The stained glass of St Salvator's chapel

• The stained glass designs of Douglas Strachan

  Arguably the finest of Scotland's stained glass artists, Douglas Strachan (1875–1950) is best remembered as the genius behind the glorious glazing scheme in the Scottish National War Memorial in Edinburgh Castle. Having seen such wonderful works, it is not surprising that the University of St Andrews was keen to commission Scotland's leading stained glass artist when it decided to re-glaze the chapel.

  What is astonishing is the University's subsequent rejection of the designs he prepared for the project. The story of the commission is dealt with in detail in Juliette's excellent essay, An Unfulfilled Vision: The Commission for St Salvator's chapel. The outcome is obvious to all visitors to the chapel. Instead of Strachan's complex but cohesive scheme, the glass of St Salvator's is a mixture of different windows of varied age and style.

  While the opportunity to re-glaze St Salvator's to Strachan's scheme has passed, some of the designs he created have survived. Following the artist's death, the University was gifted an incomplete set of watercolours illustrating the artist's plans for the building. These designs date to c.1939. An earlier scheme — utterly rejected by the University — must now be considered lost.

  The complete scheme, running from the left window of the apse all the way around to the bay before the south door, amounted to eight windows. The University's collections hold the designs for six of these windows. However, the letters Strachan sent to the University survive and describe the missing windows, thus we can give a complete description of the chapel scheme.

  The design of the apse formed a Te Deum. The design for the left window depicts the old dispensation. Beneath the monstrous beasts of Daniel's vision and the towers of Babylon, a procession of figures from the Old Testament winds its way towards the scene depicted in the centre window. The procession includes: Abraham, Melchezidek, Moses, Joshua, Miriam, Samuel, David and Isaac. At the base of the design is a rendering of the scroll of the law and the ark of the covenant. This is flanked by the first pair of a series of historical panels that form a chronology of Christianity in St Andrews from the earliest times up to the age of James VI and Melville.

  The central window was to have been devoted to the ultimate expression of truth. In the centre light God in majesty sits enthroned with his feet resting upon the lamb and the banner of the resurrection while above the dove of the Holy Spirit descends. Beneath stands St Andrew with his fishing nets, calling and exhorting the multitude. He is flanked by two more historiated panels. Above these, to either side of the enthroned, stand two archangels.

  The design for the right window depicted the new dispensation. This design has been lost but we have a description of it. In the same position as the Scroll of the Law in the left window, would have been a chalice and a seven-branched candlestick, representing Love. Again the image is set between historical panels. Above these images was a rendering of the Nativity with the shepherds and the magi. Saints Peter and Paul were also depicted, along with a herald and angels.

  The five designs for the windows of the south wall depict Christ in his roles as teacher and reformer, the bestower of peace, healer and sufferer. At the base of the designs are renderings of the personifications of the Cardinal virtues of justice, prudence, temperance and fortitude. These are flanked by historiated panels that carry on the scheme begun in the apse. In the centre window, between the Peace and Healer windows, Strachan's scheme interpolated a bold design – the elements. The designs for the windows at either end show three separate scenes, while the three between are devoted to a single event that would have spread over the three lights of the window.

  The design for the window nearest the altar depicts: Christ preaching in the synagogue; the washing of the feet; and the cleansing of the temple. The first describes teaching by precept; the second teaching by example; and the last, teaching by action. The bestower of peace design is a rendering of the same event as the extant window by William Wilson but is utterly different in character. A mantled Christ stands firm amidst the storm that threatens the disciples' fishing boat, while the rays of the sun break the clouds in the tracery above. It is interesting to compare this design with the vigorous, brilliantly coloured window depicting the same scene in St Giles Cathedral, Edinburgh. A near contemporary commission, the St Giles window might provide us with a clue as to how Strachan would have treated the subject in the chapel.

  The design for the elements is full of fascinating detail and symbolism. The path of life winds its way up a craggy mountainside to the mysterious, veiled horizon. On its way, it passes through storms and fire, blizzards and waterfalls. In the top of the left and right lights are the pelican with her greedy brood, and the immortal phoenix. This design is outstanding and is in utter contrast with the rest of the scheme. Unique amongst Strachan's plan, this design does not depict a biblical event nor relate any of the burgh's history. Instead, the design draws upon pagan symbolism and tales from the medieval bestiaries. It is perhaps not surprising that the University authorities frowned upon the design.

