Artist : William Meikle
The William Meikle Studio was founded in Glasgow around 1840, and towards the end of the 19th century widened their work base to include glass staining. From some designs of Wm. Meikle it would appear that there was a possibility his training in stained glass may have been obtained in the Stephen Adam Studio. Also around this time the management of the business passed to the son, namely Wm. T. Meikle. He, possibly recognising his design limitations, decided to employ designers but retained overall control of the business. Two such designers were John S. Melville and John T. Stewart along with in due course, his son Charles E. Stewart.

Both J.T. Stewart and J.S. Melville in time managed to develop a method of protecting the glass staining from decaying by using abrasion and hydrofluoric acid. During the next year the Made Studio announced this technique to the trade as the “Cameo Process” and claimed exclusive rights to it. All of these names appear on the Mitchell window in the Church. Sometime later both Stewarts left the Wm. Meikle organisation to set up their own business. Around the 1930’s the firm of Wm. Meikle stopped trading.

Technical Detail

This is a beautiful two-light window, with circular tracery, located in the south wall of the gallery.

The metal effect of the knight’s armour is created by the use of silvery-grey glass with a gold stain running through it. When you look at the variegated glass at the top of the window (the glass that looks like waves) the area of gold, pinks and purples on the Angel show definite acid marks which give the desired effect. Similarly where the turquoise colour comes into the head of Christ and out to darker greens at the head of the window, you can see the acid marks on the area of these colours which again gives the desired effect. Christ’s robe is a mix of pinks, purples and red to give the shading effect and is created using beautiful mouth—blown glasses. There is very little paintwork on the robe. The design of the folds on the robe is created using lead lines. This window has been painted black and heavily matted in black because it is meant to be a south-facing window and indeed is so positioned in the Church. This is a very bold design.

Subject Detail
In essence this window shows the risen Christ welcoming the Christian into Heaven. The design of this window shows on the one hand the Christian soldier, “all his earthly journey past,” preparing to cross the narrow sea that divides the heavenly land from ours with an Angel guiding and supporting him. On the other hand the “sweet fields beyond the swelling flood” are depicted, with the figure of our glorified Lord waiting to welcome his faithful servant home to the “land of pure delight.”

This window was donated in loving memory of David Mitchell, Banker, Airdrie, and of Mary Rankin, his wife. Mr Mitchell was an honoured elder of Flowerhill Church, and both he and Mrs Mitchell were most ardent friends and liberal-handed supporters of the congregation from the beginning of its history until their deaths.

In the tracery are the words: “The righteous shall be in everlasting remembrance.” The dedicatory inscription is as follows:

“To the Glory of God and in Loving Memory of David Mitchell, Banker, Airdrie, born 15″‘ March 1827, died 28a January 1884, and of Mary Rankin, his wife, born 6′ February 1833, died 23’ August 1902.”