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PDF Peter L Martin THE EUROPEAN TRADE IN STAINED GLASS, WITH SPECIAL REFERENCE TO THE TRADE BETWEEN THE RHINELAND AND THE UNITED KINGDOM 1794–1835 PETER LAURENCE MARTIN STUDENT CODE 104029300/1 MPhil THE UNIVERSITY OF YORK HISTORY OF ART JUNE 2012 0 Abstract The study is set against a period of cultural and political change in Continental Europe and the United Kingdom at the beginning of the nineteenth century. As a result of the Concordat between Napoleon and Pope Pius VII signed on the 15 July 1801, the Pope agreed that he and his successors would take no action against the buyers of church property. In this way the secularising of church property, firstly in France and later in other countries, was legalised. The wholesale redistribution began during the Peace of Amiens in 1802, one of the “Goods” on offer being stained glass. The United Kingdom was the primary beneficiary of this redistribution with its emerging interest in historical objects, firstly antiquarian, then commercial and later intellectual. Because of the extent of the trade in stained glass in this period the study concentrates on the trade between the Rhineland and the United Kingdom, with the focus being between 1815-1835, when a new constellation of buyers, sellers and installers of Rhenish stained glass appeared. The function of the appendices is twofold: firstly to remove detailed but relevant data from the main text so as not to obscure the main argument and secondly to provide the reader with data not strictly within the parameters of the thesis. The analysis of the available and newly discovered data takes three approaches to acquisition and installation and is presented in three case studies. Firstly the activities of the Regency Contractor architects, highlighting Sir Jeffry Wyatville and William Wilkins who were responsible for the most significant Rhenish stained glass installations in this period. The second analyses Edward Spenser Curling (1771-1850) whose newly discovered diary (by the author) of his activities between 1827-36, sheds new light on the detailed mechanics of the stained glass trade of this period and the networks existing in Cologne and the United Kingdom. The discovery of this diary proves that Curling acquired all the Altenberg and St Apern stained glass panels presently in the United Kingdom. The third study analyses a number of facets that influenced the trade in the United Kingdom, particularly the activities of the stained glass painters Betton and Evans. 1 Table of Contents Abstract 1 Table of Contents 2 List of Illustrations 5 Acknowledgements 11 Declaration of Authorship 12 I. Stained Glass and the Gothic(k) Sensibility 13 Introduction: The Current State of Research into the Trade in Stained Glass Iconoclasts and the Remnants of Gothicism Antiquarianism, Consumerism and Value: Stained Glass in the Eighteenth and Early Nineteenth Centuries Stained Glass and its Role in Architectural Practice at The Beginning of the Nineteenth Century Illustrations 31 II. Origins of a Trade and the Development of a Taste for Stained Glass 41 Introduction The Status of Religious Houses at the Turn of the Eighteenth Century and the Conditions Prevailing in the Rhineland Secularisation in Cologne Early Collectors and Dealers in Cologne The Motives and Mechanics of the Trade in Stained Glass outside the Perimeter of the Continental Blockade: an English Perspective The Cultural Milieu and the Status of Stained Glass in the United Kingdom The Exhibition and Display of Stained Glass in London 2 between 1794 and 1815 Sales Outlets for Stained Glass: Norwich and London 1794–1815 Finding a Home: the First Permanent Installations Illustrations 90 III. The Redistribution, Importation and Installation of Collections of Rhenish Stained Glass in the United Kingdom after 1815 105 Introduction Economic and Cultural Factors Resulting in the Redistribution of Cologne Stained Glass Collections after 1815 The Trade in Stained Glass and Auctions in Cologne 1815–1835 The Auctions of Cologne Stained Glass Collections Case Study 1. A Reappraisal of the Installation of Rhenish Stained Glass in Ashridge Park Chapel (1815–1831) Case Study 2. The Trade of the Altenberg and St. Apern Stained Glass to Shrewsbury Case Study 3. Betton & Evans and Three Reverend Gentlemen: a Study in the Acquisition and Installation of Stained Glass Illustrations 172 Conclusion 201 Appendix I. A selected study of Relevant Installations of Continental Stained glass in the United Kingdom 1800-1845. 