▪The Woman Question

As Margaret was coming into her adulthood, there’s no question that the position of women in British society was at its strongest… ever.

In the (admittedly narrow) world of the artistic middle-class – Marga’s milieu – the ‘New Woman’ figure was generally one of respect, and thus there were a number of prominent women achievers who could act as role models to young women.

Face of Mary, Oxton
Margaret Rope’s depiction of Mary, Oxton Church

In the world of stained-glass, women played an especially large part.
The art-historian Peter Cormack reckons that “Stained glass became the one major Arts & Crafts activity where there was real gender parity in both status and achievement” (p 253).  Women were so prominent in the art that a critic of the time, Fred Miller, could even write an article in 1896 called ‘Women Workers in the Arts & Crafts’.
Cormack adds that, by the high point of the 1920s, as many women as men worked in stained glass in London.

Why stained glass making should have been at the centre of such gender parity is not totally clear, though three things spring to mind: the very great influence of Christopher Whall, the doyen of the profession, who insisted on equal opportunity for women both in the workshop and in education; the fact that it was a relatively clear field at this point; and the work of Mary Lowndes.


Christopher Whall’s call for more respect for women in the craft subjects was very influential in the art schools that were then springing up.
Birmingham Art School (in pic), which Margaret attended, was the largest and best-equipped art school in Britain at the time; and encouraged students, including women, to study across the disciplines – from enamelling and metalwork to figure-drawing.

Birmingham Art School

Birmingham saw a leap in female representation on the staff from 4% to nearly 25% between 1880-1900; and mixed-sex classes – especially for advanced students – were quite the norm by 1900.
It was an unprecedented situation, in which an ambitious woman – one with a strong personality and encouragement – might learn to succeed.

Mary Lowndes  

However, without Mary Lowdnes it’s doubtful that independent stained-glass makers could have succeeded as well as they did.

Lowndes was a hugely energetic force.  In 1906, she co-built with Alfred Drury the Glass House studios in south London, laying the plans out herself (though the actual design of the building was carried out by Charles Quennell).   Its sole purpose was to foster independent glass artists – both women and men – in a supportive atmosphere. On the upper floor were a number of workshops, with the processes (e.g. firing and glazing) downstairs.
Lone women could work here, being supported and encouraged. There were even separate women’s toilets…

Handicapped! Propaganda poster for the Artists...
Poster by the Artists’ Suffrage League (Credit: Wikipedia)

Within a few months of opening the studios, Lowndes had also formed the Artists Suffrage League, an organisation in which artists put their talents at the beck of the Women’s Suffrage Movement.
Thus, it was to the Glass House, a hotbed of progressive social politics, that Margaret headed, leaving home behind, in 1911; and she maintained her association with Lowndes & Drury for many years, even after she entered the convent.

At first it seems an unlikely relationship: Marga was rather self-effacing and probably rather provincial; and it’s anyone’s guess what this seriously-minded Catholic would have thought of Mary Lowndes’ suffragism, let alone her lesbianism.
Yet Marga seems to have slotted in well enough to this new world.

However, it is true to say that when Marga arrived, she was not entirely without friends in place.  She did have the advantage of having three close relatives around her in London – her aunt (the well-known ceramic sculptor, Ellen Mary Rope), and her cousins Dorothy Anne and Margaret Edith Rope.  Like her, these three had also emigrated to London (in their case from Suffolk), in order to pursue their art.
Living in the artists’ quarter of Putney, and in the atmosphere of the times in general, one guesses that the four of them were sympathetic to the progressive opinions of the period.


The roll-call of women stained-glass artists associated with the Glass House – such has Joan Howson, Wilhelmina Geddes & Theodora Salusbury – is impressive, and also included Caroline Townsend, who took a workshop at the studios just a year after Marga, and who was one of the few people whom Marga chose to collaborate with (albeit only once or twice!)
The men and women who were based at the Glass House could, if they had the strength of character, make a living in stained-glass without the backing of a glass firm or even formal patrons.


Howver, one can’t over-estimate the new opportunities for women at this period, even in the Bohemian world of the arts.  Women were still constrained, both in law and in society.  Voting rights for women did not even arrive until 1918 – and even then, they were limited.
Pygmalion, the wonderful play written by the socialist George Bernard Shaw, first staged in 1913, expresses well the amazement in male circles that women were beginning to stand up for themselves.

Yes, women could and did make a success of things in this golden period between 1900 and 1925, but they had to be in the right place at the right time – as well as being very tough.
One suspects that Marga may have been among the toughest of them all.

Many of the facts for ths article came from Arts and Crafts Stained Glass
(2015, Yale Press) by Peter Cormack
See also: Virgin Mary, as Woman

If you wish to comment on this article, please leave your thoughts in the comments-box below


One thought on “▪The Woman Question

  1. Birmingham School of Art was funded by the local council and was therefore able to develop a curriculum for the students that helped them develop across a wide range of skills and gave them the opportunity to make the items they designed – eg, in Margas case, The Goblin Market piece in 1905 (?..according to some references 1908)
    gary brayne


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