Stained glass is coloured glass as a material or works created from it. Throughout its thousand-year history, the term has been applied almost exclusively to the windows of churches and other significant religious buildings. Although traditionally made in flat panels and used as windows, the creations of modern stained glass artists also include three-dimensional structures and sculpture. Modern vernacular usage has often extended the term "stained glass" to include domestic lead light and objets d'art created from foil glasswork exemplified in the famous lamps of Louis Comfort Tiffany.
The Tree of Jesse is a depiction in art of the ancestors of Jesus Christ, shown in a branching tree which rises from Jesse of Bethlehem, the father of King David. It is the original use of the family tree as a schematic representation of a genealogy.
The Church of St Margaret of Antioch is in Prince's Road, Toxteth, Liverpool, England. It is an active Anglican parish church in the diocese of Liverpool, the archdeaconry of Liverpool, and the deanery of Toxteth and Wavertree. The church is recorded in the National Heritage List for England as a designated Grade II* listed building.
St Peter's Cathedral is an Anglican cathedral in the South Australian capital of Adelaide. It is the seat of the Archbishop of Adelaide and Metropolitan of the Province of South Australia. The cathedral, a significant Adelaide landmark, is situated on approximately 1 acre (0.40 ha) of land at the corner of Pennington Terrace and King William Road in the suburb of North Adelaide.
Hardman & Co., otherwise John Hardman Trading Co., Ltd., founded 1838, began manufacturing stained glass in 1844 and became one of the world's leading manufacturers of stained glass and ecclesiastical fittings. The business closed in 2008.
Charles Eamer Kempe was a British Victorian era 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. Kempe's networks of patrons and influence stretched from the Royal Family and the Church of England hierarchy to the literary and artistic beau monde.
Carl Almquist was a Swedish-born stained-glass artist whose professional life was spent entirely in Britain. He was a pupil of Henry Holiday and became one of the two chief designers for the well-known Lancaster firm of Shrigley and Hunt. He was in large measure responsible for establishing their late Pre-Raphaelite or Aesthetic style. Though largely neglected by 20th-century art historians he has more recently been acclaimed as a genius, and as one of the leading late-Victorian stained-glass designers.
A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. The revival led to stained-glass windows becoming such a common and popular form of coloured pictorial representation that many thousands of people, most of whom would never commission or purchase a painting, contributed to the commission and purchase of stained-glass windows for their parish church.
William Warrington, (1796–1869), was an English maker of stained glass windows. His firm, operating from 1832 to 1875, was one of the earliest of the English Medieval revival and served clients such as Norwich and Peterborough Cathedrals. Warrington was an historian of medieval glass and published an illustrated book The History of Stained Glass.
William Wailes (1808–1881) was the proprietor of one of England's largest and most prolific stained glass workshops.
The firm of James Powell and Sons, also known as Whitefriars Glass, were London-based English glassmakers, leadlighters and stained-glass window manufacturers. As Whitefriars Glass, the company existed from the 17th century, but became well known as a result of the 19th-century Gothic Revival and the demand for stained glass windows.
Clayton and Bell was one of the most prolific and proficient British workshops of stained-glass windows during the latter half of the 19th century and early 20th century. The partners were John Richard Clayton (1827–1913) and Alfred Bell (1832–1895). The company was founded in 1855 and continued until 1993. Their windows are found throughout the United Kingdom, in the United States, Canada, Australia and New Zealand.
Heaton, Butler and Bayne were a British firm who produced stained-glass windows from 1862 to 1953.
Burlison and Grylls is an English company who produced stained glass windows from 1868 onwards.
Christopher Whitworth Whall was a British stained-glass artist who worked from the 1880s and on into the 20th century. He is widely recognised as a leader in the Arts and Crafts movement and a key figure in the modern history of stained glass.
St Ninian's Cathedral in Perth is a cathedral of the Scottish Episcopal Church in the Diocese of St Andrews, Dunkeld and Dunblane.
Saint Chrysostom's Church is the Anglican parish church in Victoria Park, Manchester, England. The church is of the Anglo-Catholic tradition, and also has a strong tradition of being inclusive and welcoming.
Lilian Josephine Pocock (1883–1974) was a stained glass artist who provided stained glass for a number of buildings, including Ulverston Victoria High School, The King's School and Ely Cathedral. She was also a theatrical costume designer, book illustrator and watercolourist. In her later years, failing eyesight prevented her from continuing her work in stained glass. After some years of retirement she died in 1974.
James Henry Nixon (1802–1857) was an illustrator and painter during the Victorian period, who worked in the firm Ward and Nixon painting stained glass windows. James Henry Nixon was a protégé of Charles Winston, who praised Nixon's work at Westminster Abbey and Church of Christ the King, Bloomsbury. The company Ward and Nixon was followed by Ward and Hughes.
English Gothic stained glass windows were an important feature of English Gothic architecture, which appeared between the late 12th and late 16th centuries. They evolved from narrow windows filled with a mosaic of deeply-coloured pieces of glass into gigantic windows that filled entire walls, with a full range of colours and more naturalistic figures. In later windows, the figures were often coloured with silver stain, enamel paints and flashed glass. Later windows used large areas of white glass, or grisaille, to bring more light into the interiors.
