THE STAINED GLASS OF DERBYSHIRE AND NOTTINGHAMSHIRE 1400-1550

THE STAINED GLASS OF DERBYSHIRE AND NOTTINGHAMSHIRE 1400-1550 TWO VOLUMES VOLUME I ALLAN BENJAMIN BARTON PhD UNIVERSITY OF YORK HISTORY OF ART MARCH 2004 Acknowledgements Over the course of the past four and half years I have accumulated numerous debts of gratitude. Firstly thanks must go to those who have provided academic support. Professor Richard Marks, who has supervised this thesis with patience, Dr Sarah Rees-Jones who co-supervised the work for the first year and Dr Christopher Norton who sat on the thesis advisory panel. Thanks are also due to those who have provided funds toward the cost of fieldwork and photography: The Francis Coales Charitable Foundation, the Elizabeth Salter Fund of the University of York, the Richard III and Yorkist History Trust, the Worshipful Company of Glaziers and Painters of Glass and the British Committee of the International Corpus Vitrearum Medii Aevi. Without their valuable financial support this thesis would not have been completed. The fieldwork has been aided considerably by the generous co-operation of the clergy and churchwardens of parish churches and the owners or custodians of private houses, who have freely given of their time and imparted their vast knowledge of the buildings and glass in their care. Colleagues and friends in the world of stained glass, or in, about, or orbiting York, have provided much help with specific aspects of the work or provided and immense moral support over the years: Dr Tim Ayers, Sarah Brown, Hannah Collingridge, Dr Lisa Colton, Alice Cowen, Professor Claire Cross, Jonathan Galloway, Dr Joseph Gribbin, Anne Haggerstone, Louise Hampson, John Hawes, Katie Hawks, Dr Penny Hebgin-Barnes, Nigel Holdsworth, Dr Esther Ketskemety, Philip Lankester, Dr Jennifer MacDonald, Dr Maria Osowiecki, Ann Rycraft, Anna Sander, Norna Scott, Janice Smith, Brian Sprakes, Dr Sharon Wells and all the congregation of All Saints, North Street. Amanda Daw and my father-in-law John Owen have proved very patient and precise proof-readers. The former has provided companionship during fieldwork and some of the better illustrations and has injected much humour into the whole enterprise. My Uncle, Steve Sayers very generously provided help with production of the illustrations. Three people in particular have provided support far beyond the call of duty. The first two are my parents, Allan and Marilyn, who spent two summers driving me around the region when they had far better things to do and have provided constant moral and financial support along the way. They are truly wonderful people and it is quite certain this work would not have reached completion without them. The third person is my wife and best-friend Claire. This exceptional woman has provided tremendous love and support over the last few years and has shared my numerous moments of frustration, despair, depression and irritation. The work would have been abandoned long ago without her love, resolve and infinite patience. She is my world and my inspiration. TABLE OF CONTENTS Page Volume I Abstract 1 List of Abbreviations 2-6 List of Illustrations 7-24 Introduction 25-27 I Issues of Interpretation 28-39 II The Patronage of the Glazing 40-53 III The Iconography of the Glazing 54-74 IV Stylistic and Technical Issues 75-88 Conclusion 89 A note on the citation of heraldry and inscriptions within primary sources 90 Catalogue 91-592 Annesley, Nottinghamshire 91-95 Ashbourne Church, Derbyshire 96-105 Ashbourne Talbot Inn, Derbyshire 106 Ashover, Derbyshire 107-111 Attenborough, Nottinghamshire 112-115 Ault Hucknall, Derbyshire 116-123 Averham, Nottinghamshire 124-130 Bakewell, Derbyshire 131-132 Balderton, Nottinghamshire 133-139 Barlow, Derbyshire 140 Barton Blount, Derbyshire 141 Barton-in-Fabis, Nottinghamshire 142-144 Baslow, Derbyshire 1445-146 Beauvale Priory, Nottinghamshire 147 Beeston, Nottinghamshire 148 Beighton, Derbyshire 149-151 Brampton, Derbyshire 152-153 Breadsall, Derbyshire 154 Bunny, Nottinghamshire 155-156 Car Colston, Nottinghamshire 157-158 Carlton-in-Lindrick, Nottinghamshire 159-162 Chellaston, Derbyshire 163 Chesterfield, Derbyshire 164-165 Chilwell, Nottinghamshire 166-167 Clifton, Nottinghamshire 168-170 Cossall, Nottinghamshire 171-172 Cotham, Nottinghamshire 173 Cromwell, Nottinghamshire 174 Croxall Church, Derbyshire 175-179 Croxall Hall, Derbyshire 180-184 Dale Abbey Parish Church, Derbyshire 185-187 Dale Abbey Precinct, Derbyshire 188-189 Denby, Derbyshire 190-191 Dethick, Derbyshire 192-193 Doveridge, Derbyshire 194-199 East Bridgford, Nottinghamshire 200-201 East Drayton, Nottinghamshire 203 East Markham, Nottinghamshire 204-210 East Retford, Nottinghamshire 211-215 East Stoke, Nottinghamshire 216-217 Eckington, Derbyshire 218-222 Egginton, Derbyshire 223-225 Egmanton, Nottinghamshire 226-228 Elston Chapel, Nottinghamshire 229-230 Elvaston, Derbyshire 231 Etwall, Derbyshire 232-234 Eyam, Derbyshire 235 Fenny Bentley, Derbyshire 236 Finningley, Nottinghamshire 237-238 Flawford, Nottinghamshire 239 Greasley, Nottinghamshire 240 Haddon Hall, Derbyshire 241-259 Hathersage, Derbyshire 260-261 Heath, Derbyshire 262-263 Hickling, Nottinghamshire 264-266 Hodsock Priory, Nottinghamshire 267-268 Holme-by-Newark Church, Nottinghamshire 269-286 Holme-by-Newark Manor, Nottinghamshire 287 Hope, Derbyshire 288-290 Horsley, Derbyshire 291 Ilkeston, Derbyshire 292-293 Kedleston Church, Derbyshire 294-296 Kedleston Hall, Derbyshire 297-298 Kelham, Nottinghamshire 299-301 Killamarsh, Derbyshire 302-304 Kirk Hallam, Derbyshire 305 Kirkby-in-Ashfield, Nottinghamshire 306 Kirklington, Nottinghamshire 307 Kirton, Nottinghamshire 308-310 Kniveton, Derbyshire 311-312 Lambley, Nottinghamshire 313-315 Laxton, Nottinghamshire 316-317 Longford, Derbyshire 318-322 Low Marnham, Nottinghamshire 323-324 Mackworth, Derbyshire 325-328 Mapleton, Derbyshire 329-330 Matlock, Derbyshire 331 Mattersey, Nottinghamshire 332-333 Measham, Derbyshire 334-338 Misterton, Nottinghamshire 339-340 Monyash, Derbyshire 341 Morley, Derbyshire 342-374 Morley Manor, Derbyshire 375-377 Mugginton, Derbyshire 378-382 Newark-on-Trent, Nottinghamshire 383-404 Volume II Newstead Priory, Nottinghamshire 405-408 Norbury, Derbyshire 409-430 Norbury Manor, Derbyshire 431-444 North Muskham, Derbyshire 445-452 Nottingham, St Mary 4513-458 Nottingham, St Peter 459 Nuthall, Nottinghamshire 460-467 Ockbrook, Derbyshire 468-469 Papplewick, Nottinghamshire 470-473 Plumtree, Nottinghamshire 474-475 Radbourne, Derbyshire 476 Ratcliffe-on-Soar, Nottinghamshire 477-478 Saundby, Nottinghamshire 479-480 Sawley , Derbyshire 481-483 Screveton, Nottinghamshire 484-487 Selston , Nottinghamshire 488-490 Shirland, Derbyshire 491-492 Smisby, Derbyshire 493-495 South Muskham, Nottinghamshire 496-498 South Normanton, Derbyshire 499-500 South Wingfield, , Derbyshire 501-502 Southwell, Nottinghamshire 503-515 Stanford-on-Soar, Nottinghamshire 5156-517 Stapleford, Nottinghamshire 518-519 Staveley, Derbyshire 520-526 Strelley, Nottinghamshire 527-531 Sutton Bonington, St Anne, Nottinghamshire 532 Sutton Bonington, St Michael , Nottinghamshire 533 Sutton-on-the-Hill, Derbyshire 534 Sutton-on-Trent, Nottinghamshire 535-540 Sutton Scarsdale, Derbyshire 541-549 Swarkeston, Derbyshire 550 Thorpe , Derbyshire 551 Ticknall, Derbyshire 552 Tuxford, Nottinghamshire 553-561 Walkeringham, Nottinghamshire 562 Warsop, Nottinghamshire 563-567 West Hallam, Derbyshire 568-571. Weston, Nottinghamshire 572-574 Weston-on-Trent Church, Derbyshire 575-576 Weston-on-Trent Rectory, Derbyshire 577-578 Whatton, Nottinghamshire 579-580 Whittington, Derbyshire 581-584 Willesley, Derbyshire 585-587 Willoughby-on-the-Wolds, Nottinghamshire 588 Wilne, Derbyshire 589 Wingerworth, Derbyshire 590-591 Wirksworth, Derbyshire 592 Bibliography 593-614 i. Primary Sources: Unpublished ii. Primary Sources: Published iii. Secondary Sources iv. Unpublished theses Distribution Maps 615-618 Quarry typology 619-629 Illustrations 1 ABSTRACT Most of the medieval window glass in England remains unpublished. This thesis contributes to the eventual realisation of a comprehensive history of this fragile medium, through a study of window glass in the two Midland’s counties of Derbyshire and Nottinghamshire from the period 1400 to 1550. In it the evidence of surviving glass and the evidence of lost glazing (derived from a wide range of published and unpublished sources) are presented as a unified whole in an analytical catalogue, following the conventions of the International Corpus Vitrearum Medii Aevi. A good deal of this material is presented for the first time. The catalogue forms the basis for a brief introduction, in which the themes of the patronage, iconography, style and technique of the glass are briefly considered. 2 ABBREVIATIONS AASRP Associated Architectural Society Reports and Papers Ashmole Oxford, Bodleian Library, MS Ashmole 854. Ayre Ayre, K. Medieval English Figurative Roundels, Corpus Vitrearum Medii Aevi, Great Britain, Summary Catalogue, 6. Oxford, 2002. Bassano MS London, College of Arms, Bassano MS BIHR Borthwick Institute of Historical Research, York JBSMGP Journal of the British Society of Master Glass Painters Burke General Armory Burke, J. B. The General Armory of England, Scotland, Ireland and Wales comprising a registry of armorial bearings from the earliest to the present time. With a supplement. London, 1884. Burke Extinct Peerages Burke, J. A General and Heraldic Dictionary of the Peerages of England, Ireland, and Scotland, Extinct, Dormant, and in Abeyance. London, 1831. Butler Austin, M. R. Ed. The Church in Derbyshire in 1823-4 - The Parochial Visitation of the Rev. Samuel Butler, Archdeacon of Derby in the Diocese of Lichfield and Coventry, Derbyshire Archaeological Society, Record Series, 5. 1969-70. Coe Coe, B. Stained Glass in England: 1150-1550. London, 1981. 3 Cowen Cowen, P. A Guide to Stained Glass in England. London, 1985. Cox Cox, J. C. Notes on the Churches of Derbyshire. 4 vols. Chesterfield, 1875-9. Cox County Churches Cox, J. C. County Churches. Nottinghamshire. London, 1912. DAJ Derbyshire Archaeological Journal and its predecessor Transactions of the Derbyshire Archaeological and Natural History Society. Dodsworth Clay, J. W. Ed. Yorkshire Church Notes 1619-1631 by Roger Dodsworth, Yorkshire Archaeological Society, Record Series, 34. 1904. Fasti Ecclesiae Anglicanae, vol. 6 Jones. B. Ed. Fasti Ecclesiae Anglicanae, 1300-1541: VI, Northern province; York, Carlisle and Durham. London, 1963 Fasti Ecclesiae Anglicanae, vol. 10 Jones, B. Ed. Fasti Ecclesiae Anglicanae, 1300-1541: X, Coventry and Lichfield diocese. London, 1964. Gill Gill, H. ‘The Church Windows of Nottinghamshire’, Transactions of the Thoroton Society, 20 (1916), pp. 93-124. Guilford Little Guide Guilford, E. L. The Little Guides. Nottinghamshire. London, 1927. 4 Hebgin-Barnes Hebgin-Barnes, P. The Medieval Stained Glass of the County of Lincolnshire. Corpus Vitrearum Medii Aevi, Great Britain, Summary Catalogue 3. Oxford, 1996 Holles Cole, R. E. G. Ed. Lincolnshire Church Notes Made by Gervase Holles, A.D. 1634 to A.D. 1642, Lincoln Record Society, 1 (1911). Marks Marks, R. C. The Medieval Stained Glass of Northamptonshire, Corpus Vitrearum Medii Aevi, Great Britain, Summary Catalogue 4. Oxford, 1998 Marks (1993) Marks, R. C. Stained Glass in England During the Middle Ages. Toronto and London, 1993. Medieval Ordinary, vol. 1 Chesshyre, H. and Woodcock, T. Dictionary of British Arms. Medieval Ordinary Volume One (London, 1992). Medieval Ordinary, vol. 2 Woodcock, T. Dictionary of British Arms. Medieval Ordinary Volume Two (London, 1996). Mee Derbyshire Mee, A. The King’s England: Derbyshire the Peak County. London, 1937. Mee Nottinghamshire Mee, A. The King’s England: Nottinghamshire the Midland Stronghold. London, 1938. Nelson Nelson, P. Ancient Painted Glass in England 11701500. London, 1913. Newton Newton, P. A. The County of Oxford: A Catalogue of Medieval Stained Glass. CVMA, Great Britain, volume 1. London, 1979. 5 Newton ‘Schools of Glass Painting’ Newton, P.A. ‘Schools of Glass Painting in the Midlands 1275-1430’. PhD thesis, University of London, 3 vols, 1961. Papworth Papworth, J. W. An Alphabetical Dictionary of Coats of Arms Belonging to Families in Great Britain and Ireland; Forming an Extensive Ordinary of British Armorials, Upon an Entirely New Plan (London, 1874). Payling Payling, S. Political Society in Lancastrian England: The Greater Gentry in Nottinghamshire. Oxford, 1991. Pevsner Derbyshire Pevsner, N. and Williamson, E. The Buildings of England: Derbyshire. London, 1978. Pevsner Nottinghamshire Pevsner, N. and Williamson, E. The Buildings of England: Nottinghamshire. London, 1979. Rawlins Derby, Derby Local Studies Library, MS A726 Sprakes Sprakes, B. The Medieval Stained Glass of South Yorkshire, CVMA, Great Britain, Summary Catalogue, 7. Oxford, 2003. Thorold Thorold, H. Derbyshire Shell Guide. London, 1972. Thoroton Thoroton, R. The Antiquities of Nottinghamshire, Extracted out of Records. London, 1677 6 Thoroton and Throsby Throsby, J. Thoroton’s History of Nottinghamshire: Republished with Large Additions. 3 vols. Nottingham, 1790 Thoroton Society Transactions of the Thoroton Society of Nottinghamshire Truman (1944, 1945, 1946, 1949, 1954, 1955, 1956, 1957) Truman, N. ‘Ancient Glass in Nottinghamshire. A survey.’ Journal of the British Society of Master Glass Painters 9, no. 2 (1944): 51-60; 9, no. 3 (1945): 78-79; 9, no. 4 (1946): 132-128; 10, no. 2 (1949): 78-80; 11, no. 3 (1954): 160-163; 11, no. 4 (1955): 206-212; 12, no. 1 (1956): 30-35; 12, no. 2 (1957): 137-139. VCH Nottinghamshire Page, W. Ed. A History of the County of Nottinghamshire, Victoria County History, vol. 2. London, 1970. Wright Wright, S. M. The Derbyshire Gentry in the Fifteenth Century, Derbyshire Record Society 8. Derby, 1983. 7 LIST OF ILLUSTRATIONS (FIGURES) 1 Ashbourne, Derbys. nXI, 1c Author 2 Ashbourne, Derbys. nXI, 2d Author 3 Ashbourne, Derbys. nXI, 2c Author 4 Ashbourne, Derbys. nXI, 2a Author 5 Ashbourne, Derbys. nXI, 2b Author 6 Ashbourne, Derbys. Exterior of the north Author transept from the east. 7 Ashbourne, Derbys. Tomb of Thomas Author Cockayne (d. 1537). 8 Ashbourne, Derbys. South window of the Author south transept. 9 Ashbourne, Derbys. Tomb of John Author Bradboure (d. 1488). 10 Ashover, Derbys. Exterior from the Author north. 11 Ashover, Derbys. Brass of James Author Rolleston (d. 1507). 12 Ashover, Derbys. The east end of the Auhtor south nave aisle the ‘Babington’ quire. 13/14 Ashover, Derbys. Tomb of Sir Thomas Author Babington (d. 1519). 15 Ault Hucknall, Derbys. sII, 2-4a and 2-5b NMRC BB85/00641 16 Ault Hucknall, Derbys. sII, 2-4c NMRC BB85/00643 17 Ault Hucknall, Derbys. Exterior of the Author church from the south. 18 Ault Hucknall, Derbys. sII, 1c Author 19 Ault Hucknall, Derbys. sII, 1b Author 20 Ault Hucknall, Derbys. sII, 1d Author 8 21 Ault Hucknall, Derbys. sII, 1a Author 22 Ault Hucknall, Derbys. sII, 2-4d 23 Averham, Notts. nII, 3a Author 24 Averham, Notts. nII, 3a Author 25 Averham, Notts. nII, 3a Author 26 Averham, Notts. nII, 3b Author 27 Averham, Notts. nII, 3b Author 28 Averham, Notts. nII, 3b Author 29 Averham, Notts. nII, 3b Author 30 Averham, Notts. nII, 2b Author 31 Averham, Notts. nII, 1a Author 32 Balderton, Notts. sII Newton Coll. 33 Balderton, Notts. sIV Newton Coll. 34 Balderton, Notts. nIII Newton Coll. 35 Balderton, Notts. sII, 5a Author 36 Balderton, Notts. sIV, 5a Author 37 Balderton, Notts. nIII, 3a Author 38 Balderton, Notts. nIII, 5a Author 39 Balderton, Notts. sIV, 2a Author 40 Balderton, Notts. sII, 6a Author 41 Balderton, Notts. sIV, 6a Author 42 Balderton, Notts. sIV, 1a Author 43-46 Barton-in-Fabis, Notts. wI Author 47 Beighton, Derbys. nV, A1-A3 Author 48 Beighton, Derbys. nV, A2 Author 49 Beighton, Derbys. sV, A1-A3 Author 50 Beighton, Derbys. sV, A1 Author 51 Beighton, Derbys. sV, A3 Author 52 Carlton-in-Lindrick, Notts. nII, 2a Author 53 Carlton-in-Lindrick, Notts. nII, 3a Author 54 Carlton-in-Lindrick, Notts. nII, 1a Author 55 Cossall, Notts. sV, 2b Author 56 Cossall, Notts. sV, 2b Author 9 57 Croxall, Derbys. sIV, 2a Author 58 Croxall, Derbys. sIV, 2b Author 59 Croxall, Derbys. sIV, 2b Author 60 Croxall, Derbys. sIV, 2b Author 61 Croxall, Derbys. Lost glazing recorded by William Burton in 1613. British Library, Egerton MS 3510, f. 110v. 62 Croxall, Derbys. Exterior view of Author window nII. 63 Dale Abbey, Derbys. nII Author 64 Dale Abbey, Derbys. I, A1 and A2 Author 65 Dale Abbey, Derbys. The church from the Author north-east. 66 Dethick, Derbys. The church from the Author the south-east. 67 Doveridge, Derbys. sVIII Author 68 Doveridge, Derbys. sVIII, 2a Author 69 Doveridge, Derbys. sVIII, 2b Author 70 Doveridge, Derbys. sVIII, 3a Author 71 Doveridge, Derbys. sVIII, 3b Author 72 Doveridge, Derbys. sVIII, 4b Author 73 East Markham, Notts. sV, 4a-c. Author 74 East Markham, Notts. sV, A3 and A4. Author 75 East Markham, Notts. sVI, A5. Author 76 East Markham, Notts. sVII, A1-A2 Author 77 East Markham, Notts. sVI, A5 and A6 Author 78 East Markham, Notts. sVI, A1-A3 Author 79 East Markham, Notts. SV, A2. Author 80 East Markham, Notts. Exterior from the Author south. 81 East Markham, Notts. Exterior showing Author south nave aisle. 82 East Retford, Notts. sVI, 1b Author 10 83 East Retford, Notts. sVI, 2b Author 84 East Retford, Notts. sVI, 3/4b Author 85 East Retford, Notts. sVI, 3b Author 86 Eckington, Derbys. I, 2c Author 87 Eckington, Derbys. I, 2a Author 88 Eckington, Derbys. I, 1a and 1b Author 89 Eckington, Derbys. I, 2e Author 90 Eckington, Derbys. I, 2b Author 91 Eckington, Derbys. I, 2f Author 92 Egginton, Derbys. I, 2c Author 93 Egmanton, Notts. nIV, 2a Author 94 Finningley, Notts. nII, A1  Brian Sprakes 95 Finningley, Notts. Exterior showing nII Author and the angle of the chancel and north nave aisle. 96 Haddon Hall, Derbys. I, 3d Amanda Daw 97 Haddon Hall, Derbys. I, 3c Amanda Daw 98 Haddon Hall, Derbys. I, 3b Amanda Daw 99 Haddon Hall, Derbys. I, 2d and 2e Author 100 Haddon Hall, Derbys. I, rows 1 and 2 Author 101 Haddon Hall, Derbys. I, A2-A4 Amanda Daw 102 Haddon Hall, Derbys. nII, A1-A2 Amanda Daw 103 Haddon Hall, Derbys. nII, A3-A4 Amanda Daw 104 Haddon Hall, Derbys. nII, A5-A6 Amanda Daw 105 Haddon Hall, Derbys. nII, 2-3a Author 106 Haddon Hall, Derbys. nII, 2-3b Amanda Daw 107 Haddon Hall, Derbys. nII, 2-3c Amanda Daw 108 Haddon Hall, Derbys. Lower courtyard Amanda Daw looking towards the east. 109 Haddon Hall, Derbys. Lower courtyard showing the north Amanda Daw 11 wall of the chapel. 110 Haddon Hall, Derbys. Interior of chapel. Author 111 Haddon Hall, Derbys. Images of the Holy Author Family in the chapel wallpaintings. 112 Hickling, Notts. I, 2a Author 113 Hickling, Notts. I, 2a Author 114 Hickling, Notts. I, 3b Author 115 Hickling, Notts. I, 1a Author 116 Hickling, Notts. I, A2 Author 117 Holme-by-Newark, Notts. I Author 118 Holme-by-Newark, Notts. I, 3-5b-d Author 119 Holme-by-Newark, Notts. I, 1-2b and 1-2c Author 120 Holme-by-Newark, Notts. I, 4c Author 121 Holme-by-Newark, Notts. I, 3d Author 122 Holme-by-Newark, Notts. I, 4c Author 123 Holme-by-Newark, Notts. I, 1c Author 124 Holme-by-Newark, Notts. I, 4c Author 125 Holme-by-Newark, Notts. I, 1c Author 126 Holme-by-Newark, Notts. I, 5b Author 127 Holme-by-Newark, Notts. I, 5c Author 128 Holme-by-Newark, Notts. I, 2d Author 129 Holme-by-Newark, Notts. I, 7e Author 130 Holme-by-Newark, Notts. I, 4a Author 131 Holme-by-Newark, Notts. I, 6/7c Author 132 Holme-by-Newark, Notts. I, B2 Author 133 Holme-by-Newark, Notts. I, A3 and A4 Author 134 Holme-by-Newark, Notts. sII Author 135 Holme-by-Newark, Notts. sII, A4 Author 136 Holme-by-Newark, Notts. sII, A3 Author 137 Holme-by-Newark, Notts. sII, A1 and A2 Author 138 Holme-by-Newark, Notts. sII, 3c Author 12 139 Holme-by-Newark, Notts. Condition of the glass in window I prior to the restoration in the 1930s. E. Woolley, St. Giles Church Holme, Notts. (London, 1912), plate XVII. 140 Holme-by-Newark, Notts. Engraving showing the interior of the church looking across the tomb of John Barton (d. 1491) towards the north chancel windows. W. R. Dickinson, A History of the Antiquities of the Town of Southwell in the County of Nottingham (London, 1819), facing p. 172 141 Holme-by-Newark, Notts. Exterior view of the Author church from the south. 142 Holme-by-Newark, Notts. Exterior view of the Author church from the east. 143 Holme-by-Newark, Notts. Exterior view of the Author chancel from the north 144 Holme-by-Newark, Notts. View from the Author chancel into the south chapel across the tomb of John Barton (d. 1491). 145 Holme-by-Newark, Notts. Effigy of John Author Barton (d. 1491). 146 Holme-by-Newark, Notts. Effigy of Isabella Author Barton, wife of John. 147 Hope, Derbys. nIV, 1a Author 148 Hope, Derbys. nIV, 1a Author 149 Kelham, Notts. nV, A4 Author 13 150 Kelham, Notts. nIV, A1 and A2 Author 151 Kelham, Notts. nIV, A4 Author 152 Kelham, Notts. sVI, A1 Author 153 Kelham, Notts. General exterior Author from the north-east. 154 Kelham, Notts. Exterior of window Author sVI. 155 Killamarsh, Derbys. sII, a Author 156 Killamarsh, Derbys. sII, a [detail] Author 157 Kirklington, Notts. Engraving of lost glass. Thoroton and Throsby, vol. 3, p. 100. 158 Flawford, Notts. Engraving of lost glass. Thoroton and Throsby, vol. 1, facing p. 130. 159 Kirton, Notts. nIV, A1 Author 160 Kirton, Notts. sIV, A1 Author 161 Kirton, Notts. nIV, A1 [detail] Author 162 Kniveton, Derbys. sII, 1a Author 163 Kniveton, Derbys. sII, 1b Author 164 Lambley, Notts. I, A5 Author 165 Lambley, Notts. I, 1c Author 166 Lambley, Notts. Exterior from the Author north. 167 Lambley, Notts. Interior looking east. Author 168 Laxton, Notts. Internal view of the Author nave clerestory. 169 Laxton, Notts. External view of the Author nave clerestory. 170 Longford, Derbys. sIII, A1 Newton Collection 171 Longford, Derbys. nIII, A1 Newton Collection 172 Longford, Derbys. sII, A1 Newton Collection 173 Longford, Derbys. nII Author 174 Low Marnham, Notts. nIV, 1b Author 175 Low Marnham, Notts. nIV, 1b Author 14 176 Low Marnham, Notts. nIV, 1b Author 177 Low Marnham, Notts. nIV, 2b Author 178 Mackworth, Derbys. nII, A2, A3, A4 Author 179 Mapleton, Derbys. nIII, 2a Author 180 Mattersey, Notts. nII, 1b Author 181 Mattersey, Notts. nII, 1b [detail] Author 182 Measham, Derbys. sVI, 1b Author 183 Measham, Derbys. sVI, 1b [detail] Author 184 Measham, Derbys. sVI, 2a Author 185 Measham, Derbys. sVI, 2b Author 186 Measham, Derbys. sVI, 3b Author 187 Measham, Derbys. sVI, 1a Author 188 Misterton, Notts. nV, 1b Author 189 Morley, Derbys. nII, 1a Amanda Daw 190 Morley, Derbys. nII, 2/3a Amanda Daw 191 Morley, Derbys. nII, 2/3b Amanda Daw 192 Morley, Derbys. nII, 1c Amanda Daw 193 Morley, Derbys. nII, 1b Amanda Daw 194 Morley, Derbys. nIII, 3a Author 195 Morley, Derbys. nIII, 3b Author 196 Morley, Derbys. nIII, 2a Author 197 Morley, Derbys. nIII, 2c Author 198 Morley, Derbys. nIII, 1b Amanda Daw 199 Morley, Derbys. nIII, 1a Amanda Daw 200 Morley, Derbys. nIII, 1d Author 201 Morley, Derbys. nIII, 1c Author 202 Morley, Derbys. nIV, 3b Author 203 Morley, Derbys. nIV, 2a Author 204 Morley, Derbys. nIV, 2b Author 205 Morley, Derbys. nIV, 3c Author 206 Morley, Derbys. nIV, 2d Newton Collection 207 Morley, Derbys. nIV, 1a Author 208 Morley, Derbys. nIV, 1d Author 15 209 Morley, Derbys. sII, 2-3a Amanda Daw 210 Morley, Derbys. sII, 2-3b Amanda Daw 211 Morley, Derbys. sII, 1a Amanda Daw 212 Morley, Derbys. sIII, 1c Amanda Daw 213 Morley, Derbys. sIII, 1b Amanda Daw 214 Morley, Derbys. sIII, 1a Author 215 Morley, Derbys. Exterior view from Author the south-east. 216 Morley, Derbys. Exterior view Author showing the Dale abbey windows in the north wall of the north aisle. 217 Morley, Derbys. Engraving of nII, 1a prior to restoration. J. G. Waller, ‘On Ancient Glass in Morley Church,’ Journal of the British Archaeological Society, 8 (1852), plate 11. 218 Morley, Derbys. Engraving of nIII, 2d prior to restoration. J. G. Waller, ‘On Ancient Glass in Morley Church’, plate 11. 219 Morley, Derbys. Engraving of nIV, 2a and 2b prior to restoration. J. G. Waller, ‘On Ancient Glass in Morley Church’, plate 12. 220 Mugginton, Derbys. sIII, A1 Author 221 Mugginton, Derbys. sIII, 1a Author 222 Mugginton, Derbys. sIII, A4 Author 223 Mugginton, Derbys. sIII, A3 Author 224 Mugginton, Derbys. Exterior of sIII. Author 225 Mugginton, Derbys. Exterior of sIII Author [detail]. 226 Mugginton, Derbys. Interior view looking from the chancel towards Author 16 south chapel. 227 Mugginton, Derbys. Interior looking east Author towards the south chancel chapel. 228 Newark-on-Trent, Notts. sII, 3e Author 229 Newark-on-Trent, Notts sII, 4b Author 230 Newark-on-Trent, Notts sII, 1b Author 231 Newark-on-Trent, Notts sII, 1b Author 232 Newark-on-Trent, Notts sII, 3b Author 233 Newark-on-Trent, Notts sII, 2b Author 234 Newark-on-Trent, Notts sII, 1a Author 235 Newark-on-Trent, Notts sII, 2e Author 236 Newark-on-Trent, Notts sII, 4f Author 237 Newark-on-Trent, Notts sII, 1f Author 238 Newark-on-Trent, Notts sII, C5 and C6 Author 239 Newark-on-Trent, Notts sII, A10 Author 240 Newark-on-Trent, Notts sII, 1e Newton collection 241 Newark-on-Trent, Notts sII, 2f Newton collection 242 Newark-on-Trent, Notts sII, 4e Author 243 Newark-on-Trent, Notts sII, 4a Author 244 Newark-on-Trent, Notts sII, B2 Author 245 Newark-on-Trent, Notts sII, 1c Newton collection 246 Newark-on-Trent, Notts sII, 2a Newton collection 247 Newark-on-Trent, Notts Lost donor figures illustrated in Dugdale’s Book of Monuments. London, British Library, Additional MS 71474, f. 88r. 248 Newark-on-Trent, Notts The exterior of the church from the north. Nineteenth-century lithograph by E. H. Buckler 249 Newark-on-Trent, Notts Interior of the church looking towards the high altar. Author 17 250 Newark-on-Trent, Notts The chantry of Author Thomas Mering (d. 1500). 251 Newark-on-Trent, Notts Brass of William Phillipott (d. 1557). C. Brown, A History of Newark-on-Trent (Newark, 1904), vol. 1, p. 312. 252 Newark-on-Trent, Notts Brass inscription on the monument of William Phillipott. C. Brown, A History of Newark-on-Trent, vol. 1, p. 318. 253 Norbury church, Derbys. I, 6-9d Author 254 Norbury church, Derbys. I, 10-13a Author 255 Norbury church, Derbys. I, 6-9e Author 256 Norbury church, Derbys. I, 2-5d Author 257 Norbury church, Derbys. I, 4-5b Author 258 Norbury church, Derbys. I, 10-12c Author 259 Norbury church, Derbys. I, 7-9c Author 260 Norbury church, Derbys. I, 2-3c Author 261 Norbury church, Derbys. I, 5-6c Author 262 Norbury church, Derbys. wI, 3-5b Author 263 Norbury church, Derbys. I, 3c Author 264 Norbury church, Derbys. sVI, 2-3b Author 265 Norbury church, Derbys. sVI, 2-3c Author 266 Norbury church, Derbys. sVII, 2-3c Author 267 Norbury church, Derbys. sVII, 3b Author 268 Norbury church, Derbys. sVII, 2-3a Author 269 Norbury church, Derbys. sVII, 1a Author 270 Norbury church, Derbys. sVI, 1c Author 271 Norbury church, Derbys. sVI, 1a Author 272 Norbury church, Derbys. I, pre-restoration Newton collection 273 Norbury church, Derbys. I, pre-restoration Newton collection [detail] 274 Norbury church, Derbys. I, pre-restoration [detail] Newton collection 18 275 Norbury church, Derbys. sVI, pre-restoration Newton collection 276 Norbury church, Derbys. sVII, pre-restoration Newton collection 277 Norbury church, Derbys. Exterior of the Author church from the south. 278 Norbury church, Derbys. Interior, looking Author towards the southeast chapel and showing the placement of sVI and sVII. 279 Norbury church, Derbys. Tomb of Nicholas Author Fiztherbert (d. 1474). 280 Norbury church, Derbys. Tomb of Nicholas Author Fiztherbert (d. 1474). 281 Norbury church, Derbys. Interior of the north Author nave aisle, looking west. 282 Norbury church, Derbys. Interior, looking Author towards the southwest chapel. 283 Norbury manor, Derbys. Entrance hall, south Author wall east window, 2a 284 Norbury manor, Derbys. Entrance hall, south Author wall west window, 2a 285 Norbury manor, Derbys. Upper sitting room, Author south wall centre window, 2a 286 Norbury manor, Derbys. Upper sitting room, Author 19 south wall centre window, 2b 287 Norbury manor, Derbys. Upper sitting room, Author south wall east window, 2a 288 Norbury manor, Derbys. Upper sitting room, Author south wall east window, 2b 289 Norbury manor, Derbys. Upper sitting room, Author south wall west window, 2a 290 Norbury manor, Derbys. Upper sitting room, Author south wall west window, 2b 291 Norbury manor, Derbys. Thirteenth-century Author upper hall, west wall, south window, A1 292 Norbury manor, Derbys. Oak drawing room, Author south wall, east window, 2b 293 North Muskham, Notts. sIV Author 294 North Muskham, Notts. sIV, 1-4c Author 295 North Muskham, Notts. sIV, 5-7c Author 296 North Muskham, Notts. sIV, 8-9b Author 297 North Muskham, Notts. nV, A2 Author 298 North Muskham, Notts. Exterior of the Author church from the north-east 299 North Muskham, Notts. Arms of John Barton (d. 1491) on buttress of north nave aisle. 20 300 North Muskham, Notts. Arms of Ralph Author Barton on buttress of north nave aisle. 301 Nottingham, St Mary Exterior, an engraving published in Thoroton and Throsby, vol. 2, facing page 82. 302 Nottingham, St Mary Lost glass figure of St Andrew. An engraving published in Thoroton and Throsby, vol. 2, facing page 83. 303 Nuthall, Notts. I, 2-3a Author 304 Nuthall, Notts. I, 2-3c Author 305 Nuthall, Notts. I, 3c Author 306 Nuthall, Notts. I, 1b Author 307 Nuthall, Notts. sIII, 4b Author 308 Nuthall, Notts. sIII, 4a Author 309 Papplewick, Notts. sVI, 1a Author 310 Papplewick, Notts. sVI, 1a [detail] Author 311 Papplewick, Notts. sVI, 2a Author 312 Papplewick, Notts. sVI, 2a [detail] Author 313 Papplewick, Notts. sVI, 2b Author 314 Papplewick, Notts. sVI, 1b Author 315 Saundby, Notts. wI, 1b Author 316 Sawley, Derbys. Exterior of the Author chancel showing John Booth’s chantry 317 Sawley, Derbys. The interior of John Booth’s chantry. Cox, vol. 4, plate XVIII 318- Screveton, Notts. 319 Exterior of the Author church showing the chancel and south nave aisle. 320 South Muskham, Notts. sVIII, 3/4b Author 21 321 South Muskham, Notts. East wall of the Author chancel. 322 Southwell Minster, Notts. Chapter House I, 3b Author 323 Southwell Minster, Notts. Chapter House nIV, Author 5c 324 Southwell Minster, Notts. Chapter House sIII, Author 2c 325 Southwell Minster, Notts. Chapter House sII, Author 2a 326 Southwell Minster, Notts. Chapter House sIII, Author 4a 327 Southwell Minster, Notts. Chapter House nIV, Author 5a 328 Southwell Minster, Notts. Chapter House sIII, Author 1a 329 Southwell Minster, Notts. Chapter House sIII, Author 1c 330 Southwell Minster, Notts. Chapter House nIII, Author 3b 331 Southwell Minster, Notts. Chapter House sIII, Author 3c 332 Southwell Minster, Notts. Chapter House nIII, Author 3c 333 Southwell Minster, Notts. Chapter House nII, Author 1c 334 Southwell Minster, Notts. Chapter House sIII, Author 4b 335 Southwell Minster, Notts. Chapter House sIII, Author 3b 336 Southwell Minster, Notts. Chapter House nIII, Author 3a 337 Southwell Minster, Notts. Chapter House I, 2b Author 338 Southwell Minster, Notts. Chapter House nIII, Author 22 4b 339 Southwell Minster, Notts. Chapter House sII, Author 1c 340 Southwell Minster, Notts. sIX, 7 Author 341 Southwell Minster, Notts. Lost glazing from Booth’s chapel. London, British Library, Additional MS 71474, f. 85r. 342 Southwell Minster, Notts. Exterior of the Author Chapter House 343 Southwell Minster, Notts. West front showing Author the inserted late medieval west window. 344 Southwell Minster, Notts. South side of the Author nave, the two western bays were the site of Booth’s chapel. 345 Staveley, Derbys. nIII, 1c Author 346 Staveley, Derbys. Interior of the south Author chancel chapel. 347 Strelley, Notts. nV, 4a Author 348 Strelley, Notts. nV, 2b Author 349 Strelley, Notts. nV, 3b Author 350 Strelley, Notts. nVII, 2a Author 351 Strelley, Notts. nII Author 352 Strelley, Notts. nV, 2a Author 353 Sutton-on-Trent, Notts. nII, A5 and A6 Author 354 Sutton-on-Trent, Notts. nVI, A1 and A4 Author 355 Sutton-on-Trent, Notts. I, 4e Author 356 Sutton-on-Trent, Notts. sII Author 357 Sutton-on-Trent, Notts. sII, 7d Author 358 Sutton-on-Trent, Notts. sII, 7a Author 23 359 Sutton-on-Trent, Notts. sIV, 7b Author 360 Sutton-on-Trent, Notts. Exterior of south Author chancel chapel. 361 Sutton-on-Trent, Notts. Detail of south Author chancel chapel. 362 Sutton Scarsdale, Derbys. nIV, 1b NMRC AA94/1087 363 Sutton Scarsdale, Derbys. nIV, 1c NMRC AA94/1088 364 Sutton Scarsdale, Derbys. Exterior of the north Author chancel chapel. 365 Sutton Scarsdale, Derbys. Exterior of the north Author chancel chapel. 366 Tuxford, Notts. sVI, during Newton collection conservation in 1967 367 Tuxford, Notts. sVI, 1a Author 368 Tuxford, Notts. sVI, 2b [detail] Author 369 Tuxford, Notts. sVI, 2b [detail] Author 370 Tuxford, Notts. South side of Author chancel. 371 Tuxford, Notts. South side of nave Author aisle and clerestory. 372 Warsop, Notts. Sacristy I, 1a [detail] Author 373 Warsop, Notts. Sacristy I, 1a [detail] Author 374 Warsop, Notts. Sacristy I, 1a [detail] Author 375 Warsop, Notts. Sacristy sIII, a Author [detail] 376 Warsop, Notts. Sacristy sII, a Author [detail] 377 Warsop, Notts. Sacristy I, 2a [detail] Author 378 Warsop, Notts. Sacristy sIII, a Author [detail] 379 West Hallam, Derbys. SII, 1a Author 380 West Hallam, Derbys. nII Author 381 West Hallam, Derbys. The exterior of the Author 24 church from the south, window SII is the central of the three clerestory windows. 382 West Hallam, Derbys. The external north Author wall of the chancel showing the exterior of window nII. 383 Weston, Notts. sII, A3 and A4 Author 384 Weston, Notts. sIII, A3 and A4 Author 385 Willesley, Derbys. sII, A1 NMRC BB88/3342 386 Willesely, Derbys. nII, A1 NMRC BB88/3341 387 Willesley, Derbys. sIII [detail] NMRC BB88/3343 388 Wingerworth, Derbys. sII, 1a Author 389 Wingerworth, Derbys. sIII, 1a Author 390 Plan of the Parish Church of St Mary, Norbury, Derbyshire, showing the CVMA window numbering system. 391 Plan of the Parish Church of St Mary, Norbury, Derbyshire, window I, showing the CVMA panel nmbering system. 25 INTRODUCTION This subject of this thesis is the window glass of the two Midlands counties of Derbyshire and Nottinghamshire from the period 1400 to 1550. This work presents the fragmentary remnant of remaining glass and the evidence of lost glazing found in documentary sources in an analytical catalogue, containing one hundred and thirty three entries. The vast majority of sites cover parish church or collegiate establishments, but ten sites cover glass from domestic buildings, both the manor houses of the gentry and a number of monastic establishments. The remaining and the lost glass are presented together as a united evidential source, which forms a basis for a brief introduction, covering themes such as the patronage, iconography and technical and stylistic characteristics of the glass. The definition of this thesis under close geographical and chronological limits is a result of a mixture of historiographical and practical considerations. Limiting research on medieval stained glass to a sample defined in this manner has strong scholarly precedent. Many authors working on medieval English stained glass over the last century have chosen to limit their research in this way, either to create a workable sample which can be achieved within a reasonable timeframe, or in order to define common stylistic characteristics in a given area and to identify specific glazing ‘schools’ based on regional centres. The work of Christopher Woodforde on the Norwich ‘School’ and Somerset and John A. Knowles on the York ‘School’ are prominent in this genre.1 Peter Newton was the first to apply this methodology to a research degree, in his PhD thesis, in which he covered sites across the whole of the Midlands, including sixteen in Derbyshire and Nottinghamshire.2 Penny HebginBarnes applied a similar model in her thesis.3 These geographical limits continue to be applied to the study of glass, for practical purposes, to meet the aims of the International Corpus Vitrearum Medii 1 C. Woodforde, The Norwich School of Glass-Painting in the Fifteenth Century (Oxford, 1950), C. Woodforde, Stained Glass in Somerset 1250-1830 (Oxford, 1946) and J. A. Knowles, Essays in the History of the York School of Glass-Painting (London, 1936). 2 Newton ‘Schools of Glass Painting’. 3 P. Hebgin-Barnes, ‘The Thirteenth and Fourteenth-Century Stained Glass of Lincolnshire’ (DPhil thesis, Department of History, University of York, 3 vols. 1990). 26 Aevi (CVMA), whose British committee was established in the early 1950s under the auspices of the British Academy. The aim of the International CVMA is to publish and interpret the remnants of medieval glass in Europe and America. In England, the county model forms a practical unit that can be researched and brought to publication within a reasonable timeframe. So far Oxfordshire has been published as a full volume4 with Lincolnshire, Northamptonshire, South Yorkshire being published in a series of summary catalogues.5 The basic form of the thesis, both the catalogue and the introduction, follow in principle, the form adopted by the British Committee of the International Corpus Vitrearum Medii Aevi for their summary catalogues, although the analysis here is somewhat fuller. Each catalogue entry is therefore divided into three sections, a bibliography, in which all references to the glazing of a particular site are cited, a descriptive text and a preface. The descriptive text is laid down following the basic arrangements found in CVMA summary catalogues and following the numbering system for windows and panels adopted by the CVMA (see figs. 390 and 391). To avoid descriptive repetition in the catalogue a glazing quarry typology is appended to the rear of the thesis. Most of the extant glass is illustrated in a series of figures at the back of the thesis. The evidence of the extant glass in each site is placed in its chronological, visual, patronal and architectural context in the preface to the catalogue entry. This is achieved through reference to documentary and other primary sources. For the catalogue entries for sites with no glass, the descriptive text is of course omitted and the analysis is focused on the evidence contained within the documentary sources. A brief analytical introduction constitutes the remainder of the thesis. The purpose of this introduction is to unite the material contained within the catalogue, to make any obvious links and to set the material contained in some context. In four chapters this introduction considers the range and value of documentary sources, the patronage of the glazing, its iconographical content and stylistic and technical issues. In its layout these chapters again reflect the general content of the introductions found in CVMA summary catalogues, although in this thesis the issues are considered in a little more depth. As the introduction is the direct product of 4 Newton 5 Hebgin-Barnes, Marks, Sprakes. 27 research cited or justified within the catalogue, repetition of this material has been avoided. 28 CHAPTER I ISSUES OF INTERPRETATION PART 1: THE SCOPE AND APPLICATION OF DOCUMENTARY SOURCES The county studies produced by the CVMA over the last thirty years by Newton, Hebgin-Barnes, Marks and Sprakes have all demonstrated that contemporary evidence for glazing work, which can take a number of forms including contracts, building and churchwardens’ accounts and wills, is extremely rare.1 Contracts and accounts are virtually absent in Derbyshire and Nottinghamshire, the only examples the rather sparse series of building contracts relating to St Mary Magdalene, Newarkon-Trent (c.f.), which can be applied only indirectly to glass.2 Wills are plentiful for Nottinghamshire and Derbyshire in the period 14001550 and become increasingly so in the sixteenth century.3 However, only two wills have been found that contain direct references to, or instructions for, glazing, and these were written within a year of each other. The first bequest is in the will of Jane, Lady Talbot in 1505 who gave forty shillings ‘to the making of a window in the church of Glossop, Derbyshire.’4 The second bequest is in the will of a Yorkshire 1 With the exception of the glazing accounts of Tattershall, Hebgin-Barnes came across only two other pieces of contemporary evidence for glazing, a contract of 1418 and a will of 1434 (Hebgin-Barnes, p. xxxiii). Sprakes had no contracts and only one will referring to glass (Sprakes, p. xxvii). Marks fared a little better in Northamptonshire, where references to glazing occur in some building accounts, and a number of wills (Marks, p. xliii). 2 See: J. F. Dimock, ‘Newark Church: Its Documental history’, Associated Architectural Societies Reports and Papers, 3 (1856), pp. 1-13. 3 The main series for Nottinghamshire are at the Borthwick Institute of Historical Research in York and for Derbyshire at the Diocesan Archives in Lichfield. These are augmented by smaller collections at the Staffordshire Record Office and among the registers of the Prerogative Court of Canterbury in the Public Record Office. 4 N. H. Nicolas (ed.), Testamenta vetusta being illustrations from wills, of manners, customs, &c., as well as of the descents and possessions of many distinguished families, from the 29 knight, Sir Thomas Tempest of Bracewell, who in 1506 provided thirteen shillings and fourpence for the ‘makyng of one glasse wyndow in a chapall of saynt saveyor in Newarke.’5 The value of this sort of evidence is limited. In a site where glass survives it could potentially identify a donor, but where no glass remains such a bequest with unspecific details regarding the content and position of the glazing is of little use. In the case of Glossop no glass is extant. In Newark glass does remain, but it is impossible to link it directly to Tempest. Wills are of exceptional value in providing a visual, liturgical and chronological context to both surviving and lost glazing. Bequests or instructions in wills frequently provide dating evidence for structures, which can reinforce the dating of the glass they contain based on stylistic or other criteria. For example, the will of Henry Bland of Carlton-in-Lindrick, Nottinghamshire, of October 1483, includes a bequest to the fabric of a window in the chancel, which provides a dating context for fragments removed from the east window in the early twentieth century.6 Remnants of glazing at North Muskham and Holme-by-Newark can be related to building work, completed or projected, which is referred to in the 1490 will of the merchant John Barton.7 Some lost glazing at Elvaston, Nottinghamshire can be related to building work funded through the 1474 will of Walter Blount, Lord Mountjoy.8 Instructions for the burial of testators within specific chapels, quires, or before altars and the adornment of images and ornaments, can add, where appropriate, to an understanding of the relationship of imagery within glass to the wider visual landscape of the church interior and its role in the division and definition of liturgical space (see part 2 of chapter IV). Wills can provide only a small part of the picture, and it is necessary to augment this meagre material with a vast range of post-medieval written sources. Post-medieval accounts of church fabric and fittings begin to appear within ten years reign of Henry the second to the accession of Queen Elizabeth (London, 1826), vol. 1, p. 472. 5 York, BIHR, Will Register 6, f. 229r. 6 York, BIHR, Will Register 5, f. 203r. 7 York, BIHR, Archbishop's Register 23, f. 345r. 8 D. G. Edwards, Derbyshire Wills Proved in the Prerogative Court of Canterbury 1393- 1574, Derbyshire Record Society, 26 (1998), p. 9. 30 of the Elizabethan settlement. The written material forms a particularly useful record where glass survival is limited and fragmentary, or where no glass survives at all. Compared to other counties Derbyshire and Nottinghamshire fare well in both the amount and breadth of this surviving material. This is amply demonstrated by a brief examination of Hebgin-Barnes’ bibliography for the neighbouring county of Lincolnshire. Although the amount of extant glass is a little greater than that considered by this thesis, she was faced with a narrower range of written sources.9 The church notes produced between 1569 and 1680 by officers of the College of Arms are the earliest antiquarian sources to contain references to medieval stained glass. Of these sources the earliest and most extensive were produced as part of heraldic visitations: William Flower (Norroy King of Arms) and Robert Glover’s (Portcullis Pursuivant) visitations of both counties in 1569; Richard St George (Norroy) and his brother Henry’s (Bluemantle Pursuivant) visitation of Derbyshire in 1611 and Richard St George’s solo visitation of Nottinghamshire in 1614. Numerous copies of these four sources remain among the Harleian manuscripts in the British Library, many with seventeenth-century additions by the deputy heralds William Wyrley (1565-1618) and John Withie. To these four official visitations can be added the manuscript notes of other heralds and historians. In 1655 Randle Holmes III compiled a volume of notes from unattributed sources, which include references to glass in two Nottinghamshire churches.10 William Burton (1575-1645) in a volume of church notes covering a wide geographical area produced in the first quarter of the seventeenth century includes accounts taken by him in over a dozen sites in the two counties, although it formerly contained more.11 Gervase Holles (1607-75), the Lincolnshire antiquary, recorded glass at a number of sites in Nottinghamshire in the 1630s and 40s, all connected with his family.12 Roger Dodsworth (1585-1654) the Yorkshire antiquary records glass at a couple of sites in the 1630s13 and Elias Ashmole (1617-92) in a 9 Hebgin-Barnes, pp. xxvi-xxix. 10 London, British Library, Harley MS 2113. 11 The index of Burton’s manuscript includes the names of twenty or so additional sites in Derbyshire, the pages were lost when the manuscript was damaged. London, British Library, Egerton MS 3510. 12 Holles. 13 Holles and Oxford, Bodleian Library, MS Dodsworth 136. 31 volume of notes covering various counties, includes references to glass in a little over a dozen churches in the two counties. As all these notes were by-products of the herald’s work they reflect their professional priorities, which were to trace lineage and the descent of heraldic bearings. Consequently, the notes often take the form of a series of tricked or blazoned shields of arms accompanied by (though not always) a brief description of their position within the church building. Where relevant these are accompanied by transcriptions of inscriptions within windows and the occasional reference to images of donors, but only if they are dressed in heraldic surcoats or mantles.14 This evidence is of great importance in dating and determining the patronage of extant and lost glazing. However, by their very nature they provide little sense of the visual, iconographical and architectural context of the glazing they record. A mid seventeenth-century volume springing from the same heraldic tradition can be set apart from the rest, due to its level of detail. In 1640-41 sensing the threat to monuments and church buildings posed by the Puritan ascendancy and the threat of Civil War, Sir William Dugdale (1605-1686),15 then Rouge-Croix Pursuivant and William Sedgwick a herald painter at the College of Arms, co-operated to produce a record of monuments and glass in the major churches of England. The result of their efforts is a manuscript known as the Book of Draughts, or Book of Monuments, now deposited in the British Library.16 In this work Dugdale and Sedgwick record two churches, both in Nottinghamshire: Southwell Minster and the parish church of St Mary Magdalene, Newark-on-Trent. In the two churches they made drawings of donor figures and arms in stained glass, most of which no longer survives. Sedgwick’s drawings of these elements are unusual in two respects, for the level of detail and the use of colour. The image of Thomas Meryng and his wife and daughter, formerly in the east window of Newark church, serves as an excellent example: Thomas and his wife are shown kneeling at desks, both in heraldic tabards. Sedgwick not only blazons the arms, but includes minor details such as the annulet 14 London, British Library, Harley MSS 1093, 1486, 2113, 6593. 15 He was later Norroy King of Arms and Garter Principal King of Arms, see: L. Stephen and S. Lee (eds.), The Dictionary of National Biography (London, 1949-50), vol. 6, pp. 136-138. 16 London, British Library, Additional MS 71474. 