President His Grace the Duke of Grafton KG DL Hon FRIBA FSA Chairman Caroline Benyon 21 Priory Road Hampton Middlesex TW12 2NS chairman@bsmgp.org.uk Hon. Secretary and Newsletter Editor Chris Wyard PO Box 15 Minehead TA24 8ZX secretary@bsmgp.org.uk Hon. Treasurer Cdr Leonard Critchley RN (Rtd) 2 Alexander Court Kidbrooke Grove Blackheath SE3 0LH Hon. Journal Editor Sandra Coley c/o Registered Office journaled@bsmgp.org.uk Hon. Librarian Michael Peover Melrose Villa Jocelyn Road Richmond Surrey TW9 2TJ librarian@bsmgp.org.uk AGBI Steward: Jane Campbell CHAIRPERSONS OF WORKING PARTIES: Conservation: Stephen Clare Constitution: Peter London MBE Events: Sue Ashworth Finance and General: Tim Alston MBE Registered Office: 6 Queen Square London WC1N 3AR Registered in England and Wales 173764 Website: www.bsmgp.org.uk

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great deal of time seems to have passed since the AGM when Peter London retired from the Council after many years of service to the Society; his support and advice has always been gratefully received. The Selection Committee, made up from Fellows and Associates, met the day after the AGM, and executed their work with the utmost integrity and commitment. I would like to welcome Fabrizia Bazzo, Rachel Mulligan and Michael Stokes as Associate members, Jane Campbell as a Fellow and Sandra Coley as an Hon. Fellow. I offer Susan Ashworth my congratulations for organizing the Edinburgh Conference, which has only just finished. The consensus of opinion is that it was a great success made possible by perfect timing, outstanding glass, good lunches, glorious weather and hospitable church members. The city even marked the end of our Conference with Europe's largest firework display. I must also thank Dr Sally Rush Bambrough and Peter Cormack who acted as guides for the first two days and gave informative evening lectures, and Douglas Hogg and Elizabeth Cummings who guided us on the final day that included many of Douglas' contemporary windows, and also Angela Goedicke and Iain Galbraith deserve special thanks for their invaluable help. Autumn and the shorter day, the curse of every glass painter, is gradually creeping up on us and the next time we meet will be Friday 14th of October at the lecture to be given by Catrin Jones. I look forward to seeing a good attendance of members and their guests. Finally Dr Sebastian Strobl, who has been Head of Stained Glass Conservation at Canterbury Cathedral for the past 15 years, is leaving to take up a new post as Professor for Stained Glass Conservation at the University of Applied Science in Erfurt, Germany. I would like to wish him and his family the best of good fortune in their new lives and I hope he finds his new position an enriching experience. Caroline Benyon

St ai ne d G la s s
Newsletter of the British Society of Master Glass Painters Issue 31 Sept 2005

FROM THE CHAIRMAN

AUTUMN EVENTS

Autumn lecture: `20 years of practice' Catrin Jones Friday 14 October

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his lecture will illustrate the passage through twenty years of producing stained glass for public places. The journey so far has been rich and varied. Looking back on what has been produced, I realise the importance of the narrative to me. Essentially, I would like to have studied fine art but, as a nineteen-year-old faced with a choice of course, I did not think I had anything to say and would, therefore, have nothing to paint about! So I embarked on a vocational course in stained glass and, with a framework in place, I found that I had many things to say about the places and buildings in which I have worked, which I find interesting and challenging. But what is really inspirational is, of course, the medium of glass itself. The idea of telling a story, or of expressing an idea, in light belongs to the sphere of the alchemist. The best of the process is like developing a print slowly ­ coaxing out the image - taking care to exploit an unforeseen movement in the glass itself. Some sculptors say that every piece of stone has a sculpture within, waiting to be revealed. Well, I think that every piece of flashed glass is like that. It is not that I especially enjoy using acid. It is just that I can't find another way of realising the right combination of texture and subtlety. Which takes me back to the beginning, and my original desire to paint. It is just that it turned out to be with light, and not pigment! Catrin Jones

Price £12 members (£15.50 non-members, £9.50 student members). For information and tickets send a large SAE /cheque to Sue Ashworth, 11 Morden Rd Mews, Blackheath, London SE3 0AE (tel: 020 8852 2920); please book at least 1 week in advance. Info also by email: events@bsmgp.org.uk, or visit www.bsmgp.org.uk.

`Sun, sand, sea 2' exhibition piece, detail

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Weekend event in Kent

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John Trinick, Salmestone Grange: Esther (above); cartoon for East window (below)

UKIC conference
conference has been arranged on the new CVMA Guidelines for the conservation and protection of stained glass. The conference is to be held at Kings Manor, York Conference Park on Thursday 27 April 2006. The topic is the theory and practice of the CVMA guidelines on stained glass conservation. A selection of speakers in the morning will discuss the theory and principles of the CVMA guidelines. In the afternoon a selection of speakers will illustrate case studies relating to the guidelines. Papers are requested for consideration for the above conference. These papers can be submitted by email to derek@limelightstudios.co.uk. If you have any questions relating to the conference please email them to me.

