Th e C a m b r i dge M a n u al s o f S c i e n c e an d

Li ter a t u r e

A NCI ENT STA I NED A ND P A INTE D G LA S S CA M B RI DG E U N IVE R S ITY P RE S S

fl u FETT ER LA E E u hn n C . : N ,

C . CLA Y M A A ER , N G

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1 2 1 F B OCKH U mm: . A R A S ' P P UT AM O mm 12 0 t h : G . N S S N S

‘ ( l M A M I L LA A N D LT D . "Bu mb ag an t"Ita ru ttaj C N CO .

A N CIENT STA I NED A N D PA I NTED G LA S S

F Y . S DNEY ED EN

Ca m b ridge

at t h e U n i v ersity Pre ss Qtamhr inge :

P R I N T E D BY JO H N C LA Y , M . A

U N IV E R S ITY P RE S S

Wi t/z th e excepti o n of t/ze coa t of a r ms a t the oot t/ze desi n on fir e titl e a e i s a f , g p g r ep r odu cti on of o n e u sed by th e ea r l i est k n ow n

Ca mb r id e r i n ter Jolzn S i b er c/z 1 2 1 g p , , 5 P RE FA CE

HESE pages make no pretence to give an ex h au s ti ve o f account their subject, but only to supply sufficient data to ground an intelligent a p p r e ci ati o n of such remains of stained and painted glass older than 1 700 as are still to be found in ancient

buildings . In the introductory chapter I have shortly de scribed the matter with which we have to deal i n particular , its fragmentary condition and the historical causes which have produced that condition .

Also , I touch upon the subject of the connection between glass - painting and the other arts ancillary to architecture with special reference to their common objects and u se .

The styles, which may be taken , roughly, to synchronize with those into which English archi tecture from the 1 1 th century onwards is usually

divided , are then briefly described , and I have, in the concluding chapter, ventured to say a few words

- o f o l d upon latter day treatment glass, and to make

some suggestions which may, I hope, be found helpful PREFACE

towards not only the preservation , but also a reason

o f . able use, what is left Several o f the illustrations are taken from the w g to county of Essex, hich is enerally supposed be o f below the average in remains old painted glass , and I may add that it would not be difficult to illustrate all the styles in painted glass by fine speci ff mens from Essex alone . This fact a ords reason able fo r justification the inference that there is, in every n b o ld county in E gland , an open book a out painted glass which only needs a little editing copying and arranging the copies in some fairly accessible — place to make it o f the greatest possible value t o students and craftsmen , and to the public at large .

F . S . E .

WALT H A M T OW ES S EX S , , h r i s tm a s 1 9 1 2 C . , CONTENTS

CH A P . INTRODUCT ORY

NO A E RL LI L E 1 5 — 1 2 2 2 5 I I . RMAN ND A Y EN G S H STY S ( 0 0 7 )

T E DE RAT ED S T L E 1 2 2 — 1 III . H CO Y ( 7 377)

E P E P E DI CUL S L 1 — IV. TH R N AR TY E ( 377 1 5 47)

— RENAI SSANCE (1 5 47 1 603 )

V TH E VE E H Y F I . S E NT E NT CENT UR A T ER

A L Y N L H ER DR I G AS S .

V LA T WORD III . S S

A I DS To FURT H E R S TUDY

IN DEX LIST OF ILLUSTRATIONS

H Fr o n ti s i ece Ou r Lady an d the Divin e Child . arlow p

P A G E

R n 3 Fragmen t of border an d q u arry . oydo

A L M n 2 9 Th e s cen sion . e a s

i u s M n s 3 7 M artyrdo m of S t Ger vas . Le a

n 3 8 Ou r Lady en thro n ed . Le M a s

M - L M n 39 The on ey chan gers . e a s

n 43 Figure an d can op y (frag men t) . Wilto w w w 46 White in do . West ell 5 3 w M n C O . Trellis win do . erto ollege , xford w Abb 5 7 K n d C. St E . a S t d ard, ap leford ots R 6 5 B an d C. Abb E m n . S t d u d , p ess oding

K n wn 6 H ead o f our Lady . i gsdo 7

P n c u s 74 75 erp e di ular q arrie , N 8 3 Symbol o f S t M ark . etteswell Louis I I o f A n j ou Le M an s 8 9

A VI an d M A n Ock h olt 95 rms o f Hen ry argaret of j ou .

E z G 1 06 Ou r Lady visitin g S t li abeth . reat Ilford G 1 Joab slayi n g Amasa . reat Ilford 07

r G P n 1 A i C c L B . n 1 rms of W lliam e il , o d urghley reat ar do 7

W ll tt n 1 1 Arm s of o aye . La o 9

n n B n The adoratio of the S hep herds. Lambour e (from ade ) 1 2 5

f n n n S n Arms o Fra ce (a cie t) . elli g 1 33 P u n n ing device o n quarry 1 3 7

O k h l . Arms of No r r eys and Beaufort . c o t 1 39

G e r Arms o f S i r Joh n Gres ham . r at Ilfo d 1 4 1

’ Mercha n t s m ark of S i r John Gr esham Great Ilford 1 42 G r esham badge Great Ilfo r d 1 44 LIST OF ILLUSTRATIONS

— ’ N o te The Le M an s examp les are from Hu ch er s Book o n L e

M n C at n M n C a s athedral , those Wilto , Westwell , erto olleg e,

’ Ki n gsdown an d Selli n g are from Win ston s S tyl es i n A n ci en t ’ ’ Gl ass P a i n ti n Ock h o l t ar e L n M a n et g , the arms at from yso s g

B r i ta n n i — B er k sh i r e an d n w n b a , the remai der are from dra i gs y

w t o fw c i n V c an d A b M u u the ri er, some hi h are the i toria l ert se m ,

Sou th Ken sin gton .

c P b L " d n C t n Co . m Tha ks are due to the a holi u lishi g , td to the Editor o f Th e Ca th ol i c Fi r es i de fo r the loan o f block s of some of the illustration s .

CHAPTER I

INTRODU CTORY

TH E initial difficulty in the way o f acquiring a correct notio n o f the value and use of stained and painted glass is the fact that the o l d coloured windows— our only trustworthy guides— have come

o u r s o . down to time in fragmentary a state Take, with one or two exceptions, any old parish church in : England very seldom is all the old glass left, even

. o f in a single window Here is a figure a saint, there the symbol o f an evangelist ; in o n e window is a mutilated border and, in another, are a few quarries n o f o r with desig s leafage, small animals birds , or mo nograms . As illustra tive oft his state of things with regard 1 3 to parish churches, we may mention the th century glass in the south c hancel window at Chetwode ' ’ th e me dal li o n II s church , Bucks . representing Henry p enance for his part in the murder of St Thomas of

Canterbury , formerly at Rollright church , Oxfordshire, n o w o and in the B dleian Library, Oxford ; the history E . 1 2 ANCIENT PAINTED GLASS [ca 1 o f St Laurence in fifty panels in the east window o f ’ Ludlow church ; the J es se window in the Cordwainers chapel and the pilgrims receiving St Edward ’ s ring h ’ from St Jo n in the Fletchers chapel, both in the — a same church, and the very fragmentary glass — at o i few loose pieces only Kn wle church, Warw ck

Shire . fo r The case of Knowle deserves attention , it is an excellent illustration of the extent to which , since 1 h a s the 7th century, ancient glass disappeared from o u r i churches . When Sir W lliam Dugdale, herald 1 6 40 and antiquary , visited this church in , he found three painted windows which h ad been s et up by Dab r i d eco u r t o n e Thomas g , Sir William Wigston and

Aylesbury , also, in the tracery, seven shields of arms 1 borne by angels . By 793 all that was left of the — windows was a fragment o f an inscription these “ 6 — words only, 1 bono statu orate and a few frag u ments of saints and kneeling fig res, while, of the

To - heraldry, there remained only two Shields . day we sh al l look in vain in the windows o f Knowle church (which was restored in 1 8 6 0) for the smallest o f o ld i fragment this glass, although it s true that o f i n a few scraps it are kept a box at the church . To these we may add Shrewsbury chu rch with i ts great 1 4th century J ess e window and the splendid Per ’ en di cu l a r p church at Cirencester, where, in St John s o 1 5 chapel , is s me th century glass . Fragment o f border and quarry (Roydon ) 4 ANCIENT PAINTED CLASS [o n In the remains of conventual churches we can o l d hardly expect much glass, for they were, for the m o f ost part, dismantled their furniture and fittings o f at the Dissolution of the Religious Houses. Such them , however, as still possess old glass tell the same tale as the parish churches . At the Benedictine u G 1 5 Abbey ch rch , reat Malvern, there is some th century glass in the aisles representing the life o f o f Wu l s tan o f Our Lord, the acts St Worcester and figures o f the four great Doctors o f the Church and also those of Prince Arthur and Sir Reginald Bray . ’ s ee In St Anne s chapel there, also , we may a picture o n e o f o of the Last Judgment and the Creati n, while at Little Malvern Priory church , there is some glass ’ of Edward IV s time in the east window. The Ci s tercian Abbey church o f Merevale in Warwickshire a n l n c boast on y a few fragments . In the mag ificent — — nave almost all that is left o f the mitred Abbey o f o f Waltham Holy Cross , Essex, not a scrap the old t o windows is left, though , perhaps , we ought claim the well - known perpendicular glass in the east window ’ to at St Margaret s, Westminster, as belonging Wal fo r o f tham Abbey, it was there, by gift Henry VIII,

fo r fe w . or possibly, Henry VII , a years From Westminster Abbey the ancient glass has all but disappeared . The clerestory windows o f ’ VII s s et Henry chapel , the glass in which the pattern ’ fo r that in King s College chapel, Cambridge, now

6 ANCIENT PAINTED GLASS [OH .

i 1 8 5 6 wh ch was destroyed in , while other pieces o f — o f 1 4 arms benefactors th century date, are in the

o f . windows the lower Library Here, in some cases, o f while the shields arms have been preserved, the o inscriptions under them have been destr yed, highly illustrative o f the carelessness with whi ch painted n glass was formerly treated . Merto , in the side o f i n windows its chapel , can shew the oldest glass 1 2 8 3 Ma u n sfield Oxford, that given , in , by Henry de , who subsequently became Chancellor o f the Un i versity. In the Library of the same coll ege i s some old “ ” glass which bears testimony, in the Agnus Dei

(the Holy Lamb) , often repeated, to the former dedi catio n to St John the Baptist. ’ In the chapel at Queen s College there is some l 6 th early century glass, which , with the exception of o n i wa that in the two western windows each s de, s restored and repainted by the younger Van Linge in the 1 7th century and again much restored by one 1 ’ of the Prices in 1 7 7. William of Wykeham s New College retains i ts original 1 4th century windows in

- the ante chapel , except in the west window, where is the well - known painting o f the N a ti o i ty by Thomas ’

Jer vai s J Re n o lds s . , from Sir oshua y cartoons The windows in the ch ap el proper at New College 1 contain good 7th century Flemish glass , though those o n the south side were largely repaired and I] INTRODUCTORY 7

- repainted by William Price in mid eighteenth century . 1 6 3 1 Lincoln College chapel , consecrated in , contains 1 6 foreign glass of the th century, while the chapel of All Souls has much o f the original 1 5 th century glazing left, amongst which are portraits of John of G o f aunt, Archbishop Chichele the Founder, and

Henry V and Henry VI .

- Magdalen College, in the ante chapel , has some 1 7th century glass and, at the west end, is a large th e La s t J u d m en t o f window, g , the same period, which wa 4 s 1 9 . , to a great extent, repainted in 7 In Trinity

College chapel there is no old glass, but in the Library is a figure o f St Thomas o f Canterbury and other fragments . If we add to this list the windows in the chapel at

Wadham College, we shall have a fairly accurate idea o f the o l d glass in Oxford Colleges which h as survived the il l - treatment to which painted glass h a s been subjected from the end o fthe reign o fHenry VIII to , almost, the present day . The Wadham chapel windows are contemporary with the foundation o f the college ( 1 6 1 3 ) and were all painted by the Flemish artist, Van Linge the elder .

At Cambridge, the condition of the old picture w o n indows is, the whole, much the same, although ’ there, in King s College chapel, we find an instance of the whole of the ancient glass having been pre ’ served to the present day. In the chapel at King s 8 ANCIENT PAINTED CLASS [o n the twenty - four side windows and the east window are filled with glass made and s et up in the reign o f

Henry VIII, which is designed to shew forth pictorially “ the Christian scheme o f religio n the story of the o f o l d lawe and the new lawe, as it is expressed in — the co ntract fo r the making of the windows i n much the same way as the windows at Fairford church to i . s which we shall presently come There , however, fo r a variation in treatment ; , whereas, at Fairford ’ the tale of our Lord s earthly life and o f the events which led up to it are grouped together in th e eastern half o f the church and the history o f His ’ i s o Church in the western part, at King s C llege chapel there is no such sharp division . In other ’ i s n respects, however, the scheme the same at Ki g s : as at Fairford in particular, the east and west windows at both have similar subjects, though it should be noted that the glass in the west window at ’ 1 8 9 King s is not ancient, having been given in 7 by — a former Fellow o f the College . In the side chapels ’ o f l l 6 th King s Col ege chapel are also, besides more fi u r es— century glass, some g Apostles and Prophets, — King David and Bishops o f early 1 5 th century date brought from elsewhere ; perhaps, Ramsey Abbey after its dissolution . 1 6 3 2 In the chapel (built ) at Peterhouse, where, o n s ix it is record , the Puritan visitors defaced angels which they found in the windows— the east window I] INTRODUCTORY 9

1 a Cr u ci xi o n is 7th century work, fi , mainly copied ’ from Rubens picture of the same subj ect at Antwerp . o f At Trinity College, in one of the oriel windows the 1 5 o f o f Hall is a th century figure Richard, Duke Gloucester (afterwards Richard III) and there is 1 h i much 7t century, and later, colleg ate heraldry in the other windows . — If we turn to the Cathedrals taking a few o f — them only they tell, for the most part, the same " f o f . o story destruction and neglect At Canterbury , all the painted glass with which every window was

s ee - filled, we to day only, in the great west window, o f fragments from other parts the cathedral, among them the arms o f Richard II in the end wall of the h i s north transept pictures of Edward IV and Queen, their daughters, the two Princes murdered in the w o f To er London, and a headless figure of St Thomas ” which was broken by Richard Culmer Blue Dick, — the Canterbury fanatic i n Commonwealth days . In the south transept is some glass o fthe Perpendicular period, and, in the north choir aisle, between the transepts, is ancient glass, probably set up shortly 2 2 - o f after 1 0. This last mentioned glass and that the o f about the same date, in windows the Trinity o chapel and the Cor na, which represent the miracles o f St Thomas of Canterbury, are the most interesting

- in the cathedral . In the north eastern transept, also, are fragments from the windows of the north choir aisle . 1 0 ANCIENT PAINTED GLASS [OH .

Of all the English cathedrals York h as fared the best with regard to preservation of its o l d glass .

Every window in the nave and aisles, except four , o f retains its anci ent glazing . The earliest in point date is that o f the first half of the 1 3 th century i n the windows o f the north clerestory . The famous “ five sisters window in the main north transept has preserved its original early English glazing. The glass in the aisle - windows ranges fro m early 1 4th o n e w century to the reign of Henry VI, and indow — of the choir the easternmost o n the south side contains 1 6 th century glass brought from the church o f St Nicholas at Rouen . The perpendicular glass o f the great east window representing stori es from the Old Testament and o f the Last Judgment with o f o f figures the Heavenly Hierarchy and the Saints, 1 4 is the original glazing, as is, also , that of the th o f century i n the west window the nave. At Rochester all the ancient glass disappeared o f 1 6 during the religious changes the th century, at St Albans i s a little 1 4th century heraldry o f great interest and Chichester cannot shew even fragments

f o l - o d . the window glazing Winchester retains more, f though no ne o the earliest period . In the west nave window is about the oldest glass in the cathedral, — perhaps of the time o fBishop Edi n gdo n ( 1 3 46 1 3 66 ) h wh o . o w built the west end In its present state, i s ever, this glass is very fragmentary, and , no doubt, 1 ] INTRODUCTORY 1 1

In made up o f remains of several windows . the aisles and clerestories we find late perpendicular o f o f glass, and the glazing the east window the choir, except the three figures in the top tier, which 1 5 2 5 are modern , may be dated about . An interesting feature o fthis window are five shields shewing Bishop ’

Fox s arms, impaling those of the Sees which he — successively held Exeter, Bath , Wells, Durham — t D r i E s eo a t a . and Winchester and his motto, g In co n the Lady chapel, also, are remains of old glass temporary with their perpendicular settings .

It is commonly alleged, as the reason for the poverty o f Salisbury cathedral in the matter o f o l d glass, that the architect Wyatt, who worked his will h 1 8 2 1 9 1 on the old churc from 7 to 7 , broke down an enormous quantity of the ancient window—glazing and

- threw it by cart loads into the city ditch . Probably 1 he did, and it is, no doubt, also true, as s usually said, J that Bishop ewell, in Elizabethan days, removed much o f the old glass . It may, nevertheless, be doubted whether these iconoclasts acted very differently from other men of their respective times, though they may have been rather more thorough in their methods than others, and, after all, there are ancient cathe dr al s and many other great churches with which

Wyatt had nothing to do, with even slighter remains o l d of painted glass than Salisbury . A few scraps, fo r 1 8 3 0 however, were left, , in , the three west 1 2 ANCIENT PAINTED GLASS [OH . windows of the nave and aisles were filled with fragments o f various dates from all parts of the — cathedral a proceeding alm o st as reprehensible as ’ w Wyatt s doings . In the great west windo are some Early English medallions and fragments of a J ess e o f o f 1 3 th window the first half the century, of a Crucifixion and some perpendicular and renaissance glass said to have been brought from Rouen . At the botto m o fthe three lights is a r o wo f shields bearing the arms of England, France, Provence, the Earl of o f Cornwall, Clare and Bigod . In the west windows the aisle are remains o f 1 3th century bo rders and u other patterns and, c riously enough , in the head of the south aisle west window, are the arms (dated 1 5 6 2 J ) of Bishop ewell , to whom the destruction of s o much of the o l d glass at Salisbury i s attributed . In the upper lights o f the east windowo f the south transept is some Early English glass .

At Oxford cathedral , in the Latin chapel, are 1 4 o three complete th century wind ws, and there is an interesting piece o f work in the window at the west end of the north aisle of the nave painted by — J o n a h n d hi u r the younger Van Linge a s g o d. In the south ch o ir aisle is a reminiscence o f the disso lu tion of the monastic houses in a 1 7th century window o o f o f c ntaining a portrait Robert King, last Abbot o f Osney and first Bishop Oxford , with the Abbey in t he o f background, while, in the east window the

1 4 ANCIENT PAINTED GLASS [OH . easternmost window o f the north clerestory are

u r a n d ca n o o n e G . fig e p y subjects, of them St eorge ’ In St Catherine s chapel and the so uth choir aisle o f are many fragments, while the windows the Lady chapel are filled with glass o f various dates . The cas t window o fthis chapel was restored by Will em en t o f i n and contains two tiers figures under canopies, the tracery above being angels holding sh ields wi th f the Instruments o the Passion . Other traceries shew ’ an evangelist s symbol and heads o f patriarchs and saints . In the Chapter House are fragments, among them the arms of England ancient the lilies o f France in the first and fourth quarters and the English lions in the second and third) and those of ’ Mortimer. In the Vicars chapel are the arms o f — — Bishop Bubwith ( 1 407 1 42 4) three Chaplets o f holly leaves . These examples of the present - day condition o f o l d l ancient painted glass in some English cathedra s, churches a n d chapels will suffice n o t only to shew how comparatively little o f the o l d glass is left in o n e any building, but to demonstrate the difficulty o r of appreciating what has been lost destroyed . Time was when these and sim ilar fragments were but minute parts of an ordered arrangement for admitting light through coloured media into the building which they adorned , an arrangement which was itself a part only of a great scheme comprising I] INTRODUCTORY 1 5

to the whole building and everything belonging it, i ts h - arc itecture, its wall paintings and its coloured

- and gilded pillars and arches, and the wood work of roof and doors and screens . All being so richly o coloured and gilt, why should the wind ws be ex cepted ? They were n o t : the broken border seen ’ - to day ran round the whole window, the saint s figure wa s part o f a small picture s et in the midst o f a

- - trellis of vine shoots, oak sprigs or ivy leaves . The ’ - o n e evangelist s symbol, to day probably broken, was o f — o f four the winged man St Matthew, the winged o f lion of St Mark , the winged ox St Luke and the eagle of S t John— which filled the tracery lights where now we see the one solitary symbol . All the windows were wholly stained and painted , thus con tributing to the total effect— the harmony which o f ff o f o resulted from the unity e ort mason, w od

carver, painter and worker in glass . o In a sense , however, this dec rative or artistic ff o n e v r e ect was but an accident, though which i n a i ’ ably resulted from the mediaeval craftsman s work .

