DOI Artikel:
Crampin, Martin: The Gothic Revival character of ecclesiastical stained glass in Britain
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.51154#0027
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1. Francis Eginton, Christ Contemplating the Cross, 1795, Shrews-
bury (Shropshire), Church of St Alkmund, east window. Photo:
M. Crampin
Jervais and Francis Eginton with the application of silver
stain. This approach can be seen in the work of William
Peckitt, such as his late eighteenth-century Old Testa-
ment figures located in the south transept of York Min-
ster, which use coloured glass to outline the figure and
some of the surrounding decorative detail. Egintons win-
dow at St Alkmunds employs no decorative detail, with
the sky and background extending across the whole win-
dow, but Peckitt’s figures stand within decorative archi-
tectural niches. The painted arches are Renaissance rather
than medieval but the use of pointed or cusped arches,
whether imposed by the stonework or added in the de-
sign, became a regular feature of stained glass design by
the second quarter of the nineteenth century.
The adoption of Gothic motifs and the loosening of the
Georgian pictorial style characterises much of the stained
glass made for churches during the first forty years of the
nineteenth century. Martin Harrison singles out Thomas
2. David Evans, St John the Evangelist, St John Baptist and St Peter,
c. 1820, Berrington (Shropshire), Church of All Saints, east window.
Photo: M. Crampin
Willement, J.H. Miller and Betton & Evans as artists rep-
resentative of this transition, although the survival rate of
their works is poor, as many of them were replaced by new
windows that conformed to the prevailing fashions in the
second half of the nineteenth century.4 Windows by Da-
vid Evans of Shrewsbury, especially later works, survive
in the town where he worked, in the surrounding areas of
Shropshire, and across the northern half of Wales. Evans
initially worked in partnership with John Betton, before
taking sole control of the firm in 1825, and Betton & Evans
restored and made copies of a wide range of medieval and
Renaissance stained glass.
David Evans’ original work demonstrates stylistic
variety and technical skill. Few of his windows of the
1820s in a late Georgian style have survived, but a well-
preserved example can be found in the east window at
Berrington, Shropshire [Fig. 2]. The three saints stand
with a clouded background behind them, and the trac-
ery lights above are filled with cherubs and heraldry in
a style that does not clearly match the figures below. The
garments worn by the figures are composed of large ar-
eas of coloured glass, cut to outline the cloaks and robes,
4 M. Harrison, Victorian Stained Glass, London, 1980, pp. 15-17.
1. Francis Eginton, Christ Contemplating the Cross, 1795, Shrews-
bury (Shropshire), Church of St Alkmund, east window. Photo:
M. Crampin
Jervais and Francis Eginton with the application of silver
stain. This approach can be seen in the work of William
Peckitt, such as his late eighteenth-century Old Testa-
ment figures located in the south transept of York Min-
ster, which use coloured glass to outline the figure and
some of the surrounding decorative detail. Egintons win-
dow at St Alkmunds employs no decorative detail, with
the sky and background extending across the whole win-
dow, but Peckitt’s figures stand within decorative archi-
tectural niches. The painted arches are Renaissance rather
than medieval but the use of pointed or cusped arches,
whether imposed by the stonework or added in the de-
sign, became a regular feature of stained glass design by
the second quarter of the nineteenth century.
The adoption of Gothic motifs and the loosening of the
Georgian pictorial style characterises much of the stained
glass made for churches during the first forty years of the
nineteenth century. Martin Harrison singles out Thomas
2. David Evans, St John the Evangelist, St John Baptist and St Peter,
c. 1820, Berrington (Shropshire), Church of All Saints, east window.
Photo: M. Crampin
Willement, J.H. Miller and Betton & Evans as artists rep-
resentative of this transition, although the survival rate of
their works is poor, as many of them were replaced by new
windows that conformed to the prevailing fashions in the
second half of the nineteenth century.4 Windows by Da-
vid Evans of Shrewsbury, especially later works, survive
in the town where he worked, in the surrounding areas of
Shropshire, and across the northern half of Wales. Evans
initially worked in partnership with John Betton, before
taking sole control of the firm in 1825, and Betton & Evans
restored and made copies of a wide range of medieval and
Renaissance stained glass.
David Evans’ original work demonstrates stylistic
variety and technical skill. Few of his windows of the
1820s in a late Georgian style have survived, but a well-
preserved example can be found in the east window at
Berrington, Shropshire [Fig. 2]. The three saints stand
with a clouded background behind them, and the trac-
ery lights above are filled with cherubs and heraldry in
a style that does not clearly match the figures below. The
garments worn by the figures are composed of large ar-
eas of coloured glass, cut to outline the cloaks and robes,
4 M. Harrison, Victorian Stained Glass, London, 1980, pp. 15-17.