When I was in my mid teens, and I knew that I wanted a career that would allow me to express myself artistically (it was a nebulous concept at that time!), I would look for inspiration everywhere, all the time. I would create scrapbooks filled with any kind of image that intrigued in any way, and I spent quite a lot of time sketching in the Bristol Museum and Art Gallery. (Just a quick detour while I get on my soapbox –  entry to museums is free in the UK, and I feel very strongly that the freedom for children to have access to these places as much as they please is incredibly important to inspire future generations.)  Anyway, my favourite paintings were in the Pre-Raphaelite exhibit, particularly those by Sir Edward Coley Burne-Jones (1833-1898) and particularly the one entitled “The Briar Rose; The Garden Court”. (Pictured below)

(Photo credit: visitbristol.co.uk)

It’s a dreamy, ethereal painting with a wonderful composition that leads the eye from sleeping figure to figure in a beautiful flow. I didn’t know much about Burne-Jones at that time, just that his work led me to think more about the flow of composition in my own work. Later I learnt how influential he was in the stained glass world. I’m not going to go into the history of the decorative arts firm of Morris and Co as there are many more eloquent writers on that subject, suffice to say, Edward Burne-Jones’ tall and languid figures lent themselves particularly effectively to stained glass. To my mind, the intense colour of the glass and the strength of the lead lines add a vibrancy and depth which surpasses his paintings. One of my favourites is his Nativity window in Salisbury Cathedral; the composition of the figures is masterful, and central to all is the tenderness with which Mary cradles the Christ Child. (Pictured below)

We had the opportunity a few years ago to create our own homage to Burne-Jones. Our client has always loved Burne-Jones’ depiction of Saint Cecilia (the patron saint of musicians) in Christ Church Cathedral, Oxford, England. (Pictured below)

We created a panel inspired by the original window, with only a few adjustments for tonal values, a little tweaking of the colour palette and the addition of a Morris inspired pattern in the background. (Pictured below)

It makes me happy just remembering that project. On that note, I will finish with the words of our lovely client:

“During these difficult times I did something I have not done before;

Knowing that the day was to be sunny I opened the bedroom curtains this morning just before sunrise, then returned to bed to watch as the stained glass of my own beautiful Cecilia was gradually illuminated by the rising sun.

It was a breath-taking, uplifting experience.

What could be more inspiring?”