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“Casting a Dim Religious Light”: the Stained and Painted Glass of York Minster, C.1450-1802

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“Casting a Dim Religious Light”: the Stained and Painted Glass of York Minster, C.1450-1802 “Casting a dim religious light”: the stained and painted glass of York Minster, c.1450-1802 Volume One (two volumes) Louise Ann Hampson MA University of York History of Art PhD December 2016 Abstract This thesis investigates the glass history of the stained and painted glass in the windows of York Minster c.1450-1802. It sets the largely post-Reformation story of the windows into the broader historical context of York and cathedrals more widely, and of the survival of the craft of glass-painting in the post-Reformation period. It uses the archives and manuscripts of the Dean and Chapter of York, in conjunction with antiquarian studies and the physical evidence of the extant glass, to explore how and why so much medieval glass has survived in York and to investigate the origins of York’s claim to be a ‘treasure-house’ of medieval stained glass. Three key themes are explored in the course of this work. First, a reassessment of the craft practice and skills base of glaziers and glass-painters and the continuity of workshops in the period studied, with particular emphasis on the sixteenth and seventeenth-centuries. Second, the question of patronage and how this was manifest, both in terms of the craftsmen and their business models and with regard to the care of the existing glass. A broader definition of patronage emerges, one which goes beyond conventional ideas of artist and patron into the relationships between the Deans, their Chapters and the craftsmen. Third, a consideration of how the glass was thought of, valued and written about. This focuses on the work of seventeenth-century antiquarian James Torre and the publications by Drake and Gent which followed his pioneering work. It also explores the reception and perception of the Minster generally and the intellectual and cultural influences operating within York itself and society more widely. This thesis demonstrates how the undertaking of close and detailed analysis of the archival and other documentary records alongside the surviving glass of a single cathedral can produce new insights and understanding. These themes set out a new methodology for approaching the comprehensive contextual study of the glass history of other cathedrals and create a better understanding of glass-painting in England in the sixteenth to eighteenth centuries. 2 List of Contents Volume One Abstract …………………………………………………………….…………………………………………….. 2 List of Contents …………………………………………………..……………………………………………. 3 List of Figures …………………………………………………..………………………………………………. 7 Acknowledgements …………………………………………………………………………………………11 Declaration ……………………………………………………………………………………………………. 12 Chapter One: Introduction …………………………………………………….…………………..… 13 Impact of the Reformation ………….…………..…………………………………………. 14 Stained glass studies ………….….…………….…………………………………………..… 16 Cathedral studies …………….…..………….………………………………………………… 18 Crafts and Guilds ………….………….…………..…………………………….…………….… 20 Studies of antiquarians and antiquarianism ……….…………………….………... 23 The religious context: politics and churchmanship ……….…….….………….. 26 Structure, terminology and methodology ……….………………….…….………… 29 The archival and manuscript sources …………………………………..…….……….. 31 Conclusion ………………………………………………………………………..……….……….. 41 Chapter Two: The Glazier’s Craft Introduction …………………………… ………………………………………………….…..… 42 The medieval context of glazing in York, 1450-1500 …………………………… 44 The structure and employment of the Petty workshop …….…………….….. 52 New glaziers, continuing practices …………………………….…………….…………. 53 3 The workshop of John Alman and the glazing of St Michael-le-Belfry …………………………… 56 The workshop of the Thompson family, 1568-1620 ……………………………. 60 The role of the Guild of Glaziers in workshop structure ….…………………… 73 The workshop of the Crosby family 1621-1639 ………………….……………….. 75 The changing nature of glass supply 1550-1650 ……………………………….… 81 The impact of the Civil War and Commonwealth ………………………….……. 84 A craft and workshop re-emerges: the Crosbys, 1660-1703 …….……….… 86 The separation of glass-painting as an ‘art’, 1690-1750 ………….………… 103 The changing nature of glass supply: Yorkshire glass production 1651-1758 ………………………………. 107 York glass-painting in the eighteenth century ………………….……….….…… 108 Conclusion ……………………………………………………….……………………….………. 112 Chapter Three: Patronage Introduction ………………………………..…………………………………………...……… 114 Memorial glass of the early sixteenth century ………..…………..……..…….. 116 The pre-Reformation Dean and Chapter as patrons: the St Michael-le-Belfry project ………………………...……. 122 The immediate impact of the Reformation on Minster patronage ….....123 The Dean and Chapter as Patrons, 1600-1700 ……………….……………….... 