Front cover: Water sprite, W G Morton,c1896Back cover: Rose window, St Andrew'sChurch, Buenos Aires, Harrington Mann,c1896Title page: Aphrodite, Colearn House,D Cottier, 1871-2

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ACKNOWLEDGEMENTS

We would like to thank the numerousministers, priests, session clerks,Church officers and owners ofsecularglass throughout Scotland, who haveallowed access to and permission tophotograph their stained glass, andwho have answered questionspatiently. We would like to express ourgratitude also to the followingindividuals and firms who havecontributed towards this exhibition:

Mrs C BaillieRev A S Blount, Springbum ParishRev J K Blount, Linthouse ParishCaimdhu Hotel, HelensburghMr J B cameronMr frances Christie and Staff, Guthrie

& Wells (Decorators) LtdColeam Hotel, AuchterarderMrs DunnElm Bank Hotel, YorkMs Anne EscottMr Joe FisherMiss Gallotti, Buenos AiresMissWCHallMr Martin HarrisonMr William HarveyMrBilIHoodMr Neil HutchesonMrs L f JacobsenMr John KraskaMessrs John McCormick & CoMessrs McCulloch & CoMrs McDonaldMr Ronald McfadzeanMr A MacLaurinMs Sadie.MaciellanMr Marcus McLundieMessrs James PMcPhieMr David McRaeMrs Manchester, Baillie's LibraryMr David MartinMrJDMartinRev Gordon C Morris, Buenos AiresMrs Nan MuirMessrs Nicholson &. Jacobsen,

Architects

Mr Andrew PollockMs Pamela ReekieRev J A Riddell, TrinitY JedburghMrs Roy, Scott HouseMrJohn RussellRuthven Towers Hotel, AuchterarderMr Sax ShawStaffofDumbarton Public Library,

Edinburgh Public Libraries(Edinburgh Room and Fine ArtLibrary), the Mitchell Library(Glasgow Room), Old and WestRegister House and StrathclydeRegional Archives

Dr John StewartMrs Mary Newbery SturrockMr Charles SummersMrWiIliam ValleleyMr Gordon Webster

~GlasgowMuseums and Art Galleries 1981Published by Glasgow Museumsand Art GalleriesISBN 0 902752 12X

Reprinted 1985 by Smith Brothers IKilmarnock) Ltd.

CONTENTS INTRODUCTION

authorities of the unique qualities ofthis important part ofour hithertoneglected national heritage. We alsohope that it will create a renewedawareness among the architecturalprofession and their clients of thepotential ofstained glass as anarchitectural medium.

A great deal ofresearch andrecording remains to be done and inthis booklet only a cross section of thefinest work produced has beenpresented. Moreover, the artists anddesigns ofmany smaller mid and late19th century Glasgow studios haveyet to be identified and therefore thisaccount must be regarded as a firstinstalment ofa work in progress.

The rediscovery ofthe secrets ofthemediaeval art ofstained glass in earlyVictorian times has been the subject ofmuch research and investigation inrecent years. However. a generalprejudice against 19th century stainedglass still prevails and many finewindows have been and continue tobe destroyed or removed as'oldfashioned' or 'inferior'.

It is true that in the early days oftheGothic revival the slavish copying ofearly models and the adoption offactory methods ofproduction oftenresulted in badly designed, unimagina­tive prodUCts. However, as the centuryprogressed and new and better qualityglasses became available, many finewindows were produced which,although different in style andapproach, often equal the finestproducts ofmediaeval times. In thisimportant movement in the decorativearts, the city ofGlasgow played a largeand conspicuous role, produdngbetween 1870and 1914 some oftnefinest ecclesiastical and domesticstained glass in Europe.

In spite ofthe grievous lossesincurred by the comprehensiveredevelopment schemes of the 1960sand 1970s the city still retains agreater proportion ofits church anddomestic glass than any other city inBritain. In order to record adequatelyand preserve this unique heritage, thestaffof the People's Palace launched aprogramme of research and rescuewhich in two years has led to thecreation ofa large permanentcollection ofglass and art workrepresenting many ofthe earlystudios. The cream of this collectionhas now been cleaned and restoredand forms the basis ofour currentexhibition. We hope that it willstimulate a new appreciation by thegeneral public and the various church

Extract. from Le~n~ on TRVT HI INDiECOMHVlE ART:DIS~~STA[NE[)} GlASS, M[[}ll'fVAll...AND MODERN.

lRy SnlPlHIIEN AD

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ACKNOWLEDGEMENTSINTRODUCTIONTHE PIONEERSDANIEL COTTIERSTEPHEN ADAMJ &. W GUTHRIEGEORGE WALTON &. COWM MEIKLE &. COOSCAR PATERSONHUGH McCULLOCHGLASGOW SCHOOLor ARTJOHNCHALLSTEPHEN ADAM JR &. ALF WEBSTERSOURCES

1,

II~.!rr

II

!..._----------------

THE PIONEERS

The Gothic revival in architecture ofthe 18405 and 18505 was principallyan English phenomenon. In Scotlandthe neo~c1assicistsstill dominated inarchitectural circles and built themajority of churches and publicbuildings. Likewise in the same periodScotland's contribution tocontemporary efforts to rediscoverthe secrets of the mediaeval art ofstained glass was very limited.

The reason for this is not hard toseek; the extreme violence oftheReformation had destroyed Scotland'5mediaeval stained glass heritageahnost completely and the Calvinistrevulsion against 'idolatry' and 'gravenimages' ensured that there would beno rush to replace it in the turbulentcenturies which followed. However, bythe end ofthe 18th century the heroicage ofarchaeoiogy had alreadybegun, and a general interest in whatsurvived of the mediaeval past wasgreatly stimulated by the historicalnovels ofWalter Scott and the neo·Gothick buildings ofRobert andJames Adam. 1

The Waverley novels, one oftheinspirations for the romanticmovement in European literature, alsobecame a catalyst for a new school ofhistorical and genre painters ofwhomthe most notable were William NoelPaton and David Wilkie. Scott alsoassembled in his own Gothickmansion Abbotsford a great treasurehouse ofmediaeval sculpture·in theform ofcasts retrieved from thebattered remains ofScotland's ruinedcathedrals and abbeys. However, itwas not until the formation oftheEdinburgh firm ofBaliantine & Alian in1837 that the revival ofScottishstained glass properly began.

Born in Edinburgh in 1808, JamesBallantine trained first as a house·painter, and for a time he worked as-

slab boy to David Roberts when thefuture Royal Academician was theScenic Artist in the Theatre Royal.2

During the 1820s he learned the craltofglass painting-probably in anEnglish studio-and in 1837 launchedhis own firm in Carrubers Close off HighStreet. In 1845 he pUblished a slimvolume entitled A Treatise on PaintedGlass in which he advocated the use ofstained glass jn domestic interiors andcriticised the slavish andindiscriminate copying ofmediaevalglass..3 Ballantine's own studio style ofthe time, although severely restrictedby the poor quality of the avaiJabieglasses, was firmly based on anenlightened reinterpretation of thelively glass-painting styles ofthe 15thcentury.4 Many outstanding artistsr~ceived their training in his studio,including francis Wilson Oliphant(1818-59). who later became adesigner for William Wailes, andexecuted many commissions for thegreat architect of the Gothic revival inEngland, AWN Pugin.5 ln spite of theachievements of the Ballantine studio,the lack ofany easily accessibleexamples ofmediaeval glass was areal deterrent to the resurrection ofthe cralt outside the capital.Ballantine's own small booklet hadbeen acourageous if inadequateattempt to supply some basicinformation on the subject.

With the publication in 1847 ofCharles Winston's monumental twovolume study ofstyle in mediaevalglass painting, the vacuum was at lastfilled,6Winston (1814-65). an Englishbarrister, had travelled throughoutEngland from 1830 making a series ofcarefully executed drawings ofsurviving mediaeval glass. Theseillustrations, when published as acompanion volume to his text, placeda complete cross section ofmediaeval

S

glass ofall periods within reach of thereading public for the first time. Withina few months ofpublication Winstonemerged from comparative obscurityto become the leading authority on thesUbject. Almost inevitably many oftheless imaginative stained glass firmswere content to use his work solely asa pattern book from which to extractappropriate specimens as the needarose. Moreover Winston declaredstrongly in favour of the intricatepainterly style ofthe 15th century. InEngland his views were stronglychallenged by the powerfuljournal TheEcclesiologist in which the reviewerspointed out the dangers inherent inapplying too rigidly the techniques ofthe easel painter to glass. 71n Scotlandhowever, Winston's opinions not onlywent unchallenged but receivedsupport in architectural circles, withdisastrous results.

Prior to 1865 our knowledge ofGlasgow's role in the revival ofstainedglass remains limited andfragmentary. The reason for this isdepressingiy clear. At a veryconservative estimate Glasgow haslost at least300 churches ofalldenominations since 1900. Thedestructive operations of the compre"hensive redevelopment programmesofthe 1950s, 60s and 70s have ~een

entire ~ommunitiesuprooted and theirinstitutions eradicated. The resultingloss not only ofearly glass but also ofstudio premises and records makes ithighly unlikely that the gap in ourknOWledge will ever be filledsatisfactorily.

