DOCSLIB.ORG

Temples of Glass: Developing a Relative Transmissivity Index for the In-Situ Analysis of Medieval Glazing

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Temples of glass: Developing a relative transmissivity index for the in-situ analysis of medieval glazing Christopher Simmons Outline • Simmons and Mysak (2009). The Transmissive Properties of Medieval and Renaissance Stained Glass in European Churches, in preparation • Motivation • Methods • Results • Limitations • Future Work Motivation: Why should we care about stained glass transmissivity? • Quantify the light transmission characteristics of different colours of glass • My Thesis’s hypothesis: the increased adoption of lighter colours and high transmissivity glass in 14th century France/HRE may have been partly driven by increasing cloud cover in NW Europe • Determine level of glass corrosion and refractive properties • Compare the properties of stained glass from different eras • Evaluate the modification of the original lighting aesthetic provided by the inclusion of modern glass panes Background: Northern Continental Glass • Full Colour and Mixed Programs (1100-1260) • The Grisaille Revolution (1260-1350) • Slower uptake in HRE, ~1350 LeLe Mans • Persistence of white glass and transparent enamels through the Renaissance (1600) CologneCologne Absolute Glazing Transmission • Objective: to develop • Huge errors a method of using associated luminance values as with a proxy for glazing unevenness transmission of window plane • Difficult to achieve outside of the lab setting • Objective: to develop a method of using luminance values as a proxy for glazing transmission Motivation: Why do we need a remote, in-situ approach? • Ease of access • No need to remove glass • No need to elevate oneself to the level of the window panes • No possibility of experimental damage to glass • Low cost, simple methods • Large quantities of data can be collected in a short period of time Methods: HDR Luminance mapping • New method for evaluating luminance without a luminance meter • SLR camera, controlled remotely, placed on tripod • White balance (daylight), ISO (100), and aperture size (4.0) fixed • Exposure time doubled from 1/4000 s to 30 s • Photosphere® software developed by G. Ward (freely available) is used to assemble High Dynamic Range (HDR) images and create luminance maps based on the camera’s response function (RGB values) Assumptions • Basic Assumption # 1: the gradient in exterior luminance is negligible over a small window area • In other words, for a small window area the exterior luminance is considered constant • Any change in the interior luminance value obtained in the small window area should be a function of differential transmission characteristics of the glass • A relative measurement Sky Standards: An introduction • Empirical formulae based on observational data collected during luminance scan experiments • Based on the ratios of the luminance value obtained at a given point in the sky hemisphere to luminance at zenith or at the position of the sun Standard Overcast Sky Lz = luminance at zenith Lγ = luminance at sky element • No dependence on solar position • Maximum luminance at zenith __Lz 1 + 2 cos(Z) = _________ • Luminance at the Lγ 3 1 horizon is /3 of that at zenith Standard Clear Sky Lz = luminance at zenith Lγ = luminance at sky element • Strong dependence on position of sun -_____0.32 L (1 – e sin ( γ ) )(0.91 + 10 e- 3 χ + 0.45 cos2 (χ)) • Low gradient in __z = ________________________ -3Z luminance for large Lγ 0.274 (0.91 + 10 e s + 0.45 cos2 (Z )) s χ, near horizon Assumptions • Basic Assumption # 2: the variation in exterior luminance distribution is negligible on the order of a few minutes – It takes about 3 minutes to collect a set of photos to make an HDR image – Need clear skies or slowly-varying exterior cloud cover (i.e., slow variation in zenith luminance) – Low-dynamic lighting conditions (e.g., no cloud passes over the sun) Assumptions • Basic Assumption # 3: When we divide the luminance of one piece of glass by the luminance of another piece of glass in the same small window area, the following factors divide out: • Interior reflections off the glass (vast interior = slowly-varying interior illumination) • Effect of exterior protective grills and/or protective glazings • The effects of lens vignetting on the luminance value • What’s left in the measurement: • Differences