32 decoration on the plinth of the tessellated floor and the trailing vine on Thomas’s tabard. Following the Restoration of the monarchy in the 1660s and catalysed by the destruction wrought by the Civil War and Commonwealth, a broader genre of ‘county history’ developed. The major influence in the development of this genre was William Dugdale, who published a history of Warwickshire, the first of its type, in 1656.17 Although Derbyshire does not have an equivalent, in 1677 Robert Thoroton of Car Colston, a Nottinghamshire physician and amateur antiquary, was encouraged by Dugdale to publish a history of his native county under the title The Antiquities of Nottinghamshire, Extracted out of Records.18 In addition to providing the usual heraldic accounts of glass in over fifty sites, Thoroton includes detailed background information and context, including evidence of property tenure and genealogies of the notable families of the county. His work is augmented by a heraldic index, with tricks of all the arms he found during the course of his work. The book was popular and a new edition, edited by John Throsby was issued between 1790 and 1796.19 Although invaluable to the historian of glass, there are two major downfalls in Thoroton’s work: firstly his lack of coverage of the northern part of the shire, which was remote from his house at Car Colston, and secondly his use of agents to undertake some of his fieldwork may have affected the reliability of his data.20 The eighteenth century saw the beginning of an increased interest in the iconography of stained glass, alongside its heraldic and genealogical content. Francis Bassano (1675-1746) and his brother Christopher (1680-1745), both deputy heralds of Derbyshire and Nottinghamshire to Norroy King of Arms, produced a sizeable 17 C. R. J. Currie and C. P. Lewis (eds.), English County Histories: A Guide (Stroud, 1994), p. 16. 18 Thoroton. Thoroton’s manuscript notes survive for many of the sites he visited in the 1670s. Nottingham, Nottinghamshire Archives, M 493-494. For the relationship between Thoroton and Dugdale see A. Henstock, ‘Nottinghamshire’ in C. R. J. Currie and C. P. Lewis, English County Histories, pp. 312-315. 19 Thoroton and Throsby. 20 A. Henstock, ‘Nottinghamshire’ in C. R. J. Currie and C. P. Lewis (eds.), English County Histories, p. 314. 33 volume of church notes relating to Derbyshire.21 They demonstrate an interest in imagery within windows and its relation to its context, which is lacking in the work of earlier heralds. The notes taken by John Allen at Annesley in 174822 and Deering’s volume on Nottingham from 1751, which covers St Mary’s Nottingham, are similar in their focus.23 Illustrations of iconographical elements in glass appear for the first time in the last quarter of the eighteenth century. The Swiss topographical draughtsman, Jacob Schnebbelie, under a commission from the antiquary Richard Gough, produced a number of watercolours of elements from windows at Haddon Hall and Whittington in the late 1780s and early 1790s.24 Around the same time S. H. Grimm produced two watercolours portraying a late fourteenth-century kneeling donor figure from Annesley and a Trinity panel in the clerestory at Kirkby-by-Ashfield. 25 Throsby’s new edition of Thoroton’s Nottinghamshire published in the 1790s uses the medium of wood engraving to illustrate glass in five locations in the county.26 Sadly the engravings are somewhat naïve and of little use for the purposes of dating the glass, all of which is lost. The engraving of a Trinity panel at Flawford seems far removed from the Middle Ages, influenced more by contemporary eighteenth-century design. William Dickinson’s The History and Antiquities of the Town of Southwell also incorporates engravings of glass, including a rather poor copy of a page from Dugdale’s Book of Monuments and a rather better illustration of the interior of Holme-by-Newark church, showing glass in a north chancel window. The last decade of the eighteenth century saw the first expressed concern for the condition of surviving medieval glass. The condition of church buildings was 21 Bassano MS. Details of their careers can be found in. A. Wagner and G. Squibb, ‘Deputy heralds’ in F. Emmison and R. Stephens, (eds.), Tribute to an Antiquary – Essays presented to Marc Fitch by some of his friends (London, 1976), pp. 252-253. 22 London, British Library, Additional MS 5832, ff. 224r-224v. 23 C. Deering, Nottinghamia vetus et nova or an Historical Account of the Ancient and present state of the town of Nottingham (Nottingham, 1751), pp. 19-20. 24 Oxford, Bodleian Library, MS Gough Maps 4, f 75v and London, Society of Antiquaries, Red Book, Derbyshire, pp. 20-21. 25 London, British Library, Additional MSS 15543 and 15544. 26 Thoroton and Throsby, vol. 1, facing page 130 and facing p. 243; vol. 3, facing page 83 and facing page 100. 34 one of John Throsby’s main pre-occupations and many of the churches he saw were described as the ‘most despicable place I ever beheld’ or the ‘foulest place I ever saw.’ At Staunton-on-the Wolds he records the very recent destruction of glass by dissenters.27 Throsby’s lament at the apathy of the 1790s was echoed twenty years later by William Stretton, a Nottingham architect, who has left behind sixteen of his working notebooks in which he noted glass in fourteen churches across the county.28 In 1818 at Woodborough, where some fine fourteenth-century glass remains, he records that the painted glass from a window blown in by a ‘very high easterly wind’ had not been restored but lay in an old chest at the back of the church for anybody to take away: as little as thirty years before he noted that the windows were in a ‘high state of perfection.’29 Throsby had been also been to Woodborough, where he commented that the chancel windows were ‘filthy, broken and patched.’30 To this genre must be added the three volumes of notes and drawings compiled by the Revd. Richard Randall Rawlins between 1819 and 1843, which he entitles ‘A Critical examination of the Parish Churches of Derbyshire’.31 Throsby’s, Stretton’s and Rawlins’ frustrations with the condition of buildings, the apathy of their guardians and the struggle of working with a fragmentary record seem to be very modern sentiments. Under the influence of the Tractarian and Ecclesiological movements, the mid-nineteenth century saw a rapid rise of interest in medieval ecclesiastical buildings and an increasing desire to record in detail their fittings and furnishings including stained glass, purely for their intrinsic worth. In Nottinghamshire and Derbyshire this work was undertaken by three principal individuals, Revd Edward Trollope (later Suffragan bishop of Nottingham), Thomas Godfrey, and the Revd. J. Charles Cox. Trollope published a number of surveys of churches in the Associated Architectural Societies Reports and Papers, in which mention is always made of surviving medieval glass and its treatment during restoration work.32 Between 1875 27 Thoroton and Throsby, vol. 1, p. 81 and vol. 3, p. 212. 28 Nottingham, Nottinghamshire Archives, DD TS/ 6/4/4. 29 Nottingham, Nottinghamshire Archives, DD TS/ 6/4/4/16, 2v-3r. 30 Thoroton and Throsby, vol. 3, p. 35. 31 Derby, Derby Central Library, MS A726. 32 See bibliography. 35 and 1879 the Revd. J. Charles Cox, a prolific writer on ecclesiological and topographical matters, published his Notes on the Churches of Derbyshire.33 These four volumes are filled with descriptions of church buildings incorporating much additional contextual documentation derived from a variety of sources, some of which are lost or no longer available. He was the first writer to draw on earlier written sources to reconstruct lost glazing elements and his work still remains the basis for any student of ecclesiastical art in the county. Thomas Godfrey attempted to produce a similar, if not more ambitious work for Nottinghamshire, but he only managed to publish volumes on two of the county’s six wapentakes before his death.34 Godfrey’s work is complimented by articles and accounts of excursions produced in the late nineteenth and early twentieth century by authors such as Harry Gill, A.M.Y. Baylay, A. du Boulay Hill, T. M. Blagg, and J. Standish and published in the Transactions of the Thoroton Society established in 1897.35 The first published works concerned purely with stained glass for its own merit are nineteenth century and all relate to specific monuments. These include the stained glass artist Charles Winston on Southwell (1848),36 Fox on Morley (1872),37 Jourdain on Ashbourne (1881)38 and Bailey on Norbury Manor (1882).39 33 Cox. 34 J. T. Godfrey, Notes on the Churches of Nottinghamshire: Hundred of Bingham (London, 1907) and J. T. Godfrey, Notes on the Churches of Nottinghamshire: Hundred of Rushcliffe (London and Derby, 1887). 35 They are too numerous to note here, see bibliography. 36 C. Winston, ‘The Stained Glass of Lincoln Cathedral and Southwell Minster’, in his Memoirs Illustrative of the Art of Glass-Painting (London, 1865), pp. 77-105. The paper was first read at a meeting of the Archaeological Institute in Lincoln in 1848. 37 S. Fox, History and Antiquities of the Parish Church of S. Matthew, Morley in the County of Derby (London, 1872). 38 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church, Derbyshire’, DAJ, 3 (1881), pp. 90-94. 39 G. Bailey, ‘The Stained Glass at Norbury Manor House’, DAJ, 4 (1882), pp. 152-158 and 5 (1883), pp. 64-68. G. Bailey, ‘On a Painted Glass Window in Morley Church, Derbyshire’, DAJ, 8 (1886), pp. 143-149. 36 Charles Kerry’s ‘The Ancient Painted Window, Hault Hucknall Church’ (1898)40 and ‘The painted windows in the Chapel of S. Nicholas, Haddon Hall’ (1906)41 were the first works to use photography for illustrative purposes, a particularly useful tool at Ault Hucknall, where the glass has since deteriorated considerably. The first general survey of medieval glass in either county was published in 1917, where an article by Harry Gill ‘The Church Windows of Nottinghamshire,’ concerned with tracery forms in windows, has a catalogue as an appendix listing medieval glass in thirty-six Nottinghamshire churches.42 Gill’s entries are not extensive, but include some sites where glass has been subsequently lost. Nelson followed with a list of glass in both counties in his Ancient Painted Glass in England.43 In a number of articles in the Journal of British Society of Master Glass Painters, J. B. Himsworth lists some sites in Derbyshire containing medieval glass, and creates an involved comparative study of the glass of a number of sites.44 Nevil Truman was the most active writer of the twentieth century, publishing a series of eight surveys of medieval Nottinghamshire glass for the Journal of the British Society of Master Glass Painters. These were published between 1943 and 1950, and posthumously after 1951 through to 1957.45 Truman set out to produce a catalogue of all the medieval glass in Nottinghamshire, noting glass in forty-nine locations across the county, a list that is by no means comprehensive. 46 These 40 C. Kerry, ‘The Ancient Painted Window, Hault Hucknall Church’, DAJ, 20 (1898), pp. 46- 51. 41 C. Kerry, ‘The Painted Windows in the Chapel of St Nicholas, Haddon Hall, Derbyshire’, DAJ, 22 (1906), pp. 30-39. 42 Gill. 43 Nelson. 44 J. B. Himsworth, ‘Old Stained Glass in South Yorkshire and Derbyshire’, JBSMGP, 4, no. 2 (1931), pp. 65-70. J. B. Himsworth, ‘Some fragments of Stained Glass in South Yorkshire and Derbyshire’, JBSMGP, 3, no. 2 (1929), pp. 66-73. 45 Truman (1944), (1945), (1946), (1949), (1954), (1955), (1956) and (1957). 46 Although he claimed that his list was exhaustive he missed glass altogether at least three sites Mattersey, Tollerton and Weston-on-Trent, and eventually didn’t publish the entries for Kelham and Newark. His most disappointing omission is Elston chapel, a building where any trace of medieval glazing was destroyed by vandals in the 1970’s and has as a result gone unrecorded. 37 surveys, which take the form of catalogue descriptions of the glass along with contextual discussion of varying depth, are astute and learned. Generally speaking the late catalogues he produced are rather briefer than the earlier. Truman was clearly more interested in glass of pre-1400 and earlier glass receives far fuller treatment than that of the period covered by this thesis. This has lead to some rather surprising finds during the course of fieldwork. For example, a number of large heads at Warsop were dismissed by Truman in less than fifteen words each, giving no sense of the large scale or quality of the painting of the work.47 His surviving working notes for his surveys are now in the Nottinghamshire archives and include additional material to that contained in the articles, including lists of glass in need of restoration in his time.48 In addition to his Surveys Truman produced a detailed article on the medieval glass at Holme-by-Newark where he coordinated the restoration of the glass in 1932. As well as incorporating a catalogue of the glass, this article provides details of the restoration and some discussion of the history and patronage of the glazing. Truman also collected glass from Annesley and Attenborough at Holme, which he discusses in the article.49 Truman’s work still remains fundamental to any study of medieval glass in Nottinghamshire. Writers of more general architectural and topographical works have also included references to glass. Mee (1937 and 1938),50 Pevsner and Williamson (1978 and 1979),51 Osborne (1981),52 Coe (1981)53 and Cowen (1985)54 all provide references to glass in the two counties, but these are mostly gleaned from other printed sources and are sometimes unreliable. Between Truman and the present day there is little specific literature. The notable exceptions are Peter Newton’s thesis (see chapter I), which covers sixteen sites (most with glass outside the chronological scope of this thesis) and the isolated 47 Truman (1957), pp. 137-138. 48 Nottingham, Nottinghamshire Archives, M 13916-13923. 49 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, Throroton Society, 39 (1935), pp. 92-118. 50 Mee Derbyshire and Mee Nottinghamshire. 51 Pevsner Derbyshire and Pevsner Nottinghamshire. 52 J. Osborne, Stained Glass in England (London, 1981). 53 Coe. 54 Cowen. 38 articles by Joan Howson (1959)55 and Oswald Allen (1968)56 on the glass in Newark parish church and John Beaumont on the glazing of Southwell Minster (1988). 57 The latter two provide brief catalogues of the glass. This lack of recent scholarship, coupled with the threat posed to the medium by the rapid deterioration induced by pollution and vandalism make a detailed examination of the glass in these two counties a worthwhile and well overdue exercise. PART 2: THE CONDITION OF THE GLASS One of the major problems facing any student of medieval glass is its condition. Glass is by its very nature a fragile medium and window glass, forming as it does a barrier between the interior of the building and the outside elements is badly affected by environmental factors. Some glass, particularly that dating from the early sixteenth century, has significant paint loss: this can lead to interpretative problems, making stylistic comparison in particular difficult to achieve. Some glass is in imminent danger of being lost. One site where this gives cause for concern is Mugginton, where fragments of the original main light fillings are hanging perilously from decaying mortar. The threat posed by deliberate acts of vandalism is also quite acute, particularly as some areas are urbanised or socially deprived. An armorial panel and the head of an apostle or prophet at Warsop was damaged in 1990 by youths and the head is particularly badly fractured. At Mattersey in 1999, a matter of months before the author visited the church, the head of St John the Evangelist was damaged by shots from an air rifle and the centre of it is badly fractured. The situation is not all bad. Since the First World War a number of the more important monuments have been the subject of restoration or conservation work. 55 J. Howson, ‘East window of the south choir, Newark Parish church’, JBSMGP, 12, no. 4 (1959), pp. 264-269. 56 O. Allen, The medieval glass now in the window of the Holy Spirit Chapel in the parish Church of St Mary Magdalene, Newark (Newark, 1968). 57 J. Beaumont, The Stained Glass of Southwell Minster (Southwell, 1988). The late John Beaumont was the former stained glass advisor to the Diocese of Southwell. 39 Although undertaken with the best of intentions some of the earlier work was quite interventionist. The restoration at Newark by Joan Howson in the 1950s resulted in the entire loss of one panel from the early fifteenth-century Passion cycle. Fragments from this panel were amalgamated into unrelated panels to make them appear more complete Nevil Truman’s work at Holme, though preserving the surviving glass from entire loss by releading should also be censured. In the south chapel of the church he moved around a series of apostle figures from scattered positions among the tracery lights of the south wall to place them all in the east window. His process of restoration included the amalgamation of parts from partially surviving figures to create apparently complete ones, and cutting down others to fit into different tracery lights.58 More recently conservation rather than restoration has become the desired aim and work is more carefully carried out. Dennis King was responsible for conservation work at Norbury (1961-1978) and Tuxford (1967). York Glaziers Trust have been responsible for conservation work at Ault Hucknall, Kniveton and Egginton in the past thirty years. Barley Studio of Dunnington, North Yorkshire conserved window sIII at Morley and this window now has isothermal back-glazing, relieving the glass of its role as the main guard against the elements. Glass at Carlton-in-Lindrick and Barton in Fabis also has recent back-glazing. Right up to date, Holy Well Glass of Wells, Somerset are currently conserving the north and south chancel windows at Norbury, Derbyshire and Chapel Studio of Kings Langley, Hertfordshire are currently conserving the glass from window sII of the chapel of Haddon Hall. 58 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, Thoroton Society, 39 (1935), p. 116. 40 CHAPTER II THE PATRONAGE OF GLAZING Of all the aspects to the glazing of Derbyshire and Nottinghamshire in the period covered by this thesis, patronage has perhaps the greatest scope for comment. This is due in the most part to the interest antiquarians took in the heraldic and genealogical content of medieval windows (see chapter I). The evidence they provide, in the form of tricked and blazoned arms, devices and inscriptions, augments significantly the evidence derived from the surviving glass. The following chapter is divided into two parts. The first part considers the different methods and devices used and harnessed as evidence of patronage and modes of personal expression. The second provides an overview of the types of different patron encountered in Derbyshire and Nottinghamshire and the way they chose to express and commemorate themselves through glass. Modes of Expression Stained glass, whether located in the public and social theatre that was the parish church, or the more private space of a domestic building, was a useful vehicle of selfexpression for patrons. They incorporated into the windows they commissioned distinct devices and elements that expressed their status, aspirations, social, political and familial relationships and in the case of a church building, their sense of ownership over a specific space within that structure. Patrons would often incorporate their own image into the composition of church buildings and quite a number of these so-called ‘donor’ images remain. In Derbyshire and Nottinghamshire most of these are divorced from their original placement and visual context. These figures were usually placed in the attitude of prayer or with hands in the attitude of adoration. Sometimes, as at Ault Hucknall (figs. 18, 20 and 21) and Norbury (figs. 269-271, 275 and 276) in Derbyshire and Papplewick (fig. 309) in Nottinghamshire, they kneel in front of prie-dieus supporting open books, as if the patron were at his or her devotions during mass, within a private closet or chapel within the body of the church. The images often engage through gesture with the rest of the imagery in a window (see chapter III). In a culture dominated by rank and status, the way these donor images were dressed and 41 arranged, as in forms of monumental sculpture, served as a useful means of personal projection. Male figures could be dressed in plate armour with heraldic surcoats (as at Papplewick, Nottinghamshire), expressing armigerous status, or in fur-lined gowns (as at Ault Hucknall, Derbyshire), with prominent purses, to express wealth. Often donors were arranged in family groups, in strict order of precedence as at Norbury, where Nicholas Fitzherbert (fig. 271) is kneeling at a prie-dieu with the sons of his first marriage behind him, opposite his first wife and their daughters; the sons of his second marriage are kneeling in a second window, with their mother, Nicholas’s second wife, and her daughters. For those whose status entitled them to a heraldic bearing (see below), the use of heraldry could add to the self-projection of the donor image. They could express rising fortunes, marital alliances, or political, social or corporate associations. Additional emblems, quasi-heraldry, marks or symbols, could be used for the same purpose. At Norbury, Derbyshire and Holme-by-Newark and Annesley, Nottinghamshire, the patrons have incorporated their initials into the glass. At Norbury and Haddon Hall, in Derbyshire, sunbursts (a Yorkist symbol) are used and roses en soleil occur at Barton in Fabis, Measham and Newark, to express political affinities. In the churches of Holme-by-Newark (figs. 126 and 127) and Nottingham in Nottinghamshire, merchants’ trademarks are used heraldically and at Holme-byNewark and perhaps also Mugginton, Derbyshire (quarry type 57), rebuses are also employed. Windows, with or without ‘donor’ images, often incorporated inscriptions perpetuating the memory of the patrons. Many of these were bidding inscriptions referring to the process of intercession, and directly addressing and invoking the viewer of the window to elicit prayers for the souls of the individuals commemorated. The inscriptions from Derbyshire and Nottinghamshire are unremarkable in the way they do this and follow the standard forms found in other media, such as funerary monuments, beginning with the standard clauses ‘orate pro anima …’ (pray for the soul of …) or ‘orate pro bono statu …’ (pray for the good estate of …). Where evidence remains, at Ault Hucknall, Sutton Scarsdale, Mugginton and Staveley in Derbyshire ‘bono statu’ is generally used for windows erected during the lifetime of a patron. Invariably inscriptions express the status of the donor, using terms that refer to social rank, occupation and in the case of clergy their preferment and their educational record. 42 In some instances, inscriptions recorded a foundation of a chantry or other endowment within a church building. At Bakewell, Derbyshire, in a lost inscription in glass of the early fifteenth century over a side altar, Thomas Foljambe refers to the endowment of the altar with a chantry dedicated to the Holy Cross by his father, Sir Godfrey Foljambe (d. 1377). At Wirksworth glass placed directly behind an altar at the east end of the south aisle recorded the foundation of the chantry there in the second half of the fifteenth century by Sir Henry Vernon of Haddon Hall (d. 1515). Glass didn’t function purely in isolation. There is often a unity between different media, with monumental and architectural sculpture, wall and panel painting and wood carving, working together as a means of expression, each reinforcing the content of the other and together defining and personalising space. Often glass acted almost as an extension of monumental sculpture, with the heraldic displays and inscriptions on monuments frequently repeated or extended into the window above or adjoining them, as occurred at Sawley, Derbyshire, over the tomb of John Booth (figs. 316-317) and over the tomb of John Harrison at Stanford-onSoar, Nottinghamshire. In some contexts glass provided the means of commemorating a patron’s construction of part of a building. An inscription in glass at Tuxford, Nottinghamshire (fig. 366) referred to the construction of the chancel (fig. 370) in 1495, an inscription at West Hallam, Derbyshire referred to the construction of a north chancel window (fig. 382) in the early sixteenth century and inscriptions in the east windows of Haddon Hall and Ashover in Derbyshire referred to building work in 1427 and the early sixteenth century respectively. Side-chapel windows are dated at Staveley, Derbyshire (early sixteenth-century), the south nave aisle east window (figs. 224-225) at Mugginton (1480) and the construction and glazing of clerestory windows at Ashbourne, Derbyshire (early sixteenth century) and Laxton (1490) and Tuxford (1470s) in Nottinghamshire. At Sutton Scarsdale, Derbyshire an inscription in the east window of the north quire aisle additionally refers to the construction of that part of the building (figs. 364-365) and the reconstruction of the high quire or chancel in 1505 by John Leeke, listing the materials used in its construction: ‘Lapide cum Ligneo cum vitrio tumq[u]e plumbeo et Ferreo (stone with wood with glass and then lead and iron). All these modes of expression, the ‘donor’ image, personal and heraldic devices and inscriptions, were used in glass in various combinations by different levels of society and occupational groups in the period 1400-1550. 43 The patrons Window glass was an expensive medium. Although evidence exists elsewhere of less affluent members of medieval society working collectively as neighbours, demographic groups or as part of a fraternity or guild in the glazing of church buildings,1 no evidence of their involvement in glazing has remained in Derbyshire and Nottinghamshire. On the whole the patrons of glazing in Derbyshire and Nottinghamshire in the period 1400-1550 were the more affluent members of society, nobles, gentry, the newly moneyed and the higher clergy. As Payling and Wright have emphasised in their studies of political society in Nottinghamshire and Derbyshire in the fifteenth century, the term ‘gentry’ describes a somewhat disparate social group, difficult to define. The term can be used to embrace families and individuals of very varying social and fiscal levels and with differing degrees of participation in local and national politics,2 from the super-rich knightly class involved in cross-county and sometimes national politics, through the small landowners, who had been established on a single manor for generations, to the newly moneyed with high social aspirations. The class was extremely fluid and families could rise and fall within the ranks through judicious marriages or injudicious social connections. In general terms the single uniting force that defined the gentry as a group, was their use of the heraldic bearing, the shield of arms. At the top of the social scale were the nobles, of which there were few resident in Derbyshire and Nottinghamshire in the period: those who were resident had generally been raised from the ranks of the greater gentry. The Greys, Barons Grey of Codnor, Derbyshire were a minor baronial family with property in both counties.3 Their arms appear in a number of locations in the two counties, all of them put there by others, presumably reflecting the donors’ desire to associate with them. The only member of the family to directly patronise glass was Henry Grey, a bastard son of the last lord Grey, who held the manor of Barton-in-Fabis, Nottinghamshire from 1501 and whose arms appeared there in glass. 1 See: Sprakes, p. xxxiii, Hebgin-Barnes, p. xli. 2 Payling and Wright. 3 Payling, pp. 90-93. 44 Other noble patrons included the Cromwells, a long-established gentry family seated at Lambley and Cromwell in Nottinghamshire, who were elevated to the peerage in 1376. Ralph, third Baron (d. 1456) was responsible for rebuilding churches on family property. At South Wingfield, he rebuilt the tower of the church and the south nave aisle and the latter contained his arms in glass.4 In 1465 Sir Walter Blount of Barton Blount, Derbyshire (d. 1474) was elevated to the peerage as Baron Mountjoy. He posthumously provided heraldic glass in Elvaston church, as part of his reconstruction of the east end of the south quire aisle to form the quire of the Assumption of the Blessed Virgin Mary, provided for in his will. The richer gentry, the ‘county elite’ as Payling terms them, are one of the biggest groups of patrons. The Vernons, Foljambes, Leakes and Frechvilles, were all responsible for glazing in churches sited on their multiple manors and within their own homes. Some families maintained private chapels on their estates as well as supporting their parish churches. Sir Richard Vernon of Haddon (d. 1451) rebuilt the chapel of his Derbyshire home, Haddon Hall. The Babingtons had a lavish chapel on their manor at Dethick, Derbyshire but also maintained a ‘quire’ in the parish church of Ashover in which they were buried and to which they gave glass. The thinly populated northern part of Derbyshire was sub-divided into massive parishes, often covering vast tracts of land and encompassing many settlements. In some instances the parish churches were used by a number of gentry families, each of which used glass to define their own space within the structure. Ashover, Derbyshire is a good example, where the Rollestons of Lea and the Babingtons of Dethick each marked out their own separate ‘quire’ at the east end of the north and south aisle, using screenwork and heraldic display in glass to express their sense of ownership over these distinct areas (figs. 10-14). Heraldry in glass was used as a vehicle by the gentry to express the complex ties of lordship and political affinity that developed in the bastard feudal world of the fifteenth century. Nicholas Kniveton incorporated shields of arms of a number of prominent families into the tracery lights of the window of 1480 in his chapel in Mugginton church, Derbyshire (figs. 220-227). These included the Curzons (q.v. 4 He was posthumously the patron of glass at Tattershall at the College of the Holy Trinity he had founded there. See R. C. Marks, The Stained Glass of the Collegiate Church of the Holy Trinity, Tattershall (Lincs.) (New York and London, 1984). 45 Croxall and Kedleston) and Gresleys, but he also included the arms of two prominent Yorkist nobles, Lord Hastings and Lord Mountjoy (d. 1474). He had served in the retinue of the latter. The use of heraldry to express these ties quite naturally spills over into the glazing of the domestic spaces of the gentry. The Curzons at Croxall and Kedleston in Derbyshire, the Cliftons at Hodsock, Nottinghamshire and the Sacheverells at Morley and the Fitzherberts at Norbury in Derbyshire, filled their houses with heraldic displays that expressed their social, marital and political connections. The shields were invariably placed in the principal area for display and entertaining, the hall. At Croxall Thomas Curzon (d. 1485) included the arms of his cousins, Sir Thomas Gresley (d. 1487) and Walter Blount, Lord Mountjoy (d. 1474) in the sequence and those of Blount’s former master Richard Neville, Earl of Warwick (1428-71). Often heraldic displays in houses were phased, added to piecemeal by successive generations of a family, to build up a picture of their longevity and of association and establishment over a significant period of time. This is perceptible at Morley Manor, Derbyshire, where successive members of the Stathum family and their descendants, the Sacheverells, gradually added to the glazing of the hall. Many of the wealthier prominent families had a number of subsidiary cadet branches and members of these families were also patrons of glazing. The Savages, whose main interest in Derbyshire was at Stainsby, had a subsidiary branch seated at South Wingfield, Derbyshire. Sometimes, but not always, these cadet branches differenced their arms with marks of cadency. Ralph Savage (d. 1505), the son and heir of Arnold Savage of South Wingfield a member of a cadet branch of the family whose senior branch held the manor of Stainsby, uses the Savage arms differenced by a mullet on his donor image at Papplewick, Nottinghamshire (figs. 309-310). The Curzon family had two collateral branches of equal status throughout the period covered by this thesis, seated at Kedleston and Croxall in Derbyshire. Both were patrons of glazing and both used the same shield of arms, undifferenced in this glazing. Although the Croxall branch was the senior branch, descended from the elder son, by the sixteenth century they were poorer than their Kedleston cousins and adopted a new achievement. Sons and heirs of gentry families rarely had the finances to patronise glass themselves. Sometimes they are portrayed in glazing schemes individually and not as 46 part of a larger group of children. At Tuxford, Nottinghamshire, Edward Stanhope, the grandson and heir of John Stanhope was commemorated by a separate window in the clerestory of the church, erected during his father’s lifetime. Although his grandfather was portrayed in his ‘donor’ image in plate armour with heraldic surcoat, Edward was dressed in civilian attire, a ‘red robe’. An elder son of the Frechville family was similarly portrayed at Staveley, Derbyshire. At the bottom of the gentry were the minor local families, who held single manors. These families had often been established for generations on their estates and often took their names from them, like the Brinsleys of Brinsley, the Barleys of Barlow and the Hardwicks of Hardwick. In the main these families had no rivals and dominated their local social scene. This was not always the case in Derbyshire, where (as we have seen) parishes were large. Some of the glazing at Ault Hucknall, Derbyshire provides a glimpse of social deference among different ranks of the gentry. Among the patrons of glazing here in the 1520s was John Hardwick, who was the owner of the manor of Hardwick, a man from a long-established armigerous family. In the window he patronised his donor image (fig. 20) shows him dressed in civilian garb and the lost inscription described him as ‘generosus’ (gentleman), a status lower than that of esquire, which he was entitled to as an armigerous man. Why he projected himself in this way is not clear, but it could be conjectured that it was in deference to his neighbour and fellow parishioner Sir John Savage of Stainsby, who patronised glass as part of the same campaign, who was the eldest son of an extremely wealthy gentry family seated at Barton in Cheshire and whose wife, Elizabeth (fig. 21), was the daughter of Charles Somerset, Earl of Worcester and consequently a descendant of Edward III. Gentry who were resident outside the county, or who had minor property or patronal interests within Derbyshire and Nottinghamshire, were also commissioning glass. The FitzWilliams of Sprotborough in the West Riding of Yorkshire held a manor in Plumtree, Nottinghamshire and consequently gave the glass in the east window of the church. The Leighs of Adlington, Cheshire, were commemorated by glazing in the chancel of South Normanton, Derbyshire, a living in their patronage. The Yorkshire baronial family of Darcy and their descendants the Strangeways of Harlsey and Whorlton in the North Riding of Yorkshire, were commemorated by glass at Eckington, Derbyshire, where they held the patronage of the two medieties of the rectory. 47 At Newark-on-Trent, Nottinghamshire, Sir Thomas Burgh, a Knight of the Garter and later elevated to the nobility as the first Baron Burgh, gave a window in the north side of the quire. His son is listed as a member of the Fraternity associated with Newark’s governing body, the Guild of the Holy Trinity, suggesting a long association with the town, perhaps based on mutual trading connections. Burgh’s principal manor at Gainsborough, Lincolnshire was, like Newark, a port on the river Trent. On some occasions friends, relatives and associates from outside were involved in a glazing scheme initiated by a resident gentry family in their local parish church and this process can be glimpsed at Staveley, Derbyshire and Tuxford, Nottinghamshire. In the glazing of a newly erected south chancel chapel at Stavely (fig. 346) the Frechville family were joined by Thomas Tempest of Bracewell, Yorkshire (d. 1506), who was a relative by marriage. At Tuxford, John Stanhope (d. 1493) and members of his family were joined by the lawyer Sir John Cheyne of FenDitton, Cambridgeshire (1423-1490), a man whose connection with Stanhope is not clear. As documentary evidence is lacking, the dynamics of the processes and relationships involved in the commission of such a scheme remain shadowy. Presumably for the resident family the involvement of others had the added advantage of cutting the costs of glazing without devaluing the importance of their own involvement, and further promoting their social connections. Very little glazing was patronised directly by women. Where evidence of their direct patronage exists, they were usually women with some fiscal independence, such as widows or those who held property in their own right. A lost window at Mugginton, Derbyshire was given by Isabella, the widow of John Bradshaw (d. 1516) and the inscription invoked prayers for his soul and prayers for her good estate. At Tuxford, Nottinghamshire, Lady Matilda Willoughby, the widow of Lord Willoughby de Eresby, participated in the glazing of the clerestory (fig. 371), where she was commemorated by an inscription and a donor image showing her dressed in a heraldic mantle. She held a portion of the manor of Tuxford in her own right as one of the heiresses of her uncle, Ralph, 3rd Baron Cromwell (see above). Jane, Lady Talbot, gave forty shillings ‘to the making of a window in the church of Glossop, Derbyshire’ in her will of 1505 (see chapter I). Merchants and lawyers, who had often acquired significant assets in readymoney, often used this wealth to acquire estates and assimilate themselves into 48 gentry society. A number of these individuals were patrons of glazing and there is usually no difference between the way they and the established families use it as a means of self-expression. John Port, a lawyer and son of a Chester merchant, who had purchased his estates from his father-in-law, in the heraldry he chooses to include in Etwall church, Derbyshire, he plays up his connections with his wife’s family, the long-established Fitzherberts of Norbury (q.v.). Sometimes the self-consciousness of the newly moneyed is perceptible in the glass they patronised. The wool-merchant John Barton is a case in point. His origins are obscure; all we know of him is that by the late 1480s, he was a man of advanced years, who had successfully established himself on a rural manor at Holme-byNewark, Nottinghamshire, just north of the bustling town of Newark and had married his children and grandchildren into Lancashire gentry society. He rebuilt much of the church at Holme, adding to it a south chancel ‘quire’ as his mortuary chapel (figs. 141 and 142). The east window of the chapel utilises all the known devices of personal projection. It included donor images of him and his wife (fig. 125) and a long and detailed patronal inscription, to which was added, in the tracery, his own shield of arms, those of his children and grandchildren and those of his trade guild. To further reinforce all this material, the background of the figures in the window were set on ground of quarries charged with his merchants mark, initials and a rebus (figs. 126 and 127). Although he had a shield of arms and had therefore established gentry status, the inscription in the window expressed his status in terms of his occupation; he is described as ‘mercator’ (merchant) with an allusion to his position as Mayor of the staple of Calais. His self-conscious expression of self-made status was even more implicit in the glazing of his house at Holme, which incorporated the inscription: ‘I thank God and ever shall the sheep hath paid for all.’ The division between the newly moneyed and the established gentry was blurred by the younger sons of gentry families entering commerce. They of course use all the trappings of their gentle status. John Barton’s contemporary in the Staple of Calais, Thomas Mering (d. 1500) of Newark-on-Trent, Nottinghamshire, is an example. He was a member of an established knightly family, being the son of Sir William Mering of Mering in the parish of Sutton-on-Trent, Nottinghamshire. He was a younger son and was therefore unlikely to inherit, so his establishment in a trade was a necessity of survival. In the glazing of the east window of Newark parish church, Mering exploits his gentry position to the full. His donor image (fig. 247) 49 shows him dressed in full plate armour with a heraldic surcoat bearing the Mering arms. The inscription below his image describes him as ‘armiger’ (esquire). In order to further reinforce his high social status within county society, the window also included an image of his mother who was a member of the Neville family of Rolleston, another prominent gentry family. Just as all levels of gentry society were represented, so all ranks of the clergy, from the greater prelates to lesser parish clergy and domestic chaplains, are among the patrons of glazing in Derbyshire and Nottinghamshire. The two counties were not united ecclesiastically in the Middle Ages, but were located in different dioceses and provinces: Derbyshire formed part of the diocese of Coventry and Lichfield and was therefore in the province of Canterbury whilst Nottinghamshire constituted the most southerly portion of the vast archdiocese of York. Although none of the bishops of Coventry and Lichfield are known to have given any glass, a number of archbishops of York were patrons of glazing. Their patronage was centered on Southwell Minster, a collegiate foundation, which served effectively as a pro-cathedral for Nottinghamshire. The glazing of the lost Booth chapel in Southwell Minster, which was built by archbishop Lawrence Booth of York (pontificated 1476-1480), as a mortuary chapel for himself and his brother archbishop William Booth (pontificated 1452 to 1464), contained kneeling images of him and members of his extended family (fig. 341). The east window contained Lawrence’s own image and that of his brother John, who was bishop of Exeter from 1465-1478, both in full pontificals, with the side windows containing images of Lawrence’s nephew and executor Sir Gervase Clifton (d. 1491) and his sister Margery and her husband Sir John Byron of Clayton, Lancashire. Lawrence Booth’s successor, Thomas Rotherham (pontificated 1480-1500), was responsible for structural work at Laxton church, Nottinghamshire, where for a short time he held a manor and the advowson of the church. The lavish nave (figs. 168 and 169) clerestory bears his figure and his arms. The glazing, in which members of the local community joined Rotherham, dates the structure to 1490. Rotherham’s successor, Thomas Savage (pontificated 1501-1507), was a member of a family who had property at Stainsby in Ault Hucknall parish, Derbyshire and was, due to familial connections, commemorated in glass at Newstead Priory, Nottinghamshire and Sutton Scarsdale, Derbyshire. At Newstead, he was commemorated by a shield of arms and inscription, alongside that of his 50 brother, William, who was prior sometime between 1504 and 1526. At Sutton Scarsdale Archbishop Savage was commemorated in a window, that was most probably paid for by the local landowner John Leeke, who was married to his sister. The window included a florid inscription commemorating ‘Honorabilissimi Patris in Christo’ (the honourable father in Christ) and an image of St William of York. In both instances we perhaps have, rather than glass patronised directly by the archbishop, examples of relatives of a more powerful man attempting to bolster their prestige through the exploitation of their social links. The arms of Archbishop Thomas Arundel, archbishop of Canterbury (13971414), were included with those of Richard II in the south nave aisle at St Mary’s, Nottingham. The reason for his inclusion is not clear. Members of the Cathedral establishment at Lichfield are found among the patrons of glazing in Derbyshire. John Booth (d. 1496), Treasurer of Lichfield Cathedral and a nephew of archbishops William and Lawrence of York, was responsible for some glazing at Sawley, Derbyshire, a prebendal church attached to the treasurership. The glass he patronised was probably installed in conjunction with the construction of his tomb (figs. 316 and 317), which is located in a bay window projecting from the south side of the chancel. The glass commemorated himself and other members of his family: his parents and elder brother, who were tenants of the prebendal estate and his younger brother, Ralph (d. 1497), who held the archdeaconries of York and Durham in plurality for the majority of the last quarter of the fifteenth century. Lower parish clergy are also represented by glass in Derbyshire. At Ault Hucknall, Derbyshire, Richard Pawson, the vicar, was commemorated by an inscription, a donor image (fig. 18), and as he was presumably not from an armigerous family, the arms of Newstead Priory his patron in the living. His badly damaged donor image, which survives, shows him dressed in the choir habit of an Augustinian canon, with a rochet or surplice under a blue choral cope. The glass was probably part of a unified scheme glazed at the time of the reconstruction of the chancel and south chapel in conjunction with some of his more prominent parishioners, the Savages of Stainsby and the Hardwicks of Hardwick. It is not surprising that most of the parochial clergy commemorated in glass are rectors of unappropriated livings and that most are commemorated by glass in chancels, presumably reflecting their responsibility for the maintenance and upkeep 51 of that space. Brian Rose, who was rector of Ashover, Derbyshire from 1518 to 1529, gave glass that commemorated his gift of the fabric of the east window. At West Hallam, Derbyshire a ‘north’ window in the chancel contained ‘two images’ and an inscription stating that the window had been given by Robert Aleyn, who had been presented to the rectory in 1483. In the chancel of Whittington, Derbyshire, the name of the rector Roger Crich (d. 1413) appeared in the east window. At Eckington, Derbyshire, two windows were given by parochial clergy, who had been preferred to family livings. An inscription of the late fourteenth or early fifteenth century, part of which remains, commemorates Roger Darcy, rector of one of the medieties of Eckington between 1385 and 1398, who was presented to the living by his kinsman Philip, sixth Baron Darcy (d. 1418). Elsewhere in the church was a donor image of a priest-member of the Strangeways family, probably Richard Strangeways rector from 1483-1485 or George Strangeways rector from 1485. Richard was the son of James and Elizabeth Strangeways who held the patronage of the united benefice at the time of his presentation. As a younger son of a gentry family the image of the Strangeways priest was accompanied with all the heraldic trappings of his social status. Just as the gentry might work collectively or use glazing to reflect their social and political relationships, so on occasion clergy might use glass to express their connections, with various clerical ranks working as a collective to glaze part of a building, as appears to have occurred at Weston-on-Trent, Derbyshire. Here Richard Oldham, bishop of Sodor and Man 1478-85, and abbot of Chester 1453-85 (and by virtue of the latter position patron of the living of Weston), was commemorated along with a group of local incumbents and cathedral officials, including John Booth, the aforementioned treasurer of Lichfield and Hugh Fayrclough, vicar of Melbourne, Derbyshire 1459-82. Booth was of course from an armigerous family, so his arms are included beside the inscription commemorating him, but Fayrclough it seems, probably in common with the majority of parish clergy, was not and instead used what may be a generic shield charged quarterly or and gules. There is ample evidence from other parts of Britain that clergy from non-armigerous families could resort to other non-heraldic methods of self-expression, particularly the use of 52 rebuses.5 No firm example exists in Derbyshire and Nottinghamshire of such a device, though the quarries charged with covered cups and the capital ‘R’ at Mugginton, Derbyshire (type 57), may refer to John Cowp, who was rector of Mugginton from 1469 to 1507. At Sutton Scarsdale and Staveley in Derbyshire, glazing schemes in areas of the church built by and personalised by the Leeke and Frechville families included windows commemorating clerical members or associates of their households. At Sutton Scarsdale, Master James Beresford, bachelor of Sacred Theology, is commemorated with two of Sir John Leeke’s children, probably by virtue of his position as chaplain or tutor within the Leeke household. Beresford was a member of a gentry family seated at Fenny Bentley, Derbyshire, and a pluralist, holding the living of Chesterfield, Derbyshire (1484-1520) in plurality with the rectory of Matlock, Derbyshire (1497-1504), the vicarage of Wirksworth (1504-1520) and a Lichfield prebend (from 1507). His arms also appeared in glass at Chesterfield. At Staveley, John Bakewell ‘chaplain’, who was probably the Frechville’s domestic chaplain, has a window adjoining one commemorating members of that family. There is no direct evidence of the patronage of glazing by chantry priests. Some of the glass in C3 and C8 of sII at Newark parish church, Nottinghamshire, is believed to have come from the common house of the Newark chantry priests in Apeltongate, when this structure was demolished in 1920. As well as the Abbot of Chester’s glass from Weston-on-Trent, considered above, there are two more examples of parochial glass associated with monasteries, reflecting the role of religious houses as impropriators of livings and their resulting responsibility for the maintenance of parochial chancels. At Tuxford, Nottinghamshire, glass in the east window of the chancel (fig. 370) included an inscription (figs. 366 and 367) recording its rebuilding, under the auspices of the prior Thomas Gunthorpe (ruled 1467-1504) of the Augustinian house of Newstead that held the living. The window included a group of thirteen figures ‘in surplices a[nd] blew copes, kneeling, with shaven crownes’, presumably representing Gunthorpe and members of his community. The thirteen figures are clearly symbolic 5 Eden provides three abbatial rebuses referring to Abbot Ramryge of St Albans, Abbot Kirton of Peterborough and Abbot Islip of Westminster. The latter is illustrated. F. S. Eden, Ancient and Painted Stained Glass (Cambridge, 1913), p. 136. 