Glazing projects
St Michael and All Angels, Sowton and St Mary the Virgin, Ottery St Mary
in Stained Glass and the Victorian Gothic Revival
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter explores how windows were used in two specific ecclesiastical interiors and what aspirations patrons and architects had for the stained glass in these churches: St Michael's Church at Sowton and St Mary's Church at Ottery St Mary. St Michael's Church at Sowton, near Exeter in Devon, is a rare survival: a remarkably complete ecclesiological interior. The restoration of St Mary's Church at Ottery St Mary presented a series of difficulties to its coordinator, John Duke Coleridge. The link between paternalism, Gothic and church patronage is physically built into the layout of the church and signalled by the interior fittings. The evangelist symbols represent an oblique allusion to John Garratt's evangelical activities through his reconstruction of the church. Coleridge was asserting an opinion about the nature of Anglican churches, and to him a church was for worshipping God through the performance of the sacraments.


All Time Past Year Past 30 Days
Abstract Views 41 10 0
Full Text Views 28 0 0
PDF Downloads 6 1 0