The Glazier • Autumn 2018 Page 1

Issue Number 56 Autumn 2018

the WORSHIPFULC O M P A N Y ofGLAZIERS& PAINTERS OF GLASS

StevensCompetition 2019launchedMICHAEL HOLMAN writes: The task facingentrants to the 2019 Stevens Competitionfor Architectural Glass is to design a panelto be installed in the reception area of theProton Beam Therapy Unit (PBT) currentlyunder construction at University CollegeHospital, London. The PBT is a new clinicalfacility using a high-energy beam ofparticles to destroy cancer cells and isdue to be commissioned in 2020.

Many NHS hospitals now recognise thatthe provision of the arts within theirenvironment is integral to patient wellbeingand this will be the fourth occasion on whichUniversity College Hospital has been thelocation for the Stevens Competition.Previous examples of panels are to be foundin the Radiotherapy Department, theElizabeth Garrett Anderson Antenatal Clinic

and the Macmillan Cancer Centre. This year, for the first time, an additional

competition is being sponsored by theReflections of The Lord Mayor charity for thedesign of a panel by those in the age group16–24 years. In this instance competitors are

not required to prepare the stained glasssample which is an integral feature of theStevens Competition.

The brief giving full details of thecompetition is to be found on the Company’swebsite. �

An artist’s impression of the Proton Beam Therapy Unit currently under construction at University Hospital.

1943 and 611 Squadron sets off over Biggin Hill – and 75 years later it begins a link with the Glaziers’ Company at the personal initiative of MasterKeith Barley. See article inside.

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It’s been quite a summer for the highlyskilled team at Barley Studio, led by KeithBarley and Helen Whittaker. Within thespace of a few weeks in September theyinstalled two exciting new stained glasscommissions with royal connections – anew window at the RAF Club in London,designed by Helen and unveiled by HerMajesty The Queen, and “The Queen'sWindow” at Westminster Abbey, designedby David Hockney.

Helen was no stranger to the RAF Club,having previously designed and made itsmagnificent staircase window “RAF: Past,Present and Future” celebrating 90 years ofthe RAF in 2008. She was delighted to becommissioned again as part of the centenarycelebrations of both the Royal Air Force andthe RAF Club.

The new windows are located in theformer Anteroom to the Ladies’ Bar andLounge, the area to which ladies wererestricted from the club’s opening to the1960s. The windows were the idea of twotrustees, Group Captain Tony Banks andWing Commander Michael Gilbert, tocommemorate “women in the service of theRoyal Air Force”.

Helen’s design is inspired by the iconicimage of the American factory worker, Rosythe Riveter. The idea of the female workerholding the air force together through thefixing of rivets becomes a metaphor for womenin the service of the RAF and the developmentof their role, from a separate “female” service

to their present fully integrated position – fromfactory workers to pilots.

The design offers quite a contrast toHelen’s earlier window, showing the breadthof her artistry in stained glass design and

creation. The new windows capture thegraphic nature of World War II posters, withblock colours and bold lines, created usinga variety of glass techniques illuminated byboth transmitted and reflected light.

The leadwork incorporates glass lenses,representing rivets, through which details ofphotographs and posters can be viewed,illustrating women’s roles from the RAF’sformation to the present day. The images wereprinted onto glass screens by Proto Studios.Beautiful timber cabinets designed by BarleyStudio and made by architectural joinersHoughtons of York complete the installation.

Between the windows is a depiction ofthe George Cross, painted and gilded ontoglass using signwriters’ techniques. The GCpays tribute to the extraordinary bravery ofDaphne Pearson and Noor Khan, reminding

A 2018 summer of intensestained glass activityALISON GILCHRIST, a conservator at BARLEY STUDIO, describestwo very high profile stained glass projects that were completed inthe summer.

New windows for the RAF Club designed by Helen Whittaker, Barley Studio 2018.

Her Majesty The Queen looking into the new RAF Club windows accompanied by Jo Salter, Britain’s firstfast jet pilot.

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us that women’s progression from theirstrictly limited role of a century ago to thefully operational role they enjoy today hasalso exposed them to the hazards of war.

The windows were officially unveiled byHer Majesty The Queen, Patron of the RAF

Club, on 17 October 2018 during a specialvisit to mark the centenary. During the visit,Her Majesty opened a new wing of the club,which houses amenities including a fitnesssuite and business centre, as well as unveilinga newly commissioned portrait by Benjamin

Sullivan. Helen’s new windows were presentedby Britain’s first female fast jet pilot, Jo Salter.

Having herself served in the Women’sAuxiliary Territorial Service during WWII, theQueen was intrigued by both the archiveimages and their contemporary setting.

Turning now to Westminster Abbey, theBarley Studio team were again following onfrom previous success, having translatedHughie O’Donoghue’s designs into glass forhis two Marian windows in the Henry VIIChapel, commissioned to celebrate the 60thanniversary of the Queen’s Coronation in 2013.

When the Dean of Westminster, the VeryReverend Dr John Hall, wanted to commissionsomething for Westminster Abbey tocelebrate the reign of Queen Elizabeth II, theUK’s longest reigning monarch, he felt thatDavid Hockney was the obvious choice todesign for our exciting medium of glass.Hockney, one of the most influential Britishartists of the Queen’s reign, had never workedin stained glass, and so Dr Hall contactedBarley Studio to ask if they would work withhim, to again translate the design into glass.

The dean was able to make contact withDavid Hockney through an intriguingconnection – the sister of Ptolemy Dean,Surveyor to the Fabric of Westminster Abbey,is the artist Tacita Dean, who had previouslyfilmed Hockney for her series “Portraits”(2016). The dean’s brief to Hockney was toprovide something symbolic orrepresentational of the subject, rather thana heraldic or figurative design, and for it tobe recognisable as his work.

Tacita suggested to Hockney that hemight draw inspiration from his stunningpaintings of the Yorkshire Wolds, an area

Detail seen through one of the lenses – motorcyclist member of the Royal Flying Corps.

Glazier Aurélie Haugeard working on one of the Hockney panels.

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close to his Bradford birthplace and also localto Barley Studio.

Hockney’s design depicts a countryscene featuring hawthorn blossom, which hehas described as “a celebration”, reflectingthe Queen as a countrywoman and her greatlove of the countryside. The initial design forThe Queen’s Window was created, like manyof Hockney’s previous works, on an iPad –which he considered a natural design tool forthe project because, like a stained glasswindow, it is back-lit.

