In the afterword to this issue, Isobel Armstrong reflects on a phenomenology of nineteenth-century stained glass.
在这期的后记中，伊莎贝尔·阿姆斯特朗反思了19世纪彩色玻璃的现象学。
{"title":"Stained Glass: An Afterword","authors":"Isobel Armstrong","doi":"10.16995/ntn.3014","DOIUrl":"https://doi.org/10.16995/ntn.3014","url":null,"abstract":"In the afterword to this issue, Isobel Armstrong reflects on a phenomenology of nineteenth-century stained glass.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78413481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores one of the predominant themes in nineteenth-century stained glass: the urge to assemble collections of individual figures into genealogies of spiritual or institutional descent. Beginning with the importance of saints in ecclesiastical stained glass, it argues that this tradition both diversified in the Victorian religious marketplace but also spilled over into non-religious contexts — civic buildings, libraries, and the like — both in Britain and further afield. The stylistic vocabulary and connotations of the Gothic Revival allowed architects and designers to invest what were often very new settings with a sense of reverence and borrowed antiquity, as well as allowing older institutions to assert their lineage. Individual figures — saints in all but name — were at the very centre of this phenomenon. While in one sense this represents the effective secularization of a sacred form, this article suggests instead that stained glass allowed aspects of the sacred to seep into new settings, sometimes incongruously, but more often in ways that shaped people’s experiences of and emotional reactions to them.
{"title":"‘So great a cloud of witnesses’: Shaping Sacred Space in the Victorian Anglo-World","authors":"G. Atkins","doi":"10.16995/ntn.2953","DOIUrl":"https://doi.org/10.16995/ntn.2953","url":null,"abstract":"This article explores one of the predominant themes in nineteenth-century stained glass: the urge to assemble collections of individual figures into genealogies of spiritual or institutional descent. Beginning with the importance of saints in ecclesiastical stained glass, it argues that this tradition both diversified in the Victorian religious marketplace but also spilled over into non-religious contexts — civic buildings, libraries, and the like — both in Britain and further afield. The stylistic vocabulary and connotations of the Gothic Revival allowed architects and designers to invest what were often very new settings with a sense of reverence and borrowed antiquity, as well as allowing older institutions to assert their lineage. Individual figures — saints in all but name — were at the very centre of this phenomenon. While in one sense this represents the effective secularization of a sacred form, this article suggests instead that stained glass allowed aspects of the sacred to seep into new settings, sometimes incongruously, but more often in ways that shaped people’s experiences of and emotional reactions to them.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87773148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A review of the William Blake exhibition at Tate Britain, 11 September 2019–2 February 2020.
2019年9月11日至2020年2月2日，泰特美术馆威廉·布莱克作品展回顾。
{"title":"Review of William Blake at Tate Britain: 'For the pictures'","authors":"Susan M. Matthews","doi":"10.16995/ntn.2951","DOIUrl":"https://doi.org/10.16995/ntn.2951","url":null,"abstract":"A review of the William Blake exhibition at Tate Britain, 11 September 2019–2 February 2020.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83672489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nineteenth-century English stained glass has produced a rich corpus of works mainly produced by the many large and well-known Victorian studios. One group of artisans who can add much to the current debate on nineteenth-century stained glass are amateurs. However, almost every scholarly publication discussing stained glass or nineteenth-century material culture has ignored this minority group. Driven by the rejection of mass-produced windows that predates the well-known innovations of the Arts and Crafts Movement, this article is part of ongoing research and it discusses the cultural and social significance of nineteenth-century amateur windows in Anglican churches. Influenced by the Gothic Revival and the ideologies of the Oxford Movement and the Ecclesiologists, the range of amateur individuals is extremely diverse and most had a close connection with the Anglican Church. Inspired by religious literature, women amateurs, in particular, played an important sociocultural role striving for the demands of paid employment, training, education, and access to the professions. A small selection of case studies will explore some of the discovered amateur windows. The article will raise arguments in the context of Victorian religious material and visual cultures and will discuss the art of personalized making.
