Dating Stained Glass

It is not easy to date stained glass. However, with some basic knowledge of techniques, style and common subject matter pertaining to each century it is possible to make an “educated guess.”

The main points to note in stained glass produced in each century are listed below – for full details and where to see windows from each period click the

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13th	Only one colour in each leaded section although detail would be painted in a dark brown/ black paint Any red panels are “Streaky” Windows have a biblical theme or a grisaille pattern Windows are simple and bold in design
14th	Staining and Flashing techniques discovered New colours introduced particularly : brown, violet, deep green Predominant colours : yellow, brown, green. Typically windows have small pictorial panels Figures are becoming more delicate in design
15th	For the first time allegorical figures were depicted Rise in production of domestic glass Typically stories are told in rows of pictures Rise in importance of drawing skills – figures continue to be delicate Colours predominately pale. Norfolk glass characterised by the use of red, gold and white glass
16th & 17th	At the beginning of the 16th century reddish enamel paint was introduced. By the middle of the century a range of enamel paints were available which could be painted onto glass Pictures became more realistic (influence of the Renaissance) From second half of 16th century no glass produced in England with a religious theme From 1630 pot metal glass could not be obtained
18th	Windows were generally non religious in theme and became pictorial in design Coloured glass windows developed into a form of translucent oil painting
19th	In first half of century colours garish. In second half of century higher quality glass with more subtle colours produced. Four styles are associated with the century : “Medieval Gothic”, “High Victorian”, “Morris & Co” and “Arts and Crafts” “Norman Slab” glass produced
20th	Thicker glass could be produced Early in the century memorial windows were prevalent The century was characterised by “experimentation”

Norwich Medieval	St. George Tombland	St. Julian	St. Michael at Plea	C of E Cathedral	Norfolk Churches	Post Reformation
All Saints Westlegate	St. Giles	St. Lawrence	St. Peter Hungate	RC Cathedral	Denton
St. Andrew	St. Gregory	St. Margaret	St. Peter Mancroft	Norwich Secular	East Harling	Holy Trinity
St. Augustine	St. Helen	St. Martin at Oak	St. Peter Parmentergate	Castle	Garboldisham	St. Matthews
St. Clement	St. James Pockthorpe	St. Martin at Palace	St. Saviour	Guildhall	Ketteringham	Country Houses
St. Edmund Fishergate	St. John de Sepulchre	St. Mary Coslany	St. Simon & St. Jude	Surrey House	Mulbarton	Blickling
St. Etheldreda	St. John Maddermarket	St. Mary the Less	St. Stephen		Saxlingham	Felbrigg
St. George Colegate	St. John Timberhill	St. Michael Coslany	St. Swithin		Shelton	Holkham