Primarily, the idea underlying all this unified beauty — in old buildings was usefulness the notion o f means f to an end . Craftsmen o the Middle Ages knew ’ nothing o f art fo r art s sake : their object was to produce so mething usefu l and fitting to the end in

view. If their work was beautiful it was s o because it answered that end and according to the degree in 1 6 ANCIENT PAINTED GLASS [OH .

No w which it did s o . the end to be kept in view in all work connected with a church was, to the i — o med aeval mind, instruction the driving h me, as ’ it were, through the senses, of the Church s message . As paintings on walls and pillars (such as we may see

- 1 3 to day in many churches, notably the th century ch u rch o f Our Lady a n d St Laurence at Trier and ’ St Albans Abbey church) shewed, to learned and ’ o f unlearned alike, the story the Church s life h e s o through t centuries, painted windows did the same . th e It follows, therefore, that any enquiry into o f origin and history stained and painted glass, if xh a u s ti vel o u t e y carried , must embrace very much more than that one subject. It branches out into every craft that is concerned with the history o f — buildings o f all so rts o f cathedrals and parish and o f collegiate churches, monastic houses, colleges,

- o - castles and palaces, moot halls and man r houses, o f co n for in all these glass painting was used, in junction with the other crafts and arts, to minister s to the ends for which such buildings were et up . This n o tion o f unity o f endeavour and its results

being always borne in mind, we may with advantage turn to the classical example— as it may be called o fthe use to which painted windows were put in o l d — G days the church of Fairford in loucestershire, where

every window retains its ancient painted glass . Even I] INTRODUCTORY 1 7

at Fairford, however, we must bear in mind that owing to the destruction o f much o f the o ld internal

— - — colour waIl paintings and such - like we cannot cor r ectly estimate the original colour effect o f the old glass. But, although the harmony which resulted from painted wall - spaces between the coloured win o f dows is lost, the subject scheme the Fairford windows can still be worked out and we ca n see what was the teaching end for which they were adapted . The plan o f Fairford church is a nave with north and south aisles, chancel and central tower. The east ’ o f Ou r end each aisle forms a chapel , Lady s chapel o n the north and the chapel o fthe Blessed Sacrament on the south . These chapels are separated from the o f aisles, which they respectively form part, and from the chancel, by carved wooden screens, and the chancel - screen across the nave may be treated as o f connecting together the western screens the chapels, so that the whole church may be said to be divided by screens into two parts, an eastern and a western . The significance o f this arrangement in connection with the subjects depicted in the windows we shall presently

see .

— - — Since Fairford church as we see it t o day dates f 1 5 u from the last decade o the th cent ry, we Should expect to find its windows wide and lofty, and so they o f are . In the north aisle there are five windows four lights each, and in the Lady chapel are three 2 E . 1 8 ANCIENT PAINTED GLASS [OH .

o n o f windows , two the north four lights each and n one in the east wall o f five lights . In the cha cel is a great east window o f five lights divided into two o n e o f h tiers , and window three lights in the sout w o f wall, hile the chapel the Blessed Sacrament has the same window arrangement as the north aisle w chapel . In the south aisle there are four windo s o f o only the same size as those in the n rth aisle, an arrangement rendered necessary by the south door occupying the space which one window would have o f filled. Besides all these, there are eight windows — — three lights each four o n either side i n the cleres two tory, and a large window flanked by smaller ones in the west wall . What are the subjects portrayed in these twenty seven spacious wall - openings and of what practical use were they intended to be ? Their main purpose was to give a pictorial representation o f Christian o f theology . In that part the church which is east o f o f s et ward the dividing line screens, are forth in

- picture windows the facts, as taught by the Church ,

on which Christianity rests, and, in the western part o f the church are what may be called the inferences ’ to o . be drawn from th se facts, viz the Apostles Creed, the Church ’ s teaching as symbolised by her ancient ’ doctors, the Church s life as shewn forth by her saints co n su m m a and martyrs, and the final Judgment, the

tion o fall things temporal . 1 ] INTRODUCTORY 1 9

It would be impossible within the limits at our disposal to attempt a detailed account o fthe subj ects

o f . these windows Speaking generally, the Lady chapel and the nave windowimmediately outside it ’ o n o f the west, set forth the story Our Lord s birth, o f Hi s the events which preceded it, and of early Tem ta ti o n o E ve M o s es years, beginning with the p f , a t th e B u r n i n B u sh Gi deo n a n d th e Fl eece th e g , , and u e S h eb a o er i n i ts to S o l o m o n Q en of f g g f , Old Testa o f A n n u n ci a ti o n Co n ti n ment types the , the cep o of Ou r Lo r d H i s I n ca r n a ti o n A do r a ti o n o , and the f th e th r ee Ki n gs respectively . The last picture in the Lady chapel represents Our Lord as a child teaching the Doctors in the h al fo f Temple, while the lower the great east window in the chancel takes up the story of the closing scenes — o f Hi s earthly life H i s tr i u mp h a l en tr y i n to J er u s a l em H i s A o n i n th e Ga r den u d m en t o , g y , the j g f ’ P ti P i la te Ou r Lo r d s S co u r i n a t th e o n u s , and g g r Cr u c xi o n P i ll a . Above these is the picture of the ifi o f which occupies the full breadth the window. In the south window o f the chancel are three lights th e ta ki n do wn r o m th e Cr o s s th e E n shewing g f , to m b m en t and Ou r Lo r d p r ea chi n g to the Sp i r i ts i n

I/im b o . In the Blessed Sacrament chapel the centre light o f the east window is devoted to the Tr a n s fig u r a ti o n of Ou r Lo r d as a type o f the miracle o f 2 — 2 2 0 ANCIENT PA INTED CLA SS [0 1 1 w Transubstantiation , while the other indows shew the ’ R esu r r ecti o n and the principal events of Our Lord s o n H i s A s cen si o n subsequent life earth , ending with i o f n t H v . o ea en This long list Christian facts, as we D es cen t o th e H o l have called them , ends with the f y

Gh o s t u p o n th e A p o s tl es . III No wfor the inferences from these facts . the — first three windows o f the south aisle counting from — the east are the twelve Apostles, four in each window, and each one bearing a scroll containing ’ a part of the Apostles Creed . This is in acco rdance with ecclesiastical tradition , which teaches that, before fo r the Apostles separated their missionary labours, they composed this creed, each contributing a portion . i “ St Peter, bearing a scroll w th the inscription , Credo P atr em Cr ea to r em o in Deum omnipotentem, c eli et a terr e, begins the series and St Matthias ends it with the closing words o f the creed Et vitam aeter m n a . To balance and co mplement this apostolical co m pany we find opposite to them, in the north aisle, o f b e figures the twelve Old Testament prophets, i ginning w th Jeremiah, whose scroll contains the “ words P atr em i n vo ca b i ti s qui fecit e t co n didit coel o s o o , pp site to St Peter, and ending with Abdias to (Obadiah) , opposite St Matthias, with the words “ ” E r i t e t . regnum Domini So far the Creed. There remain the westernmost windows of the

2 2 ANCIENT PAINTED GLASS [OH .

i s w th fire and its building crumbling into ruin, is beneath His feet . In the lower half o f this window is the resul t o f J the Last udgment, St Michael dividing the lost souls f from the saved. On his right is the Paradise o the h i s o f Blessed , on left the eternal home the con dem n ed ones, and, around his feet, are the dead arising fro m their graves . On either side of this great picture is a smaller window— the northern one shewing J o f o n the udgment Solomon, and that the south the Judgment o f David upon the Amalekite who slew o f Saul, both types the final Doom between them . The essential fact to bear in mind i s that this arrangement in painted glass at Fairford is the great o f surviving example in the British Isles what, in o r more less varied form , we might have seen in every church , great and small, in mediaeval Europe . th e Small churches would compress series, larger ones would amplify it, and its arrangement might be varied, but, certainly, in the western world , the plan o 1 2 th was universal fr m the century onwards . The windows o f the eastern end of the church s et forth G the tale of the ospel, the nave shewed the prophets n o and Apostles, and the west window remi ded f lk as — they left church of the last scene o f all the Great

Judgment. The fragmentary state o f old painted glass seems to be due to several causes of which fanatical violence I] INTRODUCTORY 2 3

is, probably, the least. It has long been the fashion m to throw the bla e very largely upon the Puritans, ’ and, more particularly, upon Cromwell s soldiers . i s o f There , no doubt, a measure justice in this view, for there are instances on record o f smashing o f picture - windows in Commonwealth days both by fanatical civilians and by Parliamentary soldiers . Exampl es of the one we have in Blue Dick ’ s rage against the painted windows at Canterbury and the ’ fanatic Do ws i n g s window - smashing in the course o f o a journey, undertaken for the purpose, thr ugh parts o f o f o f East Anglia, and the other in the destruction painted glass in Winchester cathedral and o ther great churches by the Commonwealth soldiery . o r these, and similar, outbreaks were more isolated acts o f violence and it is certain that could not account for the disappearance o fthe greater h r part of the ancient glass throug out England . Neithe is there reason to believe that Queen Elizabeth ’ s Ordinance for the destruction of superstitious painted

windows in churches was generally obeyed. Here and there we come across instances o f the intentional breaking o f the o l d windows by church — ff authorities as at Long Melford , Su olk, where the ’ o 1 1 churchwardens accounts shew a payment f 3 . to “ Fyr myer the Gl asyer o f S u db u r ye for defacing o f ” the sentences and imagerie in the glasse wyn do we s — but such cases are rare . 2 4 ANCIENT PAINTED CLASS

’ What actually happened in Elizabeth s days was, probably, consistent with what we are told by William

Harrison, himself a country clergyman , Rector of A Radwinter in Essex. He was the author o f ’ D e r i ti o n o E n l a n d H o l in sh ed s s c p f g , prefixed to 1 5 Chronicle, published in 77, and he tells us, in his D escr i ti o n fo r p , that As churches themselves, belles and times o fmorning and evening p r ai er remain as in time past, saving that all images, shrines, tabernacles, l o ftes o f rood and monuments idolatrie are removed , taken down and defaced On li e the stories in glasse n o wes o f u f wi d excepted, which, for want s ficient st u fie extr eam e store of new , and by reason of charge that should grow by th e alteration o f the same into w r eal m e hite panes throughout the , are not altogether abolished in most places at once, but by little and little suffered to de cai e that white glass may be s et o m up in their r o es . o o l Neglect, theref re, m re than vio ence, was the enemy o f the o l d glass thro ugh Tudo r and Stuart t days, and we may safely conclude tha that factor, — — with the restoring zeal often ill -instructed o f the last century and a half, are together responsible fo r — the deplorable state to day o f a n cIen t painted glass in England . CHAPTER II

— NORM AN A ND EARLY ENG LIS H STYLES ( 1 05 0 1 2 72 )

ROM o f th F the middle the 7 century, when Benedict Bi sco p brought glass—workers from Gaul t o glaze the windows o fhis stone churches at Wear m o u th o f and Jarrow, glass, in buildings the larger kind, was increasingly used in England in lieu of the horn laminae and oiled cloth theretofore employed to close window Openings . The exact date when plain glass — — itself o f vari ed hues began t o give way to glass intentionally coloured and arranged in patterns we n do not know, but, from the remai s which exist in o c ntinental churches, we may infer that the glass — which filled the small, round headed windows of the churches set up in England in late Anglo - Saxon and early Norman times was coloured, and did not, ff materially, di er in structure and colour from that of the later Norman and Early English periods which immediately followed them . It is likely that accidental varieties in colour arising from the crudeness of the methods of glass manufacture, originated the idea of applying colour 2 6 ANCIENT PAINTED CLASS [0 1 1

h o w to glass, and it is easy to see the idea, once o f formed, led to ordered arrangements Of pieces glass, diversely coloured, and how they , in time, resulted in the geometrical patterns and picture panels of the late Norman and Early English styles . It is probable, t o o o f - i n , that the art glass mosaic had a part the early development of the coloured window. Glass wall -mosaics for interior decoration were in u e 6 th s in the East as early as the century, and what mo re likely than that the glazier would think o f utilising the small pieces of glass used by the mosaic worker fo r the purposes o f his o wn craft ? It must have been quite the Obvi ous thing to s et the pieces o f glass in stucco o r cement o f some kind and the o o n o idea Of the s ft lead binding, grooved b th sides, would speedily follow. Indeed, it is said that alabaster i was used in the great church of Santa Soph a, Con s tan ti n o l e p , for glass setting. A point to remember is that binding o f so me sort

‘ was a necessity for early glaziers , for glass in those o o f days was made only in small pieces , n ne them large enough to fill any but the smallest window, and we can well understand how this necessary support, a s patterns became more intricate, was made to follow the outlines o f the design and grew into an integral part of it . Indeed, we may say that the lead o f binding a painted window, besides holding together o f o f the pieces glass which the window is formed, 1 1 ] NORMAN A ND EARLY ENGLISH 2 7 serves the same end a s the black outline to figures and other Objects which is an invariable feature o f the m iniatures and scroll - work in illuminated manu Of scripts the Middle Ages . This decorative as well as useful office o f lead binding is in no style mo re conspicuous than in that Of the earliest painted window -glass of which we have fir st - — 1 1 th 1 2 any hand knowledge that of the , th and h 1 3 t centuries . Especially is this noticeable in the geometrical and floral pattern windows o f those periods . The exactitude with which the lead binding follows the intricacies of the small patterns is largely productive o f the sparkling jewel - like effect which is characteristic of early glass .

The panels, once in the Sainte Chapelle, Paris, n o w and in the Victoria and Albert Museum, South

Kensington , shew this quality very well . It is Often said that the oldest painted windows in England are those in the Corona and Trinity chapel at Canterbury cathedral . Undoubtedly they belong to the style which we are considering and we may assume that the great lancets in which they are s et 1 1 1 , and which were finished by 7 , were originally

filled with painted glass . The subject , however, Of the present windows, the story of the miracles wrought by the intercession o f St Thomas o f Canterbury which i s shewn in a large number of medallions H 1 1 2 8 ANCIENT PAINTED GLA SS [O . suggests a later date for them than o n e so near the f time o his martyrdom, and we shall not be far wrong 1 2 2 0 if we fix that date shortly after , in which year the body of the saint wa s translated from the Old shrine in the crypt to the new o n e in the Trinity 1 2 2 0 chapel behind the High altar . Earlier than w Of these windo s cannot well be, for, in one them , is a representation of the new shrine set u p in that

year, and it may well be that they are later in the ’ 1 2 2 0 1 3 th century even than . “ The huge five sisters lancets at York, too, are sometimes brought forward as rivals to the Canter i n r bury windows the matte of age . They , however, o f are made white glass, with, comparatively, little

colour in their borders , a style which came in rather

later than the medallion style . On the whole it i s not easy to locate the ol dest piece Of painted glass in the British Isles and it is quite possible that it may be found in some of the h as fragmentary glass which , from time to time, been brought from the continent— from France in par — ti cu l a r and leaded up in the windows o f o u t- Of- the m a way rural churches . One y, indeed, though with difli den ce , suggest that the four panels in the centre o f light the east window at Rivenhall church, Essex , which were formerly in the apse o f the church at Ch én u in France , may be older than any of the a w n o w origin l windo s existing in our churches . The

D 3 0 ANCIENT PAINTE GLASS [OH .

pronounced Byzantine character of these medallions, o u r Hi s which represent Lord in glory, Entombment, the Blessed Virgin Mary with Our Lord, and the

Annunciation , inclines one to think that they are much earlier in date than the Canterbury windows . However the question may stand as to our own o f country, it is certain that for a sight the oldest extant painted glass we must turn to France, whence

- the art of glass painting came to England . In the cathedral at Le Mans we find what we seek in o n e o f two windows which are the sole survivors of the w windo s of the earlier church , which was devastated 1 4 i 1 3 I 1 1 3 6 . by fire in and aga n n This window, th e A s cen s i o n representing , shows twelve figures, ki easily identified as the Apostles, loo ng upwards, besides the Blessed Virgin Mary— the central figure — wh o in the lower tier , according to the constant

o f . tradition the Church , was present at the Ascension o f i s The ascending figure our Lord absent, either because it was left to the imagination , or, as is more likely, because the upper part of the window has been J o f lost. udging by similar extant compositions the 1 2 ’ th century, we should expect to find Our Lord s figu re surrounded by angels above those of the f Apostles . The date o this A s cen si o n window is ' probably as early as the episcopate of Bishop Ho el ( 1 08 1 who i s known to have glazed the windows o f Le Mans cathedral , and a great French authority, II] NORMAN AND EARLY ENGLISH 3 1

1 090. M . Hucher, suggests the year From the facile o f character the drawing, especially as evidenced by the pose of the figures , we should judge that the artist was an adept in the execution of sacred pictures according to the ancient rules of Greek

Christian art . Perhaps the next painted glass in point o f age may be taken to be some o f that in the W Abbey church of St Denis in France, the indows of which were filled with coloured glass by Abbot 1 2 Suger in the middle of the th century . It is necessary to bear in mind that there are two ki nds o f co loured windows generally recognised

— - - - p o t metal and enamel painted . The pot metal window is the original and the only kind usually l o f 1 6 made until the midd e the th century, when the

— - u s e o f enamel colours for glass painting came into

P o t - fashion . metal is the name given to glass which — is coloured in the course of manufacture i n the — crucible o r pot and which comes to the hands o f the glass - painter in the form o f small sheets of

s o . coloured glass, some blue, others green and forth From these sheets are cut pieces Of glass as required ’ sa o f by the artist s design ; y, from a sheet ruby a o f piece to represent a mantle, from a sheet blue o r a piece for sky, a clear white, , in early times , a

pink and sometimes brown piece for head , arms and

hands .

When the design has, in this way, been made up, 3 2 ANCIENT PAINTED GLASS [OH .

the artist paints, with an opaque pigment called w — bro n enamel , though it used to be purplish grey and the French call it black (not to be confounded o f with enamel colours proper) , upon the pieces pot o f — metal the details his design the features, hair, o f hands, arms and feet the figures and the folds o f — their garments and such like. With the brown m ena el he also puts in the shadows, using the pig ment either thickly o r thinly according to the density required . Thus, the only painting done by the artist o f is with brown enamel, the colour the design being

- supplied by the pot metal . This painting done, the o f o f pieces glass are placed in the kiln, the heat which makes the surface Of the pot - metal to fuse just enough to cause the artist ’ s work in brown o o f enamel to be abs rbed into and become part , itself. When the baking is done, the pieces of pot v metal are handed o er to the glazier, who binds ’ them up, according to the artist s design, with grooved i s lead binding and th e window ready for fixing. o f This, ignoring minor technicalities, is the story the making o f every colo ured window (with a few exceptions) from the earliest times to the 1 6 th cen tury, and it is the way in which nearly all coloured windows have been made since the revival o f the ancient method in modern times . A word as to enamel - painting o n glass fo r window

A s o t - purposes . the p metal process probably grew 1 1 ] NORMAN A ND EARLY ENGLISH 3 3

- s o out Of wall mosaic, the enamel process may have developed from painting o n porcelain, and it is p o s if u s e sible that, the Of enamel glass colour had been known in the far—away days when the notion of

wi a s e - coloured ndows , the pot metal window would never have been . This would have been a mis fo r - o f fortune, enamel colours lack the brilliancy

o - p t metal . Enamel - painting is simply painting o n sheets of white glass wi th prepared colours in the same way

- as o n e paints in o il o r water colour . Each colour — i s local colour, shadows and outline applied with t o - the brush , a great contrast pot metal work, in which the local colour is supplied by the glass itself.

