British and Irish stained glass
Edward Liddall Armitage | |
|---|---|
| Born | 1887 |
| Died | 1967 |
| Nationality | English |
| Known for | Stained glass artist |
Edward Liddall Armitage or E. Liddall Armitage (1887–1967) was an English stained-glass designer.[1] He studied and worked with Karl Parsons and Henry Holiday before going into partnership with Victor Drury. In the 1940s to the early 1960s, Armitage was the chief stained glass designer for James Powell and Sons. During his career he designed and made stained glass works for churches and cathedrals. He also published a book on making stained glass.
Armitage studied under Karl Parsons and from 1920 to 1924 was his assistant stained glass painter.[2] He also studied under Henry Holiday. After Holiday died in 1927, Armitage finished some of Holiday's work that was in progress.[1][3] Like Holiday and Parsons, Armitage worked at The Glass House (Fulham).[4]
He was a partner to Victor Drury of Lowndes and Drury of The Glass House (Fulham) studio in the 1920s. Starting in 1930, Armitage worked as a stained glass artist at 43-45 Blenheim Crescent in North Kensington in London. He joined James Powell and Sons, Whitefriars Ltd in 1950.[1][2][3]
He published a book title Stained glass: history, technology and practice.[1][5]
The partial list of Armitage's works are sorted by church name:
In these two quatrefoil windows the artist has attempted to symbolise in line and colour two events of outstanding importance to the human race. In one, at the Baptism of Christ, the Dove, symbol of the Divine Spirit, is seen descending on to earth, our human consciousness, reminding us of the inner voice of God which tells us that Jesus Christ is His Beloved Son.
The colouring suggests that of Springtime with life and hope surging to fulfilment. The time of fresh endeavour is also indicated by the rays of light, the highest thoughts and feelings breaking through the clouds of apathy into the routine of our mundane existence.
In the other light the symbolism is of the Ascension of Christ when, his earthly material manifestation being completed, his spirit reunites with the eternal and everlasting will of God, as a permanent potential inspiration to all human beings.
Here the colours are richer suggesting fulfilment and accomplishment which is visually manifest in the latter part of the yearly life cycle. The hands represent the aspiration, the yearning and the striving of all men to achieve some measure of improvement and perfection.
The rhythm of the two panels is designed to suggest descent, the higher thoughts becoming apparent, and ascent, the subsequent achievement, and to pattern in colourful symbolism an everlasting truth. Each year the life cycle gives opportunity of accomplishment and service in the everlasting will of the Almighty.
— Whitefriar Studios, James Powell and Sons[3]
