The spiritual weapons, plucked from an Hellenic charnel house, with which Modern Western Man had brought to the ground the Hildebrandine Respublica Christiana had been as destructive as the material weapons with which Cromwell’s soldiers had once shattered the west window of Winchester Cathedral.
“When ye shall see the abomination of desolation, spoken of by Daniel the Prophet, standing where it ought not (let him that readeth understand), then let them that be in Judaea flee to the mountains.” [Footnote: Mark xiii. 14; cp. Matt. xxiv. 15-16.]
Nevertheless, there is a bow in the cloud. [Footnote: Gen. ix. 12-17.] At Winchester, on the morrow of the Puritan iconoclast’s deed, it must have looked as if a mighty work of Medieval Christian art had been utterly destroyed; and in truth it had been damaged beyond all possibility of reinstatement in its inimitable medieval pattern. Yet the broken and scattered fragments were pieced together again, by the piety of a later generation, in a labour of love that – sheer disorder though it might have suggested to the eye of the original artificer – was in truth a new pattern, [footnote: See Bergson’s exposition of the relativity of the concept of disorder in […] L’Evolution Créatrice, 24th ed. (Paris 1921, Alcan), pp. 239-55 […].] fraught with unpremeditated beauty and letting in unforeseen light in the sight of eyes open to the self-revelation of a God who makes all things new. [Footnote: Rev. xxi. 5.] A boy once watched, spell-bound, while this miracle of creation conjured out of destruction was being lit up by the level radiance of a setting summer sun; and a man could catch a glimpse of the spiritual meaning of this visual allegory as he recalled it in his mind’s eye in after-life, in the light of his generation’s experience of a forty years’ wandering in the wilderness. If the same sunlight could thus shine again through the same glass in a new pattern offering a fresh vision, might not the eternal and unchanging incorporeal light of the Beatific Vision again illuminate men’s souls in a society that had been broken and remade by the sufferings of a Time of Troubles?
Flickr credit: Steven Vacher
Flickr: “A composition of 64 images, combined in Photoshop. The cathedral’s huge west window is made up of fragments of medieval glass put together randomly, in a manner something like pique assiette mosaic work. The original panes were deliberately destroyed by Cromwell’s forces following the outbreak of the Civil War in 1642. Soon after the restoration of the monarchy in 1660, the broken glass was gathered up and used again.”
Was this done with any windows destroyed by bombs in the Second World War?
Religio lignarii (not the piece’s name): St Joseph the carpenter, St Mary the Virgin, Isleworth, north chapel east window, single light, by Thomas Derrick (my grandfather), 1954, glass and lead by Lowndes & Drury; chapel designed by HS Goodhart Rendel, built 1952-54; he had used TD in other churches
Flickr credit: Peter Moore (do not reuse)
A Study of History, Vol VII, OUP, 1954