When the picture or design is finished, the sheet is placed in the kiln and the wor k is completed in the

- same way as a pot metal window . As enamel glass 1 6 colours were not invented till the th century, it is obvious that we shall not be concerned with enamel painting until we reach that period . It may be of interest to note that a kind Of glass

-m etal f a n d painting, distinct both from pot enamel, h a s t o n , from time time, bee in use, a process which h as its advantage where extreme permanency i s n o t desired . That process i s painting on glass with

colours ground in varnish, preferably amber varnish . This plan enables o n e to use every tint and every d combination of tint, provide that they are transparent, 3 3 4 ANCIENT PAINTED GLASS [OH . fo r the local colours ; i t i s applicable both to pot metal and to sheet-glass and the troublesome and risky process of baking in the kiln is dispensed ff o f o f with . The e ect the baking, in the case ordi

- nary glass colour, is to fix the colour to the glass, ff w i n an e ect hich is attained, varnish painting, by the amber medium, which , locking up, as it were,

to . the colours in itself, adheres firmly the glass

The writer can say from experience, that permanency, extending over many years, can be obtained by this

i - t o n system of varn sh pain ing glass, and that the colours s o treated become s o well fixed and hard i o f as to resist the act on a metal scraper . It may, therefore, be a question whether the process might not be adopted in cases where expense is a factor to be reckoned with— for varnish painting is cheaper — than kiln - baked work especially where painted windows are required for temporary churches o r for domestic buildings . The process has also the fo r sanction Of antiquity, Vasari tells us that it was used by old Flemish painters with success, and we w M a i s ter P a u lu s kno that the great artist g , painted some windows in this m edium for the Friars Minor at Venice and that copies o f them were set up at the i i Franciscan Fr ary at Trev so . To return to the style which we have under co n sideration— the late Norman and Early English— all

- f o o . pot metal work, c urse The earliest windows in NORMAN AND EARLY ENGLISH 3 5

o f this style are made entirely coloured glass, for it was n o t until later that white glass (really greenish blue) decorated with patterns in brown enamel came

. w into use These early coloured windows, which follo immediately in point of date that very o ld glass o f A s cen si o n which the at Le Mans is an example, are o ffour kinds : Medallion windows o r Figures with without canopies, J ess e windows,

Coloured patterns .

n w o f 1 2 The oldest medallio windo s, those the th century, ought, perhaps, to be placed in a class by themselves . They mark the transition from the Byzantine A s cen si o n type to the more ornate medal a s at lion windows, such those Canterbury and the

Sainte Chapelle, Paris . This transitional glass is very rare, and we may take, as typical Of the class, a window at Le Mans cathedral which represents r v i u P r o o f . e a s the story SS G s and ta si u s . In the A s cen s i o n type o f window the divisional lines were rectangular, while in the later medallion style they o n i . . G er va s u were, the whole, curvilinear The SS s P r o ta s i u s sh o ws and window both types. Of the centre panels some are square, others are circular, the top o n e is vesica - like and those at the sides are recti

. s see c linear We al o , in the small spa es between the 3—2 3 6 ANCIENT PA INTED GLASS [OH . II

circular and square panels, the beginnings Of those floral filli n g s - i n which constitute so marked a charac A ll ter i sti c o f the later medallion windows . these o u r — features are shewn in illustration three panels, originally in the fourth tier from the to p o f the r v i u Ge as s . window, representing the martyrdom of St o f Part of the bo rder the centre panel, as the illus tr ati o n Off indicates, has been cut in the setting, i o perhaps in modern times . Wh le up n the subject o f this transitional glass o n e i s tempted to suggest that the Rivenhall panels may be o fthe same style. A s o n o time went , medalli ns became less square u i Fo r and more c rved in the r main lines . as good an early example as can be found, we may turn again to Le Mans and take o n e of the long lancets 1 3 th s et Of ( century) which forth the life Our Lady. Our illustration shews the top panel o f this window — Our Lady cro wned and enthroned in the midst of

flowers and holding them in her hands, a composition w as . hich , M Hucher remarks, recalls that passage “ of the G o lden Leg en d : Nazareth means a flower ; d as St Bernard has sai , Mary, herself a flower, wished o f o f to be born a flower, in a flower and at the time ” flowers . o Here we have square and r und panels set, not o n e a s 1 2 over the other, in the th century, but in ff o f i di erent lines vert cality, thus pro ducing greater variety o foutline and givi ng occasion fo r extensio n of

H 3 8 ANCIENT PAINTED GLASS [C . the floral fill in g s —i h and for the introductio n o f more o f elaboration in the backgrounds . In the base this lancet is an interesting feature . The donors o f the o f - window, the guild money changers of Le Mans,

Ou r Lady enthroned (Le Mans)

- are seen at their work . Here a money changer is testing a coin , there one weighs money in a balance, s ee i and above these, we other s doing bus ness with customers from whom they seem to be receivin g II] NORMAN AND EARLY ENGLISH 3 9 some goblets and handing over long purses ap p ar en tly full o f money in return .

The Money -changers (Le Mans)

o f This is an early example a practice, common in all periods, whereby those at whose expense a work o f sacred art had been made, were commemorated H 40 ANCIENT PAINTED GLASS [C .

- i - i in the work itself. In altar p eces, wall paint ngs and painted windows we see the same practice. as Beginning, at Le Mans and Chartres (where some ff thirty di erent guilds gave windows) , with pictures o f donors doing their usual work, the system had, 1 5 by the th century, developed into an incorporation o r of the donor into the story portrayed. He she o f would be represented in an attitude devotion, as if actually in the presence of the holy persons shewn in the picture, and, sometimes, as in the act of being

- introduced by a patron saint to their notice . Shields ’ o f donors arms, too , would be placed beneath their

- O 1 5 L . figures, as in a th century canopy window at St In the renaissance glass pictures o fthe 1 6 th and 1 7th centuries this custom was carried so far as to make

the picture subservient to the donors, whose figures n are painted disproportionately large . Interesti g examples o f this decadent practice may be seen at ’ o f LA m au r the church Montfort y near Paris, where carefully painted portraits of donors— kneeling in i t i s — fill prayer, true the foregrounds of the pictures . Perhaps an extreme instance is the 1 6th century ’ J ess e window at St Stephen s church , Beauvais, in which portraits Of reigning kings are introduced as

blossoms on the genealogical tree . Onwards fro m 1 6 the early part of the th century inscriptions, with o r o f t without coats arms, were often subs ituted for f i the figures o donors . This practice s illustrated II] NORMAN AND EARLY ENGLISH 41 by the little panels fro m Baden now in the south window of the chancel at Lambourne, Essex and by w i o f the four fragmentary windo s, surv vors many, “ o n o f wen do w e which bears the words, Thys made — be the good man Thomas Francys 1 5 2 6 at South ll M mm s . a y , Middlesex As the obj ect of these forms of commemoration o f donors was to remind posterity ff o to O er prayers for their souls, none of them ccur in England from the days o fPhilip and Mary t o the 1 9 revival of Catho licism in the th century . The 1 3 th century medallions became gradually more and more complex in design , the square panels disappearing and the circular o nes becoming quatre foiled, while background patterns became yet more o — elaborate. An ther example from Le Mans the — adoration Of the three kings shews this very well .

At Tours cathedral, also, are very similar designs — made up of vertical rows o fquatre foils in the centre

- - with side rows of semi circles . In all these later medallion windows should be noted the closeness o f the lead binding and consequent smallness o f the o f pieces glass which, together, help to produce the

- ff t o jewel like e ect which we have before referred. o Als , it should be remembered that, in this style the i panels are set in iron bars, ind cated in the illus t r a i o n t s by thick black lines . The St Thomas windows at Canterbury may be taken as typical of the fully developed medallion 49 H ANCIENT PAINTED GLASS [O .

ff style, and they a ord the best, and very available examples in England for study o f 1 3 th century glass o f o f this character. Their panels are all possible — shapes and their filli n g s i n and borders are very elaborate. They and the glass from the Sainte Chapelle in the Victoria and Albert Museum will amply satisfy a desire for fir s t - hand knowl edge o f late medallion windows . u s e o f Speaking generally, the coloured , to the o f o f exclusion white, glass is characteristic the early medallion style . Necessary contrasts were obtained

- o o n as e. . by using light col urs dark, g light coloured o r vi ce c er s d figures on a dark background , and when , as in the case of the Canterbury windows, white or very light glass is extensively used, it is a sign o f late work . It i s obvious that 1 3 th century medallion windows o r would have a tendency to exclude light . Little to no white glass and much lead binding would, h gether, ensure t is . While the dim light thus caused is agreeable enough at the flo o r - level of a great a s church , we need, a corrective, brighter light from abo ve . Therefore i t was that the clerestory windows in 1 3 n o t — a the th century were usually, but always s witness the clerestory medallion windows in the choir at Tours cathedral— glazed in a totally different style from the main windows . The idea being to admit light, II] NORMAN AND EARLY ENGLISH 43 — single figures o fgreat size often under l o wcanopies the make of which would allow o f the use Of large

f fi o W . 1 Fragment gure and canopy . ilton ( 3th century)

pieces of glass, were inserted in the clerestory ; in 4 I-I 4 ANCIENT PAINTED GLASS [C .

i o n e i each w ndow, as a rule, figure, but somet mes

o n e . two, above the other At Canterbury, in the clerestory of the Trinity chapel, were such figures as these representing the Old Testament ancestors of Our Lord ; but they are gone . Similar figures, o f i n however, noticeable for richness colour their dress and in backgrounds and borders, may be seen in the clerestories of many continental churches ; in o f particular, at the cathedrals Chartres, Rheims, u and Bourges. Such fig res were, in this style, some i n times placed elsewhere than the clerestory . Several o f - them, each under a small low crowned canopy i l — both figure and canopy being r chly co oured would, l one above the other, fill a tall lancet. To this c ass also belong figures without canopies o n white o r i coloured grounds, of which the gigant c St Chris t O h er 3 0 p ( ft. high) at Strasburg cathedral may be taken as an example. While in France the medallion type continued in use long after the single large lancet had given place to the mullioned and traceried window— as witness i the Sainte Chapelle in Par s, built by St Louis in — 1 2 48 i n England it was gi ven up when mullioned

windows were introduced . Then came the white s o - windows, called, though they were not without colour here and there, especially in the borders . The finest specimen in England i s the Fi ve s i s ter s w l windo at York cathedral , five great ancets, with

White window (Westwell) 1 A ND 4 CH . 1 ] NORMAN EARLY ENGLISH 7

simply a genealogical tree, in the form in which family pedigrees have been drawn from very early o f a s times, shewing the earthly descent Our Lord, ’ G J s et forth in St Matthew s ospel , from esse, the father of King David, through the Patriarchs and o f the Kings of Judah . The number such ancestors varies with the size of the window and the period ; in the early J ess e at Chartres cathedral there are four only, all kings, while , in later examples, there 1 3 J are as m any as fifty . In th century ess es the

figures are seated , holding the branches Of the tree 1 6 th with both hands, while, in the latest examples (

- century) , they are, usually, half length figures issuing from flowers. Most of the continental cathedrals, 1 3 notably Chartres and Beauvais, can shew th cen J esse tury windows or fragments of them , and in o f J ess es England, besides remains of the same period at Canterbury, York , and elsewhere, there are many panels, more than is generally supposed , which have once been parts of such windows, scat ter e d up and down the country in o u t - o f- the - way churches . An example is the central Of the three lancets already referred to at Westwell church, Kent, which contains fragments o f panels shewing pictures o f in the life of Our Lord, a distinct variety the

J ess e window, and it may , perhaps, be the case that the Rivenhall panels belonged to the same type . o r J esses are usually, have originally been, in eastern 4 8 ANCIENT PAINTED GLASS [OH . chancel windows o r in north or south walls o f tran septs , and very Often, as at Westwell, in a central lancet flanked by whi te windows .

th e - t As to coloured pat ern windows, such as we s ee as at St Denis, they are rare, and, is the case h wit the mixed white and colour pattern , which o u t o f grew them, there are no known examples in l England . The predominant colours in the Ear y o r English period were red and blue, the red ruby — r very streaky and the blue sapphire like in colou ,

either very deep or very light. The yellow was cold i and greenish in tone, very unlike the br ght hue of 1 4 Fo r the yellow stain introduced in the th century .

o r . flesh tints pink , even brown, glass was used The

glass itself was thick, and, also , uneven , a circum i ts . stance to which it owed some, at least, of sparkle 1 1 th 1 2 1 3 The , th and th century figures, like all well—designed figures intended to be viewed from a o wn dis r o o r much lower level than their , were p p ti o n at el s o f th e y tall, and, Of ome them , those of ff later period, may be characterised as sti in drawing ; nothing can b e better than the easy pose and swing o f the earlier ones : as witness the figures in the

A s cen si o n a t Le Mans . One feature of the glass of this period should be noted : the floral ornaments are purely classical in

. n design This fact, illustrati g, as it does, the great i doctrine of evolut on as applied to the arts , shews that II] NORMAN AND EARLY ENGLISH 49 the early glass -painters had received the artistic tra diti o n s o f ancient Rome and Greece and proves that

- glass painting, in those early days when first we hear of it, was no parvenu, but had legitimately developed along the same lines a s the other decorative crafts o f from the works the great artists Of antiquity . We shall s ee better the significance of this matter o f orderly development when we come to the 1 6 th century .

CHAPTER III

— THE DECORATED STYL E ( 1 2 72 1 3 77)

o f s o THE story painted glass, in far as it has developed along legitimate lines, has been a con ti n u o u s one . There is no moment at which we can say that o n e style has ended and another has begun o f change is gradual, the leading features the one o f style fading imperceptibly into those its successor . This is in the nature Of things : the lives and daily work o f those craftsmen who have lived in the last days Of a style survive the date at which it is o o n o f commonly said to end . They g using glass much the same texture and tone, their colours and 5 0 ANCIENT PAINTED GLASS [OH .

methods o f work change little, but all the time the

i n . tendency is towards variation, mainly details In this slow fashion the Early English style melted into 1 4 the Decorated, till, at last, we get the late th century window with i ts masses o f white and yellow glass contrasting with great splashes of colour fi u r es l — g , shie ds or picture panels scattered about its surface. Although we could easily assign any such windo w i to its proper style, and, w th equal certainty, tell the approximate date o f a 1 3 th century medallion Of window, we should find the task tracing the steps which led from the earlier to the l ater window a o n w long and intricate e . The la s which govern the l evolution of the works of man, like those which dea fo r with natural phenomena, are, the most part, slow and gradual in operati on : the cataclysmic has little share in p r o gr e The earliest o fthe many influences which brought about the change of style from Early English to Decorated work seems to have been a tendency to n naturalism i the drawing o f flowers and leaves . At i s ff first sight, there but little di erence between the border of the white window at Westwell and that i n o u r at Roydon shewn first chapter . A second glance, however, shews that the coloured orna ments (features o f both designs) vary considerably f a n d in treatment . The Westwell design is sti f THE DECORATED STYLE 5 1

conventional while the other, especially the stalk, is natural . wa So gradual indeed was the change, that it s not until the first decade o fthe 1 4th century wa s nearing i ts end that any readily noticeable difference in style two — was apparent . About that time causes o n e the result Of orderly development and the other of an accidental discovery— combined to produce dis tinct variation from the Early English type. First, the naturalistic school developed rapidl y : exact o f — — copies foliage oak, ivy, vine, maple took the l a c o f o n p e the conventional leaves, modelled classical e o f xamples, the Early English period . Nor did naturalism stop here, for the leaves were made to spring from tendrils and branches issuing from a — . t o o central stock The fruits, , were shewn acorns,

- r ivy berries o grapes . Foliage such as this wa s made to run over the white glass the leads o f which were arranged in geometrical form— reminiscent of the To Early English period . complete the naturalistic — idea, bands of double lines sometimes patterned — and coloured yellow followed the course o f the o f o r leads , so that the branches the tree vine seemed to run in and out of a trellis, a circumstance which h as — given name to such windows trellis windows . Very complete examples are in the side windows

. m a at Merton College chapel, Oxford We y here notice the unfortunate treatment which many trellis 4— 2 5 2 H ANCIENT PAINTED GLASS [C . III windows— notably at Exeter cathedral— have recei ved

- o f from would b e restorers . Either from ignorance the original character o f trellis windows o r fro m disinclination to the trouble necess ary to restore o r them properly, when broken fragmentary, their irregular- Shaped quarries have been cut up into o f o n e pieces, all shape and size, and leaded up so to o f — as form a window lozenge shaped quarries . i Sometimes, indeed, they have been m xed up with i quarries or ginally lozenge shaped, decorated with i o f l i convent onal designs, a ater date . Of th s sort o f o u r ff muddle frontispiece a ords a specimen . Though slow and orderly change i s the ordinary t law of developmen for the arts, it happens at times , though comparatively rarely, that rapid change in style or workmanship i s brought about by an n u an expected event. Such event was the discovery, o f 1 4 o f in the early years the th century, the fact i i t o that chloride of S lver will mpart white glass, when heated in the kiln, a brilliant yellow stain , i i varying in tone, accord ng to treatment, from br ght o f lemon to deep orange . The value this discovery can best be gauged by taking one’ s stand before a large 1 4th o r 1 5 th century window and trying to u nderstand how it would look if all the yellow o were banished from the canopies, floral rnaments, s o pedestals, monograms, shields and forth which form the background to its main features . At once

5 4 ANCIENT PAINTED GLASS [OH . we see that the result would be hardness and cold ness, and we come to understand that it was the — disco very o f the y ellow stain whereby an artist was enabled to impart warmth to his outline designs o n — o white glass which made these great wind ws, o f s o mainly composed white glass, pleasant to the F r . o i n eye , although yellow glass coloured the — — crucible pot - m etal wa s in everyday use centuries before the yellow stain was discovered, it could only — — be used like all p o t - metal glass b y cutting fro m the sheet pieces o f the si ze required and fixing them with lead binding into their places in the design . Try to appreciate the loss o f light and i ncrease of the appearance o f weight which would result from i i - i ts the subst tut on Of pot metal yellow, with leaden fo r i o n i binding, every bit of yellow sta n wh te glass in such a window as we have supposed. The result o would, probably, be an approximati n to an Early

- English mosaic window . i The yellow sta n came just at the right time, for architects were making the divi sions between lancet i eflect w ndows ever narrower, thus , in , throwing w o n e several windo s into , and, as a natural con a o r sequence, creating demand f a lighter and brighter style of coloured glass than had hitherto

- been the fashion . To this demand the glass painter responded with his white backgrounds m ade up o f quarries decorated with delicately painted designs III] THE DECORATED STYLE 5 5

in brown enamel , heightened with yellow stain , f which, while they admitted a su ficiency of light, at the same time mellowed it and served also to throw into relief the masses o f colour in which the stories that the windows told were enshrined.