Ofthe handful of firms whichadvertised as glass stainers between1828 and 1865 only three at presentseem to have been ofany consequence.These are William Cairney &. Sons(1828-77). Hugh Bogie & Co (1850-65)and David Kier&Sons (1847-65). '

GLASGOW STAINED GLASS

WILLIAM CAIRNEY & SONS

William Cairney was apparently thepioneer among the group and firstadvertised as a glass painter in 1828,when he had a glazier's shop inCandleriggs. However, it seems likelythat the glass painting was done by hiseldest son William in a separate studioin Montrose Street.sBy 1850 Cairneyhad assumed his sons William Jr andJohn as full partners.9 After his father' 5

death, John Cairney, who according toa family tradition had worked andtrained at York Minster, assumed themanaging role in the firm,l°Thebusiness must have been consider­able for by 1860 he was able toemploy Alexander 'Greek' Thomsonto design a splendid new building forhim consisting ofthree stories and topfloor studio at 42 Bath Street, 1)

Cairney was a well-educated articulateman and an active member oftheGlasgow Architectural Society alongwith Thomson until illness forced hisretiral. 12

HUGH BOGLE & CO

Hugh Bogle, the second ofour earlystudio-heads, seems to have trainedunder Ballantine in Edinburgh beforejoining his brother Michael's firm inGlasgow in 1842, Michael Bogle hadbeen the Glasgow agent ofBallantine&. Allan since its formation in 1837 andhad built up a substantial business as adecorator, On his brother's deathHugh Bogle entered into partnershipwith the manager ofthe firm,J B Bennet, a skilled painter anddecorator.1.J By 1850 when the firmdiversified into stained glassproduction Bogle had alreadyobtained the coveted Royal Warrantand advertised himself as Decorator tothe Queen.14 His partnership withBennet continued until 1855 when itwas finally dissolved, Bennetremaining at 50 Gordon Street and

GLASGOW STAINED GLASS

Bogle moving to a new studio at 123St Vincent Street. In 1865 Bogle's firmwas declared bankrupt and put in thehands ofthe receiver. 15

THEKIERFAMILY AND GLASGOWCATHEDRAL

The third and probably the mostimportant ofGlasg~w's early stainedglass firms was that of David Kier(1802-{i4j, The source ofKier'straining in the stained glass medium isnot known and he was already 48when he arrived in Glasgow fromIrvine, and established his workshopat 127 Cambridge Street.'6 From thebeginning he was assisted by hiseldest son William and in 1852 he wasalsojoined by his younger sonJames. 17 In 1859 he became MasterGlazier to the Cathedral with the full­timejob ofmaintaining the glass. 18

In 1856 the Cathedral authoritiesdecided to install a complete schemeofdecorative stained glass, and sub­scriptions for memorial windows wereraised from many ofthe city'swealthiest families, The extent towhich neo-c1assicism still dominatedthe architecture of the city, and his roleas the Principal ofthe HaldaneAcademy and Government5chool ofArt, made it almost inevitable thatCharles Heath Wilson should beappointed to supervise the project. Hein turn called upon the advice ofCharles Winston in selectingappropriate artists to execute thescheme. Sadly both men were hope­lessly out of touch or out ofsympathywith the achievements ofthe contem­porary British stained glass studios,and when Winston strongly urged theuse ofMunich glass, Wilson at onceagreed and set his mind against allother options. Indeed, as his survivingcorrespondence shows he had astrong personal dislike for JamesBallantine and was determined 'not tolet him creep into the running'. 19

6

In the event, in spite ofintense localand national opposition, Wilson hadhis way and the entire commission ofsome sixty windows went to the RoyalBavarian Manufactory. The designswere executed under the supervisionofMax Ainmuller and installed byDavid Kier and his sons.20 The impactofthis astonishingly reactionarydecision upon the development ofScottish stained glass was enormous.An entire generation ofartists felt thatthey had been robbed of their birth­right.

Moreover, the seal ofofficialapproval had been placed firmly uponthe pictorial style and elaboratelydetailed enamel painting ofthe MunichSchool and many firms-includingBallantine's and the Kiers'-feltcompelled to conform. This isparticularly evident in the series ofwindows designed by RobertHerdman and executed by Ballantinefor St Giles Cathedral in the 18705.

In 1864 David Kier died and his sonsinherited the business. Their style asdeveloped throughout the 18705and18805 was based firmly upon 15thcentury models, olten with a heavyreliance upon German woodcuts andthe engravings ofAlbrecht Durer andhis followers, This type ofwork can beseen particularly in the many windowsin the Ramshorn Church, IngramStreet, Glasgow, At its best the studiocould provide work which rivalled thebest efforts of the Munich school, andgood examples can be seen in theseries ofwindows for Irvine ParishChurch, Holyrood Church Stirling, andin the Merchants House, Glasgow.

Ironically one ofthe Kier Brothers'early commissions was to erect amemorial to their father in theB1ackadder Aisle ofGlasgowcathedral." In an attempt toappease the anger aroused by hiscontroversial decision Wilson hadrelented, and in the glazing ofthe

Lower Church. Blackadder Aisle andChapter House many important Britishstained glass finns were employed.These included Ballantine & Allan.William Wailes. Thomas WillamenlClaylon & Bell. Heaton Butler & Baineand Henry Hughes. However, theresentment against the Munichscheme continued to generateunfavourable publicity even into the20th century. In the late 1940s theprocess ofsystematically removing itbegan. Unfortunately, in their zeal toredress past wrongs the Cathedralauthorities somewhat overreactedand most ofthe English and Scottishwork was also removed.

By 1865 therefore. apart from thelimited achievement of the Ballantineand Kier studios. Scotland had lillJe toset against the productions ofhergreat English counterparts. By the endofthe decade. all that had changedwith the emergence of Daniel Cottier.

Sketch for Kilmarnock Parish Church,W &.J.J Kier, c1875

7 GLASGOW STAINED GLASS

DANIEL COTTIER

Daniel Cottier was born in Glasgow in1838, the son ofa Manx seaman. Inthe early 1850s he was apprenticed toDavid Kier and was trained with Kier'5sons. William and John.22 Oncompleting his apprenticeship heappears to have worked for a time inLondon, where he was enrolled as apupil in F 0 Maurice's Working Men'sCollege in Red Lion Square.2.3 Here heattended lectures on fine anddecorative art given by Ruskin.Rossetti and ford Madox Brown. Onhis return to Scotland he worked for atime in Dunfermline before securing aprestigious post as chiefdesigner forMessrs Field & Allan ofLeith in 1862.24

Only two commissions from thisperiod have been traced to date. Thefirst was a Free adaptation ofAllanRamsay's Gentle Shepherd which wassubmitted by Field & Allan as theirentry For the 1864 Exhibition ofStained Glass and Mosaics at theSouth Kensington Museum.25 Thesecond was the east window ofTrinityChurch. Irvine. also dating From 1864.The latter has been removed from itssetting and only two sections were in afit condition for restoration afterextensive vandalism,26 The SouthKensington window was soundlytrounced by the anonymous critic inthe Builderas 'an example to beavoided in every way, whetherregarding subject. sentiment orexecution',l7

At the end orthe year Cottiersevered his connections with the firm.when he established his own studio at40 George Street. Edinburgh.28 Thisnew workshop was a large and wellappointed one and hadjust beenvacated by Sam Bough the landscapeartist29

Love and Audadty, Cairndhu House,D Cottier, 187.:3

Much ofCottier's early work as anindependentdesigner has yet to betraced. It seems certain however, thatwith the exception ofa few windows inSt Machars Cathedral Aberdeen, theywere mostly located in the west.30

Either by accident or design theEdinburgh office ofCampbell Douglasand J J Stevenson was next door toCottier in George Street and it wasfrom this important firm ofGlasgowarchitects that he received his firstmajor commission, Townhead ParishChurch,Glasgow (1865). Working fromhis mother's house in West GrahamStreet, Garnethill, he prepared hisdesigns and stencils for the churchinterior.31 In this as in many otherprojects, Cottier was helped by the firstand most faithful ofhis numerousassistants, Andrew Wells, whom hebrought with him from Field &: Allan.

The Townhead commission wasapparently an ambitious one andprovoked considerable commentlocally. Sam Mavor, an active memberofGlasgow's literati, has lelt atantalising description ofhisimpressions on first seeing it:

Undoubtedly the decoration wasstriking enough. Great masses Ofpositive colour.. red and blue, withfigures ofdense black-the motlfwasEgyptian and the design might havefound a fitting place in a great hall ofthe Pharoahs. In an ecclesiasticalbUilding it was inappropriate; in anybuilding in Western Europe the effectwould have been bizarre; the designwas out ofscale and wanting in therepose indispensable in churcharchitecture. Nevertheless, thedecoration was bold and in its wayoriginal. I felt at once, here at least isthe work ofa designer with brainsand courage.32

Today, only the red and blue highlightsof the pulpit and balcony fronts andthe ruby and turquoise oftheornamental glazing survive as vestiges

ofthis scheme. The only stained glassin the church went not to Cottier but toMorris & Company.

Throughout the late 1860s thedominant influence on thedevelopment ofCottier's style was tobe that ofAlexander 'Greek' Thomsonand through him, the graphic work ofJohn Flaxman. Like Cottier, Thomsonhad favoured the use ofstrongprimary colours in his decorativeinteriors for some time, and in theyoung artist he recognised a kindredspirit The first certain contact betweenthe two men took place in October1865 when Cottier was admitted amember ofthe Glasgow ArchitecturalSociety.33 Membership ofthisrecently founded body was an event ofcruci~1 importance to Cottier, sinceapart from Thomson it also hadamong its members the youngarchitect William Leiper. Workingharmoniously with both ofthese men,Cottier produced some ofhis mostimportant early works.

COTTIER IN GLASGOW

Early in 1867 Cottier vacated hisEdinburgh studio and moved intoDavid K..ier's old workshop at 67Carrick Street Anderston.34 It wasabout this time that AlexanderThomson first emp!oyed him toexecute some painted panels for amajor villa, Holmwood, at CathcartThe subject matter ofthe panels wasapparently figures from Tennyson's'Idylls of the King'. Thus in anunpUblished memoir Thomson'sgranddaughter cites a letter ofapology from Cottier to her grand­father in which he says that he is 'sorryElaine wasn't dry but ifMiss Bessie(Thomson's eldest daughter) wouldcome along with a cab tomorrow,Elaine would be ready' .35

OV6r the next nine months Cottierand Thomson were to form a perfectcollaboration on the decoration of two

9

ofThomson's most celebratedarchitectural works. The first of thesewas the highly original UPchurch atQueens Park. With the mainconstruction ofthe building alreadycompleted, Thomson's workprogramme was disrupted by a strikeof plasterers. The committee ofmanagement anxious to meet theopening date, agreed to Thomson'srequest to substitute wood panelling. Itwas at this point that Cottier was calledin to execute an elaborate scheme ofsurface detoration. Drawing upon awide range ofEgyptian, Classical andnatural plant motifs, Thomson hadconceived a scheme ofastonishingoriginality. On visiting the church in1883 Ford Maddox Brown was highlyimpressed by the sheer virtuosity ofthe scheme and proclaimed:

As a colourist Cottier has a range ofperformance beyond that ofanymodem artist. Here tone and colourare suggestive ofparadise Itself. /know now what all along has beenwrong with my ceilings./put thisThomson-Cottier church above every·thing I have seen in modem Europe.36

In May 1942 the entire church wasdestroyed during an air raid and only afew faded photographs and a set ofelevational drawings survive as arecord ofthis major landmark of19thcentury architecture.

