In Memoriam: Carola Hicks

Just as we went to print, we learned of the sad death of Carola Hicks, a former curator of the Stained Glass Museum in Ely cathedral and author of The King’s Glass: A Story of Tudor Power and Secret Art (2007), a gripping account of the glazing of King’s College Chapel in Cambridge. Her knowledge, elegance and kindness will be missed. A full obituary will follow later.

Carola Hicks, art historian and author, was born on November 7, 1941. She died of cancer on June 23, 2010, aged 68.

Fairford Finished: Twenty-five Year Long Restoration Campaign Completed 

Helen Whittaker, Denys Hodson and Keith Barley in Fairford church © Jonathan Stebbing.

Fig. 1. Helen Whittaker, Denys Hodson and Keith Barley in Fairford church © Jonathan Stebbing.

Earlier this month, parishioners and friends of the church of St Mary at Fairford (Gloucestershire) met to celebrate the completion of an astonishing twenty-five year campaign to restore its world-famous medieval windows.

Led by Chairman of the Friends, Denys Hodson, special tributes were paid to the conservator Keith Barley who began the project in 1985, and other members of his team, including the glass painter, Helen Whittaker. [Fig. 1]

The Fairford glazing was installed in a single planned campaign between 1500 and 1515, and is the most complete scheme of medieval glass in any English parish church. 


The prophet Amos, nVII.

Fig. 2. The prophet Amos, nVII.

The final two windows to be restored came from the north aisle of the church and depict Old Testament prophets holding scrolls inscribed with their creed. They face Apostles holding similar scrolls in the south aisle. 

St Sitha, nVII.

Fig. 3. St Sitha, nVII.

Window 18 (nVIII) depicts the prophets Obadiah, Daniel, Malachi and Micah in the main lights with smaller figures of an angel, St George; Martyr Saint; St Paul and St Katherine (?) in the tracery lights. Window 19 (nVII) depicts the prophets Joel, Zephaniah, Amos, and Hosea in the main lights and an angel; St Dorothy; St John the Baptist; St Thomas; St Sitha (Zita), and an angel holding a scroll in the tracery lights. [Figs. 2 and 3]

A special feature about the restoration of the Fairford windows will appear in a future issue of Vidimus.

Further Reading

  • S. Brown and L. MacDonald, Fairford Parish Church: A Medieval Church and its Stained Glass, Stroud, 2007 (revised edition)

Also of Interest

  • K. Barley (interview), ‘New Discovery of Rare Painting Technique at St Mary’s, Fairford’, Vidimus, 19
  • Heather Gilderdale Scott, ‘Christ Carrying the Cross to Calvary: east window, church of St Mary, Fairford, Gloucestershire (c.1500–1515)’, Vidimus, 9
  • Hilary Wayment, The Stained Glass of the Church of St Mary, Fairford, Gloucestershire, Society of Antiquaries of London Occasional Papers (new series), V, 1984
  • Hilary Wayment, ‘The Glaziers’ Sorting Marks at Fairford’, in P. Moore (ed.), Crown in Glory: A Celebration of Craftsmanship – Studies in Stained Glass, Norwich, 1982, pp. 23–28
  • The Fairford glazing is contextualised in terms of English medieval stained glass generally in R. Marks, Stained Glass in England During the Middle Ages, Toronto and Buffalo, 1993

 Exhibition of Renaissance Glass in Chartres

Vitraux de la renaissance à Chartrese.

Fig. 1. Vitraux de la renaissance à Chartrese.

Although Chartres cathedral is world famous for its 13th-century stained glass, other churches in the city were also glazed with beautiful windows, especially from the end of the 15th century to around 1600. While the church of Saint Aigan still retains some of its glass from this later period, fifty panels of a similar date belonging to other churches in the city were installed in the clerestory of the abbey church of St Pierre, early in the 19th century.

This glass is now on display in an excellent exhibition in the International Centre for Stained Glass at 5, rue du Cardinal Pie, 50m from the cathedral, until 31 December.

Exhibits include work by the great Parisian glass painter Jean Cousin the Younger, who also provided cartoons for the windows of Saint-Aignan in the 1540s.