These stories were, as a rule, strictly in accordance with the scheme to which we referred in the first t chapter, and wi h the position in the church of the w indows in which they were placed. In the early years o f the style they would be in panels set in a o f background white glass heightened with yellow, — a s while single figure subjects such Apostles, Pro h ets — p and Saints would be under canopies, mostly t white and yellow, though Of en partly coloured . The figures themselves would form distinct masses o f as bright colour, and when, was usually the case, they stood side by Side— one in each light—they formed a belt o f colour right across the main lights

o f . a s the window Hence, such windows these are t wi o b el n d ws . called Often, as in the aisle windows at York, we find , in this style, two belts of figures under canopies with small coloured panels, in the o f o centres the white glass intervals, c ntaining either shields of arms or small ornamental designs. In the case Of o n e belt only the coloured panels are seldom found and the whole background is white and yellow . Another kind of arrangement common all through d the Decorated perio , was that of small figures under H 5 6 ANCIENT PAINTED GLASS [C . III

canopies, one above another, the white and yellow ' o f the canopies making a s et - o flto the bright colour o fthe figures .

In small windows, such as north and south chancel lights, we find the whole space taken up by a single o f figure under a canopy, with small pictures , often the donors of the windows, beneath the base upon w . as which the figure stands Sometimes, the base o u t w a grassy mound picked ith flowers, as in the o r St Edward at Stapleford Abbots, , more usually, a black and white chequered pavement, but there s o f were no pede tals until quite the end the style, when it was passing into the Perpendicular perio d. An important facto r in the fo rmation o f the o t o Dec rated style was the extent which, by the o f 1 4th o f beginning the century, the use tracery in the upper parts Of windows had developed . All s i through the style the pace occup ed by tracery, in o f i o i O the case large w ndows, c ntinued to ncrease, S that we often find nearly one—half Of a late Decorated window taken up by tracery . The task Of the glass painter was to fill tracery lights in a way that would harmonise with the glass Of the main lights . This he did by making h i s tracery - glass white and yellow when the lower lights were either wholly o f that kind or when there was but o n e belt o f bright colour

o . h acr ss them W en , however, there were two colour belts the tracery lights also were coloured, thus S t . . S . Edward , K and C ( tapleford Abbots) 5 8 A NCIENT PAINTED GLASS [CH . preserving a balance between the upper and lower to parts of the window . An interesting point be i s noted in this connection that we, sometimes, find Early English glass in the tracery over glass o f th e

Decorated period in the lower lights . In such cases w Of w the stone ork the indow is Early English , and , the original glass o f the same period in the lower o r s r e lights having been broken , , for ome reason h as i n moved, Decorated glass been inserted its all place . This kind of thing happened at transitional

- periods . A curious example is the east window at Sheering church near Harlowwhere the very elabo rate late Decorated tracery (about 1 3 70) i s filled with contemporary gl ass representing the coronation i i n in heaven of the Blessed Virgin Mary, wh le, the o f lower lights, we find glass quite recent date . An other instance i s the five - l ight perpendicular east

window at Dyserth church , Flintshire, in which the

- 1 5 th tracery is filled with mid century glass, while

i n 1 6 J es - tr e the main lights is a th century s e e. The gradual elaboration and heightening of the — upper parts o f all architectural features window

- traceries, canopies and tabernacle work in general d fo r in the Decorate period , is responsible, too, a Similar change in the canopies over figures in painted n windows . The te dency (Often, in this style, carried to great excess) is always towards dispro portionate height o f the canopy relative to that of the figure 1 1 1 ] THE DECORATED STYLE 5 9

a - w beneath it. Another feature of the c nopy windo , which becomes noticeable as the Decorated style o f advances, is the practice of making the lower two belts o f figures and canopies subordinate to the o n e s o upp er , that, while the lower canopies are fairly low, the upper ones range aloft into a central tower

i - and spire, w th which side pinnacles, springing from the pillars of the canopy, are connected by flying buttresses. Both spires and pinnacles are usually

o n . h a coloured ground W ile, in early Decorated work the crockets and fin i al s o f the pinnacles and f Spires are sti f and formal in design , they develop

- later into graceful leaf like forms . This was in sym pathy with contemporary architecture and is another o f l proof the c ose connection which subsisted , during G the othic period, between architecture and its ancillary crafts . Fig u r e a n d ca n op y - wi n do ws (a term usually confined to windows with high lo wer lights contain ing figures under very lofty canopies) were, speaking generally, although there was no positive rule, placed at the ends Of buildings and high up, while the side windows were filled with white and yellow pattern

o r o r . glass, either alone with belts of canopies panels o f — t Similarly, great variety practice exists no doub expense was an important factor— with regard to the relative amount and distribution through the building o f white and yellow pattern and coloured 6 0 ANCIENT PAINTED GLASS [o n

o glass . In s me cases, especially in small rural churches, - i all the windows, except, perhaps, the east w ndow l would be filled with white and yellow g ass alone. n An interesting example is Bradwell, ear Witham where much fragmentary original glass remains i n o f s i tu . Another instance is the east window the north aisle at Hornchurch in Essex, where the monotony of the white pattern quarries i s broken by a picture o f the Crucifixion in the middle o n e o f the three main o f lights and by a shield arms, surrounded by a

filli n s - i n narrow circular border, with ruby g between

o f - the shield and the border, in each the side lights . fo r i s An opportunity colour found, also , in the border o f running round the three lights, which consists yellow lions ’ faces on a white pattern ground alter o f nating with pieces plain blue glass . In the tracery, i o f which is wholly white and yellow, is a p cture

St Edward, King and Confessor, who belongs, in a n special sense, from his connectio with Havering

- atte Bower, to Hornchurch and its neighbourhood. The arms i n the shields are those of Dei n co u r t and the window, no doubt, commemorates the foundation o f a chantry by a member o f that family at Horn church . We may safely assume that the chantry altar stood beneath the window and that the east end o f the aisle was partitioned Off by screens to form a chantry chapel, a very common custom , and , in most cases, a reasonable one, for such an

2 6 ANCIENT PAINTED GLASS [OH .

- w t . o withou borders The east indow at Mert n College, i s o f e e l Oxford, this sort, the y being filled with hera dry o r and ornamental patterns on a c lou ed ground . As time went o n and the methods used i n glass manufacture slowly improved, the texture and char f acter o the glass changed . It became thinner and h n o its surface more regular, a c ange which was t i t o f wholly advantageous, for is certain that much the brilliance o f very o ld glass i s due to the varied i angles, caused by unevenness of surface, at wh ch To i light i s tran smitted through it. mprovements l in manufacture also were , probab y, due the gradual reduction in thickness o f the coat o f colour on ruby l glass . Unlike other glass colours, ruby has a ways a s o o u — been applied a surface c lour, flashed as the — o f phrase goes to the glass, and the thickness the o f o f coat colour is found, by comparison ruby glass o f ff o as Of di erent peri ds, to vary as much g an inch a s 1 o f i in the Early English period against 3 7 an nch 1 6 . in the th century The streakiness, too , a marked o f feature very early ruby glass, tends to disappear during the Decorated perio d and other colours tend to vary . In particular, although there is a great l o f - — dea very dark blue Decorated glass dark, that l is, on close inspection , though bri liant enough when — viewed from a distance and in a mass a very

- l - t o n e beautiful light blue, ight viole , cobalt, might approximately call it, came into use in this period . 1 1 1 ] THE DECORATED STYLE 6 3

A good example o f this light - blue is the border round the little picture o f Our La dy and the Divine

o f - Of Child in our frontispiece and a dark blue, t o Decorated style, in the diapered backgrounds some o fthe figures in the Sheering tracery .

- Pot metal yellow gets deeper in tone, passing,

- sometimes, through orange to a green brown yellow — not always quite pleasant to the eye when seen in a lump, as witness the fragmentary canopies at

North Weald church . Another change of this sort to note in the Deco rated period is the tendency o fwhite glass towards a o f slight green tone, the result, to some extent, its to o being thinner. White glass, , definitely took the o f place the pink , sometimes brown, of the Early

English style for flesh tints . Its coldness was r e l i e ved by applying yellow stain for the hair and n beards of figures, and whe white was used for d raperies, the surface was varied and warmed by o r yellow edgings, ornamental bands floral orna o f ments , as in the mitre and chasuble the little figure of St Edmund of Canterbury at Abbess

Roding. The white quarries in which the coloured figures t s e . and panels were , call for a word These were either all o f o n e uniform lozenge Shape and size o r o f such varied shapes and sizes as the geometrical patterns into which they were formed determined. 6 4 ANCIENT PA INTED CLA S S [0 1 1

Of the geometrical type with their running trellis A s patterns we have already Spoken . to the lozenge i quarries, the designs on them, outlined w th brown 1 41 0 o r enamel , and, after thereabouts, usually heightened with yellow stain , varied extensively .

Sometimes they were floral designs, like the maple o r th e i leaf at Roydon , birds , as bird play ng on bells o r in Upper Hardres church , Kent, family badges,

- monograms of benefactors and such like . Some, o n i too, had bands the upper s des , either plain or

patterned and with o r without yellow stain . Early in the style we find quarry designs s et o ff by cross hatching on the ground behind them as in the Early s ee i o English period ( the Westwell w nd w) , but this plan was gradually r ep l a ce d b y the u s e of the yellow

stain for shading and obtai ni ng contrasts . i i i Diapering Of this period nv tes notice. A d aper o n o r u is a flat pattern a white colo red ground, and diapering was used extensively in all the decorative A s i i arts and crafts during the Middle Ages . l m ted — — to painted glass p o t - metal work the diaper al ways consists of brown enamel applied to the glass in o n e l o f . two ways The earlier plan , which prevai ed until i n was o late the Decorated period, to c ver the glass

with a fairly thick layer Of brown enamel, and then ,

with a stick, knife or other convenient instrument, remove s o much o f the enamel as was necessary to

form the pattern . In this way ornamental borders III] THE DECORATED STYLE 6 5

o u t to garments were picked , and background pat i n terns, like that immediately behind the figures the

S t B C Edmund , p and . (Abbess Roding)

frontispiece , were formed . The other, and later, method, which has, since its introduction , been used

E . 5 00 ANCIENT PAINTED CLA S S [0 1 1

side by side with the earlier one, as convenience w might dictate, is Simply to paint ith a brush , in i the ordinary way, the diaper pattern in outl ne . It is Obvious that either plan has advantage over the i s other for certain kinds of work, and it sometimes hard to tell by which method a diaper h a s been s o Of applied . Particularly is this in the case large o n leaf patterns, such as those the ruby and blue grounds behind the figures at Sheeri ng. A typical feature o f the Decorated style is the pose of the figures : they are simple and s evere in drawing, the outlines becoming thinner as the style i flo w progresses, their draper es are loose , wide and o ing, and they are, usually, in constrained p sitions, seeming to rest o n one leg. A good example is the

St Edward at Stapleford Abbots . In early Deco rated work facial features are treated much a s i n the Early English period : the i ri s o f the eye is n o t distinguished from the pupil and the mouth consists o f i i n three curved dashes side by s de, as the heads Ki ’ Of Our Lady at ngsdown and All Saints church,

o . o n i o f Stamf rd Later , however, the draw ng features : a s Wo r field became more natural first, in a head at o church , Shr pshire , and in another in the south aisl e Of the choir at York cathedral (both illustrated by

Winston) , the lips were drawn in outline, and, sub sequently, we find both lips and the iris indicated, a development very well shewn i n the tracery figures 1 1 1 ] THE DECORATED STYLE 6 7

0 at Sheering. N very great change from the pre i n o f ceding style the painting hair is noticeable,

Head of Ou r Lady (Kingsdown) although men ’ s hair and beards get more flowing ’ as the style advances, while women s hair remains 5 — 2 6 8 A ANCIENT PAINTED GL SS [OH . lo n g and smooth and that o f angels is u sually drawn in thick, crisp curls . Decorated borders must n o t be forgotten . The most co mmon type i s a yell ow running stalk and leaf o n a coloured ground : so me — as o i s times at Mert n College, where the stalk green — o n a ruby ground the stalk and leaf are o f different o f colours . A less usual border is made up small i o n e o figures and canop es, above an ther, such as we see in the nave of York cathedral . Variety is so me times given to the running floral border by little grotesque creatures climbing up the stalk or sitting o n the branches . Heraldry often supplied material ’ f r — o f o borders small Shields arms, merchants marks

o r . badges The fragments of border in the west, formerly in the east, window at Netteswell church , — Essex ostrich feathers, alternately blue and ruby, — stuck throu gh scrolls are remains o fa heraldi c border ' which probably had some reference to Thomas Of o o f G s o n W odstock , Earl loucester and Essex, fifth at P l esh of Edward III , who generally lived y Castle, ettes well some ten miles from N . These bo rders o f which sometimes had an inner margin white glass, o n e a s and always an outer next the stone, usually, in the window at Hornchurch , and the west window o f at Snodland, Kent, ran round the head the light, i the fo llow ng line of the foils, which often enclosed

o r o . a rose, marguerite ther small flower If there were a border along the bo ttom o f the window

0 7 ANCIENT PAINTED GLASS [OH .

Arkesden church Fi tz al an quartering Warrenne fo r Fi z al an o r o o f Thomas t Arundel , successively Bish p o f o 1 3 96 Ely, Archbishop Y rk, and, in , Archbishop o f Canterbury . A s guides to the subjects represented, figures — S OS: P etr u s often bore scrolls inscribed with names , '_ S cs E du a r du s M a r Cl eo h e — , ( y) p and so forth and, sometimes, the names would be written round the ’ o f o r o n outer edge a saint s nimbus , Oftener, a broad h 'f o i s eet . t o scroll beneath At times , such scrolls would be drawn across the sides Of canopies and h ear i n would verses from the Psalter, as the picture i Of St Edmund at Abbess Roding. Inscript ons up to 1 3 40 i n i t about were Lombardic characters, a var a ion Of Roman letters, but, after that time, they are G o r usually in othic black letter, although Lombardic i letters continued in use fo r a long time . Ow ng to i n the fact that Roman letters, the long run, again came into u s e i n Europe and s o continued to the present day, it has come about that most people — find it easier to read a pre fourteenth century i n w scription than one o fthe t o following centuries . The simplest and earliest fo rm o f decorati on in tracery l ights was the small coloured circlet enclosing an ornament— such as a rose— pai nted in outline o n l l i o t . ts with br wn enamel whi e g ass This sty e, in o richest and most elab rate form, is found in the o f l large foil ed circl es ear y Decorated tracery. In III] THE DECORATED STYLE 7 1 such an example the centre o f the light is filled with a Shield of arms or a complicated floral design in colour, which touches the cusps, while within the

- foils are scroll like leaves in outline, heightened with yellow o n white glass . A very beautiful example Of such a circular ornament is the design in the west window at Netteswell, which was, no doubt, taken

- from a tracery light . The centre is light olive, deli cat ely diapered and the narrow outer border is i ts probably meant to be ruby , but each of four parts are of different tints Of bluish and reddish purple, an interesting result, it may be surmised, o f o f defective firing the glass . Nevertheless the

ff . e ect is very good As Decorated tracery progressed, i ts Openings got higher and gave opportunity for

fi u r e - g subjects which were, usually, white and yellow o o n coloured grounds and s metimes under canopies . The Sheering window may again be referred to for an unspoilt example o fa piece o f such fig u r e -tracery t o o o f and as shewing, , the most usual kind border — for tracery -lights the beaded type with an outer margin o f white glass . The bonnet - like crown of the Early English period grew, in the Decorated style, into the familiar circlet o o f with fl ral decorations, such as that on the head a d Our Lady at Kingsdown , and this, as the style van ced , passed into the more elaborate types seen on the heads of the two central throned figures at 72 ANCIENT PAINTED GLASS [0 11

- i Sheering. Similarly, the low tr angular episcopal Bi r i n u s mitre, like those worn by St and his couse crator Pope St Honorius in the Early English glass l a ter at Dorchester church, Oxfordshire, became, in Decorated work; the higher and ro under Sh ape worn by St Edmund at Abbess Roding.

CHA PTER IV — THE P E RP ENDICU LA R STYL E ( 1 3 77 1 5 47)

OLOU RED o f u C glass the Perpendic lar period, like

- was s et the stone work in which it , grew, by a perfectly natural process, from the style which preceded it . As Decorated tracery, having attained, o f a s in its flowing lines, such flexibility appearance o o n — to b rder weakness, called for a corrective found — in the gradual ver ti ca li si n g o f its principal lines S O painted glass o f the same period passed through a similar phase . The flowing vine and ivy tendrils, and the natural leaves and berries o f the Decorated s o period, which harmonised well with their con di s temporary architecture, would have struck a cordant note if set in the midst o f the severe lines h o f . 1 4 Perpendicular tracery So we find t at , as the th 1 5 century passed into the th, the regular and hard lines of lozenge - shaped quarries took the place o fthe IV] THE PERPENDICULAR STYLE 73

o f flowing geometrical patterns the trellis windows, o f and the natural leaves ash , maple, ivy and so forth, made way for conventional floral ornaments.

This, be it noted, was quite legitimate develop — ment a merely corrective process called for by a o f flexib ilit — tendency to excess y and, in no sense,

- a going back upon, or departure from, the essential principles of Gothic art . This strengthening tendency in design was a c companied by a gradual change in colour and ' t technique tints became sof er and less intense, and facial outlines and features were drawn with finer lines and greater finish . The practice, begun, as we o f have seen, in the Decorated period, indicating the iris Of the eye as distinct from the pupil and of modelling both lips by fine wavy lines, became the G to o rule. reat attention, , was paid to shading of

- the face, which was done by extremely fine hair like o f lines a wavy character, much like the shading used for indicating mountains and water in a steel engraved map . The reduction in tone o f co loured Perpendicular n o t n o r s o glass was wholly , perhaps much due to actual lightening o f colour in the process o f manu o f facture, as to greater breadth treatment and an increase in the proportion of white glass . o Speaking generally, c loured glass was used in larger pieces than in the preceding styles, a fact 74 ANCIENT PA INTED CLA S S [0 1 1

ff which, even alone, would e ect an apparent redue

o . tion in intensity Of c lour Added to this, there was

Perpendicular Quarry a decided and progressive increase in the u s e o f l : l yel ow stain in the white glass we no onger find, IV] THE PERPENDICULAR STYLE 75

- as we did in the Decorated period, pot metal colours d fo r use in the canopies, except the little windows in

r Q u a r y . C7 0 u m i n 1 1 1 0 7 h u s h

Perpendicular Quarry

towers and groining and backgrounds Of canopies,

i s . c but all stained yellow The re tangular quarries, 76 ANCIENT PAINTED GLASS [0 11

— fi u r es too, in which the coloured pictures g and — s et canopies or panels are , have more yellow than before ; they are often edged with yellow and the o n — flo wer s little designs painted them , birds, mono o r — grams, badges what not are sometimes entirely

o f . stained , instead being merely shaded, with yellow

In connection with colour, it is to be noted that the Perpendicular period saw the full development Of a practice which had been introduced early in the 1 4 th century (though, for a long time, little used) , ’ whereby the glass - painter s list o fcolours was greatly

— o f - increased namely, the making pot metal glass in ff fl’ two layers o fdi erent colours . This was e ecte d b y - o f o n e dipping the blow pipe into glass, first colour o f and then another, the resulting bubble being, f o n e o . course, colour within and another without When opened out the bubble became a double Sheet o f one colour imposed on the other . By this process many tints o f green could be got by combining difler en t shades of blue and yellow , a long range o f purples, from deep violet to pink , would result from combinations of reds and blues of varied i n ’ difle r en t o f tensity, and degrees orange could be g o t by coating red with yellow. The glass produced by this plan o f increasing colour - range in pot -metal ” o c er r e do u b l w rk is called by the French e, and it is to France that we must turn fo r the best examples of it. The central east windows at the church Of

78 ANCIENT PAINTED GLASS [OH . very much finer and wider gradations o f tone co uld be pro duced by the stipple than by the smear, and we can quite understand how the increased u s e o f i n stipple shading, combined with greater variation outline, had much to do with the higher finish and air o f refinement characteristic of Perpendicular i n . i work Thus, while Perpend cular glass lost in o f tensity colour it gained in culture . At the same time the tendency to warm th of to ne produced by finer shadow gradation and the co n i o f i o f sequent ncrease ver similitude subject, were n o t ff o without a bad e ect, in the l ng run, upon o f - the art the glass painter. They led , at last, to forgetfulness of essential limits and o f the proper u s e o f o t o painted wind ws and attempts, which led to the temporary ruin Of the art, to paint pictures o n gl ass in the same way as one paints pictures o n o r canvas paper, thus changing the very nature of a painted window by making it a mere screen upon which to Show pictures instead o f a col oured and decorated medium for the admission of light . u r e a n d ca n o i n The fig p y subject, common the

Decorated period, may be called the typical style o f Perpendicular times . The constructional features o f the canopies are in accord with contemporary architecture : the fla t - fronted Decorated canopy makes way fo r the Perpendicular o n e with pro ecti n r j g f ont ; and, while the canopies of this style IV] THE PERPENDICULAR STYLE 79 are o f the same general character as those of the

Decorated period, they are more varied in form and never run to the high pointed spire characteristic f o the Decorated type. A noticeable point with regard to Perpendicular canopies is that, when there i s one figure only in a main light, the whole space, i s except that covered by the figure, taken up by the canopy, the pillars supporting it and the p edestal upon which the figure stands . A good idea of this sort o f arrangement may be g o t from a study of t wo o f the main lights of an aisle window at Fairford. This window contains figu res o f the four great o f J G Doctors the Church , SS . erome, regory the G reat, Ambrose and Augustine of Hippo, the two

f r . selected o study being SS . Ambrose and Augustine The whole surface Of each light is white glass heightened with yellow stain, except the groining o f o n e o f the canopies and the curtains behind the o f C figures, all which are red, and the opes (blue) and the tunicles (green) of the figures . The to t o canopies, it will be noticed, which reach the p o f ff : the lights and have pendants, di er in detail that over St Ambrose is three - sided and more ’ i s - elaborate than St Augustine s, which two sided o and bro ader in treatment f detail than its fellow.

