Stained Glass Art Quotes

There was a stained glass window in the room with the image of a woman holding a spear. It was a beautiful piece of art, and my face smashed through it a half moment after I appreciated its design.

One picks one's way about through the glass and aluminum doors, the receptionists' smiles, the lunches with too much alcohol, the openings with more, the mobs of people desperately trying to define good taste in such loud voices one can hardly hear oneself giggle, while the shebang is lit by flashes and flares through the paint-stained window, glimmers under the police-locked door, or, if one is taking a rare walk outside that day, by a light suffusing the whole sky, complex as the northern aurora.

We were broken shards of stained glass mirrors, a jagged mess of every color in the universe. They shaped us, shattered us, and left us to pick up the pieces. And so we pieced each other back together, your pieces mixed with mine, and mine mixed with yours. -from the broken, we'll make art.

As punk rock was able to sweep the board clean in music, so must the board be cleared in visual art.

All the distances I had traveled, trying to be myself, didn’t matter here, where nothing ever changed. Not the mahogany furniture or the art or the books in their placement on the shelves. Not the eggshell sheen on the walls, or the quality of light coming through the stained-glass window on the landing. This was the light of childhood. I was all the ages I had ever been.

Light - both physical and moral - was a central concern to the men and women living in the medieval age. They attempted to explore its properties in the colors of a stained glass canopy, in the tenor of a brisk saltarello, in the lilt of a Jongleur's ballad, in the sweet savor of a banqueting table, in the rhapsody of a well planned garden, indeed, in every arena and discipline of life.

Arthur C. Clarke thinks that it may be just a coincidence, "but", he writes, "the Mandelbrot set does indeed seem to contain an enormous number of mandalas or religious symbols, which are found in ecclesiastical designs-such as stained glass windows, and particularly in Islamic art. We find many forms like the Paisley pattern echoing the Mandelbrot set centuries before it was discovered!

Sonnet: Political Greatness Nor happiness, nor majesty, nor fame, Nor peace, nor strength, nor skill in arms or arts, Shepherd those herds whom tyranny makes tame; Verse echoes not one beating of their hearts, History is but the shadow of their shame, Art veils her glass, or from the pageant starts As to oblivion their blind millions fleet, Staining that Heaven with obscene imagery Of their own likeness. What are numbers knit By force or custom? Man who man would be, Must rule the empire of himself; in it Must be supreme, establishing his throne On vanquished will, quelling the anarchy Of hopes and fears, being himself alone.

I will not mention the name (and what bits of it I happen to give here appear in decorous disguise) of that man, that Franco-Hungarian writer... I would rather not dwell upon him at all, but I cannot help it— he is surging up from under my pen. Today one does not hear much about him; and this is good, for it proves that I was right in resisting his evil spell, right in experiencing a creepy chill down my spine whenever this or that new book of his touched my hand. The fame of his likes circulates briskly but soon grows heavy and stale; and as for history it will limit his life story to the dash between two dates. Lean and arrogant, with some poisonous pun ever ready to fork out and quiver at you, and with a strange look of expectancy in his dull brown veiled eyes, this false wag had, I daresay, an irresistible effect on small rodents. Having mastered the art of verbal invention to perfection, he particularly prided himself on being a weaver of words, a title he valued higher than that of a writer; personally, I never could understand what was the good of thinking up books, of penning things that had not really happened in some way or other; and I remember once saying to him as I braved the mockery of his encouraging nods that, were I a writer, I should allow only my heart to have imagination, and for the rest rely upon memory, that long-drawn sunset shadow of one’s personal truth. I had known his books before I knew him; a faint disgust was already replacing the aesthetic pleasure which I had suffered his first novel to give me. At the beginning of his career, it had been possible perhaps to distinguish some human landscape, some old garden, some dream- familiar disposition of trees through the stained glass of his prodigious prose... but with every new book the tints grew still more dense, the gules and purpure still more ominous; and today one can no longer see anything at all through that blazoned, ghastly rich glass, and it seems that were one to break it, nothing but a perfectly black void would face one’s shivering soul. But how dangerous he was in his prime, what venom he squirted, with what whips he lashed when provoked! The tornado of his passing satire left a barren waste where felled oaks lay in a row, and the dust still twisted, and the unfortunate author of some adverse review, howling with pain, spun like a top in the dust.

