DOI Heft:
Nr. 166 (December, 1910)
DOI Artikel:Vallance, Aymer: Sir Edward Burne-Jones's designs for painted glass
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19869#0132
Painted Glass designed by Sir E. Burne-Jones
mm i!
in HiriUDni of
year 1881 onward, was exe-
cuted at their works at
Merton Abbey in Surrey.
By the way, there never
existed at Merton a religious
house of the status of an
abbey. It was a priory of
Augustinian Canons founded
in 1114 and surrendered in
1538. But since the inaccu-
rate designation has come to
be attached to it by common
consent, it will doubtless con-
tinue to be known as "abbey"
in defiance of historic fact.
The large and important
window representing the Tri-
umphal Entry into Jerusalem
(frontispiece), at St. Peter's,
Vere Street, was designed in
1882. The two lights (p. 101),
depicting respectively Justice
and Humility, at Neston,
Cheshire, were executed in
1888. Of the windows at
Rottingdean, already referred
to, the three lights represent-
ing Saints Gabriel, Michael,
and Raphael, were executed
in 1891; the two lights repre-
senting Saint Margaret and the
Blessed Virgin Mary (p. 92),
in 1894 ; and the single lancet
window in rosslyn hill chai'el, hampstead lights representing Jacob's
designed by sir e. burne-jones dream and thg tree of
Jesse respectively (p. 92), in
confined to the superb little panels along the 1896. The Christ (p. 96) standing and displaying
bottom ; but it is, no doubt, the rigid severity of the Wounds in His Hands and Feet, a figure
the principal figures that accounts for the extra- reproduced with a companion group depicting
ordinary spell they exert upon the eye. The con- Dorcas, from St. George's, Knutsford (1899), was
trast between the spoilt-ruby nimbus, the white- designed in the first instance for Llandefeilog,
robed figures and the blended blues and greens of Brecknockshire, and portrays our Lord in the
the background is astonishing, and such that character of Eternal Charity. It was afterwards
probably will never be surpassed in modern glass. executed for Rosslyn Hill Chapel, Hampstead,
With the lower groups in the same window may with accompanying allegorical figures. The prin-
be compared the two panels illustrated on page cipal figure may be compared with that in a group
104, one representing the Angel announcing the of five lights (p. 99) representing Christ between
birth of Christ to the Shepherds, and the other the the four Evangelists, executed also in 1889, for
Adoration of the Magi. They were first designed Ullett Road Chapel, Liverpool. In the follow-
respectively for St. Michael's, Torquay, and Jesus ing year two lights (p. 100) depicting respectively
College Chapel, Cambridge, but the actual panels St. Mary Magdalene at the Sepulchre, and kneel-
from which the illustrations are taken are at ing at the Feet of the Risen Christ in the Garden,
St.lj Saviour's, Oxton. Possibly this window, were executed for the last-named chapel. The
certainly all glass produced by the firm from the six - light window at St. George's, Knutsford
102
mm i!
in HiriUDni of
year 1881 onward, was exe-
cuted at their works at
Merton Abbey in Surrey.
By the way, there never
existed at Merton a religious
house of the status of an
abbey. It was a priory of
Augustinian Canons founded
in 1114 and surrendered in
1538. But since the inaccu-
rate designation has come to
be attached to it by common
consent, it will doubtless con-
tinue to be known as "abbey"
in defiance of historic fact.
The large and important
window representing the Tri-
umphal Entry into Jerusalem
(frontispiece), at St. Peter's,
Vere Street, was designed in
1882. The two lights (p. 101),
depicting respectively Justice
and Humility, at Neston,
Cheshire, were executed in
1888. Of the windows at
Rottingdean, already referred
to, the three lights represent-
ing Saints Gabriel, Michael,
and Raphael, were executed
in 1891; the two lights repre-
senting Saint Margaret and the
Blessed Virgin Mary (p. 92),
in 1894 ; and the single lancet
window in rosslyn hill chai'el, hampstead lights representing Jacob's
designed by sir e. burne-jones dream and thg tree of
Jesse respectively (p. 92), in
confined to the superb little panels along the 1896. The Christ (p. 96) standing and displaying
bottom ; but it is, no doubt, the rigid severity of the Wounds in His Hands and Feet, a figure
the principal figures that accounts for the extra- reproduced with a companion group depicting
ordinary spell they exert upon the eye. The con- Dorcas, from St. George's, Knutsford (1899), was
trast between the spoilt-ruby nimbus, the white- designed in the first instance for Llandefeilog,
robed figures and the blended blues and greens of Brecknockshire, and portrays our Lord in the
the background is astonishing, and such that character of Eternal Charity. It was afterwards
probably will never be surpassed in modern glass. executed for Rosslyn Hill Chapel, Hampstead,
With the lower groups in the same window may with accompanying allegorical figures. The prin-
be compared the two panels illustrated on page cipal figure may be compared with that in a group
104, one representing the Angel announcing the of five lights (p. 99) representing Christ between
birth of Christ to the Shepherds, and the other the the four Evangelists, executed also in 1889, for
Adoration of the Magi. They were first designed Ullett Road Chapel, Liverpool. In the follow-
respectively for St. Michael's, Torquay, and Jesus ing year two lights (p. 100) depicting respectively
College Chapel, Cambridge, but the actual panels St. Mary Magdalene at the Sepulchre, and kneel-
from which the illustrations are taken are at ing at the Feet of the Risen Christ in the Garden,
St.lj Saviour's, Oxton. Possibly this window, were executed for the last-named chapel. The
certainly all glass produced by the firm from the six - light window at St. George's, Knutsford
102