53 of the idealised monastic community, with the superior representing Christ and the remaining twelve religious, the twelve disciples. A similar group of Augustinian canons, dressed in the same manner, are extant in Papplewick, Nottinghamshire (fig. 314), another Newstead living. The glazing of the south wall of the chancel at Tuxford continued the Newstead theme with the arms of the priory, the arms of the King as founder of the house (Henry II established the priory around 1170) and those of John Lungvilliers, who granted the patronage of the living to the house. Patronage was a two-way process. The arms of the Stanhope family, who were the descendants of John Lungvilliers, were included among shields representing other prominent landowners in the priors’ lodging at Newstead. At Papplewick, the kneeling canons are alongside an image (fig. 309) of Ralph Savage (d. 1505), a known patron of Newstead priory. In a window at Stapleford, Nottinghamshire, another Newstead living, were the arms of Newstead priory and Gunthorpe again with an inscription commemorating Thomas Gunthorpe. Not all glazing given by monasteries to parish churches was due to an official association. John Allestre, who was prior of Thurgaton in 1494, presented a window in the chancel at East Bridgford, Nottinghamshire. As the priory had no obvious connection with Thurgaton, he presumably gave the glass on the basis of some unrecorded personal connection. 54 CHAPTER III ICONOGRAPHY Due to the random survival, the removal and isolation of glass from its original context, the unrepresentative character of the remaining glass and the scant evidence of imagery within written sources (see chapter I), it is difficult to determine patterns or draw any sweeping conclusions regarding the significance of the iconography of glass in Derbyshire and Nottinghamshire in the period 1400-1550. Therefore the following chapter presents a synopsis of the main surviving themes and adds a brief note attempting, in some degree, to establish some of the ways this imagery could function and be interpreted. PART 1: THE IMAGES The Old Testament The only glass alluding to an Old Testament text is a roundel in A1 of nIV (fig. 159) at Kirton, Nottinghamshire, charged with a white hart and the text ‘sitiuit anima mea ad deum vivus’ (my soul thirsts for the living God), paraphrasing the opening verses of Psalm 41 (42). Until the mid-nineteenth century a south window at Ockbrook, Derbyshire contained a number of Old Testament subjects, including: The Battle of the Amalekites (I Samuel 14. 48), Balaam and the Ass (Numbers 22. 21), Elisha and Naaman (II Kings 5), Solomon’s Judgement (I Kings, 3. 16-28) and King Hanun ordering the beards and skirts of David’s servants to be cut off (II Samuel, 10. 4). At Mackworth, Derbyshire were subjects which Rawlins identified as ‘the interview of Mamre’ (Genesis 18) the fall of Jericho (Joshua 6), ‘the spoil taken from the Amalekites’ (I Samuel 15) ‘and the Sacrifices at the Dedication of Solomon’s Temple.’ None of this lost glass can be positively dated, but the glass at Ockbrook may have been continental and the glass at Mackworth was in a fourteenth-century window. 55 Christ Window sII at Newark on Trent, Nottinghamshire has a number of extant early fifteenth-century panels relating aspects of the life and Passion of Christ, including the Massacre of the Holy Innocents (4b), the Crucifixion (3e), Deposition (3e) and Ascension (2e) (figs. 22, 229, 235). The Crucifixion and Deposition panels were amalgamated into one in the 1950s and fragments of the latter were deposited elsewhere within the window. In the Ascension panel Christ’s feet are protruding from a cloud and the Virgin Mary, St Peter and the other Apostles are placed around the Mount of Olives, which bears the footmarks of Christ. The prominence of Mary in this composition may suggest that the theme of the panels was Marian rather than Christological. They may have formed, along with panels of the Annunciation (2b, fig. 233), the Visitation to St Elizabeth (3b, fig. 232) and the death of the Virgin (2f, fig. 241) by the same workshop, part of a sequence of the Joys and Sorrows of the Virgin, of the sort common in alabaster altarpieces in the early fifteenth century.1 Fragmentary images of the Christ Child remain at Ashbourne, Derbyshire and Averham, Nottinghamshire. At Ashbourne (nXI, 2d, fig. 2) the figure is crossnimbed and has his hand in the attitude of benediction and may have formed part of a larger image of St Christopher. At Averham (nII, 1a, fig. 31) the head is of a child of 5 years or upwards. It is impossible to determine the original context of this, but one reasonable hypothesis is that it formed part of a panel of Christ with the doctors in the Temple and can be compared to a panel with this subject in the east window of St Peter Mancroft, Norwich. A head of a male child with uncrossed nimbus at Hickling, Nottinghamshire (I, A2, fig. 116) could be the Christ Child, but might equally be one of the Holy Kindred, as occur in window I at Holy Trinity, Goodramgate, York. On the other hand it could be a child saint such as St William of Norwich, whose image appears on rood-screen paintings in East Anglia.2 A figure of a kneeling King or noble at Averham, Nottinghamshire (nII, 3a, fig. 25) may be the sole remainder of an Adoration of the Magi composition. The Crucifixion of Christ is one of the most common iconographical devices employed in the period, and there are the remains of nine surviving and evidence of a 1 As an example see: F. Cheetham, English medieval alabasters with a catalogue of the collection in the Victoria and Albert Museum (London, 1984), pp. 70-71. 2 E. G. Tasker, Encyclopaedia of Medieval Church Art (London, 1993), p. 168. 56 further half dozen lost examples across the two counties. The most usual way of portraying the Crucifixion was with a central image of Christ suspended from the cross, flanked by attendant images of the Virgin Mary to Christ’s right and St John the Evangelist to his left. This replicated the dominant three-dimensional image in a medieval parish church, the great rood, which was placed over the chancel screen. The expression of the figures of Mary and John pretty much follow standard models, with Mary looking downwards, with her hands crossed, or held at her breast, as at Norbury, Derbyshire (I, 2/3c, fig. 260) or in adoration as at Nuthall, Nottinghamshire (I, light b, fig. 303), with St John the Evangelist, often with wildly curling hair, looking downwards, supporting his head on his hand, as at Mattersey (nII, 1b, fig. 181) and Nuthall (I, light c, fig. 304) in Nottinghamshire. Sometimes the central image of the Crucified Christ is further elaborated. The cross is sometimes raised on a Golgotha on which are strewn grinning skulls and/or long bones as at Lambley, Nottinghamshire (I, 1c, fig. 165) and Ashbourne (nXI, 1c, fig. 1) and Mapleton (nIII, 2a, fig. 179) in Derbyshire. On occasion the cross is supported on a raised plinth resembling a late medieval tomb chest, as at Lambley (fig. 165). These images have a dual symbolism: they represent the bones or grave of Adam, who was by tradition said to have been buried at Golgotha, but also reflect the theological significance of the Crucifixion, as the final victory over death. At Haddon Hall, Derbyshire (I) the figure of the Crucified Christ is surrounded by diminutive figures of Angels (fig. 97), some sorrowing, with their arms crossed at their breasts, or hovering around the cross collecting in chalices the blood issuing from Christ's wounds. Fragments of a similar composition also remain at Doveridge, Derbyshire (sVIII, 4b, fig. 72). This imagery is presumably a reference to the sacrificial theology of the sacrament of the mass and would be particularly apposite when the image was placed directly above an altar. At Measham, Derbyshire and Newark, Nottinghamshire the Passion of Christ is represented symbolically by the quasi-heraldry of the ‘Arma Christi’, the Arms of Christ, shown as shields bearing the Instruments of the Passion. One shield at Measham (sVI, 2a, fig. 184) is charged with the crown of thorns and nails and the other (sVII, 2b, fig. 185) with the spear and vinegar rod. At Newark (sII, C6, fig. 238), a single shield is charged with the cross, crown of thorns, spear, vinegar rod and flails. 57 There are a considerable number of extant roundels charged with the monograms ‘IHS’, ‘IHC’ or ‘XPC.’ ‘IHS’ and ‘IHC’, the most common, are abbreviations of ‘IHCOUS’ a Latinised version of the Greek name of Jesus, with ‘XPC’, which only remains in a single example at Eckington, Derbyshire (I, 2f, fig. 91) an abbreviation of ‘XPICTOS’, the Latinised Greek for Christ.3 Most of the surviving roundels are isolated from their original context, but where documentary evidence refers to them it suggests that they may have been used in conjunction with images of the Crucifixion. At Selston, Nottinghamshire and Whittington, Derbyshire ‘IHS’ monograms were placed directly above the image of the Crucified Christ. As a development of this, Passion imagery survives in a window of the 1480s at Morley, Derbyshire which was removed from the cloister of the Premonstratensian abbey of Dale. This narrates, in a series of ten extant panels in window nIII (figs. 194-199), the Invention and Exaltation of Christ’s Cross. The upper part of the window lays out the Invention, i.e. the discovery of the ‘True’ Cross by St Helen. The first panels show the construction of the cross (fig. 194), Christ being nailed to it (fig. 195), and its burial. The next show St Helen receiving a vision of its whereabouts, its discovery under her direction (fig. 196) and its use in a healing miracle. The lower panels refer to the recovery of the cross from Chosroes, King of Persia by the Byzantine Emperor Heraclius. The first panels shows the emperor recovering the cross and decapitating Chosroes (fig. 197) and the forcible baptism of his son, with the last two panels showing Heraclius’ triumphant entry into Jerusalem with the cross (fig. 199) and its subsequent exposition and exaltation (fig. 198). Each of the panels is accompanied by a Latin text describing the scene above. The inclusion of the window at Dale probably has some association with the liturgical life of the house, as the Canons were censured in 1478 for their fondness for the ‘Office of the Holy Cross.’ This predilection may reflect one of the foundation legends of the house, which refers to the site of the abbey church being marked by a golden cross (see catalogue entry.) The victory of the cross is represented by other types of Christological imagery, where the resurrected and ascended Christ is presented ‘in Majesty’ as the judge of mankind. In a south window at Whittington, Derbyshire there was 3 See: F. Bond, Dedications and Patron Saints of English Churches. Ecclesiastical Symbolism, Saint and their Emblems (Oxford, 1914), p. 258-259. 58 formerly an image of 'Christ of the Wounds', with Christ seated in Majesty with his side bared and his hands raised, exposing his wounds, with blood issuing forth. The image was probably in a central tracery light and may have been the culmination of a larger composition, perhaps a ‘Last Judgement’ or ‘Doom’. This is borne out by the trumpeting angel flanking him to his right who was presumably sounding the ‘last trumpet.’ Fragments of a further image of Christ in Majesty are extant at Balderton, Nottinghamshire. In this case all that remains is the hand of Christ set against a Mandorla or Glory, with his hand in the attitude of Benediction in panel 3a of nIII (fig. 37). The image is fairly small scale and presumably formed part of either a tracery light filling, or a narrative series, where an image of Christ or the Godhead might form a focus, such as the Te Deum (see below.) The Holy Trinity Medieval glaziers approached the problem of visualising the Catholic doctrine of the Trinitarian Godhead in a number of different ways, through the use of images and symbols. Most of the remaining images attempt to represent the Father, Son and Holy Spirit as three separate entities, their unity expressed by placing them in close contact with each other. God the Father is usually seated on a throne, supporting Christ Crucified with both hands, with the Holy Spirit in the form of the dove hovering around the top cross beam. Four examples of this type of image are known: two are extant, both at Norbury, Derbyshire (wI, light c and sVI, 4b) and two are lost examples from Flawford and Kirkby-in-Ashfield in Nottinghamshire. In the larger example at Norbury (fig. 262), God the Father is dressed in a cope with a papal tiara on his head. The lost example from Flawford (fig. 158) showed the Father similarly dressed and crowned with a circlet, whilst at Kirkby-in-Ashfield Christ’s cross was supported on a globe. At Newark, Nottinghamshire is a shield charged with a diagrammatic symbol incorporating Latin texts, expressing the mystery of the Trinity. In this diagram (sII, C5, fig. 238) ‘Deus’ is placed on a central boss, from which radiate bands charged with ‘est’ which link to bosses charged with ‘pater’, ‘filius’ and ‘Spiritus Sanctus.’ These in turn are linked by bands charged with ‘non est.’ Thus the symbol is a neat paraphrase of the substance of the Athanasian Creed, and can be read bi-directionally 59 to express: The Father is God, the Son is God, the Holy Spirit is God, the Father is not the Son or the Holy Spirit, the Son is not the Father or the Holy Spirit and the Holy Spirit is not the Father or the Son.4 A lost ‘emblematic’ of the Trinity from Etwall was probably a similar shield. The presence of the shield at Newark may refer to the Trinity Guild, which was the dominant force in Newark’s spiritual and political life in the late Middle Ages. In window nII at Morley, Derbyshire, three panels probably forming part of a window of the 1480s from the cloister of Dale Abbey, have groups of figures in the act of praising the Godhead. The three panels represent the Apostles headed by St Peter (fig. 193), a mixed group of saints headed by St John the Evangelist (fig. 192) and a group of ecclesiastics, headed by the Pope and including cardinals and bishops (fig 189). Each group has an ascending scroll with blackletter text in front of it. The ecclesiastics have ‘Tibi laus et tibi gloria tibi decet honor (To you is praise and to you glory and to you right honour), the Apostles: ‘Te decet laus et honor domine’ (It is right to praise and honour you O Lord) and the mixed group of saints: ‘In saecula sempiternam beata’ (You are blessed in all ages eternally). The images all gaze upwards towards a lost focus of devotion placed outside the panels. Although the panels are perhaps suggestive of a window representing the Te Deum Laudamus, which refers to various groups of individuals, the Apostles, Prophets, Martyrs, Church, praising the Trinity, the texts do not appear to relate to that canticle.5 The Virgin Mary The Virgin Mary was the principal object of medieval English parish piety. As the Mother of Christ, she was accorded immense intercessory power - she was the intermediary pre-eminent between God and Man. Reflecting her central role in the medieval English religious psyche, her image, in various contexts, is by far the most common employed in glass in Derbyshire and Nottinghamshire in the period 14001550. Images remaining in glass either represent her as a standing figure emulating 4 F. Bond, Dedications and Patron Saints of English Churches, p. 251. 5 A Te Deum window, formerly the east window of St Martin-le-Grand, Coney Street, remains in sVII and sVIII of York Minster. In it the text of the canticle in its entirety is divided among the panels. See: Marks (1993), p. 85. 60 three-dimensional sculpture, or as part of narrative scenes based on the synoptic or apocryphal Gospels. Three images of Mary holding the Christ Child remain, at Killamarsh (sII) and Haddon Hall (I, A6) and Morley (nII, 2-3b) in Derbyshire. In the image at Killamarsh (fig. 155), Mary is a regal figure crowned and holding a sceptre, with the Christ Child, supported on her left arm, tugging playfully at her long flowing hair. At Morley (fig. 191) she is in company with St Ursula and St Mary Magdalene. Mary’s early life is illustrated in two images at Norbury (sVI, light b, fig. 264) and Haddon Hall in Derbyshire (nII, 2-3b, fig. 106), both showing Mary as a daughter, being taught by her mother, St Anne to read. This type of image was extremely popular in late medieval England and has numerous parallels in glass elsewhere. Images of Gabriel’s Annunciation to Mary remain at Haddon Hall, Derbyshire and Newark, Nottinghamshire and fragments of others remain at Weston, East Retford and probably Saundby in Nottinghamshire. At Newark (sII, 2b, fig. 233), the Virgin is kneeling at prayer in a pavilion, with Gabriel entering to the left, holding a scroll bearing his salute: ‘Ave Maria gracia plena dominus tecum’ (Hail Mary full of grace the lord is with you). Between the figures is the lily pot, a traditional medieval symbol of Mary’s purity, and on her descends a ray of glory containing a dove, representing the descent of the Holy Ghost. The scene at Haddon Hall (fig. 101) is similar, except that the scene is disposed over two lights (I, A3 and A4). Only a fragment of Gabriel with part of the ‘Ave’ scroll remains at Weston (sIII, A3, fig. 383) and the head of the archangel, presumably Gabriel, at Saundby (wI, 1b, fig. 315). At Averham, a gesturing angel from a tracery light (nII, 3b, fig. 27) may be Gabriel, but he doesn’t hold a scroll. Brian Sprakes had identified a small fragment from an Annunciation at East Retford (sVI, 3b). The image (fig. 83) is part of a ray of glory that would originally have descended on Mary, which usually contains, as at Newark, an image of the Holy Spirit represented as a dove. However, in East Retford this has been replaced with a diminutive figure of the Christ Child, bearing a cross over his shoulder. Sprakes compares this image to an illustration in the mid-fifteenth century Hours of Henry Beauchamp, Earl of Warwick and to a panel in the east window of St Peter Mancoft, Norwich.6 A more local example with 6 Sprakes, pp. xxxvii-xxxviii. 61 the same iconography also appears on a panel on a tomb-chest in Ross on Wye, Herefordshire, which was probably the product of a Nottinghamshire or Derbyshire alabaster workshop, but in this case the Christ Child is accompanied by the dove.7 These are not isolated instances. Such imagery was not uncommon and is thought to derive from the Meditations of the Life of Christ by the Pseudo-Bonaventura and was suppressed in the fifteenth century as heretical, because it suggested that Christ’s humanity derived directly from God rather than from Mary.8 The Annunciation at Newark is accompanied by other Marian panels. Panel 3b of sII (fig 232) depicts the Visitation of Mary to St Elizabeth, her cousin and the mother of St John the Baptist and shows the moment of Elizabeth’s recognition of the unborn Christ in the Virgin’s womb. The incomplete panel 2f of sII (fig 241) at Newark may show part of the death of the Virgin and shows the Apostles all holding their attributes and bearing flaming torches. The panels at Newark may have formed, with the panels of Christ’s Passion mentioned above, part of a series of the Joys and Sorrows of the Virgin. According to Catholic dogma, following her death Mary was bodily assumed into heaven and was subsequently crowned as Queen of Heaven by Christ. Fragmentary images of Mary seated in the attitude of prayer at her Coronation remain in the tracery lights of windows at Haddon Hall, Derbyshire (I, C1) and at East Markham, Nottinghamshire (sV, A4, fig. 74). In both locations the images of Christ, which were presumably placed in another tracery light, have gone. Mary’s role as the Queen of Heaven is also expressed symbolically in glass, through the use of the letters ‘MR’ for ‘Maria Regina’ (Mary the Queen). Single roundels charged with this emblem remain at Carlton-in-Lindrick (nII, fig. 52), Holme-by-Newark (I), Kelham (nIV, A4, fig. 151) and Barton-in-Fabis, in Nottinghamshire (wI, fig. 46). Sometimes the letters are alone and sometimes surmounted by a crown, as in the twenty or so examples that remain scattered throughout window sVI at Measham, Derbyshire (figs. 184 and 187. A version of this symbol was formerly at Heath, Derbyshire, with ‘MB’ substituted for ‘MR’, perhaps referring to ‘Beata Maria’ (Blessed Mary). 7 Illustrated in E. G. Tasker, Encyclopedia of Medieval Church Art, p. 38. 8 For further examples see P. and L. Murray, Oxford Companion to Christian Art and Architecture (Oxford, 1998), p. 24. 62 Narrative images of the Saints Multi-panelled narrative sequences relating the lives of specific saints are a rare type of glazing in Derbyshire and Nottinghamshire: where they do remain they are generally fragmentary. At Morley, Derbyshire, in windows nIII and nIV, are the remains of two such sequences, both of the 1480s and removed from the cloister of the Premonstratensian abbey of Dale (see above.) The first are panels in nIV (figs. 202-205) from a window relating part of the life of St Robert of Knaresborough. St Robert (11601218) was a hermit who lived by the banks of the river in Knaresborough, in the West Riding of Yorkshire. He was a popular saint who was never officially canonised.9 The remaining panels relate two distinct events in the written hagiography of the saint, conflated into one. The first event was his audience with King John in which he was given forty acres of land and the second, his complaint to the local lord that deer were encroaching on this land. This window is one of only a handful of remaining windows utilising vernacular explanatory texts below the panels. As both texts and image do not paraphrase or follow the written lives of the saint, it is possible that the window is based on an oral rather than a written source. The second narrative sequence from Dale is now represented by a few minor fragments of image and text in panels 1c and 1d of nIII at Morley, including the head of St James the Great (fig. 200), with the cockleshell in his hat and elements of blackletter Latin texts referring to James and Philetus (fig. 201). These fragments were probably from a series of panels relating the legend of St James the Great and his encounter and subsequent conversion of Hermogenes the Jewish sorcerer and his pupil Philetus. This episode is related in The Golden Legend and it is probable that this or a similar hagiographical work was the source of the imagery. A window, presumably a narrative one, referring to St Thomas a’ Becket was formerly extant at Newark, Nottinghamshire and was destroyed in the reforming legislation outlawing his cult in 1538. The east window of the church apparently contained glass referring to the ‘history of Joseph’. This was presumably St Joseph, 9 D. Farmer, Oxford Dictionary of Saints (Oxford, 2003), pp. 456-457. 63 the spouse of the Virgin Mary, as a remaining panel (sII, 4e, fig. 242) shows St Joseph being chosen as the husband of the Virgin Mary. All the other representations of saints in Derbyshire and Nottinghamshire portray them as standing figures, either placed individually or in groups. Many can be identified by their attribute (objects associated with their life or martyrdom) or from blackletter labels.10 An isolated attribute or label is often our only evidence of a lost image. New Testament Characters Of the universal saints, by far the majority of images are of members of Christ’s immediate family ‘the holy kindred’ or of New Testament figures. St Anne occurs in two locations, as stated above in the act of teaching the Virgin Mary to read. St Elizabeth, the Mother of St John the Baptist, occurs in a narrative panel of the visitation at Newark (fig. 232) and is also in a window with St Peter at Morley, Derbyshire (fig. 209). Figures of St John the Baptist are extant at Haddon Hall (I, light d, fig. 96), Norbury (sVII, light a, fig. 268)) and Morley (sIV, 4b, fig. 210) in Derbyshire and Finningley (nII, A1, fig. 94), Nottinghamshire and a further lost example is known from Whittington, Derbyshire. In all these images he gestures with his right hand to a book in his left, on which rests the Agnus Dei, symbolic of his role as the precursor of Christ and is dressed in the camel skin. At Norbury and Finningley the head of the camel hangs pendent between his legs. Fragments of sequential series of the twelve Apostles remain or are known to have existed at Norbury, Haddon Hall, and West Hallam in Derbyshire and at Holme-by-Newark and Nottingham, St Mary’s in Nottinghamshire. Norbury and Haddon Hall have the most complete series. At Norbury the figures, of the 1460s or 70s, occupied the main lights of the north and west walls of the north nave aisle and are now in window I (figs. 253-257 and 273-274). The remaining figures are set on 10 Throughout this thesis the author has used a number of standard works on medieval English imagery for the purposes of identification: F. Bond, Dedications and Patrons Saints of English Churches, M. and W. Drake, Saints and Their Emblems (London, 1916) and E. G. Tasker, Encyclopaedia of Medieval Church Art. Reference has also been made to Peter Newton’s iconographical index in the Centre for Medieval Studies, University of York, which provides useful cross-reference material. 64 raised plinths, each holding their attribute and with a curling scroll with a clause of the creed above each head, referring to the tradition that the Apostles each authored part of the Apostles Creed. The figures were placed in the order determined by their text scrolls and were read around the aisle from west to east. The most prominent apostles, St Peter, St Andrew, St John the Evangelist and St James the Great occupied the western window. At Haddon Hall, the figures are of the 1420s and occupy the tracery lights of the north and south windows of the chancel (nII and sII), they do not have creed scrolls and their only means of identification are their attributes (figs. 102-104). At West Hallam, the remains of an Apostles Creed from the nave clerestory is represented by a single remaining figure of St James the Less (SII, 1a, fig. 379), who holds a fuller’s club, with the creed clause above his head. The clerestory has six windows of two lights, so the figures of all twelve were presumably arranged on both sides of the structure. At Holme-by-Newark the Apostle figures (which have mostly gone and are represented by small fragments in I) probably formed part of a typological sequence, formerly set in the twelve lights of the south chancel chapel. The Apostles were in the main lights, with accompanying creed scrolls, with labelled figures of the Prophets in the tracery. Isaiah, Amos and Zephaniah, each labelled and gesturing, remain in the tracery lights of sII (figs. 135-136). Some individual figures of the Apostles remain which may or may not have formed part of a series. Two heads of St James the Great from large-scale figures are extant at Warsop (sacristy II, light a, fig. 376) and Low Marnham (nIV, 1b, fig. 176) in Nottinghamshire, in both cases identifiable by the cockleshell badge placed in his broad-brimmed hat, as worn by pilgrims to his shrine at Compostela. A further fragment showing the torso of St James (from a tracery light) remains at Balderton (sIV, 4a), where he is dressed as a pilgrim to his shrine, with staff and a scrip on which the cockleshell is placed. A figure of St Thomas, holding a spear, remains at Newark (sII, B2, fig. 244). A single figure of St Peter, holding the keys, appears at Papplewick, Nottinghamshire (sVI, 2b, fig. 313). As stated above, St Peter, labelled and holding his keys, appears in sII at Morley with St Elizabeth. No narrative panels relating to the Apostles remain. Along with some Old Testament scenes (see above) in the east window of Mackworth was a scene which Rawlins, the source, identified as the encounter between St Philip and the Eunuch (Acts of the Apostles, 8. 27-40). The glass may have been fourteenth century. 65 Of other New Testament characters, a single figure of St Mary Magdalene remains at Morley, Derbyshire (nII, 2-3c), where she is labelled and holds the ointment pot from which she anointed Christ. A further image of her was extant in the nineteenth century at St Mary’s, Nottingham. St Paul, holding the sword of his martyrdom, occurred at Sutton Scarsdale, Derbyshire and St Stephen, the first deacon and proto-martyr, remains at Papplewick, Nottinghamshire (sVI, 2a, figs. 311 and 312), dressed in a deacon’s dalmatic and holding the stones of his martyrdom in his maniple. The authors of the four Gospels, the four Evangelists, St Matthew, St Mark, St Luke and St John are portrayed in various ways in extant and lost glazing. Most usually they are represented by symbols that relate them to the four living creatures that stand around the throne of God in chapter four of the Book of Revelation. Thus St John is represented by an eagle, St Matthew by an angel, St Luke by an Ox, and St Mark by a winged Lion. Only scattered examples of these symbols remain. There is a complete example of the eagle symbol of St John charged on a roundel at Carltonin-Lindrick (nII, 1a, fig. 54), the eagle holding a scroll with his name, and there are fragments of two further eagle symbols at Egmanton (nIV, 2a, fig. 93) and Suttonon-Trent (nII, A5). Fragments of the winged lion of St Mark remain at Weston (sIII, A3, fig. 384), the lion holding a scroll with his name. At Haddon Hall two roundels in window I representing St Mark and St Matthew are similarly labelled and are placed on either side of the Crucifixion (figs. 96 and 98). At Ockbrook, Derbyshire, were formerly four roundels charged with Evangelist symbols, one incorporating a scroll inscribed with ‘in illo tempore’ (at that time), a common chapter opening in St Matthew’s Gospel. In light c of sIII at Morley, the Evangelists are represented by four men each seated at a desk writing on a scroll (fig. 213). The symbols referred to above are placed in this case at the feet of the men, or under the desks. The scrolls are charged with the following texts: St Mark has ‘istis’ (that), St John has ‘Xpc complens omnia’ (Christ completes all), St Luke ‘in bis binis’ (twice, two-by-two). These puzzling texts do not appear to make a coherent whole and do not refer to any element of scripture. Universal Saints 66 None of the other universal saints included in glass in Derbyshire and Nottinghamshire are particularly unusual. Most are those who attained popularity in the late Middle Ages, due to their association with miraculous or curative powers. St Christopher, whose image was a dominating feature of internal wallpainting in many medieval parish churches and whose image still dominates the wallpaintings on the north wall of the chapel of Haddon Hall, almost certainly had some images in glass and remains of two are suggested by the figure of the blessing Christ Child at Ashbourne (nXI, 2d, fig. 2) and perhaps by the fish swimming in water at Southwell (Chapter House sII, 1c, fig. 339). A large standing figure of St George balances St Michael (see above) on one side of the figure of St Anne in window nII at Haddon Hall (fig. 105). A small tracery light image of St Nicholas of Myra remains at Newark (sII, B3) holding three golden balls. St Anthony Abbot, who is labelled at Norbury (sVII, light c, fig. 266), is shown dressed in a cope, holding a Tau-cross and with his pig emblem at his feet. St Lawrence, labelled, dressed in a deacon’s dalmatic and holding the gridiron survives at Tuxford (sVI, 2b, figs. 368 and 369 ). At Doveridge a further image of St Lawrence is inferred by the survival of the gridiron (sVIII, 2a, fig. 68). An image of St Katherine remains at Cossall, Nottinghamshire (sV) where the church is dedicated to her. She is crowned and rests her left hand on the barbed wheel on which she was tortured (fig. 57). Part of St Margaret remains at Norbury, where the image (I, 12-13c), formerly labelled, shows her holding a sword (fig. 258). These two saints were the virgin-martyrs pre-eminent in the period covered by this thesis, whose popularity was assured by suffrages addressed to them in most Books of Hours.11 At Norbury the image of Margaret was formerly in a window with an unidentified nun and an extant image of St Helen. The latter (I, 4-6c, fig. 261) is crowned and holds the true cross (see above). A second image of St Helen remains in a tracery light A1 of window I at Haddon Hall (fig. 101) and a second example was formerly in a tracery light at Etwall, Derbyshire. In both examples she is/was holding the true cross. Two images of St Ursula of Cologne remain at Morley and Ault Hucknall in Derbyshire. In both images she is crowned and at Ault Hucknall (sII, 2-4d, fig. 22), 11 E. Duffy, The Stripping of the Altars, Traditional Religion in England 1400-1580 (New Haven and London, 1992), p. 171. 67 she is holding the arrow of her martyrdom while sheltering her eleven thousand companions, represented by half a dozen diminutive figures, under her mantle. The panel at Morley (nII, 2-3b, fig. 190) shows her ascension into heaven, a scrolling text around her head explaining the scene. She is holding a martyr’s palm, with her companions held in a white cloth as they are all lifted to heaven by angels. The female saint with the largest number of remaining images in the two counties is the Italian housekeeper St Zita of Lucca (1218-1278), known as St Sith, Sitha or Citha in England. Images of her remain in tracery lights at Newark and East Markham, Nottinghamshire and Haddon Hall, Derbyshire. She also appears in a main light at Norbury, Derbyshire (sVI, 2-3c, fig 265), where she is labelled and holds two large keys and a book as her attributes. At East Markham (sV, A3, fig. 74) she holds the same attributes, at Newark (sII, 3a) keys and rosary beads and at Haddon Hall (I, A7) the keys are at her waist and she holds a book only. The cult of St Sitha became popular in the fifteenth century after a relic of her was deposited at Eagle, in Lincolnshire, close to the border with Nottinghamshire.12 Sadly as the remaining glass of Derbyshire and Nottinghamshire is hardly representative of the glass that once existed, the larger number of her images, in comparison to those of other saints, cannot be used as a gauge of her superior popularity in the two counties. British Saints In addition to the range of universal saints, four, possibly five, native British saints occur as standing figures. St John of Bridlington and St William of York are together in panel c of window sIII at Morley (fig. 212). St John of Bridlington was John de Thwing (d. 1379), the prior of the house of Augustinian Canons at Bridlington, who was canonised in 1401.13 St William of York was William Fitzherbert, archbishop of York (d. 1154), a relative of the Fitzherberts of Norbury.14 12 The chapel of the Knight’s Hospitaller at Eagle was rededicated to St Sitha in 1407 and relics of her hair and little toe were deposited there by the Master in 1456. See: S. Sutclifffe, ‘The Cult of St Sitha in England: an introduction’, Nottingham Medieval Studies, 37 (1993), p. 84. 13 D. Farmer, Oxford Dictionary of Saints, p. 279. 14 D. Farmer, Oxford Dictionary of Saints, pp. 541-542. St William was the subject of a large multi-panelled narrative window in York Minster, where his shrine was located. See: 68 Surprisingly, since Nottinghamshire was in the diocese of York, the only other known image of St William was also in Derbyshire, at Sutton Scarsdale in a window partly commemorating one of William’s successors in the see of York, Thomas Savage archbishop 1501-1507. 15 In panel b of nVII at Norbury, flanked by images of St Anthony and St John the Baptist, is an image labelled as St Barlock the abbot (fig. 267). Although it is not firmly established, Barlock is probably St Finbarr, who was a bishop of Cork and Barra and died in the early seventh century.16 An image of another Celtic saint, St Winifred, is close to St Barlock in light a of window nVI at Norbury. The image is labelled and she is crowned and dressed as an abbess, holding a pastoral staff and book. The cult of this obscure seventhcentury Welsh abbess became popular at the end of the fourteenth and beginning of the fifteenth century due to the elevation of her feast by successive archbishops of Canterbury. Her popularity was bolstered by successive English monarchs making a pilgrimage to a spring associated with her at Holywell. Henry V made the pilgrimage in 1416 as did Edward IV shortly before his victory at Towton in 1461.17 In light a of sIII at Morley is a pontifically dressed figure identified by a label as St Roger (fig. 214). The figure may represent either Roger Niger, bishop of London (1229-1242), who enjoyed some cult status around his birthplace at Beeleigh in Essex, but was never officially canonised, or Roger of Ellant, an Englishman who founded and served as abbot of the Cistercian abbey of Ellant in Champagne and died in 1160. Unidentified Figures Some extant images remain unidentified. Most of these are ecclesiastics whose mode of dress and attributes are often fairly generic. Unidentified archbishops or T. W. French, York Minster the St William Window, CVMA, Summary Catalogue, 5 (Oxford, 1999). 15 Savage is buried next to the high altar in York Minster, directly beneath the St William window. 16 D. Farmer, Oxford Dictionary of Saints, p. 195. 17 D. Farmer, Oxford Dictionary of Saints, pp. 544-545 and D. Webb, Pilgrimage in Medieval England (London and New York, 2000), p. 134. 69 popes remain at: Norbury (I, 7-9c, mostly complete, 259) in Derbyshire and East Retford (head and cross staff, fig. 83), Balderton (sIv, 6a, head and cross staff, fig. 41), Southwell (chapter house sIII, 4b, glove against pallium, fig. 334), Newark (sII, C5, pallium only) and Holme-by-Newark (I, 3c and 4d, two types of pallia, fig. 118) in Nottinghamshire. Unidentified bishops or mitred abbots remain at: Misterton (sV, 1b, head and pastoral staff, fig. 188) and Norbury (I, 10-11c, fragmentary, fig. 258) in Derbyshire and Southwell (Chapter House sIII, 4a, head only, fig. 326) and Holme-by-Newark (I, 4c, head only, fig. 124) in Nottinghamshire. Deacons remain at: Low Marnham (nIV, 1b, parts of dalmatic, figs. 174 and 175) and Holme-byNewark (I, 4d, stole tied at waist, fig. 121). At Haddon Hall, the lower part of a bishop (I, light e, fig. 99) could be St Nicholas, the patron of the chapel, and the fragmentary bishop or abbot holding a chalice at Egginton (I, 2d) could be one of any number of figures, including St Richard of Chichester.18 The Celestial Hierarchy Although no glass remains expressing the ‘Nine Orders of Angels’, numerous instances of angels in supporting roles are extant or known from antiquarian sources. Many of these have been referred to above, in conjunction with images of the saints, the Virgin Mary and Christ. In addition to these, figures of angels appear in the following contexts. Two figures of the Archangel St Michael remain: in light c of nII at Haddon Hall, Derbyshire (fig. 107) he is a large-scale figure with peacock feather wings, slaying the dragon as referred to in Revelation chapter twelve. A cut-down fragment in 3b of I at Hickling, Nottinghamshire (fig. 114) shows him dressed in a cope and brandishing his sword. At Haddon Hall, Derbyshire angels hold shields of the Vernon family above the donor images in window I (figs. 99 and 100). There are also numerous examples of angel musicians, mostly divorced from their original contexts. At Newark, Nottinghamshire a composite panel (sII, 4f, fig. 236) includes angels playing a wide variety of instruments, including lutes, rebecs and harps. Similar instrumentalist angels remain: playing a viol at Balderton, Nottinghamshire (nIII, 3a, fig. 37), 18 F. Bond, Dedications and Patrons Saints, p. 299. 70 blowing a trumpet at Southwell, Nottinghamshire (Chapter House nIII, 3c, fig. 332), playing a lute at Averham, Nottinghamshire (sII, A1) and plucking a harp at Nottingham, St Mary’s (sVII, 2c). The Teaching of the Church, Morality and Discipline There is very little remaining and little documentary evidence of didactic imagery in Derbyshire and Nottinghamshire, referring to the morals or disciplines of the church. In the tracery lights of window sII at Newark, Nottinghamshire are four identifiable figures from a series of the Seven Deadly Sins. Anger is represented by a man drawing his sword, Sloth by a man with his eyes closed and his hands together, Gluttony by a man with a haunch of meat over his shoulder and a bowl in his hand and Lust by a couple in embrace. Fragments of three other figures also remain. A yellow-stain chain runs across each of the figures, perhaps a metaphor for the fact that the sinner is bound by their sin. The figure of a tonsured clerk holding an open book at Measham, Derbyshire (sVI, 1b, fig. 183) may be a fragment of a panel representing a liturgical function, perhaps one of the Seven Sacraments. The panels of Baptism and Extreme Unction from the Newarke houses at Leicester show a clerk holding an open book for the officiant in this manner.19 A single panel at Morley (sIV), from a window formerly in the cloister at Dale Abbey, appears to show a manacled monastic being instructed by a fellow brother, who reads from an open book (fig. 206). The Middle English text below the panel, ‘Take heede to thy ways brother’ is implicit that the aim of the window was to enforce the discipline of the monastic rule within the Premonstratensian community. A small rectangular element from a border at Cossall, Nottinghamshire shows a theme popular in various media, a fox-bishop, dressed in cope and mitre and holding a pastoral staff, preaching from a raised pulpit. Further images of foxbishops were formerly extant in Chesterfield church and the summerhouse of Weston-on-Trent rectory, Derbyshire. At Chesterfield the fox was again preaching to a congregation of geese and a cock, with apparently a winged horse behind. At Weston the geese were surrounding the pulpit, with one hiding in the fox’s hood. 19 See Ayre, p. 59. 71 These images probably refer to the popular stories associated with Reynard the Fox and were a satire of itinerant preaching.20 Imagery in Domestic Spaces Very little figurative domestic glass is extant or known from documentary sources. At Chilwell, a manor house on the outskirts of Nottingham, which belonged to the Babington family at the end of the fifteenth century, was a window in which the whole process of viniculture was laid out. In an upper room in Norbury manor, Derbyshire, the home of the Fitzherbert family, are six extant roundels showing January to June from a ‘Labours of the Months’ series. A balance of work and recreation is represented by the subject matter of the roundels. January (fig. 287) is represented by a man sitting before a fire, February (fig. 288) by a man digging, March (fig. 285) by a man pruning, April (fig. 286) by a standing figure holding ears of corn and flowers, May (fig. 289) by a man with a hawk on his hand and June (fig. 290) by a man weeding.21 Although this is far from certain it is possible that the glass in these two locations functioned, to some extent, as practical manuals or an aide-memoire for the householders of Chilwell and Norbury. Barnaby Goodge tells us that Chilwell had a vine and John Fitzherbert, who owned Norbury at the end of the fifteenth century and beginning of the sixteenth century and may have commissioned the roundels, was a man concerned with agricultural matters, being the author of The Booke of Husbandry, a best-seller in the early sixteenth century.22 PART 2: IMAGES, FUNCTION AND DIALOGUE Imagery placed in windows within church buildings could on occasion reflect the use of the space in the immediate environs of the window, perhaps referring to the 20 The literature on his subject is copious. See: G. Tasker, Encyclopaedia of Medieval Church Art, p. 299-300. For references in other media see: C. Grössinger, The World Upside-Down. English Misericords (London, 1997), pp. 115-119. 21 These are more or less standard representations of this subject matter. For a more detailed survey of the iconography of the Labours see: Ayre, pp. l-lv. 22 John Fitzherbert, A Boke of Husbandrie (London, Wynknyn de Worde, 1523). 72 dedication of a nearby altar or quire. Evidence for this type of link is reliant on documentary evidence (principally testamentary), which as stated in chapter I, is scant. It often happens that when wills refer to material objects within church buildings, no glass or evidence of it remains, and vice-versa. There are some isolated exceptions to this, which allow a glimpse of such connections. For example at Norbury, Derbyshire, John Fitzherbert placed a dominant retable of the Trinity in the south-west chapel of the nave (fig. 282), where a Trinity in glass (fig. 262) dominated the glazing, suggesting that the dedication of the chapel was to the Trinity. Glass could reflect the dedication of the whole church and an image of St Katherine (fig. 56) remains in St Katherine’s Cossall, Nottinghamshire. The survival of this particular image in glass was probably by virtue of the subject matter. It could be conjectured that certain images in glass had a part to play in the liturgy, serving as devotional focuses within the building. It is therefore no accident that where evidence remains of the original placement of Crucifixion scenes, at Haddon Hall (fig. 97), Sutton Scarsdale and Doveridge in Derbyshire and Nuthall in Nottinghamshire, they are placed in an east window, either in the chancel or side aisle, directly behind the site of an altar. This suggests that perhaps the imagery served as a devotional aid for the priest as he celebrated the mass, in remembrance of Christ’s Passion. There may perhaps be a temptation to read too deeply into the significance of imagery in terms of the visual organisation or the ‘theming’ of liturgical space. At other times the imagery in a window or series of windows might have no direct correlation with the other imagery included in that space. For example the Apostle figures at Holme-by-Newark, Nottinghamshire filled the windows of the Lady quire. The east end of the north aisle at Norbury, Derbyshire contained an image of St Nicholas, but the windows were filled with figures of the Apostles, St Margaret (fig. 258), St Helen (fig. 260) and a sainted abbess. It is probable that in these cases and others, the imagery had more to do with the donor’s particular pious interests and the projection of their personas, than any desire for visual order within a building. Odd juxtapositions of saints in glass are perhaps evidence of the eclectic character of lay piety in the late Middle Ages. St Peter is with St Elizabeth at Morley, Derbyshire (figs. 209 and 210, St Winifred, Anne and Sitha are beside, John the Baptist, St Barlock and St Anthony at Norbury, Derbyshire (figs. 275 and 276); and SS George and Michael flank St Anne at Haddon Hall (figs. 105-107). These windows perhaps 73 provide evidence of the eclectic character of popular lay piety in the late Middle Ages. Other images were images of association provided to denote the status of the donor of a window. Thus St William of York is included at Sutton Scarsdale as a predecessor of archbishop Thomas Savage, who was commemorated in the window. In the absence of documentary evidence the decision-making process by which the iconographical content of the window was agreed upon remains obscure. Some of the narrative panels that remain were clearly intended to be read and serve as instructional tools. Some, as at Morley, are given Latin or in some cases English texts describing the scene above. Other images are placed in such awkward positions that it precludes their use for direct instruction. For example the Apostles Creed at West Hallam was placed high up within the clerestory of the nave (fig. 381), so that the creed scroll of the remaining figure of St James cannot be read from the floor of the nave with the naked eye. Although unreadable in such a context images of this sort presumably triggered the memory of a text in the mind of the viewer. There is often a perceptible relationship between the kneeling ‘donor’ images (see chapter II) placed by patrons in windows to commemorate themselves and the figures of the saints they are placed beneath. They often appear to engage in a form of dialogue, which may be simply expressed in the form of gestures, such as the tilting of heads upwards (as in windows at Norbury, Derbyshire, figs. 269 and 270 and the lost glass at Southwell, Nottinghamshire, fig. 341), or the placement of hands open in the attitude of adoration as at Sutton Scarsdale, Derbyshire. Sometimes the communication is less implicit, with the donors kneeling with hands closed in the attitude of prayer at a prie-dieu, as at Ault Hucknall (figs. 20 and 21) and Norbury in Derbyshire and Papplewick, Nottinghamshire (fig. 309), as though meditating on the text of the book. The images above them appear to be the product of their meditative thoughts. In some instances the communication between images is even more obvious as it is expressed through the use of texts, scrolls issuing from mouths of donors, or inscriptions placed at the base of windows. Such texts often refer to the process of intercession. At Holme-by-Newark, the merchant John Barton and his family had scrolls issuing from their mouths with the text: 'Sic pater implora pro nobis mortis in hora' (So Father, in the midst of the hour of our death, we invoke you on behalf of ourselves.) (fig. 122) At Strelley a similar scroll in 2b of nV (fig. 348), now isolated from its original context, has a text directly invoking the Holy Trinity. A division is 74 usually placed between these different types of image. The ‘donor’ images are usually (as in sVI at Norbury, fig. 275) placed in a separate compartment below the main figures under individual canopies, as though they are viewing the saints from the other side of a fixed barrier. Sometimes the images of the saints are themselves shown engaging in dialogue, both with each other and with the Godhead. Morley contains a number of images of saints and ecclesiastics in nII (figs. 189, 192-193), engaging through gesture and the use of scrolls with a lost image of devotion, presumably of Christ or the Trinity. Set three-quarters, turning towards each other, the images of the saints also appear in some cases to be engaged in dialogue. The images of the Yorkshire saints William Fitzherbert of York and John de Thwing of Bridlington in sII at Morley (fig. 212), men divided in life by two hundred years, are in mid-conversation, their eyes angled to meet one another, with St John holding his hand as if in discourse. The Apostles in the tracery lights of nII and nIII at Haddon Hall are all similarly paired and are again gesturing towards one another (figs. 102-104). 