Referring to this very active periodCottier's friend and champion ForbesWhite ofAberdeen, recalled how hedelighted in shocking the straight­laced church elders by issuing bizarreinstructions to his assistants such as,Andra! slabber oan some broon there,just beside the wibble~wabble'37

(Cottier's name for wave ornament.)Cottier's other important

commission from Thomson was theinterior decoration ofthe newlycompleted east section ofGreatWestern Terrace.38 At the same time,Cottier was providing William Leiper's

GLASGOW STAINED GLASS

COTTIER AND THE AESTHETICMOVEMENT

The lack ofdocumentation for theCottier studio during the crucialtransitional years from 1867 to 1870presents many problems. None ismore perplexing than that ofaccounting for the quite extraordinarytechnical and stylistic developmentwhich occurred between theinstallation ofthe Dowanhill windowsand Cottier's next big Scottishcommission at Colearn House,Auchterarder.

Late in 1869 Cottier had decided tomove to London. His reasons for doingso are difficult to assess-it is possiblethat he had already begun to deal infine art apd found London a moreconvenient location from which tomake regular visits to France.However, a more likely reason for themove was the glowing accounts ofartistic developments in London givenby several ofhis Glasgow friends whohad already gone down before him.Indeed by 1870 London already had athriving artistic community ofexpatriate Scots, many of whom hadestablished ties with the contem­porary architectural and decorativemovements soon to be known to theworld as the Queen Anne Style and theAesthetic Movement. Chiefamong ,these was J J Stevenson who severedhis partnership with Campbell Douglasin 1869 and moved to London wherein 1871 he designed and built the firstsuccessful Queen Anne terrace housein the capital.40 In the same year heentered into partnership withE R Robson, and thereby gained entryto the magic circle which included notonly J F Bodley and J G Scott Jr butalso William Morris and Rossetti.

Also in London by this time was theyoung J M Brydon who had leftCampbell Douglas in 1867 to work inthe office ofthe influential architectsNorman Shaw and W E Nesfield,

10

King David and Miriam. Althoughremoved from their original setting tothe north end ofthe south gallery, thefull shock ofone's first encounter withthis early work has lost nothing in theintervening century. While essentiallygothic, they are quite unlike any othergothic revival windows ofthe day. Abearded King David draped in robes ofthe brightest crimson plucks a goldenharp against a background ofvividturquoise. Confronting him is theamazonic presence ofMiriam, smilingenigmatically. Her almost muscularmassiveness reminds one ofan earlyPicasso and owes more to the stUdy ofEgyptian and archaic Greek sculpturethan to any Puginesque model. Thecomments of the congregation on thisremarkable composition are perhapsmercifully not recorded.39

GLASGOW STAINED GLASS

Cairndhu House

newly built church atDowanhill with anelaborate painted interior. TheDowanhill decorative scheme as awhole was so popular with thecongregation that a wealthyparishioner was induced to putup themoney for a complementary schemeofstained glass. The majority of thewindows both above and below thegalleries feature simple stylized foliagepatterns. However, those under thegalleries each carry a decorative top inthe form ofa portrait head ofa notableBiblical woman-Deborah. Ruth etc.The north rose window features maleheads including Moses, Jeremiah andAbraham. It was, however, in the twosingle~lightlancets of the choir windowat the south end ofthe church thatCottier's best work was done. forthese he produced full length figures of

,

.~

bringing him into contact with theirfriends J M Whistler and Albert Moore."Other members of this loosely knitclan were J Bruce Talbert, anAberdeen born designer ofhighquality art furniture and James MoyrSmith, who had trained as an architectin the Glasgow .office ofWilliamSalmon before beginning a prominentand versatile career as a freelancedesigner.42

With established friends andcontacts like these, Cottier's move toLondon was accomplished with ease.Andrew Wells, his associate, continuedto work in Glasgow and probably tookover the responsibility for the localsupervision ofCottier's Scottishcommissions while developing hisown distinctive decorative style.

In London the artistic impact ofJapan was slowly extending over theentire field ofthe decorative arts.Promoted by the activities ofChristopher Dresser, Wm Burges,E WGodwin and above all Whistler, ademand for Japanese style furnishingshad been created which outstrippedthe capacities of the existing firms. Itwas against this promising back­ground that Cottier in partnership withTalbert, Bryden and another Sealsdesigner William Wallace launched anew studio at 2 Langham Place,advertising themselves as Cottier &Co, Art Furniture Makers, Glass andTile Painters.43

In the same year William Leiperbegan building an elaborate SealsBaronial mansion in the Perthshiretown ofAuchterarder for AlexanderMackintosh, a rich industrialist.44 Inthe autumn, with the building well inhand, he commissioned Cottier tosupply appropriate furniture and ascheme ofdecoration inclUding muchstained glass. In Mackintosh Leiperobviously had a very indUlgent client,for no expense seems to have beenspared. The main block is rectangularin shape with attached corner turrets,

surmounted by ornate cast iron finials,one il) the form ofa knight in fullarmour holding a standard. Carvedowls, squirrels and rabbits sit astridethe elaborate dormers and perchdefiantly on the peaks oflhe crow­stepped gables. The entrance to thehouse is by way ofa simple barrel­vaulted porch, panelled in undressedpine. Once inside the hall proper,however, a dramatic change occurs asone encounters a delightful window ofwhite antique glass decorated withstylised plant and boat motifs. Set intothis at alternate intervals are smallsquare panels featuring themonogram ofthe owner and for thefirst time in a Scottish house, thesymbol of the Aesthetic movement, avase ofsunflowers. Though much ofthe original painted decoration has

Cairndhu House

11

disappeared and many rooms havebeen altered, enough remains totestify to the exceptional character ofthis important house.

For the great stair' window-alwaysan important feature in Leiper'sdomestic work-Cottier himselfprovided three remarkable panels.These were also set in a screen ofdelightfuily light quarries and featurethe robustjunoesque women whichwere to become one ofthe recognisedhallmarks ofhis style. The transform­ation in his style and technique isbreathtaking. Gone are the crudeforced colours, and amazonicproportions ofthe Dowanhill Miriam,to be replaced by the archetypalAphrodite ofAestheticism. The bolddramatic use ofcolour is still there, butit is handled with a subtlety and

Cairndhu House

GLASGOW STAINED GLASS

Cairndhu House

GLASGOW STAINED GLASS

confidence which permits exuberancewithout excess. The influence ofMorris&:. Co is dominant particularly in theextensive use ofwhite glass andyellow stain for the drapery and hair.Not for Cottier the wan melancholy ofthe Pre-Raphaelite ideal, his women(and merifor that matter) are allvigorous healthy types. In the diningroom where the presence ofa largefireplace dictates the use ofa coolerpalette, Cottier provides yet moresurprises in four half-light panelsrepresenting the Seasons. Here the _four symbolic female figures are setagainst foliage and landscape.back­grounds ofquite exquisite delicacypainted entirely in subtle shades ofsilver grey wash and yellow stain. Amore vivid contrast between this andthe warm welcoming sunflowers andsunburst of the hall would be hard toimagine. The fireplace is itselfofconsiderable interest as one of the firstofTalbert's many furniture designs forthe studio. Moreover it also providesthe first link between Cottier and thecelebrated William De Morgan whoprovided the tiled insets depicting hischaracteristic fantastic birds.

Cottier's next importantcollaboration with Leiper followed·almost immediately when thearchitect began constructing themassive Cairndhu House·atHelensburgh for Provost John G Ure ofGlasgow.4s This great house, designedin the style ofFran~oisL likeColearn has many typical Leiperfeatures, such as the extensive use ofpanelling for both walls and ceilings.Once again all of the decorative glass,the fireplaces, surface decoration andprobably the now vanished moveablefurnishings were supplied by Cottier.The long narrow entrance hallprovides excellent settings for asequence ofthree great horizontalrectangular windows each divided intoeight sections. In these, Cottier set awonderful range ofdecorative figure

12

compositions. In one, a nunrepresenting Virtue contemplates alily,·her head daringly set against achequerboard ofblack and whitesquares, while in another an aestheticmaiden clad entirely in yellow andrepresenting Beauty admires herself ina mirror, combing out her long goldentresses.

In his design for the stair windowCottier again reveals his continuingdebt to John Flaxman in three neo­classical panels ofgreat beauty. As atColearn these panels are set in a largescreen ofdelicately painted quarries.Each contains two figures and from left:to right represent Truth and Beauty;Love and Audacity; Knowledge andPrudence. The colouring is rich andharmonious, and the glass paintingeconomic and vigorous.Taken together the windows executedby Cottier in these two majorcommissions provide us with supremeexamples of the glass maker's art andfully support WE Henley's obituarystatement that his work was seldomequalled in his day and neversurpassed.46

Although Cottier continued todesign glass for his studio, the estalish­ment in 1873 ofAustralian andAmericah branches ofthe firm,together with his widespread artdealing interests meant that he spent alot ofhis time travelling.47 Hisprofound influence on thedevelopment of the decorative arts inAmerica, and his fruitful collaborationwith the great John Lafarg warrants avolume on its own. However, for thosein Scotland who wish to see a wideselection ofhis work, a visit to thebuildings described above andchurches such as St Machar'sCathedral, Aberdeen; Paisley Abbey;Greenock West Kirk48; St Michael'sChurch, Linlithgow and Maxwell/Mearns Parish Church, Glasgow willprovide an excellent starting point.49

STEPHEN ADAM

Stephen Adam was bornatBonnington near Edinburgh in 1848and received his initial education atCannonmills School. where his class­mates included Robert LouisStevenson and the artist Robert Gibb.His artistic abilities were noted andencouraged by his parents andteachers and while in his early teens hewas apprenticed to James Ballantine.50

In the late 1850s and early 1860sBallantine's studio was a noted hauntof the Edinburgh artistic community;regular visitors to the workshop wereDavid Bryce the architect, Noel Paton(who occasionally designed forBallantine), Horatio McCulloch andSam Bough.51 Exposed to such astimulating environment Adam's skillsas a draughtsman and designer wererecognised and exploited to the full.He appears to have attended classesat the Haldane Academies in bothEdinburgh and Glasgow where in1865 he was awarded a silver medalfor the best design for a stained glasspanel.52 In later years he wasaccustomed to state that his firm wa~

established in 1866, but this probablyrefers to the completion ofhisapprenticeship.