in transmission, corrosion, and refraction between individual pieces Assumptions • Basic Assumption #4: the transmissivity of red glazing changes little between the 12th and 16th Centuries • Red glass was produced throughout the period by flashing a thin piece of copper-stained glass onto white glass • In the 15th century, flashing became popular for other colours, increasing their transparency • Any increase in red flashed glazing should be due to an increase in the transmissivity of white glass Belle Verrière Nave Window 23, Rouen Cathedral • 13th century red : average 8.4 cd/m2 • 15th century red : average 8.2 cd/m2 Two Simple Methods • For a window with N selected medallions (small window areas) N = average ________colour, i (1) luminance i = 1 red, i N ________total, i (2) red, i i = 1 • Only windows in good preservation and with as little replacement glass as feasible were selected (CVMA) Results White to Blue to Red Red Chartres Cathedral (Nave Window 39) 2.0 12.3 Le Mans Cathedral (North Triforium 1.2 8.5 Windows) Évreux Cathedral (Windows 10, 12, 3.7 21.4 14) Results: French coloured glazing (13th C.) Total Medallion Luminance/Red Luminance Chartres Cathedral (Window 39) 2.1 Chartres Cathedral (Window 41) 2.6 Chartres Cathedral (Window 121 lancets) 2.2 Le Mans Cathedral (North Triforium 1.8 Windows) Bourges Cathedral (Window 200) 1.8 The Belle Verrière of Chartres Well- preserved 13th C. 13th Century Medallions Medallions Medallion/Red 2.3 selected Blue/Red 2 for analysis 12th Century Medallions Light Blue/Red 8.9 Coloured Glazing in the Holy Roman Empire Total Medallion Luminance to Red Luminance Cologne Cathedral (Window SVI, 4.2 coloured bands only) Skt. Kunibert, Cologne (Central Apse 3.7 Window) Strasbourg Cathedral (Clerestory Windows, CVMA best preserved 6.0 panels only) Skt. Kunibert The Grisaille Revolution (14th C.) Total Medallion Luminance to Red Luminance Évreux Cathedral (Window 10) 10.3 Évreux Cathedral (Window 207) 9.7 St-Ouen, Rouen (Window 231) 7.6 Renaissance Glazing: Window 53 Rouen Cathedral Renaissance Glazing Total Medallion Luminance/Red Luminance 6.6 Troyes Cathedral (Window 232) Troyes Cathedral (Window 231) 4.7 St-Nizier, Troyes (Window 100) 7.7 Toledo Cathedral (Four Clerestory and Triforium Windows) 3.5 Modern Restoration Glass: Cologne Modern Restoration Glass: Cologne Hatch marks = modern glass Beauvais Cathedral – Lady Chapel, early 13th century Conclusions • A new methods for evaluating relative transmissivity is provided using red glass as a standard for comparison • Light transmittance into the cathedral could be controlled by colour palette selection from an early era • Belle Verrière in Chartres: Romanesque light blue is much more translucent than early 13th century blues • Stained glass in the HRE, with its broader colour palette, was generally more transmissive than red-and-blue dominated French glass • Less necessity to convert to brighter stained glass during cloudier times • Stained glass from the post-Grisaille Revolution period is generally 5-10 times more transmissive than 13th century full colour windows • Modern replacement glass often does not significantly alter glazing transmission Method Limitations • Corrosion • Reasonably high degree of variance (large sample set required) • Red glass required • Laboratory work needed to create other standards • More authenticity criticism charts needed • Inherent bias (small, overly corroded pieces eliminated), selected according to CVMA records • Program that selects pixels based on RGB ratios to identify specific colours would help reduce bias, but then each image would require extensive work to eliminate anachronous panes from the analysis, which isn’t an exact science Future Work • Refine the ‘red glass’ standard, develop standards for other colours • Lab tests, determine a standard variance of red with respect to other colours for a large data set, then test individual windows to determine the place of the red in those windows within the larger standard variance. • Corrosion index: relative to identified, original, well-preserved panes of glass • Before and after HDR images to document the effects of historical Corrosion index: The Belle conservation/cleaning efforts on Verrière of Chartres window transmission • Expand the database and make publicly available Thank You.
Recommended publications
  • The Capital Sculpture of Wells Cathedral: Masons, Patrons and The