Hockney was also inspired by the work ofHenri Matisse and Marc Chagall, painterswho also worked in stained glass, and hewanted to understand and respect thistraditional craft. To that end he visited BarleyStudio twice during the project, and Helenwas asked to fly out to California to assistHockney in the development of the initialdesign idea.

Hockney chose beautiful mouth-blownglass, made by Glashütte Lamberts inGermany, to realise his distinctively bold

colour palette of yellow, red, blue, pink,orange and green. Lamberts even developeda special recipe to match Hockney’s deeppink – one of the most expensive colours tomake in glass, as the colouring metal is gold.

The window is unusual in stained glass asit uses no glass paint, only glass and lead tocreate the artwork. The only painted piece inthe window is Hockney’s signature at thebottom right – which was flown to LosAngeles to be signed in glass paint, and thenflown back to York to be fired in the kiln.

Barley Studio installed the window in thenorth transept of Westminster Abbey inSeptember 2018, and the window wasdedicated by the dean at a special service on2 October 2018, attended by Helen and Keithalongside David Hockney and many of hisfamily, friends and supporters of the project.

In creating The Queen’s Window, webelieve David Hockney has respectedtraditional stained glass techniques, andcombined them spectacularly with a boldcontemporary design. Helen, Keith and theBarley Studio team have been delighted towork with David on this project which hasreally brought stained glass – often the poorrelation to other art forms – into the spotlight.

Keith has been promoting the art andcraft of stained glass for over forty years,both in conservation of our stained glassheritage and, with Helen, combining excitingnew design with good craftsmanship. To haveartists of the calibre and reputation of DavidHockney now designing for stained glass willsurely inspire new generations, ensuring agreat future for our treasured art and craft. �

Part of the Hockney window laid out at Barley Studio. The Queen’s Window, designed by David Hockney 2018.

Helen Whittaker with David Hockney, during installation of the window at Westminster Abbey.

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No 611 (West Lancashire) Squadron wasformed in 1936 at RAF Speke (nowLiverpool John Lennon Airport) and hasa very distinguished history. It was one of21 Auxiliary Air Force Squadrons set up inpeacetime to bolster the rapidly expandingRoyal Air Force rising to the threat of Hitlerand Nazism.

The squadron’s first commandingofficer (CO) 1936-39 was Squadron LeaderGeoffrey Langton Pilkington, who alsoserved 1932-49 as chairman of PilkingtonBrothers Limited, today one of the world’slargest multinational glass-manufacturingcompanies (and still headquartered inSt Helens, Merseyside). Initially manned bylocal personnel from Liverpool and WestLancashire, 611 Squadron gelled into afighting machine and was mobilised totake a very active part in World War II.

611 Squadron’s major claims to fameincluded being among the first to beequipped with Spitfires in 1939; supportingthe withdrawal from Dunkirk and playing aprominent role in the Battle of Britain in 1940;covering the ill-fated Dieppe landing in 1942;the CO shooting down the 1,000th enemyaircraft by a Biggin Hill based squadron in1943; being one of, if not the first, RAF dayfighter squadrons over the D Day beaches in1944; and being the first RAF squadron tomake friendly contact with Russian aircraftover Berlin in 1945.

Memorial stoneIn addition, the squadron supported both

RAF and USAAF bombers over the full rangeof their bombing sorties, including attacks onHitler’s “Eagle’s Nest” at Berchtesgaden inBavaria. By the end of the war, 611 Squadron

had destroyed approximately 250 enemyaircraft. This came at the cost of fifty-five611 Squadron air and ground crew who losttheir lives 1939-1945. The squadron plans tohonour them with the unveiling of a memorialstone in Liverpool’s St John’s Gardens inDecember.

Wartime pilotsAmong the squadron’s many notable

wartime pilots and aces was Sir Barrie HeathDFC, who served with 611 Squadron duringthe Battle of Britain and later pursued a verysuccessful post-war career in manufacturing,including the role of managing director ofTriplex Safety Glass (his life having beensaved from a direct hit on the windscreen ofhis Spitfire in 1940).

After the war the Auxiliary Air Force washonoured by King George VI with the prefix“Royal” in recognition of its achievements tobecome the Royal Auxiliary Air Force(RAuxAF). 611 Squadron returned home,flying Spitfires out of RAF Woodvale (itsmodern-day home on the West Lancashirecoast) from 1946 until 1951, then GlosterMeteor jet fighters from RAF Hooton Park onthe Wirral. Despite supporting the regular RAFvery effectively and at very little cost with its“weekend flyers”, all RAuxAF flying units,including 611 Squadron, were disbanded on10 March 1957.

611 Squadron reformed at RAF Woodvale56 years later to the day on 10 March 2013,as part of the Ministry of Defence’s Future

Distant days but still with a resonance now – at Biggin Hill, watching a flypast by 611 Squadron.

From preparing for war to a linkwith the Glaziers’ Company

Wing Commander STEVE CHASKIN OBE, RAuxAF, OfficerCommanding No 611 Squadron, describes the formation and life ofa notable air unit and how its new relationship with the Livery fits inwith its own ethos and RAF policy.

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Reserves 2020 programme to ensure UKArmed Forces are structured to meet futurechallenges and threats. The squadron nowexists as a RAuxAF General SupportSquadron (GSS) within the RAF’s No 1 Group.The last 5 years have seen it rapidly andsuccessfully develop to full operatingcapability, as well as fulfil its secondaryengagement mission to reconnect the RAF to

long-neglected communities in the NorthWest of England.

Reservist cadreAt the heart of 611 Squadron’s success is

the quality of its 100-strong reservist cadre,recruited to fill roles across 10 differentground trades. These specialisations includeflight operations, intelligence, ground

engineering, logistics, media, personnelsupport and training. The reservists comefrom a diverse range of backgrounds: manyare specialists with years of experience intheir own civilian fields, some are experiencedex-regulars, some are recent graduates whoare looking for a taste of RAF Reserve servicebefore joining for a regular career.

They are all dedicated to giving up theirspare time to train, backfill and mobilise insupport of RAF operations.

So far during the current financial yearsince April 2018, 611 Squadron personnelhave undertaken 23 mobilisations (i.e. calledinto full-time regular service, usually for4-6 months) across a range of specialisationsin support of operations across the UK andaround the world, including Kuwait, Oman,Cyprus, Romania, and the Falkland Islands.Over the same period, many more 611Squadron personnel have provided shorterterm support to UK based RAF stations andexercises in Norway, Germany, Italy, Cyprus,and at sea in the North Atlantic with theUnited States Navy.