In 1870 he moved to Glasgowwhere he established his own studio.53

His arrival in town on the eve ofDanielCottier's departure for London seemstoo advantageous an event to be:entirely coincidental. Like Cottier,Adam was already a confirmed neo­classicist in style and was therefore_ideally placed to benefit from thedemand which Cottier had helped toestablish. His partner David Smallremained quietly in the backgroundand from the outset Adam hadcomplete control over the running ofthe studio. Little is known ofthe qualityor subject matter ofAdam's outputover the first three years of the studio's

existence, but in 1874 he wascommissioned to provide a two-lightmemorial window in Paisley Abbey,representing Sin and Redemption.54

In the following year he alsoprovided a complete scheme ofornamental glazing for St Andrew'sParish Church, Glasgow, where severallater examples ofhis figure work canbe seen.55 By 1877 when he publishedthe first ofhis two pamphlets StainedGlass-its History and Deuelopment­he was firmly established as theforemost stained glass artist in thewest ofScotland. In this personalmanifesto he ridiculed the practice ofmaking detailed copies ofearly styles.

As a basis for a modern style headvocated a subtle blend of'the formand sweet simplicity' of the work of the12th and 13th centuries with thecolour harmonies ofthe 15th century.Adam was also aware ofthedebilitating effect ofhaving to designfrom hackneyed themes, and advisedthe young artist to avoid such hardyannuals as 'Night and Morn' and the'Four Seasons' in favour of themesfrom literature.

On the crucial question of contem­porary models he Cited the works ofBurne Jones, Leighton, Poynter,Holman Hunt Stacey Marks and AlbertMoore. He also thought that wherepossible only the work ofestablishedartists ofproven talent should beemployed in the stained glass field.Most revealing however. is hisdefinition ofgood drawing as notconsisting ofthe'elaborate renderingofdrapery' but as 'a certain externalform and balancing ofparts, asevinced in the classic frescoes, (and in)Flaxman's cartoons' .56

By this time Adam was working hardon two important~ommissior.sfordomestic and ecclesiastical glass. Thefirst took the form ofa series of20square panels depicting thecontemporary trades and professionsof the Burgh ofMaryhill, which formed

13

the chief decorative feature ofthenewly erected Burgh Hall.5 ? Executedin the vigorous1ind economic stylewhich is the hallmark ofhis best work,Adam's portrayal ofMaryhill's sturdycraftsmen from the broken nosedboatbuilder to the studious dominiereveals a complete mastery oftechnique and knowing respect for thelimitations ofhis craft. The deliberateuse of the leadlines to define theprincipal shapes of the composition,and the sparing use ofpainta~e typicalofAdam's domestic work of theperiod. The influence of the genrepainters such as Wilkie and Gekie isalso an interesting ingredient.

Always a prolific designer ofeccles­iastical glass, Adam's work can befound in churches in all parts ofScotland, and can be seen to particUlaradvantage in Pollokshields ParishChurch, where every period ofhiswork is represented. Ofspecialinterest is a series ofthree two~light

windows on the west side of thechurch. These feab:lre such subjects asCharity and the Nativity. Like theMaryhill panels these windows displayAdam's strong sense ofcompositionand balance allied to a wide but very

Engineering, Maryhill Burgh Hall, Glasgow.Stephen-Adam. 1877-8

GLASGOW STAINED GLASS

THE GLASGOW BOYS

At home in Glasgow, the nucleus ofavital new force in Scottish painting wasalready emerging in the work ofJames Guthrie, E A Walton, GeorgeHenry and Joseph Crawhall.Originating in a painting holiday atRoseneath in 188165, the group soonto be known as the Glasgow Boys hadgrown to include Alexander Roche,John Lavery, Arthur Melville andE A Homel by 1884. By the followingyear they had voiced a generalcontempt for the works oftheacademic establishment ofgenrestorytellers whom they contemptu;ously dubbed 'the gluepotschool'.That the source oftheir revolt lay inincreasing awareness ofthe achieve­ments ofcontemporary French andDutch art was in no small measure dueto the art dealing activities ofDanielCottier.

Moreover, Cottier's ever expandingbusiness interests were also to have adirect bearing on the fortunes oftheGuthrie studio. At the end of1886,Andrew Wells at Cottier's invitationabandoned his considerable businessand emigrated to Sydney to become apartner in the Australian firm ofLyon,Cottier &: Co. Like Cottier, Wells' healthhad been affected seriously byconstantwork in damp and inhospit­able Scottish winters, and he hopedtha~ the change in climate wouldimprove his general condition. 66

Although no documentationsurvives, there is little doubt that muchofWells' and indeed Cottier's contractwork in Scotland now passed to theGuthries. William Leiper, who hadconsistently employed both Wells andCottier in his decorative schemes, nowturned to them for similarjobs. It isadistinctive quality of the work oftheirstudio that at a time when the Ruskin­Mcrris ideal of the artist~craftsmanwasachieving universal ascendancy, theywere to establish a reputation on the

basis ofemploying freelancedesigners, few ofwhom were crafts­men. As the majority of their artistslived locally, their participation in theselection ofglasses was probably anexcellent guard against unsympa~thetic execution.

JAMES GUTHRIE

Prior to 1887 it is difficult to identifywith any certainty the work of thestudio, but in that year James Guthriewas first employed. His firstcommission was to design twowindows for William Leiper's extensionto the Clyde estuary home of theGlasgow carpet magnate JamesTempleton.67 It is ironic that Guthrie,having so recently abandoned thehistorical genre ofthe academy,should have received for his firststaint::d glass commission twouncompromisingly historical subjects.The first was a series of four panelsillustrating scenes from Heart ofMidlothian while the second involvedthree half-light panels, each depictingepisodes from the Battle ofLargs, for abay window. An early stock list ofdrawings also includes two portraitpanels by the artist ofSir Walter Scottand the Duke ofArgyll which may alsohave been intended as part of thiscommission. The mere repetition ofhistorical portraits cannot have been avery inspiring exercise for this talentedartist. Nevertheless, one intriguingentry entitled The Goose Girl, thesubjectofone ofGuthrie's mostcelebrated early paintings, suggeststhat his work for the firm may havebeen more adventurous than thesurviving evidence indicates.68

NORMAN M MACDOUGALL

At the end of1887, the studio receiveda considerable boost to i'ts designstrength with the arrival in Glasgow-ofNorman Macdougall. Born in Glasgow,Macdougall had studied at the

17

Glasgow School ofArt in the early1870s before moving to Londonwhere for 14 years he had beenemployed as a glass painter (andlatterly as a designer) by DanielCottier.69 He had worked with Cottieron many projects, notably atCairndhu, where his signature on theglass can still be seen, and also inJedburgh Old Parish Church where hedecorated the chancel. At the time ofhis return to Glasgow, his work wasbarely distinguishable in colour orstyle from that ofthe Collier studio. Hispalette consisted mainly ofdeepbrowns, olive greens, deep ruby anddark blues. His work at this period, itmust be admitted, is often uneven, andwhen canopies were introduced,disappointingly conventional. At hisbest however, Macdougall achievedexcellent results, particularly in hisdomestic work, while details'such asthe angelic harpist (Pulsford MemorialWindow, 1887, Trinity ChurchClaremontStreet, now in the People'sPalace) are worthy ofCottier at hisbest. These indicate a new vitalitywhich in time would blossom toproduce excellent windows, such asthose in Carmunnock and Ibrox ParishChurches, and those formerly inSpringburn Parish Church. 70

Through the connection withMacdougall the Guthries also acquiredthe services ofanother oJCottier'sleading designers, F Vincent Hart.Comparatively little ofhis work isknown, but he designed glass andproduced painted panels for G E Cookin the early 18705. 71 In the late 18805he began to design for Cottier and by ,the time ofhis recruitment to theGuthrie studio, he had achieved aneffective and refined neo~c1assical

style, particularly in his domestic work.

GLASGOW STAINED GLASS

Equally at home in both domesticand church work, Mann producedseveral beautiful panels for the studioofwhich 'Bessie Bell and Mary Gray' isperhaps the finest. This design wasproduced both as a mosaic panel forthe overmantel ofthe Banqueting Hallofthe Ferry Inn, Roseneath, and as astained glass panel.85 In theecclesiastical field his finest survivingwork in Scotland is almost certainlythe Ascension window for St AndrewsParish Church, Ardrossan (c1896).86Another fine four-light window for StMargaret's Church, Juniper Green hasbeen swallowed by the antique marketin recent years.87

CWWHALL

In 1890, John Guthrie also began tocommission designs for church glassfrom Christopher Whall (1849-1924),Whall had established his ownindependent workshop at Dorking andwas one ofthe chiefexponents oftheArts and Cralts ideal of the craltsmandesigner. His disciples included manyartists ofoutstanding ability, includingLouis Davis and Reginald Hallward. Itwas therefore something ofa scoopwhen in the autumn 011890 Whalldesigned a series ofwindows for thenewly erected Clark Memorial Churchin Largs. These consisted offour largetwo-light windows each divided intotwo distinctSUbjects one above theother, Among the SUbjects depictedwere the vision ofSamuel, the thanks~

giving and sacrifice ofNoah, thesacrifice ofAbraham and the GoodSamaritan. Ofthis group the Noah andAbraham windows are the mostimpressive with their rich colouringand powerful compositions. Theirinnuence on Harrington Mann andDavid Gauld, who would have seenboth the windows and cartoons in theGuthrie studio, was considerable.

The Noah window, with its bluemountain landscape, is cleverly unified

GLASGOW STAINED GLASS

by a rainbow which curves throughboth lights. Noah stands arms raised inprayer while five ofhis daughterskneel at his feet.

