Unveiling of the Diamond Jubilee window
20 March 2012
A stained glass window has been presented to Her Majesty Queen Elizabeth II on 20 March 2012 as a gift from Members of both Houses on the occasion of her Diamond Jubilee.
The Diamond Jubilee window was unveiled as part of the presentation of addresses by both Houses of Parliament to the Queen on 20 March 2012.
View images of the Diamond Jubilee window on Flickr:
Diamond Jubilee window
The idea for the gift came from Michael Ellis MP (Northampton North) who established and chaired the All-Party Parliamentary Group on the Queen’s Diamond Jubilee, which unanimously supported the proposal. Members from both Houses across political parties have funded in full by personal contribution the creation and installation of the window.
The window was designed and made by British artist John Reyntiens working with a team of experienced draftsmen, painters and technicians in his studio. The window will remain on display so that visitors can examine the craftsmanship in detail until it is installed in the three central panels of the north window in Westminster Hall during planned restoration work starting in 2012.
Westminster Hall
The north and south windows of Westminster Hall were originally provided by Henry VIII and featured stained glass of the royal arms. Over the centuries the windows were re-designed and replaced several times.
The north window has been fitted with plain glass since the Reformation, replaced after damage in 1974. The south window features a 1952 design by Sir Ninian Comper. This shows the arms or initials of Members and staff of both Houses who were killed in the Second World War, set around the centrepiece of the royal arms of King George VI.
After installation in the north window, the new royal arms will reflect that of the south window opposite, together recalling the original provision by Henry VIII.
The Diamond Jubilee window consists of up to 1,500 pieces, and takes its inspiration from the seventeenth century heraldic art and this country’s long tradition of stained glass. The design process involved looking at heraldic art in other media, particularly woodcarving, in order to provide the three dimensional quality and the liveliness that the artist desired.
Images: Parliamentary Copyright/PA