The stained glass designs of Douglas Strachan
Arguably the finest of Scotland's stained glass artists, Douglas Strachan (1875-1950) is best remembered as the genius behind the glorious glazing scheme in the Scottish National War Memorial in Edinburgh Castle. Having seen such wonderful works, it is not surprising that the University of St Andrews was keen to commission Scotland's leading stained glass artist when it decided to re-glaze the Chapel. What is astonishing is the University's subsequent rejection of the designs he prepared for the project. The story of the commission is dealt with in detail in Juliette's excellent essay, An Unfulfilled Vision: The Commission for St Salvator's Chapel. The outcome is obvious to all visitors to the Chapel. Instead of Strachan's complex but cohesive scheme, the glass of St Salvator's is a mixture of different windows of varied age and style.
Whilst the opportunity to re-glaze St Salvator's to Strachan's scheme has passed, some of the designs he created have survived. Following the artist's death, the University was gifted an incomplete set of water-colours illustrating the artist's plans for the building. These designs date to c.1939, an earlier scheme - utterly rejected by the University - must now be considered lost. The complete scheme, running from the left window of the apse all the way around to the bay before the south door, amounted to eight windows. The University's Collections hold the designs for six of these windows. However, the letters Strachan sent to the University survive and describe the missing windows, thus we can give a complete description of the Chapel scheme.
The design of the apse formed a Te Deum. The design for the left window depicts the Old Dispensation. Beneath the monstrous beasts of Daniel's Vision and the towers of Babylon, a procession of figures from the Old Testament winds it's way towards the scene depicted in the centre window. The procession includes: Abraham, Melchezidek, Moses, Joshua, Miriam, Samuel, David and Isaac. At the base of the design is a rendering of the Scroll of the Law and the Ark of the Covenant. This is flanked by the first pair of a series of historical panels that form a chronology of Christianity in St Andrews from the earliest times up to the age of James VI and Melville.
The central window was to have been devoted to the Ultimate Expression of Truth. In the centre light God in Majesty sits enthroned with his feet resting upon the Lamb and the Banner of the Resurrection whilst above the Dove of the Holy Spirit descends. Beneath stands St Andrew with his fishing nets, calling and exhorting the multitude. He is flanked by two more historiated panels. Above these, to either side of the Enthroned, stand two Archangels.
The design for the right window depicted the New Dispensation. This design has been lost but we have a description of it. In the same position as the Scroll of the Law in the left window, would have been a chalice and a seven-branched candlestick, representing Love. Again the image is set between historical panels. Above these images was a rendering of the Nativity with the Shepherds and the Magi. Saints Peter and Paul were also depicted, along with a Herald and angels.
The five designs for the windows of the south wall depict Christ in his roles as Teacher and Reformer, the Bestower of Peace, Healer and Sufferer. At the base of the designs are renderings of the personifications of the Cardinal virtues of Justice, Prudence, Temperance and Fortitude. These are flanked by historiated panels that carry on the scheme begun in the apse. In the centre window, between the Peace and Healer windows, Strachan's scheme interpolated a bold design - the Elements. The designs for the windows at either end show three separate scenes, whilst the three between are devoted to a single event that would have spread over the three lights of the window.
The design for the window nearest the altar depicts: Christ Preaching in the Synagogue; the Washing of the Feet; and the Cleansing of the Temple. The first describes teaching by precept; the second teaching by example; and the last, teaching by action. The Bestower of Peace design is a rendering of the same event as the extant window by William Wilson but is utterly different in character. A mantled Christ stands firm amidst the storm that threatens the Disciples' fishing boat, whilst the rays of the sun break the clouds in the tracery above. It is interesting to compare this design with the vigorous, brilliantly coloured window depicting the same scene in St Giles Cathedral, Edinburgh. A near contemporary commission, the St Giles window might provide us with a clue as to how Strachan would have treated the subject in the Chapel.
The design for the Elements is full of fascinating detail and symbolism. The path of life winds it's way up a craggy mountainside to the mysterious, veiled horizon. On it's way, it passes through storms and fire, blizzards and waterfalls. In the top of the left and right lights are the pelican with her greedy brood, and the immortal phoenix. This design is outstanding and is in utter contrast with the rest of the scheme. Unique amongst Strachan's plan, this design does not depict a Biblical event nor relate any of the Burgh's history. Instead, the design draws upon Pagan symbolism and tales from the Medieval Bestiaries. It is perhaps not surprising that the University authorities frowned upon the design.
The Healer design shows Christ laying on Hands to cure the sick. The flanking lights are filled by those gathering for the gift of healing, whilst the tracery above contains the Tree of Life. The design for the Sufferer window was considered a masterpiece by Principal Irvine and the rest of the Chapel Buildings Committee, but it is sadly missing from the University's Collections. The records reveal that the three scenes depicted were: the Betrayal; the Bearing of the Cross; and the Agony in the Garden. Thus Christ was represented as suffering through disloyalty, public humiliation and spiritual torment.
Whilst the University never realised Strachan's designs for the windows of the Chapel, St Salvator's does feature some fine work by the artist. The mosaics that adorn the War Memorial and Communion Table are to a design of Strachan's, which was realised by the company of James Powell & Sons (Whitefriars) Ltd. The scenes relate the Life of Christ and include a remarkable rendering of the Crucifixion. The University nevertheless found fault with these too, though that was more a result of the adhesives used to attach the glass pieces to the wall of the apse than the general rancour felt towards Strachan! Having seen such excellent work, one can appreciate the regret felt by some at Strachan's unfulfilled vision for St Salvator's.