Harry Clarke's stained glass: Panels from the National Museum of Ireland, Collins Barracks, Dublin

Details of "A Meeting", 1918

The details and images of the stained glass panels in the National Museum of Ireland are illustrative of many facets of Harry Clarke's work; decorative secular, and commemorative panels, and a religiously themed window. The works also span a large portion of the career of Harry Clarke, whom it must be remembered died at the age of 41. The Unhappy Judas panel was produced in 1912 for the South Kensington examinations in London and the Royal Dublin Society's Art Industries Exhibition in 1913. The panel won awards in both exhibitions.

The panel entitled "A Meeting" above, was produced in 1918 and is a diminutive, and highly detailed oval stained glass panel. It is similar in style to some other similar panels commissioned about this time, and indeed the illustrative work designed for the London publishers Harrap. Titles which Clarke worked upon during this period include "The Fairy Tales of Hans Christian Anderson" and "Tales of Mystery and Imagination" by Edgar Allen Poe. This particular panel is inspired by a ballad written by Heinrich Heine.

The panel below is a portrait of General Richard Mulcahy and was probably produced in or about 1925. General Mulcahy fought in the 1916 Easter Rising, served as Chief of Staff of the Irish Republican Army during the War of Independence [1920 - 1922], and was commander of the pro-treaty forces in the Irish Civil War [1922 - 1923].

Portrait of General Richard Mulcahy, Circa 1925

Detail of "The Unhappy Judas", 1912

Harry Clarke's stained glass: Church of St John the Baptist, Blackrock, County Dublin

A detail of from the lights depicting St Francis [1925]

A detail of the light depicting St Hubert [1925]

Lights depicting the Crucifiction [1925]

The martyrdom of St Sebastian [1925]

The windows attributed to Harry Clarke in St John the Baptist's church in Blackrock County Dublin are probably the work of his studio with a little intervention and direction from the master himself in places. There are two windows on either side of the nave and each window contains four lights. The windows are said to have been executed in 1925, when Harry Clarke was occupied not only with the commisioning and initial discussions relating to the Geneva window, but also exhibitions, illustrations and ongoing work. There was a considerable amount of work being produced by the Clarke studios during the mid 1920s.

The windows reportedly protray on the left Our lady of Mount Carmel, St Sebastian and St Hubert. On the right hand side of the nave the lights depicting the Crucifiction and St Francis.

Lights depicting St Francis [1925]

Harry Clarke's stained glass: Crawford Art Gallery, Cork and Church of the Assumption, Bride Street, Wexford.

 The consecration of St. Mel, Bishop of Longford, by St Patrick, 1910

The God Head Enthroned, 1911

 The meeting of St Brendanand the unhappy Judas, 1911

Details from stained glass panels designed and executed by Harry Clarke dating to 1910 and 1911 at the Crawford Art Gallery, Cork

Detail of Saints Aidan and Adrian, 1919

Madonna and Child, 1919

 

 Details feom two lights dedicated to William O'Keefe who died at Arras in 1917 and executed by Harry Clarke in 1919

The Good Life: Craving for vrai myrtilles sauvages, Bilberries or Fraochán

When you look forward to the August Bank Holiday weekend you have a certain amount of expectation measured with more than a fair sprinkling of pessimism. The first break since early June and the knowledge that the Irish Summer has passed you by is confirmed when you realise the weather forecast for the August Bank Holiday weekend is going to be dull, overcast and damp at best. In fact you could view it as the departure of the Summer as the weather was going to be in constant decline from Friday afternoon.

Undeterred by the lack of global warming and promised long stretches of sunshine we ventured into the Dublin mountains for a little adventure suitably attired in warm clothing. Our quest was to find bog land as Corinne wanted to see if we could collect what the French call myrtilles sauvages, and are known as bilberries in England or fraochán in Ireland. She has often treated me to Tarte aux Myrtilles or Vrai Myrtilles Sauvages en bocaux while in France. There is some bog land in the Doubs region where these low growing shrubs or vaccinium myrtillus and its related species thrive in the acid soil. They may also be found in some of the forests where the soil is suitable.