  The healer design shows Christ laying on hands to cure the sick. The flanking lights are filled by those gathering for the gift of healing, while the tracery above contains the tree of life. The design for the sufferer window was considered a masterpiece by Principal Irvine and the rest of the chapel buildings committee, but it is sadly missing from the University's collections. The records reveal that the three scenes depicted were: the betrayal; the bearing of the cross; and the agony in the garden. Thus Christ was represented as suffering through disloyalty, public humiliation and spiritual torment.

  While the University never realised Strachan's designs for the windows of the chapel, St Salvator's does feature some fine work by the artist. The mosaics that adorn the war memorial and communion table are to a design of Strachan's, which was realised by the company of James Powell & Sons (Whitefriars) Ltd. The scenes relate the life of Christ and include a remarkable rendering of the crucifixion.

  The University nevertheless found fault with these too, though that was more a result of the adhesives used to attach the glass pieces to the wall of the apse than the general rancour felt towards Strachan! Having seen such excellent work, one can appreciate the regret felt by some at Strachan's unfulfilled vision for St Salvator's.

• The stained glass designs of Gordon Webster

  ‌Gordon Webster (1908–1987), the son of famous stained glass artist Alf Webster, made a major contribution to the decoration of Scotland's churches. Working from his studio in Glasgow, Webster created many fine windows for the Church of Scotland. His work for the chapel consists of the superb crucifixion scene in the centre of the apse.

  This is a remarkably effective work. In the centre light a red-robed Christ is exalted on a Celtic cross with the fires of the Holy Spirit descending upon him from above. To the left of the cross are St Andrew, St Leonard and a figure in the robes of a prelate who might represent St John. At the foot are the three Marys while the right hand lights bear the figures of a king pouring water from a chalice and telling his counsellors, "Is not this the blood of the men that went in vain of their lives?"

  Besides the cross, in the upper third of the two flanking lights, are the chosen, who cared not for the lives they willingly gave up in the service of God. All of these figures and drawn in cool shades of blue and green — the eye is forever drawn back to the central figure of Christ. At the base of the window are three small, more colourful panels depicting scenes from the Bible. From left to right are: the sacrifice of Abraham; the stoning of St Stephen and the discovery of Cain's guilt. Angels play harps in the tracery above the window, at the centre of which is the burning bush, symbol of the Church of Scotland.

  The University is particularly fortunate to hold the original water-colour design of this window in its collections. This allows us to trace the development of the artist's ideas and to see how changes in the plan of the tracery impacted upon the design. Webster's window for St Salvator's is a powerful focus within the chapel; a symbol of hope raised after the dreadful realities of the second world war.

• The stained glass designs of Hardman & Co.

  ‌John Hardman (1811–1867) was one of the pioneers of the stained glass revival of the 19th century. His Birmingham based operation started out as an ecclesiastical metal works but, at the suggestion of A.W.N. Pugin, the business expanded into glass manufacture in 1845. Pugin designed for the firm until his death in 1852 when this role passed onto his nephew John Hardman Powell.

  The chapel glazing scheme was designed in-house in the 1860s as part of Principal Forbes' restoration project. Unlike Forbes' architectural improvements, which were funded by the government, the stained glass was paid for by donations from private individuals. The whole process of the commission can be traced through documentation kept in the University library and the unusually complete records of Hardman's (now in the collections of Birmingham Museum and Art Gallery).

  Only two of the windows survive in situ but the University collections hold the panels removed in the 1960s to make way for William Wilson's new windows. The surviving windows occupy bays four and five (counting from the chapel's west end) and are excellent examples of the Gothic Revival style. Intricate tracery forms the matrix for designs that reflect the Victorians' profound respect of the 12th-century stained glass of Canterbury and Chartres. Ruby reds and deep blues predominate in the compositions.

  Each window is divided into three lights which feature a Biblical scene framed by an elaborate canopy above and a Latin inscription beneath. Below the figurative scenes are placed square memorial panels. The centre panel bears heraldic motifs relevant to the personage commemorated in the winding scrolls of the flanking panels. All of the inscriptions are drawn in the Lombardic script popular in the twelfth century. The top third of each window is given over to ornamental, foliate designs and intricate tracery — trefoils, quatrefoils and similar Gothic forms.