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he stained glass event in Margate, Saturday 4th June, was a memorable day not only because of the glass we viewed but also because of the generous welcome by our hosts, Robin Fleet and his wife Taeko. All arrived at their home in good time and after coffee and biscuits to prepare us for the day. We set off in shared cars, quickly reaching the Chapel at the 12th Century manor of Salmestone Grange. The windows filling every opening were by John Trinick, an Australian artist, who trained for three years with Christopher Whall until Whall's death in 1924. They were made over an 18-year period and completed in 1952. Ten years were dedicated exclusively to the project. Original, extraordinary, unique, are words which comes to mind and his windows are a mosaic of many thousands of pieces of glass. Subjects covered are The Creation, Old Testament (Moses, Abraham, Elijah to name some) and New Testament paralleled with some Greek mythology as well and one window on the history of the church. These are panels of small figures surrounded by miniature pieces of glass and much of that comprises text as a commentary to the image. Photographs cannot do them justice and one can only marvel at the conviction and creative energy behind the work. For several years Trinick had his studio in Margate and the main body of his work was for Catholic churches. (For more information on J. Trinick, see the article by Stephen Reynolds, p. 63 Journal 1998.) Returning to Robin and Taeko's house, lunch was laid out in Taeko's Japanese-styled dining room; pleasing to the eye, it comprised a feast of filled sandwiches followed by exotic flavoured ice-creams. The weather was kind so we enjoyed consuming it in the garden. Splendidly revived, we set off to view St Augustine's Abbey in Ramsgate; designed and built by Pugin, adjacent to `The Grange' the gothic style house he built in 1844. Mrs Catriona Blaker, cofounder of the Pugin Society, was there to welcome us and she gave a good account of the background to Pugin's day-to-day life there. Most interesting was the vestry room where we paused for discussion and looked at books of Pugin's designs and drawings. Hearing about his working methods and lifestyle one felt a closeness to this extraordinary man and his family, in the way they lived and worked together. As one would expect, the building and chapel was a visual feast of his work; the stained glass was mainly made by Hardman's Studio. As is often the case, the time we had was too short to absorb it all and regrettably we weren't able to visit his house next door as it is currently undergoing restoration by the Landmark Trust. The last stop of the day was St Andrew's Church, Wickhambreaux, with its stunning Art Nouveau East window of 1896, designed by Count Arild Rosenkrantz. (Some members will have visited this church at the BSMGP Canterbury gathering in the 1980s.) Mr Dick Bolton, the church warden, welcomed us and gave a short history of the window and then we were free to examine it from closer quarters. Rosenkrantz's method of working was similar to that of La Farge and Tiffany. At 4 pm it was a little late in the day as the window would be best seen in the morning; with its opalescent glass and lots of plating it needs plenty of back illumination and the afternoon light was playing on the front of the glass. Thus, with chatter over a pots of tea in the nearby village inn, ended a most enjoyable day in the Saturday Events calendar. Our thanks go to Robin and Taeko for making this possible. NB The planned day to look at windows with John Haywood in the City of London has had to be postponed until next year. Hopefully it will take place in the spring and probably on a Friday as entry to churches on a Saturday raises too many organisational difficulties. Andrew Taylor

Please register your interest with me if you would like to attend. Andrew Taylor: andrew@stainedglass.fsnet.co.uk; tel: 01380 813878

Derek Hunt

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ON JOHANNES SCHREITER

`Farbtafel', free-standing panel

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ohannes Schreiter (b. 1930) has been incredibly influential in the world of contemporary architectural glass. Not only has he lectured worldwide at seminars and master classes, but also publications in English have brought his ideas to a considerable public. Schreiter studied drawing and painting first at Münster, then Mainz and Berlin. Between 1960 and 1963 he taught at the Bremen Academy of Art before becoming Professor at the School of Decorative Arts in Frankfurt, where he taught until 1988. He won numerous prizes for his work in painting and engraving and had established a reputation as a major graphic artist before designing glass for architecture. His pictures were the source for his earliest works in glass. During the 1960s, he produced a collage series that included the use of smoke in the creation of new shapes and tones. The subtlety of these works influenced the way in which he came to perceive the possibilities of colour in architecture. The same sombre colour, torn edges and fractured sense of movement can be observed in the glass composition made for the stained glass in one of his first churches, St Margaret's, Bürgstadt/Main. However, in 1966 Schreiter created an enormously influential window for the Chapel of the Brotherhood of Saint John in Leutesdorf/Rhein. The design reveals an entirely blue composition enfolding three sides of the Chapel. Blue was deliberately chosen to create an atmosphere of tranquillity, an aid to contemplation. Schreiter's innovative use of lead was also immensely important. Here every lead line has been integrated in such a way that it cannot be interpreted anywhere as a `service' lead with a supportive task. Almost all lines crossing others shortly afterwards end freely in the glass, unattached to the frame. `I often recall the wonderful vault of St Anne's Church at Annaberg in the Erzgebirge,' wrote Schreiter, `every time I entered that church as a child, I particularly marvelled at the vaulting ribs of the New Vestry breaking off abruptly. We all know how impressive childhood experiences can be. Perhaps this is the starting point for my passion towards destabilisation.' The concept of the lead line as a vibrant `graphic' line was not unknown, but Schreiter took its use much further through his enthusiasm for drawing, which he feels enlarges his graphic repertoire. Indeed, his windows are miracles of construction. The lead itself must be shaved to the correct thickness in accordance with the cartoon ­ the full size drawing for each window. The glass is always specially ordered and carefully tempered to enable the cutting of the requisite shapes. The fame of the Leutesdorf project brought many commissions during the 1970s and 1980s. These included the series of windows for St John's Church, Troisdorf-Sieglar that occupied Schreiter from 1979 to 1985. The idea for the design arose from the desire of the church community to retain the existing diamond panes. Schreiter took the rhomboid shape and fashioned it into a subtle composition that gently alluded to the image of a fishing net, as well as the more sombre reference to a torn veil. This theme was explored by Schreiter in other windows, including those made in 1981 for St Mary's Church, Lübeck. A related image comes from the scrolls that appear either at the base of medieval windows or around the figures depicted. Schreiter sometimes uses these ribbons to suggest the unravelling of the grave cloth to indicate Christ's Resurrection as in the window designed for Limburg Cathedral in 1976, while an important example of wood carving in the Hessisches Landesmuseum at Darmstadt has been enhanced by three windows which use the binding cloth as a reference to the empty tomb and focus attention on the medieval masterpiece below. More than any other artist of the Post-war period, Schreiter has directly confronted the challenge of the past and has attempted to suggest ways of healing. His appeal for the importance of quiet, for the need to find meaning in life is expressed in the rationale of the work itself. For windows in the Juvenile Centre at Schifferstadt, he chose a simple linear design