Opening times are Monday-Friday 09:30–12:30 and 13:30–18:00, Saturday 10:00–12:30 and 14:30–18:00, Sunday 14:30–18:00; entry €4 (concessions €3).

The Centre International du Vitrail has published a stunning French language catalogue to accompany the exhibition. Vitraux de la renaissance à Chartese by Guy-Michel Leproux and Françoise Gatouillat has 200 pages and costs €38 plus postage.  Copies are available from the Centre shop or by post. For more information see the International Centre for Stained Glass website.


Report of Herkenrode Symposium 

Lichfield cathedral Lady Chapel windows before removal for conservation. © Dean and Chapter of Lichfield.

Fig. 1. Lichfield cathedral Lady Chapel windows before removal for conservation. © Dean and Chapter of Lichfield.

Earlier this month an international symposium on the important 16th-century Flemish windows at Lichfield Cathedral (Staffordshire) was held in London.

The glass was originally made for the Cistercian Abbey at Herkenrode in Belgium but was acquired by a British collector after the French Revolution who sold it to the cathedral in 1802. Most of the purchased glass was placed in the Lady Chapel of the cathedral between 1803 and 1805. [Fig. 1]

Hosted by the Society of Antiquaries of London, the symposium provided an ideal opportunity for stained glass historians from different periods to reassess the cultural context and significance of these hitherto neglected masterpieces.

Vidimus will be publishing abridged versions of these lectures in a special ‘Herkenrode Supplement’ planned for a future issue.

The day began with an introduction by the Dean of Lichfield who explained the scale of the conservation project and the cathedral’s commitment to preserving its unique heritage. Thereafter Keith Barley from Barley Studios described the current condition of the glass and Professor Yvette Vanden Bemden, the world’s leading expert on the Herkenrode panels, told the audience of her latest discoveries, a breakthrough reconstruction of the original Herkenrode glazing scheme. The morning session ended with Kim Woods of The Open University speaking about ‘The glass in its time – the artistic and historical context of the glass’.

The afternoon session was opened by Peter Martin of the University of York who discussed the significance of the Herkenrode glass in the context of the stained glass trade at the beginning of the 19th century, followed by Martin Ellis from the Birmingham Museum and Art Gallery who charted the career and work of the 18th-century glass-painter, Francis Eginton (1737–1805), whose windows of 1795 were removed to make way for the Herkenrode purchases.

The final speaker was the well known television broadcaster and author, Dr Michael Woods who showed his DVD, The Race to Save the Herkenrode Glass.

Bringing an impressive day to a close, the Canon Chancellor of Lichfield, the Revd. Dr Pete Wilcox, reminded the participants of the appeal to raise money for the restoration work. Information about the project is available on the Lichfield Cathedral website.

Further Reading

  • Y. Vanden Bemden. ‘The 16th-Century Stained Glass from the Former Abbey of Herkenrode in Lichfield Cathedral’, The Journal of Stained Glass, XXXII, 2008, pp. 49–90
  • Y. Vanden Bemden, and J. Kerr, with a contribution from C. Opsomer. ‘The Sixteenth-Century Glass from Herkenrode Abbey (Belgium) in Lichfield Cathedral’, Archaeologia, CVIII, 1986, pp. 189–226


Stained Glass Redisplayed in the Getty Museum, California 

North Pavilion Sculpture and Decorative Arts Galleries. © 2010 J. Paul Getty Trust, Rebecca Vera-Martinez.

Fig.1. North Pavilion Sculpture and Decorative Arts Galleries. © 2010 J. Paul Getty Trust, Rebecca Vera-Martinez.

New displays of medieval stained glass have been unveiled in one of four renovated galleries at the Getty Museum in California. According to the senior curator of sculpture and decorative arts, Antonia Bostrom, the new displays are, ‘more dense, colourful and contextualised’. Although the basic architecture of the space has not changed, the rooms feature warmer colour schemes, improved display cases and illustrated wall texts with timelines and maps. 

North Pavilion Sculpture and Decorative Arts Galleries. © 2010 J. Paul Getty Trust, Rebecca Vera-Martinez.

