19th century
The Gothic revival that came as an offspring of the Romantic movement of the late 18th and early 19th centuries represents the beginning of a revitalization of the art of stained glass. The revival of interest in Gothic art stimulated an interest in both the technique and history of medieval glass painting. The pioneer figures in this field were E. Viollet-Le-Duc in France and Charles Winston in England. Winston was a lawyer and antiquarian who associated with various London glaziers and, with the technical help of James Powell and Sons, brought about a considerable improvement in the technical quality of coloured glass. In 1847 he wrote the first comprehensive study of the medium. The experiments were continued by W.E. Chance, who first successfully produced “antique” glass in 1863.
In the first half of the 19th century the styles and methods of the early Gothic period were reconstructed, but without much aesthetic appreciation of medieval art. Much of the work was stereotyped and mass-produced, particularly in Germany, and varied considerably in technical quality. The latter part of the century is dominated in England by Edward Burne-Jones and William Morris. Burne-Jones provided the designs and Morris adapted them to the medium of stained glass. In windows by them the lead line is once again treated as an integral part of the design, as seen, for example, in the windows for Christ Church at Oxford (1874–75 and 1878), Salisbury Cathedral (1879), and Birmingham Cathedral (1897). In the U.S. the works of John La Farge and Louis Comfort Tiffany were influential in creating an American interest in stained glass. Although the style and sentiment of 19th-century work has not been much in favour in the 20th century, the period had great historical significance in the revival of the basic technique of making stained glass.
Art Nouveau designers used stained glass decoratively for making such objects as lampshades and light fixtures, and turn-of-the-century architects increasingly employed stained glass as an integral element in wholly modern architectural settings: Victor Horta in his Hotel Solvay (1895–1910), Brussels; Antonio Gaudí in his Chapel of Santa Coloma de Cervelló (1898–1914) in the Güell Colony near Barcelona; Charles Rennie Mackintosh in the Willow Tea Rooms (1904), Glasgow; and Frank Lloyd Wright in the Coonley House (1908), Riverside, Illinois, and the Unity Church (1906), Oak Park, Illinois. These windows and panels clearly mark the beginnings of an authentically modern stained glass, despite their strictly ornamental intent.