and calming colours. Schreiter has always been fascinated by the effect of colour on an interior, suggesting that those who experience the space become emotionally altered, for better or worse, through the influence of `coloured air'. For this reason he reduced the colour range in the Meditation Room of the EKD in Berlin to a quiet monochrome, preventing the intrusion of the busy, brightly coloured world outside. In the Franciscan Church at Rothenburg, Schreiter has filled all the openings with soothing colours in opaque glass. The project that brought Schreiter to the attention of thoughtful artists all over the world was the series of designs for the Church of the Holy Ghost at Heidelberg. In honour of the famous collection of books, the `Biblioteca Palatina' once housed in the church, Schreiter took as his theme nothing less than the entire scope of Western civilisation. Some of the subjects selected for the series, such as Music, Literature and Philosophy, were to be expected, but others were unusual and some entirely new including the subjects Chemistry, Biology, Medicine, Physics, Economics, Media and Traffic. For the first time in contemporary stained glass design, maps, graphs, newspaper and television images were used as source material. Regrettably, the designs were too radical for the church authorities and the scheme was rejected in favour of an open competition, won by the artist Hella Santarossa. One important commission did emerge from this groundbreaking scheme ­ a series of windows on scientific themes for the Library of the Medical Colleges of St Bartholomew and the Royal London Hospitals at Whitechapel, London. Here, subtle pink glass warms the interior while the designs for the windows address important subjects in medical education. The `AIDS' window contains a diagram that shows the spread of the disease from Zaire in 1959 to different parts of the world. Schreiter suggests the healing process through the image of a red arrow halting the continuum of infection. The broken chain of brackets indicates the destructive power of AIDS and the resulting dislocation of young lives. The `Molecular Biology' window contains three diagrams that suggest genetic varieties. Diagrams A and B, which shimmer on a dark red background, refer to combinations of genes that produce abnormality, while Diagram C shows the normal recombinant. Schreiter has placed these against a white background supported by a purple column to indicate calm and stability. These information-bearing areas of colour are linked to each other with playful graphic lines that form a linear dialogue with the kiteshaped traceries of the window itself. Text based on the BSMGP Summer lecture given by Caroline Swash at the Art Worker's Guild, 17 June, later reworked into the chapter 'Innovation in Germany' prepared for the book 'The Intelligent Layman's Guide to Stained and Art Glass' due out in December 2005.
Caroline Swash

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MEMBERS' NEWS
New Associate 2005: Michael Stokes

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rior to becoming a professional Stained Glass Designer/maker, 1 studied Art and Design and obtained a BTEC in Graphic Design, followed by a Degree in Fine Art at the University of Central Lancashire. Other interests include Art History, Landscape painting, Architecture, Archaeology and Photography. Projects for new stained glass window commissions are fully discussed with clients prior to commencing the design work. Close collaboration is considered essential during all stages of the project. Clients are welcome to view work in progress at the studio. On-site meetings are also important. My approach is adaptable for designing in a modern abstract, figurative, contemporary or traditional style. Each new design is individually created, based on detailed subject research having assessed issues such as colour scheme, architectural setting, light availability, inscriptions etc. Colour portfolios are available for viewing at the studios in Edwinstowe. My motif is a small jester. Michael Stokes
(left) St Owen's Church, Bromham, Bedfordshire. 9-light East window, 2003, 67" by 135". This window communicates the themes of Resurrection, New Beginnings, Hope and the Millennium; (right) St. Mary Magdalene, Hatfield Hyde, Herts. 2-light South Aisle window, 2004, 36" by 66" This window celebrates the Millennium and the Christian faith.

`By Design' exhibition 6­30 October
'BY DESIGN' is the title of the forthcoming exhibition to be presented by Rachel Moss at the Millinery Works Gallery. The exhibition runs from 6 to 30 October 2005 and is open daily, but closed Mondays. It will include drawings for stained glass and have a variety of other designs; some, such as bookplates are for a `book corner' with out-of-print books. Contact Rachel Moss on 020 8883 7176 for a copy of the colour catalogue or the Millinery Works, 87 Southgate Road, Islington, London N1 3JS on 020 7359 2019. On Saturday 15 October at 7 pm, Peter Cormack, Keeper at the William Morris Gallery will be giving a lecture within the exhibition on Arts & Crafts Stained Glass Artists. Tickets £10 to include a glass of wine.This date was chosen as being the day after the BSMGP's lecture at the Art Workers' Guild and I'm hoping that this will tempt members to come to town for the weekend.
Rachel Moss: moss@mossgalleries.demon.co.uk

Creative Artists and the Church Conference
7 November
`Commissioning new art in places of worship' ­ a conference for artists, parishes, cathedral chapters and all those interested in the commissioning of new art for chapels, churches and cathedrals, plus the launch of Churchart website, a free resource for artists and those considering new ecclesiastical commissions. Speakers to include: Victoria Rance ­ sculptor Dr Frances Spalding ­ Reader of 20th Century British Art and Head of Fine Art, University of Newcastle Canon Richard Davey ­ Chaplain, University of Nottingham Trent Revd Tom Devonshire Jones ­ Director of Art and Christianity Enquiry Debbie Cunningham ­ Administrator, Art In Churches Index There will be an opportunity to discuss personal experiences. Limited space is available for artists wishing to display examples of their work (please contact Debbie Cunningham, details below ­ beforehand). Mary Sumner House Conference Centre, 24 Tufton Street, London SW1P 3RB, 10.30 am ­ 4 pm; cost £40 (students £30) inc. VAT ­ lunch and light refreshments included. Reply to: Debbie Cunningham, Church House, Great Smith Street, London SW1P 3NZ (tel: 0207 898 1863; fax: 0207 898 1881; email: debbie.cunningham@c-ofe.org.uk).

