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: To be appointed 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

005 has been another full year for the Society and as I made a comprehensive list of all the events in the last issue of the Newsletter I shall not repeat them. However, I would like to thank Council for the hard work they have put into projects which will not bear fruit until next year. In many ways the events such as conferences, walks, lectures, etc. are the visible tip of the iceberg and much work is done by Council on other matters that we hope will benefit the craft in the long term. A criticism used to be made of the Society that it was London-centric but Council now has active members who travel from Scotland, the Midlands and Chris Wyard, our Secretary, lives in Somerset; in many ways it has never been so representative. We have a good number of members who are active in the craft and give up hours of precious daylight to attend meetings and they deserve our collective thanks. I have been involved with the Council for more decades than I admit to but the professionalism of the present members, their collective enthusiasm and the manner in which responsibility is shared equally is greater then I ever remember. Peter London on his departure from Council recently presented the Society with a very impressive wooden gavel and although I am excited at the prospect of using it I fear that I may have little opportunity. Of course, circumstances may change. Earlier this year, at the AGM, I had to warn members that costs beyond our control were continuing to rise and there was a serious possibility that we would have to consider an increase in prices. I am pleased to say that we have decided against any increase this year, but it is still under consideration particularly if the events are not well attended. Please remember that some places on the summer conference are available to students at a reduced rate and the conference consists mainly of site visits, apart from an evening lecture, and that on recent trips lunches have been supplied by the Women's Institute, so hunger has not come into the equation! The Glaziers Company organized a well-attended November lunch in honour of Past Master Lawrence Lee. Many of his students and assistants were present including Keith New, to whom I must apologise for not welcoming in our previous Newsletter as our new Vice-President. Keith was unanimously voted in at the AGM and many of you will already know how active he has been over the years, especially in his involvement with Associate membership assessments. I would like to give a gentle reminder to those who are going to apply for Associate membership next year that application forms can be obtained from the Secretary. The selection always takes place in June so a reminder in the next Newsletter would be too late. Finally, I would like to repeat my thanks to members of Council and all those that have worked so hard on behalf of the Society, with good humour when it was very much needed, and wish you all happiness and good health for Christmas and the New Year. Caroline Benyon

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St ai ne d G la s s
Newsletter of the British Society of Master Glass Painters Issue 32 Dec 2005

FROM THE CHAIRMAN

WINTER/SPRING EVENTS

Spring lecture: `The importance of the teacher in stained glass'
Tim Lewis Friday 17 March
im Lewis will speak on the theme of the teacher in stained glass in which he uses slides and video to illustrate aspects of the development of the Stained Glass Department at Swansea where he trained and where he taught between 1967 and 1990. He will refer to his teacher Howard Martin, the unsung genius and founder of the Welsh Stained Glass Tradition. He will also recall the quiet influence of his tutor Lawrence Lee at the RCA in the early 60s. Tim Lewis brought together a team of lecturers at Swansea that became responsible for the flowering of the programme between 1968 and 1990 that attracted students from all over the world. He will refer to his `post retirement' work at his Glantawe Studios, Morriston, Swansea where he continues his role at teacher through the production of film documenting the finer points of the art of stained glass, which he feels are now in decline due to lack of support and some misguided teaching practices. It promises to be an evening not to be missed.

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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.

`(From left) John Edwards, Glenys Cour, Penny Winton, Tim Lewis, Martin Donlin, Rodney Bender and Colwyn Morris in the Studio.

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(far left) Lawrence Lee speaking. (left) Lydia Marouf, Lawrence Lee and Tim Lewis. (below) Sue Ashworth, Alison Howie and Nicola Kantorowicz at the luncheon. (bottom) Group photo from left back row: Tim Lewis, Alison Howie, Nicola Kantorowicz, Jane Campbell, Sue Ashworth, Alfred Fisher, Pippa Martin, Martin Lee (son). Front row: Lydia Marouf, Keith New, Phillida Shaw, Master of the Worshipful Company of Glaziers, Lawrence Lee, Ray Bradley, Zoe Younger, Lizzie, Lawrence Lee's grand-daughter. (Photos by David Whyman and Lydia Marouf.)

Lawrence Lee luncheon, Glaziers' Hall
In November the Glaziers Company held a luncheon for Past Master Lawrence Lee FMGP, to celebrate his 96th birthday. In the following piece Lydia Marouf, who attended the event, recalls her time as his assistant at his studio in Kent. t was wonderful to see Lawrence again ­ after almost 15 years ­ he looked simply amazing! Also, to see his son Martin and meet his grand-daughter Lizzie ­ of whom Lawrence was proud to mention her having many artistic talents. He recollected some amusing memories about many of his past assistants during times in Stable Cottage, Penshurst. It was also gladdening to hear him mention the importance to him, that life has always been and continues to be more than just 'stained glass' it was about the 'garden' ­ the great outdoors. For me too during my time as assistant to Lawrence Lee (1981­2), life has been intertwined with a passion for stained glass and the beautiful British countryside ­ of which the Kent landscape is eternally etched on my mind. I can still remember the garden at Stable Cottage ­ a rich tapestry of stunning splashes of colours and textures, the rockeries brimming over with an array of plants! All this intermingled with 'acid-etching' in the garden ­ the red-breasted Robin perched on the water tank, and the winter air heavy with the strong smell of log fires. Just like I fondly remember Dorothy (Mrs Lee), her love of the garden, who would lavish hours tending it. I marvelled at her scope of plant knowledge and command of Latin ­ she was a horticultural encyclopaedia! She is dearly missed. I will never forget the warm welcome, the kindness and the generosity I experienced. In the scheme of things, my time in Penshurst was but a brief period in my life, but the lasting effect has been truly incalculable and has made all the difference.