{"title":"Amateur Stained Glass in English Churches, 1830-80","authors":"T. Kupper, H. Küpper","doi":"10.16995/ntn.2895","DOIUrl":"https://doi.org/10.16995/ntn.2895","url":null,"abstract":"Nineteenth-century English stained glass has produced a rich corpus of works mainly produced by the many large and well-known Victorian studios. One group of artisans who can add much to the current debate on nineteenth-century stained glass are amateurs. However, almost every scholarly publication discussing stained glass or nineteenth-century material culture has ignored this minority group. Driven by the rejection of mass-produced windows that predates the well-known innovations of the Arts and Crafts Movement, this article is part of ongoing research and it discusses the cultural and social significance of nineteenth-century amateur windows in Anglican churches. Influenced by the Gothic Revival and the ideologies of the Oxford Movement and the Ecclesiologists, the range of amateur individuals is extremely diverse and most had a close connection with the Anglican Church. Inspired by religious literature, women amateurs, in particular, played an important sociocultural role striving for the demands of paid employment, training, education, and access to the professions. A small selection of case studies will explore some of the discovered amateur windows. The article will raise arguments in the context of Victorian religious material and visual cultures and will discuss the art of personalized making.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88465524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The introduction to this issue of 19 takes the form of a roundtable discussion between the guest editors Dr Jasmine Allen (The Stained Glass Museum), Dr Gareth Atkins (Queens’ College, Cambridge), and Dr Kate Nichols (Birmingham). Each contributor reflects on the research potential of stained glass in their respective fields and the reasons for its neglect; together, they will also consider the fresh issues and questions raised by the cross-disciplinary discussions that the project has sought to facilitate. In doing so, they seek both to highlight the necessity of reappraising this neglected art form and its as yet untapped possibilities as an evolving research area.
{"title":"Reframing Stained Glass in Nineteenth-Century Britain: Culture, Aesthetics, Contexts","authors":"Jasmine Allen, G. Atkins, Kate Nichols","doi":"10.16995/ntn.3013","DOIUrl":"https://doi.org/10.16995/ntn.3013","url":null,"abstract":"The introduction to this issue of 19 takes the form of a roundtable discussion between the guest editors Dr Jasmine Allen (The Stained Glass Museum), Dr Gareth Atkins (Queens’ College, Cambridge), and Dr Kate Nichols (Birmingham). Each contributor reflects on the research potential of stained glass in their respective fields and the reasons for its neglect; together, they will also consider the fresh issues and questions raised by the cross-disciplinary discussions that the project has sought to facilitate. In doing so, they seek both to highlight the necessity of reappraising this neglected art form and its as yet untapped possibilities as an evolving research area.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90480420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This photoessay presents a number of carefully chosen images of stained glass, found both in Britain and its former colonial empire, in order to provide an impression of the range and type of window that engaged colonial/imperial subject matter during the Victorian and Edwardian periods. These images are accompanied by a short analytical overview, supported with critical commentaries on each image (or set of images). The images are arranged with a view to highlighting how certain themes of concern to Victorian society were communicated, such as civilizational advancement, material improvement, moral and spiritual edification, the pioneering impulse, and the appropriation and symbolic reassignment of local contexts (such as non-European flora and fauna). The aim of the essay is to offer some insights on how stained glass might be understood as a medium through which cultural values were transmitted and reinforced afar, and imperial ideals were displayed and maintained at ‘home’. Notions of spectacle, sacrifice, heroics, duty, history, and trusteeship emerge as some of the key and recurring tropes and mechanisms that stained glass (as a medium) aspired to employ to great effect. The essay also touches upon the processes behind the procurement and transportation of stained glass across the world, considering which manufacturers were involved and in what capacity. In the context of global and imperial commercialization, it highlights how the material and medium of stained glass may be seen as a category/object through which cultural, industrial, and commercial networks were established across the British world.
{"title":"Colonial Themes in Stained Glass, Home and Abroad: A Visual Survey","authors":"G. Bremner","doi":"10.16995/ntn.2900","DOIUrl":"https://doi.org/10.16995/ntn.2900","url":null,"abstract":"This photoessay presents a number of carefully chosen images of stained glass, found both in Britain and its former colonial empire, in order to provide an impression of the range and type of window that engaged colonial/imperial subject matter during the Victorian and Edwardian periods. These images are accompanied by a short analytical overview, supported with critical commentaries on each image (or set of images). The images are arranged with a view to highlighting how certain themes of concern to Victorian society were communicated, such as civilizational advancement, material improvement, moral and spiritual edification, the pioneering impulse, and the appropriation and symbolic reassignment of local contexts (such as non-European flora and fauna). The aim of the essay is to offer some insights on how stained glass might be understood as a medium through which cultural values were transmitted and reinforced afar, and imperial ideals were displayed and maintained at ‘home’. Notions of spectacle, sacrifice, heroics, duty, history, and trusteeship emerge as some of the key and recurring tropes and mechanisms that stained glass (as a medium) aspired to employ to great effect. The essay also touches upon the processes behind the procurement and transportation of stained glass across the world, considering which manufacturers were involved and in what capacity. In the context of global and imperial commercialization, it highlights how the material and medium of stained glass may be seen as a category/object through which cultural, industrial, and commercial networks were established across the British world.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84991449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This issue of 19 Live explores how four house museums have navigated the challenges and opportunities of curating the nineteenth century in lockdown.