Worshipful Company of Glaziers
Layman's Guide to Glass No 37 is on Thursday 27 October at 6.15 pm at the British Museum. This is a tour lead by Dr Paul Roberts, Curator of the Roman Collections at the Museum. Dr Roberts will speak about'Glass from the Ancient World'. Price including supper is £47. The capacity is 60 and members of the Worshipful Company of Glaziers will get priority. Layman's Guide to Glass No 38 by Alfred Fisher, entitled 'Glazed Expressions', is on Thursday 10' November at Glaziers' Hall at 6.15 pm for 6.45. Talk only £5, Tallk and Supper £47, students half price. Adelle Corrin

Visit Sacred Britain Sacred Art and Sacred Places', 21­22 November
This is a conference organised by the national Churches Tourism Assn in Leicestershire at Hothorpe Hall Theddingworth. It includes talks by Glen Carter AMGP on Commissioning Art, and by a representative of the Arts Council England on Funding for Arts in Sacred Places. Costs: full programme (residential) £85, £75 for members; day rate £35, £30 for members. Details from the website: www.churchestourismassociation.org.uk.

PUZZLE CORNER
Question: Who is the owner of these shapely legs? (answer on page 8)

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The Swiss Stained Glass Museum, Romont

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hile on holiday in Montreux in June, Paula and I came across a brochure about the medieval town of Romont, north of Lausanne, and its chateau complex which houses the Swiss Museum of Stained Glass. In the large garden courtyard there are freestanding stained glass sculptures, and in the museum is a small array of historical examples and a large permanent collection of contemporary panels in a catholic variety of styles by European exponents, mostly back-lit. Two novel works were particularly memorable, the first, by Lukas Düblin (Basel) comprising a series of hanging panels in geometric patterns in many colours with a console of switches that visitors are invited to manipulate, causing the panels which are all on pulleys, to be manoeuvred both up and down and across, thus creating diverse changes of effect. The second, by Amir Ghara Tche Daghi (Bern) was a huge metal kaleidoscope structure with three circular panels of differing coloured patterns which again invited involvement: turning the wheels to activate these circles seen through a triangular glass mirror structure where spectacular kaleidoscopic patterns appeared. The Museum also contains a stained glass workshop where courses are held. They were hanging their summer exhibition `En quête des lumières du monde' (till 11 September) invited panels of a standard size approximately half a metre square, exhibiting a wide range of experimental techniques, effectively back-lit by spotlights. I was told that their present premises had proved too small, so in mid-September they are closing in order to move to the adjoining larger chateau where they will re-open next May. Romont advertises itself as Le Pays du Vitrail and issues a comprehensive leaflet about their glass, ancient and modern in the district. For current information, access the Tourism Office website at: www.romont.ch Paul San Casciani

Romont in Switzerland (top left); details of panels in the Museum's spring exhibition `Petites vitraux, petites histoires' (above and below)

New Nuttgens window at St Mary's Cathedral, Newcastle
To: quite a lot of people, who are either (a) glass oriented or (b) Newcastle-oriented (or, possibly, both). (Very many apols in advance to anyone who already knows all about this, or who doesn't want to know at all.) St Mary's RC Cathedral (Newcastle) have asked Joseph (`Joe'?) Nuttgens, of High Wycombe, to prepare designs for three windows along the north side of the building (the Bewick Street side), in the Blessed Sacrament Chapel. I went into the Cathedral today, all unsuspecting, and found, to my surprise, that one of them has just arrived. Apparently it was installed last Saturday (28th May) and dedicated on Tuesday (31st). The Cathedral have wasted no time in putting an informative, illustrated page on their website (hooray and 10 out of 10). I don't need to tell you much about the window, because it's all on the website. The URL is: http://www.stmaryscathedral.org.uk/history_architecture/windows/sisters_of_mercy.html. (Note that that overflows onto a 2nd line [in my email programme anyway), but you need to get it into your browser URL-line all in one piece.) The pictures on the website make the colours in the window look rather juicier than they appear in the `flesh' ­ they are a bit too thin and matt for my liking. But I like the drawing and figures. The window is signed (at the bottom), but you have to look hard ­ it's white on black (`NUTTGENS 2005'). If anyone wants further general info on JN, see: http://www.josephnuttgens.co.uk/joseph.asp and http://www.bsmgp.org.uk/members/bsmgp23.htm New window by JANE GRAY: Roger Fern, Sun, 05 Jun St John the Baptist, Preen Manor, Church Preen,
Shropshire: single light in south wall, a memorial to Philip Trevor-Jones. Christian symbols and subjects relating to his life and work (6ft by 1ft lin).

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M I N U T E S O F T H E A N N UA L G E N E R A L M E E T I N G O F T H E B R I T I S H S O C I E T Y O F M A S T E R G L A S S PA I N T E R S , 17 J U N E 2 0 0 5
pologies for absence had been received from Caroline Swash. The minutes of the previous AGM, which had been circulated to all members, were accepted and there were no matters arising.