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EXHIBITIONS AND COMPETITIONS
British Glass Bienniale
Taking place every two years in August, this it is the highlight of the International Festival of Glass held in the heart of Stourbridge's historic Glass Quarter. A selling exhibition, the emphasis is on new work demonstrating excellence in design and technical skill. If you have been living and working in the UK for the past four years you are invited to submit work to the jury. Details from www.ifg.org.uk. Deadline 24 March 2006.

museum workshops. Entries should not be in a medium in which you have a professional qualification or in one that represents your main occupation. For information visit www.vam.ac.uk. Deadline 17 February 2006.

`Observations' Until 29 Jan 2006, NGC
This retrospective exhibition of works by Ann Wolff is touring from the Glasmuseet, Ebeltoft. During her career she has mastered many different techniques, and engraves, paints and sandblasts sculptures in glass, wood and bronze. National Glass Centre, Liberty Way, Sunderland, SR6 OGL; tel: 0191 515 5555; fax: 0191 515 5556; email: info@nationalglasscentre.com; website: www.nationalglasscentre.com

V&A national competition
Would you like to see your artwork displayed in a museum? This competition and display celebrating Adult Learners' Week will take place during 20­26 May 2006. The V&A's annual competition is open to part-time adult learners (no more than 16 hours per week), and to students participating in a series of

Glittering prizes' Until 1 January 2006
This Christmas selling exhibition at the Stained Glass Museum includes work by artists in glass from East Anglia.

Open daily (except Christmas day and Boxing day). Entry free. Details tel: 01353 660347; email: admin@stainedglassmuseum.com; website: www.stainedglassmuseum.com.

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`Stained Glass Work by C. W. Whall, 1905' until 11 February 2006
Exactly one hundred years ago, Christopher Whall's manual Stained Glass Work was first published in the `Artistic Crafts' series edited by W R Lethaby. For its many readers since 1905, the book has provided not only a thorough introduction to the processes and aesthetics of the craft, but also a lively insight into the personality of its author. The William Morris Gallery is celebrating the centenary of this classic of Arts & Crafts literature with an exhibition of designs, cartoons, photographs and documentary material drawn primarily from its extensive archive of work by Christopher Whall (1849­1924) and his studio. For further details, please contact Peter Cormack on 020 8527 3782. Admission free.

William Morris Gallery, Lloyd Park, Forest Rd, London E17 4PP. Open Tues­Sat 10­1 and 2­5 (closed 25 Dec­2 Jan).

`Dialogues': an exhibition of panels by Caroline Swash
hen on a recent visit to London to see the paintings of Edvard Munch, I decided to drop in on this exhibition at The Cochrane Gallery by one of the eminent members of our society, Caroline Swash. The intention to divide my time proportionate to the size of the shows was upset by the fact that I found Caroline's exhibition truly captivating and deserving of more than an hour. I was delighted and held spellbound! Both as a glass artist and painter myself, I understand the demands of making significant work that has not been commissioned. I also know how difficult it is to present the medium of flat glass effectively without the containment of architecture. It seemed to me that Caroline's experience as organizer of many exhibitions at the Cochrane Gallery has helped her to judge the site perfectly. (I read that some of these panels had previously been exhibited at the Kopavogur Art Museum in Reykjavik, so that venue must also have been carefully considered.) She is, as many of you will know, an excellent communicator: the scale and arrangement of the nineteen panels against the curved window of the gallery did appear to be just right. Caroline Swash has developed a close relationship with Icelandic artists. She is familiar with artefacts gathered by William Morris and held by the Victoria and Albert Museum, and also with the drawings of Sir Joseph Banks in the ethnographic collection of the Horniman Museum. She has become familiar with botanical engravings of Icelandic plants at the Natural

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THE CONSERVATION REGISTER AND ACCREDITATION

History Museum. However, such facts are only partly relevant, in so far as they provide for the figurative content of the work. What the artist has done is to produce some beautiful panels that speak of a strange Nordic world, its mythology and the artefacts of a people who have lived in a different landscape and a very different light from ours. While the work appears to resemble tablets, or steles, and is resonant of days gone by, it also has a very modern quality. The apparent simplicity of the glasswork belies the technical complexity that one may appreciate on closer inspection. Both opalescent and transparent glass have been used, each piece of glass being variously treated with acid, sandblasting, enamels and stain; some have been brushed, others silkscreened. She seems to have exploited and enjoyed using all the techniques that she has picked up over the years and has used in her various commissions. I would guess that she might have redrawn her lead lines a good number of times in order to achieve the appearance of lyrical simplicity. I saw the work on an overcast day that made the muted tones of glass in violet, blue and grey glow against a silvery, albeit urban backdrop. This quality of light helped to bring out a mysterious and eternal quality in Caroline Swash's glass. When later viewing the paintings by Munch, I noted the textured, cool, grey blue coloured background to some of his paintings reminded me of that same glass; it is possible that both artists were similarly captivated by the northern light and landscape of a remote, Nordic place. Sally Pollitzer AMGP

