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Figures prepared by Baron von Hess for a painted window in Glasgow Cathedral: John the Baptist, 1862 Creator: Unknown
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Figures prepared by Baron von Hess for a painted window in Glasgow Cathedral: John the Baptist, 1862 Creator: Unknown
Figures prepared by Baron von Hess for a painted window in Glasgow Cathedral: John the Baptist, 1862. This great work of embellishing a national monument, the first of its kind that has been undertaken under the auspices of the Church of Scotland, affords a remarkable proof of the change which may be wrought in an ecclesiastical body by the tendency and inclination of the age. No longer the stern discourager of pictorial art, the Church of Scotland, has here shown herself to be its enlightened patron; for though, in conformity with her fundamental principles, rejecting obsolete quaintnesses and allusions, and having no respect for those mediaeval influences by which, south of the Tweed, "church art" seems hopelessly oppressed, she has placed before us representations intelligible to all alike, and from which the most refined and cultivated, taste may derive pleasure and instruction...The character of the draperies is borrowed from the Italian school, the folds being kept small, according to the proper treatment of drapery in glass. The ornament is in the mediaeval German style, and sufficiently accords with the architecture as not to farm any unpleasant contrast with it'. From "Illustrated London News", 1862
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Media ID 35121177
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Animal Hide Animal Skin Benediction Blessing Drapery Glasgow Cathedral John The Baptist Pictures Saint John The Baptist Sheepskin St John The Baptist Stained Glass Window Clothing Dress Fashion Clothing Hand Gesture Illustrated London News Santa Santo White And Black
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EDITORS COMMENTS
1. Title: Unveiling the Radiant John the Baptist: A Testament to the Evolution of Church Patronage in Glasgow Cathedral, 1862 2. This photograph showcases the intricately designed figures of John the Baptist, prepared by Baron von Hess for a painted window in Glasgow Cathedral, created in 1862. The identity of the unknown artist who conceptualized these figures remains a mystery, but their work serves as a testament to the transformative power of the age on the Church of Scotland. 3. In the late 19th century, the Church of Scotland, previously known for its discouragement of pictorial art, embraced its role as an enlightened patron. This groundbreaking endeavor, the first of its kind under the Church's auspices, represents a significant shift from the stern, quaint, and mediaeval influences that had long dominated church art in Scotland. 4. The figures of John the Baptist, with their intelligible and refined representations, provide a source of pleasure and instruction for all, regardless of their level of cultivation or taste. The draperies, inspired by the Italian school, feature small folds, ensuring a proper treatment of drapery in glass. 5. The ornamentation, in the mediaeval German style, harmoniously complements the cathedral's architecture, avoiding any unpleasant contrasts. This harmonious blend of art and architecture reflects the Church's commitment to embracing the best of the past while forging a path towards the future. 6. The photograph offers a glimpse into the rich history of Glasgow Cathedral and the Church of Scotland, demonstrating how the influence of the age can inspire change and foster the creation of beautiful and meaningful works of art.
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