 A view of the fraochán still in situ

Bog land is plentiful in the Dublin and Wicklow mountains and we stopped close to Glencree sighting the bright green foliage, and a number of people practically on their hands and knees collecting in the cold mist and rain. At first this might seem like an unrewarding task, but after a few hours collecting by hand you might gather almost three quarters of a kilo of the small black berries. We saw little or no evidence of people having used combs which can be used to rake the berries from their branches. These gather a good quantity of berries quite quickly but also strip the leaves from the small shrubs. As we drove closer to Glencree we saw more and more of these shrubs, not just growing among the heather but growing in thick tufts along the road side and atop the distinctive Wicklow granite walls.

Drawing your fingers through the fleshy green leaves to collect the small berries, you can gather a multitude of little insects disturbing the happy existence of small spiders and ladybirds. Corinne found a frog at one point. During my foraging, I noticed a tiny ladybird moving about climbing through the berries in the container. The ladybird was extremely small and quite unusually coloured. Before it took flight to a safer location, I managed to photograph it and subsequently discovered it was a 10-spot ladybird or Adalia decempunctata. Add another dot to your chart Mister Anderson!  This site has a more accurate distribution chart for this type of ladybird

The "punk" - the 10-spot ladybird or Adalia decempunctata among the small berries

Upon reaching the kitchen we started the lengthy process of cleaning the berries an separating them from a multitude of tiny leaves, twigs and diminutive spiders. Fortunately most of the spiders had disappeared by the time the berries were washed and were not condemned to a watery grave. An average full depth tarte aux myrtilles would employ 600 grams of the precious berries; a few hours work wrapped in a sweet pastry crust. I wanted to preserve a few berries and Corinne, becoming more and more demanding, made a strong argument for tarte aux myrtilles. I decided to scale down the affair, being a moderate diplomat maintaining the vestiges of some control and proposed the option of a few tartlets.

 A close up of the cleaned berries - not unlike there tasteless commercially grown cousins the blueberries

The vrai myrtilles sauvages en bocaux is the least difficult method of preserving the berries. The recipe was given to me by a friend of Corinne's who lives near Frasne in the Haut Doubs, which is very close to one of the few bogs in the area. Essentially you fill a .75 litre Le Parfait jar or other preserving jar with the berries and sprinkle over them two tablespoons of sugar. Seal down the jars and put the in a large preserving pot or bain marie with a lid. Place a tea towel on the base of the pan.; preferably the one you have just destroyed while cleaning the berries. This prevents the jars coming in direct contact with the heat. Fill the pan with water until it reaches two thirds the height of the jars, and simmer steadily covered for 1 hour. Allow to cool and store in a cool dry place away from sunlight. These are great on a cold winters night after dinner served with sweetened whipped cream. Do not forget to compare the colour of your tongues!

Corinne changed her mind (a recently developed fluctuating characteristic which is difficult to accept at times), and wanted a baked custard base filling to her tarte aux myrtilles. Fortunately, this allowed a more moderate use of the berries, and I should be able to make a full tart using a 24 centimeter tart ring. To begin place 250 grams of the berries with 50 grams of sugar in a pot and cook for 5  minutes. Thereafter allow to cool and strain the cooked berries through a sieve retaining the juice. Pour this juice over the uncooked berries and stir - I have about 270 grams remaining!

Then make a sweet shortcrust pastry. I rub approximately 250 grams of flour and 40 grams of icing sugar, together with 125 grams of cold butter. Once it mixture is the consistency of breadcrumbs, add an egg yolk and two or three tablespoons of cold water. Bring the pastry together and place in the fridge for about 20 minutes to rest.