he Conservation Register (www.conservationregister.com) is a register of businesses providing conservation skills in a wide range of disciplines, including stained glass. Established some 17 years ago by the Museums and Galleries Commission, the Conservation Register has always aimed to provide those commissioning conservation work with information on businesses they can consult with confidence. Initially this was done by collecting detailed background information on each of the businesses seeking to be included in the Register. As the conservation profession has developed, so the Conservation Register has developed and nowadays it uses the standards of professional accreditation as its benchmark of quality. Of course, BSMGP was ahead of much of the conservation profession with the establishment of its own accreditation scheme in the mid-1990s. This was followed by the development of the PACR (Professional Accreditation of Conservator-Restorers) scheme in 1999. The PACR scheme can be used by all conservators, regardless of the discipline in which they work or how they have learnt their skills. Its system of peer assessment recognises a conservator with the combination of technical knowledge, experience and ethical approach to complex conservation problems as laid out in the professional standards (see www.pacr.org.uk). It is the PACR scheme that is now used to accredit stained glass conservators. Two and a half years ago, the Conservation Register incorporated the requirement for the accreditation of the lead member of each business into its criteria for inclusion, in this way ensuring that all the bodies and schemes used to promote good practice were using the same standards. The requirement for accreditation has not only applied to new businesses wanting to

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join the Conservation Register, but has also been built into the revision programme so that the principal member of each of the businesses already included in the Register has had to undertake the accreditation process. We are now very nearly at the point where each business is led by an accredited conservator ­ of course, this process has not taken place quickly enough for some, whereas for others the requirement for accreditation and the timescale set for its achievement has been difficult to accommodate with existing heavy workloads. The most important thing to think about is the message given to those using the Conservation Register. Most people consulting the Register have little experience of working with conservators. They come to the Register seeking names of businesses they can talk to about specific conservation projects with a view to employing them. By using the standards of accreditation in combination with its other criteria for inclusion, the Conservation Register is able to provide assurance that the businesses have the knowledge and experience to work to a high standard, that the conservator's capabilities are supported by their professional body, and that they are subject to the ongoing requirement for continuing professional development, and to the accrediting body's professional guidelines and disciplinary code. This is a package of reassurance which is hard to beat and benefits both clients and conservators. For more information contact: Caroline Saye, Conservation Register, c/o ICON, The Institute of Conservation, 3rd Floor Downstream Building, 1 London Bridge, London SE1 9BG; tel: 020 7785 3804; email: info@conservationregister.com. Caroline Saye

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AUTUMN CONFERENCE 2005: EDINBURGH

(left) Edinburgh Castle, St Margaret's Chapel, Douglas Strachan; (above) St Giles Cathedral, James Ballantine; (below left) Dunblane Cathedral, Louis Davis detail

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n the first day of September this year, BSMGP members gathered for 4 days of talking, walking, looking and the occasional frolic. These accounts of the events by two participants were held over from the last Newsletter in order to be able to print them in full. (Photos of glass courtesy Iain Galbraith.)

FROM IAIN GALBRAITH: For once the Scottish weather showed a friendly face and smiled benevolently throughout this conference ­ gentle early autumn weather with splendid ambient temperatures. Accommodation was based at Heriot-Watt University's Riccarton Campus in the Lothian countryside ­ comfortable, functional and rather impersonal and with catering reminiscent of school meals! The contents of this Conference divided into clear categories ­ the Edinburgh studio of James Ballantine; Arts & Crafts windows in Scotland; Glasgow Glass of Alfred Webster & Stephen Adam, and a concluding comprehensive tour of Edinburgh Glass. A series of experts addressed these issues with clarity and erudition ­ Sally Rush Bambrough, Peter Cormack, Douglas Hogg, Paul Lucky, and Elizabeth Cumming. After dinner on Thursday (and dinner was a marvellous example of Scottish thrift ­ extras (even one orange!) charged for at the cash desk of the self-service canteen ­ ouch! Scotland! Edinburgh!). Sally Rush Bambrough set the scene expertly with an overview of James Ballantine's stained glass, excellently illustrated. Ballantine belongs to the long coda of the Scottish Enlightenment and in his studio many aspiring young artists received their training from this Scottish man of letters. Friday was based entirely in Edinburgh and there was indeed much to view of the Capital's stained glass. We began by visiting the National Shrine at Edinburgh Castle. The Shrine is the work of one of Scotland's premier architects, Robert Lorimer, and the complete glass schema was by Scotland's premier stained glass artist (or one of them, depending upon individual opinion), Douglas Strachan. An introductory talk was given by a Colonel of Infantry ­ brisk, articulate, structured (and with orders I think, to shoot any