Fig. 2. North Pavilion Sculpture and Decorative Arts Galleries. © 2010 J. Paul Getty Trust, Rebecca Vera-Martinez.

The glass can be found in the Sacred Art, 1150–1600 gallery. Panels on show include a portrait of a clerical figure by a Swiss artist dating to c. 1520 and an early 16th-century scheme of the Crucifixion and St Christopher with a donor, probably made in Lorraine or Burgundy (France). 

Other new galleries in the North Pavilion include:  Renaissance Art in Italy and Northern Europe, 1450–1600, designed to evoke the atmosphere of studiolo, a room in which a Renaissance collector would have revelled in the study of classical antiquity; Collecting in Northern Europe, 1450–1600with a centrepiece 17th-century German Kabinettschrank, a four-sided cabinet used to store and display curiosities and works of arts; and European Glass and Ceramics, 1400–1700 with showcases of glass objects and maiolica.For more information see the Getty Museum website.

Twenty-fifth CVMA Colloquium in St Petersburg 

The Hermitage Museum, St Petersburg.

Fig. 1. The Hermitage Museum, St Petersburg.

A major international conference of stained glass historians and conservators will take place at the Hermitage museum in St Petersburg (Russia) next month.

Ever since its foundation in 1952 the Corpus Vitreaum has held international conferences to explore different aspects of the art.

The twenty-fifth Colloquium of the Corpus Vitrearum will hear speakers from Austria, Belgium, France, Germany, Great Britain, the Netherlands, Poland, Russia, Spain, Switzerland and the United States of America discuss ‘Collections of Stained Glass and their Histories’. Topics that will be discussed include the art trade in stained glass, the motives of collectors, and how some of the world’s most important museum collections were formed. Other themes will look at wartime losses and some the extraordinary journeys that individual windows have made as they have been removed, sold, installed and sold again to collectors in different countries. [Fig. 1]

Delegates from the Corpus Vitream Medii Aevi (GB) Committee will be among the speakers.

A report of the proceedings will appear in a later issue of  VidimusA complete volume of all the papers will also be published, hopefully in 2011.

The main sessions will be:

Monday 5 July

  • David King (Great Britain): ‘Early Collections of Stained Glass in Norfolk from the Reformation to Hampp and Stevenson’.
  • Zsuzsanna van Ruyven-Zeman (Netherlands): ‘Collections of Stained Glass in Dutch Museums’.
  • Antoni Vila Delclos (Spain): ‘L’histoire des collections de vitraux en Catalogne’.
  • Elisabeth Pillet (France): ‘Les collections des peintres verriers’.

Tuesday 6 July

  • Elizabeth Carson Pastan (USA): ‘Fit for a Count and for a Feudal Baron: Collecting the Twelfth-Century Stained-Glass Panels from Troyes’.
  • Sylvie Balcon-Berry (France): ‘De l’église aux collections : histoires de panneaux champenois des XIIe et XIIIe siècles’.
  • Karine Boulanger (France): ‘De la cathédrale au collectionneur : l’exemple de la cathédrale de Clermont’.
  • Ellen M. Shortell (USA): ‘Park Abbey Glass in U.S. Collections: From Devotion to Décor’.
  • Elena Shlikevitch (Russia): ‘The History of the Hermitage Collections of Stained Glass’.
  • Elena Krylova (Russia): ‘The Restoration of the Stained Glass Panels from the State Hermitage Collection and the Problem of Replacement of the Lost Pieces of Glass’.
  • Natalia Sepmann (Russia): ‘Die Scheibenrisse in der Graphischen Sammlung der Ermitage’.

Wednesday, 7 July

  • Daniel Hess (Germany): ‘Die Glasgemälde-Sammlung des Germanischen. Nationalmuseums in Nürnberg – Geschichte und aktuelle Präsentation’.
  • Isabelle Lecocq (Belgium): ‘Les collections de vitraux aux Musées royaux d’Art et d’Histoire à Bruxelles’.
  • Richard Marks (Great Britain): ‘Sir William Burrell and the formation of the Burrell Collection, Glasgow’.
  • Sylvie Aballéa (Switzerland): ‘La collection de vitraux du Musée Ariana’.
  • Oxana Lopatina (Russia): ‘The Dmitry Shukin’s collection of Western European Stained and Painted Glass in the Puschkin Museum, Moscow’.
  • Ute Bednarz (Germany): ‘Die Glasmalerei-Sammlung des GrafenHermann von Pückler-Muskau auf Schloss Branitz’.

