CONTEXT 177 : SEPTEMBER 2023 31 WORKING WITH GLASS the cross. A large pale circle refers to the martyrdom of a third-century priest St Denys, who became the patron saint of France. The smaller circles refer to St Denys’ two deacons who died with him. The link with the cathedral to St Denys is thought to be associated with King Henry V, who was married to Catherine of Anjou, the daughter of King Charles VI of France, and who gave the collegiate church of 1421 its charter. Flanked either side of these three central windows are the Creation and the Revelation windows. These introduce the observer to the theology of the beginning and the end, from innocence to mystery, and through time and space. The Creation window (1991), on the west end south aisle, depicts the Genesis story and the rays of light coming from the sun and the moon at the top of the window. It also represents the passing of the seasons. The white zigzag across the centre of the window reflects the parting of the waters, referring to the salvation of the individual by baptism. At the bottom of the window are the ancient symbols of man and woman and a wheel of continuity reflecting God’s love reaching out to man. There are glimpses of flying forms and serpents. The window exhibits elements of control and chaos, movement and vitality. The design of the Revelation window (1995), on the west end outer north aisle, is based on the mysteries of the Book of Revelation. Holloway intended to use his abstract design to depict the stones of the heavenly city. The perpendicular tracery does not define the glazing patterns, adding considerable interest. Holloway uses extraordinary skill in his use of colour to reinforce the messages of each window, with a tapestry-like interplay between shape, form and colour. This invites the viewer to follow particular threads or meditations, guided and informed by the richness of imagery, while at the same time allowing the viewer to step back and see all five west windows as a group. Other windows of note are the Fire window, the Healing window, the Hope window, and the Frazer Chapel window. Although excellent, their impact is lessened slightly by the rebuilding of the wall, having reduced the windows from seven light widths to five. The Fire window (1966) at the east end of the Regimental Chapel was paid for by the Manchester Regiment. Designed by Margaret Traherne (1919–2006), it is a memorial to Sir Hubert Worthington (1886–1963), the architect responsible for the restoration of the cathedral after the 1940 Manchester blitz. Traherne wanted to illustrate the impact of the war in her window, as the east elevation was most damaged in the blitz, drawing on John Piper’s painting of Coventry Cathedral. She demonstrates the feeling of battle and fire in her use of yellow, orange A detail of the St Denys window (Photo: Nathan Staziker)
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