75 CHAPTER IV STYLISTIC AND TECHNICAL ISSUES The paucity of surviving glass and its disparate character offer insufficient evidence on which to base any broad generalisations regarding stylistic or technical developments specific to Derbyshire and Nottinghamshire. However, it is possible to make some comments and stylistic links through the examination of characteristics such as colour, technique, composition and design. Colour and Technique The period 1400-1550 is characterised by a general uniformity in colour and technique and, in general terms, the remaining glass follows the pattern observed by other scholars working with assemblages of this sort.1 All of the surviving glass of the period is a mixture of pot-metal glass, i.e. coloured glass, which is used in combination, in differing ratios, with white glass decorated with yellow stain. Throughout the period the predominant pot-metal colours are red (known as ruby) and blue, with smaller amounts of green, brown and purple glass (murrey). These pot-metal colours range significantly in hue and tone, presumably representing disparate sources of supply of the raw material. Some of the coloured glass is flashed, i.e. produced through the application of a thin layer of colour to the surface of white glass. This process is most effective with red or ruby glass, where flashing could produce a striated or streaky effect. A piece of striated flashed ruby is used to good effect at Newark-on-Trent, Nottinghamshire, for the clouds and the Mount of Olives in an Ascension scene (fig. 235). Ruby glass could also be abraded, i.e. the surface layer could be scraped away to reveal the white below, a technique particularly useful for rendering shields of arms, where intricate charges had to be shown against red fields. On a shield charged with instruments of the Passion at Measham, Derbyshire (fig. 184), the crown of thorns and nails are abraded against the ruby. In 2d of I at Holme-by-Newark, Nottinghamshire (fig. 128), a charge on part of a shield is rather roughly abraded 1 Hebgin-Barnes, p. li, Marks, pp. xliii-xliv, Newton, p. 7 and Sprakes, p. xliv-xlv. 76 against the ruby field and the roughness of the work covered with thick black line, some of which has worn away. Abraded ruby is used sparingly on the hems of the robes of some of the apostles at Norbury, Derbyshire (fig. 235), to give a jewelled effect. The amount of coloured glass within a window was probably governed by the cost of the commission, with the ratio of coloured glass to white glass decreasing down the economic scale.2 Generally, coloured glass is used to draw the eye to the dominant parts of a composition. Figurative elements are usually rendered in white glass and offset against coloured grounds, as in the tracery light figures at Averham (figs. 26-28) and Holme-by-Newark (figs. 135 and 136). When white grounds are employed, coloured glass is used for drapery, as at Papplewick, Nottinghamshire, where the figures of St Peter and St Stephen are dressed in blue and murrey and set against a white quarry ground, or Haddon Hall, where coloured glass is used to define areas of robes (figs. 105-107). White glass is generally decorated with ‘yellow stain’ produced through the application of a silver oxide compound to the reverse of the glass prior to firing. This stain, first appearing in the early part of the fourteenth century, was applied in liquid form, and in the period 1400-1550 was used with great dexterity and liberality. It ranges in tone from a light lemon yellow (figs. 84 and 85) to a dark orange (fig. 187). Different tones of stain were sometimes achieved on the same piece of glass as at Kirton, Nottinghamshire (fig. 161). Yellow stain could be used to highlight a wide variety of different features, such as the hair and nimbuses of figures (figs. 39, 41, 42), inscriptions (see below) and canopies (figs. 84-85). In combination with painted pigment (see below) it could be used to give the effect of brocade or damask for clothing (figs. 122 and 123), or the jewelled orphreys of ecclesiastical vestments and precious mitres (fig. 89 and 259). The delicacy of the application of yellow stain was perhaps governed by economic factors, with less care being taken lower in commissions down the financial scale. In sII at Ault Hucknall, Derbyshire, the donor panels are stained with sweeping strokes of a broad brush, without any attempt to follow the lines of the decorated foliage diaper (fig. 21). 2 Although no evidence of the cost of glazing is known for any sites in the two counties, details of the cost of glazing are known from elsewhere. See Marks (1993), plate III. 77 Although usually confined to white glass, yellow stain is very occasionally used on blue glass to produce green. The buckle-holes in the garters around the shields in the north and south chancel windows at Longford, Derbyshire (figs. 170172) are decorated in this manner and a thin internal border of yellow stain is applied to the blue nimbus of St Matthew at Norbury, Derbyshire (fig. 256). Painted enamel pigment was applied to white and pot-metal glass to provide definition, to detail drapery, facial features or confine yellow stain. The colour of this pigment ranged from a red-brown (figs. 35, 42, 68) to a dark matt black (figs. 124, 230) and was applied in liquid form using a range of different brushes and techniques. Shading was added to drapery and facial features through the use of stippling and washes, the latter through the application of the pigment with a broad sweep of the brush, the former through the application of the flat end of a broad bush to such a matt wash. A wide variety of brushes of different widths were used to add lines to reinforce this shading. Decorative forms for grounds and the fields of shields were either painted on (figs. 2, 135-136, 161) or created through reservation, with the decoration produced through the removal of areas of wash or stipple with the end of a brush or stick (figs. 129, 147, 184 and 185), thereby creating more fluid trailing foliage forms. Reserving against matt was also used in other contexts, for example, the skulls and long-bones of the Golgotha in I at Lambley, Nottinghamshire (fig. 165) are reserved against stipple and outlined in black line. At Ault Hucknall the grounds behind some of the donor figures in sII (fig. 20) are probably decorated with stippling applied through a stencil. Dense matt black washes are used in some contexts. At the end of the fifteenth century and into the sixteenth century, there was a fashion for rendering the pedimental headdresses of women in matt black and embellishing them with decoration produced by moving a narrow pointed object (such as a needle) through the matt (fig. 31). A shield with a black field at South Muskham, Nottinghamshire, is also in a dense matt, with the white rose charges picked out against the matt (fig. 321). Facial and figurative modelling Only a small percentage of the remaining medieval figurative glass in Derbyshire and Nottinghamshire can be dated. The east window of Haddon Hall and by 78 inference the rest of the glazing in the chapel dates from 1427. A fragmentary donor image at Sutton Scarsdale, Derbyshire, dates from 1505 and the glass at Ault Hucknall to 1527. Other monuments can be dated roughly on the basis of the known dating of their architectural setting or from their patronal context. The glass from Dale Abbey at Morley dates from the construction of the cloister in the early 1480s. The glazing of windows sVI and sVII at Norbury and some of the glazing in window I can be tied to the patronage of Nicholas Fitzherbert (d. 1474) and John Fitzherbert (d. 1531). Glazing at Holme-by-Newark and North Muskham can be linked to the patronage of John Barton (d. 1491) and glass at Papplewick to that of Ralph Savage. On the basis of this information and through comparison, other monuments can be roughly dated and some sense of the chronological development of facial and figurative modelling can be achieved. The period covered by this thesis begins right in the middle of an artistic revolution in Western Europe, with the prevalence of what it is usually termed by arthistorians the ‘International Gothic’ style. The particular hallmarks of this style are a softness and sensitivity in facial and figurative modelling, which in glass is expressed through the use of carefully applied pigment and the relative dominance of shading, in the form of subtly gradated stippled washes, over line, to create a threedimensional and naturalistic effect. At Newark-on-Trent, Nottinghamshire a number of narrative panels of the early fifteenth century (figs. 229, 230 and 231) demonstrate the hallmarks of this style in facial modelling. The faces are lively, they are quite round, have full lips, large bulbous noses and their eyes are open wide. Stippling of differing strengths is used to define the chin line, the upper and lower eyelids, the lips, with narrow line, used sparingly, to define the basic form of the features. Although the hallmarks of this style continues to dominate facial and figurative modelling for the rest of fifteenth century, there is a perceived decrease in spontaneity and technical skill as the century progresses. The softness gradually disappears and the modelling becomes harsher and more angular. At Holme-byNewark, Nottinghamshire the combined use of stippling and delicate bruskwork is particularly apparent around the eyes of a head of a bishop (fig. 124) and the female donor heads (fig. 125), but the features are generally more angular and appear almost disjointed, as though noses, eyes, ears, were painted individually without a sense of the whole. The use of black line is much more pronounced and more thickly applied. In the head of the bishop (fig. 124), it is used to define the entire side of the face, 79 whereas in earlier glass, as demonstrated by a head at Southwell, Nottinghamshire (fig. 336), this was achieved through the subtle gradation of stipple. By the early sixteenth century the linearity and angularity are even more pronounced. The donor heads at Ault Hucknall, Derbyshire (figs 20 and 21), which date from 1527, are particularly angular, the male donors heads rectangular, defined by boxy, squared-off hair. The early sixteenth-century head of a bishop at Misterton, Nottinghamshire (fig. 188) and the contemporary head of St James and figurative fragments at Low Marnham, Nottinghamshire (figs. 174-176) and some donor heads at Newark-on-Trent (fig. 240) and Strelley, Nottinghamshire (fig. 350) are all detailed with the heavy use of black line and the application of stipple of a single grade to create definition. The head at Misterton (fig. 188) has the same squared-off hair line as at Ault Hucknall and the heads at Newark are quite hard and angular and rather unskilful and awkward in their conception. Two figures of ecclesiastics at Norbury (figs. 258 and 259), which can be associated with the patronage of John Fitzherbert (d. 1531) and probably date from the first quarter of the sixteenth century, are the product of a rather better draughtsman, working in a less angular manner. However, stippling is confined only to drapery and the facial features are defined entirely in line. Occasionally disparate levels of painting quality are found within the same figure, with the faces stippled and other figurative elements drawn in a rather more crude manner. This is quite marked in the surviving donor image of c.1505 at Sutton Scarsdale, Derbyshire (fig. 362) where the head, though late, is still quite sensitively modelled, whereas the hand and heraldic surcoat are painted in a thick black line, with no shading whatsoever. The same can be said for the figures of the apostles in window I at Norbury, Derbyshire (figs. 253-255), where the heads are delicately rendered and other features, such as hands and feet, are detailed in thick line and often rather clumsily conceived. The same can be said of windows sVI and sVIII at Norbury, where the main figures are executed by a more refined hand using delicate stippling (figs. 264-268), with the donor images below executed by another painter in a markedly more linear and angular style (fig. 269-270). Presumably this represents the division of labour within the dynamics of a glazing workshop. The drapery of figures is usually executed in the same manner as facial features, with the folds of drapery produced by gradated stipple, reinforced by line. The patterning of the textiles of garments and vestments are depicted in various 80 ways. Robes when depicted in white glass are usually decorated with a diaper (figs. 102-104, 135 and 136), usually consisting of a repeating pattern of rosettes, quatrefoils or stylised flower heads. Fur is depicted through the use of black line ermine spots. Robes are generally given hems, which may be decorated with yellow stain rosettes, or contiguous roundels (fig. 94) or in larger or more elaborate compositions, jewelling. The figures of the apostles at Norbury (figs. 253 and 255) are wearing white mantles over multi-coloured robes, decorated with hems set with jewels and pearls, all in blackline and yellow stain, with some abraded ruby (see above). Ecclesiastical vestments are often depicted in brocade or damask (fig. 259), with the pattern painted on in black line hatching and decorated with yellow stain. Where coloured glass is employed, yellow stain embroidered orphreys are leaded in, the orphreys following the patterns employed in the hems of robes. Albs and amices are never plain, but are decorated with apparels, embroidered panels, which are usually executed in yellow stain (figs. 85 and 99, 121). Backgrounds The figurative elements of a window were set against a range of different backgrounds, executed in white or coloured glass. When coloured glass was employed it was either left plain or more usually decorated with a foliage diaper. The most common diaper in the fifteenth and sixteenth century is a trailing foliage form known as ‘rinceau’, where the leaves are tightly-packed and serrated, resembling seaweed. This decoration is painted on with a brush (figs. 209, 210, 233). There a many variations of this across the whole period. For fields of heraldic bearings or for the backgrounds of roundels, diapers of contiguous or conjoined circles (figs. 283 and 349) are often utilised. Sometimes the circles are cusped to form sex- or octofoils (figs. 161 and 180). On occasion foliage diapers are used for fields (figs. 357 and 378) and sometimes these are reserved on matt, using the ‘stickwork’ method (figs. 3 and 147). Where white glass was used it was usually set out in the form of diamondshaped quarries, charged with a range of different devices. Nearly seventy different types have been identified and these are laid out in the typology at the back of this thesis. As noted in chapters II and III, some quarries are charged with personal emblems, marks, or initials referring to patronage (types 43-60), or with symbols of religious significance (types 66 and 67). By far the majority are charged with 81 stylised foliage forms, radiating leaves or flowering stems (types 1-41). Stylised pinks or carnations occur in types 30-32, daisies in types 27 and 28 and wheatsheafs in types 40 and 41. Many of the designs have similarities with those found in other parts of the country, suggesting the use of widely disseminated pattern or model books.3 Quarries at Averham, Nottinghamshire and West Hallam, Derbyshire are charged with a variety of different birds (types 61-65). The original context of these is unclear, though it is probable that at West Hallam at least the examples came from a domestic context. Sometimes square or irregular pieces of glass are painted with simulated quarries, with the diamond shape and the devices they contain painted on to plain white glass. This is used around the heads of the apostles at Norbury (figs 256 and 257), to extend a quarry ground across an area of glass complicated through the insertion of creed scrolls. As an alternative to quarry or rinceau, a number of sites have grounds decorated with designs that replicate contemporary textiles. At Mugginton, Derbyshire the shields of the 1480s in the tracery lights of sIII are set against a ground of damask or brocade, executed in blackline, hatching and yellow stain (figs. 220, 222-223). Similar textile backings occur in the tracery lights of sIII at Morley and behind an armorial at Norbury Manor (fig. 284), where a second panel is set against a bed of leaves, curling fronds of acanthus or a similar foliage (fig. 283). Architectural elements Narrative panels and standing figures are usually set under canopies, reflecting the three-dimensional architectural tabernacles set over figurative sculpture. Very few complete canopies remain in glass and those that remain are very disparate in form. They are on the whole executed in white glass with details applied in black line, stippling, hatching and yellow stain. The relative size of canopies depends on the size of lights and the imagery they cover. In some cases, as in sIII at Morley and sVI and sVII at Norbury, the canopies over standing figures occupy about a third of the total height of the lights. As the imagery in narrative panels was often more tightly packed, the canopies over them are often lower or shallower, as at Newark (figs. 228, 232 and 233). 3 Comparable quarry typologies can be found in Hebgin-Barnes, p. xxii-xxv, Marks, p. xxix, Newton, p. xxii and Sprakes, p. xx. 82 The canopy tops are usually supported on side-shaftings, which are angled to give a three-dimensional sense (Morley, figs. 209-210), with chamfered offsets, and the tops are usually vaulted to further add to the illusion of depth. These internal vaults are sometimes ribbed and have bosses (as at East Markham, fig. 74 and Strelley, fig. 348) and occasionally these bosses are pendant (as at Hickling, figs. 112-113). Often the side-shaftings are decorated with niches or tabernacles, as in the two fragments at Southwell, Nottinghamshire (fig. 339). These niches sometimes contain figures. Figures of young men, prophets and the evangelists, occupy this position at Newark (figs. 245-246) and lions are used at East Retford, Nottinghamshire (fig. 82). At Southwell a canopy top is inhabited, with two tiny figures flanking a pinnacle, peering down, presumably over a parapet, at the lost imagery beneath (fig. 323). The main figures are usually set on raised plinths decorated with a pattern intended to represent a tiled floor. The pattern of the tessellation varies considerably from a standard black and white checker-board, to patterns that include triangles (fig. 352), circular forms (fig. 311) and more elaborate decorative painted patterns (fig. 313). The plinths themselves are often angled to add to the sense of perspective. In sII at Morley, the plinths are angled and appear to protrude from the canopy and the figures are set in front of the side-shaftings (fig. 212). In some cases, where figures are set on a quarry ground, plinths are sometimes used without canopies. The figures in nII at Haddon Hall are set on irregularly shaped tessellated plinths (figs. 105-107). At Norbury, the floors beneath the figures of the apostles are not raised, but are given a sense of perspective through the use of widening lines to give the impression of a sloping pavement (fig. 255). Kneeling donors are often set within canopies in front of prie-dieu, as though at prayer in a domestic closet or a chapel within a church building. These desks are usually set on tessellated floors and angled to add to the sense of dimensional depth. This illusion fails occasionally, as at Ault Hucknall, Derbyshire where the kneeling desks are not set on a tessellated floor, but appear to hover in space (fig. 20). The desks themselves are often given architectural detail: the kneeling desk next to the donor at Papplewick (fig. 309) takes the form of a stone altar, with an arcaded plinth and a protruding mensa, the edge decorated with quatrefoils. In other contexts these desks are covered with cloths, as at Staveley (fig. 345). 83 The exterior and interior of buildings are sometimes shown in glass. At Morley in a window showing the exaltation of the holy cross, one panel is entirely filled with a yellow stain building, open at the front, to reveal through a shallow arch the interior and its tessellated floor (fig 198). Two monuments of the first half of the sixteenth century, Sutton-on-Trent, Nottinghamshire, and Ault Hucknall, Derbyshire, incorporate Italian Renaissance architectural motifs. Windows sII and sIV in the south chapel of Sutton contain fragments of a glazing scheme which probably dates from the 1530s. In sII the fragments consist of canopy tops (figs. 356 and 358), which are in the form of shallow arches decorated with fleurons set against a blue ground, and the tops of the arches are finished with little yellow stain covers. The centre of each arch contains a basket or cornucopia from which flow bunches of grapes that drape over the arch, as though replicating Gothic cusping. The grapes are picked out against a matt stipple. In window sIV (fig. 359) architectural fragments include an urn or covered cup and fragments of columns or side-shaftings that may have supported the canopies, decorated with clusters of leaves. The author has been unable to find any direct parallels for this glass. At Ault Hucknall the Renaissance forms are utilised in a far less accomplished manner, within the framework of glass probably produced by a native English glazier. The donor images in sII (figs. 18, 20 and 21) have canopies over the figures being formed by a combination of Renaissance barley-twist columns with bulbous capitals, supporting a shallow vault with Gothic pendant bosses. The work is lacking in confidence and suggests unfamiliarity with the motifs, but their incorporation may reflect the pressure put on native ateliers by newly established immigrant glaziers. Borders, roundels and inscriptions Where for reasons of economy or context full canopies and the figures were set against quarry grounds, they were usually placed within decorative borders. These usually took the form of bands of blue and ruby glass alternating with white and yellow stain decorative elements. In the fifteenth century these decorative elements are almost always charged with semi-heraldic or generic devices, usually crowns or rectangles, the latter usually filled either with fleur-de-lys (figs. 45 and 126, 127) or with lozenges decorated with stylised foliage sprays (figs. 388-389). Many of these 84 elements survive, mostly isolated from their contexts. Sometimes these border elements are curved to fit the shape of the top of a light, as at Mattersey (fig. 180). These elements are in no way peculiar to Derbyshire and Nottinghamshire, but are found up and down the country and were probably derived from some widely circulating pattern books. Tracery lights incorporating figurative glazing are usually treated in exactly the same way as the main lights, using diapered grounds or quarries. In many contexts they are, however, filled with simpler and presumably cheaper glazing. In windows I and nII at Dale Abbey, Derbyshire the lights are filled with white glass, which is undecorated except for a simple strip of yellow stain set within black lines following the counters of the light (figs. 63 and 64). Some of the tracery lights in window at Holme-by-Newark and Sutton-on-Trent in Nottinghamshire are similar, except that the centre of the lights are occupied with a yellow rosette (figs. 133 and 354). At Kelham, Nottinghamshire a lobe is similarly treated, the centre filled with a cross with radiating leaves (fig. 152) and at Mackworth, Derbyshire the tracery lights are similarly outlined with yellow stain, with space between filled with stylised foliage (fig. 178). Roundels and bosses, charged with a range of different devices, are used in many different contexts. Roundels charged with geometric foliage or tracery forms remain at Eckington, Derbyshire (figs. 86 and 87), and examples decorated with serrated radiating yellow leaves remain at Low Marnham, Nottinghamshire (fig. 177) and Holme-by-Newark, Nottinghamshire (fig. 118). At Sutton-on-Trent, Nottinghamshire, two roundels are in brown glass, one filled with a black line rose and the other with a rose contained within two conjoined squares (fig. 353). Figurative roundels decorated with various religious symbols and monograms have been considered in chapter II. Often roundels form the centrepiece of a tracery light fillings and roundels in this context remain at Kelham (figs. 150-151) and East Markham (figs. 77 and 79). Figurative roundels and shields of arms are sometimes set within circular borders. The most common form is a ‘rod-and-acanthus’ design in blackline and yellow stain and examples of this remain at Carlton-in-Lindrick (figs. 52-54), Egmanton (fig. 93), Warsop (fig. 378) and Southwell (fig. 322) in Nottinghamshire and at Ashbourne, Derbyshire (fig. 3). A similar acanthus design forming part of a border remains at the top of three lights of window sII at Newark-on-Trent. Like the 85 border pieces considered above this motif is found widely outside the two counties and was perhaps disseminated through the circulation of pattern or model books.4 At Ault Hucknall a shield is set within a twisted border or torce, with flowers radiating into the four corners; the glass dates from c.1527. A very similar design of radiating flower is also found at Carlton-in-Lindrick, Nottinghamshire in glass probably dating from the 1480s, surrounding a number of roundels (figs. 53 and 54). A similar arrangement is found further afield at Stanford-in-Avon in Northamptonshire.5 Inscriptions are mostly executed in what is termed ‘blackletter’ text. The quality of the lettering varies considerably as can be seen in panel 1a of sII at Newark (fig. 234). At Tuxford, the lettering, which dates from 1495, is peculiarly elaborate and calligraphic, the capital letters complex and surrounded by additional decorative flourishing (fig. 367). Inscriptions are often set within narrow borders of yellow stain and punctuation marks are often elaborated with yellow-stain rosettes or other foliate decorative detail, as at Strelley (fig. 348). Sometimes the internal spaces between them are filled with yellow stain, as at Beighton (fig. 48). Usually inscriptions are painted on with a brush, but on occasion they might be produced through reservation as at Ault Hucknall (figs. 15). Here the whole of the inscription is highlighted with yellow stain. The Evidence for Glazing Workshops The rather disparate character exhibited in both the style and quality of modelling and in the subsidiary elements of glazing, such as canopies and quarries, suggests that a considerable number of different workshops were responsible for glazing work in Derbyshire and Nottinghamshire. Some of these workshops were presumably operating within the two counties. We have some evidence that glaziers were operating in Nottinghamshire during the period covered by this thesis. Newark-onTrent had a succession of glaziers or families with glass-related names resident in the 4 Ayre has this type of acanthus border around roundels in locations as far afield as Staffordshire, Wiltshire, Leicestershire and Somerset. Ayre, pp. xxxii and xxxiii. A similar sort of border occurs in panels at East Harling, Norfolk. C. Woodforde, The Norwich School of Glas-Painting in the Fifteenth Century (Oxford, 1950), p. 42 and plate IX. 5 See Marks, pp. 260-261. 86 county in the fifteenth and sixteenth centuries. In the late fourteenth and early fifteenth century members of the Glasenwright family had property in Cartergate.6 In 1434 a certain John Glaseer senior had a messuage and penthouse in Barnbygate7 and in 1541 Thomas Mane ‘glasyer’ was a member of Trinity Gild and also had a house in Barnbygate.8 Presumably these individuals produced some of the extensive collection of medieval glass remaining at Newark, but sadly no documentary evidence remains to substantiate a connection. Workshops operating further afield were also responsible for glass. Nottinghamshire was located in the vast archdiocese of York so it is perhaps not surprising to find glass in the two counties that has direct parallels with glass from York workshops. In Southwell Minster, a building patronised directly by the archbishops of York, are a number of fragments dating from the first half of the fifteenth century that can be directly compared to glass in York. A single delicately stippled male head at Southwell (fig. 336) can be compared to heads in the great east window of York Minster (window I), particularly the head of St Clement in panel C1 and heads 14c.9 Records show that John Thornton of Coventry was the master glazier responsible for the completion of the east window of York Minster in 1408. The fragment of an inhabited side-shafting at Southwell also has York parallels, the canopies of window sV at All Saints, North Street, York are an accessible example.10 The lion masks in panels 7 and 9 of window sXI (fig. 340) can be compared with those in the borders and in the grounds behind the main figures in the Wolveden window (nVIII) of the 1420s, in the north quire aisle of York Minster. Among the miscellaneous collection of fragments (of unknown provenance) in the chancel at Balderton, Nottinghamshire, are heads that are almost certainly the work of one of the hands responsible for elements of the St William window in York Minster. The head of an archbishop (fig. 41) with its bulbous nose, small tightly6 C. Brown, A History of Newark-on-Trent, (Newark, 1904), vol. 1, pp. 149, 161, 162, 165 and 166. 7 C. Brown, A History of Newark-on-Trent, vol. 1, p. 155. 8 C. Brown, A History of Newark-on-Trent, vol. 1, p. 250. 9 T. W. French, York Minster. The Great East Window, CVMA, Great Britain, Summary Catalogue, 2 (Oxford, 1995), particularly p. 39 and plate 23. 10 See: E. Gee, ‘The Painted Glass of All Saints Church, North Street, York’, Archaeologica 102 (1969), plate xxix. 87 formed mouth and wide eyes, with full visible iris, has numerous parallels in this window.11 The St William window dates from 1414 and was, like the east window, a commission produced under the direction of John Thornton of Coventry. Peter Newton has linked the glass in the east window of Haddon Hall, dating from 1427 and the near-contemporary fifteenth-century narrative panels in sII at Newark to glass in a range of different sites in the West Midlands. Although he believes the glass was a product of a series of different workshops, they had what he terms a ‘family resemblance’, again with a similar treatment of facial modelling, the use of colour and common subsidiary elements such as canopies and quarries. On the basis of comparison with the east window of York Minster he linked the school to John Thornton of Coventry and traced the source of the stylistic characteristics to Thomas Glazier of Oxford, who was responsible for glazing in New College Oxford and Winchester College.12 Again on the basis of stylistic comparison, Richard Marks has linked the figure of an angel at Averham from later in the fifteenth century (fig. 27) to a workshop headed by Richard Twygge and Thomas Wodshawe, operating at the end of the fifteenth century and beginning of the sixteenth century. As a team these two glaziers were responsible for glazing in both the Midlands and the south-east of England.13 The remaining glass is so disparate in character that only in a handful of cases can glass within the counties be attributed to the same workshop. Comparisons of facial modelling and the very characteristic profusely-pinnacled canopies, link the standing figures in window nII and the glass in window sIII at Morley, Derbyshire (figs 190-191, 212-214), with the main figures in windows sVI and sVII at Norbury, Derbyshire (figs. 264-268). Both schemes probably date from the 1460s and 1470s. In turn the glass in sVI and sVII at Norbury is probably, on the basis of facial comparison, the product of the same workshop responsible for the former figurative 11 T. French, York Minster. The St William Window, CVMA, Great Britain, Summary Catalogue, 5, (Oxford, 1999), plate 24 (donor head from panel 1b), fig. 6 and fig. 7c. 12 Newton ‘Schools of Glass Painting’, pp. 110-134. 13 R. C. Marks, The Stained Glass of the Collegiate Church of the Holy Trinity, Tattershall (Lincs.) (New York and London, 1984), pp. 98-99 and 101-116. 88 glazing of the north nave aisle, including a series of the apostles, now in window I (figs. 253-257 and 261 and 263). Glass at Holme-by-Newark and Averham in Nottinghamshire can be assigned to the same workshop. The head of the Christ Child (fig. 31) is by the same atelier that produced the head of a bishop (fig. 124) and female donor heads (fig. 125) at Holme-by-Newark, the faces exhibiting the same treatment of mouths and eyes (the latter with the identical placement of irises), combined with small turned-up mouths and shaded dimples on the top lips. The figure of a king from a tracery light at Averham (figs. 26 and 28) is also strikingly similar to the prophet figures at Holmeby-Newark (figs. 135 and 136), again suggesting a common workshop origin for the glass. All these figures are in fairly linear style, set against painted rinceau grounds. Beyond this point any further comparisons or links must await the emergence of entirely new documentary or physical evidence. 89 CONCLUSION As well as establishing problems and limitations associated with interpreting this sort of material, these four chapters have demonstrated the value of the evidence provided by the extant and lost window glass of Derbyshire and Nottinghamshire from the period 1400-1550. It has established some sense of the importance of the content of stained glass, both as evidence of the dynamics of social and political relationships within the two counties and of the processes involved in commemoration and popular piety, as well as the role of glass in the definition of a visual landscape within the parish church and domestic space. 90 A note on the citation of heraldry and inscriptions within primary sources The heraldic primary sources drawn on in this thesis present shields of arms by a number of different methods: they are ‘tricked’, i.e. presented as line drawings where tinctures are indicated through the use of abbreviations (fig. 61), or painted in full colour (fig. 341) or blazoned, i.e. described in heraldic language. In this thesis the author has blazoned the shields presented as ‘tricks’ or in full colour. Where the holder of a particular heraldic bearing has been identified within the primary source, this identification has been placed in rounded brackets. Where the author of this thesis has made the identification himself the identification is then placed in square brackets and the justification for this is then footnoted. Within each catalogue entry the heraldic bearings recorded in primary sources (even if multiple sources are transcribed) are numbered as a single continuous sequence. Unless placed in inverted commas, this numbering does not constitute part of the original source, but has been applied by the author of this thesis as a means of enabling easier cross-reference within the catalogue analysis. Where primary sources include descriptive texts and/or transcripts of inscriptions, these have been transcribed in full without alteration and are placed in inverted commas. Where the transcribed text is abbreviated or inscriptions are contracted and these contractions are obvious, the author has expanded them and the expansions are placed in square brackets. When an heraldic achievement or inscription cannot be deciphered due to damage to a manuscript, it is denoted by an ellipsis. 91 Annesley, Nottinghamshire, Redundant Parish Church of All Saints OS SK 512 537 Manuscript source London, British Library, Additional MS 5832, ff. 224r-v. Newton ‘Schools of Glass Painting’, vol. 3, pp. 396-406. Printed sources A. M. Y. Baylay, ‘Annesley Old Church’, Thoroton Society, 16 (1912), pp. 1-5. Coe, p. 111. Truman (1944), pp. 53-56. Thoroton and Throsby, vol. 2, p. 269. E. Trollope, ‘The Churches of Mansfield and other Parishes visited by the Society on the 23rd and 24th of June 1874’, Associated Architectural Societies Reports and Papers, 12 (1874), p. 170. Annesley old church, sited in the park of Annesley hall, is now a ruin preserved by the Kirkby-in-Ashfield and District Conservation Society. The building was little used after a new church was built in the parish in 1874 and the building was unroofed, the walls reduced in height and the window tracery removed around the middle of the twentieth century. The nave and chancel were apparently late Perpendicular, with the western tower and the south aisle dating from the 1360s. The latter was known as the Felley chapel, after the neighbouring priory of that name and was associated with a chantry founded by William de Wakebridge and Robert de Annesley in 1363.1 At the end of the seventeenth century Thoroton saw the following glass in the church:2 ‘South Ile East Window’: 1 Pevsner Nottinghamshire, p. 55 and Cox County Churches, p. 22. 2 Thoroton and Throsby, vol. 2, p. 269. 92 1. Gules, seven mascles argent 3, 3, 1. 2. Paly of six argent and azure, a bend gules (Annesley) ‘this is oft’. 3. ‘Upon one in Mail, and by his head’: Argent, a lion rampant sable. 4. Gules, a fess vairy between three leopards heads jessant, three flowers de lis, the tops of the heads downwards. 5. Vairy or and sable. 6. Argent, six lioncells gules 3, 2, 1. ‘In a North Window’: 7. Gules, a crosse engrailed argent, impaling, Annesley. ‘In the East Window of the Chancel’: 8. Chaworth (Azure, two chevrons or), with quarterings ‘put there not very long before the Unhappy Wars, which destroyed such matters’. In January 1748 John Allen recorded the following glass:3 ‘In the Nave of Annesley Church… Middle North Window of 2 panes, in the left Hand Pane the Virgin Mary, in the right hand one the Trinity: the Legends, Sta Maria, Sta Trinitas: Under the Virgin, a Lady praying, Under the Trinity a Shield containing’ 9. Argent, on a cross engrailed gules, an annulet impaling Annesley. ‘In the East window [chancel]’: 10. Chaworth with Quarterings, ‘imperfect’. ‘In the middle Pane the Trinity, on the right-Hand pane, St John, all imperfect.’ 3 London, British Library, Additional MS 5832, ff. 224r-v. 93 ‘The Quarells in the chancel windows many of them charged with the single gold letter P, the initial one for Patrick.’ ‘In the South Isle, which was built by the Annesleys, and above half of which to the East was a Chantry, still separated from the Rest by a Screen, as well as from the Nave of the Church, on the North Side of the Altar of this Chantry …, in the East Window, which is a very fine one, and has been richly glazed, are the shield and stories still remaining. Over the Crucifix,’ 11. Annesley. ‘on the left parellel (sic) to it, a shield’: 12. Lozengy gules and argent. ‘On the right another’: 13. Argent, a ‘Tyger or Greyhound’ rampant, Sable. ‘The Nativity, viz. the Stable, wherein is a Cow and a Goat, the Babe in the Manger, the Virgin asleep upon her Arm, and Joseph watching over her: the wisemen offering &c. At the bottom a Man in Armour, praying, on his Surcoat the Arms of’: 14. Annesley. ‘and a Shield of the same a little above his Face. A Lady, praying, with a little Girl before her, seemingly on her Coat, viz: the Childs,’ 15. Vert, two fesses or. ‘In the 2nd south window,’ 16. A fess vairy argent and azure, betwixt three leopards heads crowned fleur-de-lis ‘in a South Window of this Isle, before you enter the Chapel, viz:’ 17. Lozengy argent and gules. ‘In the west window of this South Isle,’ 18. Annesley: Argent, six torteuexes gules, 3. 2. 1. ‘In the south window of this Isle a Bishop or Abbot in Pontificalibus’. 94 As late as 1932, substantial remnants of medieval glass were still extant in the southwest window of the chancel and in the east and south windows of the Felley chapel. It was all removed by Nevil Truman in this year and placed in panels 1a, 3b, 4a and 4e of window I at Holme-by-Newark.4 The glass is catalogued with the rest of the glass at Holme-by-Newark. In the first of his Surveys Truman published an account of the glass prior to its removal. In the new arrangement at Holme, Truman incorporated additional fragments, (some loose and some leaded into a panel) given to him by Colonel John N. Chaworth-Musters of Annesley Hall and apparently discovered in the churchyard.5 None of the glass recorded by Thoroton and Allen in the north side of the church or in the east window of the chancel was extant in 1932, although in 1912 Baylay saw fragments of ‘quarry glazing’ in the latter.6 Perhaps the glass in the north side of the church was contemporary with the fabric, i.e. late Perpendicular. If the donor was (as Allen seems to infer) a member of the Annesley family, the glass can have been no later than the middle of the fifteenth century, for the property passed into the hands of the Chaworth family of Wiverton about that time. George Chaworth, son of Sir Thomas Chaworth of Wiverton (d. 1459) married Alice, daughter and heiress of John Annesley (d. 1437).7 The transferral of the property also aids in dating the glass in the east window, as this incorporated the Chaworth arms. Thoroton’s remark that the glass in the east window of the chancel was ‘put there not very long before the Unhappy Wars, which destroyed such matters’ suggests that the glass may have dated from the first half of the seventeenth century. In 1932 the south west window of the chancel (sIII) still contained two of the ‘P’ quarry fragments Allen saw and also incorporated fragments of what Truman describes as parts of a canopy formed from sections of ‘scrolled wreath’.8 All these fragments, along with a complete and two more identical fragmentary ‘P’ quarries given to Truman by Colonel Chaworth-Musters, are now in panels 4a and 4e of I at 4 Truman (1944), pp. 53-56. 5 Truman (1944), p. 55. 6 A. M. Y. Baylay, ‘Annesley Old Church’, Thoroton Society, 16 (1912), pp. 1-5. 7 Wright, p. 232 and Thoroton and Throsby, vol. 1, pp. 198-199 and vol. 3, pp. 268-269. 8 Truman (1944), p. 54. 95 Holme-by-Newark. Truman expressed the view that the ‘P’ quarries referred to Patrick Chaworth, who was lord of Annesley in the later seventeenth century.9 As they are in fact late medieval, it is possible that they refer to the marriage of Sir John Chaworth (d.1558) to Mary, daughter of William Paston, an event that took place sometime in the 1540s.10 Among the glass discovered in the churchyard and given by Colonel Chaworth-Musters to Truman, were the following additional fragments dating from the period covered by this thesis:11 1. ‘A pair of feet on a yellow ground with matt grass tufts between them.’ 2. ‘Head. Top half, on white. Yellow stain halo and short curly brown hair.’ 3. ‘Two wide borders of pineapple in black and yellow on white.’ The feet are now incorporated into a composite figure in 3b of I at Holme, with glass native to that church. The head is in 4a of I and has suffered from considerable paintloss. The pineapple borders are presumably the 16th-century rectangular border elements decorated with Renaissance strapwork, now in panel 2d of I at Holme. The glass in the east window and south wall of the Felley chapel was also transferred to Holme-by-Newark. This glass is all contemporary with the construction of the chapel, i.e. of the 1360s and is therefore beyond the scope of this thesis. The reader is referred to Truman’s article for further details of this glass. 9 Truman (1944), p. 54. 10 Throsby and Thoroton, vol. 1, p. 199. 11 Truman (1944), pp. 55-56. 96 Ashbourne, Derbyshire, Parish Church of St Oswald OS SK 178 463 Manuscript source Ashmole, p. 25. Printed sources Coe, p. 98. Cox, vol. 2, pp. 392-394. C. E. Long (ed.), The Diary of Richard Symonds, Camden Society, Old Series, 76 (1859), pp. 220-221. Mee Derbyshire, p. 20 Nelson, pp. 67-68 Pevsner Derbyshire, p. 61. F. Jourdain, ‘The Heraldic Stained Glass in Ashburne [sic] Church, Derbyshire,’ DAJ, 3 (1881), pp. 90-94. G. E. Shaw, The Stained Glass of St Oswald’s Parish Church Ashbourne (Ashbourne, 2002), pp. 12-13. Illustrations Figs. 1-9. St Oswald’s Ashbourne is one of the largest churches in Derbyshire and consists of an aisled nave, transepts with eastern chapels, central tower with spire and aisleless chancel. The chancel, the earliest part of the existing structure, was consecrated in 1241. The nave and transepts are of the late thirteenth century and the crossing tower and spire of the early fourteenth century. There was some later remodelling. In the late fourteenth century, the chancel received a new east window and in the late fifteenth century, the eastern chapel of the south transept received a new south window. The early sixteenth century saw the addition of clerestories to both the north transept and nave.1 1 Pevsner Derbyshire, pp. 58-62. 97 The remaining medieval glass dates from the thirteenth, fourteenth, fifteenth and sixteenth centuries. Of the thirteenth century are a series of medallions of the life of Christ located in nXIII. Of the fourteenth century are fragments incorporated into the bottom of window nXI, the north window lighting the eastern chapels of the north transept. The fifteenth and early sixteenth-century glass, which is covered by this catalogue, consisting of shields of arms, figurative and other fragments, is also in nXI, where it is leaded among the fourteenth century glass. Among the figurative fragments are two images of the Crucified Christ, one small-scale and the other much larger and fragmentary, part of the Christ Child, probably from an image of St Christopher and the head of a sainted nun. Mee and Shaw both suggested that the glass in nXI originated in Fenny Bentley church (q.v.), which is four miles north of Ashbourne.2 This is unsubstantiated and the evidence of antiquarian sources proves that the heraldic glass, at least, originated in Ashbourne church. In 1662 Ashmole tricked the following arms and recorded the following inscriptions in the windows:3 ‘In the windowes of this south Isle’: ‘The upp[er] East window’: 1. On a bend three mullets [Bradbourne]4, impaling, Fretty argent and sable [Vernon].5 2. Bradbourne, impaling, Paly of six or and gules, a bendlet argent [Longford].6 3. 2 Argent, a cross gules. Mee Derbyshire, p. 20 and G. E. Shaw, The Stained Glass of St Oswald’s parish Church Ashbourne (Ashbourne, 2002), p. 12. 3 Ashmole, pp. 25-26 and 51. 4 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 92 and Medieval Ordinary, vol. 2, pp. 48 and 99, which has the bend cotised. 