Thursday, 8 July

  • Madeline Harrison Caviness (USA): ‘The Germania of William Randolph Hearst, alias Citizen Kane’.
  • Anna Eavis (Great Britain): ‘Recusant Stained Glass Collecting’.
  • Elisabeth Oberhaidacher (Austria): ‘Die Odyssee einer Ornament¬verglasung des späten 13. Jahrhunderts’
  • Yves Jolidon (Switzerland): ‘Die Hinterglasmalerei-Sammlung R. und F. Ryser des Vitrocentre Romont’.
  • Slawomir Oleszczuk (Poland): ‘Stained Glass Windows from St. Mary Chapel of Malbork as an Example of the School of Toruń from the XIVth Century’.
  • Arantxa Revuelta (Spain): ‘The Restoration of the Stained GlasWindows of the Cathedral of Leon in the XIXth Century’.

Special thanks are due to Professor Michael Borisovich Piotrovsky, the President of the Russian national committee. The conference is being organised by the Russian national committee, in collaboration with the Hermitage Museum

A short history of the Corpus Vitrearum (with an English translation from the original German) can be found on Wikipedia.

Arts and Crafts Stained Glass Sale

The panel by William Glasby.Fig. 1. The panel by William Glasby.

Detail from the panel with William Glasby’s signature.

Fig. 2. Detail from the panel with William Glasby’s signature.

A sale of Arts and Crafts items held by the Salisbury-based auctioneers Woolley & Wallis in late June included several lots of stained glass. A panel signed by William Glasby (rectangular, 62 x 50 cm), depicting a pre-Raphaelite maiden dreaming at the water’s edge, inside a border of foliate panels, fetched almost twice its pre-sale estimate, selling for a hammer price of £1,500. [Figs. 1 and 2] William Glasby (1863–1941) joined J. Powell & Co. in 1876 as an apprentice and eventually became the firm’s chief painter. In 1891 he left Powell & Co. to join Henry Holiday’s new workshop. By about 1897 Glasby was producing his own designs in a style heavily influenced by Holiday and Morris & Co., for whom he later worked.

‘St Michael, St Uriel and St Chamuel’Fig. 3. ‘St Michael, St Uriel and St Chamuel’

‘The Archangel Gabriel and St Joseph'

Fig. 4. ‘The Archangel Gabriel and St Joseph'

Perhaps reflecting the current state of the global economy, two windows by the brilliant Victorian architect and designer, William Burges (1827–1881), made for the chapel of the third Marquess of Bute’s late 19th-century ‘fairytale’ style castle at Castell Coch, near Cardiff, failed to reach their six-figure reserves. Measuring 72 x 37cm, the panels depict the archangels, St Michael, St Uriel and St Chamuel in one window and The Archangel Gabriel and St Joseph in the other. [Figs. 3 and 4]

They were made by Saunders & Co., effectively a firm run by Burgess. Castell Coch is now owned by CADW, the historic environment division of the Welsh Assembly Government, and is open to the public.

All photographs are © Woolley and Wallis and reproduced with their kind permission. We are grateful to Michael Jeffrey for his help with this item.

Call for Papers: Stained Glass After 1920: Technology and Conservation. Forum for the Conservation of Stained-Glass Windows, Lisbon, 26–28 September 2011

Caring for 20th- and early 21st-century stained glass presents particular challenges to conservators, both aesthetically and technically. As a result the forthcoming forum will discuss this subject in depth. The forum will be held under the auspices of the Portuguese Committee of the Corpus Vitrearum and the International Committee of the Corpus Vitrearum for the Conservation of Stained Glass.

The three-day forum will consist of two days of presentations and poster sessions. Sessions will cover the following subject areas: conservation and restoration theory; materials and techniques; conservation and restoration measures; workshop heritage – what future?