  The first Hardman window to be seen on entering the chapel (in bay four) is dedicated to Lord Colonsay. The scenes depicted are, from left to right: Moses and the ten commandments; Christ healing the sick; and the judgement of Solomon. The other window commemorates Jesse Playfair, the wife of the famous Provost Playfair who carried out a major renovation of the chapel in the 1840s. The scenes depicted are: Moses and the burning bush; Joseph Triumphant in Egypt; and Joseph Sold by his brethren.

  Mid-19th-century stained glass is often viewed with derision by those more used to the agonies and ecstasies of the pre-Raphaelite designs of Morris & Co., but there is much to commend in the windows of firms such as Hardman's. The crisp, bright colouring and vigorous modelling of the figures in the chapel windows are typical of the firm's work. The juxtaposition of the Hardman windows with the neighbouring designs by Henry Holiday and William Wilson presents a striking contrast to the viewer. It is one not altogether unfavourable to the oldest surviving windows in St Salvator's chapel.

• The stained glass designs of Henry Holiday

  ‌The artist Henry Holiday (1839–1927) deserves to be better known. Eschewing the sentimentality and archaism of his peers, his stained glass designs are strong and dramatic, and reveal a brilliant understanding of the use of colour. However, his reputation has been overshadowed by that of Burne-Jones, whom he succeeded as designer at the firm of Powell & Sons.

  The window he provided for St Salvator's is in the pre-Raphaelite style popularised by the firm of Morris & Co. Though only 20 years separate Holiday's window from the neighbouring design by Hardman & Co., the difference in style is quite remarkable. Whereas Hardman's produced windows in a distinctively mediaeval vein, Holiday's compositions are wonderfully naturalistic.

  His window for the chapel occupies the first bay to the east of the south door of the building. His colour palette, so different from that of Hardman's, is full of golden yellows and olive greens. Raised as a memorial to Principal Shairp, the window bears the figures of Virtue, Faith and Knowledge. Beneath these Rossetti-like women are rectangular panels depicting Biblical scenes. From left to right, we have the parable of the good Samaritan, Christ preaching in the temple and Paul preaching to the Athenian philosophers. Each of the trefoil heads of the window's three lights contains a seated angel, each in a different languid pose. The tracery above these wistful figures is full of dark green foliage and roses. Set amidst the verdure is a delightful quatrefoil featuring a mother surrounded by her young family. The style and colouring of the piece is a wonderful foil to the bold Gothic of Hardman's windows.

  The window is a fine example of the work of an artist who deserves greater recognition.
  

• The stained glass designs of Herbert Hendrie

  William Wilson regards the brightly coloured stained glass of Herbert Hendrie (1887–1947) as more successful than the works of the world famous Douglas Strachan. Strachan might be a greater artist but his glass designs can be criticised for being overcrowded and fussy. Not so the works of Hendrie who taught his students at Edinburgh College of Art the importance of simplicity.

  The windows attributed to him in St Salvator's are all located in the west end of the building and consist of the armorial window in the ante-chapel and the three windows of the organ loft. Whilst it has yet to be established for certain that Hendrie is the artist behind these works, there is substantial evidence in favour of this attribution. The strong visual link between the designs in the chapel and other contemporary works by the artist in the local area is of particular significance. The deterioration of the glass is another strong indicator; Hendrie's windows are particularly prone to the kind of buckling we see in the ante-chapel, because of the type of leads he used.

  The organ loft windows include a tiny one light window set into the depth of the massively built west wall. This charming window depicts the figure of Bishop Kennedy in the regalia of his office offering his blessing and a book. The scarlet of his robes is contrasted with gold, blue and white accents — the whole forming a wonderfully simple but extraordinarily successful design.

  In the south wall are two larger windows, each the equivalent to half of the windows in the bays further east. The window above the south door depicts three figures from the Old Testament, each bearing an instrument. In the centre light is King David with his harp, left of him is Jubal, with the pan pipes, whilst in the right light, Miriam plays the tambourine. The tracery above includes the dove of the Holy Spirit and the hand of God bearing the light of truth. Between these two images is a quatrefoil bearing an angel playing the pipes. Once again simplicity is the key to the design's success. King David wears a scarlet cloak which is contrasted by the blue and white costumes of Jubal and Miriam, and the simple white and green used in the background.