本期《19 Live》探讨了四家博物馆如何在封锁的情况下应对19世纪的挑战和机遇。
{"title":"Introduction to 19 Live","authors":"V. Mills","doi":"10.16995/ntn.3010","DOIUrl":"https://doi.org/10.16995/ntn.3010","url":null,"abstract":"This issue of 19 Live explores how four house museums have navigated the challenges and opportunities of curating the nineteenth century in lockdown.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"69 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89498869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Livingstone Online is a digital museum and library that provides a global audience with public access to the vast written and visual legacies of David Livingstone (1813–1873), the British Victorian explorer of Africa. The site’s manuscripts span Livingstone’s adult life, ranging from family correspondence written in the 1830s to the field diaries of the 1870s composed in the Congo Basin. Additional illustrations, photographs, and other materials encompass nearly two centuries of relevant historical and contemporary sources. Over the course of Livingstone Online’s fifteen-year development, the project has made significant contributions to scholarly conversations and public knowledge about British imperial history and African history, and has become a leader in the field in developing best practices for the digitization and digital publication of manuscript material and images from the ‘global south’. In February 2020 three members of the project team gathered online to discuss the site’s latest edition — Livingstone’s Missionary Travels Manuscript (1857) — and the wider development of Livingstone Online as a nineteenth-century digital humanities project over the last decade and a half. Adrian Wisnicki (University of Nebraska-Lincoln) is the director of Livingstone Online; Kate Simpson (University of Glasgow) is an Associate Project Scholar who has contributed to each of the site’s critical editions; and Justin Livingstone (Queen’s University Belfast) is the joint director (with Wisnicki) of Livingstone’s Missionary Travels Manuscript (1857).
{"title":"A Conversation about Livingstone Online and the Victorian Record of African Exploration","authors":"K. Simpson, J. Livingstone, Adrian S. Wisnicki","doi":"10.16995/ntn.2934","DOIUrl":"https://doi.org/10.16995/ntn.2934","url":null,"abstract":"Livingstone Online is a digital museum and library that provides a global audience with public access to the vast written and visual legacies of David Livingstone (1813–1873), the British Victorian explorer of Africa. The site’s manuscripts span Livingstone’s adult life, ranging from family correspondence written in the 1830s to the field diaries of the 1870s composed in the Congo Basin. Additional illustrations, photographs, and other materials encompass nearly two centuries of relevant historical and contemporary sources. Over the course of Livingstone Online’s fifteen-year development, the project has made significant contributions to scholarly conversations and public knowledge about British imperial history and African history, and has become a leader in the field in developing best practices for the digitization and digital publication of manuscript material and images from the ‘global south’. In February 2020 three members of the project team gathered online to discuss the site’s latest edition — Livingstone’s Missionary Travels Manuscript (1857) — and the wider development of Livingstone Online as a nineteenth-century digital humanities project over the last decade and a half. Adrian Wisnicki (University of Nebraska-Lincoln) is the director of Livingstone Online; Kate Simpson (University of Glasgow) is an Associate Project Scholar who has contributed to each of the site’s critical editions; and Justin Livingstone (Queen’s University Belfast) is the joint director (with Wisnicki) of Livingstone’s Missionary Travels Manuscript (1857).","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79219379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Between 1850 and 1920 Britain saw an explosion in the use of decorative glazing in all types of public buildings. The enormous impact and significance of decorative glass produced for the palaces of commerce, civic pride, and recreation in cities and towns throughout Britain, with its connotations of opulence and luxury, has so far been largely overlooked. Rochdale, part of Greater Manchester, was a booming industrial town in the nineteenth century due to its cotton industry and became home to much impressive architecture, such as the Rochdale Library, Museum, and Art Gallery (collectively, now Touchstones), originally opened as a public library in 1884. The library contained a wealth of stained glass, now removed, which comprised imagery of significant local and national figures including a window dedicated to women authors. The art gallery and museum still contains glass by the important Manchester firm run by W. J. Pearce, which can be found on the staircase and by the entrance. The combination of mouth-blown and machine-made glasses used in the schemes reveals new ways of thinking about glass in architecture of the period and the role of stained glass as a relevant contemporary art form.