206 Illustrations 273 Appendix II. Four portraits: Johann Christoph Hampp, Christoph Friedrich Häussermann, William Stevenson and Seth William Stevenson 307 Illustrations 320 3 List of Abbreviations 323 Bibliography Primary Sources: Unpublished 324 Primary Sources: Published 326 Secondary Sources 327 4 List of Illustrations ‘All photographs taken by and copyright of the author unless stated otherwise’. Chapter I. I.1. Cloister Mariawald (Eifel) Interior view of the abbey church. I.2. Cloister Steinfeld (Eifel) Cloister with one stained glass panel. I.3. St Peter in the East, Oxford (Private collection of the author, (1825)). I.4. Mariawald stained glass at Ashridge, Herts (Todd, 1823). I.5. Joseph Hale Miller stained glass at Ashridge, Herts (1816). I.6. Angel. Stained glass painted by C. Geerling (1827-28) Victoria & Albert Museum, London. I.7. Angel. SS Peter & Paul Stained glass, (Cologne c.1510) Victoria & Albert Museum, London. I.8. SS Peter and Paul. Engraving by C. Geerling (Cologne 1827). I.9. Stained glass from Winchester College Chapel: Victoria & Albert Museum, London. I.10. Mariawald stained glass, East windows of Ashridge Park Chapel, Herts (Todd, 1823). Chapter II. II.1. Frontispiece of ‘Der Mönch’, by M.G. Lewis (German translation 1787). II.2. Ruin of the Abbey of Altenberg near Cologne, c.1815. II.3. Altenberg Abbey, after Sartor 1707 (Täube, 2007, Pl. 2). II.4. Stained glass from Altenberg, ‘St Bernard on a Preaching Tour’, Shrewsbury, Parish Church of St Mary (Shropshire). CVMA. n I.2b. II.5. Lichfield, Lichfield Cathedral. Herkenrode stained glass. (2011). II.6. Triple lancet window, with fourteen stained glass panels from Altenberg, Shrewsbury, Parish Church of St Mary (Shropshire). CVMA. nI. II.7. Brückenstrasse 25. Cologne (1920’s). II.8. Filzgraben 12. Cologne. (1920’s). 5 II.9. St Severin Cologne, after Wünsch, J.A. (1800-1833), (Schaden, 1995, Pl.1). II.10. Stained glass from the Mariawald Cloister; ‘Esau Trades His Birthright for a Bowl of Soup’. London (Kensington and Chelsea), Victoria & Albert Museum. II.11. Stained glass from the Altenberg Cloister; ‘Bernard Dictates a Letter Outdoors’. Shrewsbury, Parish Church of St Mary (Shropshire). CVMA. sVII.1b. II.12. Wigley’s Rooms, Spring Gardens, London (LMA). II.13. ‘Gothic’ (Osbert Lancaster, 1838). II.14. Plan 97 Pall Mall, London (Horwood 1792-1799, with interventions by the author). II.15. Egyptian Hall (1842). II.16. The house of J.C. Hampp, St. Giles Street, Norwich. II.17. ‘Visitation Window’ York Minster CVMA sIII. (GM, 1806, p.401). II.18. Rhenish stained glass; Hingham, Parish Church of St Andrew (Norfolk). Chapter III. III.1. Detail of the Diary of Edward Spencer Curling (1829). III.2. St Apern Cloister stained glass. Cologne Cathedral. III.3. Christian Geerling (1797-1848), (Kölnisches Stadtmuseum, G 7253a). III.4. Cover, Hirn Auction Catalogue (Cologne 1824). III.5. SS Peter & Paul, Stained glass with additions by C. Geerling. London (Kensington and Chelsea), Victoria & Albert Museum. III.6. Stained glass from Altenberg; ‘Bernard Heals a Woman Ailing for Eight Years in Metz’. Shrewsbury, Parish Church of St Mary (Shropshire). CVMA. nI.3c. III.7. Madonna and Child with the Haxthausen family. (Berlin, Preuss. Kulturbesitz, Kupferstichkabinett, E. 110). III.8. Detail Rhenish Stained glass; Hingham, Parish Church of St Andrew (Norfolk). CVMA. I.A1-A5. III.9. Rhenish Stained Glass; Hermitage Museum, St. Petersburg. III.10. Jeffry Wyatville perspective of Dalmeny, Edinburgh (c.1814). 6 III.11. William Wilkins elevations of Dalmeny, Edinburgh (1815-19). III.12. Jeffry Wyatville plan for Chapel Window, Ashridge Park. (1815, RIBA/LDAC Box No. SB13,122). III.13. Lensfield House, Cambridge. III.14. Watercolor. View of Ashridge Park Chapel. III.15. Joseph Hale Miller sketch for an Anti-Chapel Window, Ashridge Park (1813, RIBA/LDAC Box No. SA41,108). III.16. Analysis of the Mariawald Cloister stained glass at Ashridge Park Chapel. III.17. The South Front of Ashridge Park (Todd, 1824). III.18. Ashridge Park Chapel Interior (2011). III.19. Altenberg Abbey today. III.20. Stained glass from Altenberg, ‘Bernard on His Deathbed at Clairvaux’, Sacristy, Alternberg Abbey Church, Germany. III.21. Interior, St Severin Cologne. III.22. Section of the Crypt, St Severin Cologne. III.23. Stained Glass; West window of the south aisle, St Severin Cologne. III.24. Catalogue of Stained Glass at Canterbury Museum (Kent), (1899). III.25. Stained Glass Altenberg, ‘Bernard Receives a Visit From His Sister Humbeline’ (Lower panel), Shrewsbury, Parish Church of St Mary (Shropshire). CVMA. nI.5b (and 6b). III.26. The Sales List of the Altenberg and St Apern Stained Glass, The Diary of Edward Spencer Curling (1829). III.27. East windows of St George’s the Martyr church Ramsgate, (Kent). III.28. Stained glass from Altenberg, ‘Bernard Heals a Canon and Takes Him into the Order’, Shrewsbury, Parish Church of St Mary (Shropshire). CVMA. nI.2a. III.29. Crucifixion Stained Glass, Shrewsbury, Parish Church of St Mary (Shropshire). CVMA. s7.1c. III.30. Stained glass from Altenberg, ‘A Harp Player Comes to Heal Bernard’, Shrewsbury, Parish Church of St Mary (Shropshire). CVMA. s7.3a. III.31. Stained glass from St Apern, Cologne, ‘Bernard’s Vision During the Christmas Eve’, Shrewsbury, Parish Church of St Mary (Shropshire). CVMA. s7.2c. III.32. Crosby Hall, (1884). 7 III.33. St Mary’s Shrewsbury, perspective c.1810. III.34. The Triple Lancet Window St Mary’s Shrewsbury without stained glass (Buckler, J.
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