In the composition ofthe Abrahamwindow, Whall allows the Angel ofMercy to sweep horizontally above thePatriarch and his son thereby givingmovement and continuity to thedesign.

The Guthriesby this time were alsoemploying the still largely unknownCharles Rennie Mackintosh.Introduced to the studio Icl893) by hisfriend David Gauld, Mackintosh notonly designed a series ofhighlyoriginal bedroom suites for theGuthries but also several completedecorative schemes, notably a designfor a library Icl895J, which featureSsome ofMackintosh's earliest andmost ambitious stencil work, and alsohis earliest identifiable designs forstained g1ass.88

The years 1895-6 must be regardedas the high~watermark ofthe creativeoutput ofJ &: W Guthrie, During thisperiod, the scope oftheir decorativework was truly impressive and in avery short time they executed some oftheir most prestigious commissions.The first and most famous ofthesecame early in 1895 when they werecommissioned on the recommend­ation ofthe architect J J Burnet tosupply a complete scheme ofstainedglass for St Andrews Church in BuenosAires. The bulk of the work fell toDavid Gauld, who produced some ofhis most colourful and dramaticdesigns, with Harrington Manndesigning the rose window.89

About this time the Guthries werealso decorating the interior ofRosehaugh, a huge free-style mansionbeing erected near Inverness by thearchitect William Flockhart. A greatdeal ofstained glass appears to havebeen executed for this scheme ofwhich the most notable was a large21-panel hall window, designed by20

Gauld in a free adaptation ofHomeIand Henry's painting, The Druidsbringing in the Mistletoe.9o AnotherGauld work of this period is a three­light window featuring scenes fromScottish history inclUding Brucerefusing to swear allegiance to theEnglish crown. Designed for thePaisley mansion ofGallowhill, itwasone ofGauld's most successfuldomestic works, and reveals not onlyhis superb draughtsmanship but hisskill in portraiture.9 J

RABELL

It was also in late 1895 that JohnGuthrie recruited Robert Anning Beltone ofthe most talented and prolific ofthe new generation Arts and Craftsdesigners, to produce his first stainedglass scheme for the new RoyalChurch at Crathie. The result was asplendid series of five single-lightwindows portraying life sized figuresofChrist and sts Margaret, Andrew,Columba and Bridget,92 In later years,while lecturing at the Royal College ofArt, London, Bell recounted withpleasure how he had travelled toGlasgow where the kindly and obligingcraftsmen ofthe Guthrie studiopatiently helped him to overcome hisinitial technical difficulties.93

The high point of this prolificepisode came in June 1896 when thestudio launched a new artisticmovement in Scottish decorative artby executing Mackintosh's extra­ordinary stencilled frieze for Miss _Cranston's Buchanan Street tearoom,the now famous Part seen-imaginedpart.94

In October 1897 the firm ofJ &: WGuthrie was dissolved and a newpartnership was established with theveteran decorator Andrew Wells, whohad returned from Australia. Hence­forth, the firm was known as J & WGuthrie and Andrew Wells Ltd.95

I1~

I1j

II

j

I~

" ~

In March 1898 he hadjoined theimportant metal work firm ofGeorgeWragge &: Company and wasinstrumental in setting up their firststained glass department ofwhich hebecame the chiefdesigner. l j I

Stewart in the meantime haddeveloped a splendidly economic andvigorous style of leadwork with anemphasis on pure colour and aminimum llse·ofpainted details.Excellent examples ofhis work at thisperiod can be seen in Old PartickParish Church, where his QueenVictoria Memorial window is almostsecular in spirit. In the period 1900-2Stewart, like many other artists, did agreat deal ofexperimental work in aneffort to find a less perishable methodofglass painting. The result ofthiswork was a Cameo Process wherebysuch details as heads and hands couldbe produced by etching and cutting.By this method a permanent imagewas obtained without the use ofpaint.By 1903 this secret process wasperfected and put to use in theexecution ofa fivewlight memorialwindow to Queen Victoria in Bo'nessParish Church. Il2

Another excellent though unlocatedcommission ofthis period is abeautiful two-iight window depictingEIUah's asc'ent to heaven. In thispowerful composition the taliemaciated EIUah is seen standing in aswirling cloud ofpink and orangeflame, out ofwhich are emerging twowhite stallions ridden by angels withlong crimson wings. lls

Also dating from this period isStewart's stair window for Salmon andGillespie's Stirling Town Hall, whichdepicts a prince and princess walkingon the battlements ofa castle. ll4

Another fine window by Stewart is theWilliam Barr Memorial (1901) in TrinityChurch, Larkhali.' 15 On the theme ofthe Sermon on the Mount it portraysChrist sitting under a large fruit ladenvine. Stewart's assistant on this

GLASGOW STAINED GLASS

window was J Stark Melville, whoshortly alterwards lelt the MeikleStudio tojoin Oscar Paterson.1l6

Melville remained Paterson's chiefcraftsman for several years beforeemigrating to America. 117

CHARLES E STEWART

Around 1904 Stewart wasjoined atMeikle's by his son Charles (1885­c1960) whose fine draughtsmanship,style and colour sense were alreadyimpressive. He produced many gooddesigns for Meikle before he and hisfather ielt in 1907 to estabiish theirown studio in Elmbank Street and laterin Holiand Street. Ofhis work forMeikle several excellent examples canbe seen in Glasgow. Ofthese the finestis a threewlight window in Pollok­shields/Kenmuir Church. The subjectillustrates Tennyson's lines:

Sunsetand evening starAnd one clear call for meI hope to see my Pilot face to faceWhen Jhave crossed the bar

The human soul of the poem isrepresented by a young man in fullarmour in a small boat with billowingsails, confronted face to face with thefigure ofChrist. 11B For this windowCharles Stewart used his father'scameo process to render the handsand faces. However, the most strikingaspect of the composition is the richcolouring and variety of the glassesand the beautifully economic andintegrated use ofthe leadlines. Also ofinterest is a singlewlight window inEastwood Parish Church representingMielchisedech King ofSalem. While atMeikle's, Stewart also designed asingle-iight panei ofSt Michael whichalter 1907 was adapted for a glassmosaic and used as the sign for hisfather's new studio.119

Shortly alter moving to the newstudio at Elmbank Street, Charlesbegan to abandon the use ofthe

24

cameo process in favour ofhis owntechnique ofetching with hydrofluoricacid. A good example ofhis work atthis time is now in the People's Palacecoliection, refno PP1980.20.146.lt isa single-iight adaptation by J T stewartofhis earlier Elijah window, and wasspecially executed by Charles as thestudio exhibit in the 1911 Exhibition.Thereafter it remained as a displaypiece in their studio at Holland Street,until its closure in 1959.120

A RIGBY GRAY

A new recruit to the Meikle studio atthe turn ofthe century was a youngdesigner, Andrew Rigby Gray (fl1900­1932). Gray had been a student at theRoyal College ofArt in London underProfessorTonks121 -and his work forthe studio at first consisted ofbeautifuliy deiicate half-iight paneis ofstylized roses and other flowers. Manyofthese can'still be seen in situ inDowanhill Street/Dowanside Road and'other locations in the west end ofGlasgow. Gray also designed manysplendid domestic stair windows andseveral sketches for these are now inthe People's Palace collection refnoPPI977.112.9,12. The influence oftheGlasgow style designers on his work isvery obvious, and continued to be themain source ofhis decorative motifsuntil the mid 1920s.

Alter the departure ofthe Stewarts,Rigby Gray became the studio'sprincipal designer and continued withthem until the firm's collapse in theDepression ofthe mid 1930s. Most ofMeikle's best craftsmen were taken onby J PMcPhie & CD who also boughtmuch of their glass, workbenchesetc.122

OSCAR PATERSON

Although the Guthries operated themost prolific studio of the 1890s, interms ofpublicity and critical acclaimthey were totally outstripped byanother Glasgow artist, OscarPaterson.

Throughout his long and activecareer Paterson received morepublicity than any other stained glassartist with the obvious exception ofBurne Jones./ 2 '} Ironically by the timeofhis death in the late 1930s he wasalready a forgotten man. No obituarieshave been traced and consequentlylittle is known ofhis early life apartfrom the fact that he was born in ornear Main Street, Gorbals (c1862) andas a boy attended St Enoch's School. '24

His training in the stained glassmedium appears to have taken placein London. In 1886 he arrived back inGlasgow. and moved into a house inArdgowan Street, from where headvertised himselfas a teacher ofglass technology for the City andGuilds ofLondon Institute. 125 By 1889he had opened his first'studio at 118West Regent Street and until at least1892 appears to have combinedsuccessfully the roles oftutor andglass stainer. In the following year hestruck up a partnership with StephenAdam's old associate, HarryThompson, a talented decorator, andtogether they formed the GlassStainers Company.126 A small sturdilybuilt man with long dark shoulderlength hair, Paterson looked everyinch the Bohemian. Nevertheless hewas by all accounts an introverted,self-effacing person and in spite ofhiswide publicity never at any timeexhibited any egotism and alwaysgenerously acknowledged theindividual contributions ofhis variousassistants and collaborators. 127

Although throughout a long careerPaterson was to execute hundreds of

church windows it was in his work as adesigner ofdomestic glass that hisindividual genius was to display itself.In his choice ofsubject matter histastes were conventional enough andrange from fairy tale castles and quaintvillages to sleeping princesses, valiantknights and billowing galleons. J28What sets Paterson's work apart fromthat ofso many ofhis contemporariesis his highly unusual colour schemesand his exceptional technicalingenuity. The dominant and often theonly colours in Paterson's designswere lemon, yellow, orange, neutralgray, black and opaque or opalescentwhite.