5 See Haddon Hall. 6 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 92 and Medieval Ordinary, vol. 1, p. 333. 98 ‘Lower East window’: 4. Checky or and gules, on a canton gules a lion rampant sable [Warrene of Poynton].7 5. Or, on a chevron gules three martlets argent [Sheldon].8 6. Argent, three cocks gules [Cockayne].9 7. A chevron. 8. Azure, three lozenges or between nine cross-crosslets of the same [Stopford].10 ‘South window’: 9. Nebuly or and gules [Lovell].11 10. Gules, a chevron vairy argent and sable [Kniveton].12 11. Cockayne. 12. Cockayne, quartering, Barry of six argent and vert [Harthill].13 13. Ermine, on a chief dancetty gules, three crowns or [Leeche].14 14. Ermine, on a chief gules three bezants or [Okeover].15 15. Argent, a stags head caboshed with a fleur-de-lys gules between the antlers [Hartington].16 16. Argent, on a bend gules, three mullets or [Bradbourne].17 7 Medieval Ordinary, vol. 2, p. 233. 8 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 92. 9 Medieval Ordinary, vol. 2, p. 170 10 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 92. 11 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 91. 12 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 92. 13 Medieval Ordinary, vol. 1, p. 17. 14 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 91. 15 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 91. 16 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 91. 17 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 91. 99 ‘In the South window of the South door’: 17. Gules, a chevron vairy argent and sable, a mullet argent in dexter chief [Kniveton]. 18 ‘In the windowes of the North Isle’: ‘In the upper East windows’: ‘In the first’: 18. Cockayne and Harthill, impaling, Party per fess, Azure, a fess engrailed or between three maiden’s head of the same (Marrow), and, Gules a chevron or between three crosscrosslets of the same (Rich). ‘In the 2d: windows is the Portraicture [sic] of a Man and a woman kneeling before a Crucifix; both having on their surcoats of Armis’: 19. ‘the man’: Cockayne and Harthill quartered. 20. ‘the woman”: Argent, a chief vairy or and gules, over all a bend sable charged with a crescent argent (Fitzherbert).19 ‘And underneath this inscripc[i]on’: ‘… statu Dne Thomae Cokayn militis et … q[u]i hanc Fenestram fieri fecerunt’ ‘In the third upp[er] window’: 21. Pily or and gules, on a canton argent a lion rampant, impaling, Cockayne and Harthill quartered. 22. Blank, impaling, Cockayne and Harthill quartered. 18 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 92. 19 See Norbury church and manor. 100 ‘And underneath’: ‘Orate pro … statu Dni Thomae Cokayn militis et Barbara q[u]i hanc Fenestram fieri fecerunt.’ ‘In the North window of this Isle over the …’: 23. Quarterly France and England within a bordure argent. 24. Sable, a bend or charged with an annulet sable, between six escallops or. 25. Gules, a chevron vairy argent and sable [Kniveton].20 26. Ermine, a bend sable. ‘In the Lower window of the South Isle towards the west side’: 27. Paly of six, a bend. ‘In the greate West window of the said Church’: ‘A man in Armis kneeling, having this Coatis quartered upon his Surcoatis’: 28. Quarterly, 1, Cockayne quartering Harthill, 2, A fess between three crescents, 3, A chevron between three horseshoes, 4, three stags. Comparison with other sources appears to suggest that Ashmole’s ‘aisles’ were in fact the north and south transepts. In 1645 Richard Symonds saw shields 2, 12, 13, 15 and 16 in the south window of the south transept, 18 and 21 were in the east 20 F. Jourdain, ‘The Heraldic Stained Glass in Ashbourne Church’, p. 92. 101 window of the north ‘cross’ ‘aloft’ and 23, 24, 25 and 26 were together in a window in the north transept.21 For the most part, the heraldic glass in the transepts referred to the two prominent families in Ashbourne in the late medieval and early modern period, the Cockaynes and the Bradbournes. The Cockayne family were in possession of a manor in Ashbourne as early as the twelfth century and throughout the period covered by this thesis they used the eastern aisle of the north transept as their mortuary chapel.22 The windows of the early sixteenth-century clerestory of the transept, the ‘upper east windows’ of the north ‘Ile’, as Ashmole refers to them (fig. 6), contained glass given by members of this family. One window contained two donor images: a man wearing a surcoat (19) bearing the arms of Cockayne and Hartill and a woman wearing a mantle (20) bearing the arms of Fitzherbert. These images, as the inscription in this and the next window confirms, were of Sir Thomas Cockayne (d. 1537), known to later members of the family as ‘Thomas the Magnificent’, and his wife Barbara, daughter of John Fitzherbert of Etwall (q.v.). A further window in the clerestory contained the arms of Cockayne and Harthill, impaling Marrow and Rich (18), an achievement that referred to the marriage of Thomas and Barbara’s son, Francis Cockayne (d. 1538), to Dorothy, daughter and heiress of Thomas Marrow of London, Serjeant-at-Law.23 These windows were placed directly over the tombs (which still remain, fig. 7) of Sir Thomas and Barbara and Francis and Dorothy. The ‘bono statu’ bidding of the two inscriptions suggests that these two windows were glazed during the lifetime of Sir Thomas, so prior to 1537. When Cox was here in 1876, the arms of Cockayne impaling Fitzherbert were still to be seen in the upper windows of the transept.24 They have subsequently disappeared. The Bradbourne family were comparative newcomers to Ashbourne in comparison to the Cockaynes, having purchased the manor of Hough or Hulland, within the parish of Ashbourne, sometime in the middle of the fourteenth century. 21 C. E. Long (ed.), The Diary of Richard Symonds, Camden Society, Old Series, 76 (1859), pp. 220-221. 22 Cox, vol. 2, pp. 380-388. 23 Wright, p. 220. 24 Cox, vol. 2, p. 394. 102 They used the eastern aisle of the south transept as their mortuary chapel.25 As there is no eastern clerestory, Ashmole’s ‘upper east window’ probably refers to the large south window that lights this part of the building (fig. 8). The window incorporated a shield bearing the arms of Bradbourne impaling Vernon (1), referring to John Bradbourne (d. 1488) and his wife Anne Vernon, daughter of Sir Richard Vernon of Haddon (see Haddon Hall).26 There was also a shield of Bradbourne impaling Longford (2) referring to the marriage of their son Humphrey (d. 1519) to Margaret, daughter of Ralph Longford. The latter is still extant and is now in panel 2b of nXII. John and Anne Bradbourne founded a chantry at the altar of St Oswald in this eastern aisle and their tomb (now relocated to the north transept), was originally placed here (fig. 9). In the ‘lower east window’ were five more shields including those of Cockayne, Stopford and Warenne. The latter two are still extant in 2c of nXI. The shields in this window may have referred to marital and social connections within Anne Bradbourne’s family. The arms of Stopford probably referred to the marriage of her grandfather, Sir William Vernon of Haddon to Margaret, daughter of Robert Stopford. The arms of Warrene are those held by the branch of the family holding the lordships of Poynton and Stockport in Cheshire.27 It is possible that the arms refer to John Waryn, who was Clerk to the Assizes of Derbyshire in the 1430s and 40s and was a known associate of Anne Bradbourne’s father, Sir Richard Vernon of Haddon.28 He cannot, however, be directly linked with the Warrens of Poynton unless he is John Warren of Poynton who died in 1474.29 When Cox was here in 1876 the Warrene and the Bradbourne/Longford shields were in the large south window of the south transept aisle, along with the contemporary crucifix that remains in 1c of nXI and fragments of ‘old yellow-stain glass’. 30 The church was thoroughly restored in 1881-2 and it is likely that the glass was moved to its present location in the north transept at that date. 25 Cox, vol. 2, pp. 388-391. 26 Wright, p. 219 27 J. P. Rylands (ed.), The Visitation of Cheshire in the year 1580, made by Robert Glover, Harleian Society, 18 (1882), p. 241. 28 Wright, pp. 98 and 251. 29 J. P. Rylands, Visitation of Cheshire, p. 241. 30 Cox, vol. 2, p. 394. 103 Catalogue nXI. 1c. Christ Crucified (fig. 1), with crossed nimbus. Blackline and stipple on white with yellow stain on the nimbus, crown of thorns, loincloth and cross. The INRI, in capitals is on a separate piece of glass set within a border of yellow stain and placed above the cross. All the glass is dirty with leaded breaks and small losses to Christ’s legs. 15th or 16th-c. h 0.35m, approx. 2a. Shield of arms (fig. 4) set amid (mostly fourteenth-century) fragments: Blank, impaling, Argent, three cocks gules (Cockayne),31 quartering, Barry of four argent and vert (Harthill).32 15th or 16th-c. Leaded breaks. Among the fragments: Part of a Golgotha, with a thigh-bone in yellow stain set against a white ground with yellow stain flowers, 15th or 16th-c.; a blackletter /m/, 15thc. w of light 0.45m. 2b. Shield of arms (fig. 5) set amid (mostly fourteenth-century) fragments: Argent, on a bend gules three mullets or (Bradbourne),33 impaling, Paly or and gules, over all a bend argent (Longford).34 The field of Bradbourne is decorated with contiguous blackline rosettes. Leaded breaks. 15th or 16th-c. A rectangular lozenge-filled border element, 15th-c. w of light 0.45m. 31 Medieval Ordinary, vol. 2, p. 170. 32 Medieval Ordinary, vol. 1, p. 17. 33 Medieval Ordinary, vol. 2, pp. 48 and 99, which has the bend cotised. 34 Medieval Ordinary, vol. 1, p. 333. 104 2c. Shields of arms (fig. 3) set amid (mostly 14th-c.) fragments: Checky or and azure, on a canton gules, a lion rampant argent (Warenne of Poynton).35 Leaded breaks in the canton. The shield is enclosed within a circular wreath of rod and acanthus, executed in blackline and yellow stain on white. Final quarter of the 15th c. Below the first is the second shield: Azure, nine crosscrosslets or. The field of this is decorated with a rinceau reserved against matt. Four of the crosslets have been replaced with stopgaps. Fragments include: a single lozenge-filled border rectangle (as 2a) and fragments of tracery light fillings consisting of yellow stain borders enclosing yellow stain flowers. The latter late 14th or 15th-c. w of light 0.45m. 2d. Shield of arms and fragments (fig. 2). The shield bears: Argent, a chief vaire or and gules, over all a bend sable (Fitzherbert).36 The field is decorated with a diaper of contiguous rosettes. The head of the Christ Child (perhaps from a St Christopher image?), with right hand in the attitude of benediction, executed in blackline with yellow stain on the shoulder length hair and cross nimbus. Late 15th-century. Blackline hand holding a yellow stain orb, perhaps associated with the above. Late 15th-c. Fragments of the Crucified Christ: Christ’s head, the eyes and upper part only, with yellow crown of thorns; the torso of Christ in yellow stain and stipple, with drops of blood from the wound in the side reserved against the stipple and outlined in blackline. 15th or 16th-c. Head of a nun, wimpled, with solid black veil, blackline and stipple. Trimmed, dirty and with paint loss. Late 15th-c. w of light 0.45m. 2e. Shield of arms set amid (mostly 14th-c.) fragments: Blank, impaling, Argent, three cocks gules (Cockayne),37 quartering, Barry of four argent and vert 35 Medieval Ordinary, vol. 2, p. 233. 36 See Norbury church and manor. 37 Medieval Ordinary, vol. 2, p. 170. 105 (Harthill).38 Leaded breaks and stopgaps, particularly in the Harthill quarters. 15th or 16th-c. w of light 0.45m. 38 Medieval Ordinary, vol. 1, p. 17. 106 Ashbourne, Derbyshire, Talbot Inn Precise location unknown Manuscript source Oxford, Bodleian Library, MS Ashmole 854, p. 51. When Ashmole was in Ashbourne in 1662 he tricked, from the Parlour window of the Talbot Inn, the following shield of arms:1 1. Party per fess, Azure, a fess engrailed or between three maiden’s head of the same, and, Gules a chevron or between three cross-crosslets of the same . He saw the same arms in Ashbourne church, where they were impaled by the arms of Cockayne, in the eastern clerestory of the north transept (q.v.). He identified the upper part as the arms of Marrow and the lower as the arms of Rich, 2 referring to the marriage of Francis Cockayne of Ashbourne (d. 1538), to Dorothy, daughter and heiress of Thomas Marrow of London, a serjeant at law.3 The arms in the inn were presumably no earlier than the first half of the sixteenth century. 1 Ashmole, p. 51. 2 Ashmole, p. 26. 3 Wright, p. 220. 107 Ashover, Derbyshire, Parish Church of All Saints OS SK 348 631 Manuscript source Bassano MS, pp. 1-3. Illustrations Figs. 10-14. The Bassano brothers saw the following glass in Ashover church in the early eighteenth century:1 ‘In the east window of the chancell Brian Rood … Hujus Rector hanc Novam ffabricam fieri fecit.’ ‘In a South Window of the Church’ the arms: 1. Azure, three waterbougets or. 2. Gules, upon a bend … ‘In the south Window of Babington Quire (w[hi]ch is in the east of the south Isle) in the Middle pane’: 3. Argent, ten torteauxes 4. 3. 2. 1. (Babington), quartering, Argent, a fess vairy or and gules between three waterbougets sable [Dethick].2 4. ‘With Fitzherbert of Norbury is quartered’ Barry of six argent and sable, a canton ermine [Marshall].3 1 Bassano MS, pp. 1-3. 2 Cox, vol. 1, p. 32. 3 Cox, vol. 1, p. 32. 108 ‘In the next pane’: 5. ‘With Babington’ A fess vairy between three waterbougets sable [Dethick]. 6. ‘With another coat undiscernable w[i]th w[hi]ch are impaled first’ Or, a chief gules. 7. Barry of six argent and gules, three martlets sable [Chaworth].4 8. Azure, chevrons or [Alfreton].5 9. Argent, eight mullets pierced sable. 10. Gules, a fess between ten billets or [Brett].6 11. Azure, a frett or. 12. Argent, a bend vairy azure and gules. 13. Argent, two lyons Segriant gules. 14. Gules, a fess between six crossletts or 3.2.1. [Engaine].7 15. Vaire, three bars gules [Keynes].8 16. Paly or and gules [Grey].9 17. Azure, a cross argent [Aylesbury].10 18. Gules, ten bezants, a canton ermine [Zouch of Harringworth].11 19. Argent, three fussils in fess .. each charged with a bezant. 20. … [illegible]. ‘In a high North Window of the Church’: 21. 4 See Dethick. 5 Cox, vol. 1, p. 32. 6 Cox, vol. 1, p. 32. 7 Cox, vol. 1, p. 32. 8 Cox, vol. 1, p. 32. 9 Cox, vol. 1, p. 32. 10 Cox, vol. 1, p. 32. 11 Cox, vol. 1, p. 32. ‘For az[ure] I suppose’. 109 22. Quarterly, Argent, a cinquefoil and a chief or, and, Vert, upon a bend argent 3 … sable, impaling, Or, three chevrons ….. 23. ‘In the Middle pane with the aforesed Quartered Coates is Impaled Babyn[g]ton.’ 24. ‘In the 3d pane is onely the 2 first Coates [21 and 22] Quartered’. Under writen is .. Ora … Statu Thome ….. ejus ac paren …’ ‘In a high South window’: 25. Gules, a field charged with mascles or (Ferrers). 26. ‘In the same window is a broken quartered coate Babington & others wth it.’ ‘In Another window’ the inscription ‘George Leche …. Under wch in the same Middle pane’ is the inscription ‘Babynton Kt …. Wyfe’ ‘In another high window, Philip Okeover Elizabeth Babinton.’ ‘A Quire wch beares the name of Rolston in the East End of the North Isle In the East Window thereof in the Middle pane’: 27. Quarterly, 1. Gules upon a bend argent three Crosslets sable (Reresby), 2. Barry gules and argent, a canton ermine, 3. Gules three goates argent, ‘the 4th as the first.’ ‘In another panel’: 28. Argent, a cinquefoil pierced argent upon a chief gules, a lion passant guardant or (Rolleston). 110 Cox noted that there was a 'small trace of one or two escutcheons' remaining in the windows before the restoration in 1843, but they had disappeared by the time he was writing in the 1870s.12 The rector Brian ‘Rood’, commemorated in the east window, is presumably Brian Rose, who was rector of Ashover from 1518 to 1529.13 The ‘new fabric’ referred to in the inscription was probably the stonework of this window. The rest of the glass recorded by the Bassanos was given by the two most prominent families in the parish of Ashover, in the fifteenth and early sixteenth century, the Babingtons of Dethick (q.v.) and the Rollestons of Lea. Both families were closely related. According to the Bassanos the east end of south nave aisle was the ‘Babington quire’ and the east end of the north aisle the ‘Rolleston quire’, a personalisation of space reflected in the glazing of these areas of the building. The east window of the ‘Rolleston quire’ contained two shields, one of Reresby (24) and one of Rolleston (25). The Reresby arms may refer to John Reresby, who was rector of Ashover from 1504 to 1518 and in whose family the patronage of the living was vested.14 The prominent member of the Rolleston family in the early sixteenth century and the likely patron of the Rolleston arms was James Rolleston of Lea (d. 1507), who with his wife Anne, daughter of Sir John Babington of Dethick (d. 1485), is commemorated by a brass in the chancel to the south of the high altar (fig. 11). It seems that shield (23) in a ‘high’ (clerestory) north window also referred to them. The ‘Babington quire’ (fig. 12) was formerly divided from the rest of the church by a parclose screen and contained an altar dedicated to St Thomas the Martyr and St Katherine, at which Sir Thomas Babington (d. 1519), brother of Anne Rolleston, established a perpetual chantry in 1511.15 Sir Thomas and his wife Edith, daughter of Ralph Fitzherbert of Norbury (q.v.),16 are commemorated by an alabaster 12 Cox, vol. 1, p. 31. 13 Cox, vol. 4, p. 443. 14 Cox, vol. 4, p. 443. 15 Cox, vol. 1, pp. 26-27 and Cox, vol. 4, p. 443. 16 Wright, p. 219. 111 tomb placed in this quire, which supports their recumbent effigies (figs. 13 and 14). The sides of the tomb incorporate figures of their children as ‘weepers’ and in reference to the dedication of the chantry, the figures of Sir Thomas and Edith, kneeling on either side of St Katherine and a sainted archbishop, presumably St Thomas of Canterbury. It seems that shields 3 and 4 in the south window of the ‘Babington quire’ also referred to them. Cox was of the opinion that the glass in this south window was not given by Thomas and Edith but by their son Sir Anthony Babington (d. 1544), for shields 5-20 all refer to his marriage to Elizabeth Ormond (d. 1505).17 As well as referring to the Rollestons (see above), glass in the ‘high’ windows, presumably the windows of the late medieval nave clerestory (fig. 10), commemorated Sir Thomas (d. 1519), Sir Anthony (d. 1544) and other members of the Babington family. Shield 25 referred to Sir Anthony Babington’s second marriage to Catherine Ferrers, which took place after the death of his first wife, Elizabeth, in 1505.18 Two inscriptions commemorated the daughters of Sir Thomas, Anne (d. 1538), who married George Leeche (d. 1505) of Chatsworth19 and Elizabeth, who married Philip Okeover.20 This glass was clearly fragmentary when the Bassanos saw it; presumably more members of the Babington family were commemorated when the glazing was first put in. 17 Cox, vol. 1, p. 33. 18 Wright, p. 218. 19 Wright, p. 211, Cox, vol. 1, p. 33 and vol. 2, p. 183. 20 Wright, p. 211. 112 Attenborough, Nottinghamshire, Parish Church of St Mary Magdalene OS SK 519 342 Manuscript source Nottingham, Nottinghamshire Archives, DD TS 6/4/21, ff. 9r-10v. Printed sources Gill, p. 120. Mee Nottinghamshire, p. 22. Nelson, p. 159. Pevsner Nottinghamshire, p. 60. J. Standish, ‘Attenborough Church’, Thoroton Society, 10 (1906), p. 30. Thoroton and Throsby, vol. 2, p. 179. Truman (1944), pp. 56-57. N. Truman, 'Medieval Glass in Holme-by-Newark Church', Transactions of the Thoroton Society, 39 (1935), p. 100. Attenborough church consists of a west tower with spire, clerestoried nave with aisles and an aisleless chancel. The arcades are of the thirteenth century, re-worked in the fourteenth, and the aisle windows, along with the west tower, are of the late fourteenth or early fifteenth century. Substantial work was undertaken in the later fifteenth century, when the nave clerestory and chancel were added.1 The remaining glazing consists of fragmentary in situ tracery light fillings in sII, with fragments of the same in sIII, leaded up with fragments removed from elsewhere, probably from the east window of the chancel.2 There are minor 1 Pevsner Nottinghamshire, pp. 59-60, J. Standish, ‘Attenborough Church’, Transactions of the Thoroton Society, 10 (1906), p. 30. 2 The better preserved of these ex situ fillings, now in A2 of sIII, was from a tracery light of about the same height, but narrower than those in the south wall of the chancel. The Perpendicular east window of the chancel is the only window in the church with tracery lights capable of taking the glass. 113 fragments in sV, and late fourteenth-century tracery fillings in situ in sVII. All the glass is dirty. Apart from Throsby's note that there were 'some remains' of old glass3 there are no antiquarian references to glass in Attenborough before the late nineteenth century. In 1943 Truman catalogued all of the remaining glazing. In his time, window nV contained ‘five roundels in orange and black’ made up from fragments. One of the fragments consisted of a fleur-de-lys within a diamond (perhaps a quarry?).4 This glass is no longer extant and was probably lost when the present glazing of this window was installed in the middle of the twentieth century. Godfrey doesn’t seem to notice the extant glass, but saw in 'the window at the east end' the letters 'I.F' and a quarry 'in the north aisle' with the initials 'M.H.C.W’.5 These no longer remain. Gill also fails to mention the remaining glass, only noticing ‘clear glass quarries in the central light of [the] south window of [the] chancel’. These no longer survive. 6 Some glass, taken from an unknown location in the church, was removed shortly before 1933 by the glazier H. Hincks of Hincks and Burnell of Nottingham, who placed them, under the direction of Nevil Truman, in the east window of Holme-by-Newark church (q.v.), where they can still be seen.7 The fragments are identical to the fragmentary ex situ tracery light fillings in window sIII, proving the provenance. One of the fragments at Holme is a tracery lobe of a form and dimension as would fit the east window of the chancel at Attenborough, further reinforcing the conjecture that the glass in sIII was from that location (see above). 3 Thoroton and Throsby, vol. 2, p. 179. 4 Truman (1944), pp. 56-57. 5 Nottingham, Nottinghamshire Archives, DD TS 6/4/21, ff. 9r-10v. 6 Gill, p. 120. 7 N. Truman, 'Medieval Glass in Holme-by-Newark Church', Transactions of the Thoroton Society, 39 (1935), p. 100. 114 Catalogue sII. A3. Tracery light filling, top lobe only remaining in situ, a plain yellow stain and black line border following the shape of the light. 15th-c. A4. Tracery light filing, top lobe only remaining in situ, a plain yellow stain and black line border following the shape of the light. Leaded breaks. 15th-c. B1. Fragment of discoloured glass, some part touched with yellow stain. sIII. A1. Fragments. Dislocated ex situ remnants of tracery light fillings, consisting of stylised foliage reserved on a cross-hatched yellow stain ground, within an alternating border of black line rectangles and stylised yellow stain quatrefoils. 15th-c. A2. Tracery light filling and fragments. In the top lobe the remains of the original filling as sII, A3. Fragments of ex situ fillings, in detail as A1. 15thc. A3. Tracery light filling and fragments. In the top lobe remains of the original fillings, as A2. In the centre of the panel a canopy fragment, a pier base and foliated capital supporting a further structure above, a crocketed finial superimposed against the base. The pier is set on a ground of cross-hatching and yellow stain. Grouped around the architectural fragments are remains of ex situ tracery lights, in detail as A1. 15th-c. A4. Fragments, as A1. 115 sV. A2. Fragment, of a trelliswork roundel (?), the trellising reserved against matt, with yellow stain. Very dirty. A3. Quarry type 24. 15th-c. 116 Ault Hucknall, Derbyshire, Parish Church of St John the Baptist OS SK 467 652 Manuscript sources London, British Library, Harley MS 1486, f. 33r. London, British Library, Harley MS 1093, f. 2v. London, British Library, Harley MS 5809, f. 14r. Rawlins, vol. 2, p. 216. Printed sources Butler, p. 37. Coe, p. 98. Cox 1, p. 245-246. J. B. Himsworth, 'Old Stained Glass in South Yorkshire and Derbyshire', JBSMGP, 4 (1931), pp. 69-70. C. Kerry, ‘The Ancient Painted Window in Hault Hucknall (Great Hucklow) Church, Derbyshire’, DAJ, 20 (1898), pp. 46-51. Mee Derbyshire, p. 32. Nelson, p. 69. Pevsner Derbyshire, p. 70. Thorold, p. 41. Illustrations Figs. 15-22. Ault Hucknall church consists of a nave with side aisles, south porch, central tower and chancel with south chapel (fig. 17). Most of the structure is Norman, but the chancel, south chapel and south nave aisle were all remodelled in the late fifteenth or early sixteenth century and all the windows have the round-topped, uncusped light heads associated with that period (q.v. Staveley and Sutton Scarsdale).1 1 Pevsner Derbyshire, p. 70. 117 The remaining medieval glass is located in the east window of the south chapel (sII) and consists of a Crucifixion (figs. 15 and 16) with large standing flanking figures of the Virgin Mary, St John the Evangelist and St Ursula (fig. 22), set above three panels of kneeling donors (figs. 18, 20 and 21), a shield of arms (fig. 19) and fragmentary inscriptions. All the glass has a common workshop origin. In the 1820s, the glass was probably in its present location, where Butler and Rawlins both saw some old glass. Neither offered any description, as the window was bricked up on the outside and consequently the glass was barely visible.2 The window had been unblocked before 1875 as Cox saw and described the present arrangement.3 By the end of the nineteenth century, as demonstrated by the photographs published by Kerry in his article on the window in 1898, the Crucifix and main standing figures were very fragmentary.4 Overall only forty or fifty percent of the original glass area was remaining, with the heads of St Ursula and the Virgin Mary missing and leaded breaks to much of the remainder. The window was cleaned, releaded and reconstructed in 1981 by York Glaziers Trust. During this work the Trust made up all the losses in the large figures, providing the Virgin Mary and St Ursula with new heads. The leaded fractures in the heads of Christ and St John were edge-bonded and the heads plated. The standing figures were set on a ground of new white quarries. The donor images and armorials were relatively complete and were little altered in this work, except that the plain stopgaps in panel 1c were replaced with fragments ejected from the main figures. Comparison with photographs of the glass taken prior to the conservation work shows a deterioration of the remaining pigment in the twenty years since it was completed. Richard St George, Norroy King of Arms, saw the following armorials and inscriptions in ‘the windows’ in 1611:5 2 Butler, p. 37 and Rawlins, vol. 2, p. 216. 3 Cox, vol. 1, p. 245. 4 C. Kerry, ‘The Ancient Painted Window in Hault Hucknall (Great Hucklow) Church, Derbyshire’, DAJ, 20 (1898), plates 1-5. 5 London, British Library, Harley MS 1486, f.33r, Harley MS 1093, f.2v and Harley MS 5809, f. 14r. 118 1. The arms: Gules, three Lyons passant guardant or, an a chief azure the Virgin with Christ enthorned or (Newstead Priory). And the inscription: 'Orate pro bono statu Richardi Pauson vicarij istius eccliae [sic.]’. 2. On a man kneeling the arms: Quarterly, 1 and 4, Argent a pale lozengy sable (Savage), 2, Or, on a fess azure, three garbs proper (Vernon of Shipbrook)6, 3, A chevron between three martlets (Walkington)7. On a woman kneeling the arms: Quarterly, 1 and 4, France and England quarterly on a fess within a bordure gobony (Somerset), 2, Gules three lions (Herbert), 3, Per fess argent and gules, a canton (Woodville). And the inscription: 'Orate pro bono statu Johanis Sauage militis et Elizabethae uxoris eius me fieri fecerunt A[nn]o Dom[i]ni 1527'. 3. The arms: Argent, a saltire engrailed azure, on a chief azure three roses argent (Hardwick), impaling, gone. And the inscription: 'Orate pro bono statu Johannis Hardwick Generosi et uxoris eius'. 6 Sir John Savage (died 1493) married Dorothy the heiress of Sir Ralph Vernon of Shipbrook. Cox, vol. 1, p. 247. 7 According to Cox a late thirteenth-century member of the family married an heiress of the Walkington family. Cox, vol. 1, p. 246. 119 Some of the glass St George saw corresponds to glass extant in sII. The kneeling figure of the woman with heraldic mantle in 1, corresponds to panel 1a, part of the inscription in 2 remains at the bottom of panels 2a and 2d8 and the arms in 3 correspond to panel 1b. Some of the extant panels are not mentioned in St George’s account, but can be related to the glass he recorded. Sir Richard Pawson, commemorated by a lost inscription, was the vicar of Ault Hucknall from 1513 to 1536.9 The arms of Newstead were included with his inscription, as the priory held the advowson of the church and had presented him to the living in 1513.10 The extant donor image of a cleric in 1c, dressed in the habit of an Augustinian Canon,11 is almost certainly that of Pawson. Sir John Savage, commemorated by a lost kneeling donor image and inscription (part of which remains), was the son of Sir John Savage of Clifton, Cheshire. The Savage family had held the manor of Stainsby in the parish of Ault Hucknall, since the late twelfth century.12 Sir John's wife, Elizabeth, whose donor image remains in 1a, was a lady of considerable rank. She was the daughter and coheiress of Charles Somerset, Earl of Worcester (1460-1526) and of Elizabeth, Baroness Herbert. Her grandparents were Henry Beaufort, 2nd Duke of Somerset (died 1463), William Herbert, Earl of Huntingdon and Mary Woodville, daughter of Richard Woodville, Early Rivers. The crude blazons on her heraldic mantle, bear 8 In Kerry’s time the name ‘Savage’ forming part of this inscription was found resting on top of the monument below the window, along with one or two other pieces of glass, which he concluded were probably from the west window of the nave. In his time these had been ‘carefully preserved’ by the incumbent, but have now vanished without trace. C. Kerry, ‘The Ancient Painted Window in Hault Hucknall (Great Hucklow) Church’, p. 41. 9 There is an extant brass inscription in the church commemorating Sir Richard. 10 Cox, vol. 4, p. 466. 11 See Papplewick and Tuxford where the Augustinian habit is discussed in more detail. 12 By the time the window was put in, Stainsby was an estate of secondary importance to the Savage family. From the fourteenth century, Clifton in Cheshire, later known as 'RockSavage', which they inherited by marriage to the heiress of Daniers, was their principal seat. In the fifteenth century, Stainsby seems to have been used by the eldest son of the family during his father's lifetime. Sir John seems to have been seated there until he inherited Clifton after the death of his father in 1527. C. Kerry, ‘The Ancient Painted Window in Hault Hucknall (Great Hucklow) Church’, p. 49. 120 arms that correspond to those of Beaufort, Herbert and Woodville.13 St George's description of her mantle (see above), was rather an over-elaboration of what is actually blazoned on the extant donor image, which is a rather crude and oversimplified version, with no attempt to achieve the correct tinctures. Sir John Savage, who died in 1528 in his mid thirties and Lady Elizabeth, who died in 1545, are buried in the Savage chapel in Macclesfield, Cheshire, founded by Sir John's great uncle, Thomas Savage, archbishop of York.14 John Hardwick, Gentlemen, who in St George’s time was commemorated by a shield of arms (which remains in 1b) and an inscription (now lost), died in 1528. He was married to Elizabeth Leake and held the small manor of Hardwick, which was located within the parish of Ault Hucknall. Although Kerry identified the donor figures in 1d as two of the infant sons of John and Elizabeth Savage, it is probable that the images in fact portray John Hardwick senior and his only son and heir John junior.15 The panel, portraying two men, one clearly intended to be older than the other, is more suggestive of a father and son group than two young brothers. Bearing in mind the fact that St George records the existence of further elements, including a donor image of Sir John Savage, which could not fit into the present arrangement of window sII, it is probable that the donor images are in fact composite. As the Savage patronage inscription remains and those of Pawson and Hardwick do not, it is probable that the donor images of Pawson and Hardwick were removed from other windows in the church. Catalogue 13 Cox, vol. 1, p. 247. 14 Their effigies are to the south of the altar in the Savage chapel, attached to the south side of Maccelesfield parish church and were probably erected shortly after Sir John's death in 1528. Sir John is shown in plate armour and Lady Elizabeth is wearing identical costume to that of her donor image at Ault Hucknall, with a pedimental headdress, clasped mantle and a series of chains around her neck. See N. A. Vesey, The Story of St Michael and All Angels Macclesfield (n.d), p. 11. 15 C. Kerry, ‘The Ancient Painted Window in Hault Hucknall (Great Hucklow) Church’, p. 47. John Hardwick junior died unmarried and the manor of Hardwick passed to his sister Elizabeth, Countess of Shrewsbury, better known as Bess of Hardwick. Cox, vol. 1, p. 246. 121 sII. 1a. Lady Elizabeth Savage and her daughter (fig. 21). Lady Elizabeth kneels three-quarters right in the attitude of prayer at a desk, which supports an open book. She wears a pedimental headdress and a murrey gown under a corded heraldic mantle bearing: Quarterly, 1 and 4, sub- quarterly, England and France modern within a bordure gobony (Somerset), 2, Per pale argent three lioncels rampant argent (for Herbert), 3, Argent a fess and a quarter argent (for Woodville.) She has three chains around her neck. All elements of the figure are executed in blackline and matt black with no visible stippling, with yellow stain used on the headdress, neck chains, gown sleeves and parts of the mantle. The daughter also kneels three-quarters right behind her mother, in the attitude of prayer, at a small kneeling desk, supporting an open book. She wears a pedimental headdress and murrey gown. Both kneeling desks have arcaded sides and are decorated with yellow stain. The two figures are set under a shallow canopy supported on two bulbous barley-twist columns. Areas of the canopy are decorated with yellow stain. Behind the daughter is a section of fleuron cresting, giving the impression that the composition is set on a raised plinth. c.1527. h 0.30m, w 0.38m. 1b. Shield of arms (fig. 19): Argent a saltire azure below a chief argent (Hardwick), impaling, blank. The achievement is set within a twisted torteaux, from which stylised pineapples spring into the corners of the panel. The whole panel is executed in a thick black line with yellow stain. Stopgaps, leaded and unleaded breaks, heavy pitting and paint loss. c1520s or 1530s. h 0.30m, w 0.38m. 1c. Richard Pawson, vicar of Ault Hucknall 1513-36 (?) (fig. 18), kneeling three-quarters right in the attitude of prayer at a prayer desk (detailed as 1a) supporting an open book. He is dressed in a blue choral cope over a white surplice or rochet. His head is gone and is replaced with a modern white stopgap. The figure is set under a canopy supported on two barley-twist yellow stain columns, against a ground of stylised blackline foliage over a 122 base of yellow stain. Stopgaps, leaded breaks, exterior pitting and heavy paint loss. 1520s or 1530s. h 0.30m, w 0.38m. 1d. John Hardwick and his son John (?) (fig. 20), both kneeling three-quarters left in the attitude of prayer at separate desks (detailed as 1a), both supporting open books. Both figures have shoulder length yellow stain hair and wear blue gowns trimmed with yellow stain fur, worn over white doublets decorated at the collar. The figures are set under a shallow canopy supported on three barley twist columns; the canopy is vaulted and has four pendant bosses. Details of the canopy and some areas of the kneeling desks are in yellow stain. The ground has traces of trailing foliage executed in a light stipple, perhaps stencilled. Stopgaps, leaded breaks, exterior pitting and heavy paint loss. 1520s or 1530s. h 0.30m, w 0.38m. 2-4a. The Virgin Mary (fig. 15), standing three-quarters right, with hands in the attitude of prayer, veiled, wimpled and nimbed. She wears a mantle over a white gown with yellow stain cuffs. The mantle is decorated with a stippled diaper in emulation of brocade and with folds determined by black line and stipple and is edged with a yellow stain trim, charged with an unreadable decorative inscription reserved against a matt wash. The figure is set against a ground of modern white quarries. The head and large areas of the body of the figure are modern replacements. The bottom of the figure is confused with leaded breaks and there is some paint loss. 1520s or 1530s. At the base of the panel the following blackletter fragments reserved against matt with needlepoint decoration: Orate / pro / / bono /…Joh[ann]es/ c.1527. h 0.91m, w 0.38m. 2-5b. Christ Crucified (fig. 15), with long hair and a floriated cross nimbus, suspended from a narrow yellow stain cross, decorated with graining and hatched shading in black line. The figure of Christ is all in black line, with the exception of the nimbus, crown of thorns and loin-cloth, which are in solid yellow stain of varying depths. Blood issues forth from both hands and 123 from the wound in his right side. Between Christ’s head and the left hand side of the crossbeam, is a yellow stain multi-pointed star charged with a black line eye. The composition is set against a ground of modern white quarries. Considerable paint loss on the head and upper torso of the figure, the legs and some parts of the torso are modern. 1520s or 1530s. h 1.15m, w 0.38m. 2-4c. St John the Evangelist (fig. 16), standing three-quarters left with shoulder length, wavy, yellow stain hair and nimbus with yellow stain internal border. He is dressed in a full white mantle, which envelops his hands and feet. The mantle is decorated with a stippled diaper, in emulation of brocade and the folds determined by black line and stipple. The mantle is edged with a yellow stain trim, charged with an unreadable decorative inscription like that on the Virgin’s mantle. The figure is set against a ground of modern white quarries. Parts of the figure are modern replacements. A little paint loss, most notably to the head. The head fractured and plated. 1520s or 1530s. h 0.91m, w 0.38m. 2-4d. St Ursula (fig. 22), standing full frontal with nimbus, yellow stain crown and yellow stain hair flowing to her shoulders. She is dressed in a white mantle over a yellow stain gown. She holds a large arrow, with yellow stain shaft and white fletchings in her right hand and raises her cloak to reveal, beneath and around the shaft of the arrow, seven diminutive female figures wearing yellow or white gowns, representing her eleven thousand companions. The figure is set against a ground of modern white quarries. It is fragmented and confused, with leaded breaks and much of what remains, including the head, is modern. Most of the original glass has considerable paint loss. 1520s or 1530s. At the base of the panel the following blackletter fragments reserved against a matt wash: /cccccmo vicesimo/ septimo/. c.1527. h 0.91m, w 0.38m. 124 Averham, Nottinghamshire, Parish Church of St Michael OS SK 767 543 Printed sources A. M. Y. Baylay, ‘Averham’, Thoroton Society, 17 (1913), pp. 29-32. Coe, p. 111. Cowen, p. 165. Gill, p. 120. R. C. Marks, The Stained Glass of the Collegiate Church of the Holy Trinity, Tattershall (Lincs.) (New York and London, 1984), pp. 98-99. Mee Nottinghamshire, p. 25. Nelson, p. 159. Pevsner Nottinghamshire, p. 61. E. Trollope, ‘St Michael's, Averham’, AASRP, 11 (1872), p. 11. C. Woodforde, ‘Some medieval English glazing quarries painted with birds’. Journal of the British Archaeological Association, 3rd series, vol. 9 (1944), pp. 4 and 6 and plates 7 and 8. Illustrations Figs. 23-31. Averham church consists of a western tower, aisleless nave, south porch and aisleless chancel. Although the fabric is basically of the fourteenth century, major reembellishment was undertaken in the late fifteenth or early sixteenth century. All but the chancel was refenestrated, the tower was rebuttressed and heightened and the south porch added.1 Some of this work may have been funded by members of the Sutton family who were lords of Averham and Kelham (q.v.), probably by Sir Thomas Sutton (d. 1525) whose arms and initials are on the exterior of the porch and tower. Some of the work may have been undertaken by Robert Sutton, the 1 Pevsner Nottinghamshire, p. 61. 125 grandfather of Sir Thomas, who died in 1500 and whose funerary recess is built into the north nave wall.2 The remaining medieval glass is in nII and sII. In nII only the upper part of the glazing is native to Averham, the lower part containing glass discovered in the cellar of Kelham Hall, two miles distant, sometime in the nineteenth century. It was placed in its present location and releaded in c. 1885 by Canon F. H. Sutton, the glazier-rector of Brant Broughton, Lincolnshire.3 The glass native to Averham, with the exception of a composite kneeling donor and fragmentary inscriptions of the fifteenth century, is mostly fourteenth century and therefore beyond the scope of this thesis. The Kelham glass is mostly of the latter part of the fifteenth, or early part of the sixteenth century. Although there is no documentary evidence to prove this, as the Kelham glass is contemporary with the fabric of Kelham church (q.v.), it could be conjectured that it originated in that building. The remaining Kelham glass consists of fragments of figures, quarries, architectural settings, inscriptions and a single shield of arms. The figurative fragments include: a small-scale head of the Christ child, perhaps from an image of St Christopher (?), a small-scale head of a female kneeling donor and a large-scale head of a clean-shaven male with curling hair, perhaps St John the Evangelist. There are also (from tracery lights) a kneeling noble or king, a standing king and an angel. The quarries are charged with birds and a wide variety of stylised foliage forms. Of the inscriptions, one fragment ‘peccat’ may be part of the creed clause ‘remissionem peccatorum’, perhaps part of an Apostles creed sequence, like that at Norbury (q.v.). The fragments ‘capella fie[ri] Th’ refer to the construction of a chapel at the original location of the glass, by an unknown individual, probably called Thomas. As the Sutton family had property in Kelham, it is tempting to link this inscription to the Sir Thomas Sutton mentioned above. The remaining shield in 3b bears the arms of the Sutton family of Sutton, near Macclesfield, in Cheshire. As the glass is late fifteenth or sixteenth century it probably refers to the most prominent member of the family at that time, Sir Richard Sutton (d. 1524), a member of Inner Temple from 1490 and privy councillor of Henry VII. In 1509, along with William Smyth, Bishop of 2 E. Trollope, ‘St Michael's, Averham’, AASRP, 11 (1872), p. 11. Throsby and Thoroton, vol. 3, p. 110. 3 Truman (1944), p. 57. Pevsner Nottinghamshire, p. 671. 126 Lincoln, Sutton founded Brasenose College, Oxford.4 His portrait in Brasenose shows him dressed in a surcoat, bearing the same arms that survive at Averham. There is no obvious reason for the glass to be in Nottinghamshire.5 Though he had extensive estates throughout England, none of these were in the east Midlands. There also seems to be no traceable connection between the Suttons of Averham and Kelham and Sir Richard's family. Stylistic comparisons can be made that reinforce a late fifteenth century date for the majority of the Kelham glazing and again suggest a local origin for the glass. The figure of an angel from a tracery light, now in panel 3b, has been linked stylistically, by Marks, to the workshop of Richard Twygge and Thomas Wodshawe, who were responsible for some of the glazing of the collegiate church at Tattershall, Lincolnshire, during the 1480s.6 The figure of a king in panel 3b can be linked stylistically to the figures of prophets in the tracery lights of sII at Holme by Newark, and the head of the Christ Child in 1a likewise to donor images in 1b of I at Holme by Newark. The glass at Holme is of the 1480s or 90s. Window sII is mostly filled with trellised quarries of the fourteenth century, but incorporates a small fifteenth-century angel playing a lute. Catalogue nII. 1a. Fragments (fig. 31). The head of the Christ Child, with cross nimbus, executed in black line and stipple, with yellow stain on the wavy hair. Late 15th-c. Head of a female figure, probably a donor, executed in black line and stipple, wearing a black pedimental headdress with needlepoint work on the 4 For Sutton's descent and career see: R. Churton, The Lives of William Smyth Bishop of Lincoln and Sir Richard Sutton Knight, Founder of Brasen Nose College (Oxford, 1800), pp. 405-415, 534-536 and pedigree. 5 L. Stephen and S. Lee (eds.), The Dictionary of National Biography (London, 1949-50), vol. 19, p. 182. 6 R. C. Marks, The Stained Glass of the Collegiate Church of the Holy Trinity, Tattershall (Lincs.) (New York and London, 1984), pp. 98-99. 127 matt. The head is set against a ground of grass, tufts reserved against a rough wash with a little yellow stain. Late 15th or early 16th-c. Side-shafting figure, a man standing three-quarters left, in an aedicule, dressed in a belted gown with wide sleeves. He gestures with his left hand and holds a blank scroll in his right. Black line with stippling and yellow stain on white. Some paint loss. 15th-c. A section of vine stem, probably from a tracery light lobe? The stem, leaves and grapes are reserved on matt, with linear detailing and yellow stain. The whole set within a border of blue fragments and an outside border of continuous circles in needlepoint on matt. Leaded breaks. 15th-c. Quarries, types 19, 40 and 41. and minor architectural fragments. 15th-c. h 0.40m, w 0.46m. 2a. Panel of fragments. At the centre of the panel is a roundel, in black line and yellow stain. An elaborate trellis of two intersecting concave squares, enclosing a shamrock reserved on matt and contained within a circular border, studded with stylised flowers at intervals. This is set, in turn, within a border of continuous twisted stem, in alternating yellow stain and white reserved on matt. Although the roundel is certainly 15th-c, it is set within a 14th-c. circular border, decorated with tracery in needlepoint on matt and with pot brown stylised flowers at the four compass points. Leaded breaks. Blackletter inscriptions: /ioh[ann]es/, /peccat/, /capella : fie[ri] : Th/. Miscellaneous fragments, including fragments of architectural settings and a stylised multi-petalled flower in black line and yellow stain, perhaps from a tracery light filling. Leaded breaks. 15th-c. Quarries, types 4, 40, 41 and 61. 15th or 16th-c. h 0.40m, w 0.46m. 3a. Figure of a king or noble and fragments (figs. 23-25). The king or noble is bearded and is kneeling three-quarters right, with hands in the attitude of prayer or adoration. He wears a white mantle, decorated with a yellow stain diaper and yellow foliage hem, over a white gown, decorated with a yellow stain diaper. His gown has a fur collar, which shows above the mantle. He wears a coronet, consisting of a jewelled yellow stain circlet, surmounted with two rows of white balls. The figure is set on a made-up ground of ruby, 128 decorated with a diaper of continuous circles. A section of tessellated floor below him. Leaded breaks. 15th-c. Above and to either side of the figure, are sections from canopy tops. The centre one is from the top of a cusped light and consists of two ogee gables terminating in finials, flanking a central angled pinnacle. Vaulting is visible below the arches and the finials and pinnacles are set on a ground of blue glass. The two flanking sections are identical, crocketed vaulted arches, set against an arcaded parapet, with crocketed finials rising above. All the canopy fragments are in black line, hatching and yellow stain and have leaded breaks. 15th-c. The rest of the panel is filled with quarries, types 17, 18, 25, 26, 32, 36, 39. 15th or 16th-c. h 0.77m, w 0.46m. 4a Fourteenth-century canopy and borders with an intruded composite figure. The figure is made up from dislocated drapery fragments and the head of a tonsured priest, in black line and yellow stain, with fragmentary blackletter inscription scrolls on either side : /D/, /ut rex/. 15th-c. h 0.57m, w 0.46m. 1b. Panel of fragments, mostly post-Reformation enamel, but including quarry type 4. 