Stained glass history and artistic traditions

Stained Glass

Panel 1 of the Charlemagne Window, c.1225. Chartres Cathedral, France.

The relationship between stained glass, religion and spirituality is one that has a long and intriguing history. Stained glass has been used as a symbolic conduit for spiritual perceptions and aspirations for centuries. The aesthetic qualities of stained glass, its relationship to light and the way that light filters through the translucent glass and illuminates the design, is a central aspect that refers to the ideologies of many religions. The link between light, stained glass and spiritual religion is therefore a factor that will be as central focus of this study.

As one commentator states of the impact of stained glass "They let in filtered light in many beautiful colors. Each window showed a religious scene. These scenes told a story about the lives of Christ, the Virgin Mary, and the saints. "

This rather simplistic view serves as a foundation from which to explore the range of spiritual and religious effects of this art form. The relationship between religion and stained glass will form the core of this study. While the historical overview of stained glass is important, the central area of concern in this study will be on the way that stained glass has been linked to theological and spiritual views and traditions in history - with particular emphasis on Christian spiritual and theological tradition.

2 Brief Historical overview

Archeological evidence indicates that the use of colored and tinted glass had been used by cultures and civilizations in antiquity. The ancient Egyptians created colored glass and beaded jewelry. However, evidence of actual stained glass as an art form related to religiosity emerged in Byzantine culture in the extensive use of glass tiles. These were used to decorate temples and religious buildings. This was a precursor to the extensive use of stained glass in the development of the Christian faith. As one commentator or notes, "The use of stained glass mosaic in a religious context was the early beginnings of the strong link between this type of glass and religion which was soon to develop."

It is generally agreed that "While the origins of stained glass are not totally clear, they probably developed sometime in the 10th century, when church building was popularized."

Stained glass windows were to become an integral feature of Gothic and medieval churches. In essence stained glass windows are pieces of colored glass held together in a latticed web of lead. This basic technique was to remain intact from the Twelfth Century onwards.

The following quotation in an indication of the technical expertise and the artistic know-how that was necessary to create the special qualities of stained glass.

The coloring of glass was achieved in the melting pot, where metallic oxides were fused with the glass. The metallic ores, although at first crude and limited, ultimately produced admirable color variations. The glass, available only in small pieces, gave thereby a jewellike quality to the colors. The pieces, by their uneven surfaces and varying thicknesses, gave the advantage of irregular and scintillating refractions of light.

The above shows how the use of glass was related to the manipulation of " refractions of light " and the way that the intersection between light and spirituality was to become a central reason for the popularity of this art form during the rise of the Christian church.

In the Twelfth Century the use of stained glass grew in popularly as a form of spiritual reflection and expression. This is evidenced by the fact that Theophilus, a monk, is credited with writing the first known text which describes the art form of stained glass. This book called "On Diverse Arts" had "…a number of chapters which were dedicated to stained glass windows."

With the decline on Romanesque architecture and its emphasis on large walls and enclosed spaces, the use of glass was extended as a functional element in medieval architecture. It is also important to note that the increase in the popularity and the usage of stained glass should be considered in relation to the development of the Gothic style of architecture. This architectural style was expansive and was characterized by large arched spaces, which also encouraged the creation of large windows that could be decorated with stained glass. This in turn was related to an expansion of religious and spiritual expression.

In an architectural sense this use of stained glass was "… integrated with the lofty vertical elements of Gothic architecture, thus providing greater illumination."

The important factor however in terms of its function in a spiritual and religious sense was that it symbolized the divine light of faith and resurrection. Furthermore, "In these transparent mosaics, biblical history and church dogmas were portrayed with great effectiveness. Resplendent in its material and spiritual richness, stained glass became one of the most beautiful forms of medieval artistic expression."

Therefore, stained glass and stained glass windows became a dominant and expressive art form largely as a result of its use as a means of religious and spiritual symbolism.