High value611 Squadron places a high value on all

its working relationships and affiliations:whether they are with our international allies,with the Army and Navy units in our region,or with the North West’s major employerssuch as BAE Systems and Jaguar Land Rover.The direction for RAF units to forge andstrengthen these links comes from the top.

The Chief of the Air Staff, Air Chief MarshalSir Steven Hillier, particularly favours stronglinks with the City of London’s livery companies.Strong and enduring alliances between liverycompanies and UK Armed Forces give rise tomany networking opportunities, sharing ofexperiences and allow opinion-formers to seehow the defence budget is being used todeliver national security.

As the Officer Commanding 611 SquadronI am especially delighted with the formationof our new alliance with the WorshipfulCompany of Glaziers & Painters of Glass.As former fast jet aircrew I can understandhow the quality of the canopy’s safety glasswas a prime consideration for our wartimepilots! I also appreciate the artistry behinddecorative glass, having recently unveiled afabulous stained glass memorial window inShrewsbury to 611 Squadron’s most famousWorld War II ace, Flt Lt Eric Lock DSO, DFCand Bar.

I look forward to the development of avaluable and enduring relationship betweenour organisations and to welcoming theMaster and Past Master as our guests ofhonour at the 611 Squadron Annual Dinner atRAF Woodvale in December. �

“As the Officer Commanding611 Squadron I amespecially delighted withthe formation of our newalliance with the WorshipfulCompany of Glaziers &Painter of Glass.”

611 Squadron on parade in Liverpool – an integrated mixture of regulars and reservists.

Again the regular and reserve theme – 611 Squadron personnel in Liverpool with the Earl of Wessex onArmed Forces Day.

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on the Hill, in Leicestershire, the county I havemade my home for the last 33 years.

Still echoingThe interesting thing about this early

memory is its echo is still felt today. Evennow, after more than 35 years making stainedglass windows, I can find myself lifted andtransported by the same moment when lightpasses through the membrane of glass, thatmesmeric confluence of texture and colour,of craft and art. I’m lucky, I’ve found a way of

making something life affirming and good forthe soul.

I began my journey in stained glass at artschool in Edinburgh studying firstly under thelate Sax Shaw and then Douglas Hogg, artistand maker of the Queen’s Diamond Jubileewindow at the Chapel of the Savoy, whoremains a dear friend to this day.

Like many young glass students of thatera, I was very influenced by a new graphicstyle of glass design pioneered by post warGerman artists such as Johannes Schreiter

My first memories of falling in love withstained glass began when I was still quiteyoung living in the Highlands of Scotland.We lived in Aboyne, a small rural village inRoyal Deeside in the heart of the Grampianmountains, and the local episcopal churchof St Thomas was a place I oftengravitated to as a small boy.

There was something fascinating aboutthe quiet space of this little, well appointedfaux gothic church – the sweet smell ofincense candles, the large bible atop aneven larger golden eagled lectern, and ofcourse the stained glass.

I would find myself there from time totime looking at the stained glass windows,sitting alone on one of the long woodenpews transfixed by the moment,completely absorbed by the texture of lightpouring through the glass.

Although I didn’t know it at the time, thebeautiful east window was made by Morris& Co. founded by William Morris. The churchitself, set in a small wood among impossiblytall pine trees, was consecrated in 1909. It wasa reproduction of St Mary the Virgin, Burrough

“TOTEM” 11m tall glass sculpture fabricated withcomputer printing, bonded antique glass andLED lighting. Installed at the John RylandsUniversity Library, Manchester 2009.

Both anartist and aconservatorDEREK HUNT describes whatlies behind his work and theimportance for him of hisconnection with the Glaziers’Company.

Two 13.5 sq m stained glass windows installed at St Dunstan’s RC Church, Working between 2008-09.Fabricated with air brushed glass pigment, bonded antique glass, etched lettering and optical glass prisms.

Details of two of the stained glass windows installed at St Dunstan’s RC Church, Working.

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designer and painter for a family firm inLeicester before setting up as an independentartist at the tender age of 23.

Major commissionMy first major commission was in 1989,

a 200 sq ft east window on the theme ofCreation for St Crispin’s Roman CatholicChurch, a new build church and communitycentre in Leicester. I still go back and visit itfrom time to time – it's like seeing an oldfriend.

I rented studio space in the centre ofLeicester for the first 15 years where I mademy stained glass, but since 1999 have livedwith my family and worked in an idyllic ruralstudio in the village of Medbourne, south eastLeicestershire. I’m surrounded by the bucoliclandscape of Rutland and often find the floraand fauna of our daily dog walks making anappearance in my stained glass designs.

I have worked on a wide variety of publicart commissions, designing and making themfor theatres, hospitals, schools, libraries andchurches. One of the largest projects to datewas the creation of a complete glazingscheme of 36 new stained glass windows fora private chapel in the north of Scotland.

This project took a year to design for, withvisits to the Highlands to draw the wonderful6th century Pictish standing stones of thearea, in preparation for designing a variety ofrose, clerestory, east and west windows

throughout the new build church which wascompleted in 2011.

Other projectsOther memorable projects include an

11m tall glass sculpture called “Totem” forthe John Rylands University Library inManchester, using a pioneering technique ofcomputer printing, bonded antique glass andLED lights.

Also there was the creation of a threedimensional poem and glass sculpture for theRoyal Victoria Hospital in Edinburgh; and ascreen printed glass canopy for the entranceof a care home in Cambridge, which wasdesigned with lots of community engagementfrom school children and pensioners.

I use a number of contemporarytechniques to create glass art works,including screen printing, computer printing,fusing and air brushing enamels directly ontolarge sheets of toughened glass.

New methods of glass manufacture andglass decoration are always coming onstream, inviting exploration andexperimentation by contemporary glassartists keen to develop new forms of visuallanguage fit for the 21st century. I design andproject manage all my commissions and tryto make much of my glasswork in my ownstudio. However I do work with some verytalented creators in other studios both in theUK and in Germany to realise designs whichneed specialist screen printing, computerprinting or bonding techniques.

Traditional windowsAlthough I really enjoy utilising these new

techniques for glass decoration, in the past12 months I have designed and made threelarge traditional stained glass windows forchurches in Bristol, Melton Mowbray andYapton using the ancient techniques of handdrawing a design full size on paper, making acartoon of the leadlines, choosing and cuttingantique glass, grinding pigment and hand

and the British wunderkind Brian Clarke.I interviewed Clarke in 1983 at his Londonstudio as part of my college thesis and havefollowed his meteoric career with greatinterest ever since. He was a big influence inmy early years.