The overhead lights hit the Serch Bythol sculpture on the utmost tier, the sugar crystals shimmering and dancing like a cascade of diamonds. The planes of the cake beneath were clean and crisp, and the sugar-stained glass panels caught every light on the ceiling, throwing back shimmering rainbow rays. Sylvie was most proud of the silhouette that circled the middle stained-glass tiers--the skylines of London and Johnny's family estate in Lancashire. Only when viewed at close range did a second, hidden skyline emerge from within the reflective depths---the fantasy lands of I, Slayer, complete with a tiny, flying dragon. It was a work of art---and even now, she was taken aback by the level of harmony they had achieved, twinning together two very different styles. In honor of the union of two very different people, whose lives would hopefully interlock just as successfully.

Do you really want me to tell the girl you’re not allowing her to get her art piece because you think I want in her knickers?” he asks like he’s confused. “Violet! Vance is having daddy issues and is trying to talk him out of giving you the stained glass!” Anna yells very loudly. Vance’s eyes widen. “I’m going to fucking kill you for fifty-three years, you stupid son of a b—” He stops, calming himself, because his grandmomma was a damn fine woman who’d punch him in the nuts for calling her that word…if she knew what it meant. She always hated dogs. Especially female dogs.

That settled, the number of chapels, doors, bell towers, and pinnacles are modified to infinity, according to the fancy of the century, the people, and art. The service of religion once assured and provided for, architecture does what she pleases. Statues, stained glass, rose windows, arabesques, denticulations, capitals, bas-reliefs,—she combines all these imaginings according to the arrangement which best suits her. Hence, the prodigious exterior variety of these edifices, at whose foundation dwells so much order and unity. The trunk of a tree is immovable; the foliage is capricious.

The man's true life, for which he consents to live," wrote Robert Louis Stevenson, "lies altogether in the field of fancy. The clergyman, in his spare hours, may be winning battles, the farmer sailing ships, the banker reaping triumph in the arts: all leading another life, plying another trade from what they chose....For no man lives in the external truth, among salts and acids, but in the warm, phantasmagoric chamber of his brain, with the painted windows and storied walls." Snoopy, dining by candlelight on the top of his doghouse, with his stained-glass window and Van Gogh below, would agree.

In past centuries, preachers, teachers, and apologists could at least count on a basic cultural context that supplied some degree of meaning for religious language. In church, worshippers had the opportunity for imaginative engagement in many different modes, as they would encounter Christian ideas not only in the Scripture readings and in the sermons, but also in stained glass windows, statues, icons, works of art, clerical vestments, gestures (such as genuflections and crossings), and the symbolism of the liturgy.

You look a little lost, my dear,' a nun says behind me, and I jump. 'Were you interested in seeing the Bevington Triptych?' 'Oh,' I say. 'Erm... yes. Absolutely.' 'Up there,' she points, and I walk tentatively towards the front of the chapel, hoping it will become obvious what the Bevington Triptych is. A statue, maybe? Or a.. a piece of tapestry? But as I reach the elderly lady, I see that she's staring up at a whole wall of stained glass windows. I have to admit, they're pretty amazing. I mean look at that huge blue one in the middle. It's fantastic! 'The Bevington Triptych,' says the elderly woman. 'It simply has no parallel, does it?' 'Wow,' I breathe reverentially, staring up with her. 'It's beautiful.' It really is stunning. God, it just shows, there's no mistaking a real work of art, is there? When you come across real genius, it just leaps out at you. And I'm not even an expert. 'Wonderful colours,' I murmur. 'The detail,' says the woman, clasping her hands, 'is absolutely incomparable.' 'Incomparable,' I echo. I'm just about to point out the rainbow, which I think is a really nice touch - when I suddenly notice that the elderly woman and I aren't looking at the same thing. She's looking at some painted wooden thing which I hadn't even noticed. As inconspicuously as possible, I shift my gaze - and feel a pang of disappointment. Is this the Bevington triptych? But it isn't even pretty! 'Whereas this Victorian rubbish,' the woman suddenly adds savagely, 'is absolutely criminal! That rainbow! Doesn't it make you feel sick?' She gestures to my big blue window, and I gulp. 'I know,' I say. 'It's shocking, isn't it? Absolutely... You know - I think I'll just go for a little wander...

