Antiquarianism, fragmentation, and ornament: Continental stained glass in East Anglia, c. 1800-1850

Studies of continental stained glass in England have previously focused on the iconography and origins of imported panels. This thesis extends the earlier scholarship by offering an exploration of these panels within English composite windows of an early nineteenth-century date. Through close analysis of remaining schemes and archival materials, this thesis considers the essential role of this glazing style to the development of the Georgian Gothic aesthetic. This study employs a unique multi-disciplinary approach, which contrasts the use of the fragment in literary Gothic and stained-glass design. Additionally, this thesis considers how stained glass became a powerful vehicle of self-expression for landowners and patrons in both domestic and ecclesiastical spaces. Using historic continental glass fragments, these windows were designed to fabricate narratives of inherited power, lineage, and paternalism in homes and parish churches. This thesis will also consider how in a period of increased religious pluralism, composite windows were used to create a medievalised interior in historic Anglican churches and some private Catholic chapels. This study emphasises the role of this glazing style in the debate regarding the role of different Churches in the national religious landscape. As well as considering broad cultural and religious themes, this work will examine the stained-glass trade, with reference to the role of antiquaries and the sale of glass by auction. This thesis also employs close visual analysis of existing schemes and historic restoration records to reflect on the complex and intricate designs of composite windows in this period and the technical innovations which these represent, including the transference of skills from other crafts and the development of kiln technology. The significant role of lesser-known glaziers, glass painters, importers, and other cultural figures is considered. These approaches provide a new vantage point through which to consider the development of nineteenth-century stained-glass practice.