The morning of the third day will be spent viewing stained glass in Lisbon.

The conference is open to all interested stained glass professionals, including conservators, conservation scientists, artists, architects, cultural heritage managers, art historians and students.

Papers may be offered in English, French or German and will be published in the original language. Simultaneous translation will not be provided at the conference.

Proposals for presentations should include the name of the author/s, affiliation, mailing address, email address, subject area, a summary (maximum 500 words) of the proposed presentation, and an indication of whether the proposal would be presented orally (maximum 20 minutes) or as a poster. Proposals should be sent to no later than 30 July 2010. Authors will be notified by late September.

Shining Light on Light: Transmissive Properties of Medieval and Renaissance Stained Glass in European Churches

An article in the latest issue of the Architectural Science Review examines one of the most intriguing questions about stained glass in medieval churches – how dim or light did they make their interiors?

Using high dynamic range (HDR) imagery (a low-budget, time-efficient means of photographic data collection) to estimate luminances (or per-pixel brightnesses), the authors have calculated the relative transmissivities of adjacent panels of glass in a variety of medieval churches in western Europe. In order to carry out their comparisons between different interiors, red glass was assumed to have a fixed average transmissivity, based on data that suggest that the glazing transmission of red panes is relatively constant. This red standard was then applied over a large database of images collected from different churches to provide a quantitative index of stained glass light transmission. The results indicate that the use of brighter colours during the 12th century admitted more light compared to 13th-century glass. Furthermore, the more translucent glasses of the 15th and 16th centuries appear to have increased light transmission into the interior by as much as an order of magnitude. The resulting change in indoor illumination significantly altered the human visual perception of the sacred interior as glazing preferences evolved over the course of the late Middle Ages.

For more information, see: C. T. Simmons and L. A. Mysak. ‘Transmissive properties of Medieval and Renaissance stained glass in European churches’, in the Architectural Science Review, 53 (2), 2010, pp. 251–274.

Peregrinations: Latest Issue now Online 

Detail from the Gospels of Otto III c. 1000, Bayerische Staatsbibliothek, Munich, Clm. 4453, Folio 206v.

Fig. 1. Detail from the Gospels of Otto III c. 1000, Bayerische Staatsbibliothek, Munich, Clm. 4453, Folio 206v.

The latest issue of Peregrinations , the free online journal of the International Society for the Study of Pilgrimage Art has just been published.

The issue is largely devoted to Ottonian art and features articles about illuminated manuscripts, textiles, metalwork, and architecture.

The journal also includes a photo essay on the pilgrimage site of Walsingham (Norfolk) by Matthew Champion.

News in Brief

British Archaeological Association Conference, Newcastle upon Tyne, 17–21 July 2010

The British Archaeological Association 2010 Summer Conference will be held between 17 and 21 July at Newcastle-upon-Tyne. It will focus on the city of Newcastle and the county of Northumberland (together with the former county of Tyne and Wear).

Speakers will include our Panel of the Month contributor, Emma Jane Wells, who will speak on ‘The Sensory Topography of the Medieval Pilgrimage Journey of North-East England’, focusing on the experience of the Cuthbertine pilgrimage route.

The conference welcomes professional and amateur enthusiasts equally.

For more information see the British Archaeological Association website. For enquiries please contact the conference team at:

American Glass Guild Conference, Detroit, 23–25 July 2010

The American Glass Guild’s fifth annual conference will be held in Detroit, Michigan, July 23–25, 2010. Artists, conservators, studio owners, and researchers working in stained glass will share their ideas, techniques, work processes and discoveries. There will be workshops and tours before and after the conference. Sarah Brown of the York Glazier’s Trust will speak on the work of Ervin Bossyani. A visit to the Detroit Institute of Arts, which has one of the best collections of European stained glass in America, will be part of the event. For more information about other speakers and sessions at the conference, together with booking details see the American Glass Guild website .

Further Reading

J. Bossanyi and S. Brown (eds) Ervin Bossanyi: Vision, Art and Exile, Spire Books, 2008

Courtauld Institute of Art Summer School on Italian Altarpieces, London, 19–23 July 2010

The Courtauld Institute of Art in London will be holding a week-long summer school from 19–23 July, on Understanding the Early Italian Altarpiece: Function, Style and Context. The course tutor will be Dr Federico Botana.