The figures, like all those in the aisle windows at — d Fairford, stand on pedestals, three sided, decorate with foliage work about the stems and bearing, 8 0 ANCIENT PAINTED GLASS [OIL

o o f r und the base, the name the saint represented. o f i In the tracery lights are figures St Apollon a, St

James and an angel . Sometimes Perpendicular canopy subjects have small figures of donors kneeling i n prayer round the o f base o fthe pedestal . A fine example this is to be LO seen at St , Normandy, in a lofty Early French lancet window o f four lights which was evidently 5 1 . reglazed in the th century The canopies, white and yellow upon coloured grounds, reach to the tops o fthe lights and are unusually l ofty for Perpendicular

o f work , a circumstance due to the early character the sto nework . The two centre figures only are u n o n pon pedestals, the others standi g pavement in the Decorated style, but they are all alike in that the i p ctures below the figures rest upon moulded bases . Under the first figure is a picture o f Our Lady o n seated with the Divine Child her lap, and the others have figures of donors kneeling upon tes s el a ted pavements which form the u pper parts o f the moulded bases . Upon the fronts of these bases are o f - shields arms, heater shape, and three other shields, — supported by angels the centre one, bearing the arms

o f i . e. o n France (modern , three lilies only a blue field)

in the Spandrels between the heads o fthe lights. In windows di vided by transoms each tier o flights i s treated separately ; each light has its own figure and cano py o n its pedestal or pavement o ver a picture IV] THE PERPENDICULAR STYLE 8 1

o r o f . panel shield arms, as the case may be Often, o f — however, each main light a window sometimes — very lofty has a series o f figures and canopies o n e above the other . Such windows are arranged upon the same general plan a s the Decorated b el t windows, but the canopies are loftier and the figures a s stand on pedestals, which grow, it were, out of the

- canopy tops . r In the Sainte Chapelle at Riom, in Auve gne, are seven fine four - light windows which illustrate o n e s ee this type . In pair of lights we the Apostles, with scrolls bearing sentences from the Creed (as at o f Fairford) , standing on pedestals in front curtains

- han ging in loops . In the canopy tops are small niches, containing figures, probably of donors, h whic run upwards into another tier of pedestals, S O o n figures and canopies, and to the tops of the lights . Below the Apostles are canopies over figures o f o f saints on pedestals, each whom is presenting fi u r e— a — a kneeling g donor, no doubt to Our Lord, ’ who i s seated o n His mother s knee under the first o f h Of the row canopies . In this style, w ich is less common in the later years Of the Perpendicular it s period than in beginning, we sometimes find coloured p icture - panels without canopies or pedes tals, divided horizontally by panelled tabernacle work . — In a ll these fig u r es a n d canopies and panelled — arran gements the tracery lights shew either small

E . 6 H 8 2 ANCIENT PAINTED GLASS [C . IV

figures of saints, sometimes under canopies like many o o r o f o f those in the Fairford wind ws , symbols the ’ o r o f o Evangelists as at Netteswell , shields d nors o f o r arms or those the emperor, a king, other

eminent person o f the day . A favourite tracery

fillin g was an angel, perhaps playing on a musical o r instrument, or in an attitude of adoration , maybe

supporting a shield of arms . G z On the continent, especially in ermany, Swit er l s et and and Northern Italy, round quarries, close n together in rows, are, at this period, ofte found in fo r lieu of rectangular quarries, as backgrounds

figures, and canopies and panels . The round quar

ries are, at first, about four inches in diameter with ’

the bull s eye very well defined and with narrow rims . a s Afterwards they got larger , ultimately wide as six ’

inches, and the bull s eye became hardly noticeable. The earlier type made a Simple and effective

window, especially, as was usually the case, when the surface was broken by little stars in circles made by inserting coloured glass in some o f the

interstices between the quarries . Round glass win

dows were bordered, the early ones with coloured designs and the later mostly with white and yellow

only . Excellent examples of round glass are to o f o f be seen in the church St Mary the Capitol,

- Cologne, where there are several three lighted i s et windows w th coloured subj ects in round quarries . S ymbol o f S t Mark (Netteswell) 8 4 A CH ANCIENT P INTED GLASS I .

III i s some, the coloured subj ect in the centre to light only, while in others it extends the side lights . A principal note of the Perpendicular period is variety in arrangement. Sometimes a centre light has a larger picture— fig u r e and canopy or panel than the other lights, sometimes such a central subject stands alone in the midst of a window o therwise made up entirely o f white and yellow o r glass, , as at West Wickham church, Kent, we see a single figure o n a bracket without either canopy o r background other than the white and yellow quarries. Towards the end of the style, a single o l subject, extended over the wh e window and with i o r s . out canopy architectural work, Often found

In other cases, the lower lights comprise several o r o n e distinct subjects figures, all under large o f canopy, as in the east window Winchester cathe — a n o o f i dral early example . A variati n the s ngle o n i s figure a bracket type the design , Often met o n o with , Of Our Lord the Cr ss in a centre light o n with Our Lady and St John, standing brackets i o n i . in the adjoin ng lights, either S de t o o i We find, , as in the preceding styles, w ndows whol ly o f white and yellow pattern glass except for — the bo rders and variously more usually, perhaps, — circular shaped panels containing Shields of arms, o r o crests, badges, monograms ften enclosed

8 6 ANCIENT PAINTED GLASS [OH .

o t - leaves, too, is more varied, being often in p metal colour. Sometimes the vine is spread only over the two o r three centre lights leaving the side - lights for other subj ects . J An almost perfect esse, which is dated M CCCCCXXXI I I o , is in the chancel wind w at Llan r h a i a dr , Denbighshire. This window has features o f both the earlier and later types . The figures in

- the centre light are full length and standing, while those In the Side - lights are all demi - figu r es issuing from blossoms . On the whole, however, the work points to a late date in the Perpendicular period, fo r o and there seems little reason the suggesti n, o n which has been made, that the date the glass is incorrect. It is true that the costumes of the

figures are earlier than the days of Henry VIII, but this may well be accounted for upon the s u p position that, either the painter copied from earlier sources or worked in the style in which he was brought up . Changes in style are slow, and when we remember the predominantly Gothic character of the Fairford glass and that (though in a less ’ — degree) in King s College chapel, Cambridge the o n e e xecuted only about thirty years earlier than the date given for the Llanrhaiadr window and the — o ther almost contemporary with i t we need not reject 1 5 3 3 as the date for this J ess e on the gr o o f a difference between the costume of the IV] THE PERPENDICULAR STYLE 8 7

f in the glass and that of folk o Tudor times . A o curi us circumstance , which may have a bearing o a s to o f upon the questi n the true date this glass, ( is that th e original inscription upon the scroll over — “ the head o f King David Orate pro bono statu i J cl er i ci vi r r i Robert onnes, qui hoc lumen t a fecit which, upon close inspection, can be made out, has “ been altered to Misericordias Domini in aeternum

can tab o . . J. R The explanation , probably, is that the same Robert Jones— perhaps he was the parson o f Llanrhaiadr— who set up the window in 1 5 3 3 and wh o caused the erased inscription to be written, in o f after years, most likely in the days Edward VI , o f out deference to the then prevailing notions, had the inscription altered to the form in which it is

- J. to day and added thereto his initials R. Such o f o n alteration inscriptions sepulchral monuments, wa s brasses especially, not at all uncommon in the i s troublous days of Edward VI , although it believed that this Llanrhaiadr example is a unique instance o f erasure of an inscription on glass and the writing i of another in ts place . When it was desired to change an inscription on glass, the piece of glass o f itself would, as a rule, be taken out its setting a n d another piece inserted. We have referred to the practice o f placing

figures o f donors in painted windows . The origin o f — this custom seems to have been two fold, first to 8 8 ANCIENT PAINTED GLASS [CH . IV indicate the personal devotion o f the giver of the r eco l window, and secondly by calling him to the lection of others, to claim a place in their prayers , ’ for his good estate, if alive, and for his soul s weal were he dead. The same idea, no doubt, prompted

- o the painting of coat arm ur in church windows, for we find , in early window heraldry, that the arms depicted were always those o f benefactors to the church or o f very high folk— the king o r a great

— - local lord whose arms, being well known , might 1 5 serve to indicate a date . As the th century went o n im , the tendency was to increase the size and o f f portance the figures o donors . This we may see by comparing the little do nors in the b ase o f a

Decorated window with, say, the large and very beautiful figures in the early 1 5 th century Rose w windo in the north transept of Le Mans cathedral . There are seven principal figures Of dono rs at Le o f Mans, all persons contemporary with the building of the north transept and most of them known to have contributed largely to its cost. They represent o f o f Louis II of Anjou, King Sicily and Count 1 4 1 Maine, who died in 7, his wife Yolande Of s o n Aragon , his mother Mary of Brittany, and his “ Of o r s o n Louis III Anjou , , possibly, his second , the ” Ren e good king ; Louis, the Bastard of Maine ; o f 1 3 8 5 Peter of Savoisy, Bishop Le Mans ( Fil a str e o f and Cardinal , Cathedral Dean Rheims

90 ~ ANCIENT PAINTED GLASS [OH .

( 1 41 1 a great lover of art an d letters and f a generous contributor to the cathedral o Le Mans. o f Besides these are figures unknown canons, donors, no doubt. i This w ndow at Le Mans, the stonework of which o f is a fine specimen Flamboyant architecture, is in — two main divisions a great rose above and long flam e lancets below , the two connected by elaborate o f o like tracery. In the eye the rose are symb ls o f — i the four Evangelists the winged man, the w nn o x lion, the winged and the eagle, in its upper part i s o f the coronation Our Lady in Heaven and, in the i s co m lower half, the Last Judgment, The rose l eted o f i p by the orders the celest al Hierarchy, angels waving censers o r playing on musical i n str u m n o l e ts and s forth . In the ancets are the

thirteen Apostles, each holding his proper symbol i and, except St Paul , with a scroll inscribed w th o f o o f a sentence the Creed. Their canopies, s me o f which have small figures saints round their tops, — l are three sided with pendants . Be ow the Apostles — é S S . IX are saints Louis , Ren and an unknown — bishop and the donors to whom we have r e

ferred. 1 2 4 co m This immense window, which contains ar tm en ts p , illustrates three principal characteristics o f — o f i the Perpendicular style reduction ntensity, o as c mpared with Decorated work, in the coloured IV] THE PERPENDICULAR STYLE 9 1

o f w parts, increased use white and yello glass and

o f . elaboration pattern work Indeed, it may be said to be a white and yellow window heightened with u colour ; for colo r is, in the main , confined to parts r of the drapery, the curtain backg ounds of the filli n s—i n o f figures, the nimbi and smaller g the tracery . A good idea o f the preponderance o f white and yellow glass in Perpendicular work may be go t from the panel Of Louis II of Anjou , which we illustrate.

All is white and yellow except the curtain, which is green with violet medallions, its top border and d side doublings being white and yellow, the swor scabbard , which is red, and the field upon which

fleu r S - - f the Angevin de lis are painted, which is, o course, blue . o f fo r These figures of donors are great interest, , apart from the fact that they are thought by some — — to be portraits a doubtful supposition they illus o f 1 5 trate the history France in the th century, — fin e contemporary costume and, by the heraldry , — o u bold designs Shield and surcoat, they shew the o f alliances of the great French houses those days . Observe that none of these figures are identified by their names : their coats -Of- arms were sufficient fo r 1 5 that purpose in the th century, for everybody

understood heraldry. We notice a novel use of the yellow stain in this 92 ANCIENT PAINTED GLASS [CPL

— - windo w for touching up the high lights of the face, o f such as the tip the nose, the chin and the eye co m bro ws . Finish is shewn principally in the p a r ati vely minute diaper wo rk in the head - dresses o f th e u t the female figures, in crowns , in the c r ain patterns, and in the words of the prayers inscribed in the open boo ks . It is to the Perpendicular period that we must look for the earliest existing examples o f painted

- b n ildin s glass in dwelling houses and other secular g , for, although there can be no doubt but that painted windows were to be found in domestic buildings long o bef re that time, and , probably, from the earliest period to which painting on glass can be referred, there are few o r no remains older than the latter 4 — part of the 1 th century to be seen to day . Evidence of domestic use of painted windows in the reign o f ’ Edward III may be found in Chaucer s writings . o f o f hi s In the Book the Duchesse, speaking own house, he says (line

S to se n m c b w ooth y , y ham re as Fu l wel dep eyn ted an d with glas

al wi n do wes w - l ased Were the el y g ,

Fu l c an d n at an - lere, hole y erased, to b eh o lde b i t w That as gret j oye . Fo r hooly al the storie Of Troye

i n n - h Was the glasi g y wr o g t thus .

We may, therefore, safely assume that picture

94 ANCIENT PAINTED GLASS [c 1 1 1 v

across the window . All the heraldry was properly coloured and the white and yellow backgrounds usually consisted Of alternate diagonal rows o f rectangular quarries decorated with some small — a device family badge, monogram of husband and — o r - o n wife, such like and white glass which was — painted the family motto . Our illustration the arms of Henry VI and his wife Margaret o f Anjou Ockh o l t s — in the hall at , Berk is a good example, 1 45 0 o f painted about , this kind of domestic painted glass. Towards the end o fthe reign of Henry VI shiel ds became very varied in shape, and they usually shew

- o f o f the lance rest, a piece cut out the dexter side t o the shield just below its p corner . The Old plain shield, the widened heater shape, was, however, always in use, and Often shields, when without l he met and crest, were encircled by wreaths, made o f i leaves, an entw ned branch , with foliage or a scroll turned round a stick . An illustration o f the system upon which quarry ornaments were designed is afforded by some quarries at Faulkbourne Hall, near Witham . They are decorated with a design made up o f two family — badges the Stafford knot and the black - laced belt — o f Fortescue and may be assumed to commemorate 1 5 2 0 Fo r the marriage, probably about , Of Henry o f tesene, then lord the manor of Faulkbourne, with Arms o f Henry VI an d Margaret Of Anj ou (Ock h o l t) 96 A NCIENT PA INTED GLASS [CH .

ffo t o o Elisabeth Sta rd . This Old house, , can shew u se Of an unusual painted glass, but one quite in the Of i spirit the Middle Ages, wh ch deemed nothing too lowly for decoration . The upper part o f a large window in the kitchen shews quarries upo n which are painted, in brown enamel heightened with yellow, o f cooking utensils and various articles food. One may wonder what became o f all the paint ed o glass, Of which there must have been an enorm us quantity, in the monastic houses after the Dissolu tion in Tudor days . In the first place, no doubt, the i n o Old windows were, most cases, taken down bef re the destructio n of the buildings and sold ; but h o w did the purchasers dispose Of them ? The price paid o ld ff l o w for the stu was usually absurdly , as we know fr om several entries i n the surveys of the religious houses made by the Officials of the Court m a ffi Of Augmentations . One instance y su ce : two i o o f o f Bel er s i w nd ws the abbey Kirkby , Le cester i 1 6 0 o f shire, conta ning square feet glass, which 1 5 would, probably, have cost to make, in the th

n o t £ 1 6 0 - century, less than (present day currency) , f £ 1 . £ 1 3 o r 6 3 . 8 d. o f was s old 6 3 8 d . (equal to our 1 2 0 i day), and feet of painted glass in the cho r A S i fetched £ 1 . there s very little old glass i n England to - day which can reaso nably be supposed so l to have come from the dis ved religious houses, we can only assume that the purchasers expo rted

98 ANCIENT PAINTED CLA S S [0 1 1 . which existed between the British Isles and the mainland all through the Middle Ages— the con o f t stant passing to and fro merchant, craf sman and n o t ecclesiastic, bringing, only the news Of the day, but French and German songs and music, archi tectu r al ideas, fashions in clothes and illuminated — n books stra ge it would be if notions, and even o n identical patterns, prevalent the continent in the matter of painted glass had n o t come over with the rest. Such a copying o f continental methods and n desig s had always been , but, as the Perpendicular i ts o f period neared end, considerable numbers

- foreign glass painters, mainly Flemish, came over to, and settled in , England . They were encouraged s o n by Henry VII and his Henry VIII , and there

- can be little doubt but that the glass painters called , “ ’ ” i n contemporary documents, the king s painters , o f l were, though not all them F emings, associated together under Flemish direction and that they used G o r i . Flemish , erman Dutch des gns in their work o f While upon the subject foreign designs, we may sa y a word or two with regard to that much discussed piece o f glass- painting— the east window ’ It at St Margaret s church , Westminster. represents th e Cr u ci xi o n o Ou r Lo r d fi f , with the two thieves on either side . Above are angels holding the i n s tr u m en ts - of the Passion , and, in the side lights, are IV] THE PERPENDICULAR STYLE 99

n o kneeling figures the identity of which is, by m means, clear, although they are com only said to o f be Henry VII and his Queen, Elizabeth York . Above the male kneeling figure is St George and over the saint is a red rose with a white one in pretence upon it, while above the lady we see St — Catherine and the arms o f Aragon a golden pome granate in a green field. The story usually told is that this window was intended as a present from the magistrates of Dort to Henry VII, and that pictures of that king and o f his queen were sent to Dort for the purpose o f securing accuracy in the kneeling figures ; that, before the window was finished, Henry VII died, and, when o r it arrived in England, it was given, sold, by

Henry VIII to the canons of Waltham Holy Cross, who placed it in their church . After the Disso l u ti o n o n , the story goes to say, the window was removed by the king to New Hall , near Boreham , t and that, af er divers vicissitudes, it was ultimately ’ purchased by the parishioners of St Margaret s ,

Westminster.