After gaining my degree in 1984 I movedsouth and worked for a short time as a glass

A series of glass sculptures with digital printed images on 10mm toughened laminated glass with handpainted poems on walls in the foyer of new hospital wing at the Royal Victoria Hospital, Edinburgh 2012.

Detail of glass sculptures, Royal Victoria Hospital, Edinburgh.

Detail of screen printed 12 sq m glass entrancecanopy for Richard Newcombe Care Home inCambridge, incorporating community engagementpieces from the children of St Luke’s Primaryschool and the care home residents 2012.

Glass sculpture for St Felix Roman Catholic Church,Haverhill, Cambridgeshire, installed in 2012.

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in this country and Europe, including, ofcourse, our current Master of the Glaziers,Keith Barley.

Without the support and generosity ofthose at the top of the profession who freelyoffer their expertise and experience thisancient craft would not continue to developand progress, as most of the UK degreecourses on stained glass have now ceased.Sadly, with the closure of the Glasgow Schoolof Art’s stained glass department, there areno degree courses available in Scotland.

As part of my conservation practice I offermaster classes to young professional glassstudents tailor made to their needs. This mayinclude learning how to work with lime

mortars on listed buildings, how to prepareand paint with different mediums onto glass,how to lay out and draw designs full size onpaper, or how to work with computerprograms such as Photoshop for developingnew designs in glass. In addition, from 2019I will be teaching painting classes at theStained Glass Museum in Ely Cathedral.

Recent conservation projects include thecareful cleaning and re-framing of a selectionof arts and crafts windows from BirminghamMuseum which are now on tour in the USA,and the conservation and framing of somebeautiful Edward Burne-Jones stained glasswhich features in the Tate Britain exhibition ofhis work.

I am currently working on the isothermalglazing of much of the stained glass in thechapel at Oscott College in Birmingham andcompleting the releading of a large CharlesEamer Kempe triptych window which is therecipient of a generous grant from theKempe Trust.

Painting demonstrationsIn recent years I have been more directly

involved with the Worshipful Company ofGlaziers as one of the studios helping withthe Continuing Professional Developmentawards, providing painting demonstrations forexhibitions, and as a judge for the StevensCompetition – all of which have beenextremely enjoyable and have given me theopportunity to meet some wonderful people.

I have found it mutually beneficial to wearboth the artist’s hat and the conservator’s hatin so far as knowledge of traditionaltechniques and methods can inspire thecreation of new work, and an artistic eye forconservation can be useful when creatingnew insertions of glass for historic windows.I enjoy both aspects as they require differentways of thinking and different skill sets –every project is unique, and each brings itsown challenges and rewards. �

painting details directly on to glass, beforeleading and cementing the finished windows.

It is rather wonderful to contemplate thatall these techniques were pioneered in the11th and 12th centuries and have changedvery little in the intervening centuries.

I divide my time between new designwork and glass conservation, which mayinclude visiting historic churches or museumsand carrying out careful assessment of theglass and perhaps making recommendationsor developing strategies for its continuedconservation. This will usually include thewriting of a condition report which mayaccompany a grant application to carry outconservation work.

Victorian eraFrom time to time I carry out conservation

of glass dating back as far as the 13th century,however most of the conservation my studioundertakes is for glass from the Victorian era,as this constitutes the majority of stainedglass found in our parish churches. I amaccredited as a glass conservator and attendconferences and group meetings which areorganized by ICON, the Institute ofConservation, based in London.

I am grateful for the opportunity to meetand learn from some of the top conservators

3m diameter Rose window installed at therehearsal and recording studios of the HalleOrchestra, Manchester 2014.

“Tree of Life” traditional stained glass made incelebration of the town of Melton Mowbray 2017. Traditional stained glass window on the theme

of Baptism, installed in St Giles Church,Medbourne 2014.

Glass wall mounted sculpture and screenprinted side panels for Trinity Methodist Church,East Grinstead 2014.

“Tree of Life” traditional stained glass made tocelebrate 1300 years anniversary of Holy TrinityChurch, Westbury on Trym, Bristol 2017.

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The Livery has also had a fantastic year,growing in strength and presence within theCity of London. I have been delighted towelcome new members, many directlyinvolved in our art and craft, at every LiveryDinner during the year.

We have been involved in a wealth ofevents and functions that have not only raisedthe profile of the Worshipful Company ofGlaziers but also promoted and rejuvenatedpublic awareness of stained glass as a vibrantand living art form available to all in bothsecular and religious settings.

The annual Stevens Competition isbringing new designers and practitioners intothe fold, and with the addition of the new“Young Designers Award” for 16–24 year oldsfor next year, aimed at introducing artists anddesigners to our art form, I believe we will beintroducing a whole new generation tostained glass art.

My Master’s diary has been packed full ofexciting events and trips. Our visits to Yorkand Girona have been met with effusivecompliments. In York we had the pleasure tovisit York Minster and the Guild Church of AllSaints Pavement, as well as St James’Church in nearby Warter. Both Barley Studioand the York Glaziers Trust hosted visitswhere Glaziers could meet the artists andcraftsmen engaged in a variety ofconservation and creation projects.

We enjoyed a drinks reception at theMerchant Adventurers’ Hall and of course

the gala dinner at the Merchant Taylors’ Hall.I must offer particular thanks to my Master’sSteward, Sarah Brown, for all her help inorganising this visit.

After that my Master’s visit to Girona hadto pull out all the stops! The wonderfulweather was obviously a bonus, and I wasreally pleased to share this beautiful andhistoric city with so many good friends.

We enjoyed fantastic tours of thecathedral, Cathedral Treasury Museum andMuseum d’Art with expert guides, as well aswonderful Catalan hospitality in the form of ouropening dinner, with a welcome from the mayor,the Vineyard Tasting Experience, and the galadinner in the Casino. Again, special thanks tomy good friend and fellow conservator AnnaSantolaria Tura for all her help and support inthe organisation of this visit.

I have been delighted with the receptiongiven to all of my guest speakers over theyear, including Loyd Grossman, who spokeat my Installation Dinner; Art Femenella; theMost Reverend Dr John Sentamu, Archbishopof York, who spoke at our Livery Dinner inYork; and the Very Reverend Dr John Hall,Dean of Westminster Abbey, who spoke atour Annual Banquet at Clothworkers’ Hall.

