Steve Clare ACR FMGP An under-appreciated masterpiece: conservation of the great Jesse Tree window in Wells cathedral Steve Clare first became involved with surveying this window in 1994 when working under the direction of Alfred Fisher at Chapel Studio. A full 15 years elapsed before the project to conserve the window actually began. The lecture will be profusely illustrated with details of this beautiful glass photographed from the scaffolding, and in the process of conservation in the workshop. It will afford a rare opportunity to glimpse the complex processes of conservation at a leading conservation studio. The palette of the glass is unusual; there are no expanses of deep blue or ruby which are used in a restrained way. Green and gold, pot metal and silver stain predominate giving the window its fond local description as The Golden Window. Cleaning the glass has greatly enhanced the brilliance of the colour, the effect of which is truly breath-taking. This remarkable window, made in about 1340 is formed of seven main lights tracing Christs genealogy. It has monumental figures of ancestors set among the sinuous vine stemming from the recumbent figure of Jesse at the foot of the centre light. The traceries have scenes from the Last Judgement. At the apex of the centre light is the remarkable figure of the crucified Christ on a green tau cross, the final tendril of the vine springs from the cross; the living cross. Most versions of the Jesse tree are essentially based on the Marian cult. This powerful depiction of the crucifixion, so filled with pathos, as the focal point of the window is therefore unusual. Also unusual, in fact unique in comparison to other major conservation projects of the last two decades, is the strict adherence to the principle of minimum intervention in this conservation campaign. The work has included ground-breaking research methods, including careful analysis of the restoration history of the window by charting mill marks in the centre of the lead cames. These were cross-referenced with archival material to prove a definitive restoration history. The detailed method statement developed for the conservation works, outlining the processes and aims of the work, and developed by the master glaziers supported by the advisory groups is unusually comprehensive. Contributors included consultant Ivo Rauch of Koblenz, and eminent art historians such as Jill Channer, Dr Richard Marks, and Dr Tim Ayers, author of the remarkable CVMA volume concerning the stained glass at Wells. It was decided in particular that the protective glazing system for this window would be designed specifically for its location, and would be constructed employing methods and materials which did justice to this great building. The system was formed from custom-milled bronze sections and incorporates hinged sections to ensure ease of maintenance for such internationally important ancient glass. Details of the manufacturing process and installation of the protective glazing will be shown at the lecture; the first time these images have been made available. But it is the glass itself which is the focal point of this lecture; it was soon appreciated by the conservation team when access became available from the suspended scaffolding above the high altar, that this little-known and under-appreciated window is one of the great masterpieces of European medieval Art. It is hoped that through this lecture, detailing the painstaking work of master craftsmen and women, greater numbers of enthusiasts of stained glass and architecture will be encouraged to visit Wells and see the window for themselves.
Posted on: Wed, 21 May 2014 12:53:08 +0000
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