The Queen's Window
The Dean of Westminster, The Very Reverend Dr John Hall, wanted to commission something to celebrate the reign of Queen Elizabeth II, the United Kingdom's longest-reigning monarch. David Hockney, one of the most influential British artists of this reign, was asked if he would undertake the commission to design a stained glass window in a space which was then of 19th-century blank glass.
David Hockney is a Royal Academician, and has been recognized with an Order of Merit and as a Companion of Honour but had never worked in stained glass.
The Dean's brief to Hockney was to provide something symbolic or representational of the subject, rather than a heraldic or figurative design, and for it to be recognisable as his work. Within a day of being offered the commission, Hockney sent the Dean a first-draft design.
Hockney's design depicts a country scene featuring hawthorn blossom and using his distinct colour palette of yellow, red, blue, pink, orange and greens. It follows on from his acclaimed Royal Academy exhibition A Bigger Picture (2012), a major exhibition of landscape paintings, collages and electronically-produced art depicting the landscape and flora of the East Riding of Yorkshire, near Hockney's birthplace, Bradford.
A Bigger Picture was notable for the inclusion of a number of works produced by Hockney on his iPad, and Hockney again used an iPad to design The Queen's Window. Hockney considered the iPad a natural design tool for this project because, like a stained-glass window, it’s back-lit.
Hockney was also inspired by the work of Henri Matisse and Marc Chagall, painters who also worked in stained glass.
The window reflects Queen Elizabeth II's interest and delight in the countryside, and is described by Hockney as "a celebration".
The Queen's Window depicts the Yorkshire countryside in Spring
Stained glass artists and craftspeople at Barley Studio created the window using traditional techniques, working with the artist to translate his vision into glass. Barley Studio is a leading stained glass studio of over forty years based in York.
Helen Whittaker was primarily responsible for translating Hockney’s design to stained glass, and she made sure to preserve the natural, non-uniform lines of nature, captured by the artist in his design, in the final piece.
The vividly-coloured glass in the window was made by Glashütte Lamberts, Bavaria, who manufacture glass using traditional, hand-blowing techniques.
Barley Studio installed the window in the north transept of the Abbey in September 2018, and the window was dedicated by The Dean at a service on 2nd October 2018.
Taken inside Westminster Abbey
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
The Queen's Window
The Dean of Westminster, The Very Reverend Dr John Hall, wanted to commission something to celebrate the reign of Queen Elizabeth II, the United Kingdom's longest-reigning monarch. David Hockney, one of the most influential British artists of this reign, was asked if he would undertake the commission to design a stained glass window in a space which was then of 19th-century blank glass.
David Hockney is a Royal Academician, and has been recognized with an Order of Merit and as a Companion of Honour but had never worked in stained glass.
The Dean's brief to Hockney was to provide something symbolic or representational of the subject, rather than a heraldic or figurative design, and for it to be recognisable as his work. Within a day of being offered the commission, Hockney sent the Dean a first-draft design.
Hockney's design depicts a country scene featuring hawthorn blossom and using his distinct colour palette of yellow, red, blue, pink, orange and greens. It follows on from his acclaimed Royal Academy exhibition A Bigger Picture (2012), a major exhibition of landscape paintings, collages and electronically-produced art depicting the landscape and flora of the East Riding of Yorkshire, near Hockney's birthplace, Bradford.
A Bigger Picture was notable for the inclusion of a number of works produced by Hockney on his iPad, and Hockney again used an iPad to design The Queen's Window. Hockney considered the iPad a natural design tool for this project because, like a stained-glass window, it’s back-lit.
Hockney was also inspired by the work of Henri Matisse and Marc Chagall, painters who also worked in stained glass.
The window reflects Queen Elizabeth II's interest and delight in the countryside, and is described by Hockney as "a celebration".
The Queen's Window depicts the Yorkshire countryside in Spring
Stained glass artists and craftspeople at Barley Studio created the window using traditional techniques, working with the artist to translate his vision into glass. Barley Studio is a leading stained glass studio of over forty years based in York.
Helen Whittaker was primarily responsible for translating Hockney’s design to stained glass, and she made sure to preserve the natural, non-uniform lines of nature, captured by the artist in his design, in the final piece.
The vividly-coloured glass in the window was made by Glashütte Lamberts, Bavaria, who manufacture glass using traditional, hand-blowing techniques.
Barley Studio installed the window in the north transept of the Abbey in September 2018, and the window was dedicated by The Dean at a service on 2nd October 2018.
Taken inside Westminster Abbey
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]