A central aspect that should be mentioned at this point but which will be discussed in more depth in the following sections is that the relationship between stained glass, architecture and church design was not in essence a matter of aesthetics or even changing styles of architectural design. The fundamental reason why stained glass was used was its special luminous quality that allowed for the manipulation of light. Light was seen in a symbolic sense of being a physical sign of the divine and a reminder of the belief in the Resurrection and other Christian and theological ideologies. It should also be noted that "Since most people could not read, the use of stained glass windows did more than add light and beauty. The church used them as an effective way to teach people about religion."

Figure 2. Gothic vaulted ceiling at Bath Abbey

( Source: http://en.wikipedia.org/wiki/High_Middle_Ages)

During the Gothic era the great cathedrals of Europe were built. This had the effect of propelling the use of stained glass to the forefront of Church design. During this period the Christian Church was also increasing its size and power and this also meant an increase in wealth. As a result it was possible to introduce more stained glass into church design and building.

At the start of the Thirteenth Century a greater number of biblical figures were incorporated into stained glass designs. Color was also used more extensively and there was more detail in the windows that were created. "Color became more detailed and varied, and the prevailing scheme of red, blue, green, and purple, with small amounts of white, created tense and vibrant harmonies."

A good example from this period is cathedral at Chartres in France, as well as the stained glass windows at York, Lincoln, and Salisbury.

Figure 3. The Blue Virgin Window at Chartres.

(Source: http://www.sacred-destinations.com/france/chartres-cathedral

In the Fourteenth Century there were further developments of the style and techniques of stained glass. This included, for example, single figures framed in canopied shrines. Another development was the instruction of a silvery tone to the glass in the Fifteenth Century. This was due to "…the use of large proportions of white glass," which also led to more creative and elaborate compositions"…and their figures of saints and apostles were surmounted by elaborate canopies. "

This in turn led to more technical improvements and in the Sixteenth Century when stained glass designers were able to imitate the effects of oil paintings. This was also due to the discovery of enamel paint which allowed the glass to be painted and then fired for permanency.

The use of stained glass continued to flourish well onto the 1500s and into the period of the Reformation. The Protestant Reformation, which took place between 1517 to1648, was the European movement that established Protestantism. There was a decisive movement away from the Catholic propensity for religious images, which was in line with the theological vision of the Protestant movement.

During the Reformation there was therefore a change in religious emphasis, attitudes and theology. This was to result in a reduction in the perceived significance and value of religious decoration, which resulted in a concomitant decrease in church ornamentation and embellishments - including the use of stained glass. "During the Reformation, stained glass windows with religious content are destroyed. These are replaced with clear glass or windows, either stained or enamel painted, with non-religious subject matter, like heraldic panels."

However, in the ninetieth century there was "…a serious effort was made to rediscover the techniques of the medieval glazier. Glass studios began to make appearances and artists designed simple ornamental windows with bible art for churches."

There was also an increased amount of interest in stained glass after World War Two.

3. The Spiritual and Religious Significance of Stained Glass

The following description provides some insight into the spiritual and religious significance of stained glass.

Brilliant blues and reds, yellows and greens, brown and whites... These are all colors that are commonly found in the beautiful, yet fragile masterpieces we call stained glass windows. As the light changes during the course of a day, the colors change as well; reds and yellows get more brilliant at noon, blues become brilliant as the light fades in the afternoon. All the while, the pictures tell important stories or symbolize truths. Light radiating through glass adds life, beauty, is transcendent, and spiritual connections become apparent.

The above rather elaborate description is cited at length in order to provide insight into the way that stained glass windows and ornamentation can evoke a spiritual and 'transcendent' quality that is particularly in keeping with a religious context such as a church. As referred to in the previous section, the use of stained glass is also strongly related to the Christian symbolism of light. As Web ( 2007) states, "A light philosophy ("God is light") was expressed, and it was thought that light reflected on earth is the closest we can get to the divine ."

The connection between the symbolism and connotations of light and religious and spiritual insight, 'illumination' and enlightenment has as long complex history in the traditions of the Christian church, which is reflected in the history of stained glass.

However, while the symbolical and spiritual significance of light is central to Christian theology, it should also be borne in mind the symbolism of light is also found in almost all other religions. A good example comes from the work of Henry Corbin on Iranian and Islamic religious philosophy. He refers to glass and transparency as an essential part of the alchemy of the sacred. This refers to the transformation that is central to all religions from a state of mundane and ordinary existence to insight into the divine and sacred. In the state of transparency "…the outer allows the inner to be seen through it; the hidden spontaneously shows through the apparent."