In almost all ofhis designs thedrawing is done entirely by theleadlines with light and shade beingsuggested only by thejuxtaposition ofappropriate colours. Hissplendid doorpanel depicting a quaint village streetin Bute Gardens is a good example ofthis kind ofwork, as is his great stairwindow in Lancaster Crescent. 129

Like most ofhis contemporariesPaterson was strongly influenced byJapanese art, and it was in hisadaptation ofJapanese stencilwork tothe requirements ofstained glass thathe achieved some ofhis mostmemorable effects. Of this aspect ofhis work the finest known examplewas the much published and now lostpanel entitled The Mountains oftheMoon from Sintram. This strikinglybeautiful composition was for manyyears a showpiece in Paterson's studioand inspired much decorative worknot only in Glasgow but also in Europewhere it was published in DekoratiueKunst. DO

In his domestic work Patersonenjoyed a long and fruitful associationwith two architectural firms. The firstwas that ofJames Salmon Jr andJ GaffGiilespie who employedPaterson to execute many designs forthem, of which a front door and

25

windows in University Gardens and thestair panel at The Hatrack, in StVincentStreel, are probably the bestknown and most accessible. Patersonalso executed a great deal ofglass forJohn Nisbet ({I 1893-1910) aclassmate ofCharles RennieMackintosh at the School of Artl"J who.went on to become one of the city'smost prolffic tenement architects. 1"2

Many hundreds ofPaterson's stockdomestic panels were installed in hisschemes at Queensborough Gardens,Airlie Street and Novar Drive in thewest end, and in other parts of the city.Nisbet also designed a fine peacockdoor with glass by Paterson in FitzroyPlace. I .U

Sketch for stair window. Oscar Paterson,1907

GLASGOW STAINED GLASS

________________________H

GLASGOW SCHOOL OFART

No attempt to describe or explain theexplosion oftalent in the field ofinterior design and decoration whichGlasgow experienced in the 1890scan ignore the central role oftheGlasgow School ofArt. At the time ofthe: appointment offra Newbery asDirector in 1885 the School was stillorganised on traditional. Jines with astrong emphasis on easel painting. .drawing from the cast etc. Under thedirection ofNewbery the: rather limitedCGurses then available were: subject toa gradual expansion in both range andteaching methods which by 1900raised the School from comparativeobscurity to the forefront of themodern art movement.

It is no accident that the manytalented artists who emerged from theSchool were to make their mark in thefield ofdecorative arts. Newbery fromthe very start ofhis career in Glasgow.although an unninching champion ofthe work ofthe Glasgow BOYS, wasastute enough to discern that in asmall country like Scotland thechances of two distinct schools ofpainting surviving in close proximitywas extremely small.

On the other hand the manufac­turing industries ofGlasgow werecalling out for new designers and itwas in line with this area ofpotentialemployment that Newbery began todevelop the teaching capacities of theSchool. In 1890 the successful entry ofa stained glass panel in the NationalCompetition organised by the SouthKensington Museum furtherunderlined the deficiencies in theSchool's facilities. The distinguishedjUdges William Morris. Walter Crane

Tristan and Isolde. Glasgow School of ArtDC Smyth. 1902

and Lewis F Day while awarding abronze medal to Victoria M Carruthersfor a 'remarkably charming !3nd poeticdesign' were,distressed to note that'the execution is quite unworthy ofitand ill-adapted to stained glass' .155

Armed with such telling criticismNewbery succeeded by 1893 inpersuading the Board ofGovernors ofthe necessity ofestablishing adecorative arts department, mannedby qualified instructors. In the annualreport for that year he proudlyannounced:

This room has been specially fittedup, and artist craftsmen have beenengaged to give instruction in suchsubjects as Glass Staining, Pottery,Repousse and l'1etal Work, WoodCarving and Book-binding, besidesArtistic Needlework taught by a lady.'56

The working conditions for thoseattempting to pursue so manymutually incompatible activities in oneroom must have been primitiveindeed. However, a roll call ofthosestudents who benefited from its roughand ready atmosphere is impressiveand included among othersC R Mackintosh, Herbert McNair, theMacdonald sisters, Marion Wilson, KateCameron, Jessie M King, EmilyHutcheson, Agnes Raeburn andWG Morton.

First choice for the important post ofteacher in stained glass was theworthy veteran ofthe Cottier andGuthrie Studios, Norman Macdougall.However, by the following year hehad lett to open his independentstudio and two new instructors, HarryRoe and William Stewart, wereappointed in his place,158 Stewart aswe have already seen, was anexcellent and often highly originaldesigner and his influence on thestudents especially in the use ofopalescent glasses must have been avery healthy one, The benefi\> of

31

Newbery's innovation were soon to beseen in the form ofsome excitingdesigns for stained glass ofwhichMargaret Macdonald's celebratedcomposition Summer is perhaps thebest known.

other notable artists who designedstained glass at this"time were JessieRowatt (Newbery), Emily Hutcheson,HerbertMcNair, Stephen Adam Jr andW G Morton. Unfortunately MrsNewbery's diploma panel which wasformerly built into her house inBuckingham Terrace hasdisappearedl59, and no glass by EmilyHutcheson has been identified yetHerbert McNair's early designs forglass survived the destruction ofhisstudio by fire but have disappearedsince and none ofhis localcommissions have been traced. 160 In·the case ofW G Morton the situationis much more encouraging, and a verybeautiful panel depicting a waternymph designed by him which almostcertainly dates from this period hasbeen discovered recently. The use ofrippled glass to simulate water and theshape ofthe water lilies reveals theextent ofStewart's influence on hispupil,161

Another student who designedexcellent glass at the School in the late1890s was Dorothy C Smyth. Herattractive panel based on the legend ofTristan and Isolde made for display atthe 1901 Exhibition is still to be seennear the main entrance to the SchoolofArt'62 Both Morton and Smythsubsequentlyjoined the staffof theSchool though neither taught stainedglass.

Sketch, Summer, Margaret Macdonald,1893

GLASGOW STAINED GLASS

GLASGOW STAINED GLASS

Door panel, W G Morton, 1902 top

Printing Works in Darnley Street in1902,168

WGMORTON

For this scintillating Art Nouveauscheme Morton produced some ofthemost adventurous domestic glass ofthe decade. The mermaid panels andthe exotic screens with sharks, whalesand seabirds are truly modern inconcept and compare favourably withthe best German and Austrian glass ofthe period. By this time Morton wasemployed as a tutor in Decoration andSignwriting in the Decorative TradesDepartment of the Royal TechnicalCollege, where his companionsincluded E A Taylor and GeorgeLogan.169 In the late 1920s hesucceeded Ednie as the Principal oftheDecorative Trades Institute and heldthe post until his retirement in 1938. 170

When he died in 1946 his obituaryreferred to his skill as a signwriter, andhis long membership of the GlasgowArt Club, but made no comment on hiswork in stained glass. 1 71

John C Hall's studio, like mostGlasgow decorative firms, sufferedbadly from the effects of the .Depression and in 1938 the studiOfinally closed. Hall continued to designfor George Kirk & Company and othergeneral glaziers for a time. He died in1955.172

Another small firm, established in1898, which attempted on a morelimited budget to supply the marketfor domestic glass in the GlasgowStyle, was that ofJohn C Hall &Company. Born in Glasgow in 1867Hall attended classes at GlasgowSchool ofArt in the early 1890s 163,

before launching out as anindependent designer. His first studiowas at 19 Rutherglen Road and hissurviving work can be seen mainly onthe south side ofthe city. Although heexecuted a small amount ofchurchglass his main production was gearedto the domestic market.164 Stylisticallyhis work has a strong resemblanceboth in technique and subject matterto the work ofOscar Paterson and it ispossible that he may have worked forhim as a glass painter in his studentdays. At any rate, one ofhis designersJames Leat certainly worked forPaterson and two of his fine sketchesfor stair windows featuring villagescenes in the stream lined Patersonmanner are now in the People's Palacecollections.165 Hall also executed finerepousse work in brass, pewter andsilver, and taught both glass stainingand metal work atStrathbungo SchoolofArt in the years 1906-12.166 He alsoexecuted a good deal ofglass forHenry T Wyse (1870-1951). JohnEdnie (1876-1934) and otherdesigners on behalfofScottish GuildofHandicralls(1903-24).167

Alter 1900 he developed a highlyeffective technique in which limitedamounts of rich antique andopalescent glasses werejuxtaposedwith a wide range of rolled cathedral

' and figured glasses. The powerful andeffective textures thus achieved werefurther enhanced by etching withhydrofluoric acid, brilliant cutting andsandblasting. Ofthe many hundreds ofcommissions executed by Hall, hisfinest work was unquestionably thatdesigned by his friend and associateW G Morton for Miller and Lang's Cartoon, Stephen Adam Jr, cl905

33

--------------<

ALFWEBSTER

In 1910 Stephen Adam, whose healthhad been failing for some time, died. /76

After the departure afhis son fromthe studio in 1904 he had been mostfortunate in acquiring as an assistantan exceptionally gifted art studentnamed AlfWebster, Webster, who hadjust finished a course at the School ofArt was already at the age of19 anaccomplished draughtsman andproved to be an ideal pupil, By 1909he had completely absorbed every­thing that Adam could teach him andmade himselfso indispensable that inNovember ofthat year the ageingartist, having despaired ofareconciliation with his son, formallyassumed him as hisjunior partner. Inhis last will and testament drawn up inJune 1910177, Adam included hisdying wish that his partner and sonshould amalgamate and continue thebusiness under one roof. This advicewas angrily rejected by his son whonot unnaturally resented bitterly theinfluence which Webster had acquiredin his father's affairs. Immediately afterhis father's death, he wrote to Websterstating that he had 'now assumed hispropername Stephen Adam' anddemanded that he forward all businesscommunications so addressed to him.

Adam's entry in the Post OfficeDirectory for 1911 also placed greatemphasis on his relationship to hisfather, to which Webster replied withan unsuccessful attempt to bring aninterdict against Adam to enforce theuse ofhis middle name 'Baillie' in hisadvertisements.178 After this there wasno further contact between Adam andhis father's old studio,

Freed from the restraints ofhis colla­boration with Stephen Adam, AlfWebster now began to develop hisown highly original style, Whileretaining the powerful figurecomposition of Adam's mature stylehe gradually began to develop his owndistinctive colour schemes.Abandoning Adam's landscapes andfoliage backgrounds his figures areoften contrasted against diamondshaped quarries of thick undulatingwhite glass. This splendid newmaterial known as Norman Slabs,oiten with a pale green or pink tinge,was a particular favourite ofWebsterswho fully appreciated its richtranslucent quality.