In the meantime you can prepare your custard. There are many recipes for this, but I generally beat 4 eggs with two tablespoons of sugar, and a teaspoon of  purée de gousses de vanille or vanilla extract. Once combined I add to the egg mixture 250 milliliters of milk and the same quantity of cream. Leave this mixture to stand at room temperature. Carefully, roll out the pastry on a floured surface and with the same care and precision place the pastry into a buttered and floured tart tin. Cook the pastry blind at 180 Celsius for about thirty minutes. It is important to make sure there are no tears in the pastry prior to baking because you will be pouring a very liquid custard mix into the cooked pastry case. Taking the pastry case out of the oven, I let it cool for a short period before taking the parchment, and weights or chickpeas, from the case. To firm up the pastry I brush it with a little egg wash and put it back into the oven for a few minutes.

 
Once satisfied the case is not broken or torn, reduce the temperature of the oven to 160 Celsius and return the pastry case to the oven. I find it easier to pour in the custard mix at this point rather than going on a shaky adventure through the kitchen accompanied by frequent spillages. Cook the custard and the case for 45 minutes, or until the custard has a gentle wobble when you gently nudge the pastry tin. When cooked remove the tart from the oven and allow it to cool. Thereafter, gently spread and dot the the surface of the baked custard with the cooked berries. Then spoon the remaining berries and juice on top of the tart. To complete the experience, find a French person, preferably in a good humour, and serve them a slice of this tart with sweetened whipped cream and a cool glass of chardonnay from Arbois, Franche Comté.

An excellent end to the day

Corinne is leafing through a cook book now and has suggested that she would like grenouilles á la creme for dinner at some stage. I guess it is back to the bog for me next week!

The Good Life - Looking back and planning ahead

A view across the frozen estuary at Malahide

The second ice age that arrived during December brought with it exceptionally low temperatures with -15.7 being recorded in Dublin and lower readings elsewhere. The arctic weather finally receded by the 28^th with the arrival of more seasonal temperatures. The cold spells generated the coldest December on record according to the weather summary and statistics held by Met Eireann. I spent many days during December monitoring the rainfall radar trying to anticipate when the snow showers would arrive and how long they would last. The verdict on 2010 given by Met Eireann was that the weather experienced was “colder, drier and sunnier than normal”.

Malahide estuary appears to have escaped the ravages of winter. While the estuary was frozen over the bird population has been feasting and foraging successfully on the vast mudflats and grassland between Donabate and Malahide. There is nothing more pleasant than looking and listening to a large flock of geese flying over head. The marsh grass and mud flats are full of large healthy birds, fat shell duck and mallard waddling cautiously on the mud, alongside plovers, godwits, oystercatchers, redshanks and my personal favourite; the shy and elegant, but clumsy curlew.

 The first day of digging at the allotment on a dark and cold 20th February

  

It has been a great year in our new allotment and looking back it is clear it could not have been achieved without hard persistent work for the initial months. However, in the last month the soil, which was buried under a foot of ice and snow for most of December, is somewhat sodden and mucky clumps stick to my shoes as we traced our way along the pathways that divide the raised beds. The heavy damp air carries the scent of compost and decaying brassicas. There is very little left that can be used. The once impenetrable earth can now be excavated to raid our reserves of artichokes. In the nursery beds the lettuce has succumbed to the freezing conditions but the resilient small leaves of the mache cloak the surface of the bed. We managed to gather a small plate of mache and these hardy leaves will continue to grow during January, and into February and March. The only other visible sign of life are the buds forming on the bare branches of the blackcurrant bushes.

Earth works and stone extraction under way on the 14th March

There was some evidence of a system of raised beds by the 11th April 

Harry spent the months of October and November digging the raised beds and preparing them for the year ahead by digging manure into those beds. This should form a good basis for the strong and healthy growth of our vegetables and plants in the coming months. Corinne retreated to France just after Christmas to see her family over the holiday season and a shopping list followed her by; seeds of different varieties of vegetables including beans, pumpkins (muscade de provence) and tomatoes including a specific instruction to obtain some of the tomato seed which her grandmother used. For the culinary year ahead I would like to experiment with different varieties of pumpkin chutney, and tomato and chilli jams. The varieties of some of the vegetables we have been planting in the last year do not make the grade for flavour and it is important to address this matter now.