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CHAIRMAN'S REPORT We've had a busy year; without doubt the most active year in the life of the Society: the first exhibition of new work for 20 years; the first ever 2 day conference on 19th century stained glass; an extra special issue of the Journal making two journals in one year; the relocation of our library and the usual matter of the annual weekend conference and series of walks and lectures. None of these events could have taken place without the hard work and good humour of the organisers and their helpers. The exhibition of members work proved to be a success on many levels. The original time it was to be held at the Cochrane theatre was extended and then it went on tour, first to Ely Stained Glass Museum and then Hardman's in Birmingham. Not only did it capture the diverse range of members work but it also proved to be a selling exhibition and in addition we had marvellous opening day ­ starting off here at The Art Workers' Guild, with lunch, slide shows and then to the Cochrane for the opening night, which remained packed with members & guests for several hours. I congratulate Mel Howse and her committee for organising this event and in particular to Ginger Ferrell who designed and put together the catalogue. The panels have now returned to G and G and I would like to thank Neil Maurer for helping with the storage and delivery of panels to the Cochrane. It would have been so difficult without his support. The Conference on 19th century stained Glass attracted visitors from across Europe and North America. Both days were a success and I could talk for hours about the historical importance of this conference, which was hugely significant. But like the opening day of the exhibition it was a chance for members to meet, talk, exchange information and generally socialise with like minds. I feel very strongly that people should leave our events informed, but also with the memory of attending a pleasurable social event. It may not always work but Council does try. Helen Robinson was the conference organiser extraordinaire and it was rather like being thrown in at the deep end without water wings. Helen has only been on Council for a year and it has been a learning experience, in her case learning to think twice about asking `Is there anything I can do?' The Conference could only take place because of the generosity of the Worshipful Company of Glaziers who donated 2 days' use of Glaziers Hall. It was 2 days that the Livery earned no income and we are exceedingly grateful for its generosity. I have heard nothing but praise for the Conference from all quarters and it has to be deemed a huge success. I shall take the opportunity to thank all the people who helped, from the speakers to those who stayed behind clearing the tables and helping wash up. The Glaziers Company has never seen anything like it, but I hope it does again, because this was a superb example of what the BSMGP and the Glaziers Company can do together ­ working to our own specific strengths. Helping to make the event a success was the present Master Phillida Shaw. Our librarian Michael Peover has had an exceptionally busy year. Relocating the Library to a new home at the Society of Antiquaries after its eviction from Ancient Monuments and then to see the results of his years of cataloguing the stained glass collection at the Soane Museum published in an additional and special issue of the Journal, an added responsibility for the editor Sandra Coley. Michael and Sandra deserve our thanks for an important publication that does the Society great credit and it is an important addition to stained glass publications. The Society gives a relatively small budget towards publications and Sandra has to be congratulated on the magnificent job she does in finding extra funding and producing such scholarly journals at a profit. My thanks also go to the organisers of the Weekend conference at Stafford, which apart from a few unruly French students during the night was another success. This gives me an opportunity to thank Susan Ashworth not only for organising the weekend but for the rest of her endeavours throughout the year including organising the lectures and helping with the 2-day conference and etc, etc. We all owe her a great debt. Martin Harrison too, for his contribution to the Soane issue of the journal, leading us around Shrewsbury at the weekend conference and for his commitment to the conference on 19th century which went beyond his lecture on the first day. Thanks also to Peter Cormack for the second day at Stafford and for his lecture and commitment to the Conference. Steve Clare deserves thanks for speaking and organising the second day of the conference and to all the other speakers. Andrew Taylor also deserves our thanks for organising the walks, an intrepid motorcycle ride to collect the Society's great seal and for his Christmas entertainment ­ although it was probably entertaining in a different way than he had hoped. I must also thank those people like Hazel Parry who are always on hand to help and to John Kopecky who looks after the Bar.

The combination of the year's activities was partly thrust upon us and they certainly combined to stretch the Society to capacity. To have such a packed schedule for each year would be an act of madness. However, it must be possible to have exhibitions on a 3-year cycle. An exhibition takes about a year to organise, a year to put on and a year to recover and I think that next year we should start organising one for the following year. Similarly, we have learnt that an extra Conference should fit a similar time frame. But the important thing is to learn from these experiences and for the organisers to pass on their knowledge to the next organisers to reduce the chances of trauma. The BSMGP was one of the first societies to have its own website. But technology has moved on and Council has therefore been discussing the appropriate way update it. We hope that by the end of this year we will have a new website with many new facilities. We are extremely lucky to have Chris as our Secretary. Not only has she revamped the Newsletter, which she edits, but she has been sorting out exactly what the needs of our website are ­ while enabling us all to understand web matters ­ all this on top of her duties as Secretary. Council is also discussing the possibility of the BSMGP becoming a Charity. The change of status would provide the Society with obvious benefits ­ including making it accessible to more grant giving bodies. But it is a slow process and the membership will be kept informed via the Newsletter. Over the years the Society has been committed to keeping subscriptions and events to a reasonable price. The last time there was an increase in subscriptions was 5 years ago. One of the reasons we have been able to offer reasonable rates is because of the stable overheads we have enjoyed ­ particularly here at the Art Workers'. However, over the past year or so not only have the Art Workers' rates increased but they are set to increase again and over the past year VAT at 17.5% has been added to the hiring of the facilities, which means our overheads have increased considerably. I have to say that our extra activities of the past year have not added to our costs; each of these events has paid its way. Sue has always negotiated a very good rate for the food after each lecture but as the financial pressures placed on the caterers by government legislation means they have to pass the extra costs on to their clients. Obviously financial pressures are relieved if lectures and events are well attended and I am not saying that prices are going to be increased immediately but we are keeping an extremely careful eye on the running costs, which will inevitably have to be raised in the near future. At present we have an extremely professional Council and the members have given up their own time to take on the responsibility of organising Society events. We are indebted to their hard work. Finally there are many unsung members on and off Council who help and support the art of stained glass. Peter London is one such gentleman, I use the word in its truest form, and he has decided to retire at this AGM. I would like to thank him personally for his friendship and wise counsel over the years and on behalf of Council for all the work he has done over the past nine years and more.