Most recently there was Air CommodoreJeremy Wooding, who spoke at the AutumnLivery Dinner to mark officially the formalassociation between our Livery and No 611(West Lancashire) Squadron of the RoyalAuxiliary Air Force.

We have also enjoyed lectures fromSarah Brown, in her capacity as director ofthe York Glaziers Trust, on the conservationand restoration of the Great East Window ofYork Minster, and from Dr Kate Williams, whocame to my rescue by presenting her lectureon Lady Emma Hamilton at such short noticeat our Ladies Lunch in June.

Other liveriesI have also attended many events hosted

by other Liveries and City organisationsduring my year which deserve a mention.Attending the annual formal dinner hosted bythe Lord Mayor, Alderman Charles Bowman,at the Mansion House in the City of Londonwas a personal highlight.

I very much enjoyed the annual LordMayor’s visit to Treloar’s School and College,near Alton in Hampshire, in February as wellas the annual Livery Weekend at theIronbridge Gorge Museums in Shropshire inJune. It has been a great pleasure to make somany new connections on behalf of theGlaziers, especially amongst the Masters ofother livery companies, many of whom havebecome firm friends.

I am very pleased to have been able tooffer the use of Glaziers Hall to other groupswith whom I share particular interests. InFebruary I was delighted to welcome myfellow craft liveries to Glaziers Hall, for the

It is with great pleasure that I write thisarticle in the autumn of my tenure asMaster. Although juggling my duties as afull time managing director and practisingglazier with the array of events andcommitments in the Livery diary hassometimes been a little fraught, I wouldnot have missed a moment of it, and cantruthfully say it has been one of the mostmemorable experiences of my life!

This has been a year of greatachievements both personally andprofessionally. I became a grandfather forthe first time in April to a beautifulgranddaughter, and Barley Studio hascontinued to carry out both conservationand creation of the highest level,culminating in the two exciting newstained glass commissions with royalconnections!

We recently installed new windows at theRAF Club, designed by our creative directorand Assistant to the Court, Helen Whittaker,which were unveiled by Her Majesty TheQueen in her role as Patron of the club as partof the Centenary Celebrations of both theRoyal Air Force and the RAF Club. We alsoproduced and installed The Queen’s Window,designed by David Hockney, for WestminsterAbbey – featuring in a BBC documentaryalong the way! I am looking forward to ourlast two visits of the year when I will be ableto share these excitements with fellow Liverymembers.

A year packed full ofexciting events and tripsOutgoing Master KEITH BARLEY reflects on his year at the helm ofthe Worshipful Company of Glaziers & Painters of Glass.

“I am very pleased to havebeen able to offer the useof Glaziers Hall to othergroups with whom I shareparticular interests.”

Master Glazier Keith Barley with his name still as the latest on the list of Masters in the Court Room.

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Remembrance as well as journeys of pilgrimsand refugees. It is by Philip Baldwin andMonica Guggisberg, and finishes on 6 January.

It would be a good way for interestedGlaziers to start thinking about the July visit,particularly as the cathedral has whatDick says is a beautiful new window in thecloisters called “The Damson Tree” designedby Hughie O’Doghue and made by GraceAlyson.

DEPARTING WORDS. The Stewards stepdown at the end of the Master’s year andonce again they have proved key membersof the Master’s team, providing kindlyassistance to members and their guests atLivery functions. It is worth recording thecomments of one of these unsung heroesabout why the Livery means so much to him.

Says BRIAN PARSONS: For me with mybackground in education there is a fusion ofideas in the Glaziers’ Company where thetraining and encouragement of newcraftsmen is foremost with the StevensCompetition, the Apprentice Scheme and theArmy Cadet awards. The link with history andceremony is demonstrated with fine dining(who could not be uplifted by the HonoraryChaplain’s evocative, pertinent, humorousand moving Graces).

Then there is the link with SouthwarkCathedral. There is the cross section of viewsand interests which flow in abundance as theGlaziers is not a “closed” livery, and of coursethere are the friendships, the social activitiesand the shared enthusiasm for stained glass.

annual presentation of certificates to thosewho have shown outstanding skills anddedication in their chosen profession. Theseawards reinforce the importance of craft skillsin the present day and the commitment tonot only maintain but advocate our crafts forthe future.

During the year we have twice hosted theInstitute of Conservation’s Stained GlassGroup. Being asked, together with mycolleague Dr Alison Gilchrist, to jointly givethe keynote address at the ICON Conferencein May was a great pleasure. The grouprecently returned for its annual generalmeeting on the afternoon of my Master’sLecture, “Man in a Red Hat”, on a subjectvery dear to me, the remarkable late medievalglazing scheme in St Mary’s Church, Fairford.

Important workWhilst enjoying the role of Master I have

continued to support all the committeeswhich undertake such important work onbehalf of the Livery in supporting our art andcraft. I was pleased that the Glaziers Trusthas chosen to make a new annual award forconservation work in memory of our latesecretary, Dr Neil Moat, and was delighted ithas continued to support the work of theCrafts and Competitions Committee,especially the Ashton Hill Awards and Awardfor Excellence, giving early career practitionersthe chance of valuable work experience.

We have enjoyed hosting many of theawardees at Barley Studio over the years,offering our training and expertise in returnfor the chance to work with these greatstudents, several of whom have gone on tojoin our team.

I believe the greatest achievement of theyear is the inauguration of our Liveryassociation with RAF 611 Squadron. On apersonal note, my father joined the RAFstraight from school and served until hispremature death. This led to me joining otherboys who had lost their fathers at the RAFBenevolent Fund Boarding School atVanbrugh Castle, overlooking Greenwich Park.

The Lord Mayor is encouraging all liverycompanies to form associations with the RAF,and I am delighted that we have been able tomake this partnership with RAF 611 Squadronduring my Master’s year, in the centenary yearof the Royal Air Force.

Newly refurbishedAnd finally, I could not end without some

heartfelt thanks to all those who havesupported me during the year, especially ourClerk Alison Evans and my great friend andcolleague Helen Whittaker, who has attendedmany events with me as well as keeping ourstudio running back in York!

I indeed have been honoured to representthe Worshipful Company of Glaziers &Painters of Glass this year. Entering the newlyrefurbished Glaziers Hall as part of the Liveryprocession back in November, it wasespecially wonderful to see so many PastMasters present to offer their support at thestart of my year in office, and I hope I havelived up to their expectations. As a practisingglazier, I feel particularly privileged to lead thisancient Livery, supporting the art and craft ofstained glass which are so dear to my heart.�

LIVERY NOTESNEW FREEMEN. Congratulations to:Martin Donlin (designer and maker ofarchitectural stained glass), Lt SamuelFields RN (serving officer), Liliana Pasterska(consultant psychiatrist), Chris Wilson(charity sector), Neil Parsons (windowconstruction), Oliver Plummer (accountant).