In other words, glass and transparency has many spiritual and religious connotations. Corbin also refers to the "man of light" in ancient Persian theology as the divine in human nature. The point being made is that although stained glass windows are predominantly found in Christian, European churches, their symbolic import and the spiritual meaning is common to many religions throughout the world.

Another factor that led to the popularity and increased creation of stained glass windows in European churches is that many people who attended church in the Middle Ages were illiterate. This posed a problem for the church. In order to covey the religious and spiritual message of Christianity and the idea of the Light of Christ and salvation, the use of stained glass in churches and cathedrals was an invaluable form of teaching and communication. It not only invoked a certain religious atmosphere but was also a way of imparting the ideology of "divine light." As noted above, in the Fourteenth and Fifteenth centuries more figures and narratives were depicted in the stained glass. This was therefore an aid to convey Christian doctrine to those who could not read the bible.

For example, biblical events, pictures of saints and prophets, as well as symbols were used to spread a message to the society. These windows were usually 2- dimensional with emphasis put on glazing, and usually framed by a border, designed under the direction of clergy, and often used by them to teach gospel stories to the congregation population.

4. The Christian Church and Stained Glass

Figure3. Baptism of Christ, Wimpfenim Tal, 1270

( Source: http://riceflan.home.mindspring.com/The_Gothic_Era.html)

Reference has already been made to the role of stained glass in the Christian Church. What should also be taken into account is that certain technical advances during this period when the Christian Church was growing and expanding also helped to further this art form. For instance, the developments in the area of gold design acted as source of inspiration to the early glass artists. They also took technical inspiration from tradition of tile mosaics.

Other technical advances included the discovery that "…iron filings mixed with powered glass could be formed into a paste that could be painted on glass to depict various images such as, faces, hands and drapery."

All of these techniques and discoveries in stained glass went hand in hand with the advance and growth of the Christian faith and was to form an integral part of the atmosphere and aura of the churches. As a result, "The spread of Christendom throughout Europe, however, would make stained glass the dominant art form of the new millennium."

More importantly, the early church authorities were aware of the special qualities of stained glass as an artistic means of 'illuminating the minds of men'. Throughout this tradition in the church we find the emphasis on light and the aura of beauty and divinity generated by the intricate glass windows. Coupled with this factor was the teaching aspect which functioned through the depiction of scenes and figures from the Bible that could be easily recognized by the congregation.

As noted above, some of the best examples of stained glass as part of the Christian religious tradition occurred during the Middle Ages in Europe. A few prominent examples will be discussed to illustrate the interconnection between religion, spirituality and the art of stained glass.

Some of the best and most spiritual examples of this art form in Europe during this period can be seen in the Cathedrals of Chartres in France and Canterbury in England. What can be gleaned from these surviving examples is the spiritual aura that they exude. The use of stained glass should be understood in terms of the way that religion and spirituality was perceived during this period. As one critic has noted;

In the middle ages, there was an unquestioning belief in a God of ultimate power and judgment. To the artisans, architects and craftsmen, they really were designing and furnishing the true house of God. No expense and no effort were spared, only the greatest and highest levels of quality were accepted. Nothing but the best and most inspirational ideas were accepted.

Therefore, the above view accounts for the almost ostentatious use of an art form such as stained glass in the Chartres cathedral and others. The use of light, color and design were seen as a means of enhancing the spiritual and religious message that the church wished to convey. In this context the art of stained glass cannot be seen as mere decoration but rather as an integral and important aspect of the spiritual dimensions and the religious aspirations of Christianity.

In terms of the background to this cathedral, " Gothic architecture was a bold experiment that jettisoned Europe out of the middle ages and allowed medieval glaziers to produce visions of paradise with their glass."

Chartres cathedral is an excellent example the use of glass as a creative experience of the spiritual during this period.

Figure 4. Canterbury - Stained Glass Showing the Martyrdom of Thomas Becket