15th or 16th-c. h 0.41m, w 0.46m. 2b. Fragments (fig. 30). The head of a young male, with curly hair cut-down tightly around the hair and neck. The head is executed in black line, stippling and yellow stain. The head is set on a roundel, made-up from flashed ruby fragments, set within a narrow border decorated with needlepoint roundels on matt. This in turn is set on 14th-c trailing foliage, within a 14th-c border. Quarries, type 40. 15th-c. h 0.40m, w 0.46m. 3b. Composite panel (figs. 26-29). To the left, the figure of a king from a cusped tracery light. He is standing three-quarters left, dressed in a fur trimmed gown, decorated with a yellow stain rosette diaper and has a yellow stain crown, decorated with four strawberry leaves. His left arm is extended, 129 the palm of the hand facing inwards, and his right hand gestures towards the left with an extended finger. Executed in blackline and stipple. The figure is set on a ground of blue seaweed rinceau, on a plinth with a roughly marked floor, set within a border of yellow stain. The plinth follows the tapered form of the tracery light. Leaded breaks and some paint loss. Late 15th-c. Upper part of a figure of an angel from a cusped tracery light. The figure, which is standing-three-quarters left, is nimbed and has his left arm raised, with palm facing outwards in adoration. The right arm is missing. He is wearing an alb with an open neck, decorated at the cuffs and neckline with a band of yellow stain. A wing appears to the right of the head. Heavy stippling on the drapery of the alb. The rest of the figure is made up from fragments, including part of a stylised vine or acanthus leaf, parts of drapery from vestments, architectural fragments and two fragments of feathered wings. Most of a ground has gone, but sufficient remains to determine that it was decorated with a seaweed rinceau on blue. Leaded breaks and some paint loss. Late 15th-c. Above the two figures and filling the areas between the tops of the cusped heads of the two tracery lights are some architectural fragments. A pair of depressed vaulted and cusped arches on either side of a pinnacle and executed in black line, with heavy matt shading, hatching and yellow stain. 15th or 16th-c. At the base of the panel the arms: Argent, a chevron between three bugle horns stringed sable (Sutton) quartering, Argent, a chevron between three crosses crosslets sable (Southworth).7 The shield has two lions sejant in yellow stain as supporters. Leaded breaks. Late 15th or 16th-c. h 0.77m, w 0.46m. sII. 7 Churton was of the opinion that they were either the arms of de Samlesbury or Southworth. R. Churton, The Lives of William Smyth Bishop of Lincoln and Sir Richard Sutton Knight, pp. 534-536. Versions were certainly borne by the Southworth family, the crosses on occasions being blazoned as formy or paty (Medieval Ordinary, vol. 2, pp. 325 and 327). 130 B2 Quatrefoil tracery light. In the centre of a ground of 14th-c. trellised oaktrail quarries, the cut-down figure of an angel. The angel is winged and holding a lute, executed in black line and stippling on white with yellow stain. 15th-c. h 0.50m approx., w 0.50m approx. 131 Bakewell, Derbyshire, Parish Church of All Saints OS SK 215 684 Manuscript Sources London, British Library, Harley MS 1093, f. 93r. Ashmole, p. 57. In 1611 Richard St George saw the following shields of arms in ‘the windows’ of the church:1 1. England. 2. Sable, a bend between six escallops or [Foljambe]2 impaling, Gules, six fleur-de-lys argent 3, 2, 1 [Ireland].3 3. Foljambe, impaling, Argent, on a bend azure five cross crosslets or [Lowdham].4 4. Foljambe. ‘This written under the armes’: ‘ … altare … mensis maii anno domini … a[n]i[m]a … sexto Thome Foljambe fil[ius] pr[e]dict Galfridi’. When Ashmole visited the church in 1662 he saw shield 1 in the ‘east window.’5 Cox is rather of the opinion that 2, 3, 4 and the inscription were in the eastern south window of the early fourteenth century south nave aisle6, which was over an altar dedicated to the Holy Cross endowed with a chantry by Sir Godfrey Foljambe (d. 1 London, British Library, Harley MS 1093, f. 93r. 2 Cox, vol. 2, p. 17. 3 Cox, vol. 2, p. 17. 4 Cox, vol. 2, p. 17. 5 Ashmole, p. 57. 6 Pevsner Derbyshire, p. 72. 132 1377.)7 This seems logical. Shield 2 alludes to the marriage of Sir Godfrey to Avena, daughter of Sir Thomas Ireland of Hartshorne8 and shield 3 to the marriage, around 1389, of their son Thomas to Margaret the daughter and heiress of Sir John Lowdham of Walton. 9 Presumably Thomas, who is the subject of the inscription below the shield, paid for the glass and as he died in 1433 the glass may have been pre or post 1400. 10 7 Cox, vol. 2, p. 17. 8 Cox, vol. 2, pp. 16-17. The monument of Godfrey and Avena, which refers to the foundation of the chantry still remains in Bakewell church. 9 Cox, vol. 1, p. 140 and Wright, p. 223. 10 Cox, vol. 1, p. 140 and Wright, p. 223. 133 Balderton, Nottinghamshire, Parish Church of St Giles OS SK 819 515 Printed sources A. M. Y. Baylay, ‘Balderton Church’, Thoroton Society, 15 (1911), p. 7. Cowen, p. 164. Cox County Churches, p. 29. Gill, p. 120. Mee Nottinghamshire, p. 27. Nelson, p. 159. Pevsner Nottinghamshire, pp. 64-65. Truman (1944), pp. 58-59. Illustrations Figs. 32-42. Balderton church consists of a fourteenth-century nave, with side aisles and a twelfth-century north door, fourteenth-century western tower with fifteenth-century spire and a thirteenth-century chancel.1 The church was prebendal, supporting the prebend of Balderton in Lincoln Cathedral and the parish was a peculiar of the see of Lincoln, outside the jurisdiction of the diocese of York.2 The remaining medieval glass consists of a medley of fragments, mostly of the fourteenth, fifteenth and sixteenth centuries, placed in three of the lancet windows of the chancel.3 The glass is leaded up mosaic fashion, within a nineteenthcentury zig-zag border, an arrangement that probably dates from the restoration of the chancel by G. G. Place in 1856.4 Although Truman briefly catalogues the extant 1 Pevsner Nottinghamshire, pp. 64-65. 2 Thoroton and Throsby, vol. 1, p. 359. 3 For details of the fragments outside the chronological scope of this thesis see Truman (1944), pp. 58-59. 4 Pevsner, p. 64-65. 134 remains,1 written material on the glass is very scant and the absence of any antiquarian evidence, makes it impossible to determine the original context of the remaining glass. It is possible, bearing in mind that some of the panels include continental enamel, that the fragments were brought in from elsewhere. There is no evidence to support the oral tradition within the parish, that the fragments were found buried in the churchyard.2 Many of the fragments have stylistic links with glass produced in York, in the second quarter of the fifteenth century. The small bearded heads in 5a and the head of the archbishop in 6a of sIV, bear striking comparison to heads in the St William window (nVII) in York Minster, which has been established as a product of a workshop headed by John Thornton of Coventry, completed around 1414.3 The bearded heads are small scale and probably belonged to the small figures of prophets, commonly found in York side-shaftings. The fragmentary heads of male saints with curly hair in 4a of nIII and 5a of sII, can be compared with a figure of St John the Evangelist in light c of window sIII, in All Saints, North Street, York, a window also of the first quarter of the fifteenth century.4 Many of the architectural fragments have parallels with canopies produced in York in the same period. Other identifiable fragments include figures of two praying angels (2a and 6a of sIV), a censing angel (1a of sII), part of a small figure of St James the Great (4a of sIV) and heads that could derive from donor images (5a of nIII and 4a of sIV.) Two fragments of the same mandorla (3a and 4a of nIII), one with a superimposed hand in the attitude of benediction, probably formed part of a Transfiguration, or more likely an image of Christ in Majesty. Catalogue 1 Truman (1944), pp. 58-59. 2 Related to the author by the former rector, Revd. Thackray. 3 T. W. French, York Minster the St William Window, CVMA Summary Catalogue, 5 (Oxford, 1999), pp. 12-14. 4 E. A. Gee, ‘The Painted Glass of All Saints Church, North Street, York’, Archaeologia, 102 (1969), plate XXX. 135 nIII (fig. 34). 1a. Fragments, mostly 14th-c., but incorporating small canopy fragments, in black line and yellow stain of the 15th-c. h 0.28m, w. 0.38m. 2a. Fragments of 14th and 15th-c. date, leaded-up with 19th-c. quarries. Part of a jewelled vestment orphrey, in black line on white, with yellow stain. A fish swimming in water, the water back-painted. Part of a vestment hem in black line on white, with yellow stain. Fragment of a canopy set upside down, two crocketed pinnacles in black line on white, with yellow stain. Fragmentary quarry, type 35. All fragments described are 15th-c. h 0.36m, w 0.38m. 3a. Fragments of 14th and 15th-c. date (fig. 37). At the centre of the panel a fragmentary figure of an angel, standing three-quarters right, playing a viol. All that remains is the feathered torso, feathered forearm, right hand holding the bow, left hand holding the viol and part of the left, feathered wing. The figure is set against swirling clouds, which are shaded with cross-hatching; the figure is executed in black line on white, with the feathering in yellow stain. Some paint loss. To the left of the angel, a hand in the attitude of benediction, surrounded by the yellow rays of a mandorla, presumably a fragment from a Transfiguration or Christ in Majesty. Elsewhere in the panel are small architectural fragments, in black line and yellow stain, on white. All fragments described are 15th-c. h 0.21m, w 0.38m. 4a. Fragments of 14th and 15th-c. date, leaded-up with 19th-c. quarries. To the top left, the fragmentary head of a saint, only the area above the eyes and the cusped nimbus remain. Stippling, with yellow stain on the hair and nimbus. Fragment of a hand surrounded by the yellow stain rays of a Mandorla (see 3a.) Two large hands in the attitude of prayer. All fragments described are 15th-c. h 0.28m, w 0.38m. 136 5a. Fragments of 14th and 15th-c. date, leaded-up with 19th-c. quarries (fig. 38). In the bottom left of the panel, a trimmed male head (perhaps from a donor image) with shoulder-length curly hair. Executed in thick black line on white, with a little yellow stain touched on the edges of the hair. Paint loss and unleaded fractures. Late 15th or early 16th-c. To the bottom right of the panel, a trimmed male head, in black line on white, with touches of yellow stain on the hair. Paint loss. 15th-c. To the top right of the panel, a small, trimmed bearded head, with part of an apparelled amice visible. Black line on white. 15th-c. A quarry, type 44, second half of the 15th-c. Fragment of a black letter inscription: /Natus e/. Small architectural fragments, including a section of vaulting from a canopy in black line and yellow stain, with unleaded fractures. 15th-c. h 0.50m, w 0.38m. sII (fig. 32). 1a. Fragments of 14th and 15th-c. date. At the centre of the panel, a fragmentary censing angel. Nimbed and dressed in an alb, with apparelled amice, holding the chains of the lost censer in both hands. Black line on white with yellow stain on the nimbus, amice and chains of the censer, the latter picked out against a matt wash. Heavy paint loss and leaded breaks. Early 15th-c. Architectural fragments: part of a crocketed pinnacle set against a crosshatched ground, adjoining part of a side-shafting; two canopy fragments incorporating the tops of crocketed pinnacles, set against a cross-hatched ground; other minor remains. All on white, with black line and yellow stain. 15th-c. h 0.51m, w 0.41m. 2a. Fragments of 14th and 15th-c. date. Architectural fragments: part of a canopy with quatrefoil tracery; fragments of a number of crocketed finials; part of a crocketed ogee gable, set against cross-hatching and a stylised lozenge-filled border rectangle. All these fragments are on white with black line and yellow 137 stain. Part of a blackletter inscription, set upside down: /…o/. All fragments described are 15th-c. h 0.30m, w 0.41m. 3a. Fragments of 14th and 15th-c. date. At the centre, a fragmentary male head, bearded, facing three-quarters right and broken across the eyes by a leaded break. Black line on white, with stippling and heavy paint loss. Architectural fragments: a pair of crocketed pinnacles set against cross-hatching; part of a crocketed gable; a foliated capital from a canopy. All black line on white with yellow stain. All fragments described are 15th-c. h 0.28m, w 0.41m. 4a. Fragments of 14th and 15th-c. date. Architectural fragments: a number of crocketed finials of different types; part of a crocketed gable and crosshatched fragments. All in black line on white with yellow stain. All fragments described are 15th-c. h 0.27m, w 0.41m. 5a. Fragments of 14th and 15th-c. date (fig. 35). At the centre, a fragment of a male head, trimmed from the eyes down and set upside down - identical to that in 4a of nIII. Architectural fragments: two sections of traceried canopy, the openings shaded with cross-hatching; part of a crocketed finial set against cross-hatching. All in black line on white with yellow stain. A small section of a pallium, with part of a cross fitchy. All fragments described are 15th-c. The panel is badly buckled. h 0.21m, w 0.41m. 6a. Fragments of 14th and 15th-c. date (fig. 40). At the centre of the panel, a trimmed male head, bearded, facing three-quarters right and in detail identical to that in 3a. A yellow stain sparrow, set within an architectural framework, perhaps part of a side-shafting. Architectural fragments: fragments of crocketed pinnacles, some set against cross-hatching, one set against a ground of yellow stain rosetttes; part of a tessellated floor. All in black line on white and (with the exception of the floor) with yellow stain. A rose, on white, with 138 the edges of the petals yellow. Stippled drapery fragments. All fragments described are 15th-c. h 0.41m approx., w 0.41m. sIV (fig. 33). 1a. Fragments of 14th and 15th-c. date (fig. 42). At the centre, a head of a young male, closely trimmed around the hair, on white with black line, stippling and yellow stain on the hair. Minor architectural fragments and portions of unreadable, reversed blackletter inscriptions. All fragments described are 15th-c. h 0.20, w 0.41m. 2a. Fragments of 14th and 15th-c. date, with some later enamel (fig. 39). At the centre, a trimmed figure of an angel, with only the torso and head remaining. The angel is nimbed and feathered and faces three-quarters right, with its hands raised in the attitude of prayer. Black line and stippling on white, the feathers and the narrow internal border of the nimbus in yellow stain. Placed immediately around the figure are fragments of drapery, stippled and powdered with yellow stain rosettes. Small architectural fragments throughout the rest of the panel, all in black line on white with cross-hatched shading and yellow stain. Smallest fragment of blackletter text, placed upside down: /gu/. All fragments described are 15th-c. h 0.17, w 0.41m. 3a. Fragments of 14th and 15th-c. date, with some later enamel. Ears of corn reserved against matt. Far left and placed sideways, is part of a prophet from a side-shafting, only the beard and gesturing hands visible. Black line with stippling on white. A number of small architectural fragments, all in black line on white, with cross-hatched shading and yellow stain. 15th-c. A rose reserved against matt. Isolated letters in blackletter. All fragments described are 15th-c. h 0.15m, w 0.41m. 139 4a. Fragments of 14th and 15th-c. date. At the centre a trimmed male head, perhaps from a donor image. Black line on white, the shoulder-length hair in yellow stain. Late 15th or early 16th-c. Fragment of a small figure of St James the Great, all that remains of part of the skirt of his stippled robe, with a section of his stave and a black matt purse, with reserved cockleshell. 15th-c. Small architectural fragments of the 15th-c. h 0.15m, w 0.41m. 5a. Fragments of 14th and 15th-c. date (fig. 36). To the left and right of the centre, at the top of the panel, two trimmed bearded figures, one facing threequarters right and the other left. Both executed in black line stipple on white. Behind the left head and on the same piece of glass, is a strip of yellow stain, set within black lines, suggestive of an architectural setting for the figure, perhaps within a canopy side-shafting. Two sections of canopy, both with cusped openings, revealing yellow stain vaulting within. 15th-c. Also a portion of blackletter inscription with paint loss: /es/, and the shadow of a further section, illegible. All fragments described are 15th-c. h 0.15m, w 0.41m. 6a. Fragments of 14th and 15th-c. date (fig. 41). At the centre of the panel, a trimmed head of an archbishop saint, mitred, with the apparel of his amice showing and part of the head of his cross staff to his right. Executed in black line, stipple and hatching on white, with yellow stain on the mitre, cross staff, amice, hair and the narrow internal border of the nimbus. First half of the 15th-c. Part of plinth, forming an element of a side-shafting, with the lower portion of the skirt of a figure visible. Black line on white, with the hem of the skirt in yellow stain. 15th-c. At the apex of the light a figure of an angel, in detail as that in 2a, but turning three-quarters right. 15th-c. A dove perched on an area of matt wash, beside a series of yellow stain rays. A peacock feather in yellow stain. Black-line foliage on white glass, with flower heads in yellow stain. Part of a lozenge filled border rectangle and small canopy fragments. All the above 15th-c. h 0.24m, w 0.41m. 140 Barlow, Derbyshire, Parish Church of St Laurence OS SK 344 747 Manuscript source London, British Library, Harley MS 1093, f. 32v. In 1611 in ‘Barley’ church Richard St George saw the following shield of arms ‘in the church window alone’:1 1. Argent, three bars wavy sable, a chief per pale ermine and gules [Barley].2 The Barley family held the manor of Barlow, from which they derived their name, throughout the Middle Ages, until the early seventeenth century.3 The church, which is essentially Norman, retains an incised slab to Robert Barley who died in 1467 and formerly contained a slab in memory of his grandson, also Robert, who died in 1532.4 1 London, British Library, Harley MS 1093, f. 32v. 2 See Cox, vol. 1, pp. 66-67. 3 Cox, vol. 1, p. 68. 4 Pevsner Derbyshire, p. 83 and London, British Library, Harley 1093, ff. 32v and 33r. 141 Barton Blount, Derbyshire, Private Chapel and Former Parish Church of St Chad OS SK 207 347 Manuscript source London, British Library Egerton MS 3510, 109v. In 1621 William Burton tricked the following arms from glass in the church:1 In a high north window of the church: 1. Or, fretty gules. In another north window of the church: 2. Vairy ermine and gules, quartering, Argent, a lion rampant sable. The manor of Barton Bakepuze was purchased by Sir Walter Blount from the heirs of the Bakepuze family in 1381, after which it was renamed Barton Blount.2 Shield 2 is probably a version of Gresley quartering Wastneys, referring to the marriage of Margaret, the daughter of Thomas Gresley of Drakelow, to Thomas Blount. 3 The arms also occurred at Elvaston (q.v.) another Derbyshire Blount manor, in glass patronised by the son of Thomas and Margaret, Walter Blount, Lord Mountjoy (d. 1474.) Presumably the glass was lost in one of two thorough restorations in 1714 and 1845, which have left little of the medieval fabric of the church intact.4 1 London, British Library Egerton MS 3510, 109v. 2 Cox, vol. 3, p. 10. 3 Payling, p. 214. 4 Pevsner Derbyshire, p. 85 and Cox, vol. 3, p. 10. 142 Barton-in-Fabis, Nottinghamshire, Parish Church of St George OS SK 522 327 Printed sources Gill, p. 120. Thoroton and Throsby, vol. 1, p. 100. Truman (1944), p. 59. Illustrations Figs. 43-46. Barton-in-Fabis church consists of a western tower, nave with south aisle and chancel. The chancel and nave date from the fourteenth century. A nave clerestory was added in the late fifteenth century.1 The remaining medieval glass, dates from the late fourteenth and the late fifteenth centuries and is located in window wI at the base of the western tower. The fragments were in their present location when Gill and Truman were here.2 Truman recorded the glass, which was then leaded 'inside out', through the keyhole of the tower door, as he couldn't obtain access to the tower. 3 The panel has been conserved and is now back-glazed. Thoroton saw the following shields of arms in the windows of the chancel: 4 In the North-East Window: 1. Gules, a fess embattled argent, between three bezants. 1 Pevsner Nottinghamshire, pp. 65-66. 2 Gill, p.120 and Truman (1944), p. 59. 3 Truman (1944), p. 59. 4 Thoroton and Throsby, vol. 1, p. 100. Thoroton implies that the windows are beside the Sacheverell monuments, which are on either side of the high altar at the east end of the chancel. 143 2. Barry of six argent and azure, a very small bendlet gobony or and gules (Henry Grey). In the South-East Window: 3. Argent, a bend azure cross crosletty or (Lowdham). In the next South Window: 4. 'the same' Grey [as 2?]. 5. 'One broken on the Top, the Bottom is': Barry Argent and Azure, two fleur-de-lis on the upper, and one on the lower or. 6. 'In the next Pane' Azure a cross counter compony argent and gules (Cockfield). 7. Vairy argent and sable 'an in escotch [sic.]’. The Manor of Barton-in-Fabis was in the hands of the Grey family, Barons Grey of Codnor from 1332 until 1501/2, when in the will of Henry, Lord Grey of Codnor the property was passed to his illegitimate son Henry Grey (shield 2), who made Barton his principal seat. The daughter of Henry Grey married Richard Sacheverell, third son of Henry Sacheverell of Morley (q.v.) in 1522/3 and the property ultimately devolved on that family.5 Catalogue wI. a. Fragments (figs. 43-46). Fragments of vine, the grapes and leaves reserved on a matt wash, the latter with yellow stain. Dirty and pitted. Fragment of a roundel (?) charged with part of an ‘MR’ monogram (?). The letters are in yellow stain decorated with internal black line serration. Fractured. Quarry, 5 Thoroton and Throsby, vol. 1, p. 39. 144 type 44. Pitting and paint loss. Part of a nimbed head (?), all that remains is the yellow stain, and a little black line. Fractured, with pitting and paint loss. All glass described is late 15th-century. h 0.86m, w 0.32m. 145 Baslow, Derbyshire, Parish Church of St Anne OS SK 251 723 Manuscript source Bassano MS, p. 25 In the early eighteenth century the Bassano brothers saw the following glass in ‘Baslow Chappell w[hi]ch is Parochiall’:1 ‘In the East End of the Window of the Soith [sic] Isle’: 1. Three lions passant guardant or, ‘The Kings Armes’. ‘In the East window of the North Ile in the Topp of it Christ coming to Judgm[en]t his Robes are Yellow and Gules’. ‘In one of the South Windows of the Chancell is’: 2. ‘Eyres Coat [i.e. Argent, on a chevron sable, three quatrefoils or] with a Crescant’.2 ‘In the East Window is’: 3. ‘Eyres Armes Impaled wth …’. ‘and in another partition of the Window is Rob[er]t Eyre of Bubnell’. The latter (presumably an inscription) provides a possible late fifteenth-century date for the glass in the east and south windows of the chancel, for the Bassanos noted a monument to Robert Eyre of Bubwell, Gentleman, who died on the 8th February 1 Bassano MS, p. 25. 2 Medieval Ordinary, vol. 2, p. 437. 146 1493.3 This Robert Eyre was probably the son of Edmund Eyre, the tenth son of Robert Eyre (d. 1459) and his wife Joan Padley of Hathersage (q.v. Hope). Edmund Eyre was tenant of the small Vernon manor of Bubnell in the parish of Baslow, in the first half of the fifteenth century.4 The glass and monument to Eyre had disappeared by the time Cox was here in the 1870s, presumably swept away during Joseph Paxton’s thorough restoration of the church in 1852-53.5 3 Bassano MS, p. 25. 4 Cox, vol. 2, pp. 54 and 234. 5 Cox, vol. 2, p.58 and Pevsner Derbyshire, p. 85. 147 Beauvale, Nottinghamshire, Carthusian Priory of the Virgin Mary and All Saints OS SK 492 489 Printed sources Gill, p. 120. A. du Boulay Hill and H. Gill, ‘Beauvale Charterhouse, Notts’, Thoroton Society, 12 (1908), p. 80. Truman (1944), p. 59. Nicholas de Cantelupe founded the Carthusian Priory of Beauvale in the parish of Greasley in 1343. Substantial remains of the church and the prior's lodging, both dating from the late fourteenth century, are incorporated into the agricultural buildings of Priory Farm.1 Both Gill and Truman saw fragments of fifteenth-century glass, found on the priory site, leaded into a window in the Priory Farm. They did not provide any further details of the glass, except that they were with two seventeenth-century roundels, which were removed to Greasley church (q.v.) in the mid-twentieth century and incorporated into a window by Harry Hincks of Nottingham.2 As the fragments are not at Greasley church with the roundels, they are still presumably in the Priory Farm, which the author has been unable to access. In addition to the fifteenth-century fragments in the farm, during an excavation within the ruins of the church, Du Boulay Hill and Gill discovered a few small fragments of glass 'having a diaper on enamel surface', which they dated to the fourteenth century.3 The present location of these fragments is unknown. 1 Pevsner Nottinghamshire, pp. 66-67, A. du Boulay Hill and H. Gill, ‘Beauvale Charterhouse, Notts’, Thoroton Society, 12 (1908). 2 Gill, p. 120 and Truman (1944), p. 59. 3 A. Du Boulay Hill and H. Gill, 'Beauvale Charterhouse, Notts.', p. 80. 148 Beeston, Nottinghamshire, Parish Church of St John the Baptist OS SK 527 367 Printed sources G. Fellows, ‘Black letter Bibles at Beeston’, Thoroton Society, 20 (1916), p. 134. Truman (1944), p. 60. Beeston church was rebuilt in 1842-4 by Scott and Moffatt and all that now remains of the medieval structure is the heavily restored Perpendicular chancel.1 Two pieces of medieval glass from Beeston church were discovered in a cottage in Bramcote. The grandfather of the cottage owner had apparently been given the fragments during the 1842-4 restoration. Weight was added to the provenance as the fragments were wrapped in two missing pages from a blackletter bible belonging to the church. Both the glass and the blackletter pages were returned to the church in 1917 by Harry Gill. 2 Truman saw the fragments when compiling his surveys, at which time they were lying loose in the church.3 They were: 1. A portion of a Perpendicular canopy reserved in matt with yellow stain. 2. A Perpendicular female saint’s head with hair broadly massed over the ears. With the aid of the churchwardens the author made a thorough, but unsuccessful, search for the glass in September 2000. 1 Pevsner, p. 68. 2 G. Fellows, ‘Black letter Bibles at Beeston’, Thoroton Society, 20 (1916), p. 134. 3 Truman (1944), p. 60. 149 Beighton, Derbyshire, Parish Church of St Mary OS SK 443 833 Printed sources Cox 2, p. 87. Mee Derbyshire, p. 43. Nelson, p. 68. Sprakes, pp. 14-15. Illustrations Figs. 47-51. Although Beighton is included in this thesis as it formed part of the ancient county of Derbyshire, it was in fact transferred to the newly created county of South Yorkshire in 1973. Consequently the medieval glass was included in Brian Sprakes’ recent CVMA summary catalogue.1 Although appearing externally to date from a rather heavy-handed restoration of the 1860s or 70s, parts of the medieval church of Beighton are incorporated into the present fabric. The western tower and nave arcades are Perpendicular and the remains of a Norman chancel arch are still extant.2 The remaining glass is of the fourteenth and fifteenth centuries. Of the fourteenth century are two geometric roundels in nIII and fragments of tracery-light fillings in A2 of nV.3 Of the fifteenth century: a fragmentary in situ tracery light filling in the wI, a roundel and a fragment of a blackletter bidding inscription in nV and fragments of canopywork in sV. According to Cox, the glass (presumably with the exception of that in wI) was placed in its present positions after it was discovered amidst the rubble of the walls of the chancel and south aisles, during the nineteenth century restoration.4 1 Sprakes, pp. 14-15. The author visited the church in the summer of 2000, prior to the publication of Mr Sprakes’ volume. 2 Pevsner Derbyshire, p. 87. 3 Sprakes, p. 14. 4 Cox, vol. 2, p. 87. 150 Catalogue nV (fig. 47). A1. Fragments. Part of a hem or orphrey of a vestment, yellow stain jewels reserved against matt. Ruby drapery fragments. 15th-c. h 0.13m, w 0.13m. A2. Fragments (fig. 48). Part of a blackletter inscription: /[bon]o statu be…/. A pot-yellow roundel formerly decorated with a foliage design of which only the slightest shadow of pigment remains.5 15th-c. h 0.21m, w 0.40m. A3. Fragments, ruby and yellow stain, broken and plated. Medieval (?) h 0.13m, w 0.13m. sV (fig. 49). A1. Fragments (fig. 50). Part of a cusped canopy head, blackline on white with yellow stain internal vaulting. 15th-c. h 0.13m, w 0.13m. A3. Fragment (fig. 51). Oak leaves, part of an architectural feature. Blackline, stipple, hatching and yellow stain on white. 15th or 16th-c. h 0.13m, w 0.13m. 5 Sprakes interprets this as a rose and notes that the roundel is reversed. Sprakes, p. 15. 151 wI. B1. Tracery light filling. A central brown boss decorated with a rose, from which emanate the top and bottom lobes, which are filled with white glass decorated with a yellow stain internal border. The two remaining lobes are filled with opaque fragments. The whole panel is dirty with unleaded fractures. 15th-c. h 0.25m, w 0.25m approx. 152 Brampton, Derbyshire, Parish Church of St Peter and St Paul OS SK 336 719 Manuscript source Bassano MS, p. 59. In the early eighteenth century the Bassano brothers saw the following glass in Brampton church:1 ‘In the windows in the East end of the North Ile theise Armes Stained in glasse’: 1. Azure, a bend between six escallops or, impaled with Argent, a fretty sable. ‘In another partition of the Window is’: 2. Argent, a chevron between three escallops gules. ‘In the third partition is’: 3. Argent, upon a bend azure, five bezants charged with as many Crosses patonce sable: Although the dexter achievement in shield 1 could be that of Frechville (q.v. Staveley), Cox was of the opinion that the Bassanos probably recorded the tinctures wrongly and that the arms were those of Foljambe of Bakewell and Chesterfield,2 who held property in Brampton. 3 He is certainly right, but is probably wrong that the Bassanos recorded the arms incorrectly, as the glazier may have simply substituted a translucent blue for an opaque black field. Impaled with the arms of 1 2 3 Bassano MS, p. 59. Sable, a bend between six escallops or. Medieval Ordinary, vol. 1, p. 385. Cox, vol. 1, p. 114. 153 Vernon shield 1 probably refers to the marriage (during the late fifteenth century) of Henry Foljambe (d. 1504) to Benedicta, the daughter of Sir William Vernon.4 Although Cox fails to identify it, shield 3 is possibly a version of the arms of Lowdham: Argent, upon a bend azure, five crosses formy sable.5 Thomas Foljambe (d. 1433) married Margaret the heiress of Sir John Lowdham in about 1388-9, a marriage that brought the manor of Chesterfield into the Foljambe family.6 Cox identifies achievement 2 as that of Breton of Walton,7 which can be easily explained in relation to the foregoing, for Sir John Lowdham married Isabella the heiress of Sir Robert Breton of Walton.8 All this evidence points to a date within the later part of the fifteenth century for this lost glazing and the Foljambe family (probably Henry Foljambe) of Bakewell and Chesterfield as the donors of the glass. The dating is consistent with the fenestration of the north aisle, which is Perpendicular.9 4 Cox, vol. 1, p. 114 and Wright, p. 223. 5 Medieval Ordinary, vol. 2, p. 23. 6 Cox, vol. 1, p. 140 and Wright, p. 223. 7 Cox, vol. 1, p. 114. 8 Cox, vol. 1, p. 140. 9 Pevsner Derbyshire, p. 106. 154 Breadsall, Derbyshire, Parish Church of All Saints OS SK 371 398 Manuscript source Bassano MS, p. 55. Printed sources Butler, p. 54. Nelson, p. 68. When the Bassano brothers were here in the early eighteenth century, they saw a single shield of arms ‘in a South Window of the Chancell in Glass’: Party per pale or and azure, seven horse-shoes counter changed of the field.1 In 1824 Butler saw ‘some painted fragments’ in the windows of Breadsall 2 church. A century later Nelson recorded some fifteenth-century fragments in the east window of the chancel.3 It appears, from a photograph hanging in the church, that these fragments consisted of canopy tops at the heads of the main lights of the fifteenth-century east window. All remnants of medieval glazing were destroyed in 1914 when the church was burnt down by Suffragettes.4 1 Bassano MS, p. 55. 2 Butler, p. 54. 3 Nelson, p. 68. 4 Pevsner Derbyshire, p. 108. 155 Bunny, Nottinghamshire, Parish Church of St Mary OS SK 582 295 Manuscript source London, British Library, Harley MS 6593, f. 3r. Printed source Thoroton and Throsby, vol. 1, p. 90. Bunny church consists of a western tower with spire, nave with side aisles and south porch and an aisleless chancel. It is mainly fourteenth-century, although the porch is fifteenth-century and changes were affected in the seventeenth and eighteenth centuries.1 No glass remains, but in 1614 Richard and Henry St George tricked the following shields in the windows of 'Boney' church2: 1. Azure, two chevrons and a bordure or (Musard). 2. Azure, a bend between six escallops argent (Frechville).3 Thoroton also saw the same two arms, adding the following two:4 3. Gules, A Lion rampant with a bordure engrailed argent. 4. A Bear passant sable muzzled or (Beresford). The Frechville family held a manor at Bunny from the reign of Henry III. It was their principal seat until the reign of Edward III, when they inherited the manor of Staveley (q.v) from the Musard family.5 The arms of Frechville and Musard 1 Pevsner Nottinghamshire, pp. 84-85. 2 London, British Library, Harley MS 6593, f. 3r. 3 Medieval Ordinary, vol. 1, pp. 384-85. 4 Thoroton and Throsby, vol. 1, p. 90. 5 Thoroton and Throsby, vol.1, pp. 86-87. 156 therefore date from after 1327. The arms of Beresford are for Elizabeth, daughter of Aden Beresford of Fenny Bentley, Derbyshire, who was firstly the wife of Humphrey Barley of Bunny (died 1570) and then of Richard Parkyns of Bunny (died 1603).6 The glass could be of anytime from shortly before 1550 to the seventeenth century. The glass probably disappeared in 1718 when the church was restored by Sir Thomas Parkyn.7 6 Thoroton and Throsby, vol. 1, p. 91. 7 Pevsner Nottinghamshire, pp. 84-85. 157 Car Colston, Nottinghamshire, Parish Church of St Mary OS SK 720 430 Printed Source Throsby and Thoroton, vol. 1, pp. 234, 242-243. No glass remains in Car Colston church, but Thoroton recorded the following window remaining in his time: 'There is a broken Window in the east End of the north Isle of this Church, wherein was left [the inscription], Agnetis, and William Mering, Militis; and the Arms which I guessed to be Gloucester: Sable, a Chevron between two Martlets, a crosse Croslet Botony Fitchy.'1 Although the identification of the arms cannot be verified with certainty,2 Thoroton's identification seems probable. Sir William Mering of Mering in Sutton-on-Trent parish took Agnes Gloucester, the daughter and co-heiress of Henry Gloucester of Car Colston and Sutton-on-Trent, as his second wife and this brought a manor in Car Colston into the Mering family. Sir William died in 1537 and was probably responsible for the glazing of the south chapel at Sutton-on-Trent (q.v.).3 The glass was inserted into a north aisle of the fourteenth century.4 In addition to the Mering window, Thoroton recorded that 'lately' there were the following arms in an 'upper' window: 1. Barry of six, argent and azure, a file of three labels azure. 2. Or, on a fess gules, three waterbougets argent (Bingham). 3. Argent, five fussells in fess gules (Newmarch). 4. Party per pale argent and gules. 1 Thoroton and Throsby, vol. 1, p. 234. 2 There is no record of the arms in the Medieval Ordinary or Papworth. 3 A. Cameron, 'Meering and the Meryng Family', Thoroton Society, 77 (1974), p. 47. 4 Pevsner Nottinghamshire, p. 90. 158 5. Sable, a lion rampant argent. 6. Argent, upon a bend sable, between six cross crosslets gules, three bezants (Whatton). 7. Sable, a chevron between two martlets, and cross croslet botony fitche argent (Gloucester). As the clerestory is fifteenth-century, the glass was probably of that date also.5 The presence of the Bingham arms, a family that had some property in Car Colston from the late fourteenth century through to the reign of Elizabeth I, seems to confirm this.6 5 Pevsner Nottinghamshire, p. 90. 6 Thoroton and Throsby, vol. 1, p. 240. 159 Carlton-in-Lindrick, Nottinghamshire, Parish Church of St John the Evangelist OS SK 588 839 Printed sources Ayre, pp. 100-101. Cowen, p. 164. Gill, p. 121. Mee Nottinghamshire, p. 56. Pevsner Nottinghamshire, p. 93. Truman (1944), p. 60. Illustrations Figs. 52-54. Carlton-in-Lindrick church consists of a western tower, nave with aisles and chancel with north chapel. The lower two stages of the tower are eleventh-century, with the majority of the remaining fabric from the twelfth and thirteenth centuries. A top stage was added to the tower, a clerestory added to the nave in the mid-fifteenth century and a new east window inserted into the chancel in the late fifteenth century.1 The remaining medieval glass, consisting of figurative and monogram roundels, leaded together with foliate, border, drapery and architectural fragments, is in nII. All the glass, with the exception of a little later enamel, dates from the late fifteenth century. The two figurative roundels are catalogued in Ayres’ recent CVMA volume.2 She compares the rod and acanthus borders surrounding the roundels to glass at Egmanton (q.v.), Stanford-on-Avon, Northamptonshire and Leicester, all of the later fifteenth century. A similar border also occurs at Ashbourne, Derbyshire (q.v.). She expresses some doubts, probably unfounded, as to the authenticity of the eagle roundel in 1a. 3 1 Pevsner Nottinghamshire, pp. 59-60. 2 Ayre, pp. 100-101. 3 Ayre, p. 100. 160 According to Truman the glass came from the east window of the chancel and was removed to its present location when it was broken ‘in recent times’.4 Apparently a former church guide related that the damage was inflicted by the dismissed coachman of a former rector.5 The remaining glass was still in the east window prior to the First World War, when Cox and Gill both saw it there.6 There is some possible dating evidence for the fabric of the east window. Henry Bland in his will of October 1483, bequeathed to the rector of Carlton, six shillings and eight pence ‘ad fabricam unius fenestre,' referring presumably to the stonework.7 The only window in the church that can be stylistically related to the 1480s is the east window of the chancel, which has the same uncusped main and tracery lights as occur at Tuxford (1495) and Holme-by-Newark (late 1480s). This dating is stylistically consistent with the medieval glass. The extant glass was all conserved by Lincolnshire Stained Glass studio in 1995 and window nII is now isothermally glazed.8 Catalogue nII. 1a. Roundel and fragments (fig. 54). The roundel is charged with the eagle symbol of St John the Evangelist, standing on a mound facing left, with its wings displayed and holding a blackletter scroll in its feet: /S[an]c[tu]s : Johan[n]es /. The eagle is set on a ground of contiguous circles. Blackline and matt washes, with yellow stain on the body of the eagle and the mound. A single leaded break. The roundel is set in a square border or surround, which takes the form of an internal wreath of rod and acanthus immediately around the roundel, that radiates into flowering pomegranates in the corners 4 5 Truman (1944), p. 60. Ayre, p. 100. 6 Cox County Churches, p. 57, Gill, p. 121. 7 York, BIHR, Will Register 5, f. 203r. 8 Details of the restoration are contained in an illustrated file placed beside the window. 161 of the surround. The design is reserved on a matt black wash with stickwork, needlepoint, hatching and yellow stain. Some areas of the border have been replaced, perhaps when the glass was moved to its present location. Leaded breaks. The border of the panel is made up of fragments, including some more elements of a rod and acanthus wreath and minor architectural remnants, these are set alternately with ruby and blue rectangles. At the bottom of the panel are some small jewelled sections, probably taken from a vestment orphrey, the jewels in yellow against a cross-hatched ground. Last quarter of the 15th-c. h 0.39m, w 0.57m. 2a. Roundel and fragments (fig. 52). The roundel is charged with a crowned 'MR' monogram painted in blackline, with yellow stain and set within a yellow stain border against a ground of lightly painted foliage. Leaded breaks. The roundel is set within a composite circular border made up from sections of rod and acanthus, in detail as 1a. The border is made up from fragments of rod and acanthus and a yellow stain border crown, leaded up with alternating ruby and blue rectangles. Last quarter of the 15th-c. h 0.35m, w 0.57m. 3a. Roundel and fragments (fig. 53). The roundel is charged with a yale or antelope, standing on a grassy mound facing left. It is executed in blackline, with matt washes and stippling. The whole roundel has an internal border of yellow stain and there is limited use of stain on the animal and mound. Leaded breaks. The roundel is set in its original square surround, identical to that in 1a. There are numerous leaded breaks and some restoration. The border is made up from fragments of rod and acanthus and incorporates the lower part of an ecclesiastic in apparelled alb, leaded up alternately with modern ruby and blue rectangles. Last quarter of the 15th-c. h 0.30m, w 0.57m. 162 4a. Fragments. At the apex of the light a large jewelled crown in yellow stain. A hand with the cuff visible, fragments of rod and acanthus, drapery, vestment orphreys, border crowns. All executed in blackline and yellow stain. Some fragments are leaded up alternately with modern ruby and blue rectangles to form the border. There is paint loss and leaded breaks on many of the fragments. All the glass dates from the last quarter of the 15th-c, with the exception of some 17th-century enamel placed at the base of the panel. h. 0.42m, w 0.57m. 163 Chellaston, Derbyshire, Parish Church of St Peter OS SK 381 303 Manuscript source Bassano MS, p. 63. Printed source Cox, vol. 3, p. 411. In the early eighteenth century the Bassano brothers saw ‘in the East Window of the Chancell’: Argent, a fess gules between three doves or and ‘upon the ffess’ a mullet of the field.1 According to Cox (who is the only source of the lost Meynell manuscript), the shield was still extant in Meynell’s time and was swept away in 1842 along with an alabaster figure of the Virgin and Child.2 The chancel is fifteenth century and it is possible, but by no means certain, that the glass was contemporary.3 1 Bassano MS, p. 63. 2 Cox, vol. 3, p. 411. 3 Pevsner Derbyshire, p. 192. 164 Chesterfield, Derbyshire, Parish Church of St Mary and All Saints OS SK 385 711 Manuscript source Rawlins, vol. 2, pp. 130-131. As well as recording the shields of arms of the fourteenth century, which are still extant in the church, but are beyond the scope of this thesis, Rawlins provides the following particulars of some lost glazing:1 ‘In another [window] is the representation of a mitred Fox in a pulpit preaching to Geese, and a Cock. The winged horse, Pegasus, belonging to Apollo and the Muses, is retiring behind. Below you read Pes be here in [in blackletter].’ In the same window he saw the following shield of arms: 1. Argent, a bear rampant sable, chained collared and muzzled or, between three pheons of the second. This he assigned to Martin Lane, who was Vicar of Chesterfield in 1536 and 1558.2 However, It seems more likely that what he had was in fact a version of the arms of the Beresford family,3 referring to James Beresford, the son of Thomas Beresford of Fenny Bentley, who was vicar of Chesterfield from 1484 to 1520. His arms in glass remain at 1 Rawlins, vol. 2, pp. 130-131. 2 Cox, vol. 4, p. 453 and Rawlins, vol. 2, p. 130-131. 3 Beresford of Fenny Bentley bore: Argent, a bear rampant collared chained and muzzled sable, which they quartered with the arms of Hassall: Per chevron argent and or, three pheons sable (Cox, vol. 2, p. 467). 165 Sutton Scarsdale (q.v.), as part of a glazing scheme put in by the Leeke family, whom he may have served as a domestic chaplain.4 4 Cox vol. 4, p. 453. Further details of his career can be found in the Sutton Scarsdale catalogue entry. 166 Chilwell Manor House, Nottinghamshire OS SK 510 355 Printed Sources Barnaby Goodge (ed.), Foure Bookes of Husbandry, collected by M. Conradus Heresbachius (London, 1577), p. iv. Nelson, p. 35. Thoroton and Throsby, vol. 1, p. 22. Guilford Little Guide, p. 71. Barnaby Goodge in his ‘Epistle to the Reader’ forming the preface to his translation of Heresbach’s Foure Bookes of Husbandry, relates the existence of the following window: ‘There is besides Nottingham, an auncient house called Chylwel, in which house remayneth yet as an auncient monument in a great wyndowe of Glasse, the whole order of planting, proyning, stamping, & pressing of Vines. The window was presumably a manual providing practical assistance to the inhabitants of Chilwell, for Goodge records that ‘there is yet also growing an old Vine, that yeeldes a Grape sufficient to make a right good wine, as was lately prooued [sic.] by a Gentlewoman in the said house.’1 In addition to Goodge’s account, Thoroton also recorded some fifteenthcentury armorial glass in the house, which may give a dating and patronal context for the viniculture window. He saw 'in the old house in a chamber window' the arms of Babington (i.e. Argent, ten torteauxes, and a file of three Labels Azure)2 impaling Argent, three hammers or pickaxes gules (Martell). This refers to the marriage of Sir William Babington of Kingston-on-Soar, Nottinghamshire to Margery (d. 1442) the daughter and heiress of Robert Martell of Chilwell, a marriage that brought the 1 Barnaby Goodge (ed.), Foure Bookes of Husbandry, collected by M. Conradus Heresbachius (London, 1577), p. iv. 2 Papworth, p. 1055. 167 manor into the Babington family.3 In 1458/9 their son William Babington of Chilwell established a chantry in a chapel in the manor of Chilwell, to pray for the souls of himself, his parents, for Henry VI, Richard Martell, Hugh Martell and Robert Martell.4 The medieval house was entirely rebuilt in 1677 and the structure that replaced it was in turn demolished in 1964. The site has been built over and absorbed into the sprawling mass of suburban Nottingham.5 3 Thoroton and Throsby, vol. 1, p. 22. 4 Thoroton and Throsby, vol. 1, pp. 126-127. 5 Pevsner Nottinghamshire, p. 96. 168 Clifton, Nottinghamshire, Parish Church of St Mary OS SK 540 348 Manuscript source London, British Library, Harley MS 6593, f. 57r. Printed source Thoroton and Throsby, vol. 1, pp. 111-112. Clifton church, in a suburb of Nottingham, is a large cruciform building mostly dating from the thirteenth and fourteenth century. The church was a mausoleum of the prominent Clifton family throughout the late Middle Ages and Sir Gervase Clifton rebuilt the chancel in c1475 when he founded a chantry college in the church.1 Thoroton saw ‘many Arms in the Windows’:2 ‘In the Chancel North Window’: 1. Or, two bars gules, and three torteauxes in chief. 2. Argent, five fusills in fess gules (Newmarch). ‘In the Church South Aisle’: 3. Argent, a lion rampant queve furche sable (Cressy). 4. Azure, a bend between six escallops argent (Frechville). 5. Gules, six … or, 3,2,1. 6. Sable, a lion rampant in an orle of cinquefoils (Clifton): ‘this is very often, and in the upper Windows the Crest with it. A 1 Pevsner Nottinghamshire, p. 269 and Cox County Churches, pp. 59-63. 2 Thoroton and Throsby, vol. 1, p. 111. 169 Peacock's Head between the Wings erected per pale argent and sable.' 7. A Chevron and a file of three labels (Swillington). 8. Per pale gules and sable, a lion rampant argent crowned or (Bellers). 9. Barry of six argent and azure (Grey). 10. Argent, a bend azure crusily or (Lowdham). 11. Argent, a lion rampant sable amongst cinquefoils gules (Pierrepont). 12. Azure, a lion rampant or, on his shoulders a fleur-de-lys (Braytoft). ‘In the North Aisle’: 13. Clifton, impaling, Argent a chevron between three eagles displayed gules (Fraunces). 14. Clifton, quartering Braytoft. 15. Clifton, quartering, argent, a fess between three escallops gules. In addition to seeing 13, 14 and 15 in the north aisle, in 1611 Richard and Henry St George saw the following arms in the north aisle all ‘in one escotcheon’:3 16. Or, a lion rampant azure. 17. Checky or and azure, a fess gules 'this gooth cleane through the field'. 18. Sable, three boars heads argent 'not standing streight up as Boothes doe'. 19. Sable, a lion rampant argent, ‘with it under the first’: 20. Argent, three leaves or branches vert 'wch stande under the bores heads'. 