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On 8–9 September I attended the Art and Christianity Enquiry (ACE) symposium in Cambridge: ‘In glass thy story‘, a two-day symposium addressing over 70 years of innovation and iconography in the glass art of British and European churches and cathedrals.
On the first day I contributed a paper on the change in direction that prompted the adoption of a more vivid and bold approach to stained glass design in the Llandaf diocese. This enlarged an observation made on pages 268–9 of Stained Glass from Welsh Churches, and presented the opportunity to show the work of Welsh artists Howard Martin, John Edwards, Tim Lewis, John Petts and others to a distinguished gathering of British and continental artists and scholars.
The symposium was held at Robinson College, Cambridge. This presented the opportunity to see works by John Piper and Patrick Reyntiens in the chapel of the college, one of which is a small and intimate window, the other a large and ambitious work occupying much of the wall behind the altar. After my lecture, the proceedings continued with a short performance by the pianist Patrick Hemmerlé in the chapel, offering the opportunity to contemplate the work in conjunction with music by Debussy and Ravel.
The opportunity to engage with another recent work in Cambridge was provided by a visit to St Catherine’s College Chapel, where the artist Tom Denny spoke about his work in conversation with Sophie Hacker, and in particular about his window in the chapel.
The final talk of the conference was about the windows designed by the abstract artist John McLean for Norwich Cathedral, installed since I last visited the cathedral. As I came away I couldn’t help thinking about the striking difference between these wholly abstract windows, saturating their aisle with colour, with the window we looked at by Tom Denny. This was also a work which was rich in colour, and might, in combination with two other windows in a similar kind of location, have also created a colourful immersive environment. But the work of Denny was figurative and suggestive, an intelligent interpretation of texts from Ecclesiastes, and also brilliantly painted.
Were the windows by John McLean, with their absence of any apparent message, suggestive of a church that does not know what to say anymore, or at least a church that chooses to say little? In glass no story?
Such things cannot be argued one way or another in a few lines here. I didn’t talk about theology or narrative in my talk and lots of us were perhaps on safer ground with style and form. But the rare opportunity to think about these things at the ACE conference was a welcome one.
Sometimes books go out for review and it takes a little while for any result, and in some cases things happen without my knowledge. Back in the summer I was in touch with Robin Simon, the editor of The British Art Journal, who had kindly offered to do something on Stained Glass in Welsh Churches in the journal, and I sent some pictures for illustrations. Time passed. Looking up the back numbers recently, I found my photograph of Tim Lewis’ Lifeboat Memorial window from Oystermouth on the cover of the Summer 2015 issue (vol. xvi, no. 1).
Inside, not a review, but ‘Editor’s Choice’, with a few illustrations. I don’t know how many others he has seen but he posits that it ‘may well be the most beautiful book ever on stained glass.’