The stained glass of William Wilson
William Wilson (1905 - 1972) was one of Scotland's great artists, a master of the arts of printmaking, painting and stained glass. Edinburgh based, his glass designs are in the 'East Coast Tradition' of Strachan and Hendrie.
His first window for the Chapel was unveiled by the Queen in 1950 and occupies the most easterly bay before the apse. It is an exceptional work, a fine memorial to those that lost their lives in the Second World War. In the centre light is the figure of Sanct Salvatour, a spectacular rendering of Christ bearing the wounds of the Crucifixion and the Banner of the Resurrection. To the left stands St Andrew with his fishing nets and cross, whilst in the right hand light is St Leonard with his broken chains. Above these three figures are the badges of the Navy, Army and Air Force. Below are small panels depicting scenes from the New Testament. Simple and yet so effective, these panels show Christ walking on the waters; the Agony in the Garden; and Christ crowned and set amongst the firmament. The background to the design is given over to bright, crystalline glass, a style more in tune with the Chapel's fifteenth century Gothic architecture, than the richly ornate, deeply coloured windows installed in the nineteenth century. The composition is capped by a blood-red Crown of Thorns wound through the tracery. A symbol of Triumph through Sacrifice, it is a fitting symbol for a Memorial window.
To the right of the War Memorial window is another fine work dated 1967. It seems likely that this window was based on an earlier design of c.1950 but was executed by assistants after the artist ceased working in the Fifties. Straying from the style of the rest of the Chapel, this design spreads over the three lights of the window. The result is remarkably effective. The scene depicts Christ Calming the Storm. The artist successfully conveys a great sense of movement in the waves, the sail and in the vigorous gestures of the Disciples. In the tops of the left and right lights are tiny miniatures. One bears the Ark beneath a rainbow, the dove returning with the olive branch of hope. The other shows the Hand of God blessing a great Medieval galleon. Beneath the curling waves of the Sea of Galilee are three New Testament scenes. From left to right are shown Jesus' Baptism; Christ as the Shepherd; and the Agony in the Garden. A tiny plaque at the base of the right light explains that the window replaces Hardman's original monument to Provost Playfair. However, to compensate for this loss, the lights of the tracery at the top of the window bear Playfair's arms and initials. The background to the main scenes of the window is a bright, ornamental weave in blue and red, close in appearance to that which dominates the other two Wilson windows in the Chapel. It would be interesting to establish whether or not this was part of the original design as it introduces an element of disharmony to the otherwise close relationship between the design and the neighbouring War Memorial window.
The other two windows to bear Wilson's distinctive monogram flank Gordon Webster's brilliant Crucifixion window in the apse. They are dated 1960 and it is possible that they are largely the work of Wilson's assistants, though the designs themselves might well have been drawn in the 1950s by the artist himself. It is perhaps regrettable that these windows, previously filled by two fine figurative windows by Hardman & Co., are now given over to heraldic glass. However, the cool blue and silver tones of the complex design used by the artist as a background for both windows serves to enhance the impact of Webster's window. Set into the coils of the artist's matrix are the arms of key figures in the College's history. Pride of place in the left window is bestowed upon the arms of the Founder, a position occupied by the arms of St Salvator's College in the right window.
Despite an element of doubt over the true extent of Wilson's personal contribution to the glazing scheme of the Chapel; the two figurative windows immediately west of the apse are first rate works worthy of greater recognition.