    The Capital Sculpture of Wells Cathedral: Masons, Patrons and The

    The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture MATTHEW M. REEVE For Eric Fernie This paper considers the sculpted capitals in Wells cathedral. Although integral to the early Gothic fabric, they have hitherto eluded close examination as either a component of the building or as an important cycle of ecclesiastical imagery in their own right. Consideration of the archaeological evidence suggests that the capitals were introduced mid-way through the building campaigns and were likely the products of the cathedral’s masons rather than part of an original scheme for the cathedral as a whole. Possible sources for the images are considered. The distribution of the capitals in lay and clerical spaces of the cathedral leads to discussion of how the imagery might have been meaningful to diCerent audiences on either side of the choir screen. introduction THE capital sculpture of Wells Cathedral has the dubious honour of being one of the most frequently published but least studied image cycles in English medieval art. The capitals of the nave, transepts, and north porch of the early Gothic church are ornamented with a rich array of figural sculptures ranging from hybrid human-animals, dragons, and Old Testament prophets, to representations of the trades that inhabit stiC-leaf foliage, which were originally highlighted with paint (Figs 1, 2).1 The capitals sit upon a highly sophisticated pier design formed by a central cruciform support with triple shafts at each termination and in the angles, which oCered the possibility for a range of continuous and individual sculpted designs in the capitals above (Fig.
  • Contents Inhalt

    Contents Inhalt

    34 Rome, Pantheon, c. 120 A.D. Contents 34 Rome, Temple of Minerva Medica, c. 300 A.D. 35 Rome, Calidarium, Thermae of Caracalla, 211-217 A.D. Inhalt 35 Trier (Germany), Porta Nigra, c. 300 A.D. 36 NTmes (France), Pont du Gard, c. 15 B.C. 37 Rome, Arch of Constantine, 315 A.D. (Plan and elevation 1:800, Elevation 1:200) 38-47 Early Christian Basilicas and Baptisteries Frühchristliche Basiliken und Baptisterien 8- 9 Introduction by Ogden Hannaford 40 Rome, Basilica of Constantine, 310-13 41 Rome, San Pietro (Old Cathedral), 324 42 Ravenna, Sant' Apollinare Nuovo, c. 430-526 10-19 Great Buildings of Egypt, Mesopotamia and Persia 42 Ravenna, Sant'Apollinare in Classe, 534-549 Grosse Bauten Ägyptens, Mesopotamiens und Persiens 43 Rome, Sant' Agnese Fuori Le Mura, 7th cent. 43 Rome, San Clemente, 1084-1108 12 Giza (Egypt), Site Plan (Scale 1:5000) 44 Rome, Santa Costanza, c. 350 13 Giza, Pyramid of Cheops, c. 2550 B.C. (1:800) 44 Rome, Baptistery of Constantine (Lateran), 430-440 14 Karnak (Egypt), Site Plan, 1550-942 B.C. (1:5000) 44 Nocera (Italy), Baptistery, 450 15 Abu-Simbel (Egypt), Great Temple of Ramesses II, c. 1250 B.C. 45 Ravenna, Orthodox Baptistery, c. 450 (1:800, 1:200) 15 Mycenae (Greece), Treasury of Atreus, c. 1350 B.C. 16 Medinet Habu (Egypt), Funerary Temple of Ramesses II, c. 1175 B.C. 17 Edfu (Egypt), Great Temple of Horus, 237-57 B.C. 46-53 Byzantine Central and Cross-domed Churches 18 Khorsabad (Iraq), Palace of Sargon, 721 B.C.
  • The Column Figures on the West Portal of Rochester Cathedral

    The Column Figures on the West Portal of Rochester Cathedral

    http://kentarchaeology.org.uk/research/archaeologia-cantiana/ Kent Archaeological Society is a registered charity number 223382 © 2017 Kent Archaeological Society A QUESTION OF IDENTITY? THE COLUMN FIGURES ON THE WEST PORTAL OF ROCHESTER CATHEDRAL S. BLISS In the summer of 1991, the Romanesque west front of Rochester Cathedral (Plate I) underwent thorough cleaning and conservation.' This event draws attention, once again, to the significance of the façade and its sculptural enrichment within the development of English Romanesque art. The west portal (Plate II) is an important monument of this period and occupies a place of special significance in understanding some of the links between the theological, cultural and artistic concerns of the day. It would appear that both the patrons and sculptors of the west portal were highly aware of contemporary Continental precedents and this is made clear by an examination of the column figures incorporated into the jambs (Plates III and IV). They instigated work, which in its theological and aesthetic programme, was unusually rare in England and, perhaps more importantly, saw fit to adapt their subject-matter to express a number of concerns both spiritual and temporal. The figures' identities have been the subject of some debate and, though contemporary scholarship identifies them as King Solomon and the Queen of Sheba, it is the intention of this short paper to review their formal uniqueness within the English Romanesque, the debates surrounding their attribution and to provide a possible reading of their meaning within the context of the Rochester portal. Before describing and discussing the figures in detail, it will be useful to consider their physical context within the design of the cathedral's west front.
  • Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation

    Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation

    Originalveröffentlichung in: Enenkel, Karl A. E. ; Ottenheym, Konrad A. (Hrsgg.): The quest for an appropriate past in literature, art and architecture, Leiden 2019, S. 511-585 (Intersections ; 60) chapter 19 Translating the Past: Local Romanesque Architecture in Germany and Its Fifteenth-Century Reinterpretation Stephan Hoppe The early history of northern Renaissance architecture has long been pre- sented as being the inexorable occurrence of an almost viral dissemination of Italian Renaissance forms and motifs.1 For the last two decades, however, the interconnected and parallel histories of enfolding Renaissance humanism have produced new analytical models of reciprocal exchange and of an ac- tively creative reception of knowledge, ideas, and texts yet to be adopted more widely by art historical research.2 In what follows, the focus will be on a particular part of the history of early German Renaissance architecture, i.e. on the new engagement with the historical – and by then long out-of-date – world of Romanesque architectural style and its possible connections to emerging Renaissance historiography 1 Cf. Hitchcock H.-R., German Renaissance Architecture (Princeton, NJ: 1981). 2 Burke P., The Renaissance (Atlantic Highlands, NJ: 1987); Black R., “Humanism”, in Allmand C. (ed.), The New Cambridge Medieval History, c. 1415–c. 1500, vol. 7 (Cambridge: 1998) 243–277; Helmrath J., “Diffusion des Humanismus. Zur Einführung”, in Helmrath J. – Muhlack U. – Walther G. (eds.), Diffusion des Humanismus. Studien zur nationalen Geschichtsschreibung europäischer Humanisten (Göttingen: 2002) 9–34; Muhlack U., Renaissance und Humanismus (Berlin – Boston: 2017); Roeck B., Der Morgen der Welt. Die Geschichte der Renaissance (Munich: 2017). For more on the field of modern research in early German humanism, see note 98 below.
  • Romanesque Architecture and Arts

    Romanesque Architecture and Arts

    INDEX 9 PREFACES 17 1ST CHAPTER 19 Romanesque architecture and arts 24 Romanesque style and territory: the Douro and Tâmega basins 31 Devotions 33 The manorial nobility of Tâmega and Douro 36 Romanesque legacies in Tâmega and Douro 36 Chronologies 40 Religious architecture 54 Funerary elements 56 Civil architecture 57 Territory and landscape in the Tâmega and Douro between the 19th and the 21st centuries 57 The administrative evolution of the territory 61 Contemporary interventions (19th-21st centuries) 69 2ND CHAPTER 71 Bridge of Fundo de Rua, Aboadela, Amarante 83 Memorial of Alpendorada, Alpendorada e Matos, Marco de Canaveses ROMANESQUE ARCHITECTURE AND ARTS omanesque architecture was developed between the late 10th century and the first two decades of the 11th century. During this period, there is a striking dynamism in the defi- Rnition of original plans, new building solutions and in the first architectural sculpture ex- periments, especially in the regions of Burgundy, Poitou, Auvergne (France) and Catalonia (Spain). However, it is between 1060 and 1080 that Romanesque architecture consolidates its main techni- cal and formal innovations. According to Barral i Altet, the plans of the Romanesque churches, despite their diversity, are well defined around 1100; simultaneously, sculpture invades the building, covering the capitals and decorating façades and cloisters. The Romanesque has been regarded as the first European style. While it is certain that Romanesque architecture and arts are a common phenomenon to the European kingdoms of that period, the truth is that one of its main stylistic characteristics is exactly its regional diversity. It is from this standpoint that we should understand Portuguese Romanesque architecture, which developed in Portugal from the late 11th century on- wards.
  • Notre-Dame of Paris and the Anticipation of Gothic 231