128 Wider circles of patronage: Henry Gyles’ glass-painting business …….. 140 Changing patterns of patronage in the eighteenth century ………….….. 148 A fortunate survival? ………………………………….……………………………………. 156 4 The influence of Deans ……..…………….……………………………………………….. 159 Conclusion ………………………………………………………………………………………… 174 Chapter Four: Reception and Perception Introduction ………………………………………………………………………………..…… 176 The impact of the Civil War ………………………………………….…………………… 177 Restoration and renewal ………………………………………………………………….. 187 The rise of antiquarian interest ……………………………………….………………… 190 Antiquarian studies of cathedrals ……………………………………………………... 195 York and Yorkshire’s antiquarians 1660-1700 …………………………………... 197 York’s eminent antiquarian, James Torre ………………………………………….. 198 Torre’s methodology …………………………..……………………………………………. 203 Torre’s terminology ………………………………………………………………………….. 208 Torre’s legacy ……………………………………………………………………………………. 221 New audiences 1700-1765 …………………………………………………………..…… 223 The market for publications ……………………………………………………………… 228 Francis Drake ……………………………………………………………………………………. 232 Thomas Gent ……………………………………………………………………………………. 234 Conclusion ……………………………………………………………………………………….. 240 Chapter Five: Conclusion ……………………………………………………………………………. 243 Abbreviations …………………………………………….……………………………………………….. 253 Sources and Bibliography ….………………..…………………………………………...………… 254 5 Volume Two List of contents ………………………………………………………………………………………….… 307 List of figures ……………………………………………………………………….……………………… 308 Figures …………………………………………………………………………………………..…………… 312 6 List of Figures Figure 1: The Cathedral and Metropolitical Church of St Peter in York Figure 2: Plan of York Minster with CVMA window numbering Figure 3: The Great East Window (1) Figure 4: The St William window (n7 panel 10b) Figure 5: The St Cuthbert window (s7) Figure 6: North nave clerestory (N25) Figure 7: Fragment of fifteenth-century figurative glass Figure 8: The first page of the register of the Guild of Glaziers Figure 9: The ruins of the north nave aisle of St Mary’s Abbey Figure 10: The interior of the lantern of the central tower Figure 11: Cross keys emblem from the lantern glazing Figure 12: The south front of York Minster Figure 13: Two tracery panels (s9) by Peckitt Figure 14: Panel of St George from St Michael-le-Belfrey church Figure 15: Earl Leofric panel from Brereton Hall, Cheshire Figure 16: East window of the south quire aisle (s2) Figure 17: Tracery panel in s2 with Holloway arms Figure 18: Panels depicting scenes from the life of St Thomas Becket Figure 19: The Five Sisters window (n16) Figure 20: The signature page for 1627, register of the Guild of Glaziers Figure 21: The Ingram arms in the north nave aisle (n28) Figure 22: Woodcut of a glass-furnace from De la pirotechnica Figure 23: Tracery panel from the Chapter House (CHn4) Figure24: Henry Johnston’s sketch of the Petty memorial glass Figure 25: Agreement for glazing work, 1692 YMA B3/1/1 Figure 26: Circular window at the west end (w2) Figure 27: Figure of Edward the Confessor (CHn9) Figure 28: Detail from CHn9 pre-restoration 7 Figure 29: Reference to marked lead in Crosby bill B3/1/2 Figure 30: The Manner how to Anneile, or Paint in Glass Figure 31: Tracery in St Michael-le-Belfry showing Linton signature Figure 32: Glazing of the south front (s20-s22) Figure 33: St Thomas Becket in the Parker window (n9) Figure 34: Glass sundial in Gilling Castle by Bernard Dininckhof Figure 35: Armorial of Slingsby and Ingram, Temple Newsam Figure 36: Inscriptions in the dining room, Temple Newsam Figure 37: East window of Peterhouse College Chapel, Cambridge Figure 38: Detail of crucifixion scene, east window, Peterhouse Figure 39: East window of Wadham College Chapel, Oxford Figure 40: East window of Lincoln College Chapel, Oxford Figure 41: The arms of Williams as Bishop of Lincoln (s6 panel 1c) Figure 42: The Lamplugh tapestries in the sanctuary Figure 43: East window, Denton-in-Wharfedale church Figure 44: Glass sundial in Tong Hall by Henry Gyles Figure 45: Armorial of Archbishop Lamplugh (s6) Figure 46: Armorial of Archbishop Lamplugh (s6) in context Figure 47: Monument to Archbishop Lamplugh, south quire aisle Figure 48: Bottom half of a figure of St Christopher (n29 panel 5b) Figure 49: Portrait of Archbishop Lamplugh on glass Figure 50: Portrait of Bishop Edward Willes, Bishop of Bath, on glass Figure 51: Plate of the quire from Drake’s Eboracum, 1736 Figure 52: South quire aisle looking west to location of s8 Figure 53: Panel from the Te Deum window (s27) Figure 54: Panel from the Te Deum window, now in s10 (panel 1a) Figure 55: Te deum panel in St Michael, Spurriergate Figure 56: Print of St Martin, Coney Street with Classical porch Figure 57: Sts Thomas and Bartholomew from w1 (panels 5a, 6a) 8 Figure 58: Detail of crucified Christ from south nave aisle (s36) Figure 59: Figure of a donor, possibly Thomas de Bouesden (s36) Figure
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