3 London, British Library, Harley MS 6593, f. 57r. 170 When Throsby visited the church there were some fragments of painted glass remaining.4 No medieval glass is extant today. The lost glass seen by Thoroton and the St George brothers, refers in the most part to the Clifton family, but cannot be dated with any accuracy. The arms in the chancel, if not reused from the previous structure, probably date from Sir Gervase Clifton's rebuilding in c1475. The arms of Pierrepont, Grey, Lowdham and Cressy in the north aisle seem to refer to marriage alliances of the Clifton family dating from the beginning of the reign of Edward III to the reign of Richard II.5 The Cressy arms relate to the latest of these alliances, the marriage of Sir John Clifton (died 1403) to Katherine, daughter of Sir John Cressy.6 If the arms were put in as a complete group sometime after the last marriage, which cannot be proved, the glass may have been late fourteenth or early fifteenth-century. The arms of Fraunces or Franceis, also in the north aisle, were probably fifteenth-century, as they relate to the marriage of Sir Gervase Clifton (died 1453) to Isabella the daughter of Sir Robert Franceis.7 4 Thoroton and Throsby, vol. 1, p. 112. 5 See Thoroton's pedigree in Thoroton and Throsby, vol. 1, p. 104. 6 Thoroton and Throsby, vol. 1, p. 104. 7 Thoroton and Throsby, vol. 1, p. 104. 171 Cossall, Nottinghamshire, Parish Church of St Catherine OS SK 483 423 Manuscript source Nottingham, Nottinghamshire Archives, DD TS 6/4/4/18, f. 1r. Printed sources Coe, p. 111. Cowen, p. 164. L. Elliott, ‘Archaeological Recording at St Catherines Church and the Willoughby Burial Vault, Cossall, Nottinghamshire’, Thoroton Society, 104 (2000), p. 96. Gill, p. 121 Mee Nottinghamshire, p. 70 Nelson, p. 159 Pevsner Nottinghamshire, p. 106 Truman (1944), p. 60 Illustrations Figs. 55-56. Cossall church consists of a western tower, nave with two aisles and an aisleless chancel. With the exception of the west tower, it was entirely rebuilt in 1842, reusing old materials for the chancel and the clerestory.1 All the remaining medieval glass is in a composite panel in window sV. The panel incorporates a small figure of St Catherine, quarries, architectural fragments and border pieces, some decorated with drolleries. The glass is all fifteenth-century. Pevsner and Truman assign a date in the early years of that century to the figure of St Catherine,2 but its pose and painting are perhaps too stiff and linear for such an early date to be convincing. All the remaining glass is dirty. 1 Pevsner Nottinghamshire, p. 106. 2 Pevsner Nottinghamshire p. 106, and Truman (1944), p. 60. 172 When Stretton visited the church in 1801 the figure of St Catherine was in a north window. He also saw 'some remains of Our Saviour' (a Crucifix?) in the East Window of the Chancel.3 This has gone. Two pieces of heavily corroded medieval window glass were discovered during an archaeological watching brief in the south aisle in 1999.4 Catalogue sV. 2b. St Catherine and fragments (figs. 55 and 56). St Catherine is nimbed and crowned, with long hair and is dressed in a white mantle with yellow stain hems over a ruby gown. Her body is partly made-up. Her barbed-wheel attribute in black line and yellow stain is behind her and she rests her left hand on it. There is heavy paint loss on the face and decay on the crown and nimbus as well as leaded breaks. Later 15th-c. Behind the lower part of the figure quarries, type 21. Behind the upper part of the figure are fragments including: border crowns and lozenge filled rectangles and two fragments of canopy top, one incorporating two circular towers. All the glass is in black line and yellow stain on white. 15th-c. The left and right borders are made up from fragments. Conventional crowns and lozenge-filled rectangles, executed in black line and yellow stain on white. Two drolleries in black line on rectangular pieces of ruby glass. The first, in the right hand border, shows a mitred fox, dressed in a cope with hood or cowl, holding a pastoral staff, preaching from a raised pulpit. The second, in the left hand border, a grotesque with a crescent shaped face, bulbous nose and wide eyes. Both are very dirty. 15th-c. h 0.65m, w 0.44m. 3 Nottingham, Nottinghamshire Archives, DD TS 6/4/4/18, f. 1r. 4 L. Elliott, ‘Archaeological Recording at St Catherines Church and the Willoughby Burial Vault, Cossall, Nottinghamshire’, Thoroton Society, 104 (2000), p. 96. 173 Cotham, Nottinghamshire, Redundant Church of St Michael OS SK 794 476 Printed source Truman (1945), p. 78. Cotham church has been greatly truncated since the Middle Ages and now consists of a nave and chancel in one with a south porch and bellcote. There was formerly a western tower and side aisles. The aisles were probably fourteenth or fifteenth century, for windows of this period are re-used in the north and south walls of the present structure. The building was restored in 1830, and again in 1890.1 All that remains of the medieval glazing are four quarries. When Truman was here there were thirteen, divided between a north-east and a south-west window of the nave.2 From the mid-twentieth-century until vesting in the Churches Conservation Trust in the late 1980s, the church was disused and neglected and it seems likely that some of this glass fell out or was broken during this period. The remaining glass is in good condition, and was probably re-leaded as part of a general restoration of the fabric in 1989.3 Catalogue nII. b. Four quarries, types 1-3 and 5. Light paint loss and pitting. 15th-c. 1 Pevsner Nottinghamshire, pp. 107-108, Cox County Churches, pp. 72-74 and C. J. Brooke, St Michael's Church, Cotham, Nottinghamshire (London, 1996). 2 Truman (1945), p. 78. 3 C. J. Brooke, St Michael's Church, Cotham, p. 4. 174 Cromwell, Nottinghamshire, Parish Church of St Giles OS SK 799 615 Printed sources Cox County Churches, p. 74. Mee Nottinghamshire, p. 76. Nelson, p. 105. Pevsner Nottinghamshire, p. 108. Truman (1946), p. 78. The nave and chancel of Cromwell church are essentially of two main phases. The chancel dates from the fourteenth century and the nave (constructed around a thirteenth-century south arcade) clerestory and western tower from the first quarter of the fifteenth century. The tower was, apparently, complete by 1427.1 The extant medieval glass coincides with the two phases of building work. The glass in A1 of nII includes a head, shield of arms and architectural fragments contemporary with the chancel.2 Of the fifteenth century and probably contemporary with the nave and tower is a single small roundel charged with a rose in A1 of nIII. In 1732, according to the church guide, a lunatic woman was charged at the assizes with breaking glass in the church and chancel.3 Catalogue nIII. A1. Roundel, a double rose in blackline and yellow stain on white. 15th-c. 1 Pevsner Nottinghamshire, pp. 108-109. 2 This glass is beyond the chronological scope of this thesis. For details see: Truman (1946), p. 78. 3 The Parish Church of St Giles Cromwell (Cromwell, no date), p. 3. 175 Croxall, Derbyshire, Parish Church of St John the Baptist OS SK 197 136 Manuscript sources British Library, Egerton MS 3510, f. 110v. British Library, Harley MS 6592, f. 69v. British Library, Harley MS 5809, f. 69r. Illustrations Figs. 57-62. Croxall parish, part of the historic county of Derbyshire, was removed to Staffordshire in 1888. The church consists of a western tower, aisleless nave and chancel. Most of the fabric is of the fourteenth century, the north wall of the nave dating from the late fifteenth or sixteenth century.1 The extant medieval glass consists of shields of arms, armorials and small foliage fragments, all of the late fifteenth or sixteenth century, in window sIV. According to an inscription plate below the window, the glass was removed from Croxall Hall and placed in its current position in 1945, as a memorial to three of the modern owners of the property.2 The shields of arms were all part of a much larger heraldic scheme, referring to members of the Curzon family and their associates, placed in the hall of the house. For details of this see the entry for Croxall Hall. A number of antiquarians refer to lost glass in Croxall church. When the Staffordshire antiquary William Burton visited the church in 1613, he recorded, in some detail, glass in a three-light north window of the church (fig. 61). This was presumably the eastern of the late fifteenth-century north windows of the nave, as this is the only window in the north side with three lights (fig. 62). The glass, which 1 N. Pevsner, The Buildings of England: Staffordshire (Hardmondsworth, 1975), p. 111 and Cox, vol. 3, p. 357. 2 ‘This ancient glass from Croxall Hall/ was placed here in memory of/ Geoffrey Nicholas Charlton/ of Chilwell and Croxall, and of his son, / Nicholas Poyntz Charlton/ and his wife, Ethel Mary/ 1945.’ 176 he tricked, consisted of three large heraldic achievements surmounted by helms and crests, set half way up the lights, above six kneeling donors in surcoats and mantles, a male and a female occupying each light.3 In light a: 1. A female donor kneeling, facing right in the attitude of prayer, wearing a butterfly headress and a mantle bearing: Azure, three lions passant argent. 2. A male donor kneeling, facing right in the attitude of prayer, with shoulder length hair, dressed in armour, with spurs and sword and a surcoat bearing: Or, on a bend argent. 3. Above the donors the arms: Gules, on a bend argent, a martlet sable. The shield tilted to dexter and surmounted by a helm with mantling and as a crest: a fan or panache sable. In light b: 4. A female donor kneeling, facing right in the attitude of prayer, wearing a butterfly headress and a plain mantle. 5. A male donor kneeling, facing right in the attitude of prayer, with shoulder length hair, dressed in armour, with spurs and sword and over a surcoat bearing: Or, on a bend argent. 6. Above the donors the arms: Gules, on a bend argent, a martlet sable. The shield tilted to dexter and surmounted by a helm with mantling and as a crest: a cockatrice sable. In light c: 7. A male donor kneeling, facing left in the attitude of prayer, with shoulder-length hair, dressed in armour, with spurs and 3 British Library, Egerton MS 3510, f. 110v. 177 sword and a surcoat bearing: Vairy or and gules, on a chief sable three horseshoes argent. 8. A female donor kneeling, facing left in the attitude of prayer, wearing a butterfly headress and a mantle bearing: Azure, three lions passant argent. 9. Above the donors the arms: Vairy or and gules, on a chief sable three horseshoes argent, quartering, Azure, three lions passant argent. The shield tilted to dexter and surmounted by a helm with mantling and as a crest: A horseshoe argent. When Flower and Glover were here in 1569 they saw, in the same window, three shields corresponding to 3, 6 and 9. The arms were ‘wrought also with their pictures in vestments of the same,’ a reference presumably to the donor images.4 In 1611 Richard St George saw the same glass ‘in the chappel of the Cursons’.5 Elsewhere in his manuscript, he recorded further details of the window, noting that image 7 was ‘booted and spurred where on are three horshoes aboute his neck in a collour sable’.6 The patrons of this glazing were members the Curzon family. Both of the two distinct arms blazoned in the large shields and on the surcoats of the male donors were used concurrently by the family during the Middle Ages.7 The stonework of the north windows, the style of dress, the shoulder length hair of the male and butterfly head-dresses of the female donors, as shown in Burton’s drawing, indicate a date in the late fifteenth or sixteenth century for this glass. Cox postulates that the three couples represented were three generations of the family: Thomas Curzon (d. 1485) and his wife Margaret Hartington, John Curzon (d. 1500) and his wife Anne Ashby and Thomas Curzon (d. 1541) and one of his wives, either Anne Aston or Elizabeth 4 London, British Library, Harley MS 6592: 69v. 5 London, British Library, Harley MS 5809: 15r. 6 London, British Library, Harley MS 5809: 69r. 7 The precise use and origins of these two distinct achievements is unclear. In some contexts the two arms were quartered, in other cases they were used singly. They were both used concurrently without marks of cadency by the two branches of the family seated at Croxall and Kedleston. Medieval Ordinary, vol. 2, pp. 16 and 68. See the entry for Croxall Hall for further references. 178 Ligon.8 However, the heraldic surcoats worn by the female donor images do not correspond to any of the arms borne by these late fifteenth and sixteenth-century women.9 The surcoat of the female donor that occupied light c provides a clue to the identity of the figures: it is Azure, three lions passant argent, which according to the Medieval Ordinary is the arms of Camville.10 At the beginning of the thirteenth century the Curzon family divided into two branches. Robert Curzon of Croxall and Kedleston divided his estates between his two sons, Richard, the elder, getting the manor of Croxall and Thomas, the younger son, the manor of Kedleston (q.v.).11 Richard of Croxall was married to Petronelle de Camville.12 It is possible then, that the glass was a piece of late fifteenth-century genealogy - the late medieval Curzons attempting to lay out their pedigree in glass in the form of ancestral donor images. Catalogue sIV. 2a. Shield bearing the arms of the Prince of Wales (fig. 57): Quarterly England and France, with, a label of three points argent for difference. Rinceau ground to the fields of the second and third quarters, stickwork roundels reserved on matt to the fields of the first and fourth quarters. Leaded breaks. Late 15th or 16th-c. h 0.27m, w 0.25m. 2b. Two shields of arms and fragments. Argent, a cross gules (St George.) Leaded breaks. Late 15th or 16th-c. h 0.24, w 0.23m. 8 Cox, vol. 3, p. 358. 9 For further details of these individuals and alliances see the entry for Croxall Hall, particularly in relation to shields 2, 8, 10, 17 and 19. 10 Medieval Ordinary, vol. 1, p. 283. 11 I. Rowney, ‘The Curzons of Fifteenth-Century Derbyshire,’ DAJ, 103 (1983), p. 107 and Cox, vol. 3, p. 356. 12 I. Rowney, ‘The Curzons of Fifteenth-Century Derbyshire’, p. 107 and Cox, vol. 3, p. 358. 179 Above the former (fig. 59): Or, on a bend argent three martlets (or popinjays) sable (Curzon of Croxall), 13 impaling, Vairy argent and gules (Gresley), quartering, Sable, a lion passant argent (Wastneys).14 Paint loss. Late 15th or 16th-c. h 0.15m, w 0.14m. Between the two shields, two border fragments: stylised pomegranates in yellow stain (fig. 60). Above the second shield the Curzon crest (fig. 58): A cockatrice, tail nowed, with a head at the end thereof.15 Leaded breaks. Late 15th or 16th-c. h 0.66m, w 0.23m. 13 Medieval Ordinary, vol. 2, pp. 14-16. 14 This is a slight variant of the usual achievement of Gresley quartering Wastneys, which was usually Vairy ermine and gules (Gresley), quartering, Sable, a lion rampant argent, gorged gules (Wastneys). Derbyshire Visitation: 94. 15 J. Fairburn, Fairburns's Crests of the Families of Great Britain and Ireland, (New edition, 1986), p. 423. 180 Croxall Hall, Derbyshire OS SK 197 137 Manuscript source London, British Library, Harley MS 5809, f. 60v. The hall adjoining Croxall church (q.v.) is a much-restored fifteenth and sixteenthcentury structure.1 It was the home of the Curzon family, who held the manor of Croxall, from the reign of Henry I to the middle of the seventeenth century.2 In 1569 Flower and Glover tricked the following shields of arms, in glass in the hall:3 ‘In the Hall at Croxall these Hatchments aunciently there stood, but now remane in the Buttry here’: 1. Vairy, quartering, Or, a tower triple turreted azure [Blount, see 12]. The shield is tilted to dexter and surmounted by a helm, with mantling and crest. The crest is set within a crown on top of the helm and consists of a sun containing an eye, set within a serrated crescent moon. 2. Gules, on a bend argent three martlets sable [Curzon], impaling Or, a bucks head gules, between its antlers a fleur-de-lys [Hartington].4 The shield is tilted to dexter and surmounted with a helm. The torteaux of the helm supports a crest a cockatrice gules, beak and feet or. Supporters: to the left, the cockatrice, as above; to the right, a stag salient argent. 1 N. Pevsner, The Buildings of England: Staffordshire (Hardmondsworth, 1975), p. 111. 2 J. Tilley, The Old Halls, Manor, and Families of Derbyshire (Derby, 1893), vol. 4, p. 21. 3 London, British Library, Harley MS 5809, f. 60v. 4 Cox, vol. 3, p. 359. 181 3. Or, on a bend argent three martlets sable [Curzon]. The shield is tilted to dexter and surmounted with a helm, the torteaux supporting the cockatrice crest as 2. 4. Vairy ermine and gules, quartering, Sable, a lion rampant argent [Gresley, see below], impaling, Argent, a bend gules, quartering, Gules, three crosses fitchy or, a chief or. The shield is tilted to dexter, with a helm and the crest a leopard passant. Supporters: to dexter a lion rampant collared, sinister an eagle. ‘In a window on the left pane in the Hall’ 5. Argent, a cross gules. 6. Quarterly 1, Argent, three fusils conjoined in fess gules, quartering, Or, an eagle displayed gules, 2, Three chevronells, quartering, A fess between six cross-crosslets, 3. A saltire, over all a label of three points, 4, Checky, a chevron ermine, quartering, Quarterly, argent and fretty, over all a bendlet. Below the arms, the inscription: ‘Monsieur Richard Nevill/ de …. Warwick Earle/ grand Chac ….de Engletere / Capitan de …’ 7. England and France quarterly, with a label of three points, surmounted by a coronet, consisting of a jewelled circlet ornamented with strawberry leaves, with a fur-lined ermine cap of maintenance inside, surmounted by a tassel. ‘In the Greate window in the Hall on the Right hand’ 8. Vairy or a gules, on a chief sable three horseshoes argent (Curzon). 182 9. Curzon as 2, impaling, Barry of six or and azure – ‘John Curson Armiger & Ashby’. 10. Curzon as 2, impaling, Or, a bucks head gules, between its antlers a fleur-de-lys of the last - ‘Thomas Curson, Armiger and Hartington’. 11. As 6, except, quarters 1 and 2 are reversed. 12. Vairy, quartering, Or a tower triple turreted azure - ‘Walterus Blunt miles’. 13. Azure, three eagles displayed or, quartering, Azure, a fess dancetty between six lions rampant or - ‘Joh[ann]es Griffith miles’. 14. Vairy ermine and gules, quartering, Sable, a lion passant argent collared gules - ‘Joh[ann]es Gresley miles’. 15. Pily or and sable, a canton ermine - ‘Walterus Wrotesby miles’. ‘In the Gallerie’ 16. Cockatrice gules, beaked and clawed or. 17. Vairy or a gules, on a chief sable three horseshoes argent, impaling, Gules, a fess or, two mullets in chief gules (Curzon and Ligon). 18. Vairy or a gules, on a chief sable three horseshoes argent [Curzon]. 19. Vairy or a gules, on a chief sable three horseshoes argent [Curzon], impaling, Argent, a fess sable, three lozenges sable in chief [Ashton].5 20. A crest on a torteaux: a calf’s head in profile. Most of the glass in the hall dated from the third quarter of the fifteenth century. The heraldic display, in this part of the building, included the arms of Thomas Curzon of Croxall, who was killed at Bosworth in 1485.6 He was the likely patron of the glazing. Shields 2 and 10 were those of Thomas, his arms impaled with Hartington, in reference 5 Ashton of Tixall, Staffordshire. Papworth, p. 716. 6 I. Rowney ‘The Curzons of Fifteenth-Century Derbyshire’, DAJ, 103 (1983), p. 115. 183 to his marriage to Margaret Hartington.7 Reference was also made to Thomas and Margaret’s son, John Curzon (d. 1500): the Curzon arms in shield 9, impaled with those of Ashby, commemorated his marriage to Anne, daughter of William Ashby.8 Other shields in the hall referred to relatives and associates of Thomas Curzon. Sir John Gresley (d. 1487), 9 commemorated by shields 4 and 14, was a cousin of Thomas; they were both grandsons of Thomas Gresley of Drakelow.10 Sir Walter Blount, commemorated by shields 1 and 12, was also a cousin of Thomas Curzon, (his mother Margaret was another daughter of Thomas Gresley of Drakelow).11 Blount was elevated to the peerage as Baron Mountjoy in 1465, a fact that might help date the shield at Croxall, where he is described simply as a knight. 12 The inclusion of the arms of Richard Neville, Earl of Warwick (1428-71), which occur twice (6 and 11), is perhaps indicative of a Curzon connection to him. This was perhaps through Walter Blount, who is known to have been a retainer in Warwick’s household in the 1450s.13 The inscription below shield 6, listing some of Warwick’s titles, may impose a date restriction of between 1461 and 1471 on this shield. Warwick was made Great Chamberlain, Admiral of England and Captain of Calais, following the victory of Edward IV at Towton in 1461 and died at the battle of Barnet in 1471.14 It appears that sometime in the sixteenth century the Curzons of Croxall replaced their long held arms: Gules, on a bend argent three martlets sable, with Vairy or and gules, on a chief sable three horseshoes argent (shield 8). The change may have been to differentiate the Curzons of Croxall from their wealthier relatives the Curzons of Kedleston (q.v.), who bore the same arms. The new Curzon arms was impaled in the 7 Rowney, ‘The Curzons of Fifteenth-Century Derbyshire’, p. 115. 8 Cox, vol. 3, p. 359. 9 Wright, p. 215. 10 Senecha, daughter of Thomas Gresley married John Curzon of Croxall (d. 1450) (Cox, vol. 3, p. 358 and Wright, pp. 214 and 220). 11 Wright, p. 214. 12 Burke Extinct Peerages (London, 1831), p. 41. 13 Wright, p. 74. 14 M. Hicks, Who’s Who in Late Medieval England (London, 1991), pp. 303-305. 184 gallery with Ligon and Ashton (shields 17 and 19), referring to the two marriages of Thomas Curzon (d. 1541), son of John (d. 1500), to Anne, daughter of Sir John Ashton of Tixall, Staffordshire and Elizabeth, daughter of Richard Ligon of Mattfield, Worcestershire.15 No glass is now extant in the house. Shields 3, 5 and 7 (the latter without the coronet), along with a cockatrice crest and a decorative border element, were transferred to Croxall church (q.v.) in the middle of the twentieth century and are catalogued in the entry for Croxall church. 15 Cox, vol. 3, p. 359. 185 Dale Abbey, Derbyshire, Parish Church of All Saints OS SK 437 386 Printed sources Mee, p. 93. J. Ward, Dale and its Abbey, Derbyshire (Derby, 1891), p. 85. Illustrations Figs. 63-65. The parish church of Dale Abbey stands close to the precinct of the house of Premonstratensian canons, which has given its name to the settlement. It is an unusual structure (fig. 65), consisting of a single cell nave and chancel, divided by a rood screen. The chancel is open to the roof, but the nave, which was expanded south in the post-medieval period, has been made double-decker by the addition of a gallery covering most of its area. The nave shares its roof with a domestic dwelling attached to the west end of the church. It has been suggested that parts of the north wall of the church date from the twelfth century and form part of the chapel of Depedale, given by William de Grendon as part of the initial foundation endowment of the abbey. It has been argued that the east-end of the chancel was remodelled and the house at the west end constructed, at the end of the fifteenth century, in order for the building to serve as the abbey’s infirmary.1 The remaining glass is all located in the late fifteenth-century windows of the chancel. The glass is contemporary with this fenestration and consists of architectural fragments in nII with fragmentary in situ tracery fillings in this window and window I. The glass is in poor condition, with losses and heavy decay. The majority of the glass in nII is opaque. The exterior of window nII retains its original ferramenta. 1 Ward, J. Dale and its Abbey, Derbyshire (Derby, 1891), pp. 77-79, 83 and 81 and Pevsner Derbyshire, pp. 162-163. 186 Catalogue I. A1. Tracery light filling (fig. 64) in situ, a simple yellow stain border outlined in black following the shape of the light. Most of the lower part of the filling is missing and the remainder is heavily decayed. 15th-c. h 0.25m, w 0.18m. A2. Tracery light filling (fig. 64) as A1. The lower lobe of the filling is missing and the remainder heavily decayed. 15th-c. h 0.25m, w 0.18m. A4. Tracery light filling as A1. The lower lobe of the filling is missing and the remainder heavily decayed. 15th-c. h 0.28m, w 0.21m. A5. Tracery light filling as A1. The lower lobe of the filling is missing and the remainder heavily decayed. 15th-c. h 0.25m, w 0.18m. A6. Tracery light filling as A1. Part of the lower lobe of the filling is missing and the remainder heavily decayed. 15th-c. h 0.25m, w 0.18m. nII (fig. 63). 1a. Fragments. The glass is too heavily corroded to make much sense of it, but it is possible that, in basic form, the remains represent a canopy top. Into this are intruded other fragments, including blue and ruby glass, white fragments with traces of blackline and yellow stain and cusp fillings, which are in detail as A1 of I. Probably 15th-c. h 0.31m, w 0.42m. 187 2a. Fragments, the condition and details essentially as 1a. The only really visible element, with the exception of the cusp fillings, is part of a buttresssed pinnacle or shafting in blackline on white, with needlepoint traceried arcading. Probably 15th-c. h 0.31m, w 0.43m. A1. Tracery light filling in situ as A1 of window I. The glass is almost entirely opaque, with only the faintest trace of the pigment still visible. 15th-c. h 0.25m, w 0.18m. A2. Tracery light filling in situ as A1 of window I. Heavy pitting, some paint loss and a fracture to the top lobe. 15th-c. h 0.25m, w 0.18m. A3. Tracery light filling in situ as A1 of window I. Only the bottom lobe remains and that is almost entirely opaque, with only the faintest trace of the pigment visible. 15th-c. h 0.25m, w 0.18m. A4. Tracery light filling in situ as A1 of window I. Only the bottom lobe remains, which is heavily pitted. 15th-c. h 0.25m, w 0.18m. 188 Dale, Derbyshire, Precinct of the Premonstratensian Abbey of the Blessed Virgin Mary OS SK 438 387 Manuscript source Ashmole, p. 8. Printed sources J. Britton and E. Wedlake Brayley, The Beauties of England and Wales; or Delineations, Topographical, Historical, and Descriptive, of Each County (London, 1802), vol. 3, p. 390. H. M. Colvin, 'Excavations at Dale Abbey: Interim Report', DAJ, 59 (1938), pp. 9394. C. Drage, 'Dale Abbey: The south range excavations and survey, 1985-87,' DAJ, 110 (1990), pp. 78-79. In addition to the glass of the 1480s removed from the cloister of the abbey and now in Morley church (q.v.), Ashmole tricked the following arms ‘In Fenestra Abb: de Dale’ without specifying a location: 1. A chevron reversed, a crescent gules. Above: ‘Serlo de Grendon’. 2. Argent, a lion rampant gules between three pheons sable. Above: ‘Egerton’. 3. A pale lozengy sable Above: ‘Savage’ and as a crest on a torteaux a unicorn’s head in profile argent. Britton and Wedlake Brayley saw the following glass: ‘The abbey buildings appear to have been of considerable extent, various parts having been converted into dwelling-houses and barns, which yet 189 remain. Some of the windows of these houses contain painted glass with inscriptions.’1 The glass Ashmole and Britton recorded could have been of any date. Serlo de Grendon commemorated by shield 1 was the founder of the abbey.2 The Savages were a prominent Derbyshire family (q.v. Ault Hucknall, Heath and Papplewick). Fragments of medieval glass, some of it figurative, were discovered during the excavations of the Infirmary and south range undertaken in 1937-8 and 1985 respectively. All the glass recovered was of late thirteenth or early fourteenth century date, therefore beyond the chronological scope of this thesis.3 1 J. Britton and E. Wedlake Brayley, The Beauties of England and Wales; or Delineations, Topographical, Historical, and Descriptive, of Each County (London, 1802), vol. 3, p. 390. 2 A. Saltzman, ‘The History of the Foundation of Dale Abbey or the So-Called Chronicle of Dale’, DAJ, 87 (1967), p. 29. 3 C. Drage, 'Dale Abbey: The south range excavations and survey, 1985-87,' DAJ, 110 (1990), pp. 78-79 and H. M. Colvin, 'Excavations at Dale Abbey: Interim Report', DAJ, 59 (1938), pp. 93-94. 190 Denby, Derbyshire, Parish Church of St Mary OS SK 398 465 Manuscript source Bassano MS, pp. 284-285. Printed source Butler, p. 72. In the early eighteenth century the Bassano brothers saw the following glass in the church:1 ‘In a window of the South Ile in Stain’d Glass’: 1. Argent. three roses sable. ‘In the east Window of the North Ile’: 2. Barry of six argent and azure (Grey). ‘In a north Window in the body of the Church are the same quartered arms under the Image of the Blessed Virgin Mary’: 3. Three cocks gules, quartering, two bars. At least one of these ‘escochions’ was left when Butler was here in 1823, though he did not stipulate which one.2 According to Cox some heraldic glass was ‘recklessly 1 Bassano MS, pp. 284-285. 2 Butler, p. 72. 191 destroyed’ in 1838 when the north aisle and arcade were demolished to create the present north gallery.3 Cox identified shield 1 as the arms of Rossel and was of the opinion that it referred to an alliance in the late fifteenth century between a certain Lawrence Lowe and the heiress of the Rossel family of Draycott.4 Lawrence was a lawyer who purchased the manor of Park Hall in Denby parish from Henry, Lord Grey of Codnor, sometime in the final quarter of the fifteenth century.5 Cox identified shield 3 as Cockayne of Ashbourne (q.v.), quartering Harthill, which he suggested, referred to the marriage in 1558 of Vincent Lowe, grandson of Lawrence, to Jane, daughter of Sir Thomas Cockayne.6 Is it possible that the figure of the Virgin Mary was contemporary with this shield? If so it can only have dated from 1558 or 1559, i.e. late in the reign of Mary Tudor. 3 Cox, vol. 4, pp. 249-250. 4 Cox, vol. 4, p. 252. 5 Wright, pp. 26-27. 6 Cox, vol. 4, pp. 251-252. 192 Dethick, Derbyshire, Parish Church of St John the Baptist OS SK 327 579 Manuscript source London, British Library, Harley MS 6592, f. 87r. Illustrations Fig. 66. Dethick church (fig. 66) was a private manorial chapel within the parish of Ashover (q.v.), founded in 1279 by Geoffrey Dethick.1 In 1569 Flower saw the following glass in the building:2 ‘The glass is much broken, but heare I set downe of the fragments the remaynder’: 1. Argent, ten torteauxes, and a file of three labels azure (Babington), impaling, Argent, a fess vairy or and gules between three waterbougets sable (Dethick). 2. Ermine, on a chief dancetty gules, three crowns or (Leche), impaling Babington. 3. Babington, impaling, Argent, on a saltire azure, five waterbougets or (Sacheverell). 4. Sable, a chevron between ten martlets argent (Benefield). 5. Argent, a cross fleury sable, within a bordure engrailed gules (Walton). 6. Babingon impaling, Gules, seven mascles or (Ferrers). 7. Barry of eight argent and gules, three martlets sable (Chaworth), quartering, Paly of six or and gules, a bend argent (Longford). 1 Cox, vol. 1, p. 38. 2 London, British Library, Harley MS 6592: 87r. 193 Most of this glass, none of which was remaining in Cox’s time, referred to the Babington family, who acquired the manor from the Dethicks in the first half of the fifteenth century, through the marriage of Isabel, the daughter and heiress of Sir William Dethick, to Thomas Babington (d. 1466).3 Shield 2 referred to the marriage of Anne (d. 1538), daughter of Sir Thomas Babington (d. 1519) to George Leeche (d. 1505) of Chatsworth.4 Shield 7 recorded the marriage of Katherine, another daughter of Sir Thomas, to George Chaworth.5 Shield 6 represented the marriage of Sir Anthony Babington (d. 1544), the heir of Sir Thomas, to Catherine, daughter of Sir John Ferrers, an event that took place after the death of his first wife in 1505.6 The glazing was probably put in as part of a renovation of the thirteenth-century church undertaken by Sir Anthony Babington and coinciding with the erection of the western tower by him around 1530 (fig. 66).7 The tower includes a decorated frieze which repeats some of the arms Flower saw in the glass.8 3 Cox, vol. 1, p. 45 and Wright, p. 218. 4 Wright, p. 211, Cox, vol. 1, p. 33 and Cox, vol. 2, p. 183. 5 Wright, p. 210. 6 Wright, p. 218. 7 Pevsner Derbyshire, p. 196. 8 For details of this see Cox, vol. 1, pp. 42-43. 194 Doveridge, Derbyshire, Parish Church of St Cuthbert OS SK 113 341 Manuscript source London, British Library, Harley MS 6592, f. 95v. Printed sources Cox, vol. 3, p. 121. Mee Derbyshire, p. 114. Pevsner Derbyshire, p. 198. Illustrations Figs. 67-72. Consisting of a west tower and spire, aisled nave and aisle-less chancel, most of the fabric of Doveridge church is fourteenth-century. In the fifteenth century a nave clerestory was added and the chancel roof was raised in order to insert an east window which fills the entire east wall.1 The remaining medieval glass consists of fragments leaded randomly into the west window of the south aisle and is, with the exception of some thirteenth- century grisaille, fifteenth-century, contemporary with the fabric of the east window. Indeed according to a framed hand-written note lying loose beneath the window, written by the Revd. Canon Nigel Madan, vicar of Doveridge from 1899-1907, and confirmed by Cox, the glass was removed from the east window when the church was restored in the nineteenth century.2 The surviving fifteenth-century fragments include the remains of a large-scale Crucifixion, which incorporated angels holding chalices to collect the blood of Christ 1 Pevsner Derbyshire, pp. 197-198. 2 ‘This window is composed of fragments of Stained Glass, which were taken out of the East Window of this church when it was restored. Some of the fragments date back to the 13th century, and the plain glass to a later date.’ Cox saw glass in the east window but could make nothing of it (Cox, vol. 3, p. 121). 195 (q.v. Haddon Hall) and remnants of standing figures of saints. All was evidently set under canopywork, with the figures on raised plinths. In addition to the remaining glass, in his visitation of 1569, Flower recorded the following shields of arms in the church windows, without specifying precise locations:3 1. Argent, a chief vaire or and gules, over all a bend sable [Fitzherbert].4 2. Barry nebulee argent and gules, a canton ermine [Marshall]. 3. Or, three piles gules, a canton ermine [Basset of Drayton]. 4. Or, an eagle displayed azure, beaked and armed gules [Montgomery]. 5. Barry nebulee of eight or and sable, on a fess gules, three crowns or [Blount]. 6. Fitzherbert, quartering, Marshall. 7. Argent three cocks gules [Cockayne], quartering, Barry of four, argent and vert [Harthill]. 8. Cockayne. 9. Gules, a chevron vaire argent and sable [Kniveton]. The arms of Fitzherbert and Marshall both separate and quartered, refer to the marriage of Ralph Fitzherbert of Norbury (d. 1483) to Elizabeth Marshall, daughter and heiress of John Marshall of Upton, Leicestershire (died 1432), an alliance that brought the manor of Sedsall in the parish of Doveridge into the possession of the Fitzherbert family.5 The other arms are all of families prominent in Derbyshire society in the fifteenth century. 3 London, British Library, Harley MS 6592, f. 95v. 4 This and the other identifications in square brackets were made by Cox (Cox, vol. 3, p. 121). 5 Cox, vol. 3, pp.121 and 238 and Wright, p. 222. 196 Catalogue sVIII (fig. 67, detail). 2a. Fragments (fig. 68). Part of the gridiron of St Lawrence set against matt black drapery, decorated and an orphrey decorated with yellow stain rosettes. Stippled drapery fragments with sections of hem decorated with yellow stain rosettes. Ruby and blue fragments, some with stippled drapery folds, others with a reserved seaweed rinceau. Architectural fragments: a section of ogee crocketed canopy, parts of side-shaftings and pinnacles, all executed in blackline and yellow stain. Minor foliage fragments, including a plant reserved against a stippled yellow -stain ground and a fragment of vine trail, the leaf reserved against matt. Varying degrees of paintloss and corrosion. 15th-c. h. 0.34m, w. 0.47m. 2b. Fragments (fig. 69). At the centre of the panel the lower part of an apparelled alb, the alb stippled, the apparel decorated with a yellow stain fret. Part of a torso (?) with stippled muscle definition. Part of a tunic decorated with a row of yellow stain buttons, intersected by a foliated yellow stain belt. Architectural fragments including lozenge-filled border rectangles, sections of raised plinths, part of a ogee crocketed canopy, a fragment of a pinnacle and minor fragments, all in blackline with yellow stain. Additionally, plants and grass reserved against a stippled yellow stain ground and other minor fragments. Varying degrees of paintloss and corrosion. 15th-c. h. 0.34, w. 0.47m. 3a. Fragments (fig. 70). At the top of the panel a cut-down figure, probably an angel, dressed in a white stipple-shaded alb, with nimbus and curly yellow stain hair. At the centre of the panel a hand grasping a closed book, the clasp and binding decorated with yellow stain. Blue and ruby drapery fragments, some decorated with a reserved seaweed rinceau. Drapery fragments, one piece decorated with stylised yellow stain seed heads and another with yellow 197 stain buttons and a section of yellow-stain hemming. Architectural fragments including sections of side-shaftings, crocketed pinnacles and a canopy top decorated by two crocketed ogee gables, all in blackline with stippling and yellow stain. Additionally, plants and grass reserved against a stippled yellow stain ground and other minor fragments. Varying degrees of paintloss and corrosion, unleaded fractures. 15th-c. h. 0.33m, w. 0.47m. 3b. Fragments (fig. 71), with the exception of a decorated yellow stain hem, from a robe or vestment, all architectural. The largest architectural element is a raised pillar with a foliated capital, rising behind three crocketed pinnacles. Other fragments include sections of side-shaftings, crocketed pinnacles, canopy tops, plinths and lozenge-filled rectangles from borders. All are executed in blackline with stippling and yellow stain. Small fragments of ruby and blue decorated with a reserved rinceau. Varying degrees of paintloss and corrosion. 15th-c. h. 0.33m, w. 0.47m. 4a. Fragments, mostly 13th-c. stiff-leaf grisaille, but incorporating a few minor architectural and drapery fragments in blackline and yellow stain and ruby and blue fragments of the 15th c. All the glass has varying degrees of paintloss and corrosion. Unleaded fractures. h. 0.33m, w. 0.47m. 4b. Fragments (fig. 72). Fragmentary figures of angels from a Crucifixion, executed in blackline with stippling and yellow stain. An angel facing threequarters right in a white alb and yellow stain hair, with its left hand placed on its breast and right arm extended. A figure facing three-quarters left, dressed in a white alb with yellow hair, the head bowed and hands crossed at the breast. A yellow stain chalice with drops of blood falling into the bowl and a hand clasping the stem. Part of the torso of a figure in an alb, clasping in its hand a yellow stain chalice. Dislocated fragments of yellow stain feathered wings. Part of a wooden cross beam (?) with yellow stain knotting. Small diapered drapery fragments and hems or orphreys, decorated with yellow- 198 stain rosettes. Architectural fragments including: part of a canopy top with a pair of crocketed ogee gables, fragments of side-shaftings (again with crocketed gables) and a number of lozenge-filled rectangular border pieces. All in blackline with stippling and yellow stain. Ruby and blue fragments decorated with a reserved seaweed rinceau. All the glass has varying degrees of paintloss and corrosion. All fragments 15th-c. h. 0.33m, w. 0.47m. 5a. Fragments, mostly of 13th-c. stiff-leaf grisaille, but incorporating some minor 15th-c. fragments, including: a couple of fragments of blackline and yellow stain crocketed pinnacles and fragments of blue seaweed rinceau. All the glass has varying degrees of paintloss and corrosion. h. 0.33m, w. 0.47m. 5b. Fragments. At the centre of the panel, part of a figure of an angel facing slightly towards the left, nimbed, dressed in a white alb with yellow stain hair, with left hand raised to the left side of the head and the right arm extended. Two fragmentary yellow-stain lions, the first has one paw, part of the mane and tail visible, the second two paws and part of the mane visible. Drapery hems or orphreys, decorated with rosettes reserved against yellow stain. Small architectural fragments including: part of a crocketed pinnacle in blackline and yellow stain and a number of fragmentary lozenge-filled rectangular border pieces. Small fragments of blue seaweed rinceau. All the glass has varying degrees of paint loss and corrosion. All fragments 15th-c. h. 0.33m, w. 0.47m. A1. Fragments, all minor architectural and including part of a canopy set against a quarried ground. 15th-c. w. 0.35m approx. A2. Fragments, mostly minor architectural and including part of a canopy set against a quarried ground and part of a cut-down roundel charged with ‘I H’. 15th-c. w. 0.35m approx. 199 B1. Fragments, all minor. 15th-c. w.0.18m approx. 200 East Bridgford, Nottinghamshire, Parish Church of St Peter OS SK 690 431 Printed sources Nelson, p. 159. Thoroton and Throsby, vol. 1, pp. 297-298. Truman (1944), p. 60. The medieval glass here is confined to scraps of opaque glass in light nII. Nelson dates them to the fourteenth century, but they could be of any date.1 In addition to this Thoroton recorded the following lost glass in the church:2 ‘In the East Window of the Chancel are some painted in the Coat Armours, one:’ 1. Azure, a fess or between three bezants, quartering, Argent, on a bend gules, three pair of wings of the first. ‘To this the Crest is, a Man’s Head Gules, with a Wreath about the Temples argent.’ ‘Another is’: 2. Two chevrons or (Chaworth). ‘Another is’: 3. ‘Deyncourt’ [Azure, a fess dancetty between ten billets or]3, with a file of three labels argent, charged with six billets gules. 1 Nelson, p. 159. 2 Thoroton and Throsby, vol. 1, pp. 297-298. 201 ‘In the South Window encompassed with Johannes Allestre, Prior de Thurgarton, twice’: 4. Sable, three keys argent (Thurgarton Priory). ‘In the Window [of the ‘Church North Aisle’]: 5. Argent, an orle of cinquefoils, about a small escutcheon sable (Caltoft), impaling, Argent, two chevrons or (Chaworth). 6. Chaworth, quartering, Gules, a fess dancety between ten billets or (Brett). 7. Chaworth impaling Caltoft. 8. Caltoft impaling Brett. ‘In an upper window’: 9. Chaworth quartering Caltoft. ‘In the south Aisle, an Alabaster tomb … In the window over it, is one with a shaven, or bald Crown, his upper Garment is’: 10. Argent, powdered with sexfoils sable. ‘and by him’: 11. Gules, a bend or, between two cotises dancetty argent ‘this I suppose to be for Sir Thomas Hethe.’4 3 Papworth, p. 727. 4 The Medieval Ordinary has the arms of Hethe as Gules on a bend cotised three heathcocks sable. Medieval Ordinary, vol. 2, p. 94. 202 The manor of East Bridgford was divided into two parts, held by the Deincourt and Caltoft families. The Deincourt moiety remained in that family until the reign of Edward IV.5 The Caltoft share passed through various hands. In the second half of the fourteenth century it descended to Alice Caltoft, the daughter and heiress of Sir John Caltoft (d. 1351) and Katherine Brett. Alice was first married to Sir Thomas Hethe, apparently commemorated by the donor image in the south aisle (10 and 11), who died in 1374 without issue, and secondly to Sir William Chaworth (d. 1398). The moiety then passed to Sir Thomas Chaworth of Wiverton (d. 1459), the son of Alice and Sir William Chaworth, on her death in 1400.6 Therefore the glass in the east window (1-3) and the window in the north aisle and upper window (5-8 and 9) (all of which include the Chaworth arms), are either of the last quarter of the fourteenth century or the fifteenth century. The stonework of the east window is modern. The donor image of Sir Thomas Hethe and its associated glass (10 and 11) is likely to date from around the time of his death in 1374. John Allestre, who gave glass in the south window of the chancel incorporating his name and the arms of Thurgarton Priory (4), is recorded as prior of the Benedictine house five miles from Bridgford, in 1494.7 His connection with East Bridgford is obscure, particularly as the Priory had no obvious link with the parish. 5 Thoroton and Throsby, vol. 1, pp. 294-295. 6 Thoroton and Throsby, vol. 1, p. 294 and Payling, p. 232. 7 VCH Nottinghamshire, vol. 2, p. 185. 203 East Drayton, Nottinghamshire, Parish Church of St Peter and St Paul OS SK 775 753 Printed sources Gill, p. 121. Nelson, p. 159. Truman (1944), p. 51. A number of early twentieth-century authors refer to some remains of medieval glazing, though in rather vague terms. Nelson refers to ‘remains of inscriptions’ in the clerestory windows1, while Gill probably having seen Nelson’s entry, refers to the existence of ‘fragments’2. All trace of medieval glass had disappeared by the time Truman visited the church in 1932, when apparently both vicar and verger had no recollection of there ever being any.3 The glass was probably contemporary with the clerestory, i.e. of the fifteenth century. 1 Nelson, p. 159. 2 Gill, p. 121. 3 Truman (1944), p. 51. 204 East Markham, Nottinghamshire, Parish Church of St John the Baptist. OS SK 743 726 Printed sources A. E. Briggs, ‘East Markham Church’, Thoroton Society, 11 (1907), pp. 14-16. Coe, p. 111. Cowen, p. 164. Gill, p. 121. Mee Nottinghamshire, p. 91. Nelson, p. 159. Pevsner Nottinghamshire, p. 116. Thoroton and Throsby, vol. 1, p. 344. Truman (1949), pp. 79-80. Illustrations Figs. 73-81. East Markham church consists of a western tower, nave with aisles and clerestory and an aisleless chancel (figs. 80 and 81). It is one of the grandest village churches in Nottinghamshire and probably owes its size and grandeur to the munificence of three generations of the Markham family: Sir John Markham (d. 1409), a Justice of the Common Bench, who is buried in an alabaster tomb chest on the north side of the chancel, his son Sir Robert (d. 1446) and grandson, also Sir Robert (d. 1495).1 The elder Sir John may have built the nave and aisles (figs. 80 and 81), at the beginning of the fifteenth century, with either one of the two Roberts, responsible for the chancel and nave clerestory (fig. 80), in the second half of the fifteenth century.2 1 Payling, p. 236. 2 A. E. Briggs, ‘East Markham Church’, Thoroton Society, 11 (1907), pp. 13-14. The light heads of the chancel windows and the tracery of the nave clerestory, bear close comparison with the fenestration at Sedgebrook church, Lincolnshire, which was rebuilt after 1468 by Sir John Markham, another son of Sir John Markham of East Markham. See N. Pevsner and N. Antram, The Buildings of England: Lincolnshire (London, 1989), p. 638. 205 The remaining glass consists of shields of arms in sV, figurative and architectural fragments leaded into the tracery lights of sV, sVI and sVII and a number of roundels in the clerestory.3 The figurative glass is all early fifteenthcentury. The glass in the lower windows was placed in its present position between 1883-85, when the main lights were filled with new glass. According to Briggs, the glass was collected from various different parts of the church.4 Some of the tracery light figures do not fit their present locations. Briggs was also told that fragments of glass were found in 1882, inside the tomb chest of Sir John Markham. He does not state whether these were incorporated into the south aisle windows with the rest. 5 The remaining heraldic glass all refers to Justice Sir John Markham. The arms of Burdon impaling Beckering refer Sir John’s marriage to his second wife Millicent, daughter of Thomas Beckering, who was firstly married to Nicholas Burdon.6 Millicent, who later married Sir William Meryng of Mering, died in 1419 and is commemorated by a memorial brass set into the floor of the south chapel (fig. 81), below window sV. In addition to these, when Thoroton was here, he saw in a window, the arms of Beckering, along with those of Cressy, i.e. Argent, a lion rampant queve furche sable.7 The Cressy arms referred to Sir John’s first wife Elizabeth, daughter of Sir John Cressy of Hodsock.8 This evidence confirms an early fifteenth century date for the heraldic glass. Catalogue sV 3 Truman (1949), p. 79. According to inscriptions within them, the windows of 1883-5 commemorate both Markham Judges, the novelist Elizabeth Cartwright, and John Kirke and family. 4 A. E. Briggs, 'East Markham Church', p. 15. 5 A. E. Briggs, 'East Markham Church', p. 14. 6 Thoroton and Throsby, vol. 1, p. 344. 7 Thoroton and Throsby, vol. 1, p. 345. 8 Thoroton and Throsby, vol. 1, p. 344. 