    Notre-Dame of Paris and the Anticipation of Gothic 231

    Notre-Dame of Paris and the Anticipationof Gothic StephenMurray In his Entretiens sur l'architectureEugene-Emmanuel Viollet-le- ment with the archaeological data underlying Viollet-le-Duc's Duc presented four schematic plans that, seen in sequence, understanding of Notre-Dame of Paris in the history of project a dynamic theory of medieval architecture (Fig. 1).1 architecture or from any systematic review of the enormously In the first plan two parallel lines of small circles run inside rich historiographical documentation, has dismissed such two continuous bands; one is invited to think of the slender teleological conceits, compromised, as they are, by the taint of columns and thin outer walls of a wooden-roofed Roman or modernism. We are told in the most recent monograph that Early Christian basilica. In the second (hypothetical) basilica Notre-Dame was, in fact, conceived and built entirely without the weight and thrust of masonry vaults has necessitated flying buttresses; that flyers are not even necessary for the thickened walls and supports. In the third, the vaults are structural integrity of such an edifice.7 Flying buttresses, it is supported by compound piers and thick exterior walls rein- alleged, were added only in the thirteenth and fourteenth forced with buttresses.2 In relation to these three paper centuries-principally as a means to evacuate the rainwater "edifices," expressing the first millennium of ecclesiastical from the high roof along the gutters set in their crests. The architecture, the fourth is seen to be radically different. It is as massive outer uprights of the cathedral, it is claimed, result if the exterior wall had been broken into segments and each from a later intervention.
  • Specifications for the Great Organ

    Specifications for the Great Organ

    Washington National Cathedral The Great Organ Four manuals — 189 ranks Ernest M. Skinner & Son Organ Company, 1938 Revisions and enlargements, 1963, 1970–1975 ]] GREAT SWELL PEDAL BRUSTWERK First bay north triforium First bay south triforium First through fourth bays south First bay north gallery 16’ Diapason 16’ Violoncelle (ext.) triforium 8’ Spitz Prinzipal 16’ Violon (ext.) 8’ Montre 32’ Subbass (ext.) 4’ Praestant 16’ Bourdon 8’ Violoncelle Céleste II 32’ Kontra Violon (ext.) 2-2/3’ Koppel Nasat 8’ Prinzipal 4’ Prestant 16’ Contre Basse 2’ Lieblich Prinzipal 8’ Spitz Prinzipal V Plein Jeu 16’ Principal IV–VI Mixtur 8’ Waldföte IV Cymbale 16’ Diapason (Gt) 8’ Rankett 8’ Holz Bordun 16’ Bombarde 16’ Bourdon 8’ Salicional 8’ Trompette 16’ Violon (Gt) POSITIV 8’ Violon 4’ Clairon 16’ Violoncelle (Sw) First bay south gallery 8’ Erzähler 16’ Gemshorn (Ch) 8’ Nason Gedackt 4’ Oktav Second bay north triforium 16’ Flûte Courte (Sw) 4’ Rohrflöte 4’ Spitzoktav 16’ Flûte Courte 10-2/3’ Quinte (from Gr. Kornett) 2’ Nachthorn 4’ Koppel Flöte 8’ Bourdon 8’ Octave 1-3/5’ Terz 2-2/3’ Quinte 8’ Flûte à Fuseau 8’ Diapason (Gt) 1-1/3’ Larigot 2’ Super Oktav 8’ Viole de Gambe 8’ Spitzflöte 1’ Sifflöte 2’ Blockflöte 8’ Viole Céleste 8’ Gedackt IV Zymbel II Sesquialtera 8’ Voix Céleste II 8’ Violoncelle Céleste II (Sw) 4’ Rankett (Brustwerk) IV Klein Mixtur 8’ Flute Celeste II 8’ Flûte Courte (Sw) Tremulant IV–V Mixtur 4’ Octave 5-1/3’ Quinte IV Scharf 4’ Flûte Travesière 4’ Choralbass GALLERY PEDAL VI–X Terzzymbel 2-2/3’ Nasard 4’ Cor de Nuit First bays
  • Lent | Holy Week | Easter #Lentpilgrim INTRODUCTION

