Piece by piece

During a school trip to Salisbury Cathedral in 1991, Flora Jamieson, then aged 17, became distracted by the sound of distant tapping. Intrigued, she slipped away from the group with a friend and traced the rhythmical tinkering to a workshop where, peering through a gap in a door, she spied a team of craftspeople working on the cathedral’s stained-glass windows.

‘I was spellbound, it was absolutely fascinating,’ says Flora. A few years later, trying to decide