You look a little lost, my dear,' a nun says behind me, and I jump. 'Were you interested in seeing the Bevington Triptych?' 'Oh,' I say. 'Erm... yes. Absolutely.' 'Up there,' she points, and I walk tentatively towards the front of the chapel, hoping it will become obvious what the Bevington Triptych is. A statue, maybe? Or a.. a piece of tapestry? But as I reach the elderly lady, I see that she's staring up at a whole wall of stained glass windows. I have to admit, they're pretty amazing. I mean look at that huge blue one in the middle. It's fantastic! 'The Bevington Triptych,' says the elderly woman. 'It simply has no parallel, does it?' 'Wow,' I breathe reverentially, staring up with her. 'It's beautiful.' It really is stunning. God, it just shows, there's no mistaking a real work of art, is there? When you come across real genius, it just leaps out at you. And I'm not even an expert. 'Wonderful colours,' I murmur. 'The detail,' says the woman, clasping her hands, 'is absolutely incomparable.' 'Incomparable,' I echo. I'm just about to point out the rainbow, which I think is a really nice touch - when I suddenly notice that the elderly woman and I aren't looking at the same thing. She's looking at some painted wooden thing which I hadn't even noticed. As inconspicuously as possible, I shift my gaze - and feel a pang of disappointment. Is this the Bevington triptych? But it isn't even pretty! 'Whereas this Victorian rubbish,' the woman suddenly adds savagely, 'is absolutely criminal! That rainbow! Doesn't it make you feel sick?' She gestures to my big blue window, and I gulp. 'I know,' I say. 'It's shocking, isn't it? Absolutely... You know - I think I'll just go for a little wander...

Come February, all of our off time was spent composing letters for the hundreds of valentines we sent out around the globe. Valentine cards had become a tradition of ours, born of the fact that we could never get ourselves organized in time to send out Christmas cards. With our ever-enlarging network of family, friends, and Foreign Service colleagues, we found that Paul’s hand-designed valentine cards—usually a woodcut or drawing, sometimes a photograph—were a nice way to keep in touch. But they could be labor-intensive. One year’s design was a faux stained-glass window, with five colors in it, each of which had to be hand-painted in watercolors—which took hours. For 1956, we decided to lighten up by doing something different: we posed ourselves for a self-timed valentine photo in the bathtub, wearing nothing but artfully placed soap bubbles.

The archive looked more like a university library than one that belonged in a high school. The room was full of archways and stained glass. Countless shelves were brimming with books of every kind, and at the center of the room, there were a dozen rectangular tables—state of the art, with lights built into the tables and enormous magnifying glasses attached to the sides.

… it is necessary that she be able to sing, dance and play a musical instrument altogether when requested … she should write and draw well, be adept in the giving of tattoos, and be prepared to receive them in whatsoever place the man should desire. ‘She should know how to speak the language of flowers when decorating beds or couches, or even when decorating the ground. In the arts of staining, dyeing, colouring and painting her teeth, her clothes, her nails and her body, a woman should be beyond compare. ‘A woman should know how to play music on glasses filled to different heights with liquids of various sorts. She should be able to fix stained-glass into a floor. She should know how to make, trim and hang a picture; how to fashion a necklace, a rosary, a garland or a wreath; how to store or gather water in an aqueduct or a tank. ‘She should know about scents; and about ornaments. She should be able to act and to lay on theatrical shows; she should be quick and sure in her hands and be able to cook and make lemonade or sherbet; wear jewels and bind a man’s turban. And she should of course, know magic ….

Without artists, would this heritage have descended to us? Would the words and deeds—the revelation—have survived the arduous journey into the present without the painters, the mosaic workers, the storytellers, the stone carvers, the poets, the singers, the workers in stained glass? Wasn’t it art, I thought—as I watched Bernard open a handsome black wallet and remove a handful of lire—that had been the carrier of the divine? Popes had understood that. The Emperor Constantine. Monks in damp Irish monasteries illuminating the Word.

Art Nouveau palaces such as Bofinger and La Fermette Marbeuf, dripping in gold molding and often with elaborate murals and stained-glass skylights.