{"title":"Stained Glass and the Victorian Town: Rochdale Library, Museum, and Art Gallery","authors":"Veronica Smith","doi":"10.16995/ntn.2898","DOIUrl":"https://doi.org/10.16995/ntn.2898","url":null,"abstract":"Between 1850 and 1920 Britain saw an explosion in the use of decorative glazing in all types of public buildings. The enormous impact and significance of decorative glass produced for the palaces of commerce, civic pride, and recreation in cities and towns throughout Britain, with its connotations of opulence and luxury, has so far been largely overlooked. Rochdale, part of Greater Manchester, was a booming industrial town in the nineteenth century due to its cotton industry and became home to much impressive architecture, such as the Rochdale Library, Museum, and Art Gallery (collectively, now Touchstones), originally opened as a public library in 1884. The library contained a wealth of stained glass, now removed, which comprised imagery of significant local and national figures including a window dedicated to women authors. The art gallery and museum still contains glass by the important Manchester firm run by W. J. Pearce, which can be found on the staircase and by the entrance. The combination of mouth-blown and machine-made glasses used in the schemes reveals new ways of thinking about glass in architecture of the period and the role of stained glass as a relevant contemporary art form.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88377491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The recovery of the ‘true principles’ of stained glass as an integral part of the Gothic Revival of the nineteenth century grew out of a complex relationship between restoration, reinvention, and startling creativity. The tensions between craft, commerce, art, and scholarship were quick to surface in Victorian debates about restoration, and the descriptions of earlier nineteenth-century restoration practices found in the relevant literature in the years from c. 1900 onwards, much of it derogatory, imply that there was a homogeneous approach to stained glass restoration that could be described as both ‘Victorian’ and destructive. Infamous restorations, such as the Betton and Evans work at Winchester College, have been compared (unfavourably) to the projects in which pioneering stained glass scholar Charles Winston exerted an ‘enlightened’ influence. This article considers to what extent, and why, medieval stained glass required restoration by the Victorians, and to what extent they rescued rather than diminished an endangered heritage. It discusses the surprising variety of approaches adopted across the period, and to what extent these principles and approaches have shaped and influenced modern practice. It will also suggest that by the turn of the twentieth century the proponents of stained glass and its restoration, predominantly artists, were beginning to lose touch with an increasingly science-based understanding of the underlying causes of stained glass deterioration, factors that are also now undermining the survival of our nineteenth-century stained glass inheritance. In many late twentieth-century restorations of ancient stained glass, the work of Victorian restorers was ruthlessly stripped away, usually with little, if any, documentation. A proper understanding of the significance and impact of this complex history is essential if we are to conserve historic stained glass responsibly and ethically, a challenge that now extends to the conservation and protection of the works of the Gothic Revival as well.
{"title":"Medieval Stained Glass and the Victorian Restorer","authors":"Sarah Brown","doi":"10.16995/ntn.2901","DOIUrl":"https://doi.org/10.16995/ntn.2901","url":null,"abstract":"The recovery of the ‘true principles’ of stained glass as an integral part of the Gothic Revival of the nineteenth century grew out of a complex relationship between restoration, reinvention, and startling creativity. The tensions between craft, commerce, art, and scholarship were quick to surface in Victorian debates about restoration, and the descriptions of earlier nineteenth-century restoration practices found in the relevant literature in the years from c. 1900 onwards, much of it derogatory, imply that there was a homogeneous approach to stained glass restoration that could be described as both ‘Victorian’ and destructive. Infamous restorations, such as the Betton and Evans work at Winchester College, have been compared (unfavourably) to the projects in which pioneering stained glass scholar Charles Winston exerted an ‘enlightened’ influence. This article considers to what extent, and why, medieval stained glass required restoration by the Victorians, and to what extent they rescued rather than diminished an endangered heritage. It discusses the surprising variety of approaches adopted across the period, and to what extent these principles and approaches have shaped and influenced modern practice. It will also suggest that by the turn of the twentieth century the proponents of stained glass and its restoration, predominantly artists, were beginning to lose touch with an increasingly science-based understanding of the underlying causes of stained glass deterioration, factors that are also now undermining the survival of our nineteenth-century stained glass inheritance. In many late twentieth-century restorations of ancient stained glass, the work of Victorian restorers was ruthlessly stripped away, usually with little, if any, documentation. A proper understanding of the significance and impact of this complex history is essential if we are to conserve historic stained glass responsibly and ethically, a challenge that now extends to the conservation and protection of the works of the Gothic Revival as well.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"25 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86866643","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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