Clearly, as the window stands, the kneeling figures cannot h e meant for Henry VII and Eliza beth of York . The lady might be, and probably o f is, Catherine Aragon with her patroness St - f— Catherine and her paternal coat o arms . As to the th e male figure, most likely supposition seems to be 7— 2 1 00 A NCIENT PAINTED CLA S S [0 1 1

that it is intended for Henry VIII . Some have ’ hi s suggested Prince Arthur, brother, Catherine s

first husband, but it is hardly likely that Henry VIII would have s et u p the window i n his chapel — — at New Hall a favourite residence o f hi s had this o been s . Perhaps the true tale may be that the o wind w was, originally , intended to contain figures of Henry VII and Elizabeth , but that the plan was, t ’ af er that king s death , altered by the substitution o f for them Henry VIII and Catherine ; or, again, even a more likely story seem s to be that the wi ndow is n o t the o n e intended by the Dort folk fo r Henry

VII , but another window altogether, simply a gift to the canons at Waltham Abbey by Henry VIII, who ,

l . in his ear y days, was a constant visitor there The probability of this last suggestion i s increased by i the fact that the w ndow is distinctly late in style, i a s to i h ghly developed its l ght and Shade, and may 2 well have been painted about 1 5 5 . A noteworthy feature of Perpendicular work is the growth o f naturalism in landscape backgrounds f o picture panels . In early examples such scenes are mostly painted o n white glass heightened with th e sk - o r yellow, y being pot metal blue, red and d o n blue alternately and often iapered . Later , distances are more naturally drawn on light blue i glass and carefully shaded w th yellow, while the sk y, which is shaded to suggest clouds, is Often

1 02 ANCIENT PAINTED GLASS [CH

CHAPTER V

— REN AIS SANCE ( 1 5 47 1 6 03 )

ALTHOU G H we have taken the mi ddle o f the 1 6 th century as the date for commencement of the Renais n o t sance period , we must forget that, even from the beginning o f the second half o fthe 1 5 th century o n o n o t the continent, th ugh until later in England, the influence o f classical models can be traced in archi - i tecture and its auxiliary crafts . In glass pa nting we have prospective signs o f change in that tendency to naturalism which we noticed in Perpendi cular o f figure drawing, in the introduction classical details in the canopies o f the later part of the period ’ e. . g in the windows at King s College, Cambridge, in the more exact drawing and shading o f landscapes

. s o and in the lights and shades Of drapery But, — long as glass painters worked along the Old Gothic

— - lines using pot metal colours, yellow stain and brown enamel only— these tendenci es were not overpoweringly apparent, and it is a fact that the closing years of the Perpendicular period, the first v ] RENAISSANCE 1 93

o f 1 6 s a w s o half the th century, the perfection , far a s o f breadth, harmony and contrast colour and the o f o f o f play light and shade are concerned, the art

- . o n glass painting The painter glass had, as far as

s ee - to we can to day, attained his highest plane by 1 5 3 5 about the year , after which his work began to lose effectiveness through his fruitless attempt to carry contrasts o f light and shade beyond all o f reasonable limits by the use deeper, and ever o f deeper, masses brown enamel . The result was loss of transparency and an appearance of weight i . s to sa and opacity It , of course, impossible y how the art would have developed had the Old s vs tem — o f work been adhered to and had the glass painter — ff resisted the temptation to over do contrasting e ects .

What actually happened was that, just when the art was losing its essential features— simplicity and — a transparency new force came into play , which, by o f encouraging facility execution, helped the craft

down the road to ruin .

This was the discovery , or, at least, the coming — into general u se for it is very doubtful by whom o r — Of when the discovery was made enamel colours,

whereby the painter was , at a stroke , freed from the limitations imposed upon him by the old pot- metal o f system . Instead the laborious process Of cutting o his local c lours, as it were, out of sheets of pot

metal, he applied them , like ordinary paint, in a 1 0 CH 4 ANCIENT PAINTED GLASS [ .

i . flu d state, with a brush , on white glass The number of pieces of glass to form the window being inde o f o f pendent the number and size its coloured parts, the whole composition could be painted on a single

- sheet o f glass and much lead work thereby saved . i n All that can, with certainty, be said about the — ven ti o n o f enamel painting o n glass i s that it came into general u s e about the middle of the 1 6 th cen tury and succeeded, during the ensuing hundred and

t - fif y years, in largely superseding the pot metal process . A consequence o f the use o f enamel colours wa s — disregard for lead work as an adjunct to design . In pot—metal work the lead must follow the outline o f n o t Of every separate bit colour, but necessarily so in enamel work, for any number of different o n colours can be painted the same piece of glass . A s the enamel painter would naturally wish hi s picture to be as little broken up as possible, the tendency was to u s e large sheets o f glass varying ’ s o in shape with the painter s convenience, that, in

- a Renaissance glass painting, we usually find the lead lines running all over the composition with very o f little regard to the outlines the subj ects depicted, a and, in some cases, the window is made up of l rge o f squares of glass almost u niform size . In small i pictures, the whole painting would be on a s ngle sheet o f glass.

1 06 ANCIENT PAINTED GLASS [0 1 1 f r Ou r L o . a d study Three are figure subjects, y vi s i ti n S t E li z a b eth J o a b sl a i n A m a s a g , y g , and what looks like Lo t wa r n ed b y a n a n g el to l ea ve

Ou r Lady visiting S t Eh z a b eth hi s h o u se - o f— i n , and the remainder are coats arms, m cluding the shield of the E peror Charles V. RENAISSANCE

o n e i t 1 5 These medallions, of wh ch is da ed 77, are unequal in design and finish and that o f Ou r La dy

Joab slaying Amasa (Great Ilford)

J o a b a n d a n d S t E li z a b eth is much faded. The A m a s a is, however, a very beautiful piece of work, 1 08 ANCIENT PAINTED GLASS [0 11 the flesh shading is highly finished and the land — scape background a mediaeval city with water and — mountains is delicately pai nted and reminiscent of l o d i . the Flemish pa nters The heraldry, too, is good, G bold work in the erman style, and has a few touches Of . l red Specia interest attaches to these panels, because they shew us the sort Of picture glass with which the windows o f domestic buildings o f the i fo r Renaissance per od were glazed, and which that A a i s . s s style adapted far it is possible to discover, the Ilford medallions seem likely to have come either ’ o fr m Sir John Gresham s house in Lombard Street, — — London the Sign o f Th e Gr a ssh op p er o r from o l d G resham House in Bishopsgate, the London residence o f G l Sir Thomas resham, when it was dismant ed prior to demolition . Interesting examples of Renaissance domestic glass in brown and yellow are to be seen at the — Chateau Of Chantilly 44 panels with stories Of the o f loves Cupid and Psyche . The composition and drawing are almost perfect, but they are spoilt by

o f - the arrangement the lead work , which , instead o f defining the outlines, tends to confuse them . Co cx en These paintings are by a Fleming, y , and are dated 1 5 42 . o o t o Is it t much hope that architects may, in time, come to adopt this brown and yellow medal lio n style for the windows Of the many Renaissance

1 1 0 ANCIENT PAINTED GLASS [OH . the upper half o f the central lower light i s the Good o n Shepherd with the Holy Lamb and, either hand,

- in the side lights are Our Lady and St John . Below these are the Constable kneeling at a prayer desk,

St Anne his Patroness, standing by . Behind him are — h i s five sons kneeling figures in armour with sur o f o n e o f coats arms, them helmeted and the others o n having their helmets the ground . In the tracery h n lig ts are, in the centre, the Montmore cy arms — 1 6 blue eaglets o n a gold ground supported by angels, above the shield a typical Renaissance feature, ’ o n a cherub s head , and, either side, a mailed hand grasping a sword entwined with a scroll bearing the “ n o words s apia in Roman letters . l a s Interesting, as wel for workmanship for subject — the story o f the world from its creation to the — Sacrifice upo n the Cross i s a window in the Lady

o f . chapel at the church St Mary Magdalen, Troyes 2 5 In pictures the painter sets forth the tale, which I I begins n the lowest tier of panels First, n four panels, i s Go d the world, as a rotating ball, being fashioned by wh o the Father, , in cope and triple tiara, stands by i ts Si de . In each panel the globe is represented in a i more fin shed form , until, in the fourth , it appears complete . Then follow Adam and Eve in the garden , their fall and its consequences, the Old Testament ’ i stories, Abraham s sacr fice, the Israelites in the

t - u a n d desert, the lif ed p serpent the rest . The v ] RENAISSANCE 1 1 1

’ n vI S I t Annunciatio , Our Lady s to St Elizabeth, the Nativity and the visit o f the three kings continue h the story, w ich is finished , in the topmost tracery o n light, with Our Lord the cross between the two thieves, St Mary Magdalen embracing the cross and J o n our Lady and St ohn either side . Below them, in the tracery, are pictures of the betrayal o f Our Hi s Lord and entombment, and, in the smaller lights, angels and bishops . From the small, crumpled drapery folds o n e gathers that this window is Flemish i t 1 and s date is about the middle of the 6 th century . A remarkable feature is the stonework of its tracery

o f fleu r - - which runs into the form a large de lis, in the f central leaf o which is the Crucifixion . J ess e As to Renaissance windows, the general o f o f design this type window, necessarily remained m the sa e as in previous styles, the principal variations o f being in the treatment the vine, the branches and leaves Of which became more natural , and in the o f figures kings, which were often portraits, easily o f recognisable, contemporary princes, in some J ’ . ess e cases, no doubt, donors The in St Stephen s l church , Beauvais, is, perhaps, the best known examp e : o fthis practice there we see portraits, among others, o fthe Emperor Charles V ( 1 5 1 6 Francis I (died and his successor Henry II (died

Although, on the whole , so natural in treatment

as witness, in particular, the great lily in the tracery 1 1 2 ANCIENT PAINTED GLASS [OH .

o i fr m which Our Lady , holding the D vine Child, Springs— the huge blossoms from which the half length figures Of kings issue are conventional i n fo r J the extreme. Coloured backgrounds esses being then in fashion, that at Beauvais is blue . i s J ess e i At Sens cathedral a brilliant w ndow, with n o red background, which contains a feature t always — a o n o n e understood donkey of the branches . G rotesque as it may seem to the modern mind, the presence of this creature is quite in accord with i h a s Catholic tradition , wh ch always honoured the animal which carried the Founder o f Christianity in triumph into Jerusalem . In the cathedral at Caudebec is a J ess e in which the figures are full

n t o . le gth , a return the earlier type At Rouen, in the churches o f St Maclou and St Vincent are J es s e o n wi ndows with white branches blue grounds, and, ’ n t o f in St Vincent s is, also , an interesti g varian the i f J es se type ; the v ne springs from St Anne, mother o

o f . Our Lady, instead from Jesse Another curious use of the genealogical tree i s — f seen in the wi n e p r ess type o window . Instead of ’ Jesse at the foot o f the window i s Our Lord s Body

- bruised in the wine press, whence His Blood falls

o . o r int a chalice From His breast, , sometimes, from the chalice, springs the vine, which bears, not Our ’ o Lord s ancestors, but those b rn of His teaching i t — His spiritual descendants, as were the Apostles

1 1 1 1 4 A NCIENT PAINTED GLASS [0 .

r e r e by a kneeling figure of a donor . The subj ect p sented is quite subordinated to the donors . Our

Lady and the Apostles, though well drawn and grouped, take quite a second place, and, owing largely o f to the sharpness the perspective, they seem to be

disappearing into the background . This window is a good example o f Renaissance work and it makes u s realise how far we have travelled from the o u t Decorated peri o d. Leaving of consideration the ’ m i o oral aspect of the donor s quest n , we find no

borders, no foliated tracery, no bold single figures tr ell i ss ed o r under canopies, no quarried background

and no repose . Instead we have classical architecture — the waggon head vault resting o n pillars and o f o — entablature Roman c mposite style, the sharp i all perspect ve, the distance seen between the pillars, typical o f the Renaissance and all excellent in their — a n l i o r o r proper setting ease p cture tapestry, ,

perhaps, a wall of a classical building. As glass ’ L A m a u r i paintings, the Montfort y w ndows are

failures . l 1 6th As we have a ready noticed, the century s awa great increase in the use o f painted glass for

. a secular purposes In England, the splendid pal ces whi ch were then s e t up by the Tudor kings and by the new nobility (wh o rivall ed their sovereigns m a n ificen ce — o in extravagant g ) Whitehall, Hampt n

Court, New Hall, Audley End, Wanstead and V] RENAISSANCE 1 1 5

Somerset House, and the lesser dwellings which were erected up and down the country by knight and — o squire Shipton Hall and Benthall Hall, Shr pshire, l Lake House, Wilts . , and Barlborough Hal , Derby — w shire, among many others the indows Of all must, originally, have been glazed either with quarries and heraldry in the o ld manner or with brown and yellow picture panels like those at Ilford. For window painting o n a large scale in secular

buildings during this period we must, however, again

turn to the continent, especially France , where among

many other examples, we find at Troyes, in the o f 3 2 eight windows of the great hall the Library, G panels, painted by Linard onthier, depicting all that happened at Troyes when Henry IV Of France visited that city in 1 5 9 5 and the coat - a rmour o fmost

o fthose who there and then foregathered .

CHAPTER VI

THE SEVENTEENTH CENTU RY A N D AFTER

A S we might suppose, from the terms of Queen ’ Elizabeth s Ordinance requiring plain glass to be s u b stituted for coloured glass in churches and for the destruction o f all glass—paintings o f a superstitious 8 — 2 1 1 6 H ANCIENT PAINTED GLASS [O . VI

l o r character, ittle no picture glass for religious purposes was painted in England during her reign f or for some years after . The craft o the glass n o t painter did , however, wholly languish during that "period, for it is certain that the demand for heraldic glass progressively increased from mid 1 1 6 th century days to the end of the 7th century. n fo r fo r i t And o t only secular buildings, became the fashi on to substitute fo r the dev o tional subjects combined with heraldry, which had filled the windows o f - Of— u chantry chapels, the coats arms, sually ela b o r a tel d o f y quartere , the new families which had obtained possession o f the lands o f the dissolved religious houses, chantries and guilds . i i Many illustrations Of th s custom might be g ven . ] At Great Parndon, in the chance , is a mutilated i n shield, very well painted on white glass enamel o o f c lours, shewing the arms William Cecil, first Lord

Burghley, and his second wife Margaret, daughter o f o f G t o Sir Anthony Cooke, idea Hall, Romford, 1 5 4 whom he was married in 6 . The shield has been r el ea ded in modern times, with the result that the o f quarterings, which there are twelve, are in hopelessly wrong order, and fragments from other w indows have been mixed up with the heraldry . l 1 5 98 Lord Burghley did not die unti , and we may safely assign the date o f this glass to the closing years o f the 1 6 th century.

1 1 8 ANCIENT PAINTED GLASS [CH VI

o f A very pretty bit heraldry in enamel colours, also illustrative of the practice with regard to chantry chapels to which we have alluded, is the shield (there are three others relating to him) o f

Wo ll a e . Emanuel y at Latton church , near Harlow i s The arrangement of the design simple, the charges are well spaced and the diapering o f the white glass — the fla n ch es and the woolsacks— is refined and — f o n . O delicate The woolsacks course, a pun the — — name are o n a green field and the wolves another — w Wo ll a e t . pun , perhaps are blue on hi e This y shield and its fellows are now leaded into plain white glass quarries in the east window of what was, formerly , the chapel of the Holy Trinity and o n Our Lady the north side of the chancel , but is as now used the vestry, and there can be little doubt but that they occupy the place formerly held by a religious picture and the coat - o f- arms o f the founder of a chantry in Latton church . Uffin to n n g church , Li colnshire, can shew another case o f this sort in the arms of Trollope impaling Sheffield in t h e north window o f the north chancel

chapel . o f o f Towards the end the reign James I , however, a revival of glass -painti ng for church windows set in

in England and it cannot be said that it has ever, e n since that time, except in Commonwealth days, ti r el 1 8 y ceased in the land , although th , and the Arms of W o l l aye (Latton) 1 2 0 ANCIENT PAINTED GLASS [CH .

o f 1 9 - greater part th , century picture windows are very poor things judged from the standpoint of the use painted glass is intended to serve . Archbishops Lan d ff o f Abbot and , di ering as they did in ideas w theology and church government, both helped for ard

o f - this revival by patronage Flemish glass painters, l who again began to settle and work in Eng and . The best known o f them were Baptista Sutton and the two Van Linges, Bernard and Abraham, many o f an d specimens whose work , signed dated, may

- — be seen to day especially in Oxford Colleges . At l 1 6 1 3 — an Wadham Co lege chapel , built in interesting example of Jacobean Gothic— the windows are con temporary with the building, and the east window, h soft and ric in tone, is by the elder Van Linge, and is, often , said to be his finest known work . The u chapel windows at University College, set p in the th e reign of Charles I, are by younger Van Linge, wh o also painted the windows (except the two ’ westernmost o n either Side) of the chapel at Queen s o o h a . t s College One specimen of his work, , been left by modern restorers in a window at the west end of the north n ave - aisle o f the cathedral at Oxford a o f picture Jonah and the gourd . During the 1 7th century the fig u r e a n d ca n op y — design continued in use, the details often coloured o fthe canopies being either classical o r classicised Gothic of the style affected by Sir Christopher Wren

1 9 9 ANCIENT PAINTED CLAS S [0 1 1

G o f wh o 1 6 8 o f iles , York , , in 7, finished some the uncompleted work of the younger Van Linge at v a Uni ersity College ch pel, is believed to have been o f w one their pupils . The east windo of this chapel — — G ’ the Nativity is entirely iles work, and may be taken as an illustration o f the extent to which the

o f - technical part glass painting had, in his time, F . o r s o deteriorated , badly must the enamels have e been prepar d, that they have almost completely

- perished, leaving the pot metal colours and yellow stain intact . — A great defect want o f clearness in the lights is noticeable in enamel glass - painting all through

i . this per od and, indeed, down to modern times The — — main cause one easily got rid o f seems to be the custom o f laying a th in coat of white enamel paint

o f . over the back the window It is this practice, based apparently on the utterly erroneous idea that f o f n o t the proper O fice window glass is, to admit o n to light, but to form a screen which paint a ff o b s er v picture, which produces that peculiar e ect, — o f able in all enamel painted glass, suggestive the

idea that the window i s made o f porcelain . TO b e Flemish influence may, perhaps, due the existence o f other English glass - painters of this

century, although it may well be that there had been 11 0 break in the succession of the English o f - S O schools glass painting, far as heraldry and VI] SEVENTEENTH CENTURY AND AFTER 1 2 3

Similar decorative work were concerned, even during the Commonwealth . 1 Besides heraldry, there was a fashion in the 7th o f — century for portraits eminent persons kings, pious founders and s o forth— to be painted o n glass a within small circles or wreaths . At M gdalen and

Wadham Colleges, Oxford, are such little pictures h i s of Charles I and queen , and at Brasenose and ’ St John s are Similar pain tings Of their founders . t w At Harlow church , also , in the north transep windo , Of in which is much good heraldic glass, principally

Tudor date, are portraits of Charles I and his grand ’ u daughter, Q een Anne, the king s picture being curious in that it shews a celestial crown by the side o f his head . Such portraits as these are to be found , also, in private dwellings, a good example being a head with a o r th ill n her ldry at N , Bedfordshire which is sig ed “ 6 4 f. 1 6 . J . by the painter, Oliver On the continent the old devotional subjects

- continued to furnish material for the glass painter . A very favourite style was an extension o f the u s e o fbright colour to the small medallions to which we referred in the last chapter, combined with greater variety in their shapes and surroundings. Often they s et o f were oblong, in a frame classical architecture with figures Of saints at the sides and small sacred

pictures and arms of donors at the top and bottom .

Several of these would be set, one over the other, in 1 1 1 9 4 ANCIENT PAINTED GLASS [0 . VI

fillin s -i n a single light, with Renaissance borders and g of white and yellow glass . The borders were usually — a o f grotesque Renaissance in design mixture vases,

s o . scrolls, wreaths, fauns, satyrs and forth The little pictures themselves were painted in enamel colours o n r a single piece Of glass, but the architectu al coloured setting was usually pot- metal Shaded with brown . At Lambourne church , in the chancel, are 1 8 five such little pictures, brought in the th century o f from Baden, which convey an excellent idea this style, though they are without their white and yellow was borders and settings . Each picture the gift of o fli ce s et a separate donor, whose name, and arms are o f o f forth at the foot the panel . One them we illus — trate Th e a do r a ti o n of th e S h ep h er ds . The whole is painted in enamel except the entablature and the bases of the pillars, which are ruby . Notice the

- candle held by St Joseph , its halo like a palm leaf fan, the sheep o n the floor by the cradle and the quaint —fi u r e o f child g Our Lady standing by St Anne, for, o f by a curious combination of two stages the history , G i s r e r e which is common in erman art, the Virgin p m sented as still a little aid , while St Anne holds in her arms the Divine Child already born Of her. Observe, o f too , above St Anne the seated figure the donor b e— A b el ti n as one supposes it to Herr Melchior , in his robes o f C fli ce . Though delicate in workmanship ff al l and rich in colour, these panels O end against

H 1 2 6 ANCIENT PAINTED GLASS [O .