SECRETARY'S REPORT A total of 6 new members have joined since the Council meeting in May; this brings the list of new members since the New Year to 61, and the total since this time last year to 98. The breakdown of these 1-year figures is as follows: Ordinary 63; Student 13 (including 2 overseas); Senior 6; Library/institution 1; Joint 2; Overseas ord. 13. Compared with the period from January to June last year, when 30 ordinary members and 2 libraries joined the Society, the figure has roughly doubled. Together with the renewals since May, this brings the total membership as of this week to: 594 + 41 libraries = 636, of which 538 are paid up to date. This is an increase of about 100 compared with the same time the previous year. Membership has brought in an income of just over £15 000 in the year to date. The breakdown of the above is as follows: Fellows 23 UK + 5 overseas; Hon. Fellows 5; Associates 49; Craft Associates 4; Ordinary 372; Student 42; Senior 86 (including 66 ordinary senior, 3 overseas Fellows, 8 UK Fellows, 3 Associates and 6 ordinary overseas members); Library 41; Joint 22; Journal-only 1. A look at how new members come to the Society reveals that the website is increasingly important as a portal. A total of 36 people joined the BSMGP from the website, 7 through the Journal, 5 after picking up the membership form at a meeting or requesting it by post, and 9 by personal letter. The two recent events have brought in a flurry of members ­ 16 from the BSMG exhibition in various localities and 27 from the Glaziers conference. The second of these events is of particular note for increasing the Society's representation overseas. A truly international event, it attracted delegates from across Europe as well across the `millpond'. We now have 24 members in Europe including Belgium, Netherlands, France, Germany, Spain, Portugal, Italy, Norway and Sweden, and a total of 31 in the US and Canada, as well as a smattering in Australia and NZ (8), and 3 in Japan.

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The website statistics for the year to date reveal an increase over the same period last year (January to June) ­ an average of just over 48 000 visits to the site per month, as against just under 46 000 last year. The number of user sessions has also risen slightly, with a monthly average of 6115, as against 5633 in 2004. The number of visits to the Members portfolio pages shows a similar increase, although the Journal directory received fewer visits, down from 1052 to 900 per month on average. The total number of member application forms downloaded remained about the same ­ about 180 overall, or about 37 per month. Finally a total of 441 people downloaded information about the Glaziers conference, and 57 did the same for the forthcoming Edinburgh conference, and 18 downloaded the booking form also. The process of redesigning the website, begun with discussions about desirable additions last year, continues at a steady pace. Before the end of this year the Council aims to have given the site a complete facelift and incorporated a number of new features, including a facility to join and renew membership online, as well as buy journals, other publications such as the exhibition catalogue, and journal article reprints. There will be an improved and expanded Resources section, in which downloadable information will be available, as well as some entirely new features of which the details are still under discussion. The colour production of the quarterly Newsletter was very well received, and during this year the quality of contributions has remained high. The autumn issue reviewed one the popular weekend events, with John Hayward at Sherborne Abbey, organized by Andrew Taylor. The same issue covered the excitement of the BSMGP exhibition launch with an article by Helen Robinson, as well as the conference in Stafford/Shropshire ­ thanks to the contributions by Carrie Atkinson and Jenny Metcalf with their descriptions of the weekend's antics. In July at the opening of the BSMGP exhibition I met Clifford Oster, a visitor from the US well known as a manufacturer of quality silver stain ­ to those in the know. He duly signed on the dotted as a new member, at the same time agreeing to write a piece for the next newsletter. In November an article entitled `The birth of Ancient Walpole Silver stain' came hurtling through cyberspace, accompanied by a variety of excellent examples of its use, by BSMGP Fellow Debora Coombs amongst others. The spring issue covered the recent conference on 19th century glass with a 3-page article summarizing the main points made by each speaker. This proved a most difficult task as the conference had been so full of important and fascinating insights. I could quite easily have filled the entire issue with this one conference! The June issue has continued this theme with an article by Keith Hall on his restoration of the bulging windows at Rusthall in Kent ­ produced in response to repeated requests by those at the conference. This issue also included a report by Caroline Swash on the international architectural glass conference in Iceland, as well as a preview of her summer exhibition on an Icelandic theme, to be seen at the Cochrane from July. My thanks to all who produced this diverse range of high-quality reports, and I hope you all enjoyed reading them.

The Chairman then asked the meeting for approval to sign the accounts, and the meeting approved the accounts as submitted.

ELECTION OF OFFICERS AND COUNCIL MEMBERS General Council recommended for approval by the AGM the re-appointment of the following Officers and Council members, who were due to retire at the AGM. They were willing to serve a further term and were unopposed: Officers (proposed C. Benyon, seconded A. Corrin) ­ Michael Peover (Hon. Librarian), Sandra Coley (Hon. Journal Editor); members (proposed C. Benyon, seconded P. San Casciani) ­ Douglas Hogg, Harry Cardross, Mel Howse. The meeting approved all these re-appointments. The Chairman announced to the meeting the recent death of VicePresident Dr Hilary Wayment. General Council recommended the appointment of Keith New FMGP as Vice-President of the Society (proposed C. Benyon, seconded J. Gray). The meeting approved this appointment. AOB The following discussion centred on training. Stuart Lever, who had attended the Glass Forum at the Glaziers' Co. earlier in the year, raised the issue. He suggested that training schemes needed to go beyond the colleges, and was concerned that the recent survey conducted by Phillida Shaw did not seem to have been acted upon as yet. He said that, according to the Skills Councils, it was up to the craft itself to organize the details of training schemes, and that money would be forthcoming if training schemes were put forward. The Chairman replied that the essential question, addressed by the recent survey, was how many people wanted to train in the craft, and how many were needed per annum to replace craftsmen going out of the system. She added that although it is not practical for the Society itself to give classes, Stephen Clare was working on a training framework and this would be available on the new website next year. Ginger Ferrell asked why training provision had to be linked to conservation, and the Chairman replied that this was because the conservators were in fact the people most concerned with preserving these types of painting skills. Douglas Hogg proposed that, in addition, the Society might be involved in organizing `diagnostic clinics' for people involved in making new work. With respect to college training courses, Helen Robinson added that at the Forum there were a lot of people working in isolation who did not feel they could afford to devote 3-4 years full-time to a training course, but rather there was a need to have `master classes' in particular aspects. Paul San Casciani said that people came to him who wanted to learn how to draw, and when Tony Benyon asked Neil Maurer what his studio required he also answered `people who can draw'. Phillida added that over the coming few months a number of organizations would be publicizing short-term initiatives in this area. Also, the recently published National Heritage Training Group survey was being taken very seriously and had the backing of English Heritage. The Finance Committee Chairman then spoke about the Society's proposed charitable status. He said that he was required to estimate the amount of unpaid time given to the charity, and that this amounted to hundreds of hours. He wished to minute the Society's appreciation for this effort. The Chairmen then presented a gift to Michael Peover from the Society in recognition of all his work on the Soane issue of the Journal. Michael Peover thanked the Society and declared the gift ­ a panel of St Bridget ­ to be a `very serendipitous choice'. This concluded the official business of the AGM. The meeting then closed at 6 pm.
*Copies of the Annual Accounts are available on request from the Secretary; email: secretary@bsmgp.org.uk.