Corinne and Harry working in the allotment on a very sunny 26th June

We enjoyed the long warm summer evenings with the air full of the scent of sweet pea

All at home in the garden of eden on the 8th August

Upon her return Corinne produced a small packet of crosnes. These look like insect larvae or bush tucker which Crocodile Dundee might have grilled with a few prawns by a lake somewhere in the outback. In fact they are Chinese artichokes and a member of the mint family. Artichokes and mint grow in a very similar fashion; once introduced into a plot they are difficult to remove and control. I think we shall plant them in large buckets and see how they grow, and enjoy the harvest sometime in October.

In the coming weeks we shall be focusing on the available crops already in the ground; forcing the rhubarb to get an early growth and picking the young tips of the nettles to make nettle beer. Along with harvesting the nettles we also intend to hit the hedgerows searching for rose hips and berries. Along with the blackberries we managed to find a few red currant bushes last year, which supplemented some of our annual red currant jam production. The blackberry harvest was excellent as well, with many large juicy berries to be collected. If that harvest is repeated in the year ahead we might attempt to make some syrup along with our normal production of the rich fruit jellies. In particular I would like to try to make a rose hip syrup; these require a little patience to gather and a seasonal inspirational team talk might be required to bring together a successful harvest. A team is generally required for safety reasons because the largest and brightest of these red gems normally overhang the deepest of ditches.

 Corinne with a large birch bolet on the 28th August

Unfortunately this year there were no bullace plums to flavour a gin or dot a cobbler with. The few we did collect were added to enrich a bramble jelly. In complete contrast last year was the amazing growth of mushrooms in the forests nearby where we live. Some days we were nearly walking on a forest floor thick with mushrooms. There was no real search involved. They were just everywhere, which meant we could be quite strict about our collection selecting only the best examples for the pot. There is always a balance in nature and no doubt this year will be no different. However, by putting in a little extra work in at the right time and carefully planning the allotment's progress from seed to table, we can hopefully yield a better and more sustained harvest throughout the year.

 Roses thrown onto the the ice on Malahide estuary in late December

Harry Clarke - A quaint and curious volume of forgotten lore

 The Nativity with the adoration of the three Kings and the Shepherds, St Barrahane's Church, 1918

Throughout the year when friends have been visiting Dublin, I have become weary of showing them the popular and well advertised cultural highlights of Dublin, and a few pubs as well. You can easily weave your way through the centre of Dublin visiting Neary’s, Grogans, The Stags Head and Davy Byrnes, but touring around Dublin’s main attractions has recently been less of a thrill. The National Gallery has closed many of its rooms, and the queues for the Book of Kells are not desirable when rain clouds block the horizon.

 

Details from St Barranhane's St Luke 1924 (top), Martin of Tours 1921 (middle), and St Louis 1921 (bottom) 

On a recent trip to west Cork I happened upon an idyllic little church positioned on a hilltop at the end of the main street in Castletownsend. St Barrahane’s is not short of very fine stained glass windows and among them are four remarkable windows or lights designed and produced by Harry Clarke in 1919.

Harry Clarke was born in Dublin in 1889 and died in Switzerland of tuberculosis in 1931. In his short but highly productive life he quickly became renowned not only for his work in stained glass but his work in the graphic arts. Most notably tomes published by George Harrap & Sons employed Clarke's unique grasp of a stylish grotesque for illustrations and designs in their publications of works by writers such as Edgar Allen Poe [Tales of Mystery and Imagination], Hans Christian Anderson, and the creator of the fairytale, Charles Perrault. The illustrations in these books stand shoulder to shoulder with the works of the more celebrated illustrator and designer Aubrey Beardsley.

