The stained glass window of the Church of St. Francis. Funtley, Fareham, Hampshire.

Malcolm Low

Research by Malcolm Low and Julie Graham

The stained glass window depicting the Ascension and the Nativity in the little Church of St. Francis is reputed to have been designed and coloured by John Ruskin whose essays on art and architecture were extremely influential in the Victorian and Edwardian era. He was an art and social critic, an author, poet and artist, and much has been written about his life and work. The window, if proven to be the work of Ruskin will be of great importance to the Nation as well as of local interest.

The importance of the stained glass window with its connection with John Ruskin is recorded in the Fareham Borough Council records of listed buildings, of which the following is an extract taken from the record of Funtley Church;

East window, stained glass by Ruskin, rich in detail and colouring. Upper part of window has shaded glass as Ruskin glass was moved from Duntisbourne Abbots, Gloucester where windows were smaller. This window gives St. Francis' Church added significance (sic).

The two churches involved St. Peters and St. Francis are completely different in age and design. The oldest church being St. Peter's, Duntisbourne Abbots, Nr Cirencester, their common link is the stained glass window.

The research by Malcolm & Julie had taken them from the Fareham Library and Fareham Museum; to the Portsmouth and Winchester Diocesan Record offices, with visits to Duntisbourne Abbots and the Gloucestershire Records Office. Contact had also been made with the Ruskin Society, the Ancient Monuments Society and stained glass specialists whose contribution to the research has been invaluable. Martin Harrison and Peter Cormack whose authority on stained glass is respected amongst their contemporaries have made the following comments.

In Martin Harrison's opinion ‘the two main lights are quite consistent with the work of Ward & Hughes, circa 1855, and, although the paint loss is obviously a problem the musical angels may indicate Ruskin's design advice, or even have been made to his designs. Although this is not definite proof, it does strongly suggest at least a certain level of Ruskin's involvement with the ‘Funtley’ window.’

Peter Cormack ‘could not detect any obvious connection with Ruskin, however he did note that the ‘shell’ pattern of the ruby and blue glass in the background is not at all typical of Ward & Hughes, with one significant exception, it might well be seen as a variant of the treatment of the background in the east window of St. Giles, Camberwell, with which Ruskin was definitely involved. The execution of the St. Giles window was carried out by Ward & Nixon, who became Ward & Hughes c1853.’

A PDF version of the research can be downloaded by clicking here

Malcolm can be contacted on email: m.low1@ntlworld.com