recalcitrant BSMGP members/stragglers!) ­ and then Peter Cormack gave one of his lucid and penetrating commentaries on the allegorical language and significance of Strachan's glass. As usual with Peter, this was erudite and accessible and communicated clearly. The Shrine is guarded by constantly prowling custodians and photography is forbidden. But what a wealth of meaning and what depth of human emotion contained in this glass ­ the roundels with their cameos of war are worth special attention, believe me. (A coffee in the prestigious Queen Anne Coffee House, near the Shrine was most welcome, and the accompanying banana cake had all the lightness and elegance of a small brick ­ Edinburgh, you can surely do better than this.) The company scattered for lunch and gathered again in St Giles Cathedral where three experts dealt with different topics: Sally Rush Bambrough, in the nave of the cathedral, placing Ballantine's schema of windows in context; Peter Cormack in the magnificent Thistle Chapel explaining about Louis Davis and the armorial glass and Lorimer's wonderful work; Paul Lucky at the Crossing talking about restoration and conservation of windows, his expertise making this complex process seem much less complicated than it obviously is. How fortunate we were to have such a professional trio, each contributing a different specialism. We then moved to Edinburgh's famous Greyfriars Kirk (Greyfriars Bobby ­ the wonderful, faithful terrier who slept for years on the grave of Auld Jock, his dead master) with its scheme of geometric and medallion glass, again by Ballantine, and Ballantine's fine memorial windows to George Buchanan, tutor to the young James VI (and to those south of the Border!) and one of the great European scholars of his day. (Sadly, at this point my camera suffered a severe heart attack (or overkill) and I had to leave the company to purchase another camera ­ not quite perfect timing ­ so I missed out on Heriot's Hospital visit.) Friday evening was devoted to an illuminating lecture by Peter Cormack on three artists whose windows are of major importance in Scotland's churches ­ Louis Davis, Herbert Hendrie and Douglas Strachan. This lecture not only emphasized what we had already seen of Strachan's glass in the Castle's Shrine and in St Margaret's Chapel, but splendidly set the scene for Saturday's visits to glass by Hendrie and Davis (and Peter, it's time you started publishing those valuable scripts). Saturday morning saw an early drive through the flat Lothian countryside to Falkirk Old Parish Church and two fine windows by Christopher Whall, thence to Lecropt Kirk high on its eminence overlooking the flat carse lands of Stirlingshire. This handsome gothic revival kirk of 1826 contains windows from the final phase of the illustrious Stephen Adam's career ­ glowing, lustrous windows with strange and sinister cherubim faces ­ and a large chancel window by Adam's younger colleague and successor, Alfred Webster. Webster was tragically killed in Flanders Fields in 1915, but his surviving corpus of work speaks of a blossoming virtuoso ­ a Mozart of stained glass ­ in his windows of high technical skill,

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FROM SARAH EVANS: THURSDAY As I stepped off the plane full of anticipation at what we were going to see over the next few days, I was greeted by blue skies and sunshine, a warm welcome indeed. Members continued to arrive throughout the afternoon from far afield. We found our rooms, all following Sue's instructions to look out for those boulders. Once we had settled in (thin the walls and lumpy the mattresses recalling student days) we all had our first experience of presenting our cards in the canteen, lest anyone dare take that extra piece of fruit! After dinner we had an opportunity to look at a display of some very exciting pieces of contemporary Scottish stained glass before going into our first lecture by Dr Sally Rush Bambrough. Douglas Hogg's introduction, a warm welcome to north of the border to all of us from down south and beyond, described some of the history surrounding Edinburgh, a city full of civic pride: the Athens of the North. Sally Rush's talk and slides introduced us to the work of James Ballantine and the development of his studio in the 19th century and put much of what we were to see the next day into historical context. After collecting our bus money for the next day it was off to bed. FRIDAY A fine day dawned and following breakfast we all caught the bus. Edinburgh Castle stood proudly waiting for us high up upon its volcanic plug. Our first visit was to the Scottish National War Memorial, a remarkable and poignant exposition of national art and craftsmanship. It revealed to us how Douglas Strachan adapted the arts and craft movement to make something truly Scottish. The windows depicting the various aspects and awfulness of war were most moving. With their rather muted colouring and tones, beautiful detail and variety of glass they show the human story. The wonderful windows in the shrine, stronger though in colouring, contain a forcefulness and great power, with great stylization of the figures and graphic bold leading. There was so much to take in and, as I began contemplating my sketch book, we unfortunately had to move on. From the large scale of the memorial we moved to St Margaret's Chapel, taking in the wonderful views of the City laid out beneath us basking in the late summer sunshine. The windows, again by Strachen, cast a wonderful light and shed colour throughout this intimate chapel. If only I had been alone, no offence to anyone, but I could imagine this being the most magical of places if only empty and silent. Then it was time to find some lunch. The afternoon began in St Giles. It was a shame that several windows were hidden under scaffolding and I peered longingly to see the glowing colours of Strachan's window in the North Transept. However, there were delights waiting for us in the richly decorative but intimate space of the Thistle Chapel. A very welcome cup of tea then awaited us at Greyfriars' Church, the windows here showing just how James Ballantine developed an appropriately inoffensive design formula to secure the Presbyterian market. But I think we all wanted to hear Rona's story about the Greyfriars' Bobby. The abruptness at which her story was curtailed left us all wondering ... Then it was on to George Heriot's Hospital, which we were to discover had been Douglas' school. I'm sure those walls could have told us many a story. The chapel there contained the first pieces of stained glass in a Presbyterian place of worship in Edinburgh. We finally wended our way back to Heriot-Watt in time for dinner. That evening, Peter Cormack's lecture, together with his wonderful slides, gave us an excellent overview and taste of what the next day held in store. SATURDAY It was up with the lark, again a beautiful day greeted us and after an early breakfast it was on to the coach. Douglas regaled us with a CD by the contemporary Scottish band, the Peat Bog Fairies, their music so evocative of the beautiful Scottish countryside around Edinburgh that we were passing through. Our first visit was to Dalmeny House, home of the Earls of Rosebery since 1662. I felt as if I was stepping back into history as I entered the house, full of history but still a home very much alive today, as Lady Rosebery described the house full this summer of her five children and their children. Here we saw some early 16th Century glass which Douglas had restored. We were also privileged to see the marvellous collection of furniture and paintings together with (top left) Lecropt Kirk, Alfred Webster detail; (top right) Kippen Kirk, Herbert Hendrie detail; (left) Kathy Shaw and Frank and Sue Ashworth take the plunge!

