The Votes Are In: Why This Is England’s Best Stained Glass Window
Stained glass is one of the glories of English cathedrals, much of it dating back to medieval times. Tourists flock to see gems such as the magnificent Rose Window of York Cathedral, the West Window of St. George’s Chapel in Windsor or Basil Spence’s Baptistry window at Coventry.
When the Association of English Cathedrals recently undertook a public campaign to find out the country’s favorite window, the winner was Carlisle Cathedral’s magnificent East Window in the north of England.
The Venerable Michael Everitt, Interim Dean of Carlisle, said he was “delighted that our wonderful East Window has been voted England’s favorite! For many of us, it has played a central part in our lives: whether through concerts, services or visits.
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“The combination of the ancient glass at the top and the wonderful Victorian depictions of Jesus’s life, all set beneath our starry ceiling, means you truly get a glimpse of heaven inside the Cathedral.”
The Association of English Cathedrals decided to hold its stained glass campaign, following the publication of a new book called “Divine Light: The Stained Glass of England’s Cathedrals” by architectural historian Janet Gough. The book reflects her journey through the evolution of stained glass in England and contains an example of stained glass from each location, including the royal churches of Westminster Abbey and Windsor.
Reflecting on the public choice of window, Gough said, “I was absolutely delighted that Carlisle’s East Window was chosen by the public. It’s a wonderful example of how different layers of history work together: medieval glass depicting the Last Judgement in the tracery above, and complemented by Hardman & Co’s vivid Gothic Revival narrative of the Life of Christ below, made in 1861.”
She added: “It also says something important – that people don’t only value the most famous windows, but respond just as strongly to places where art, history and community life come together so vividly.”
Gough said there’s “something uniquely powerful about colored light in sacred spaces,” which makes stained glass enduring.
“In an age saturated with screens, stained glass offers a slow, immersive, physical experience — one that changes with the hour, the weather and the seasons,” she added. “That blend of beauty, meaning and sensory impact is why churches and cathedrals continue to invest in it, and why visitors continue to respond so strongly.”
The history of stained glass in England goes back centuries. Gough’s research highlighted that the earliest fragments of stained glass date back to the seventh century. The medieval period saw the full flowering of this art form, with spectacular colors and increasingly detailed stories being told within windows.
The original idea of using stained glass was to create something that would glorify God, as well as helping a mainly illiterate audience understand Biblical stories. It was a form of storytelling at a time when most could not read the Bible. As the centuries progressed, political elements began to creep in, with abbots, bishops and kings portrayed in the windows, typically as worshippers.
The winning window. Photo from Wikimedia Commons.
Much of the stained glass seen today in England’s cathedrals survived the Protestant Reformation, political upheavals and damage during World War II bombing.
The Victorian period witnessed an upsurge in stained glass creation, especially during the Gothic revival and the Arts & Crafts Movement led by William Morris. In the 20th century, glass became a dominant element within modern cathedrals like in Coventry and Liverpool.
More stained glass continues to be commissioned. Among recent examples are the stunning Redemption Windows at Leicester Cathedral. These windows serve more than one purpose. They tell the story of the city of Leicester (and even include a soccer ball reflecting the fact that Leicester won the Premier League in 2015).
The windows also highlight the story of a medieval king, Richard III, whose bones were dramatically found by archaeologists in a parking lot near the cathedral. Rather than adopting the traditional triumphalist vision of royalty or the Tudor portrayal of Richard as a bad king, he became a representation of the everyman. Christ is shown comforting him after the death of his wife and son.
Gough said the result has been the creation of a monumental artistic collection, which is often overlooked.
“It forms a single national collection, one of incredible range, depth and artistry,” she said.” As a serious art and heritage collection, it has been largely overlooked precisely because it is not in museums. It is not presented as art, but is still doing the job for which it was intended: informing, storytelling and inspiring in working buildings.”
There is one museum devoted to stained glass, located at Ely Cathedral in Ely, and it is certainly popular, attracting around 21,000 people each year. Containing a wide range of stained glass produced over nine centuries together with preparatory drawings, cartoons and tools, it has just been given designated status by Arts Council England, which said it is one of the most significant collections in the country.
Above all, the sheer impact of stained glass cannot be underestimated. Walking into a cathedral when the sun is shining through the colored glass is truly out of this world. The myriad patterns created on the floors and walls add to the overall atmosphere.
Gough noted: “One of the striking discoveries from my research is that stained glass is still doing what it has always done best: Using light and color to tell stories in living buildings and shaping spaces with changing light — perhaps having the effect Abbot Suger described in the 12th century of lifting us from the material to the spiritual — Divine Light.”
Angela Youngman is a freelance journalist who has written for a wide range of British and international publications.