Many excellent examples ofWebster's work during this period canbe seen in New Kilpatrick ParishChurch. The Ninian Glen Memorial, athree-light window which depicts theProphet Micah flanked by thereverential figures ofa king, and acleric, a soldier and a merchantis aparticularly fine example. The richpurple and blue ofthe king's robes andturquoise ofthe cleric's vestments arean indication of things to come. Alsonoticeable in this window is the extentto which Webster had becomeinterested in enriching the surface ofhis glass by abrading and acid etching~

35

During the next two years Websterconstantly experimented with all of thenew techniques developed in thevarious Glasgow studios. Theseconsisted ofplating (the sandwichingof two different colours ofglass),etching with hydrofluoric acid andbrilliant cutting, By 1913, by using acombination ofthese experimentaltechniques he had evolved a style ofextraordinary power and vitality. Hispredominant colours are ri~h purple,orange, leafgreen, turquoise and ruby.

A beautiful example ofthis period ofhis work can be seen in a small single­lancet memorial window to StephenAdam in the entrance porch ofNewKilpatrick Parish Church, Entitled FirstFruits it depicts a kneeling figure ofanangel surrounded by offerings ofgrapes, grain and flowers. The richpurple ofthe grapes and the rubywings ofthe angel with their whiteflecked tips are skilfully used toemphasise the childlike delicacy ofthefigure which was modelled by theartist's young son Gordon Webster.

In late 1914 he designed andexecuted for Landsdowne ParishChurch Glasgow two m'!ior three-lightwindows for the north and southtransepts, Of these the south transeptis by far the finest, indeed it isWebster's masterpiece and for sheerimaginative power and technicalingenuity it provides a fittingsummation to all the achievementsand gains ofthe previous 20 years.

GLASGOW STAINED GLASS

SOURCES

POD-Post Office DirectoryMLG-Mitchell Library Glasgow

1 See for example Culzean Castll?Ayrshire, and the former BaronyChurch, Glasgow

2 Scotsman 19 December 18773 Ballantine, James A Treatise on

Painted Glass (Edinburgh 1845)4 for early examples of the work of this

studio, see the recently restoredstained glass in the Scott Monument,Princes Street Edinburgh, and thewindows in the Chapel orSt-Anthonythe Eremite at Murthly, Perthshire,which date from 1846

5 Harrison, Martin Victorian StainedGlass (London 19BO)pp19-24

6 Winston, Charles An Inquiry into theDifferences ofStyle Observable inAncient Glass Paintings, Especially inEngland: with Hints on GlassPainting, by an Amateur(Oxford1847)

7 Harrison ap cit pp19-248 Glasgow POD 1828-99 Glasgow POD 1850-1

10 Information supplied by Mrs Waddell,a descendant ofJohn Cairney

11 McFadzean, Ronald The Life and WorkofA lexander Thomson (London 1979)pp135-7

12 Cairney resigned from the GlasgowArchitectural Society, 20 June 1860,due to ill-health. I am indebted toRonald McFadzean for this and otherpieces ofvaluable.informatlon relatingto artists who worked with Thomson

13 Sequestration ofHugh Bogle GlasgowHerald 15 March 1865

14 Glasgow POD 1850-115 Glasgow Herald 15 March 186516 Glasgow POD 1850-117 Glasgow POD 1852-318 Harrison,opcitpp47-819 Charles Heath Wilson Corres­

pondence, Strathdyde RegionalArchives

20 Glasgow Herald 3 January 1865.Notice re Memorial plaque to Kier

21 Lugton, Thomas The Story ofGlasgow Cathedral (Glasgow 1902)·pp114-15

22 Collection Cottier(Edinburgh/Paris1892) Catalogue with biographicalintroduction by W E Henley

23 Glasgow Evening Times 19 October1893

24 Gould, Brian, Two Van Gogh Contacts:E J Wisselingh, ArtDealer; DanielCottier, Grass Painterand Decorator(London 1969) pI

25 Catalogue ofExhibition ofStainedGlass and Mosaics. South KensingtonMuseum (London) 1864

26 One panel of this window is in thePeople's Palace collections PP1981.3.The other is in the Ely Stained GlassMuseum

27 Harrison, op cit p4828 Edinburgh POD 1840-129 Edinburgh POD 1839·4030 Gould, op cit pp1 and 631 Letter ofAndrew Wells to William

Gibson 1914 in the Young ScrapbooksVol 37 p70, MLG

32 Mavor, James My Window on theStreet ofthe World (London 1923)vol 1 pp227-8

33 Information from Ronald Mcfadzean34 Glasgow POD 1867-835 Information from Ronald McFadzean36 Glasgow Evening Times 19 October

189337 Gould, op cit p238 Information from Ronald McFadzean39 Dickie, Rev. William, History of

Dowanhill Church 1823-1923(Glasgow 1926) pp73-6

40 Girouard, Mark Sweetness and Light.The Queen Anne Movement 1860­1900 (Oxford 1977) pp38-40

41 ibid p2542 For Moyr Smith, see the tile of his

journal Decoration 1880-9. Fo~ anexcellent biography ofTalbert see TheCabinetmaker and Art Furnisher1 July 1881

43 London POD 1870-144 The date stone above the main

entrance is 1870 and the fitting outwas probably carried out during 1871.Glasgow Fine Arts Institute Catalogue(1875) p24 No 625

45 The house was built in 1872 and fittedout during 1873. See Glasgow FineArts Institute Catalogue (1873)p28No665

46 Collection Cottier op cit47 Gould, op cit P48 The West Kirk Greenock contains

some ofthefinest early examples ofMorris &' Co glass in Scotland. Cottierinstalled a memorial window to hisgrandfather there c1873

49 These windows were formerly in ParkChurch, Glasgow and were recycled inthe early 1970s when the main bodyof the church was demolished

50 Obituary notice Glasgow Herald24 August 1910

51 Scotsman 19 December 188752 Glasgow School of Art Newscuttings

Collection vol 1 pI53 Glasgow POD 1870-154 Duplicated information sheet provided

for visitors to the Abbey. Very goodbut no author given

55 Stephen Adam's sketch designs forseveral windows in this church arereproduced in A History ofSt Andrews Parish Church(Glasgow 1905)

56 Adam, Stephen Stained Glass-ItsHistory and Modem Development(Glasgow 1877)

57 Thomson, Alexander Random Notesand Rambling Recollections ofMaryhill 1850-94 (Glasgow 1895)p208 The panels were removed in1963 when the Burgh Hall became thelocal police office, and are in thePeople's Palace collections. PP1963.52

58 The design for the PollokshieidsCharity window (1878) was used againsubsequently in a window for thechapel of the Royal Infirmary in HighStreet

59 Harrison op citpp51-260 Glasgow Fine Artlnstitute Catalogue

1890-1 entry No 790 and 88461 The design of the centre light from this

composition was also used for awindow in Old Partick Parish Church,but the erection of a tenementadjacent has robbed it ofall light

62 Glasgow fOD 1869-7063 Glasgow POD 188464 Anscombe, I and Gere C Arts and

Crafts in Britain and America(London 1978) pp111-12

65 The Glasgow Boys. Catalogue oftheScottish Arts Council Exhibition atGlasgow Museum and Art GalleriesKelvingrove (Glasgow 1968) Vol 2 p12

66 Decoration A monthlyjournal editedby J Moyr Smith (June 1887) p47

67 Quiz9 September 188768 Stock list ofcartoons in the Guthrie &:.

Wells Studio c~900.Guthrie's paintingTo Pastures New Features a young girlherding a gaggle ofgeese.

69 Glasgow Herald 3 June 191370 The windows From Springburn Parish

Church were rescued by the staffofThe People's Palace, prior todemolition 1981

71 Harrison, op cit p5672 Davidson T Raffles; Pen and Ink Notes

at the Glasgow Exhibition (London1888)p31

73 ibidp2774 Glasgow POD 188975 Cottier's work includes a three~light

window in the entrance hall featuringthree female figures representingMusic, Dancing and Art. His colourshave changed significantly withbrowns, reds and blues dominating

76 William Guthrie Photographic Albump7. People's Palace Museum stainedglass collection PP1979.128.98

77 ibid p3078 Two reproductions ofLeiper pen and

ink sketches of the Studio Showroomsare in the stained glass collectionPP1980.128.91-92

79 Glasgow POD 1891-480 Glasgow POD 189,? A copy of

Harrington Mann's unpublished aut<rbiography is now held in the fine ArtDept Glasgow Art Gallery

81 See the Glasgow Weekly Cltlzen for1887-91

82 'The Work ofDavid Gauld' by PercyBate in Scottish Art and Letters (1903)p376

83 Builders Joumal13 August 189584 Information supplied by artist's

daughter, Mrs Dunn85 J &:. W Guthrie and A Wells Ltd

Catalogue cl899 p25, Hunterian-ArtGallery Collection

86 Stock list ofcartoons in the Guthrie &:.Wells studio cl900 PP1979,128

87 Part of this window was located in aLondon dealers shop by Martin

.Harrison, Curator of the Stained GlassMuseum, Ely

88 for a discussion ofthis design and itsimplicc,ltionssee Charles RennieMackintosh Society Newsletter No 25,Spring 1980

89 Most ofthe sketch designs for thiscommission are now in the People'sPalace collection PP197~.128.62-67;

70-7490 Rosehaugh House was demolished in

the late 1950s-no photographicrecord was made and the fate of thestained glass is unknown. The sketchfor the stair window was published inStudioVoI8.(l896) p175 and theoriginaliS now in the People's Palacecollection

91 J &: W Guthrie and A Wells Ltd.Catalogue cl899 p23, Hunterian ArtGallery collection

92 Two sets ofsketch designs for thisgroup ofwindows are now In thePeople's Palace collectionPP1979.128.16-20

93 Bell, Robert Anning. Lecture onStained Glass (Royal College of ArtsLondon, January 1922)

94 Several original stencils for thisscheme and also for the decoration ofthe hall at Hill House, Helensburgh, arestill owned by Guthrie &. Wells,(Decorators) Ltd. Glasgow

95 -Certificate ofCo-partnery. 1897,preserved by the firm ofGuthrie &:Wells (Decorators) Ltd

96 Messrs Annan Photographers. havepreserved two photographs of part ofthis early scheme. No glass is featuredand Walton's role seems to have beenconfined to stencil work.

