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An Túr Gloine
An Túr Gloine (Irish for "Tower of Glass") was a cooperative studio for stained glass and ''opus sectile'' artists from 1903 until 1944.
==History==
An Túr Gloine was conceived of in late 1901 and established January 1903 at 24 Pembroke Street, Dublin, Ireland, on the site of two former tennis courts.It was active throughout the first half of the 20th century. Affiliated artists included Michael Healy, Evie Hone, Beatrice Elvery, Wilhelmina Geddes, Harry Clarke, Catherine O'Brien, and founder Sarah Purser.〔 The original impetus for the project, spurred by the Irish cultural activist Edward Martyn, was the building of the Roman Catholic cathedral in Loughrea, County Galway, which was to become St. Brendan's.〔Martin Wallace, ''100 Irish Lives'' (Rowman & Littlefield, 1983), p. 122 (online. )〕 Purser and Martyn hoped to provide an alternative to the commercial stained glass imported from England and Germany for Irish churches and other architectural projects.〔Entry on stained glass, ''The Blackwell Companion to Modern Irish Culture'', edited by W.J. McCormack (Wiley-Blackwell, 2001), p. 542 (online. )〕 Purser's knowledge of French and English medieval glass, together with her social connections and organizational skills, were crucial to the success of the cooperative.〔
A writer for ''The Studio'', a magazine of fine and applied art, called the recently formed An Túr Gloine "perhaps the most noteworthy example of the newly awakened desire to foster Irish genius," describing it as "at once a craft school, where instruction in every detail connected with the designing and production of stained glass is given to the workers, and a factory from which some beautiful work has already appeared." The writer also extolled the economic benefits of an Irish glass industry to supply churches.〔E.D. (initials only), ''The Studio'' 33 (15 October 1904), pp. 260 and 262 (online. )〕 The studio is regarded as part of the Arts and Crafts Movement,〔Ellen Mary Easton McLeod, ''In Good Hands: The Women of the Canadian Handicrafts Guild'' (McGill-Queen's Press, 1999), pp. 55 and 68 (note 24) (online. )〕 but was infused also with the contemporary spirit of Irish revivalism〔Characterized, perhaps dismissively, as "romantic nationalist fervour" in ''The Blackwell Companion to Modern Irish Culture'', p. 542.〕 and drew on the artistic tradition of Celtic manuscript illumination. Ireland became an internationally renowned center of stained-glass art at this time, to a large extent as a result of An Túr Gloine.〔Terence Brown, ''Ireland: A Social and Cultural History, 1922 to the Present'' (Cornell University Press, 1985), p. 78 (online ); ''The Blackwell Companion to Modern Irish Culture'', p. 542.〕 The studio was run by Purser until 1940, and she was succeeded by Catherine O'Brien who ran it until 1944.〔 After which time O'Brien bought the studio and leased a large section of it to Patrick Pollen.
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