marvellous invention and a superb colour range. The climax of Webster's work is the great South Transept window in Glasgow's Lansdown Church, where Webster's control of subtle allegory is worth viewing (Christ, mounted upon a donkey, does not ride into Jerusalem but into Glasgow to be greeted by a crowd of citizens, whose faces tell their own tales). This virtuosic element can easily be seen in Lecropt's Te Deum window of 1911, and this was elucidated by Peter Cormack. Thereafter a short journey to the compact cathedral town of Dunblane and the magnum opus of Louis Davis in his six great choir windows of the cathedral, the four windows called, Allegory, Chaos, Earth and Humanity being flanked by the four archangels Michael, Gabriel, Uriel, Raphael. These glorious, swirling windows are packed with symbolism, explained in a scarce commentary by RED Sketchley. These windows are based upon the Benedicite, the song of the Three Holy Children, Ananias, Azarias and Misael and according to Sketchley this song, `utters the longing of the whole Creation for union with God ... blessed in one music of adoration `. These windows were made between 1913 and 1915 at the behest of Sir Robert Gounger, in memory of his mother, and no expense was spared. These are among the truly great windows in Scottish churches. A late afternoon visit to Kippen Kirk, across the carse from Lecropt, brought an astonishing array of art treasurers ­ stained glass by Hendrie; paintings by D Y Cameron and Thomas Monnington; bronzes by Alfred Gilbert; sculpture by Hew Lorimer ­ a veritable cornucopia assembled by the Scottish artist D Y Cameron whose home was in Kippen and who loved this Church ­ a church that is worth seeking out personally, for it certainly is sui generis in Scotland. From Kippen I returned home because of Sunday duties in my own church in Glasgow, and thus missed both John Hume's keynote address at dinner (and John has accomplished so much for the Arts in Scotland), and what, I'm sure, would be Douglas Hogg's memorable tour of other Edinburgh stained glass (Douglas was formerly Head of the Stained Glass Department at Edinburgh College of Art). But someone else will report on these. For myself this was a great Conference, in fine company, with speakers of real quality, and all with weather to match. James Aitchison's poem about Edinburgh's Princes Street Gardens could well apply to BSMGP's Edinburgh Conference and its stained glass windows. Year after year these images recur in this amphitheatre of still air, your eyes grow charitable, the place persuades. Haste ye back.

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Kippen Kirk, Herbert Hendrie detail many documents of historical interest. Our next stop was Old and St Moldan's parish church in Falkirk where there was very welcome refreshment waiting for us. Here we looked at two windows by Christopher Whall, triumphs of his early career. With nature the primary inspiration, the windows contain great strength of colour, blending rich deep colour with neutrals. Then it was on to Lecropt Church at the Bridge of Allan, nestling in beautiful countryside. Here again, we saw how the Arts and Crafts movement was interpreted by a Scottish artist, this time Alf Webster, who produced a very expressive and powerful form early in the 20th century. The window contained wonderfully delicate detail and colour, beautiful acid etching and fine glass. Our next visit was to Dunblane Cathedral and a very warm welcome awaited us with a wonderful lunch organized by the ladies of the Cathedral. For me Dunblane Cathedral was one of the great highlights of the conference. I felt like a child in a sweet shop as I came upon the choir windows by Louis Davis, my eyes not quite knowing where to rest as they darted from one window of glorious colour to another, not wanting to miss a thing. They were poetic and glowing. There was so much more to see: a pair of windows by Davis in the south wall containing a wistfulness and great beauty, Gordon Webster's window in the north east corner, the very striking windows by Strachan and Webster in the Chapter house, and, hearing again about the architect Robert Lorimer (I thought back to the Scottish National War Memorial), I marvelled at the many and beautiful carvings that he designed for the choir together with the magnificent reredos screen. There was so much to take in, but for all these I kept coming back to the windows in the choir. I wish we could have stayed longer. They have certainly left a lasting and very graphic imprint on my memory. I just hope that I will have an opportunity before too long to spend more time taking in the glories that are Dunblane Cathedral. So it was with reluctance that I had to leave and make my way back to the coach. I felt our next port of call, Kippen Kirk, had a hard act to follow. However, the church contained a great richness of Arts and Craft work with glass by Herbert Hendrie. Here we saw wonderful modulations of colour, pale tints alongside rich colours, graphic figure drawing in a very linear style, draftmanship ideally translated to the medium of glass and beautiful small landscape details. Several of us got quite excited at the thought of a relaxing hour in a nearby pub, after all it had been a busy and tiring day (was it really Peter caught on camera dozing on the coach?). However this was not to be and it was back to Heriot-Watt. Then it was a quick wash and brush up for the conference dinner where it was interesting to hear Prof. John Hume speak about commissioning in Scottish churches. Douglas had several amusing stories to tell; I smile when I turn to find something in the yellow pages now. However, putting all those stories aside, it was the poetry of the glass we had seen that day that filled my head as I went to sleep that night. SUNDAY It was the vast majority of the conference who were to join together for the extra day. I was intrigued to see Paolozzi's window at St Mary's Cathedral. The starkness and glare of the colours radiating from the window, unmodulated by the absence of paint, almost overpowering the space and exaggerated by the bright early morning sun streaming in, received a mixed reaction. I think I