The course will combine visits to museums and a series of lectures structured around specific themes, including liturgy, the cult of saints, private and civic patronage, and the development of painting schools.

For further details see the Courtauld Institute of Art website. For queries contact:

Glass Painting Workshop, Swansea, 24–27 September 2010

A glass painting workshop with Jonathan Cooke will be held at the Architectural Glass Centre, Swansea Metropolitan University, 24–27 September 2010.

Details from Nicola Powell on 01792 481163 ( or Alun Adams 01792 481084 (

Web Links: The Salisbury Project

We have added a new web site to the Image Galleries section of our Links pages. The Salisbury Project has been created by Professor Marion Roberts, McIntire Department of Art, University of Virginia, Charlottesville, Virginia, and contains over 2,000 images of Salisbury Cathedral. It includes a separate section devoted to stained glass.

The site also contains a splendid ebook: The Salisbury Chapter House and Its Sixty Old Testament Scenes by Dr Pamela Blum (The file is 57.8 MB and may take some time to download depending on the speed of your internet connection). 

Reader’s Letter: A Query About Copper Plated Lead Calmes

Copper plated calmes, Lancashire and Yorkshire railway.

Fig. 1. Copper plated calmes, Lancashire and Yorkshire railway.

Some help please.

My name is Nancy Georgi. I am currently researching six decorative glass door panels from a dining room on platform 4 of Trinity Street station, Bolton (Lancashire), belonging to the former Lancashire and Yorkshire Railway. They date from around 1908. The lead matrix of this glazing is copper plated on both sides. I am keen to hear from anyone who knows of any other examples where such copper plating has been added to the lead matrix either for protective or aesthetic reasons. Information about any published literature concerning this technique would also be appreciated. Thank you. My email address is:

Name that Roundel!

Name that Roundel! © c b newham

Fig. 1. Name that Roundel! © c b newham

This month’s puzzle comes from Christ Church, Llanwarne, Hereford and Worcestershire. It shows a group of figures in an urban landscape.

On the left of the roundel a man carries a woman on his back. Their clothes are in tatters. The couple are facing a group of finely dressed figures on the right.

It was made by a Netherlandish workshop around c.1525.

What subject does our panel show?

Roundels and other single panels of this period typically depict a range of subjects, including stories from the Old and New Testaments, the Lives of saints, and tales from ancient history and classical literature, such as Homer’s Odyssey. Moral themes can also appear.

The solution can be found at the foot of this month’s Books section.



Saturday 10 July The Friends of Ely Stained Glass Museum are holding a guided visit to Kimbolton, to see the Louis Comfort Tiffany glass and to Oundle which has glass by Mark Angus, Hugh Easton, John Piper and Paul Quail. For more information see the Stained Glass Museum website.

Wednesday 14 July On the Trail of Norfolk’s Stained Glass, organised by Hungate Medieval Art. Tickets cost £28. Price includes transport and lunch. For more information, see the Hungate Medieval Art website.

Saturday 17 July: Day-long BSMGP Walk and Talk in Northamptonshire led by Robin Fleet. The itinerary includes a visit to Lowick (14th-century glass). For more information contact:

Friday 15 October BSMGP Autumn Lecture 6.15 for 6.45pm, Tom Denny – ‘Recent windows in extraordinary buildings’. For more information see the BSMGP website.

Conferences/Study Events

Tuesday 13 July Charlotte Dikken, Medieval Memoria Online, Universiteit Utrecht, will lecture on The Jerusalem Church in Bruges and its Stained Glass Windows: A Monument to a Glorious Past and a Questionable Future at the 2010 Leeds Medieval Congress (12–15 July) For more information see the Leeds Medieval Congress website.

Tuesday 13 July Emma Jane Wells (our Panel of the Month contributor) will lecture on: ‘The Monumental and the Private: The Sensory Experience of Medieval Devotional Space’, at the 2010 Leeds Medieval Congress (12–15 July). Emma’s paper will focus on pilgrimage art and architecture, including stained glass. For more information about the Congress see the Leeds IMC website.