Harry Clarke has often been compared with Beardsley and I believe any such comparison is unfair. While Beardsley was chiefly a product of the Art Nouveau and aesthetic movement, Harry Clarke in contrast straddled a number of aesthetic worlds but principally drawing inspiration from other sources such as the arts and crafts movement in England, Art Deco, the Celtic revival tradition and associated mysticism at the time, and the many rich styles, trends and fashions associated with the belle époque and decorative arts from continental European Countries. In the midst of the rich decorative traditions of the early 19^th Century, Clarke was also clearly heavily influenced by the 1916 uprising, the unimaginable industrial slaughter of the First World War, and the unfortunate divisions of Irish nationalism brought about by the Irish Civil War.

Harry Clarke’s stained glass is uniquely intimate drawing the viewer into a medieval inspired magical world, where the beautiful and hideous, youthful and aged inhabit a deeply atmospheric world of richly patterned silks and armour. Many of his windows have wonderful delicate vignettes; subject matter and depictions that you would not easily associate with the religious fervour of the 1920s in Ireland. Invariably you are captured by their style and crackling confection of colour.

My interest aroused in Harry Clarke’s work, coupled with the unappealing queues and limited access to other Dublin highlights, I decided to commence one tour of Dublin at Bewley’s in Grafton Street. There are six secular, highly decorative lights in the bustling main room on the ground floor of Bewley’s coffee house, produced by Harry Clarke in 1927 and 1928. These elegant windows are principally inspired by the Art Deco movement, an apt choice for this decadent landmark building in Dublin’s principal shopping street, but often overlooked or taken for granted.

 

 Details from the windows in Bewleys, Grafton Street, Dublin installed 1928

Attempts are often made to set Harry Clarke into a lineage of stained glass craftsmen beginning with Louis Comfort Tiffany, but he should be more closely aligned to the work of Gruber and the Dau brothers in France. It is well documented that Clarke spent periods in London and Paris. In London he had an association with the Arts and crafts inspired stained glass studios of the Glass House in Fulham. While there he came into contact with Kevin Parsons, and Wilhelmina Geddes who would also work in Ireland with An Tur Gloine.

 Details from windows at St Joseph's Church Terenure; "The Annunciation" 1922 and "Coronation of the Virgin" 1923

While a number of the rooms in the Hugh Lane Municipal Gallery of Modern Art on Parnell Square are closed, as you approach the entrance to the gallery on the ground floor on the left hand side you can find the stunning windows depicting the life of Saint Agnes. These windows are quite small and the various scenes must be viewed close up to observe the detailed fairytale world and stories related by Clarke. The National Museum in Collins Barracks also houses the work of Harry Clarke; a light he designed and made as a student in 1912 depicting the Unhappy Judas Iscariot, and a small exquisite oval panel entitled the meeting produced in 1918. Both are different in style and execution; the former is a traditional ecclesiastical lancet window for a church, and the latter a secular panel designed and executed in a similar manner to many of his illustrations for George Harrap.  

Many of Clarke's designs for stgained glass windows are a departure from the Victorian traditional Christian world of shining idealised saints portrayed as crusading Christian knights. The 19^th century saints are replaced with the unexpected, organic, magical, and ghoulish world created by Clarke depicting ghouls and goblins bringing a sinister and mysterious tone to the work, not always easily reconciled with the religious fervour of 1920s Ireland.

 

Details form the windows of Sts Peter and Paul Church Balbriggan: "The Visitation" and the "Widow's Son" 1924.

Using the rail network travelling north of Dublin other stained glass windows by Harry Clarke can be found in Clontarf at the Scots Presbyterian Church, Donabate at St Patrick’s Church, Lusk at St Maculinds Church and Balbriggan at Sts Peter and Paul’s Church. Hidden away in Dublin’s outlying towns and villages are some of the most important works of the decorative arts from the 1920s. One can travel to Paris, Amsterdam, Vienna and Barcelona to view the popular, recognised and celebrated works that defined this decade however an equally impressive cadre of design and craftsmanship remains largely unrecognised and unapplauded in churches and institutions around Dublin and throughout Ireland.

Details from St Patrick's Church Donabate (top) 1926, and from St Maculind's Church Lusk (middle and bottom) 1924.