enjoyed the beautiful pools of dappled light cast by the window across the stone and woodwork and listening to the very atmospheric piece that James Macmillan composed for the unveiling of the window and which Douglas had played to us on the coach perhaps more than the window itself! Our next port of call was at Dean Parish Church in Edinburgh. Here something very different with Douglas' partition screen and window `A meeting of waters', which cleverly facilitates and provides a contemporary way of dividing up the rear area of the church and gives a wonderful focus of colour in the painted, stained, enamelled, etched and gilded glass appliqué. Next we visited the Mansfield Traquair Centre, the former Catholic Apostolic Church in Edinburgh and saw the restored work, a vast, ambitious and incredibly rich mural scheme, carried out by Edinburgh's leading Arts and Crafts artist Phoebe Anna Traquair. After we had seen Douglas' two-piece glass installation at Baillie Gifford's offices in Edinburgh we moved on to see his windows at St Philip's Church, Joppa. Here I enjoyed the boldness, the use of colour and shape and the freedom and texture in the painting. (I even have to admit that the `greenness' of paint and carpet grew on me too.) We then had a marvellous lunch provided by the church, which was most welcome. It was then a quick sprint down to the beach for a few moments of paddling, the mist suddenly lifting from the beach, before we were back to the bus to continue our tour. For me Sadie McLellan's wonderful windows in the Robin Chapel proved to be one of the great highlights of the conference. They are tremendously strong, a graphic scheme of the Pilgrim's Progress steeped in blues and saturated reds, full of meticulous detail and texture and harmonious colour. Again time ran out and it was time to move on to our final ports of call. The Rosslyn Chapel was next. Having heard so much about its uniqueness and beauty, I was intrigued to visit and prepared to part with the full entry fee! I was not disappointed but delighted that it was not overrun with the number of tourists (though in effect that was all we were) I had feared. The beauty of the carvings was obvious and I found it an intriguing place. But one has to wonder whether in the rather commercial bid to raise funds for restoration and conservation the very essence of the place, the aura of mystery that seems to surround the chapel, will survive. Then finally it was on to see Douglas' work at St Stephen's Comely Bank Church. Having Douglas with us throughout the day, indeed throughout the conference, and hearing him talk about his native land so passionately and about his work provided a wonderful insight and helped bring everything vividly to life. For me, and I know a few others, the conference ended with a huge and very fitting bang, as we viewed the magnificent firework display from below the Castle grounds that evening. At the airport the next day I had to smile at the array of tee shirts sporting some of the rather descriptive Scottish `slang' that I had come across ­ `Numptie' has to be the best word for a politician I have ever come across! The vivid memories I have now, as I write just days after the conference, of warm sunny skies, equally warm Scottish hospitality and wonderful, glorious glass, are memories I know which will remain and not diminish with time. To Sue, and to all those who played a part in helping to organize the conference and offering us their expertise and knowledge, goes very heartfelt thanks. It was superbly planned and the schedule amazingly kept to. It was certainly a most successful event and I look forward to next year with anticipation.

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MEMBERS' NEWS
New Associates 2005: Fabrizia Bazzo

(left) Untitled glass hanging for bathroom, private commission, 2003; (right) `Red Sea', detail, exhibition piece, 2004

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y love and enthusiasm for painting and art in general has always been a major motivating factor in my life and, in 1996, it brought a drastic change to my life and career when I decided to concentrate my energies into becoming a stained glass artist. I have never had any formal training or apprenticeship and I have learnt the craft principally by studying the works of others and through experimentation and trial and error using the few serious technical books available on the subjects of acid etching and painting as my tutors. I try to work `with' the glass, rather than just `using' it, allowing the inherent quality and characteristics of the glass itself to help shape the direction of the end product. By acid etching flashed glass I am able to manipulate the surface and texture of the glass, effectively creating a canvas on which to paint. My work is divided between pieces that I design and make for exhibitions and those for private/public commissions. Showing at an exhibition or gallery is, essentially, a `shop window' that allows me the opportunity to give people a flavour of what I can do. They also give me the opportunity to experiment with innovative designs, different techniques or novel ways to present work. For exhibitions, I often work in a fairly `free' manner and I rarely have a preparatory design. The work tends to grow organically on the glass as well as in my own mind. Working to a commission, on the other hand, requires a different approach in that the work must satisfy the client requirements and their constraints. However, I still like to maintain a degree of freedom during the various stages of the commissioning process. I believe that glass has mystical qualities irrespective of location; it changes in intensity with the light during the day and working with glass means having to learn to work with light itself. It is my ambition to be continually searching for new challenges and to develop my work in a more abstract direction. I hope also to have the opportunity to undertake more public commissions in the future. Fabrizia Bazzo