Libraries, railway stations and three Scottish castles were burned. A bomb exploded in Westminster Abbey, damaging a stained-glass window.[8] There were over 200 acts of damage against property in the space of four years. The suffrage campaign of assault on art was driven by moral anger and self-righteousness. It was part cultural terrorism, part publicity campaign and part blackmail.

I love the church. I like the waxed candles that remind me people think of people. I love the bouquet of flowers on the altar that a group of grandmas grow in their gardens and pridefully donate every week. I admire the wooden statues of craftsmanship, of a mother staring at you with the kind of pure, loving look I forgot to ask from mine. I like the skinny man nailed to the cross reminding me that people are capable of sacrificial love. I like to stare at the art on the stained-glass windows, of angels, of lambs, and of fruit. I love running my hands over mosaics and tracing the lips of saints. I love the hymns and joy of the choir, who sing regardless if you’re too scared. I love watching the collective sway of bodies subconsciously comforted by their environment after finally saying “Peace be with you.” And most of all, I love being surrounded by people trying. They wear Christ around their neck and squeeze a rosary for dear life, admitting their weaknesses and sins. Tell me, where do you find that? There is an honesty in the church, spilling from kneeling persons, that gives me the hope humans can take care of each other and our planet can be a good one. Where else can I be exposed to the practice of morality on such an emotional level? I love everything about the church—the shiny pews, the smoky incense, the Bible and its purpose – because when all is considered, it makes sense. It is a template of discipline and thoughtfulness. Why call religious people idiots when they’re the few paying attention to their own lives? And there are other ways to be moral of course, but not many ways to practice. I’ve learned that to believe in God doesn’t subtract any life from you. It is additional. It is the world and God. If someone wears a jacket over their shirt, they aren’t naked. They’re double-layered.

In short, we had rather be Sir Walter Scott (meaning thereby the Author of Waverley) than Lord Byron a hundred times over, and for the reason just given, namely, that he casts his descriptions in the mould of nature, ever-varying, never tiresome, always interesting and always instructive, instead of casting them constantly in the mould of his own individual impressions. He gives us man as he is, or as he was, in almost every variety of situation, action and feeling. Lord Byron makes man after his own image, woman after his own heart; the one is a capricious tyrant, the other a yielding slave; he gives us the misanthrope and the voluptuary by turns; and with these two characters, burning or melting in their own fires, he makes out everlasting centos of himself. He hangs the cloud, the film of his existence over all outward things, sits in the centre of his thoughts, and enjoys dark night, bright day, the glitter and the gloom 'in cell monastic.' We see the mournful pall, the crucifix, the death's-heads, the faded chaplet of flowers, the gleaming tapers, the agonized brow of genius, the wasted form of beauty; but we are still imprisoned in a dungeon; a curtain intercepts our view; we do not breathe freely the air of nature or of our own thoughts. The other admired author draws aside the curtain, and the veil of egotism is rent; and he shows us the crowd of living men and women, the endless groups, the landscape background, the cloud and the rainbow, and enriches our imaginations and relieves one passion by another, and expands and lightens reflection, and takes away that tightness at the breast which arises from thinking or wishing to think that there is nothing in the world out of a man's self! In this point of view, the Author of Waverley is one of the greatest teachers of morality that ever lived, by emancipating the mind from petty, narrow, and bigoted prejudices: Lord Byron is the greatest pamperer of those prejudices, by seeming to think there is nothing else worth encouraging but the seeds or the full luxuriant growth of dogmatism and self-conceit. In reading the Scotch Novels, we never think about the author, except from a feeling of curiosity respecting our unknown benefactor: in reading Lord Byron's works, he himself is never absent from our minds. The colouring of Lord Byron's style, however rich and dipped in Tyrian dyes, is nevertheless opaque, is in itself an object of delight and wonder: Sir Walter Scott's is perfectly transparent. In studying the one, you seem to gaze at the figures cut in stained glass, which exclude the view beyond, and where the pure light of Heaven is only a means of setting off the gorgeousness of art: in reading the other, you look through a noble window at the clear and varied landscape without. Or to sum up the distinction in one word, Sir Walter Scott is the most dramatic writer now living, and Lord Byron is the least so.