NEW LIVERYMEN. Congratulations toSusan Keane and Nicholas Chapman.

AUTUMN LIVERY DINNER. Principal guestspeaker Air Commodore Jeremy Woodingspoke to mark the new link between theGlaziers’ Company and 611 Squadron,Royal Auxiliary Air Force. Other guests werethe Master Tyler and Bricklayer, Master ArtScholar, Master Plaisterer, Master Mason,Master Joiners and Ceilers, and MasterMerchant Taylor of York. Among the otherguests were Alderman Alison Gowman andProfessor Christine Dean (psychiatry).

PREVIEW OF THE NEW MASTER’S VISITTO CANTERBURY. For those attracted bythe idea of the Master’s visit to Canterburyin July 2019, Dick Bolton brings to members’attention the fact that the cathedral currentlyhas a “fascinating” exhibition called “Underan equal sky” consisting of 10 elements,mostly in blown glass, commemorating

Glaziers’ representatives gather after the blessing by the Rt Rev Paul Mason, assistant bishop to theArchdiocese of Southwark, of the window from the Stained Glass Repository installed at St Anselm’sRC Church. Caroline Shaw, Vivienne Lester, David Lester, Michael Dalton, Brian Green and AnnHollywood with the brass plaque recording the donation of the window.

The Glazier • Autumn 2018Page 12

coach across spectacular scenery andarriving in balmy sunshine in the mid-afternoon. This beautiful old city, with itsnarrow, medieval cobbled streets risingand twisting ahead of us, tempted us toexplore it at once.

Girona straddles the river Onyar withthe walled medieval part to the south andthe busy commercial and business heart tothe north. Over the centuries Girona hasbeen inhabited by Moors, Catholics andJews and retains one of the best-preserved Jewish quarters in Europe.

It has apparently undergone 25 sieges.Some of us saw evidence of this when wewere privileged to climb up on to thecathedral’s clerestory roof where we sawthe bullet holes from a Frenchbombardment in the 19th century.Unsurprisingly it is surrounded by stoutmedieval walls complete with watchtowers on three sides (the river being abarrier on the fourth).

The walls date from Roman times andcontain the longest sections of Carolingianwalls in Europe (9th century). Those of uswho walked them enjoyed spectacularviews of the city below and the distantcountryside as far as the Pyrenees.

Today Girona wears its Catalan colourson its sleeves, its balconies, and even on itsdogs’ collars. Four red stripes on a yellow flagare based on the coat of arms of the RoyalHouse of Aragon. the meaning of whichaccording to legend, date from the 9th century.

Legend has it that in 897, during the siegeof Barcelona by Mohammed, the Moorishgovernor of Lleida, the four red bars weredrawn on the golden shield of Wilfred I theHairy (Count of Barcelona) by the blood-drenched fingers of King Charles, blood fromthe count’s war wounds, as an act ofgratitude. Today the flag representsCatalonia’s fierce and proud independence.

We also saw everywhere in Girona yellowribbons waving from trees and tied tobridges. They indicate the city’s support forprisoners of conscience – especially oneimagines – a particular Catalonian.

Street names, menus and museum labelsare written both in Spanish and Catalan andmost locals converse only in Catalan, so afteran initial “Hola” one felt in rather deep water.Fortunately, we had some fluent Spanishspeakers amongst us who were able to helpwhen we were floundering.

Our comfortable hotel, the Ultonia, waswell located in the modern part of the cityand coped successfully with our party of 55.We ate our first evening meal here and werewarmly welcomed and given an introductionto Girona by the mayor, Marta Madrenas, andby art historian Dr Miguel Angel Fumanal.

A large and friendly group of Glaziersattended the Master’s visit to Girona inSeptember, travelling by plane, train and

Catalonia’s historicallymulti-cultural city

SUSAN MATHEWS reports on the Master’s visit to Girona.

The River Onyar divides the city of Girona. (This and all the other pictures in this article were taken bySusan Mathews and Sarah Brown.)

A rooftop view of Girona in the balmy sunshineas the Glaziers began their encounter with thecity’s distinctive character and art treasures.

What the Glaziers saw when looking towards thecathedral of Santa Maria from Girona’s medievalwalls.

Even the dogs in Girona display the Catalancolours.

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The Glazier • Autumn 2018 Page 13

We were each presented with a bag ofguide books and maps of the city, with a smallbottle of local liqueur for the gentlemen, and afan for the ladies, all of which proved invaluable.

The Master was presented with a smallstained glass panel made by Anna SantolariaTura, a resident of Girona, and former MAstudent of stained glass conservation andheritage management at the University ofYork. Anna is the author of a book on thefamous Girona Glazier’s Table, the subject ofher MA dissertation, which we were to seethe next day.

The cathedral of Santa Maria, otherwiseknown as Girona Cathedral, is partRomanesque and part Gothic and proudlyboasts the widest Gothic nave in the world(72 feet). The western approach to it isundoubtedly impressive but somewhatdaunting, owing to a climb of some 70sweeping steps!

The cathedral and the Art Museum ofGirona were the focus of our first day. Ourparty was divided in two and we were eachgiven headsets and subsequently enjoyedexcellent guided tours. Once we hadestablished whether we needed to be onchannel 1 (cathedral) or channel 2 (ArtMuseum), we were good to go.

In the Art Museum we were treated to anexcellent guided tour by the director, Dr CarmeClusellas. The highlight (for the Glaziersamongst us) was the early 14th centuryglazing table whose existence is unique andwhich was used to make the windows stillextant above the apse in the cathedral.

Thanks to Anna’s research and renewedinterest in the table, a special room in themuseum has now been dedicated to theglazing table itself, together with a display ofglaziers’ tools and some fragments of 14thcentury windows from the cathedral, still intheir original lead. We were very fortunate tohave Anna with us to explain it to us and to

Girona Glazier’s Table detail.

14th century window in the cathedral clerestorywith elements designed and made on the GironaGlazier’s Table.

Santa Maria Cathedral’s west rose window depicting the Ascension of the Virgin Mary. Designed byFrancesc Saladriga, made by Aloi Xifreu in 1732.

The medieval Girona Glazier’s Table whose existence is unique.