Worshipful Company of Glaziers
This year's Stevens Competition is to design an arched window for the new Quiet Room in the Garden House Hospice, Letchworth Garden City, Hertfordshire. This year a sponsor has generously promised up to £12 000 to make the competition window, if a Stevens Competition design is approved and selected by the Garden House Hospice. For full details and an application form, see www.worshipfulglaziers.com/competitions/stevens. Adelle Corrin

LIBRARY NOTES

T

P U B L I C AT I O N S
English Cathedrals and the Visual Arts: Patronages, policies and provision 2005 by Torn Devonshire Jones and
Graham Howes Originally a report to the Arts Council, this is an analysis of the recent initiatives by England's Anglican Cathedrals in commissioning and exhibiting art. It gives an essential insight to all concerned with the public art opportunities afforded by places of worship. The survey includes careful case studies and an account of the commissioning process. Published by the ACE Trust (www.acetrust.org), price £6.

he Society's Library is housed at the Society of Antiquaries of London in Burlington House and is available for consultation by members, who also have access to the extensive holdings of the Antiquaries. Some rationalization of our books and journals has been made in the past year in order to reduce duplication with items in the Antiquaries' Library and release space, but duplicates can be consulted in the Antiquaries' holdings. Items removed continue to be held elsewhere by the BSMGP. It is planned to add our holdings to the Antiquaries' online catalogue of books and journals, where our ownership will be indicated, in order to facilitate searches and to indicate their locations within the library. For further information on holdings and access please contact the Hon. Librarian at librarian@bsmgp.org.uk. Catalogue of additions to the Library since Summer 2004:

BSMGP publications
Note that the Journal of Stained Glass and the 30 cm2 Exhibition Catalogue will be available for purchase online from early 2006 at www.bsmgp.org.uk. Details of this and other additions to the website will appear in the next Newsletter.

Cheshire, Jim Stained Glass and the Victorian Gothic Revival, Manchester University Press, 2004 Hayward, Jane English and Medieval Stained Glass in the Collection of The Metropolitan Museum of Art, Volumes One and Two, London, Harvey Millers Publishers 2003 Farnsworth, Jean, Croce, Carmen and Chorpenning, Joseph (eds) Stained Glass in Catholic Philadelphia, Philadelphia, St Joseph's University Press 2002 Fawcett, Richard (ed) Glasgow's Great Glass Experiment, Edinburgh, Historic Scotland 2003 Lees, George A History of St Ffraid's Church Trearddur Bay, Privately published 2005 (presented by the author) Warrener, Rodney and Yelton, Michael Martin Travers 1886-1948 An Appreciation, London, Unicorn Press 2003 Michael Peover, Hon. Librarian

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EXHIBITIONS & EVENTS

D I A R Y D AT E S

COURSES

CAMBRIDGESHIRE, LINTON 19 February Seventh Cambridge Glass Fair at Chilford Hall Vineyard, Linton, Cambridgeshire; open 11 am­4 pm, admission £4. ELY, STAINED GLASS MUSEUM Until 1 January 2006 Christmas selling exhibition. 28­30 April London study weekend. Visits will include Goddard & Gibbs Stained Glass Studio, The National Maritime Museum, The Queens House ­ Greenwich and The Victoria & Albert Museum and Westminster Abbey. 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 Hannah Cridford and Jonathan Rogers. Until 28 January `Modern glass: the glass designs of Ronald Stennett-Willson'. 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, 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. LONDON/MANCHESTER/GLASGOW 24 Jan­8 March `The Bombay Sapphire Blue Room 2005', winners and fnalists touring exhibition. Truman Brewery. London./Triangle Centre. Manchester./Lighthouse. Glasgow. Contact tel: 020 7224 1020; email: foundation@bombaysapphire.org; website: www.bombaysapphire.org. LONDON, V&A Until 13 February `Collect', Craft Council international art fair for contemporary objects. Victoria & Albert Museum. London. Contact tel: 020 7806 2512. Email: collect@craftscouncil.org.uk. SLEAFORD Until 22 January `New voices in architectural glass', 4-person exhibition with Inge Panneels, Sarah McNicol, George Papadopoulos, Eleanor Long. The Hub. Sleaford. Contact tel: 01529 308 710; email: clare.phillips@leisureconnection.co.uk. WALES, NEWENT Until 23 December Mixed winter exhibition. Cowdy Gallery. For information contact Harry Cowdy: tel: 01531 821173; website: www.cowdygallery.co.uk.

