Martin Harrison, a freelance writer and art historian, who is best known to us as author of the pioneering monograph on Victorian stained glass in England, 1 sets the tone in a remarkably frank guest editorial. Having recently curated an exhibition about the London art scene of the 1950's, Harrison declares that he is troubled by standards of stained glass design today and discouraged by the near absence of stained glass designers from the ranks of recognized contemporary artists. He attributes this to a lack of informed and constructive criticism and an attitude of "reticence - or aesthetic cowardice," which effectively stifles serious consideration. All of his remarks, which embrace design, historical study and conservation, signal a challenge to think outside of the box. "The Journal needs," Harrison writes, "because stained glass needs - not just lists, but to make room for criticism and interpretation."

For an art medium so defined by religiosity and craft tradition, Harrison's challenge is undoubtedly considerable. The present issue of the Journal, in response, offers a comprehensive overview of the field organized under four subject headings - history; research & methodology; contemporary practice; and technical inquiry. The result is a useful account of current work, emerging scholarship, and discoveries written by a diverse group of contributors. A sampling of the contents will, perhaps, offer a hint of the spirit behind this issue:

For the leading article under "history," James Bugslag of the University of Manitoba, considers Meyer Schapiro's warning that marginal spaces and framing devices in the visual arts are often taken for granted, and explores the origins of canopy work in late 12th century stained glass and its transformation into an object of rich meaning during the 13th century. Other historical articles are overviews of the life and work of two 19th century women artists in England, and an exposé entitled "The Other William Morris," relating the story of one William T. Morris, who expanded his glazing firm in early 20th century London by unofficially linking his name with that of William Morris (1834-1896), England's best known 19th century designer and craftsman, to whom he was entirely unrelated.

Under "research & methodology," Richard Marks, President of the International Corpus Vitrearum presents a survey of recent scholarship in the field of medieval stained glass, noting the benefits of increasingly pluralistic approaches since WWII. "Because glass is a fragile medium which needs to be safe-guarded," Marks observes, "publications accessible to a wide social spectrum will remain essential, but so will the need for detailed, weighty academic scrutinies of every aspect of the subject." Following this is an article, complete with sample data reports, demonstrating the use of the British census to study 19th century stained

Presented in an attractive, readable, and well-illustrated format, the present issue of the Journal of Stained Glass represents an open embrace of the medium as a visual art and cultural expression. With its complement of reviews, reports, obituaries and appreciations, it is an important source of information about the current study and practice of stained glass in the U.K.  Furthermore, where its articles provide a reliable source of factual information and critical thought, skillfully edited with supporting bibliographies, it is an invaluable reference.

1 Victorian Stained Glass. Barrie & Jenkins. 1980. (revised edition forthcoming)

Lance Kasparian is an architect and historian who has researched American stained glass for over twenty years. He kindly contributed reviews of books for both our October 2000 and June 2002 newsletters.

* A few copies of this journal will be for sale at the lecture on November 5th (see overleaf). Or inquire at journaled@bsmgp.org.uk for alternative purchase information.