page_title: British and Irish stained glass (1811–1918)
section_title: The Cambridge Camden Society
hierarchical_section_title: British and Irish stained glass (1811–1918) / Influences on the revival of stained glass / Philosophic / The Cambridge Camden Society
caption_attribution_description: John Ruskin, self portrait, watercolour touched with bodycolour over pencil, 15.2 x 10 cm.
context_page_description: A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. The revival led to stained glass windows becoming such a common and popular form of coloured pictorial representation that many thousands of people, most of whom would never commission or purchase a painting, contributed to the commission and purchase of stained-glass windows for their parish church.
  Within 50 years of the beginnings of commercial manufacture in the 1830s, British stained glass grew into an enormous and specialised industry, with important centres in Newcastle upon Tyne, Birmingham, Whitechapel in London, Edinburgh, Glasgow, Liverpool, Norwich and Dublin. The industry also flourished in the United States, Canada, Australia and New Zealand. By 1900 British windows had been installed in Copenhagen, Venice, Athens, Bangalore, Nagasaki, Manila and Wellington. After the Great War from 1914 to 1918, stained glass design was to change radically.
context_section_description: Formed in 1839 as a society of Cambridge undergraduates with an interest in Medieval architecture, this group developed into a powerful movement for the recording, study preservation of England's ancient churches, the analysis and definition of architectural style and the dissemination of such information through its publications, chiefly a monthly journal The Ecclesiologist (1841–1869).
  The Cambridge Camden Society did much to bring about a revival of medieval styles in the design and appointments of 19th-century churches, as well as in the restoration of older ones. Their notions were often highly prescriptive, inflexible and intolerant of diversity within the church. They were insistent upon revival rather than originality.
caption: Self-portrait of John Ruskin, advocate of the Gothic Revival.
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