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The Glazier • Autumn 2018Page 14

relate it to the actual windows in the cathedral.We benefited hugely throughout the weekendfrom the part Anna played in planning andorganising the events and visits we enjoyed.

Inside the cathedral we were privileged tohave access to the high altar, baldachin(canopy) and reredos (altar piece). Thereredos of silver panels illustrating old andnew testament scenes decorated with enameland precious stones was spectacular. Whenseen at close quarters it is hard tocomprehend how these works of art could becreated at such an early date.

In the Cathedral Treasury Museum wesaw many more spectacular works of art, butperhaps the loveliest was an 11th centurytapestry (3.67 x 4.7 m), known as a baldachin,embroidered in coloured wools and depictingthe Creation story. We were held spellboundby the guide’s description of it. A visit to the12th century cloisters and its wonderfulcapitals (wide crowns to columns) completedour cathedral visit, by which time we wereready for the excellent lunch waiting for us inthe Bau Bar restaurant adjacent to thecathedral.

In the afternoon and evening we were freeto enjoy other individual visits such as theArab Baths, the church of St Felix, the CasaMaso, the Rambla (the city’s place to stroll)and the city walls. For those who visited theCasa Maso, the house overlooking the RiverOnyar designed and occupied by thearchitect Rafael Maso (1880-1935), it was atreat. A contemporary of Gaudi, he was

definitely more sober and less fantastical inhis conceptions, but he had style, flair andingenuity and his leaded windows werecharming.

On Saturday we took a coach to visit LaVinyeta, a vineyard in the Alt Emporda regionabout an hour and a half drive from Girona.One of the principal wines of the vineyard isPuntiapart which means the end of a longjourney and this indeed is an appropriatemoniker for the young creator and owner ofthe vineyard, Josep, and his wife. Founded in2002 and from tiny beginnings, it has becomea virtual empire.

There are not only wines for sale but alsoolive oil, eggs from their own hens, honeyfrom their own bees and wine vinegar fromtheir surplus wine, with a sheep’s cheesesoon to be added to their lines.Entrepreneurial does not begin to cover it.

We were guided around this empire bythe owner to see all the wonders he haswrought out of what was said to beunpromising land. Modest and charming, hissuccess is very well deserved. We weretreated to a wonderful buffet lunch in theopen air including Spanish omelettes with thevineyard’s own eggs and accompanied bywines from the vineyard. Each wine label isa work of art in itself.

What could be better? In fact, the finaldinner at the Casino restaurant! Could wemanage another wonderful meal? Yes, wethought we could. Guests of the Masterwere the Bishop of Girona, Francesc Pardo;Dr Carme Clusella, director of the ArtMuseum; and Gustavo Torras and Joan Pinya,from Girona Cathedral.

An address by long-serving former mayorJoaquim Nadal painted his vision of thedistinctive character of Girona and its arttreasures, followed by an entertaining speechby the Master, resplendent in his jewel. Wewere then treated to a true gala dinner – allseven courses of it! – rounded off by anelegant vote of thanks and a rousing toastby Past Master Roger Shrimplin, whichcompleted a very successful and enjoyableweekend. �

Cathedral cloister 12th century.

La Vinyeta vineyard with guide and owner Josep –hats supplied.

Gala dinner with the Bishop of Girona, Francesc Pardo, the Master and former mayor Joaquim Nada.

Glazed doors in the Casa Mosa, architect RafaelMosa (1880-1932).

An early 14th century reredos in the cathedral.

The Glazier • Autumn 2018 Page 15

RICHARD CARDWELL:We very muchenjoyed our visit and guided tour. This wasour second visit to Girona so that we gotto see more of the city. The company, asexpected, was as friendly as ever and wevery much enjoyed the al fresco lunch.We had hoped for more glass but what wesaw was beautiful.

FROM JOHN WATSON: Averil and Ithoroughly enjoyed all aspects of our visitto Girona, particularly the cathedral andthe ancient glazing table. We especiallyenjoyed the long relaxed lunch in theshade at the vineyard with our mostengaging host, the vineyard owner. Thegala dinner will live long in our memoriesas we were lost with two fellow Glaziersand spent an hour searching the streets ofGirona for the venue, the elusive casino.

We found two casinos, regrettably closedand shuttered, before receiving a phone callwith directions to the correct location.Expecting to arrive in time for pudding, wewere delighted to find that the meal had notstarted and we had, “regrettably”, missed avery long speech of welcome!

We also took the opportunity, being soclose to Barcelona, to visit the Gaudicathedral, the Sagrada Familia, and see thestunning interior so different from when wewere last there many years ago.

FROM PAT BAGSTER: The highlight for mewas the Saturday trip taking us close tothe French border to visit El Puntiapart,a vineyard run by a local entrepreneur andhis wife with no previous experience ofgrapes. On arrival we were loaned a sunhat to fend off the late summer sunshineand offered a liquid sample of the harvest.

Despite the local villagers who foresawnothing but failure, the owner was ensuringthe enterprise was thriving by keepingexpenses down wherever possible. Oneexample of his thrift being cutting the cost offertilizer by raising his own chickens, whichin turn produced the vineyard’s home grownsoil enrichment.

It was no surprise to find chicken kebabsand tortilla on the lunch menu alongside theexpected smoked sausages, salads and cheese.

The eye-catching labels on the red winebottles must surely have boosted sales. Thesudoku printed on the red wine bottle keptme quiet for hours.

FROM VIVIENNE LESTER:We all loved thewalled city of Girona with its fascinatingmonuments, picturesque streets andwonderful restaurants, but the environs ofthe city should not be forgotten.

For a few hours on Sunday morning, Davidand I walked out of the city to the Hermitageof San Miquel high in the hills above the city.This amazing place was built in the 15thcentury although its origins go back to 1024.It was fortified in the Siege of Girona in 1808during which it was largely destroyed.

In 1848 the remains were used in theconstruction of two optical telegraphy towersand their value was proven in the War of theMatiners 1846-9. However, by 1856 theelectrical telegraph wire was functioning,and the towers were handed over to the civilguard. Soon after they were abandoned.In 2003 the City and Regional Councils ofGirona refurbished the remains of the cistern,the moat and interior of the church.

A lovely walk, superb views over anenchanting city, then a return for anothersplendid lunch in great company. Long livethe Glaziers!!!! �

Comments from someof the participantsFROM RICHARD BETTINSON:Wethoroughly enjoyed our visit to Girona,which is a charming city. Particularhighlights for us (apart from the cathedraland its museum) were the Jewish Museumand the Casa Maso, but we also enjoyedgoing around the Mercat del Lleo with allits local produce and the visit to the LaVinyeta vineyard, whose owners were sowelcoming to such a big crowd of Glaziers.