— to o rules of the art of glass painting. They are small , ff as when viewed from below, to be e ective helps to o f devotion and the colours the pictures, owing to

o f - t o o the absence dividing lead lines, run much together to give the effect of the o l d mosaic windows . l - o f th eir n e The glass painters the Renaissance, by g

o r ff Of - lect, ine ective use, lead binding for outlines i demonstrate ts value for that purpo se . Fo r domestic buildings in Renaissance style—for wi n dOws — hall and staircase , top lights in dwelling — - - s et i n rooms and such like enamel painted shields ,

- ff scroll work , are very e ective and appropriate, and there are plenty o f good specimens o f 1 7th century Ol d P ed work left to serve as models . At the y Bull a o Inn at Islington, long g destroyed, where, says te o n e tradition , Sir Wal r Raleigh at time lived , were 1 6 1 several th and 7th century heraldic glass panels, among them the arms o f Sir Francis Drake and ’ o f i those Rale gh himself. Above Raleigh s shield

- s e a - was a tobacco plant with lions, while below were o n e n parrots, a grey and a gree , all emblematical , f ’ — perhaps, o Raleigh s world wanderings and of his fo r fondness tobacco . There is a very elaborate piece Of heraldry Of the l 1 ear y part of the 7th century at Noke Hill church , near Romford — i t was brought from elsewhere i d wi shew ng the quartered Shiel , th helmet, crest G o f and mantling and the arter, Francis Manners, o f sixth Earl Rutland . VI] SEVENTEENTH CENTURY AND AFTER 1 2 7

n o t An interesting, though uncommon , instance o f the survival o f a feature of one styl e in work o f d ff a subsequent, and essentially i erent style, is to be found, in the north chancel window at Ilford

Hospital chapel, in a small quartered shield o f — Dennis s et within a boldly drawn wreath a contrast — to the rest Of the design suggestive o f the Per

en di cu l ar . p style In the wreath, however, is an fo r incongruity, , whereas its main feature is a purple C Chaplet, the lasps, white and yellow glass, are decorated with grotesque Renaissance patterns i n — stead o f the simple floral design such as a rose o r — o f marguerite Perpendicular days . In the o f tracery this window is a typical example, dated 1 6 3 1 1 th , of 7 century heraldic painting, clearly w — o f W English ork the arms ard, with three quar ’ ter i n s an d t wo g small side shields, and helmet, crest — s et and mantling, all amidst fruit and flowers in a light blue ground . Among the panels, already described, in the south chancel window Of this i s chapel a pretty piece of heraldic painting, prob Of 1 ably French , the 7th century . The field of the shield is cobalt blue and the leaves a n d fruit u — aro nd it are naturally coloured green, purple and : ff yellow a pastoral sta , without a mitre, behind the shield indicates that the arms are those Of an abbot 1 - By the end of the 7th century, glass painting 1 2 8 ANCIENT PAINTED GLASS [CH

had nearly reached its lowest p oint, and , after the o u t traditions of the Van Linge school had died , there is very little in its records worthy of notice until the revival o f the art about the middle o f the 1 9 r o r e th century . Of that revival and of the p g s s i vel y excellent work which has followed it, we do not propose, now, to speak, beyond observing that the success o f modern glass - painters in their craft seems to be in proportion to the study which they - 1 6 th have given to pre century glass, to the fidelity with which they have adhered to ancient methods and models and to the extent to which they have imbibed the spiri t which animated the workers o f

Gothic times . 1 8 Nevertheless, a few words upon th century

- glass painting may not be o u t of place . At the beginning of the century the Price family were

- as . known glass painters There were two brothers, ’

J J . William and oshua, and oshua s son William J oshua produced good work in the Van Linge style, the best known of his paintings being the east ’ window at St Andrew s, Holborn, which represents r th R u r r th e La s t S u pp e and e es ecti o n . With the — o f o u excellencies the richness c lour, the caref l o — Of drawing and comp sition the Van Linge school, o f this picture has the defects the same school, especially the heavy and overworked shading. It is, however, by a long way , the best piece of work

1 3 0 ANCIENT PAINTED GLASS [OH .

CHAPTER VII

HERALDRY I N G LASS

THAT branch o f glass- painting which longest i res sted deterioration was heraldic work . One reason fo r this was the reserve imposed upon the painter by the rules o f heraldry : he could not go beyond the four colo urs commonly used in the — u l es a z u r e ver t science g (red) , (blue) , (green) and u r u r e m o r o o r l p p (purple) , and the etals (g ld yel ow)

a r en t o r . and g (silver white) Black , - ten n e had, but as for the little used colours, s a n u i n e l and g (b ood red), I count them as varieties f o f yellow and red respectively . In the use o the was : allowed colours he bound, too, by rule colour o n o r must not be placed colour metal on metal, but o n r colour metal and vi ce ve s a. It is true that this o rule was not always Observed in c ntinental heraldry, o S O as i ts s me authorities going far to deny existence, o f and we have, in the arms of the Kings Jerusalem o o i (g ld cr sses in a silver field) , a notable nstance Of

n o n - o n such Observance, but, the whole, the rule has

always held in practice . v 1 1 ] HERALDRY IN GLASS 1 3 1

o f Then, again, by the very nature heraldic art the shewing of obj ects , mostly very simple in design, — wa s on a flat ground shading barred, and we know that o n e Of the most potent causes o f the ultimate ruin of heraldic painting in general was the attempt to represent, by elaborate shading, charges on a

Shield as they are in nature . Whether the origin o f heraldry was the need for a means of recognition of a fighting man when his

wa s - face concealed by a closed head piece, or whether it was derived from ancient Aryan customs or has some connection with fetish worship, it is certain that it began to take form, as an ordered system, h about the time when closed elmets came into use .

- Thus the head man , the lord around whose person o r the folk of a manor district would rally in fight, would be recognised by the charges on his shield and banner, and his sons, and often his brothers and other relations, would adopt a similar design

ff . with di erences So, by long familiar use, a general recognition of the whole family by a certain heraldic device would spring up . By some such process the means of recognition in war came to serve the same end in general social

life, and what more reasonable than the idea that, h i s o r when a man died, a sight of shield in window o n monument would remind men o f good will to s ay a prayer for his soul 2 1 3 9 ANCIENT PA INTED GLASS [0 1 1 1 1 1 1

Besides this memorial aspect of the science it o f o f ultimately came about, as the result disuse o f defensive armour, that the value heraldry, as a o n e means of distinguishing family from another, r a i s o n d etr e o became its only , and it developed int a complicated science the main object of which was the registration o f family alliances . Thus arose the practice of quartering, which, beginning with the inclusion of the arms of husband and wife, side by l side , in the same shield, grew at ast to the much 5 0 o r divided shield , with, perhaps, as many as more o f quarterings, Elizabethan times . There is but little heraldry in glass to be found in the Early English style . Some pattern windows i have sh elds, but they are more like ornamented o f divisions the window than separate designs, as o f witness the Shields Clare, England and France s em ée o li li es i i (ancient, j ) in the east w ndow at Sell ng o f wa s church, Kent. The heraldry the day Simple l l a shie d, seldom containing more than two co ours i o o r in the field, with a s ngle charge, such as a cr ss — a lion and its simplicity was reflected i n such coat armour as we find in Early English glass . The f — o i . . shields are large, the earlier heater shape e the sides curve inwards continuously from their tops l fo r and one coat on y is in each shield, quartering had not been invented .

As the Decorated period developed, shields got

1 3 4 I H ANCIENT PA NTED GLASS [O . smaller and narrower and changed slightly in shape o f the upper parts their sides became parallel, at

i t o . i r ght angles the top lines Such sh elds, still o r o without helmet ther accessories, we find in the o f upper parts lower lights, set in white ornamented u quarries . Often they are s rrounded by narrow o f o r circular borders, made up small roses rings o filli n s -i n and dots, with c loured g between the shi elds and borders . The charges are always few and simple and boldly drawn, and sometimes, as in the Hornchurch chantry window, they are painted w i in brown and yello only, w thout reference to their proper heraldic colours . Quartered shields, though never with more than four quarters, appear in this s o o a s period, but they are not comm n impaled i i i . e. I sh elds, shields div ded vertically nto two equal parts for husband and wife . i s s a — The usual arrangement , y, a three lighted

- o r window, with a picture panel, figure and canopy, ’ i n in the central light, the husband s arms alone the dexter light and those of the husband and wife i mpaled in the sinister . Shields were, in early

Decorated work, seldom diapered, but after a time diapering was sparingly applied to the ordinari es e s o — bends , ch vrons, chiefs and forth and, in the later years Of the style, we find the whole richly diapered . When shields occur in tracery they are often v 1 1 ] HERALDRY IN CLA S S 1 3 5

hung by the guige, or shield belt, from a branch o r l a rosette, and, in large tracery ights , they are s et w between leaves, ithin narrow borders, running l Westo n b i r t into the foils, like the Berkeley shie d at church . Impaled shields were, and are, used for ecclesiastical and other Official arms— the official arms in the dexter half o f the shield and the family coat in the sinister. Sometimes, however, connec tion with an office i s indicated by a charge from the official arms being placed outside the shield con taining the family arms, but within the composition , s a y, between the shield and a circular border running o f round it . An interesting example this practice is the quartered shield in a window at Arkesden ff church , near Sa ron Walden , of Thomas of Arundel Fi z al an o f o r t , successively Bishop Ely, Archbishop o f York and Archbishop of Canterbury. The arms o f Fi tz al an a li o n r a m a n t o ld i n a r ed eld , p g fi , are ch e k in the first and fourth quarters, and e y (like a

- o ld a n d b lu e fo r chess bo ard) g , Warrenne, are in the — o a sec nd and third quarters true quartered coat . The shield is s et between three crowns to indicate ’ — the bishop s occupancy o f the S ec of Ely the arms — o f which are th r ee cr o wn s i n a r ed field a circum stance which enables u s to fix the date Of this piece 1 3 4 o f glass between 7 , when Thomas became Bishop 1 3 8 8 was to of Ely, and , when he translated York . Ano ther quartered coat o f this period is at Little 1 3 6 ANCIENT PA INTED GLASS [CH VII

— Chesterford the first and fou rth quarters simply a blue and gold pattern representing a fur call ed by va i r u heralds , and in the second and third q arters — a fess b etween s i x cr o ss es p a to n ce a ll g o ld i n a r ed

eld fo r o f . fi , Beauchamp Hache — In the Decorated period, family badges such as f o f the bear and ragged sta f Warwick, the Percy crescent, the Hungerford sickle, the Dacre knot and s o — forth begin to appear in painted glass, Often

- o n . lozenge shaped quarries Also, we find rebuses , ’ Ram r e s punning allusions to surnames, like Abbot yg r a m i device at St Albans, a with a collar inscr bed ’ r e o r ki r k o n yg , Abbot Kirton s at Peterborough , a ’ tu n o r o r a barrel , Archbishop Islip s name in a

e i . quarry ornam nt, wh ch we illustrate

Speaking generally, and without reference to a few particular cases, arms were borne, prior to the

o f 1 5 - middle the th century, only by the land holding — classes the origin, in this instance, being military and by great ecclesiastics . Rich merchants, how

- ever, needed something analogous to coat armour, and s o it became a custom fo r them to make dis ti n cti ve devices for themselves by combining their W initials ith a cross and a triangle, and , often , with J G ’ other objects, after the style of Sir ohn resham s

to . mark , which we refer later These devices were ’ called merchants marks, and they are found, in fo r plenty, used all decorative purposes, carved in

1 3 8 ANCIENT PAINTED GLASS [OH . VII

o r o r o n 1 4 wood stone painted glass, from the th P century onwards . In the poem i er ce th e P l o u gh ’ m a n s Cr eed 1 3 94 — ( ) not by William Langland, — though often attributed to him menti on i s made of these marks in the des cription of a Domini can church :

Wide wyn do wes y-wr ou ght Y-wr ten fu l th ikk e y , Shyn en wi th shap en Sh elde s To sh ewen b t a ou e, With m er k e s o f m er ch au n tes Ym edel ed b etwen e Mo than twen ti e an d two ” Tw s n u m r d y e y o b b e .

Perpendicular heraldry was a gradual devel op m o f ent, mainly in increased richness detail, from

o f . that the Decorated period At first, there was ff l but little di erence between the styles, but gradua ly

diapering assumed more complicated patterns, and

charges were drawn in bolder outline, with more

attention to detail and, Often, in grotesque shapes . Quarterings increased in number and full achieve m ents became the fashion— helmets with mantling

and crests, coronets, supporters and mottoes were l added to the shield. The shie d itself, too, tended

t o variety in shape, until , towards the end Of the

style, it is found in almost every conceivable form, flo r i ated a circumstance which paved the way for the , Arms Of No r r ey s a n d Beaufort (Ockh o l t) 1 49 A A LA 1 1 NCIENT P INTED C S S [0 .

i - i c i l i and qu te non herald , sh e ds Of the Rena ssance and subsequent periods . The co mplete achi evement first appears i n glass i n 1 45 0 r England about , but ea lier abroad . Fine examples o f this type are the arms in the Hall Ockh o l t o t . windows at , already referred We illus two i No r r e s trate of these lights, shew ng the arms of y , — probably o f Sir Edward No r r eys and those o f — Beaufort most likely that Edmund Beaufort, Duke o f wh o was Somerset, beheaded at Tewkesbury in

1 4 1 . 7 The plain Shield, squarer in shape than the i n Decorated type, was still , however, used, lower lights surrounded by border and coloured filli n g s - i n o and, later, by flowered wreaths, in panels bel w " figure and canopy subjects, and in tracery lights r n suppo rted by angel s o hu g by the guige . Punning o as o f allusions, too, were c mmon , in the wreath peach leaves and fruit (each peach cha rged with the ’ letter e ) round the shi eld of Sir John Peché ( 1 5 2 2 )

i n h . Lullingstone churc , Kent Large tracery lights often had shi elds in their i i i o n centres, w th scrolls nscr bed with mottoes the i s quarries . An instance the shield of Cardinal Beaufort (died 1 447) in a quatre - foiled tracery compartment o f o n e of the refectory windows at f o . the Hospital St Cross, near Winchester The ’ shield is ensigned with a cardinal s hat, the cords o f and tassels which mingle with the quarries,

1 42 H ANCIENT PA INTED GLA SS [O . t he o f donors at Le Mans, and, less commonly, ’ Bo r women s dresses and ecclesiasti cal vestments . d to o as ers , , were, in the Decorated period , Often

’ Merchant s mark o f Si r John G resham (Great Ilford) i heraldic, made up of badges, charges from a sh eld, ostrich feathers, monograms and so forth, alternating VII] HERALDRY IN GLASS 1 43 w o f ith coloured glass, and the custom using brown enamel heightened with yellow stain alone, without other colour, was increasingly prevalent . With the 1 6 th century came Signs o f the Renais s au ce 1 5 40 o r , and, by thereabouts, Gothic had largely gi ven place to classical forms for shields and — accessories, and we get such monstrosities from — the heraldic point o f view as the panel at Ilford

o f J G . hospital shewing the arms Sir ohn resham, Kt

- o r (died and the oval shaped shield, car ’

o n . touche, which his merchant s mark is painted The quarries decorated with the Gresham badge — a grasshopper are fair specimens of the poor kind

o f thing which the ornamented quarry had become . The letters I and M in the mouths of the grasshoppers — stand fo r John and Mary Sir John Gresham and

Mary his wife . After 1 700 heraldic glass - painting rapidly de ter i o r a ted and soon became the wretched travesty — o n o f heraldic decoration enamel painted thin , clear glass— which we Often meet with in 1 8 th cen sa r e tury churches , and we can hardly y that the vi val — of glass painting in modern times has, as yet, restored heraldry in glass to anything approaching

its ancient standard .

1 46 ANCIENT PAINTED C LA S S [0 1 1 o f baronial splendour to the church i n which hi s i ancestors lay buried. The Sp rit in whi ch these o u t removals were carried may be judged of, if a ’ Gen tl em a n s M a a z i n e 1 8 2 1 writer in the g ( , Part II, 3 0 p . 7) is to be trusted, from the fact that, after the painted glass had been removed from the choir o f

Tattershall church, the window openings there were fo r o left unglazed fifty years, alth ugh the earl had f promised to replace the old stu f with plain glass . The 1 8 th century Earl o f Exeter di d n o worse than i h i s many have done before and s nce time, and it was certainly a fortunate accident that he s et up h i s spoi ls i n a parish church instead o f in a private

chapel . r W To come nearer to o u own times. hen William

i - at - i Flower, Norroy k ng arms, vis ted Rochford church, i n o f o r Essex, the days Edward VI Elizabeth, he i n i o noted, some of the church w nd ws , among other f o o . o anci ent heraldry, the arms B hun This B hun coat was o f peculiar interest a s being the only memori al left at Rochford o f the buil der o f the 1 4th century church whi ch preceded the present o i Perpendicular structure . The B hun who bu lt the i l o f Old church was either W lliam de Bohun, Ear i s o n o f No rthampton (d ed third Humphrey, o o r h i s s o n Earl of Heref rd and Essex, Humphrey, Lord Constabl e o fEngland (died It is certain — that the Bohun coat the mere monetary value o f VIII] LAST WORDS 1 47 which was very considerable— together with frag o f ments figures and canopies, scroll work and I i nscr ptions, were in the east window o f Rochford church when its restoration was taken in hand in 1 8 6 2 wa , and that, during that restoration, it s r e moved and has never been replaced . This is only o n e o f n many similar cases know to the writer, and, although it may be freely admitted that better ideas b a out, and a juster appreciation of, ancient painted glass are gaining ground over the country, yet there n — t are, unhappily, still ma y Of en people of influence — and authority who have n o t attained to correct views on the subj ect, and it cannot be said that the Old painted glass in our churches is, speaking S O generally, safe and secure from destruction o r n e removal as o would like it to be . The truth i s that there i s no effective authority to protect it. Legally speaking, the property in painted windows is in the churchwardens as r ep r e s en tati ves o f the parishioners ; but , if they are neither S O well instructed a s to be interested in them n o r to so scrupulous in duty as preserve them, no o n e — o r i s else can interfere , at least, at all likely — to do s o if the windows are destroyed or taken

away. Then it often happens that the only o l d painted glass left in the church i s in an aisle o r Side

chapel belonging to a private person, usually as o hi s o appurtenant t h use, and the churchwardens 1 0— 2 1 48 A OH NCIENT PAINTED GLASS [ .

l it o f cannot egally interfere with , even by way o f needful repair . The powers the churchwardens, s o a s o o l also, far they do extend, are subj ect to c ntr by the bishop, whose faculty is necessary to the e w removal of paint d glass from the church windo s, i s and it to be feared that a faculty, in some cases, rather facilitates the dest ruction or loss o f o ld glass Fo r o f than its preservation . , when the mass broken

- o o f lead and small, dirty, lichen c vered pieces glass, wh ich together make u p an o ld painted window perhaps an Early English medallion o fpriceless value — h a s l been taken, quite lega ly, under a faculty, from its setting and thrown o n the ground amidst a heap i o f u of broken stonework and br ck rubbish, what s e does i t seem to be ? And is the ordinary man very blameworthy if he takes small pains to preserve it if ff or he j umps at an O er, Often made in such cir m s tan ces cu , to exchange it for modern glass ? What is the remedy for this un satisfactory state of things ? Clearly the appointment o f local a u th o — r i ti es not the District Councils o r any existing body— whose sole duty should be the care and pre servation of all historical monuments older than 1 00 i i 7 , including painted glass, w thin their distr cts . The area Of j urisdicti o n o f such authoriti es might — very well be the Hundreds ancient county divisions, the convenience o fwhich for administrative purposes — i s not always recog nised a s it deserves to b e and

1 5 0 E OH ANCI NT PAINTED GLASS [ .

if properly done, would take up the whole time o f one man . The necessary funds for the work of the Hundred Councils might be provi ded partly by the County and Distri ct Councils and partly by Ex chequer grant and voluntary contribution . Whether there should be an appeal from the decisions o f the sa ffi Hundred Councils to, y, the O ce of Works, may be a matter for consideratio n . i A very necessary work, w thout which the coun l l ci s wou d be of little use, needs immediate attention — the scheduling o f the monuments to be placed o f i under their care. In the case pa nted glass, the ff i schedules ought, if they are to be e ect ve for o f i purposes reference and identificat on, to be sup l em en te d o f o f Ol d p by tracings every piece glass,

i n . however fragmentary, included the schedule

From the tracings, carefully finished and coloured i traced copies should be made, the cop es should be mounted and kept in portfolios at the Ofli ce o f each Hundred Council and the original tracings shoul d be deposited in the Record Office . So far as other s o f monuments (except brasse , which rubbings would be taken) are concerned, they Should be photo o li graphed, but ph tography is of ttle use for copying glass in detail . o f i The powers the councils should be w de, and they shoul d have unlimited discreti on to deal with schemes for bri ngi ng into usefulness broken o r VIII] LAST WORDS 1 5 1

r f agmentary glass . Too often such glass, from which i n s i tu fo r it is usually possible, if it be still , an expert to build up something very like the window o f f which it originally ormed a part, is taken from i ts setting, leaded up with other fragments into a — — confused mass a jumble window and inserted in

o u t- o f— - some the way place, perhaps , in a tower win o r w dow a side windo of the chancel . How much better would it be t o make a new window around — the Old pieces taking care to distinguish them, Say, o r — by gilding painting their leads than, by the

- j umble system, to destroy their usefulness for ever ? The Hundred Councils would go into all such

questions and evolve plans for dealing with them .