    Lent | Holy Week | Easter #Lentpilgrim INTRODUCTION

    lent | holy week | easter #LentPilgrim INTRODUCTION his Lent, the Church of England is focusing on pilgrimage. In that spirit, we have created this virtual pilgrimage which T takes us on a journey from the Cathedral to the Cross, from Bristol to the bitter passion of Golgotha. It is not a straight path, as life is not straightforward, but twists and turns through the countries, and across the centuries. Accompanied by saints with links to places along the way, we will journey through Lent as we travel across Britain, France, Italy, and on into the Middle East. As we reach Rome, the pilgrimage retraces the journey of St Paul, in reverse, taking us from Rome, through Sicily, Malta, Rhodes, and beyond, until we arrive in Jerusalem, at the foot of the Cross. In addition to this devotional pilgrimage, from the back page of this booklet you will find details of services on Easter Day and in Holy Week, along with additional events and services such as the Lent Lunches, reading Mark right through, and Stations of the Cross. We pray that you will choose to travel with us for part or all of this journey. Booklet compiled and created by Tim Popple, 2019 FORTY DAYS AND FORTY NIGHTS Day 1 Jordan Bristol Day 2 Aldhelm Malmesbury Day 3 Osmund Salisbury Day 4 Swithun Winchester Day 5 Frideswide Oxford Day 6 Alban St Albans Day 7 John Donne London Day 8 William Rochester Day 9 Æthelberht Kent Day 10 Thomas Becket Canterbury Day 11 Richard of Chichester Dover Day 12 William de St-Calais Calais Day 13 Remigius Picardy Day 14 Joan of Arc Rouen Day 15 Thérèse
  • Burgundian Gothic Architecture

    Burgundian Gothic Architecture

    BURGUNDIAN GOTHIC ARCHITECTURE ROBERT BRANNER DEPARTMENT OF ART HISTORY AND ARCHAEOLOGY COLUMBIA UNIVERSITY, NEW YORK A. ZWEMMER LTD LONDON tjj V1 © 1960 A. ZWEMMER LTD, 76-80 CHARING CROSS ROAD, LONDON WC2 MADE AND PRINTED IN GREAT BRITAIN BLOCKS ETCHED BY W. F. SEDGWICK LTD, LONDON SEI TEXT AND ILL USTRATIONS PRINTED BY PERCY LUND, HUMPHRIES AND CO. LTD, BRADFORD BOUND BY KEY AND WHITING LTD, LONDON NI Contents List of Plates I. Auxerre Cathedral, the interior of the chevet 2a. Anzy Ie Due, the nave 2b. Paray Ie Monial, the nave 3a. Fontenay, the nave 3b. Pontigny, the nave 4a. Fontenay, the chapter house 4b. Vermenton, detail of the nave sa. Bar sur Aube, St Pierre, the exterior of the chevet sb. Bar sur Aube, St Maclou, detail of the nave 6a. Chablis, St Pierre, the nave 6b. Montreal, the crossing and apse 7a. Langres Cathedral, the interior 7b. Bar sur Aube, St Maclou, the nave Sa. Sens Cathedral, the interior of the chevet sb. Chablis, St Martin, the hemicycle 9a. Auxerre, St Eusebe, the nave 9b. Vezelay, the interior of the chevet 10. Pontigny, the interior of the chevet lIa. Canterbury, a detail of Trinity Chapel IIb. Geneva, former Cathedral, a detail of the choir 12a. Troyes, Madeleine, a detail of the choir I2b. Sens Cathedral, a detail of the north tower wall 13a. Auxerre Cathedral, the north aisle of the chevet 13b. Clamecy, St Martin, the ambulatory wall 14. Auxerre Cathedral, an exterior detail of the hemicycle clerestory IS. Auxerre Cathedral, a detail of the clerestory and triforium 16a.
  • CONTEXTS of the CADAVER TOMB IN. FIFTEENTH CENTURY ENGLAND a Volumes (T) Volume Ltext

    CONTEXTS of the CADAVER TOMB IN. FIFTEENTH CENTURY ENGLAND a Volumes (T) Volume Ltext

    CONTEXTS OF THE CADAVER TOMB IN. FIFTEENTH CENTURY ENGLAND a Volumes (T) Volume LText. PAMELA MARGARET KING D. Phil. UNIVERSITY OF YORK CENTRE FOR MEDIEVAL STUDIES October, 1987. TABLE QE CONTENTS Volume I Abstract 1 List of Abbreviations 2 Introduction 3 I The Cadaver Tomb in Fifteenth Century England: The Problem Stated. 7 II The Cadaver Tomb in Fifteenth Century England: The Surviving Evidence. 57 III The Cadaver Tomb in Fifteenth Century England: Theological and Literary Background. 152 IV The Cadaver Tomb in England to 1460: The Clergy and the Laity. 198 V The Cadaver Tomb in England 1460-1480: The Clergy and the Laity. 301 VI The Cadaver Tomb in England 1480-1500: The Clergy and the Laity. 372 VII The Cadaver Tomb in Late Medieval England: Problems of Interpretation. 427 Conclusion 484 Appendix 1: Cadaver Tombs Elsewhere in the British Isles. 488 Appendix 2: The Identity of the Cadaver Tomb in York Minster. 494 Bibliography: i. Primary Sources: Unpublished 499 ii. Primary Sources: Published 501 iii. Secondary Sources. 506 Volume II Illustrations. TABU QE ILLUSTRATIONS Plates 2, 3, 6 and 23d are the reproduced by permission of the National Monuments Record; Plates 28a and b and Plate 50, by permission of the British Library; Plates 51, 52, 53, a and b, by permission of Trinity College, Cambridge. Plate 54 is taken from a copy of an engraving in the possession of the office of the Clerk of Works at Salisbury Cathedral. I am grateful to Kate Harris for Plates 19 and 45, to Peter Fairweather for Plate 36a, to Judith Prendergast for Plate 46, to David O'Connor for Plate 49, and to the late John Denmead for Plate 37b.
  • The Stained Glass of John Hardman and Company Under the Leadership of John Hardman Powell from 1867 to 1895