TREASURER'S

REPORT The accounts for the year to 31st December 2004 were circulated to members at the meeting (attached as appendix*). The Treasurer pointed out that the top line of the Summary of Income and Expenditure ­ Subscriptions ­ had no expenses allocated to it; however, every member receives a free copy of the Journal, so the expense of this should be balanced against the subscription income. Therefore although from the way that the Summary is broken down the Journals entries appear to show a deficit, actually both issues of the Journal in that year have covered their costs. The total trading surplus for the year was £1298, as against a 2003 figure of £670.

P U B L I C AT I O N S
The Arts and Crafts Movement in the North West of England: A handbook by Barrie and Wendy Armstrong
There is a rich and varied legacy of the Arts and Crafts movement in the North West of England is rich and varied. This comprehensive gazetteer includes over 700 sites and collections of Arts and Crafts works in the North West of England, arranged in six regions from Cumbria in the north down to North Staffordshire. The final chapters are a 'who's who' of artists, craftsmen and designers in the area, and an extensive bibliography. It is intended as a route guide for enthusiasts of Arts and Crafts and sculpture, architecture, painting and other arts and crafts as well as stained glass are described in its pages. It gives much practical information for visiting the sites ­ including map references, brief directions, opening hours, and contact numbers. There are over 300 full-colour illustrations,

including many details of the glass. Published by Oblong, 320 pp paperback, £17.50, email: books@OblongCreative.co.uk, orders with payment to: Book Orders, Oblong Creative Ltd, 4168 Thorp Arch Estate, Wetherby LS23 7BJ.

The Church of Our Lady of Mount Cartel and some conventual buildings at the Whitefriars, Coventry
by Charmian Woodfield The medieval window glass is written up as section J, pages 165244. There are 40 window glass figures, some with colour. BAR British Series 3S9, 400 pages. BAR, Gordon House, 275 Banbury Rd, Oxford OX2 7ED; tel: 01865 311914

Stained Glass Journal
VOLUME XXVII The Stained Glass Collection of Sir John Soane's Museum BSMGP members' price: UK £22; Europe £24; Overseas £27 (inc. p&p). For payment other than Sterling, please add the equivalent of £5 per order. Orders with cheques payable to BSMGP to the Hon. Sec.: Chris Wyard, PO Box 15, Minehead, Somerset TA24 8ZX.

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EXHIBITIONS & EVENTS

D I A R Y D AT E S

COURSES

ELY, STAINED GLASS MUSEUM Autumn lecture series. 5 October `The Unicorn in Art & History' by Chloe Cockerill, Cambridge Churches Historic Churches Trust (lecture sponsored by Rowley's Fine Arts, Auctioneers and Valuers, Ely) 12 October `19th Century Stained Glass of Ely Cathedral' by Peter Meadows, Archivist, Ely Cathedral 26 October `Printmaking and the Printmaker', lecture demonstration by Anthony Hopkinson, Trustee of the Stained Glass Museum and Printmaker. 9 November `Edward Burne-Jones, Charles Fairfax-Murray and the Art of Siena' by Duncan Robinson, Director of the Fitzwilliam Museum, Master of Magdalene College, Cambridge 16 November `The Art of the Glass Blower' by Mike Tuffey, Director of The English Antique Glass Company 23 November `Images of the Passion' by Dr Nigel Spivey, Department of Classics, Emmanuel College (lecture sponsored by Rowley's Fine Arts, Auctioneers and Valuers, Ely) All lectures will take place at 7.00 pm at The Cathedral Centre, Ely. Tickets £5.50. 2 November­1 January 2006 Christmas selling exhibition Contact the Museum (tel: 01353 660347; email: admin@stainedglassmuseum.com; website: www.stainedglassmuseum.com) for details. KINGSWINFORD, BROADFIELD HOUSE GLASS MUSEUM Until 9 January 2006 `Introducing ....' Studio glass exhibition by the resident glassmakers Hannah Cridford and Jonathan Rogers. 12-4pm daily except Mondays, admission free. Tel: 01384 812 749; fax: 01384 812 746; email: kari.moodie@dudley.gov.uk;website: www.glassmuseum.org.uk. LONDON, BEVIS MARKS SYNAGOGUE 2 November `Symbolism in Jewish Art and Synagogue Glass', by Dr Kadish, Director of the Jewish Heritage UK, annual lecture at The Bevis Marks Synagogue, Bevis Marks Street, London 6.00 pm. Tickets £6 inc. wine. LONDON, BRITISH MUSEUM 27 October 'Glass from the Ancient World', tour/talk by Dr Paul Roberts, Curator of the Roman Collections at the British Museum. Layman's Guide to Glass series no 37. British Museum, 6.15 pm. Price including supper £47. For info tel: 020 7403 6652; fax: 020 7407 6036; website: www.worshipfulglaziers.com. LONDON, COCHRANE GALLERY Until 22 October `Dialogues: Caroline Swash: Stained Glass, Paintings, Drawings & Photographs'. Caroline Swash Solo Touring Exhibition from Kópavogur Art Museum. Kópavogur, Iceland. Cochrane Theatre Gallery. London; tel: 020 7514 7113. Fax. 020 7514 7024). Email: caroline.swash@btinternet.com LONDON, GLAZIERS' HALL 10 November 'Glazed Expressions', by Alfred Fisher, Layman's Guide to Glass series no 38, Glaziers' Hall at 6.15 pm for 6.45. Talk only £5, Talk and Supper £47, students half price. 9 Montague Close, London Bridge SE1 9DD.. For info tel: 020 7403 6652; fax: 020 7407 6036; website: www.worshipfulglaziers.com. LONDON, KEW GARDENS Until 15 January `Gardens of Glass: Chihuly at Kew', a spectacular sequence of monumental glass sculptures set throughout Kew's garden landscape. Cost: £10, £7 concessions, 16 year olds and under free. Royal Botanic Gardens, Kew, Richmond. Contact: Oliver Basciano at info@kew.org. ST HELENS, WORLD OF GLASS 7­9 October `The manufacture and use of glass', study weekend in St Helens, organised by the Newcomen Society. Details: www.historyofglass.org.uk/Newcomen01.htm; email: elm.tudor@btopenworld.com. DENMARK, GLASMUSEET EBELTOFT Until 2 October `Observations', exhibition by Ann Wolff, a Coburg Glass Prize winner. Glasmuseet Ebeltoft, Strandvejen 8, 8400 Ebeltoft, Denmark. Contact: Glasmuseet Ebeltoft at glasmuseet@glasmuseet.dk.xhibition.

