Fama

This panel represents a winged female figure, blowing a trumpet held in her right hand. In her other hand, she holds a ribbon with the inscription “FAMA”. She is dressed in a golden robe and a blue-white cloak. Her wings are multi-colored. The figure is set in a landscape consisting of various plants, flowers and trees, with hills in the background.

The inscription identifies the figure as Fama, the personification of renown and rumor. A figure from Roman mythology, she is described by Vergil in the Aeneis (XI, 139) as a winged creature, covered in feathers all over her body and with multiple tongues, mouths and ears. She spreads evil tidings, not resting even by night. Vergil’s description focuses on the bad qualities of this ambivalent figure, who is, however, also capable of doing good. To distinguish between these aspects, the 14th century English poet Geoffrey Chaucer writes that Fama announces (positive) renown, fame or notability from a trumpet of gold and (negative) scandalous rumor and gossip from a trumpet of black tin.

The stained glass therefore shows Fama’s positive side, which does not appear fearsome or do evil. The dim background and the strong contrast between the figure and her surroundings suggest a nighttime setting.

Stylistic elements support an attribution to the Swedish-born Carl Almquist, who spent almost his entire artistic life in England. He was one of two head designers at the English workshop Shrigley & Hunt. Some of the details in the stained glass windows of the small church of Betws Bledrws in the county of Ceredigion in Wales (1886–1887) exhibit an affinity with Fama, suggesting a proximate dating. Almquist’s stained glass paintings of this time demonstrate the influence of the pre-Raphaelite circle around Edward Burne-Jones; the impact of the English Arts and Crafts movement is also apparent.