construction- the Byzantine style, enormously ornate (and as yet incompletely decorated), Catholic Cathedral of Westminster, designed by John Francis Bentley. Many designers were employed as the cathedral has a series of chapels, each different in concept. Lord Brampton, a recent convert to Roman Catholicism, selected Clayton and Bell to fill his commission for an altarpiece"
"his career. He designed extremely important windows for many cathedrals in England, and the finest of these are the two windows in the great central space of Liverpool Cathedral and the windows in St. Thomas Church, Fifth Avenue, New York City, which were fabricated between the World Wars. His influence in the area of stained glass is legendary, and his designs for tableware and serviceware, including the stemmed glassware he created specifically for the British Embassies over all the world, are without peer. He rose in the company, becoming Chief Designer in 1913, Art Director in 1928, Managing Director in"
"and baptistry. The firm and its successor, Kempe & Co., were to do so for most of the cathedral's windows over the next three decades, the most celebrated being the western rose window installed in 1928. The cathedral would eventually contain more than 60 of the 72 Kempe & Co. windows in the whole of Australia. By contrast, in the whole of England the largest remaining collection of stained glass windows from the Kempe studio, in the Church of St Mary Magdalene, Hucknall, Nottingham, has just 20 examples. Included in Christ Church Cathedral's repository of stained glass was one further"
"high. The work had ceased through lack of funds owing to the drought. In 1846 Blacket, who was seen by the committee to have a greater grasp of architectural principles and design than Hume, was appointed to replace him as architect of the cathedral. While the cathedral was under construction, a temporary wooden cathedral was erected, and one of Blacket's first jobs was to create a stained-glass window for it. Being unable to acquire coloured glass, he painted plain glass and fired it, using part of the crypt beneath St James, King Street, as his studio. This window, which predated"
"in Yorkshire. The cathedral's windows have some panel tracery. None of the medieval stained glass survives and most of the cathedral's glass was created by Charles Eamer Kempe who created many windows over 50 years. His windows are reminiscent in colour of those of the late Middle Ages, darker on the north wall with Old Testament themes and lighter on the south side where he placed New Testament figures. The cathedral has a 17th-century rood screen and above it a rood by Ninian Comper completed in 1950. The font dates from the mid 17th-century and the pulpit from 1708. Eleven"
"the Diocese of London. During the Second World War, the original stained glass windows and roof of the Chapel suffered bomb damage. The apse above the altar was originally painted with the Passion of Christ and the windows commemorated the Charity's founders and supporters. The present windows behind the altar represent, from left to right, St Edward the Confessor; St Barnabas holding the Chapel in his arms; St Paul preaching and St John the Baptist holding the mother Chapel of Clewer in his arms; they were designed by John Hayward. The windows in the side apses, dating from 1958, represent"
"of England's silver jubilee in 1935. Hogan was made Master of the Art Workers Guild in 1936. James Humphries Hogan James Humphries Hogan (20 December 1883 – 12 January 1948) was an English stained glass designer with the firm of James Powell and Sons throughout his career, rising from apprentice to be managing director of the company. He made magnificent stained glass for many of England's cathedrals, including the 100 feet high central windows of Liverpool Cathedral. Hogan was trained in turn at the Westminster School of Art, the Camberwell School of Arts and Crafts, and the Central School of"
"Archbishop P. J. Ryan of Philadelphia, and its name changed to the Cathedral of St. Peter, marking its new role in the still-young diocese. The cathedral complex includes the adjacent rectory (1908) and convent. The original windows of the church contained simple red and white diamond-shaped panes. The stained glass windows now found in the cathedral date from the alterations begun in 1883. Much of this work can be attributed to the architect Edwin Forrest Durang and later to the German designer Frank Mayer. In addition to the use of stained glass in the clerestory and over the entrances, there"
"mentioned that the father of this Adriaen was called ""Krepel Pieter"" and that he died in Autun (known then for its stained glass windows in the Cathedral) after travelling for a long time in France. Wouter Crabeth I Wouter Pietersz Crabeth (1510–1590) was a Dutch Renaissance glass painter. He was employed by the Sint Janskerk (Gouda) during the Protestant Reformation, where he created six of the stained glass windows during the years 1555 to 1571. His windows, that he created in close collaboration with his brother Dirk Crabeth, are one of the reasons that the church was placed on the"
"windows below. It covers an area of , each lancet window being more than high. Revd Noel Vincent, the former canon treasurer of the cathedral, states that the top part of the window represents ""the risen Christ in glory looking down ... in compassion on the world"", and the images beneath depict ""all creation united in peace"". Citations Sources Stained glass in Liverpool Cathedral The stained glass in Liverpool Cathedral all dates from the 20th century. The designs were planned by a committee working in conjunction with the architect of the cathedral, Giles Gilbert Scott, with the intention of forming"
"Charles Eamer Kempe Charles Eamer Kempe (29 June 1837 – 29 April 1907) was a Victorian designer and manufacturer of stained glass. His studios produced over 4,000 windows and also designs for altars and altar frontals, furniture and furnishings, lichgates and memorials that helped to define a later nineteenth-century Anglican style. The list of English cathedrals containing examples of his work includes: Chester, Gloucester, Hereford, Lichfield, Wells, Winchester and York. Charles Kempe was born at Ovingdean Hall, near Brighton, East Sussex in 1837. He was the youngest son of Nathaniel Kemp, a cousin of Thomas Read Kemp, a politician and"