CAITHNESS, NORTH LANDS CREATIVE GLASS Short courses and master classes in glass. For information contact: Lorna MacMillan, North Lands Creative Glass, Quatre Bras, Lybster, Caithness, KW3 6BN Scotland (tel./fax: 01593 721 229; email: northlands@freeuk.com) ELY, STAINED GLASS MUSEUM 22 October, 3 December 1-day glass painting workshops with Pippa Blackall 26 November 1-fusing workshop using dichroic glass Also 1-day glazing workshop, copper-foiling workshop. Cost £70 per day including materials, fee includes visit to the Stained Glass Museum. Contact the Museum (tel: 01353 660347; email: admin@stainedglassmuseum.com; website: www.stainedglassmuseum.com) for details. KENT/SUSSSEX 8­9 October, 5­6 November, 3­4 December Stained glass beginners' courses with Stoney Parsons. The Glass Studio, Eridge Park, Tunbridge Wells, Kent TN3 9JS; tel: 01892 750099; email: stoney@stoneyparsons.co.uk; website: www.stoneyparsons.co.uk. LONDON Glassblowing lessons: introductory and progressive classes, limited to two students. Contact: 020 7403 2800; email: info@londonglassblowing.co.uk. OXFORD 21­24 October Short courss in traditional leadwork/copper foiling and painting with Paul San Casciani FMGP. For further details tel/fax: 01865 727529; email: paulsancasciani@hotmail.com. SUNDERLAND, NATIONAL GLASS CENTRE Stained glass courses for beginners and intermediate certificate courses; also glass engraving, hot glass, kiln forming, lampwork, jewellery courses. Details: NGC, Liberty Way, Sunderland SR6 0GL (tel: 0191 515 5555; email: info@nationalglasscentre.com). SUSSEX, WEST DEAN COLLEGE Leading, engraving, mosaics, glass painting: 7­9 October Getting started with mosaics with Jo Letchford 14­16 October Stained glass for beginners with Mel Howse AMGP 26­28 October Traditional leading and copper foiling with Paul san Casciani FMGP 7­11 November Glass engraving with a flexible drill with Jennifer Conway 25­27 November An introduction to glass fusing with Julia Webster 9­12 December Creative stained glass for beginners with Stoney Parsons For information/bookings tel: 01243 811301; email: short.courses@westdean.org.uk. WILTSHIRE, LIQUID GLASS CENTRE 2­6 October Kiln Casting with Tessa Clegg Enquiries and application forms from: Liquid Glass Centre, Stowford Manor Farm, Wingfield, Wiltshire BA14 9LH; tel: 01225 768888; email: info@liquidglasscentre.com. FRANCE, CHARTRES CENTRE INTERNATIONAL DU VITRAIL Traditional/contemporary techniques. Details/booking form from: CIV 5 rue du Cardinal Pie, 28000 Chartres, France; tel: 02 37 21 65 72; fax: 02 37 36 15 34; email: contact@centre-vitrail.org. SWITZERLAND, CREATIVE GLASS SCHOOL 7­8 October Fusing I 29­30 October Fusing II. Creative Glass MHS AG, Geerenstrasse 13 - Kindhausen, CH-8604 Volketswil / Switzerland; tel: +41 (0)44 908 11 55; fax +41 (0)44 946 12 31; website: www.creativeglass.com TURKEY, GLASS FURNACE Autumn courses in fusing, sandcasting and painted glass, etc. Details/booking: Cam Ocagi VakfiÖgümce, Cam Okulu Duragi, BeykozIstanbulTurkey; tel: +90 216 433 36 93; email: apply@glassfurnace.org; website: www.glassfurnace.org.

END NOTES

POSITION WANTED A painter living in India and seeking to learn stained glass skills is enquiring whether any studio or glass maker in the UK is willing to accept her as an apprentice for 1 month during April-May 2006. She will be funded and able to pay towards tuition, as well as help in the studio. If this sounds of interest then please email secretary@bsmgp.org.uk and I will put you in touch. KILNCARE KILNS Kilncare have appointed Creative Glass Guild in Bristol as agents. For details tel: 0117 9737893; website: www.creativeglassguild.co.uk.

C o n t r i bu t i o n s f o r t h e n e xt n e w s l e t t e r t o Ch r i s W y a r d b y 1 0 N o v e m be r

Every effort is taken to ensure the accuracy of the information in the Newsletter, but the BSMGP cannot accept any liability for any loss or damage of any kind that may arise from any errors. Opinions expressed are those of the individual contributors, and are not necessarily endorsed by the BSMGP.

Window by C. E. Kempe, 1902, St Dunstan's Church, Cranbrook. Photos by Keith Hill, email: mail@glassconservation.com

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