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 28 Jan, 11 March, 8 April 1-day glass painting workshops with Pippa Blackall 11 Feb 1-day glazing workshop 8 March, 20 May, 15 July 1-day dichroic glass fusing workshops with Ann Benwell. Also 1-day copper-foiling workshop, 2-day painting 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 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, BRENT ABC beginners course (accredited) 30 weeks, with Kathy Shaw AMGP. Mondays 10 am-1 pm. BACES (Brent Adult Education), Carlton Vale, Kilburn Park NW10. Contact tel: 020 7644 9460; website: www.brent.gov.uk/baces.. LONDON, CENTRAL ST MARTINS 'Design and make stained glass' short courses Mondays 2.30­5pm or 6­8.30 pm.Tutor Kathy Shaw AMGP. Southampton Row, Holborn. For details tel: 020 7514 7015; website: www.csm.arts.ac.uk. LONDON, HAMMERSMITH & FULHAM ADULT EDUCATION Courses with Kathy Shaw AMGP, Wednesdays 1­3.30 pm, Thursdays 6.30­9 pm. Sands End Centre, 59 Broughton Road, Fulham SW6. Contact tel: 020 7736 1724: website: www.courseinfo@lbhf.gov.uk LONDON, LEAD & LIGHT 7 Jan­4 Feb. Weekly stained glass course with Kathy Shaw AMGP. Contact: Kathy Shaw tel: 020 7587 3548; email: kathyshaw.stainedglass@virgin.net OXFORD 16­19 March, 20­23 July, 19­22 October Short courses in traditional leadwork/copper foiling and painting with Paul San Casciani FMGP. New advanced glass painting course 17­21 May. 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: 15­17 January Getting started with mosaics with Jo Letchford 27­29 January Stained glass for beginners with Mel Howse AMGP 13­17 February A stained glass workshop with Stoney Parsons 24­26 February Traditional leading and copper foiling with Paul san Casciani FMGP 24­26 February Glass engraving for beginners with Tracey Sheppard 27­29 March Glass engraving ­ textural variations for drill engravers with Tracey Sheppard 29 May­2 June Contemporary stained glass with an introduction to sandblasting with Mel Howse AMGP For information/bookings tel: 01243 811301; email: short.courses@westdean.org.uk. 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. GERMANY, GLASS MUSEUM FRAUENAU 29 March­6 April Masterclasses in workshops in hot glass, lamp worked glass, kiln casting, stained glass, flat glass, glass engraving, acid etching and glass cutting in the studios of Bild-Werk Frauenau, in the Glass Museum, Frauenau, and in the Eisch Glass factory. 6­9 April 7th International Glass Symposium. Details from Glass Museum Frauenau; tel: +49 I9926 941020; fax +49 9926 941028; email: Info@glasmuseum-frauenau.de; or Bild-Werk Frauenau Postfach 105 D 94258 Frauenau Tel. +49 9926 180895, Fax +49 9926 180897; email: info@bild-werk-frauenau.de

END NOTES
VACANCIES

The Dean and Chapter are seeking an experienced conservator to head their renowned Cathedral Stained Glass Studio in succession to Dr Sebastian Strobl who is leaving after 15 years in the post. The studio provides all the glass conservation and maintenance work on the Cathedral and its associated buildings and does accept outside contracts and commissions. Candidates will be highly motivated with a recognised qualification in conservation and must be able to show high standards of professionalism together with experience of studio, project and people management. Knowledge of graphics and imaging software will be useful. We also require a Glazier / Glass Painter. The ideal candidate would be an accomplished Glass Painter with 3 years' experience in a similar studio and working knowledge of conservation; however, all abilities may apply. A driving licence and the ability to work at height are essential requirements of this position.

HEAD OF STAINED GLASS STUDIO

GLAZIER / GLASS PAINTER

To apply for either of the above positions please request a job description and application form from: Personnel Dept, Cathedral House,11 The Precincts, Canterbury, Kent CT1 2EH or email: recruitment@canterbury-cathedral.org
TECHNICIAN WANTED North Lands Creative Glass is seeking a full-time technician to run and maintain its glass studio located in Lybster, Caithness, Scotland; annual salary £19 000. Applicants should have experience of maintaining and running a glass studio with hot shop, kiln working and cold working facilities. Contact Jane Bruce: Jbruce99ny@aol.com or Lorna Macmillan: info@northlandsglass.com. VOLUNTEER OPPORTUNITY The Stained Glass Museum seeks an energetic assistant to work closely with the curator. Qualifications: good writing skills and computer literacy. 3 days per week for 6 months, renewable. Details: tel: 01353 660347; email: admin@stainedglassmuseum.com; website: www.stainedglassmuseum.com. POSITION WANTED A Polish graduate from the School of Fine Arts (Schola Posnaniensis ­ spec. stained glass) is looking for work in a stained glass studio. Experience in working with both lead and copper foil. Contact: szorak@interia.pl; tel: (+48) 62 733 33 67; mobile: (+48) 508 223 202

Stained Glass Saturdays January­February 2006
Suitable for beginners or with experience. Design and complete a stained glass panel, using traditional leaded technique, kiln-fired painting and fusing. Access to sandblasting.

Tutor Kathy Shaw AMGP

Contributions for the next newsletter to Chris Wyard by 10 February

Venue: 'Lead & Light' 35a Hartland Road, Camden, London NW3 Dates: Jan 7th, 14th, 21st, 28th & Feb.4th 5 days 10 am-5 pm. Cost £150 excluding materials (glass, lead, solder, cement etc all available at 'Lead & Light' Shop) Contact: tel: 020 7587 3548; email: kathyshaw.stainedglass@virgin.net

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.

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