We will also long remember the food,especially dinner at the Massana Restaurant(organised by David Ball), which was one ofthe best we have ever had. All in all, amemorable trip and a highlight of theMaster’s year.

FROM ROSALIND WOOLLARD: The highlightof the trip for us was the visit to the tristory(or should that be triforium) with itsdifferent perspective on the vast nave andthe windows. The old city of Girona addeda picturesque backdrop to the visit. Asusual the company was enjoyable. The galadinner was an experience to rememberwith its endless unnamed courses, butperhaps not a highlight.

Wherever the visiting Glaziers looked, Girona’s history towered over everything.

DIFFERENT PERSPECTIVESON THE VISIT TO GIRONA

With the red wine here the labels on the bottleswere just as potent as the contents of the bottles.

Glaziers conserve their energy in Girona.

Hoisting the Catalan flag – albeit nothingrevolutionary.

The Glazier • Autumn 2018Page 16

A. There are a number of points in answer toyour question.

I am very keen to increase the Liveryinvolvement with, and support for, the art andcraft. We are very fortunate among theLiveries in having a craft that is still relevantand vibrant, both as regards the restorationand preservation of a long and rich history butalso modern artists developing and expandingthe art form in ways that their ancientpredecessors would never have dreamed of.

I have a particular enthusiasm foreducation (appropriately structured andtargeted) and I am extremely pleased with theprogress that the C&CC has made informalising our Apprenticeship Scheme.

With the incentive of government moneyavailable, the committee, in conjunction withthe BSMPG, built upon the BSMPG’s earlierwork on this. And finally with great help fromthe Swansea School of Glass, the committeeproduced a formal Apprenticeship Schemewhich was accepted by the Livery CompaniesSkills Council and which funded threeapprentices. I am hopeful that we candevelop this qualification further.

I believe my first formal engagement iswith Keith in the mess of 611 Squadron! I havea great liking for the sea and there is an earlyinitiative from a number of Glaziers for us todevelop links with a Royal Naval vessel. Thiswould complete our association with thethree services and I am keen to support this.

Q. Having been an office holder in theLivery and committee chairman, as wellas having had time as a Warden, whatobservations have you to make of theLivery from these vantage points?

A. My main impression is that the Livery is anunusual body of friendly and diverse people.An environment I enjoy enormously.

My committee experience is mainly withthose who fund our activities in supportingthe craft, principally through education in abroad sense, and preserving historic glass.I believe that our limited resources are welland professionally targeted.

I have experienced first hand within theLivery where funds have been deniedbecause of the professional quality of whatwas proposed was not deemed appropriateor of a sufficient standard. Funds are certainlynot spent just because they are there. Ourown efforts are supported by a large numberof people who give freely of their time, whichI find very impressive.

Q. What would you like to achieve in youryear of office?

A. Following my answer above on theeffectiveness with which we apply limitedfunds, it is very clear that these funds arelimited. I have no doubts that we could applyconsiderably more funding, equally effectively,in all the activities we undertake. So I wouldlike to focus on raising more resources.

I believe that the formalisation of aGlaziers’ Apprenticeship Scheme is veryuseful progress and I strongly support effortsto develop this initiative further

I also hope that my visits will beinteresting. There will be some sea and boatsand, by the end, quite a lot of glass!

Q. The Livery has begun to significantlybuild on its already diverse nature – interms of people’s current and past workand backgrounds – particularly through theefforts of David Stringer-Lamarre and hisMDS Committee, e.g. the very successfulevening event with the Institute ofDirectors City of London Branch, whichyou attended. How do you see yourselfencouraging the momentum of thisdevelopment?

A. I strongly support David’s efforts,successful efforts, in this direction. Initiativeslike this need to be thoughtfully targeted tobe successful, which this one was.

Much as we would like to expand it isalways with the proviso that new Freemenwill feel at home in the ethos of the Companyand will contribute to its activities. So I wouldcertainly support further such initiatives butam under no illusions that they produceeasy results.

Caroline has a general concept of turningher Ladies Lunch into such an initiativealthough I don’t think David is aware of thisyet! �

INTRODUCING ANDY LANE,INCOMING MASTER OF THEGLAZIERS’ COMPANY

Andy Lane joined the Livery in 1977 andwas a Steward and later chairman of theCraft & Competitions Committee beforeeventually becoming Upper Warden. Hecurrently works with his wife Caroline ata media auditing consultancy which theyjointly founded. Caroline has hadconsiderable experience in the mediafield at a senior level. Andy also runs asmall corporate finance company, AuroraM&A Solutions.

Andy also had a career in management.He graduated from Balliol College, Oxford withan MA in engineering science. After completinggraduate training at Ford of Europe he tookan MBA at Harvard. He then developedorganisation-line experience at Ford ofEurope, ADT and TI Group, and managementconsultancy experience at Accenture andErnst & Young. He also has small companyexperience having, amongst others, runpackaging and double glazing businesses.

Interview with theincoming MasterQ. The position of Master in the Livery isheld by people either during the latter partof their career or in retirement. Lookingback at your education and career,including what you are doing now, whatelements will you be drawing upon in yourapproach to the role of Master and howyou particularly want to operate?

A. Hopefully organisational and commercialskills will be useful. My artistic career wasstifled at a young age. I told the C&CC whenI took over as chairman that I believe I have avery liberal view of the world and that theyshould feel free to discuss anything theybelieved relevant. Except for one thing whichwas the chair’s O Level result for art. One ofthe few exams I’ve failed. I was robbed, ofcourse, I’d had the form prize for art for theprevious two years!

Q. Your predecessor, Keith, wasresponsible for a number of initiatives,e.g. getting the status of conservators inthe craft to be put on the same level asthat of artists, and the new link with theRAF. How do you see yourself continuingwith these initiatives?

Published by the Worshipful Company of Glaziers and Painters of Glass. © Glaziers’ Company 2018.Alison Evans, Clerk, Glaziers Hall, 9 Montague Close, London Bridge, London SE1 9DD.

Telephone/Fax: 020 7403 6652; www.worshipfulglaziers.com; e-mail: info@worshipfulglaziers.com

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Andy Lane, incoming Master of the WorshipfulCompany of Glaziers & Painters of Glass – animpression that the Livery is an unusual body offriendly and diverse people.