Some progress, fortunately, is being made to wards these good ends by the Historical Monuments

Commission, whose work comprises the scheduling 1 00 o f all monuments of antiquity older than 7 . Hertfordshire and Bucks the Commission has already

dealt with and the schedules Of their antiquities,

h . including painted glass, ave been published These

county schedules, as they appear, when supplemented h by such tracings and copies as we ave suggested, would fo rm the basis fo r the work of the Hundred

Councils . 1 5 2 ANCIENT PAINTED GLASS

AIDS TO FURTHER STUDY

SOM E who have l o oked through this little boo k may like to go further in the study o f o l d painted To o n . s a glass them I would y, the best books the subject are the nearest ancient cathedral and the o ld parish chu rches round about yo ur own neigh b o u h r o o d . , wherever it may be For it is a thing to n o t l be remembered, and one a ways recognized, that, despite neglect and destruction, ample materials for fir st - hand study o f o ld glass are still to be found Yo u through the length and breadth o f England . s e e i n o f may , the average country church, glass the same quality, design, and workmanship as in the cathedral ; the same craftsman did both . The ff i o f : di erence is in quantity and s ze window for, while the destroyer may have been at work in bo th

that a larger quantity o f Old glass will be o i n found _t have survived 1111 1 11 5 cathedral than . " ‘ ’ i ma Still sl i é w the par sh church, though the latter y

- -o f_ 1 8 th tu date to enough painted glass pre cen ry __ a satisfy the re sonable needs of the student .

1 5 4 ANCIENT PAINTED GLASS cathedrals and great churches Of northern and i s S ta i n ed Gl a ss To u r s i n Fr a n ce central France , i 1 0 — . . 9 8 a by C H Sherr ll (John Lane, ) book which indicates i n its author a fine enthusiasm for ancient ’ glass ; and a standard German book is Dr Ges ser t s Ges chi ch te der Gla sm a l er ei 1 8 3 9 i (Stuttgart, ; Engl sh i translat on, INDEX

63 ’ 40 1 1 1 Abbess Roding, Church , Beauvais , S t S tephen s , , 1 3 5 5 8 1 Abraham , Belt windows , , o f S 1 2 4 1 35 Adoration the hepherds , Berkeley , arms of, S t 2 1 P au er m Agnes , , Biblia p u , extracts from , ’ 1 01 Agony in the Garden , our Lord s , 1 9 O 1 2 Bigod , arms f, ’ Al l S B1 s co 2 5 ouls College , Oxford , 7 p , Benedict , S t 2 1 9 o f 6 Ambrose , , , 7 Black Prince , arms , 9 S t 1 3 9 Andrew, , Blue Dick (Richard Culmer) , , 2 8 1 4 2 1 8 2 90 2 3 Angels , , , , , , 2 1 o f 1 4 — Annas , High Priest , Bohun , arms , 6 7 S t 1 1 0 1 1 2 1 2 4 1 1 2 1 5 60 6 8 8 2 Anne , , , , Borders, , , , , , , o f 1 2 3 1 01 1 0 1 34 1 42 Anne , Queen , portrait , , 9 , , 8 0 44 77 1 5 3 Apollonia , St , Bourges Cathedral , , , 2 0 8 1 90 1 1 4 8 4 Apostles , , , , Bracket design , O 9 60 Aragon , arms f, 9 Bradwell Church , 70 1 35 1 2 3 Arkesden , Church , , Brasenose College , Oxford , 4 1 00 4 Arthur , Prince , , Bray , Sir Reginald , o f 93 Arundel , Thomas , Archbishop , Brereton Hall , o f 1 35 2 8 arms , British Isles , oldest glass in , ’ o u r 2 0 1 4 Ascension , Lord s , Bubwith , Bishop , arms of, O 1 1 6 Ascension window (Le Mans) , Burghley, Lord , arms f, 30 n 93 2 1 Asto Hall, Caiaphas , High Priest , n S t 2 1 9 O Augusti e of Hippo , , , 7 Cambridge Colleges , ld glass in , 4 5 , , 7 41 1 2 4 43 75 78—9 8 0 90 Baden , glass from , , Canopies , , , , , , 64 68 1 36 1 42 1 43 1 02 Badges, , , , , 5 9 2 3 2 7 Balliol College , Oxford , Canterbury Cathedral , , 69 1 36 41 44 Beauchamp , arms of, , , o f 1 40 9—1 4 Beaufort , arms , Cathedrals , English , 47 S t 1 3 99 Beauvais , Cathedral , Catherine , , , 1 5 6 INDEX

o f 1 00 38—41 8 0 8 1 8 7—90 91 Catherine Aragon , Donors , , , , , , h 1 1 2 8 1 1 1 1 2 1 1 2 4 Caudebec Cat edral , 9 , 09 , 3 , , n l f 1 08 c 2 Cha til y , Chateau o , Dorchester Chur h , 7 1 34 1 38 S t 2 1 Charges , heraldic , , Dorothy , , 1 06 2 3 Charles V, Emperor, (arms) , Dowsing , fanatic , 1 1 1 S i r n o f 1 2 6 (portrait) Drake , Fra cis , arms , I o f 1 2 3 5 Charles , portraits , Dunster Priory , C 4 4 O 1 45 Chartres athedral , 0, 4 , 47 Durham , Prior f , arms , Ch é n u 2 8 D 8 Church , yserth Church , 5 1 Chetwode Church , r t 1 3 6 3 Chichele , A chbishop , 7 Edmund , S , , 1 0 1 3 5 6 60 66 Chichester Cathedral , Edward , St , , , , i 93 III o f 69 Ch ldrey Manor House , Edward , arms , S t 44 IV o f 9 Christopher , , Edward , portrait , 2 z S t 1 06 Cirencester Church , Eli abeth , , O 1 2 1 32 z o f Y 9 Clare , arms f , , Eli abeth ork , 9 Of 6 z n o f Clarence , Duke , arms , 9 Eli abeth , Queen , ordina ce , 4 4 2 3 1 1 5 Clerestories , glass in , , 2 , Co cx n 1 ee 1 35 ye , glass painter , 08 Ely , S of, arms , S t 32 1 03 1 1 6 Cologne , Mary of the Capitol , Enamel painting , , , , 1 1 6 2 8 2 8 , 1 2 2 , 1 2 , 1 9 48 2 - 3 m O 1 2 1 4 2 1 69 Colours, (Early English) , 6 England , ar s f, , , , , 73—7 P er en 1 32 (Decorated) , ( p ’ di cu l ar 1 02 —4 o u r 1 9 ) , (Renaissance) Entombment , Lord s , 1 45 ’ 1 4 1 5 8 2 Comyn , arms of, Evangelists symbols , , , , t ’ 1 1 3 0 Conches , S Faith s , 9 n o f 1 9 Conve tual Churches , ancient , Eve , temptation , 4 5 6 1 3 , , 9 Exeter Cathedral , 1 2 Cornwall , Earl of, arms, Eymoutiers Church , 7 7 o f 4 1 1 0 Creation , pictures , , 8 1 6- 2 2 79 Cross , taking down from the , Fairford Church , , , , 1 8 2 8 6 1 01 1 5 3 9 , , , 1 94 Crowns , 7 Faulkbourne Hall , C fi 1 2 1 9 c 1 4 ruci xion , 9 , , Figure and canopy subje ts , , 43 45 5 5 5 8 - 8 1 2 , , , 9, 7 , 0 o f 1 36 P fi 8 8 Dacre , badge , ilastre , Cardinal , gure of , o f 2 2 Fi tz al an o f 70 1 35 David , Judgment , , arms , , n i o f 1 2 98 1 1 1 Den s , arms , 7 Flemish glass painting , , , 64—6 1 34 1 38 1 2 0 1 2 2 Diapering , , , , 2 1 1 1 Diocletian , Fox , Bishop , arms of, o f fi o f o f O Doctors the Church , gures , Fragmentary state ld glass , 4 2 1 1 1 4 2 2 —4 1 45 1 5 —1 , , 79 , , , , 0

1 5 8 INDEX

S t 1 2 4 7 1 2 3 Joseph , , Magdalen College , Oxford , , 2 1 4 Judas , Malvern , Great , Abbey , w 1 5 1 4 Jumble windo s , Malvern , Little , Priory , t 1 2 1 Margaret , S , 3 , o f 1 2 94 King , Bishop , arms , Margaret of Anj ou , ’ 4 7 o f 1 45 King s College , Cambridge, , , Marmion , arms , o f Mary Brittany, 8 8 C 66 7 1 S t 1 3 1 1 1 Kingsdown hurch , , Mary Magdalen , , , B el er s 96 2 0 Kirkby Abbey , Matthias , St , o f 1 36 35 Kirton , Abbot , rebus , Medallions , (Early English) , 2 1 05—8 1 2 3—6 n Knowle Church , , (Re aissance) 1 5—1 7 Mediaeval crafts , unity of, 2 1 30 36 5 8 63 66 ’ 68 1 36 1 43 Lady , our , , , , , , , Merchants marks , , , 1 8 0 8 4 1 1 0 1 1 1 4 7 , , , , , Merevale Abbey , 1 1 4 1 2 4 6 5 1 , Merton College, Oxford , , , 41 1 2 4 62 68 69 1 2 Lambourne Church , , , , , 9 4 7 1 0 1 3 1 3 2 2 Last Judgment , , , , , Michael , St , , 1 2 8 i 2 Last S upper , M tres, 7 C 1 1 8 64 1 42 Latton hurch , Monograms , , ’ S t 2 1 n L Am a u r 40 Laurence, , Mo tfort y Church , , 2 6 1 04 1 2 6 1 1 3 1 2 1 Lead binding, , , , 30 35 3 6 n 1 0 Le Mans Cathedral , , , , Mo tmorency Church , 9 41 48 8 8 90 97 1 5 3 n n , , , , , Mo tmorency , Constable An e 0 1 01 1 0 —1 0 Lettering , 7 , de , 9 ’ o u r e n Limbo , Lord s pr aching in , Monuments , ancient , protectio — 1 9 Ofi 1 47 5 1 C 7 1 3 1 9 Lincoln College hapel , Oxford , Moses , , S ee 1 45 Lincoln of , arms , I n n d N o f 6 1 2 9 Lincoln s Chapel , Lon on , ativity , painting , , 1 2 1 N 7 1 8 2 etteswell Church , , e 1 36 N 6 1 2 Littl Chesterford Church , ew College , Oxford , , 9 8 6 N 99 1 00 Llanrhaiadr Church , ew Hall , Boreham , , 2 3 N 1 2 Long Melford Church , oke Hill Church , 6 o f 1 9 No r r e s o f 1 40 Lord , our , events His life , , y , arms , 2 0 30 47 8 1 8 4 98 1 1 1 N 6 , , , , , , orth Ockendon Church , 9 S t 90 N c 63 Louis , , orth Weald Chur h , I I 8 8 91 N 1 2 3 Louis of Anjou , , orthill , 1 1 1 8 8 No S i r o f 1 40 Louis of Anj ou , y , William , arms , 8 8 Louis , Bastard of Maine , w 2 2 Ludlo Church , Obadiah , Prophet , 0 1 40 h 4 1 40 Lullingstone Church , Oc holt Hall , 9 , o f 5 1 2 3 Luttrell , arms , Oliver , J glass painter , INDEX 1 5 9

O 1 2 1 2 0 1 36 xford Cathedral , , Rebuses , 5 1 2 0 é o f 8 8 Oxford Colleges , , Ren Anjou , ’ o u r 2 0 1 2 8 Resurrection , Lord s , , o n 1 5 3—4 Painted glass , books , 44 Rheims Cathedral , o l d 1 2 Parish churches , glass in , , I II 9 Richard , o f 1 4 98 Passion , instruments , , S te C 8 1 Riom ( hapelle) , 48 Pattern glass , coloured , C 2 8 3 4 Rivenhall hurch , , 6, 7 S t 1 3 Paul , , C 1 0 Rochester athedral , é S i r 1 40 Pech , John , arms of, 1 46 Rochford Church , P eck i tt W , illiam , glass painter , 1 Rollright Church , 1 2 9 6 1 0 Rose windows , , 9 o f 1 36 Percy , badge , 1 1 2 Rouen , churches at , S t 1 3 2 0 Peter , , , 8 2 Round glass , S 8 8 Peter de avoisy, Bishop , 5 0 64 Roydon Church , , 1 45 Peterborough Abbey , arms of, 62 Ruby glass , 8 Peterhouse , Cambridge , o f 1 2 6 Rutland , Earl , arms , o f 1 9 Pilate , Judgment , P i n ai r i er g , Robert, glass painter , 1 1 45 S alisbury Cathedral , , 1 1 ’ 3 o u r 1 9 Scourging , Lord s , z o f 6 Point , arms , 9 0 S crolls , 7 1 2 3 Portraits in painted glass , 2 1 S ebastian , St , P - 3 1 63 o t metal , , , 76 S ecular buildings , painted glass o f o l d Preservation glass , sug 2 — 1 2 in , 9 6 , 6 fo r 1 4 —5 1 gestions , 7 1 32 S elling Church ,

Price family , glass painters , 1 1 2 S ens Cathedral , 2 — 1 8 9 S e l ak e o f 5 y , Abbot , device , r ta s i u s S t 35 P o , , 1 Sheba, Queen of, and Solomon , 9 o f 1 2 Provence , arms , 5 8 63 S heering Church , , , 66 , 67 , 1 40 Punning , heraldic , 1 7 2 7 , , 97 to Puritans , damage old glass by, ffi o f She eld family , arms , 1 1 8 2 3 8 , o f 1 32 —4 1 S hields , shape , , 38 , 1 40 1 43 n 1 3 , Quarries , orname ted , , 5 , , S 2 63 72 76 1 36 1 43 hrewsbury Church , , , , , S 7 7 1 32 1 34 mear shading, Quarterings , herald c , , i , C 1 45 1 35 1 3 6 1 38 Snape hurch , , , C 68 ’ 6 1 2 0 Snodland hurch , Queen s College , Oxford, , , S o f 2 2 1 2 9 olomon , Judgment , M mm s 41 South y , i r O 1 2 6 S t C 1 0 6 Raleigh , S Walter , arms f, Albans athedral , , 9 f 1 3 66 Ralph o Shrewsbury , Bishop , S tamford (All ’ e O 1 36 1 45 Ram r yg , Abbot , rebus f, Stamford (St Martin s) , 8 5 6 66 Ramsey Abbey , Stapleford Abbots , , 1 6 0 INDEX

S t 1 40 e Cross , Hospital of, Van Ling the younger , glass S t 3 1 48 1 2 0- 1 1 2 2 Denis , Abbey , Paris , , painter , , S te 2 7 42 44 3 3 Chapelle , Paris , , , Varnish painting on glass , S t da 1 1 3 do u b l e 76 Etienne Mont, Paris , Verre , S n 77 u Ol d tipple shadi g , Victoria and Albert M seum , S t ’ 1 2 3 2 7 42 John s College , Oxford , glass at , , S t LO 8 0 1 01 , Vulgate , extracts from , S 4 trasburg Cathedral , 4 S s ee 7 1 2 0 tyles , Contents Wadham College , Oxford, , , S o f 8 1 4 1 2 3 ubj ects , arrangement , , 2 2 55 4 , Waltham Holy Cross , Abbey , , S 1 41 —2 99 urcoats , heraldic , S n 1 2 utton , Baptista , glass pai ter, Ward, arms of, 7 1 2 0 W 1 arrenne , arms of, 69, 70, 35 1 36 Warwick , badge of, 1 45 1 46 W 1 3 Tattershall Church , , ells Cathedral , 3 1 64—6 73 76 77 W 4 Techniq ue , , , , , , estminster Abbey , 8 91 1 00 1 03 1 2 1 1 3 1 W S t ’ 7 , , , , , estminster , Margaret s 5 4 98—1 00 Tewkesbury , Abbey , Church , , Of 1 7 Wes to n b i r t 6 1 3 5 Thomas , St , Canterbury , , , Church , 9, 9 1 3 2 1 2 7 W 45 4 7 48 , , , estwell Church , , , , 41 42 5 0 64 Tours Cathedral , , , 2 5 6 0 8 1 1 34— W 8 4 Tracery lights , , , 7 , , 5 West ickham Church , fi ’ 1 9 W 61 8 Trans guration , our Lord s , Wheel indows , , 5 5 1 W 44 5 0 Trellis windows , hite windows , , 9 1 2 45 Trinity College , Cambridge , , 9 Wilton Church , 7 W C 1 0 2 3 Trinity College , Oxford , inchester athedral , , 61 8 5 Triptych style , Winchester College Chapel , 1 1 8 Trollope , arms of, Windows , painted , legal rights 1 1 1 4 — Troyes Cathedral , 3 in , 7 8 1 9 1 1 0 O 1 4 1 4 Troyes , Churches at , 0 , painted , loss f, 5 , 7 1 1 5 - i 1 1 2 —1 3 Troyes , Library , Wine press w ndows , Wo l l a e o f 1 1 8 y , arms , Uffi n to n 1 1 8 Wo r fiel d 6 g Church , Church , 6 U O 5 — Wu l sta n t 4 niversities , ld glass at , 9 , S , U 5 niversity College, Oxford , , 1 2 0 1 2 2 Y 48 5 2 —4 6 3 64 , ellow stain , , , , , U r 4 74 1 1 43 pper Hard es Church , 6 , 9 , Y o f 38 olande Aragon , Y 1 0 2 8 44 66 68 Van Linge the elder , glass painter , ork Cathedral , , , , , 1 2 0—1 Y ee 1 4 ork, S of, arms , 5

AMB I H RS I Y P R C R DG E P RI NTE D BY OH N LA Y M . A . A T T E N I E T ES S : J C , U V .