97 George Walton Collection. RIBADrawings Collection. The HeinzGallery, Portman Square, London

98 A photograph of this window asexecuted is now In the RIBA DrawingCollection, Heinz Gallery, London.Walton exhibited the centre panel inthe Glasgow Institute offine ArtsExhibition in January 1893 (Cat No775)

99 This door was rediscovered behindsome 1920s panelling during shop­fitting In January 1979; It has beenrestored and Forms part ofa display atthe People's Palace

100 Pevsner, Nikolaus 'George Walton, HisLife and Work' In RIBA Journal (3 April1939) pp538-46

101 The Glasgow Advertiser and PropertyCircular 17-May 1898

102 Building Industries and ScottishArchitect for 1906

103 Davidson TRames Pen and Ink Notesat the Glasgow Exhibition (London1888) p29

104 Glasgow POD 1886105 Stained glass sketch PP1980.,148.1~2

106 An excellent photograph of this studiois published in Clyde Shipbuilding byJohn Hume and Michael Moss (London1975)p99

107 Biographical details provided byDr John Stewart, the grandson oftheartist

108 Letter ofWilliam Meikle to J T Stewart30 March 1895. Stewart PapersPeople's Palace Museum collection

109 Quiz 10 December 1896110 Glasgow Institute ofFine Arts

Catalogue January 1897 No 268111 Architectural Review September

1899. See advertisement112 Glasgow Evening Times 26

November 1905. Letters to the Editor113 A sketch design for this window is in

the People's Palace collectionPP1980.20.31

114 People's Palace Museum, stained glasscollection PP1980.148.3

115 ibid PP1980.20.123116 Studio Year Book ofDecorative Art

1909p58117 Information supplied by Miss Muriel

Paterson, the artist's daughter118 In later years Charles Stewart often

reused or adapted his favouritedesigns; this one was repeated in1937 for the Fairlie Memorial in NewKilpatrick Parish Church

119 A photograph of this panel is In thePeople's Palace collectionPP1980.20.117

120 Decorative and Ecclesiastical ArtsSection Scottish Exhibition 1911Catalogue No 507

121 Information from Mr William Valleley,formerly foreman leadworker forWilliam Meikle & Sons

122 Information from Mr H McPhie ofJ PMcPhie, Glaziers & Artists in StainedGlass, Cromwell Lane, Glasgow

123 The Scottish ArchitectJanuary 1909pp19-20

124 The Baillie 4 October 1916 (Men YouKnow No 2294)

125 Glasgow POD 1886-92126 Glasgow POD 1893 and Building

Industries and Scottish Architect16 December 1904

127 The Studio Vol XIII (1898) p16128 The Studio Year Book ofDecorative

Art 1909 p63129 The etTectofthis important window

has been destroyed recently byinsensitive partitioning of the stair well.It is now impossible to photograph itor see it as a whole

130 'Die Glasfenster Oscar Patersons inGlasgow' in Dekorative Kunst(January 1899) p18

131 GlaSgow School of Art Annual Report1889

132 Worsdal Francis, The Tenement-AWay ofLife (Edinburgh 1979), pp59~60

133 The Studio Yearbook ofDecorativeArt1906 p136

134 The Baillie 16 April 1919 (Men YouKnow No 2426)

135 Glasgow POD 1874136 Glasgow POD 1887137 His signature can be seen on the stair

window, along with Cottier's otherassistants

138 Ayrshire Post 24 January 1913139 International Exhibition, Glasgow

1888 Official Catalogue p56140 Hugh McCulloch, Newscutting Book,

Strathclyde Regional Archives141 One ofGauld's music panels was

located by the author in the basementofMcCulloch's studio in 1978 alongwith several other panels and wasgifted to the People's Palace by thefirm PP1978.93.1

142 These include the Bowman Memorialin Union Free Church, Morrison Street,Tradeston (Subject-Mary Magdaleneanointing the feet ofChrist) byHarrington Mann c1891-2 and a three~

light memorial window in Claremont

Parish Church (subject-Christ at thetable of the Pharisee and Christ at'Jacob's Well) by David Gauld, Bothchurches were demolished in the mid1960s

143 Annual Reportofthe GlasgowAthenaeum 1896-7

144 Walker's winning design is reproducedin National Competitions 1896-7. AnIllustrated Record (London 1897).copy in Glasgow School ofArt Library

145 Journal ofDecorative Art July 1913146 The Studio Yearbook ofDecorative

Art 1907 p138147 Jessie M King and E A Taylor,

Illustrator and Designer, Sotheby's atthe Charles Rennie MackintoshSociety. A Sale Catalogue. Paul Harrisand Sotheby's Belgravia (1978)pp72-3

148 Mostimportantcommissions·wereplaced in the Studio windows, forcomment and announced byadvertisement

149 Billcliffe, R Charles Rennie Mackintosh.The Complete Furniture, FurnitureDrawings and InteriorDesigns(London 1979) p136. McCulloch alsoexecuted glass for Miss Cranston'shouse Househill at Nitshill and HillHouse, Helensburgh

150 Glasgow POD 1899. This is the firstentry for Hughenden and therefore thestained glass was installed probablY inthe autumn of1898

151 The ingle-neuk and glass cabinets andfriezes are obviously later additions ofc1902-4. Taylor did not get an oppor­tunity to remove the original fireplacein the Music Room. and had to adapthis design to accommodate it

152 The female figures ofthe friezes havestrong stylistic affinities with Jessie MKing's illustrations. An identical leadedglass cabinet appears in one ofherillustrations for the Magic Grammar..Studio 1902 p177-188

153 Glasgow School ofArt Annual Reports1902-3 pIS and 1903·4 p19

154 Obituary in Glasgow Herald24 November 1925 p7

155 Glasgow School of Art Annual Report1890-1p12

156 Glasgow School ofArt Annual Report1893-4p7

157 ibid p3. Also Building Industries &'Scottish Architect 15 November1893 app Norman M Macdougall & Co,187 Bothwell Street

158 ibid 1894-5 p3159 This panel featured 'a composition

from The Tempest-with Ariel holdingProspero's boat from underthe sea'.Letter from Mrs Mary NewberySturrock, the artist's daughter14 March 1980

160 Gleeson White 'Some GlasgowDesigners and their Work' (Part II) inStudio Vol XI, (1897) p227

161 An excellent window by Mortondepicting a mermaid still survives inthe artist's house in Giffnock

162 Studio Vol 23 (1901) p169163 The classmates included C R

Mackintosh, H McNair, W G Morton andStephen Adam Jr, Annual ReportGlasgow School ofArtl890-1 p19

164 Hairs ecclesiastical glass can be &eenin Eastwood, Govanhill and RothesayParish Churches

165 People's Palace stained glasscollection PP1978.99.26 and 27

166 Govan School Board. The StrathbungoSchool ofArt. Prospectus 1910-11.Original copy in possession of theartist's daughter

167 Decorative and Ecclesiastical ArtsSection ofScottish National Exhibition1911 Catalogue

168 Building Industries and ScottishArchitect 14 February 1903. A photo""graph of a Morton door panel ofayoung girl picking roses, signed anddated 1902 was found among thepapers ofJohn C Hall. It shows thestrong innuence ofE A Taylor

169 Glasgow POD 1902-3. Classifiedsection 188

170 Obituary notice. Giasgow Herald26 January 1946

171 ibid172 Information from Miss Hall, the artist's

daughter173 Glasgow Institute afFine Arts

Catalogue, January 1898No 279174 The cover design bears Burns' usual

monogram. See 'Natura Naturans' inCharles Rennie Mackintosh al1d theModern Movement by T Howarth(London 1952) p213

ACKNOWLEDGEMENTS

The undernoted illustrations are ofwindows in specific locations and we would like tothank the owners and appropriate authorities for permission to photograph andreproduce them.

175 Stephen Adam and others v AdamCS2401 Div A24/15 Box 27. WestRegister House, Edinburgh

176 Obituary notice Glasgow Herald24 August 1910

177 Adam v Adam CS240. 1 Div A24/15Box 27. West Register HouseEdinburgh

178 ibid179 Obituary in the Glasgow Herald

28 August 1915180 Ednie launched a moderately

successful practice as an architect in1914. In late 1915 he was responsiblefor the design ofCranston's PictureHouse in Renfield Street

Beauty page 4; Love and Audacity page 8

Henderson Memorial page 14Stephen Adam Memorial page 34

Coats Memorial page 15Thanksgiving of Noah page 16

Eadie Memorial page 16

William Stewart panel page 18

Miraculous draught of fishes page 26

Nativity page 27

Harvest page 28

Tristan and Isolde page 30

Whale screen page 32

South transept window page 36

Cairndhu Hotel, Helensburgh

New Kilpatrick Parish Church,Bearsden

Clark Memorial Church, Largs

Pollokshields Parish Church,Glasgow

Ruthven Towers Hotel.Auchterarder

St James' Parish Church, Pollok,Glasgow

Trinity Church, Jedburgh

Strathclyde Regional Council,Social Work Department

The Governors of the GlasgowSchool ofArt

Messrs John McCormick &. Co Ltd.•Glasgow

Lansdowne Parish Church,Glasgow

This booklet is published incOrUunction with the exhibitionGlasgow Stained Glass at the People'sPalace Museum, Glasgow, April1981~April 1982.

This is the third in a series ofpublications recording the local andsocial history- collections ofthePeople's Palace Museum.

Other titles in the series

The Scottish Women's SuffrageMovement by Elspeth King (1978)Scotland Sober and free: TheTemperance Movement 1829-1979by Elspeth King (1979)

We would also like to express thanks for permission to reproduce the followingillustrations:

Robert Burns RSA design page.3 The Mitchell Library, GlasgowSewing, Stephen Adam Jr page 33

St Agnes, David Gauld page 27 Mr Andrew Mackintosh Patrick

Summer. Margaret Macdonald page 31 Hunterian Art Gallery, UniversityofGlasgow. Mackintosh Collection

The following illustrations are from published sources:

J E C Carr design page 2 The StudioC R Mackintosh design page 29

Advertisement for Stephen Adam Jr. Catalogue The Mitchell Library, Glasgowof the Glasgow Institute ofFine Art1905-6page 35

The ambush, Oscar Paterson page 25 The Studio Year Book ofDecorative Art 1907