Saturday 17 – 20 July British Archaeological Association conference, Medieval Art, Architecture and Archaeology in Newcastle and the county of Northumberland (together with the former county of Tyne and Wear). Our Panel of the Month contributor, Emma Jane Wells, will speak on ‘The Sensory Topography of the Medieval Pilgrimage Journey of North-East England’, focusing on the experience of the Cuthbertine pilgrimage route. For more information see the British Archaeological Association website.

Tuesday 20 – Friday 23 July The 27th Harlaxton Medieval Symposium will include lectures by T. A. Heslop (University of East Anglia on ‘Pious Collaboration: Masons, Glaziers and their Patrons in Norfolk Churches, 1330–50’; David King (also UEA) on ‘Glass Painting in Late-Medieval Norwich: Continuity and Patronage’; and Professor Richard Marks (York University) on ‘Shedding light: the commissioning of windows in the late medieval parish church’. For more details see the Harlaxton website.

Friday 23 – Sunday 25 July The American Glass Guild’s fifth annual conference will be held in Detroit, Michigan. Artists, conservators, studio owners, and researchers working in stained glass will share their ideas, techniques, work processes and discoveries. There will be workshops and tours before and after the conference. Detroit Institute of Arts, with one of the best collections of European stained glass in America, will be part of the Friday walking tour, and Sarah Brown of the York Glazier’s Trust will be a part of a Conservation Panel, as well as speaking on the work of Ervin Bossyani. For more information on this and past conferences, see the American Glass Guild website.

Thursday 2 – Sunday 5 September: BSMGP 2010 Annual Conference in Winchester and the New Forest. Delegates will visit the Cathedral, Winchester College and the Hospital of St Cross. Other highlights include a visit to the church of St John, at Rownhams, near Southampton, to see its spectacular collection of 15th – 17th-century roundels. The residential fee is £290 for members. For more information contact: 

Wednesday 15 September: 2010 conference of the Stained Glass Group of the Institute of Conservation (ICON) at the Cripps Auditorium, Magdalene College, Cambridge. Speakers will discuss ‘Colleges, Parishes & Villas, Stained Glass Conservation in the South of England’ and include Martin Harrison, Prof. Joost Caen, Prof. Sebastian Strobl (Germany) and Elise Learner (France). Non-members are welcome. Lunch is included in the delegate fee of £78 for ICON members and students, £88 non-members. For further details and information about booking please contact Peter Campling at or phone 01603 891505. 



Until 3 July: Albrecht Durer: Virtuoso Printmaker, an exhibition of 45 prints from the collection of the Boston Museum of Fine Arts

Until 4 JulyHorace Walpole’s Strawberry Hill exhibition at the Victoria & Albert Museum, London. For more information see the Victoria & Albert Museum website.

Until 8 August: Saints, Sinners and Story Tellers, Medieval Wollaton Manuscripts, at the Lakeside Arts Centre, University of Nottingham. Admission free. For more information see the Lakeside Arts Centre website. 

Until 8 August: Old Testament Imagery in Medieval Christian Manuscripts at the Getty Centre, California, USA. For more information see the Getty Centre website. 

Until 31 December: Vitraux de la renaissance à Chartres at the Centre International du Vitrail, Chartres. For more details see the Centre International du Vitrail website. 

Until 2 January 2011 Medieval Glass for Popes, Princes and Peasants at The Corning Museum of Glass, Corning, New York. This is an exhibition of vessel glass. For more information see the Corning Museum website.


From 24 August 2010 – 6 February 2011: Illuminated Manuscripts from Belgium and the Netherlands, Getty Museum of Art. 

From 17 October 2010 – 17 Jan 2011: Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe, the Cleveland Museum of Art, Ohio, USA. 

From 16 November 2010 – 6 February 2011: Imagining the Past in France, 1250–1500, Getty Museum of Art. 

From 13 Feb – 5 August 2011: Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe at the Walters Art Museum, Baltimore. 

From 23 June 2010 – 10 September 2011: Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe, at the British Museum, London


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