    The Stained Glass of John Hardman and Company Under the Leadership of John Hardman Powell from 1867 to 1895

    The Stained Glass of John Hardman and Company under the leadership of John Hardman Powell from 1867 to 1895 Mathé Shepheard Volume I Text Based on a thesis presented at Birmingham City University in January 2007 Copyright © 2010 Mathé Shepheard This text is Volume I of The Stained Glass of John Hardman and Company under the leadership of John Hardman Powell from 1867 to 1895 by Mathé Shepheard. The accompanying two volumes of Plates can be downloaded from the same site. CONTENTS Page Acknowledgements 11 Preface 12 Note on viewing 14 Chapter One The Historical and Religious Background 15 Chapter Two The Crucifixion 32 Chapter Three Typology 49 Chapter Four Events in the life of the Lord 58 Chapter Five Saints 72 Chapter Six The Virgin Mary 92 Chapter Seven Conclusion 103 Appendix One Saints 112 Appendix Two Note on Kempe 115 Appendix Three Further considerations on viewing 117 Tables: Table 1. Analysis of 106 Crucifixion windows by content and decade 120 Table 2. Lady Patrons’ windows 1865-76 121 Table 3. Production of Windows in selected years with cost ranges 122 Table 4. Number of Schemes by Architect 1865 to 1890 123 Archive Abbreviations 124 Bibliography 124 Previous Publication 132 3 List of Plates Volume II – Plates 1 to 54 Plates 1 to 26–Illustrations for Chapter 2, The Crucifixion. Plate Number 1. East Window, St. Bartholomew and All Saints, Wootton Bassett, 1870. 2. East Window, Lady Chapel, Hereford Cathedral, 1874. 3. East Window, The Immaculate Conception and St. Dominic, Stone, 1866. 4. East Window, St. John the Baptist, Halesowen, Window and Sketch, 1875.
  • CAVE 9: TRIFORIUM PAINTINGS; AISLE WALL PAINTINGS at The

    CAVE 9: TRIFORIUM PAINTINGS; AISLE WALL PAINTINGS at The

    CHAPTER TWENTY CAVE 9: TRIFORIUM PAINTINGS; AISLE WALL PAINTINGS At the triforium level, the story is quite different, for it was filled up, in the Period of Disruption, with fine but conventional intru- sions. Here too, as was common in many Hinayana caitya halls, there were wooden attachments—a series of parallel vertical mem- bers aligned with the pillars and the mid-point of the spaces between. Apparently “locked” at the top on the ridge under the vault, there must have been long crossbeams stretching across the nave to hold their lower ends in place, since no socket-holes were cut. All too tentatively attached, it appears that these had all fallen or (being quite accessible) had been taken for village use sometime before the Vakataka phase. If any remained at all, they would have been removed before the refurbishment of the whole cave was started, even if it was not to be fully realized, late in Harisena’s reign. In any case, it is clear that all of the wooden fittings were gone by the Period of Disruption, when the whole surface of the previ- ously mud plastered triforium could now be replastered in prepara- tion for the intrusions in that area. Perhaps the scaffolding, put up for the discontinued program of redecoration just a few months before, was still in place. This replastering was apparently accomplished in separate sections for different donors, who then filled the areas which they had appropriated with intrusions. Although the plastering was apparently done, quite typically, section by section, with a few different mixes, this surfacing bears no connection with the earlier positioning of the wooden fittings, its continuity confirming that the old fittings were no longer in place at this time.