  To the right of this window is a far more complex design that nevertheless avoids fussiness by keeping to the same simple colour palette and bold drawing of the human figure. The three lights depict, from left to right, John Honey, the martyrdom of Patrick Hamilton and the warriors of righteousness. The central light is particularly impressive. The expressiveness of the faces and gestures of the protagonists are brilliant examples of the artist's work. The elongation of the figures is also noteworthy, Hendrie knew that his chosen medium could not be approached in the same manner as an oil painting, something many stained glass artists fail to appreciate. The throng of the warrior scene is similar to so many of the period; the infantrymen at the Front being flanked by knights and standard-bearers. Above these three scenes, the tracery is also filled with surprisingly complex imagery. Prominent amongst these is a representation of St George slaying the dragon.

  Hendrie's designs for St Salvator's are rarely seen by either the worshipper or the visitor, the steps up to the organ loft being behind a locked door in the ante-chapel. However, entry can be gained by asking at the porter's lodge next door to the chapel. It is certainly worth the effort as these windows are as fascinating as they are effective.

• The stained glass designs of William Wilson

  William Wilson (1905–1972) was one of Scotland's great artists, a master of the arts of printmaking, painting and stained glass. Edinburgh based, his glass designs are in the 'east coast tradition' of Strachan and Hendrie.

  His first window for the chapel was unveiled by the Queen in 1950 and occupies the most easterly bay before the apse. It is an exceptional work, a fine memorial to those that lost their lives in the second world war.

  In the centre light is the figure of Sanct Salvatour, a spectacular rendering of Christ bearing the wounds of the crucifixion and the banner of the resurrection. To the left stands St Andrew with his fishing nets and cross, while in the right-hand light is St Leonard with his broken chains. Above these three figures are the badges of the navy, army and air force. Below are small panels depicting scenes from the New Testament. Simple and yet so effective, these panels show Christ walking on the waters; the agony in the garden; and Christ crowned and set amongst the firmament. The background to the design is given over to bright, crystalline glass, a style more in tune with the chapel's 15th-century Gothic architecture, than the richly ornate, deeply coloured windows installed in the 19th century. The composition is capped by a blood-red crown of thorns wound through the tracery. A symbol of triumph through sacrifice, it is a fitting symbol for a Memorial window.

  To the right of the war memorial window is another fine work dated 1967. It seems likely that this window was based on an earlier design of c.1950 but was executed by assistants after the artist ceased working in the 1950s. Straying from the style of the rest of the chapel, this design spreads over the three lights of the window. The result is remarkably effective.

  The scene depicts Christ calming the storm. The artist successfully conveys a great sense of movement in the waves, the sail and in the vigorous gestures of the disciples. In the tops of the left and right lights are tiny miniatures. One bears the ark beneath a rainbow, the dove returning with the olive branch of hope. The other shows the hand of God blessing a great medieval galleon. Beneath the curling waves of the Sea of Galilee are three New Testament scenes. From left to right are shown Jesus' baptism; Christ as the shepherd; and the agony in the garden. A tiny plaque at the base of the right light explains that the window replaces Hardman's original monument to Provost Playfair. However, to compensate for this loss, the lights of the tracery at the top of the window bear Playfair's arms and initials. The background to the main scenes of the window is a bright, ornamental weave in blue and red, close in appearance to that which dominates the other two Wilson windows in the chapel. It would be interesting to establish whether or not this was part of the original design as it introduces an element of disharmony to the otherwise close relationship between the design and the neighbouring war memorial window.

  The other two windows to bear Wilson's distinctive monogram flank Gordon Webster's brilliant crucifixion window in the apse. They are dated 1960 and it is possible that they are largely the work of Wilson's assistants, though the designs themselves might well have been drawn in the 1950s by the artist himself. It is perhaps regrettable that these windows, previously filled by two fine figurative windows by Hardman & Co., are now given over to heraldic glass. However, the cool blue and silver tones of the complex design used by the artist as a background for both windows serves to enhance the impact of Webster's window. Set into the coils of the artist's matrix are the arms of key figures in the college's history. Pride of place in the left window is bestowed upon the arms of the founder, a position occupied by the arms of St Salvator's college in the right window.

  Despite an element of doubt over the true extent of Wilson's personal contribution to the glazing scheme of the chapel; the two figurative windows immediately west of the apse are first-rate works worthy of greater recognition.