"Following the early death of Eginton in 1849 he set up his own architectural practice in Worcester. In 1860 he moved his business to London. For his early churches he commissioned stained glass windows from George Rogers in Worcester, but after around 1853 began to make his own glass. He is thought to be the only architect of his time who also both designed and made his stained glass windows.[2] His legacy includes windows in Worcester Cathedral, Gloucester Cathedral, Lincoln Cathedral and Ely Cathedral, and numerous parish churches, particularly in Herefordshire, Worcestershire and Norfolk. 5. Frederick Preedy. Gordon Barnes, Vale"
"of the four evangelists (Matthew, Mark, Luke, and John), and of our Blessed Lord. Our memorial stained glass windows are of high quality. Many of them were crafted in England by Kemp & Son, of London, England, one of the most prominent designers of stained glass. Along the walls of the cathedral you will observe the Stations of the Cross, another memorial, speaking of the Catholic faith that is believed and proclaimed at St. Peter's. An Ikon of the Blessed Virgin Mary, prepared especially for St. Peter's in a monastery in Greece, and donated to us a number of years"
"terminating in a cusped trefoils and surrounded by decorative plate tracery. Later windows are to be seen at the nondenominational Abney Park Chapel in London designed in 1838–40 by William Hosking FSA; Holy Trinity Church, Barnes, London; St Nicholas, Richmond; and St Albans Cathedral by George Gilbert Scott. At Christ Church Appleton-le-Moors, Yorkshire, the 19th-century architect J.L.Pearson appears to have taken as his inspiration the regional floral symbol of the white rose. This unusual plate-tracery window dating from the 1860s has been designed with five double sections like the two-part petals of a simple rose. The largest rose window in"
"the Whale, was designed by Charles Eamer Kempe and was modelled on a window in Christ Church, Oxford. Four more windows were installed in 1953. The window on the west wall was made in about 1850 and had been originally installed in St Peter’s Church, Islington. Rescued in 1987 by the London Stained-Glass Repository of the Worshipful Company of Glaziers and Painters of Glass, it was dismantled and re-leaded for installation here in 1992. The congregation had attempted to build a massive church, based on the Notre Dame de Paris and, though never designated as a cathedral, St Alban’s was"
"in Liverpool Cathedral, Hogan's glass designs were used to replace earlier Powell & Sons glass, designed by John William Brown, in the Lady Chapel. The chapel was rebuilt by Gilbert Scott to make good the damage from World War II bombing in 1940. Hogan made stained glass windows for a number of churches in America, including seven memorial windows in Grace and Holy Trinity Cathedral (Kansas City, Missouri) on the life of Christ, and most of the windows in Saint Thomas Church, Fifth Avenue, in New York City. He also designed a set of commemorative bowls for King George V"
"Tu Es Petrus and St. George and the Dragon Stained Glass Windows The ""Tu Es Petrus"" and ""St. George and the Dragon"" Stained Glass Windows are two nave window designs located in the former St. George Roman Catholic Church at 823 Climax Street in the Allentown neighborhood of Pittsburgh, Pennsylvania. The windows were made by Leo Thomas whilst working for George Boos Studio in the Munich Style design during the church’s construction in 1911-1912. The events that led to the creation of these stained glass windows dates back to King Ludwig I’s reign over Bavaria from 1786-1868. It was Ludwig’s"
"retirement in 1931. Today his work can be seen in many churches including Saint Magnus' Cathedral Kirkwall, and in specialist collections such as the Huntarian Museum, Glasgow University. Oscar Paterson Oscar Paterson (1863??) was a Scottish artist, based in Glasgow, who specialised in stained glass. The work of Oscar Paterson has been described as """"The Epitome of the Glasgow Style"""", and his work is still celebrated today. He is best known for his stained glass, although he also designed jewellery. His best known works include the Argyll Window in Saint Giles Cathedral, Edinburgh (1896), and windows depicting both the nativity"
"Psalms"" for Chichester Cathedral. The cathedral contains many modern works of art, including tapestries by John Piper and Ursula Benker-Schirmer, a window by Marc Chagall, a painting by Graham Sutherland (""Noli me Tangere""), a sculpture and a font by John Skelton and a reredos for the St John the Baptist's Chapel by Patrick Procktor. Outside the cathedral stands a bronze statue of St Richard of Chichester by Philip Jackson. The Cathedral also contains a pennant presented to the Cathedral by Francis Chichester, which hung on his ship when he circumnavigated the globe. As of 17 January 2018: The Dean is"
"Herbert Hendrie Herbert Hendrie (Manchester, 1887–1946) was a British stained glass artist. He is known for his strong simple designs with scintillating jewel-like effects. Among his best-known works are the fifteen windows for Kippen church and the tall stained glass windows for Liverpool Cathedral. Hendrie was born in Manchester. He trained at the Slade School of Art, London and the Royal College of Art, and as a pupil of Christopher Whitworth Whall. He taught at the Edinburgh College of Art for 20 years. He made use of the facilities of Lowndes and Drury (stained glass workers). Among his students were"
"It was the first tower built in Oxford for 200 years and is about tall, including the flèche on top. The buildings are arranged around two quadrangles, with residential accommodation for students and fellows in one, and the hall, library and administrative offices in the other. The chapel has stained glass windows designed by John Piper. The architectural historian Sir Howard Colvin said that Harrison's first design was Oxford's ""most notable architectural casualty of the 1930s""; it has also been described as a ""missed opportunity"" to show that Oxford did not live ""only in the past"". Reaction to the architecture"