206 4a. Restored shield of arms (fig. 73): Sable, a chevron ermine between three estoiles argent (Bewster or Brewster of Suffolk).9 Early 15th-c, set on a 19thc. lozenge. h 0.22m. 4b. Restored shield of arms (fig. 73): Azure, bearing three chevrons interlaced or, a chief or (FitzHugh).10 Early 15th-c, set on a 19th-c. roundel. h 0.22m. 4c. Restored shield of arms (fig. 73): Argent, three pilgrims staves argent (Burdon)11, impaling, Checky argent and gules, a bend sable (Beckering).12 Early 15th-c, set on a 19th-c. lozenge. h 0.22m. A1. Fragments of the original light filling and fragments. At the centre of the panel a roundel filled with plain ruby, perhaps in situ. The rest of the light is filled with fragments, including: canopy fragments, quarry fragments and remains of a light edging, all on white, with black line and yellow stain. Paint loss. 15th-c. h 0.38m, w 0.22m. A2. Architectural fragments. At the centre of the panels, elements from a vaulted canopy top, an ogee arch terminating in a crocketed finial, in black line and yellow stain. At the top of the light a piece of white glass decorated with a black line and yellow stain rosette, perhaps a cut-down quarry? Other architectural and blue and ruby fragments. Paint loss. 15th-c. h 0.51m, w 0.21m. 9 Medieval Ordinary, vol. 2, p. 336. 10 Medieval Ordinary, vol. 2, p. 526. 11 The arms are untinctured. Properly tinctured the Burdon family bore: Azure three palmer's staves or. Papworth, p. 1099. 12 Medieval Ordinary, vol. 1, pp. 330-331. 207 A3. St Sitha and fragments (fig. 74). At the centre of the panel, a small ex situ tracery light figure of St Sitha [Zita of Lucca]. She is wimpled and holds a book in her right hand and a bunch of keys in her left. Executed in black line on white, with yellow stain and stippling. Around the figure is a fragmentary rinceau ground, following the outline of the original light. This is set on architectural fragments, including part of vaulted canopy, side-shaftings and light fillings in black line and yellow stain. 15th-c. h 0.55 m, w 0.21 m. A4. Virgin Mary and fragments (fig. 74). Ex situ head and upper torso of the Virgin Mary from a tracery light composition of the Coronation of the Virgin. She is facing three-quarters left and is nimbed and crowned, with her hands in the attitude of prayer. Around the figure is a fragmentary blue rinceau ground, following the outline of the original light, set on architectural and drapery fragments and remains of light fillings, in black line and yellow stain. 15th-c. h 0.55 m, w. 0.21m. A5. Fragments, mainly architectural, including crocketed finials and parts of side-shaftings, in black line and yellow stain. The smallest fragment of a nimbed head. Blue and ruby fragments. 15th-c. h 0.51m, w 0.21m. A6. Tracery light filling. At the centre of the panel, an in situ (?) roundel of plain ruby glass, from which radiate three lobe fillings with simple black line and yellow stain borders. Canopy fragments as stopgaps. 15th-c. h 0.38m, w 0.22m. B2. Tracery light filling. At the centre of the panel a white roundel charged with a yellow stain rose, from which radiate lobes filled with ruby glass, set within a border of white edged with yellow stain. In situ? 15th-c. h 0.25m, w 0.22m approx. 208 sVI A1. Fragments (fig. 78). At the centre of the panel is a roundel of plain ruby glass. The lobes are filled with fragments of ruby and white and yellow stain glass and canopy fragments. 15th-c. h 0.38m, w 0.22m. A2. Architectural fragments (fig. 78). Large fragment of a canopy in white, black line and yellow stain, with fragments of crocketed finials and sideshaftings. Blue fragments leaded in. 15th-c. h 0.51m, w 0.21m. A3. Architectural fragments (fig. 78). Dislocated fragments of canopies in white, black line and yellow stain, including crocketed finials and aedicules from side-shaftings. Ruby fragments leaded in. 15th-c. h 0.55 m, w. 0.21m. A4. Architectural fragments. Dislocated fragments of canopies in white, black line and yellow stain, including crocketed finials and aedicules from sideshaftings. Ruby fragments leaded in. 15th-c. h 0.55 m, w. 0.21m. A5. Architectural fragments (fig. 75). Large section of a canopy top, with a triplet of arches terminating in crocketed finials and supported by buttressing, the whole in black line on white, with yellow stain; some cross-hatching. Other minor architectural fragments. At top of the light are remains of the original in situ light filling, a simple internal border of yellow stain. 15th-c. h 0.51m, w 0.21m. A6. Tracery light filling (fig. 77). At the centre of the panel a roundel of plan ruby glass, the lobes incorporate fragments of ex situ light edging and other minor fragments. 15th-c. h 0.38m, w 0.22m. 209 B2. Fragments. Crocketed finials from a canopy, in black line with stippling and yellow stain, set against blue fragments. 15th-c. h 0.25m, w 0.22m approx. sVII. A1. Tracery light filling (fig. 76) in situ, a simple internal border of yellow stain. Paint loss and leaded breaks. 15th-c. h 0.38m, w 0.22m. A2. Panel of fragments (fig. 76). Part of a head of a nimbed female saint, perhaps from a tracery light. She has uncovered yellow stain hair, probably from a tracery light. The wings of a feathered angel in yellow stain, set against a foliage ground, reserved on matt. A pair of large-scale hands in the attitude of prayer, with sleeve still attached. A crocketed finial and minor ruby rinceau fragments. 15th-c. h 0.51m, w 0.21m. A3. Quarries, type 8. 15th-c. h 0.55 m, w. 0.21m. A4. Panel of fragments including a yellow stain rose set on a ground of broken quarries, type 8. 15th-c. h 0.55 m, w. 0.21m. A5. Panel of fragments. A fragmentary angel facing three-quarters left, nimbed with curly hair, wearing an alb and apparelled amice and holding a harp. White and yellow stain with stippling. Yellow stain sunrays; part of a crocketed finial; fragments of a tessellated floor and blue and discoloured fragments. 15th-c. h 0.51m, w 0.21m. 210 A6. Fragments. Minor architectural fragments and a capital /E/ from a blackletter inscription. All in black line on white, with yellow stain. 15th-c. h 0.38m, w 0.22m. B2. Tracery light filling in situ, white glass, with an internal border of yellow stain, an oak leaf in black line in the centre. 15th-c. h 0.25m, w 0.22m approx. NV. A2. Geometric roundel of intersecting lines, with stylised leaves reserved on matt, in the spaces between. Set within a border of blue glass. Later 15th-c. d 0.25m approx. SV. A2. Geometric roundel (fig. 79) of intersecting lines, with stylised leaves reserved on matt, in the spaces between. Set within a border of blue glass. This is a distinct design from that in A2 of NV. Later 15th-c. d 0.25m approx. 211 East Retford, Nottinghamshire, Parish Church of St Swithun OS SK 706 813 Printed sources Mee Nottinghamshire, p. 242. Nelson, p. 160. Pevsner Nottinghamshire, p. 296 Sprakes, pp. xxxvii and 100. Truman (1954), p. 163. Illustrations Figs. 82-85. East Retford church consists of a nave with aisles, transepts and an aisleless chancel. Although following the medieval plan and incorporating material from the thirteenth and fifteenth centuries, most of the present fabric dates from rebuilding work in 1658, 1854-5 and 1905. 1 The extant medieval glass consists of a miscellaneous collection of figurative and architectural fragments, dating from the fourteenth and fifteenth centuries, set in windows sVI and nIX, the west windows of the transepts. In both windows, the fragments are leaded up with post-medieval continental glass, with the glass in nIX set amidst what Truman terms ‘plumber’s glazing’, i.e. brightly coloured nineteenthcentury glass, leaded-up in a geometric pattern. No medieval glass is mentioned by the antiquarians and according to Truman none of the glass is native to the building, but constitutes ‘plumber’s waste’ removed from three locations, St Martin’s in Canterbury, a monastery in Normandy and St Mary’s, Tickhill, in South Yorkshire. The glass apparently was placed in its present location in 1862 by E. Wilmhurst, the then churchwarden.2 1 Pevsner Nottinghamshire, p. 295. 2 Truman (1954), p. 163. 212 As Sprakes noted some of the fragments in window sVI do, in fact, have stylistic affinities with remaining glass in windows at Tickhill.1 Indeed comparison of the heads of three bishops, the figure of an angel and other figurative and architectural fragments in light b or sVI, with glass in sVI and sVII at Tickhill, is sufficient to confirm the provenance of these elements.2 No glass remains at St Martin’s, Canterbury, to link any glass to there. The crowned ‘h’ quarry (type 45) in 1b of sVI probably originates in the glazing of Westminster Abbey. A number of identical quarries charged with the Kings initials, remain in the collection of the Victoria and Albert Museum that originally formed part of the lost glazing of King Henry VII’s chapel in Westminster Abbey, which was glazed under the direction of Barnard Flower by 1511.3 A small fragment in 3b of sVI shows a nude figure holding a cross set against yellow stain rays, which was identified by Truman, with much imagination, as the nude St Lawrence set on his gridiron, holding a cross.4 It has been identified, correctly by Sprakes, as forming part of an image of the Annunciation. The fragment is part of the ray descending on the Virgin Mary, of the sort that usually contains the Holy Spirit represented as a dove. Sprakes compares this image to similar examples in the mid-fifteenth-century Hours of Henry, Beauchamp, Earl of Warwick and to a panel in glass in the east window of St Peter Mancroft, Norwich.5 This imagery was not uncommon and is thought to derive from the Meditations of the Life of Christ by the Pseudo-Bonaventura. The image was suppressed in the late fifteenth century as heretical, for it suggested that Christ’s humanity came directly from the Father and not from the Virgin Mary.6 Although there is no evidence to establish this either way, Sprakes rather implies that this fragment came from Tickhill.1 1 Sprakes, pp. xxxvii and 100. 2 For details see Sprakes, pp. 98-110. 3 For further details of the chapel glazing see: R. C. Marks, ‘The Glazing of Henry VII’s Chapel, Westminster Abbey’, in B. Thompson (ed.), The Reign of Henry VII Proceedings of the 1993 Harlaxton Symposium (Stamford, 1995), pp. 157-174, particularly, p. 161 and figs. 29 and 30. 4 Truman (1954), p. 163. 5 Sprakes, pp. xxxvii-xxxviii. 6 For further examples see P. and L. Murray, Oxford Companion to Christian Art and Architecture (Oxford, 1998), p. 24. 213 The blackletter text ‘rex/ adelsta/’in 1b of sVI, presumably formed part of a label identifying an image of the Anglo-Saxon king, Athelstan who reigned from 925 to 939. This lost image of Athelstan may (with the heads of the prelates in 3b) have formed part of the adornment of the south chapel windows at Tickhill, which was, according to one nineteenth century source, decorated with ‘various small figures of saints, kings and bishops’.1 Catalogue nIX. 1a. Fragments. Part of a tracery-light filling, stylised vine leaves reserved on matt, set within a border of yellow stain following the shape of the light. Heavy paint loss, cut-down. 15th-c. Stylised lozenge-filled border rectangle. Paint loss. 15th-c. Minor fragments of tracery light fillings, with some pigment and yellow stain. 15th-c. Opaque glass. All the fragments are leaded up within 19th-c. coloured glass. h 0.70m, w 0.45m approx. 1b. 13th and 14th-c. fragments. 1c. Fragments. At the centre of the panel, three cut-down border crowns in black line and yellow stain on white. 15th-c. Border rectangle as 1a. 15th-c. All fragments have paint loss. Opaque glass. All the fragments are leaded up within 19th-c. coloured glass. h 0.70m, w 0.45m approx. sVI. a. 1 14th-c. fragments. Sprakes, pp. xxxvii. 214 1b. Fragments (fig. 82). Architectural fragments, including plinths and parts of side-shaftings, two fragments incorporating yellow stain lions. Black line, cross-hatching and stipple on white, with yellow stain. Roundel charged with a quatrefoil, formed from a central rose with radiating leaves, in black line on white with yellow stain. Fragments of blackletter text at the base of the panel: /n/ rex / adelsta /. Quarry, type 45. All fragments leaded together with plain ruby glass. All fragments 15th or 16th-c. h 0.23m, w 0.46m. 2b. Fragments. At the centre of the panel is a post-medieval continental roundel of the Crucifixion, around it are arranged medieval English fragments, mostly small, including: parts of architectural plinths, side-shaftings, blue and white stippled drapery and blue seaweed rinceau. 15th or 16th-c. h 0.32m, w 0.46m. 3b. Fragments (fig. 83). The heads of three sainted prelates, nimbed, wearing apparelled amices and mitres, one, an archbishop, with his cross-staff superimposed onto the same piece of glass. Black line and stippling on white, with yellow stain on the mitres, apparels, hair and nimbuses. Two of the heads have significant paint loss. 15th-c. A small fragment from an Annunciation, the diminutive figure of Christ, carrying the cross over his shoulder, descending in a ray of glory. Black line on white, the ray and cross in yellow stain. 15th or 16th-c. Minor architectural fragments, including: part of a side-shafting and part of an internal canopy vault. Black line and stipple on white, with yellow stain. 15th or 16th-c. Small yellow stained fragments, blue rinceau and blue stippled drapery fill the rest of the panel. h 0.31m, w 0.46m. 4b. Fragments (figs. 84 and 85). At the centre of the panel, an angel, nimbed, dressed in a girded apparelled alb and apparelled amice, kneeling threequarters left. Black line and stippling on white, with yellow stain on the hair and apparels. Around the figure, a range of smaller figurative fragments, 1 Sprakes, p. 99. 215 including: a couple of nimbed male heads, one with yellow hair and a yellow apparelled amice, the other with yellow hair and a cusped nimbus. Two separate fragments, with hands superimposed against the yellow stain rays of a glory or mandorla. Two feet set against the plinth of a side-shafting. Fragments of angels, including: part of a feathered leg and parts of feathered wings. Part of a kneeling desk (?), a box draped with a yellow stain, stippled cloth, diapered with contiguous circles in black line. Architectural fragments including: parts of side-shaftings, canopy tops and pinnacles, all in black line on white, with cross-hatching, stippling and yellow stain. All fragments th 15 -c. h 0.31m, w 0.46m. 5b. Fragments (fig. 84). All architectural, mostly elements from vaulted, pinnacled, canopy tops, but including elements from side-shaftings. All in black line, stippling and hatching on white, with yellow stain. 15th-c. The very top of the light incorporates what might be fragments of a rod and acanthus border. Black line and yellow stain on white, with significant paint loss. 15th-c. h 0.31m, w 0.46m. c. 14th-c. fragments. 216 East Stoke, Nottinghamshire, Parish Church of St Oswald OS SK 747 500 Manuscript source London, British Library, Harley MS 6593, f. 64v. Printed source Thoroton and Throsby, vol. 1, pp. 348-349. East Stoke church, situated next to the site of the last battle of the Wars of the Roses, consists of a squat thirteenth-century western tower, a nave and south aisle rebuilt in the classical style in 1738 and a large late fourteenth-century chancel with straightheaded south windows.1 There is some extant glass here in the tops of the lights and tracery of sIII, but although Truman dated some of it to the fifteenth-century, it is without exception of the fourteenth century.2 In 1614 Richard and Henry St George tricked the following shields of arms 'in the windowes', without specifying distinct locations.3 Thoroton provides a blazon of their account: 4 1. Argent, a chevron gules, between three whales heads sable fess wise (Whaley). 2. Quarterly, a fess indented argent argent and gules (Bromley). 3. Gules, a lion rampant or (D’Alberio). 4. Paly of six, argent and azure, on a bend or three Jewes harpes ‘or such like’ sable. ‘This is in many windowes there’. 5. Argent, three fusels in fess gules (Mountacute). 6. Quarterly, Argent and gules, fretted or over it argent a bend gules. 7. Markham and Leake quarterly. 1 Pevsner Nottinghamshire, pp. 116-117. 2 Truman (1955), p. 212. 3 London, British Library, Harley MS 6593, f. 64v. 4 Thoroton and Throsby, vol. 1, pp. 348-349. 217 8. Argent, charged with a device consisting of a vertical bar transversed by two horizontal bars at the nombril and honour points gules, impaled with Gules, a cross moline argent (Beck). 9. Argent, a cross moline sable (Banester). 10. Argent, a chevron azure, a labell of three points gules. 11. Argent, three bird bolts sable. 12. Argent, three waterbougets sable. 13. Azure, on a bend argent, three cross crosslets argent. 14. Azure, on a fesse sable, a lion passant argent. 15. Quarterly, gules and ermine, on the first and last quarters a goats head erased argent, horned or (Morton). 16. Azure, five fusells in fess gules, in theise three martlets sable (Bosowile). 17. As 16, with a labell of three points azure. 18. Gules, three waterbougets argent (Rosse). 19. Ermine, a cross engrailed, gules (Norwood). Some of these shields were almost certainly of the fourteenth century, contemporary with the extant glass; some may have been later. The Bosowiles or Boswells commemorated by shield 16, held the manor of Nether-Hall in the parish of East Stoke, which passed sometime in the fifteenth century to their heirs, the Nevills. John Nevill, who was possessed of this manor in the late sixteenth century, married the daughter of Richard Whally, commemorated by shield 1.5 5 Thoroton and Throsby, vol. 1, p. 348. 218 Eckington, Derbyshire, Parish Church of St Peter and St Paul OS SK 432 798 Manuscript sources Bassano MS, pp. 259 and 261. London, British Library, Harley MS 6592, f. 111v. Printed sources Mee Derbyshire, p. 118. Nelson, p. 68. Illustrations Figs. 86-91. Eckington church consists of a western tower with spire, nave with aisles and chancel. The nave, with its late twelfth-century arcades, is the earliest part of the fabric, followed by the early thirteenth-century west tower. The north wall was rebuilt in the fourteenth century and the nave heightened with the addition of a clerestory in the fifteenth century. The south aisle was rebuilt in 1763 and again in 1802 and the chancel in 1907.1 Small fragments of fourteenth and fifteenth-century glass, including two shields, blackletter text and roundels remain, incorporated into early twentiethcentury glass in the east window of the chancel. In 1569 Flower and Glover saw the following glass in the church:2 1. Barry of eight gules and or, a canton ermine. 2. Argent, a chevron azure, a label of three points ermine. 3. Sable, a bend between six escallops or [Foljambe].3 1 Pevsner Derbyshire, pp. 203-204. 2 London, British Library, Harley MS 6592, f. 111v. 3 See Bakewell. 219 4. Azure, a bend between six escallops argent [Frechville].4 5. Sable, three escallops argent, impaling, Azure, a bend ermine. 6. Azure, three cinquefoils between nine cross-crosslets argent [Darcy].5 7. Argent, a maunch sable [Hastings].6 8. Argent, a fess gules between three bucks sable. 9. Castile and Leon, quarterly, impaling, France Modern and England quarterly, a label of three points. 10. France Modern and England quarterly, a label of five points. 11. Darcy, quartering, Barry of six azure and or [Meynell].7 12. Sable, two lions passant in pale or [Strangeways]8, quartering 11. ‘These two in a windowe’: ‘… fenestr … fecer … beth feltion’ 13. Argent, on a bend between two cotises gules, three roundles. 14. Sable, two lions passant in pale, paly of four argent and gules [Strangeways].9 ‘The picture of a priest in the same windowe, on his vestment wrought’: 15. Sable, two lions passant argent. In the early eighteenth century, the Bassano brothers saw 3 and 4 in the east window of the chancel and the following glass elsewhere in the church:10 ‘In a North Window Rogerus Darci Quondam’ ‘In the East end Window of the South Ile in Glass these Armes Quartered’: 4 See Staveley. 5 Papworth, p. 871. 6 Papworth, p. 977. 7 Medieval Ordinary, vol. 1, p. 83. 8 Cox, vol. 4, p. 464. 9 Medieval Ordinary, vol. 1, p. 260. 10 Bassano MS, pp. 259 and 261. 220 15. Paly of six gules and argent, two lions passant counterchanged of the field. 16. Azure, three roses between crosslets argent, quartering, Argent, barry of six and a chief or. Shields 4 and 10 and fragments of the Darcy inscription still remain in the east window. Roger Darcy was rector of the first mediety of Eckington, from 1385 until 1398, when he exchanged it with the rectory of Treeton in Yorkshire. Darcy was presented to the living by his kinsman Philip, sixth Baron Darcy (d.1418). 11 The inscription is presumably of late fourteenth-century date. Shields 12 and 14 referred to the Strangeways family of Harlsey and Whorlton, in the North Riding of Yorkshire, who inherited the patronage of the two medieties of the rectory, along with property in Eckington, from the Darcy family. Elizabeth Darcy (1417-1458), co-heiress of Philip, the sixth Baron, married Sir James Strangeways (1415-1480) of Harlsey, a member of and later Speaker of the House of Commons.12 James and Elizabeth were responsible for uniting the rectory in 1455.13 The ‘picture of the priest’ bearing a version of the Strangeways arms (15) is presumably, either Richard Strangeways, rector from 1483-1485 or George Strangeways rector from 1485.14 The latter may have been a son of Sir James and Elizabeth.15 11 Cox, vol. 4, 463. 12 J. W. Clay, Dugdale’s Visitation of Yorkshire with Additions (Exeter, 1907), vol. 2, p. 309. and J. C. Wedgwood, Biographies of the Members of the Commons House 1453-1509 (London, 1936), p. 820. 13 Cox, vol. 4, pp. 462-463. 14 Cox, vol. 4, p. 464. 15 They had seventeen children, one of whom, George is described as ‘clerk’ (J. W. Clay, Dugdale’s Visitation of Yorkshire, vol. 2, p. 309). 221 Catalogue I. 1a. Inscription (fig. 88), in blackletter within a yellow stain border: /Roger’ / darci: / qu/od/. Paint loss. Late 14th-c. w of light 0.35m approx. 2a. Roundel (fig. 87), filled with florid geometic tracery, reserved against matt, set within a narrow internal border. Yellow stain. Leaded break. 15th-c. d 0.15m approx. 3a. Crown, in black line, matt and yellow stain on white. Leaded breaks. 15th-c. w of light 0.35m approx. 4a. Two 14th-c. quarries. w of light 0.35m approx. 1b. Inscription (fig. 88), in blackletter, within a yellow stain border: /ris/ ec/ce/ /de/ ek/. Paint loss. Late 14th or early 15th-c. w of light 0.35m approx. 2b. Shield of Arms (fig. 90): Azure, a bend charged with a roundel between six escallops argent (Frechville). Leaded breaks and paint loss. Late 14th-c. (?) w of light 0.35m approx. 3b. As 3a. w of light 0.35m approx. 2c. Roundel (fig. 86), filled with florid geometic tracery reserved against matt, set within a narrow internal border. Yellow stain. Leaded break. 15th-c. d 0.15m approx. 3c. As 3a. 222 w of light 0.35m approx. 4c. Quarries. 14th-c. w of light 0.35m approx. 2d. 19th-century roundel. 3d. As 3a. w of light 0.35m approx. 4d. Two 14th-c. quarries w of light 0.35m approx. 2e. Shield of arms (fig. 89): Fretty azure, between the frets fleur-de-lys or, quartering, Or, within a bordure argent, two bars argent, over all a label azure charged with nine lozenges or. Late 14th-c. (?) w of light 0.35m approx. 3e. As 3a. w of light 0.35m approx. 2f. ‘XPC’ monogram roundel (fig. 91). Black line on white, with yellow-stain letters and internal border. Leaded breaks and some paint loss. 15th-c. d 0.14m approx. 3f. As 3a. w of light 0.35m approx. 4f. Two 14th-c. quarries w of light 0.35m approx. 223 Egginton, Derbyshire, Parish Church of St Wilfrid OS SK 267 278 Manuscript sources Newton ‘Schools of Glass Painting’, vol. 3, pp. 29-32. Rawlins, vol. 2, p. 33. Printed sources Coe, p. 98. Cox, vol. 4, p. 189. Mee Derbyshire, p. 123. Nelson, p. 68. Pevsner Derbyshire, p. 208. Thorold, p. 72. Illustrations Fig. 92. The church consists of western tower, nave with aisles and chancel. Most of the fabric, including the chancel, is of the late thirteenth or early fourteenth centuries. There was some rebuilding at the end of the fifteenth and beginning of the sixteenth century, when a nave clerestory was added and new fenestration admitted in the south aisle and west-end of the nave.1 All the medieval glass is in the east window of the chancel and the vast majority of it is contemporary with that structure. The late thirteenth or early fourteenth-century glass, which consists of a Crucifixion with attendant figures, is discussed in Peter Newton’s thesis, to which the reader is referred.2 Within this window are some fragments of fifteenth-century glass, including a fragmentary donor in 2c, with associated inscription and a fragmentary figure of a bishop in 2d. Both panels incorporate fragments of conventional fifteenth-century lozenge and 1 Pevsner Derbyshire, p. 208. 2 Newton ‘Schools of Glass Painting’, vol. 3, pp. 29-32. 224 crown borders. This glass appears to have been removed from the south windows of the chancel. When Rawlins was here, there were remains of painted glass in various windows in the chancel, but they were ‘so confusedly put together, that neither narrative or history’ could be traced.3 Cox saw two figures in the south-west window of the chancel. The first figure was that of a donor in a blue robe, which is presumably that in 2c, accompanied by the ‘miserere mei domini’ inscription extant in that panel. The second figure was that of a headless ‘bishop or abbot’ holding a chalice and is presumably represented by the remains in 2d. Both figures were set within a border of ‘crown-and-lozenge pattern’. Cox dated all this glass to the end of the fifteenth century.4 In 1984 York Glaziers’ Trust restored the glass and major intrusions were removed to a newly created panel, at the base of the window (1c). Opportunity was taken to fit protective back-glazing and new ferramenta.5 Catalogue I. 1c. Panel of fourteenth and fifteenth century fragments. At the centre is part of a plinth, probably from a tracery light, in black line and yellow stain on white with paint loss. Part of a buttressed side-shafting, in black line on white. The lower half of a stylised border crown. All fragments described are 15thc. h 0.42m, w 0.28m. 2c. Kneeling donor and fragments (fig. 92). Of the donor image, only the hands and belt remain, the hands holding yellow rosary beads and the belt decorated and with a yellow stain buckle. The blue gown is made-up and the head 3 Rawlins, vol. 2, p. 33. 4 Cox, vol. 4, p. 189. 5 Access to restoration documentation was afforded by the Revd. Stewart Rayner, the rector of Egginton. 225 suggested by an alien piece of glass. A blackletter scroll rises from the hands of the donor: /mi/sere/re/ mei /…ne/, against an architectural setting. Probably 15th-c. Ruby ground around the donor, with 14th-c. stopgaps to complete the panel. Border of stylised crowns and lozenges, alternating with ruby and blue glass. Leaded breaks and paint loss. 15th-c. h 0.60m, w 0.44m. 2d. Figurative and other fragments. Made-up figure, perhaps incorporating fragments of a figure of an ecclesiastic and including dislocated vestment drapery and a hand holding a chalice. Black line, stipple and yellow stain on white. 15th-c. Placed at sides and top of panel, are fragments of canopy work, black line on white. 15th-c. The border as 2c, with some leaded breaks and at the top of the light, a portion of drapery as a stopgap. 15th-c. h 0.64m, w 0.44m. 226 Egmanton, Nottinghamshire, Parish Church of Our Lady of Egmanton OS SK 735 689 Manuscript sources Newton ‘Schools of Glass Painting’, vol. 1, pp. 410-411. Printed sources Ayre, p. 101. Cox County Churches, p. 83. Mee Nottinghamshire, p. 100. Nelson, p. 161. Pevsner Nottinghamshire, p. 121. Truman (1946), p. 79. Illustrations Fig. 93. The church comprises a transitional Norman nave with north aisle, south transept and chancel of the fourteenth century, with choir windows and western tower of the fifteenth century. The church is the focus of a revived medieval cult of ‘Our Lady of Egmanton’ and has striking modern fittings by Sir Ninian Comper.1 Medieval glass remains in two windows in the church, sV and nIV. That in window sV is of the fourteenth century and is beyond the scope of this thesis.2 Window nIV, which is one of two identical fifteenth-century windows that light the choir of the church, contains late fifteenth-century glazing, which may be in situ. The remaining glass consists of a fragmentary roundel charged with the eagle symbol of St John the Evangelist, surrounded by a rod and acanthus border. As there remains a second border in the next light, we can probably assume this contained a 1 I. Clark, Egmanton Church: A Place of Pilgrimage (Egmanton, 1983) and Pevsner Nottinghamshire, pp. 120-121. 2 For details see: Truman (1946), p. 79 and Newton ‘Schools of Glass Painting’, vol. 1, pp. 410-411. 227 second Evangelist symbol and it is perhaps reasonable to conjecture that the two lights of the identical window on the south side of the chancel contained the remaining two. There is no evidence for the wider setting of the roundels within the context of their windows, though it could be conjectured that they were placed within quarry glazing, to maximise light in the choir stalls. Both Truman and Ayre compare the acanthus borders with those surrounding roundels from the Newarke houses in Leicester. Ayre also compares the borders with those at Carlton-in-Lindrick in Nottinghamshire (q.v.) and at Stanford-on-Avon, Northamptonshire.3 Truman also adds a comparison to lost glass formerly at the ruined church at Annesley, Nottinghamshire (q.v.).4 To this catalogue of comparisons, may be added those surrounding shields of arms in panel 2c of nXI at Ashbourne, Derbyshire (q.v.) and light a of sacristy sIII at Warsop, Nottinghamshire (q.v.). Ayre dates the glass to the late fifteenth century, Truman on the basis of the Leicester comparison, to the final quarter of the century.5 Catalogue nIV. 2a. Roundel (fig. 93) charged with the symbol of St John the Evangelist. A nimbed eagle set in profile, facing left, with wings displayed and holding a scroll in its claw. Blackline and stipple on white, with yellow stain on the body of the eagle, claw and ground. The left half of the roundel is lost and the remainder is heavily pitted. The roundel is contained within a circular border decorated with continuous stem and acanthus leaves, in blackline on white with yellow stain. Stopgaps, patching and paintloss. Late 15th-c. d 0.21m, with the border 0.26m. 3 Ayre, p. 101. 4 Truman (1946), p. 79. 5 Ayre, p. 101 and Truman (1946), p. 79. 228 2b. Roundel border as 2a. d 0.25m. 229 Elston, Nottinghamshire, Redundant Parochial chapel, dedication unknown OS SK 762 482 Printed sources Gill, p. 121. H. Thorold, Elston Chapel: Nottinghamshire (London, 1996) Truman (1944), p. 53. Elston chapel is a small structure consisting of a nave and chancel. The fabric of the nave is essentially of the twelfth century, though refenestrated in the late fourteenth or early fifteenth century. The chancel dates from the late sixteenth century and was constructed from older material.1 Only Gill refers specifically to the glass here, which he describes as consisting of ‘fragments in the upper panes’, of which window(s) he fails to stipulate.2 No glass now remains. There was certainly some glass remaining in Truman’s time, for he includes it in his list of sites with medieval glazing.3 Unfortunately he wasn't able to produce the catalogue entry for the site before his death, so the glass remains unrecorded. Consistent with Gill’s reference is Christopher Dalton’s photograph of the interior of the chapel in the 1950’s, taken for the National Monuments Record, which shows what appears to be fragments of old glass leaded randomly into the tracery lights of the east window of the chancel.4 The photograph, which is a general shot of the interior, is not sufficiently detailed to determine any distinguishing design features of the glass, that could help in dating it. If consistent with the fenestration of the chapel, a date in the late fourteenth or early fifteenth century is plausible. Unused from the 1870s, the church had fallen into decay by the mid-twentieth century and was the victim of repeated attacks of vandalism in the 1960s and 70s. When the church was vested in the Churches Conservation Trust in 1977, the chapel 1 Pevsner Nottinghamshire, p. 121 and H. Thorold, Elston Chapel: Nottinghamshire (London, 1996), passim. 2 Gill, p. 121. 3 Truman (1944), p. 53. 4 H. Thorold, Elston Chapel, photo published on the back cover. 230 had to be re-glazed throughout and it seems reasonable to assume that by this point, all remains of medieval glazing had already been lost. 231 Elvaston, Derbyshire, Parish church of St Bartholomew OS SK 406 329 Manuscript source London, British Library, Additional MS 6701, f. 27r and 28r. Although no glass now remains in Elvaston, Reynolds saw the following extant in 1773: ‘On the top of a window that looketh into it [the south east chapel] from the east’ the arms: 1. Quarterly, Vairy argent and gules (Gresley) and Sable ‘I think’ a lion rampant argent. ‘In the most easterly of the two Chancel windows, looking towards the south is painted upon one of the lozenge panes of glass, a capital T … about 3 inches long.’1 The eastern bay of the thirteenth-century south aisle has a fifteenth-century east window and is enclosed by a contemporary parclose screen, to form a chapel or quire. The chapel was probably the ‘chancel of the Assumption of Our Lady’, referred to in the will of Walter Blount, lord Mountjoy (d. 1474), which he asked to have ‘finished competently’ at his cost.2 Blount held a manor in Elvaston and his first wife had been buried here.3 Shield 1, in the east window of the chapel was presumably part of Mountjoy’s scheme, the arms of Gresley referring to his mother, Margaret, the daughter of Thomas Gresley of Drakelow.4 1 London, British Library, Additional MS 6701, ff. 27r and 28r. 2 D. G. Edwards (ed.), Derbyshire Wills Proved in the Prerogative Court of Canterbury 1393-1574, Derbyshire Record Society, 26 (Derby, 1998), p. 9. 3 Cox, vol. 4, pp. 199-200. 4 Her husband and Lord Mountjoy’s father was Sir Thomas Blount. Payling, p. 214. 232 Etwall, Derbyshire, Parish Church of St Helen OS SK 269 319 Manuscript sources London, British Library MS Egerton 3510, f. 109v. Printed sources Cox, vol. 3, p. 165. Nelson, p. 68. In 1614 William Burton tricked the following arms in glass in the church:1 In the east window of the chancel: 1. Azure, a fess engrailed or, between three martlets or, each grasping a cross-crosslet fitchy in its beak (Port), impaling, Argent, a Griffin segreant gules [Trafford],2 quartering, Argent, on a bend azure, three bezants or. 2. Port. 3. Port, impaling, Argent, a chief vaire or and gules, over all a bend engrailed sable [Fitzherbert].3 In a north window of the nave: 4. Port. In the east and north windows of the nave: 5. Fitzherbert. 1 London, British Library MS Egerton 3510, f. 109v. 2 Papworth, p. 980. 3 See Norbury. 233 6. Fitzherbert, impaling, Argent, ten torteauxes, and a file of three Labels Azure [Babington].4 In the west window of the tower: 7. Sable, a chevron or between three roses argent. 8. Sable, six annulets or 3.2.1, impaling, Argent, a bend engrailed sable, in sinister chief an escallop Shields 1 to 6 all refer to landowners in Etwall in the late fifteenth and early sixteenth centuries The arms of Fitzherbert refer to John Fitzherbert, a younger son of Nicholas Fitzherbert of Norbury (q.v.), who held the manor of Etwall during much of the second half of the fifteenth century. He was married to Margaret, daughter of Robert Babington.5 Their daughter Joan married John Port (d. 1541) a London lawyer and later justice of the Common Bench and the son of a Chester merchant. Port purchased the manor of Etwall from his father-in-law in the early sixteenth century.6 Port was married secondly to Margaret, daughter of Sir Edward Trafford.7 A monument to Port, with effigies of himself and his two wives, occupies the space between the chancel and north ‘Port’ chapel.8 In addition to the heraldic glass, Cox saw the following in the upper tracery of one of the south windows of the nave: 1. 'An emblematic of the Holy Trinity in yellow and white glass.' 2. 'A small figure of St Helen, with the Cross'. 4 Papworth, p. 1055. 5 Cox, vol. 3, p. 163. 6 Wright, p. 27. 7 Cox, vol. 3, p. 167. 8 Cox, vol. 3, p. 167. 234 3. 'Several quarries of old glass … the most remarkable of which represents a jewelled ring, with the word semper on a scroll passing through it.'9 Nelson, probably copying Cox, recorded the same.10 The south window of the nave can be compared to the east window of the south aisle at Mugginton (q.v.), where the extant glass can be dated to 1480. No medieval glass now remains. 9 Cox, vol. 3, p. 165. 10 Nelson, p. 68. 235 Eyam, Derbyshire, Parish Church of St Lawrence OS SK 217 764 Printed source T. Bateman and S. Glover, Vestiges of the Antiquities of Derbyshire and the Sepulchral Usages of its Inhabitants (London, 1848), vol. 1, p. 208. There is no medieval glass extant at Eyam. Bateman noted 'some vestiges of painted glass in one of the windows.'1 As the church exhibits window tracery from the thirteenth through to the fifteenth century, the glass really could have been of any date.2 1 T. Bateman and S. Glover, Vestiges of the Antiquities of Derbyshire and the Sepulchral Usages of its Inhabitants (London, 1848), vol. 1, p. 208. 2 Pevsner Derbyshire, pp. 212-213. 236 Fenny Bentley, Derbyshire, Parish Church of St Edmund OS SK 174 501 Manuscript source Rawlins, vol. 1, p. 46. Printed source Butler, p. 94. Rawlins saw fragments in the chancel windows ‘presenting no connected history’ but ‘brilliant in colouring’.1 Butler also saw ‘many’ fragments of painted glass.2 The church was thoroughly restored in three campaigns in 1847-50, 1861 and 1877 and any trace of this glass, which is impossible to date, had gone by Cox’s time.3 1 Rawlins, vol. 1, p. 46. 2 Butler, p. 94. 3 Pevsner Derbyshire, p. 215 and Cox, vol. 2, p. 467. 237 Finningley, Nottinghamshire, Parish Church of The Holy Trinity OS SK 670 992 Printed sources Sprakes, p. 40. Illustrations Figs. 94-95. Until 1974, when it was transferred to the newly created county of South Yorkshire, Finningley was the most northerly parish in Nottinghamshire. As a consequence of its relocation the surviving medieval glass was included in Brian Sprakes recent CVMA summary catalogue.1 Finningley church consists of a western tower, nave with north aisle and aisleless chancel. The nave arcade and western tower are Norman, the north aisle thirteenth-century and the chancel late thirteenth or fourteenth-century.2 The fenestration of the east and north walls of the north aisle is late fifteenth-century.3 Although set in a north chancel window, the remaining medieval glass, consisting of a small ex situ figure of St John the Baptist, is contemporary with the fifteenthcentury north-aisle fenestration (fig. 95). Catalogue nII A1. St John the Baptist (fig. 94), standing three-quarters right, with a yellowstain nimbus, wearing a white mantle with yellow stain border over a yellow camel skin robe, the head of the camel pendant between his legs. He holds the 1 Sprakes, p. 40 2 Pevsner Nottinghamshire, p. 127, Cox County Churches, p. 91. 3 This fenestration is not noticed by either of the commentators cited in note 2. 238 Agnus Dei in his right and gestures to it with the extended finger of his left hand. Blackline and stippling on white. The figure has significant paint loss and is dirty. The remainder of the quatrefoil light is filled with discoloured white glass. The centre of the figure has gone and is filled with a plain white stopgap. 15th-c. h 0.25m, w 0.18m. 239 Flawford, Nottinghamshire, Demolished church of St Peter OS SK 588 330 Printed source Thoroton and Throsby, vol. 1, p. 130 and plate facing. Illustrations Fig. 158. Throsby saw a panel of glass in a cottage window at Ruddington, which was apparently removed from Flawford (the old parish church of Ruddington) when it was demolished in June 1773. He includes a rather rough engraving of the panel (fig. 158), which is a Trinity, with God the Father sitting on a throne supporting the Crucified Christ and with the Holy Spirit, in the form of a dove, hovering at the crossbeam.1 To either side of the throne is a border of trailing foliage. Very little can be gleaned from the engraving to establish a date for the panel. The church building was mostly thirteenth and fourteenth-century. Three late fourteenth-century alabaster statues of the Virgin Mary, St Peter and an unidentified bishop were discovered in the ruins of the church and are now in Nottingham Castle Museum. 2 1 Throsby and Thoroton, vol. 1, p. 130 and plate facing. 2 The Church of St Peter of Flawford, Ruddington and District Local History Society, 3 (1973) and S. Merrell, Images Untouched: The Survival of Three Alabaster Statues at Saint Peter's Church, Flawford, (MA, Centre for Medieval Studies, University of York, 2001). 240 Greasley, Nottinghamshire, Parish Church of St Mary OS SK 489 471 Manuscript source London, British Library, Harley MS 2113, f. 174r. Sometime in the early seventeenth century the herald Randle Holmes III saw the following:1 'Robert Brimesley et Elizabeth his wyfe in a glasse wyndowe, he be[a]rs': Or and sable per pale, a chevron between three escallops counterchanged of the field [Brinsley]2 impaled with, Argent, a chevron gules between three crescents or, gules with a … on the chevron [Pole of Wakebridge].3 The Brimesley or Brinsley family held the manor of Brinsley within the parish of Greasley. The Robert Brimesley commemorated in the glass was married to Elizabeth, the daughter of Ralph Pole of Wakebridge in the parish of Crich, Derbyshire, sometime in the early sixteenth century.4 The glass was presumably of around that time. All that remains of the medieval church of Greasley is the fifteenth-century west tower, the rest of the church was rebuilt in 1882 and 1896.5 No medieval glass remains, although the church does possess two roundels of seventeenth-century continental glass, which were formerly in Beauvale Priory farm (q.v.) within the parish.6 1 London, British Library, Harley MS 2113, f. 174r. 2 Medieval Ordinary, vol. 2, p. 335. 3 Cox, vol. 4, p. 56. 4 Thoroton and Throsby, vol. 2, p. 260. 5 Pevsner Nottinghamshire, p. 135. 6 Truman (1944), pp. 59-60. 241 Haddon Hall, Derbyshire OS SK 235 663 Manuscript sources London, Society of Antiquaries, Red Book, Derbyshire, pp. 20-21. Oxford, Bodleian Library, MS Gough Maps, vol. 4, f. 64r. Newton ‘Schools of Glass Painting’, vol. 2, pp. 33-64. Printed Sources C. B. and F. Andrews (eds.), The Torrington Diaries. A selection from the tours of the Hon. John Byng between 1781 and 1794 (London, 1954), p. 180. Ayre, p. 19. Coe, p. 98. Cox, vol. 2, pp. 92-93. Haddon Hall. Bakewell, Derbyshire (Derby, 1996), pp. 13. C. Kerry, ‘The Painted Windows in the Chapel of St Nicholas, Haddon Hall, Derbyshire’, DAJ, 22 (1906), p. 30-39. Mee, p. 140. Nelson, pp. 68-69. Pevsner Derbyshire, pp. 226-227 S. Rayner, The History and Antiquities of Haddon Hall. Illustrated by thirty-two ... Drawings with an Account of the Hall in its Present State (Derby, 1836), p. 42. Illustrations Figs. 96-111. Haddon Hall was the home of the Vernon family, the premier gentry family in Derbyshire during the period covered by this thesis and is currently the home of the Lord Edward Manners, the younger son of the 10th Duke of Rutland and a descendant of the Vernons. The Hall is a large structure, built piece-meal around two courtyards during the medieval and early modern periods (fig. 108). The chapel, where the medieval glass remains, is dedicated to St Nicholas and forms the western part of the southern range of the lower courtyard (fig. 109). It consists of a nave with 242 aisles and an aisle-less chancel (fig. 110). The outer walls of the nave date from the thirteenth century, the arcades from the fourteenth century and the chancel and nave clerestory from the early fifteenth century.1 In the Middle Ages, as well as serving as a domestic chapel, it was also the parish church of Nether Haddon, a settlement that lay to the north of the Hall.2 The medieval glass in the chapel is located in windows I, nII, sII and wI. The glass in the five-light east window (I) is fragmentary. The centre light contains an image of the Crucified Christ, surrounded by hovering angels, collecting blood from his wounds and flanked in the lights on either side by figures of the Virgin Mary and St John the Baptist; the latter is not in its original location. In light e is the base of a figure of a prelate in pontificals, perhaps the remains of an image of St Nicholas, the patron of the chapel. The figures are set on a ground of quarries and the upper parts of lights b and d incorporate Evangelist roundels.3 The tracery lights contain heraldic and foliage fillings (some in situ) and figures of St Helen, St Sitha, the Virgin and Child, an Annunciation and parts of a Coronation of the Virgin composition. At the base of the window is a patronal inscription dating the glass and probably also the fabric of the chancel to 1427 and naming the patrons as Richard and Benedicta Vernon. Directly above the inscription is a fragmentary kneeling donor image, presumably of Richard, and in line with that are angels holding Vernon shields. The Sir Richard Vernon in question was born in 1391, inherited Haddon from his father Richard Vernon in 1401 and died in 1451. He served as speaker of the Parliament held at Leicester in 1427 and was treasurer of Calais and Captain of Rouen.4 His wife, Benedicta, was the daughter of Sir John Ludlow of Hodnet and Stokesay in Shropshire.5 The glass in windows nII and sII is by the same workshop that produced the east window (I) and was presumably glazed at the same time as the latter. Window nII contains large in situ standing figures of St Michael, St George flanking and 1 Pevsner, p. 221-229 and Cox, vol. 2, pp. 88-89. 2 Cox, vol. 2, p. 88. 3 These were included in Ayres’ recent catalogue of figurative roundels for the CVMA (Ayre, p. 19). 4 W. A. Carrington, ‘On the family and record history of Haddon’, Journal of the British Archaeological Association, New Series, 6 (1900), p. 149. 5 Wright, p. 33. 243 image of St Anne teaching the Virgin to read. All the figures are set on a quarry grounds above heraldic and quarry fragments. In the tracery lights are six fragmentary in situ figures of the apostles, each holding an attribute. Window sII has lost its main figurative glazing, but the tracery continues the theme from window nII, with five of the six remaining apostles occupying the lights. Peter Newton, who included a catalogue and detailed analysis of the glazing in his PhD thesis, linked all the glass, on stylistic grounds, to a workshop based at Coventry, which had links to York and was responsible for many commissions in the Midlands, including the narrative panels at Newark-on-Trent, Nottinghamshire (q.v.).6 Some of the surviving images in glass are further extrapolated in the chapel’s extensive contemporary wallpaintings. There are a number of panels, among the wallpaintings of the chancel, which show the Holy Kindred (fig 111), incorporating images of St Anne. St Anne is again shown teaching the Virgin to read on the south wall of the chancel, opposite the image of this theme in nII, accompanied this time by Joachim. She and Joachim are also shown presenting the Virgin in the temple and a separate panel shows the Virgin Mary holding the Christ Child, accompanied by St Joseph and perhaps the child St John the Baptist.7 There is some evidence that St Anne was a saint of some importance to the Vernon family, which presumably explains her dominance in the iconographical scheme. When Henry Vernon, the grandson of Sir Richard, established a perpetual chantry in the chapel in his will of January 1515, the priest was ‘to serve God, Saint Nycholas and Saint Anne and to pray for my soul, my grandfather’s soul, my wife’s soul and for all the souls that come of my grandfather’.8 The patron saint of the chapel, St Nicholas, who may be represented in glass by the fragmentary figure of a prelate in 2e of I, is the subject of a series of wallpaintings on the north wall of the chancel, around window nII. In one panel, he is shown calming a storm and in another, reviving the three dead children.9 6 Newton ‘Schools of Glass Painting’, vol. 1, pp. 98, 102-105. 7 Cox, vol. 3, p. 94. 8 D. G. Edwards (ed.), Derbyshire Wills Proved in the Prerogative Court of Canterbury 1393-1574, Derbyshire Record Society, 26 (Derby, 1998), p. 45. 9 Haddon Hall. Bakewell, Derbyshire (Derby, 1996), p. 13. 244 Windows nII and sII also contain heraldic fragments removed from elsewhere in the building and all refer to Sir Richard Vernon and his immediate family. Peter Newton identified them all and included in his thesis, an in-depth analysis of their significance, of which the following is a summary.10 The arms of Stacpole (2b of I) and Griffith (1c of nII) refer to Sir Richard Vernon’s mother, Joan (d. 1439), who was the daughter of Sir Rhys ap Griffith and Isabel, daughter and heiress of Sir Richard Stacpole.11 The arms of Pipe (2b of sII) refer to Richard’s son and heir, Sir William (d. 1467) and his second wife Margaret, who was the daughter of Sir William Swynfen of Pype Ridware, son of Margaret Pype.12 The arms of Trussell (1a of nII), which were originally accompanied by the name ‘William Trussell’ (see below), refer to William Trussell, whose daughter and heiress Margaret was the first wife of Sir Fulke Pembrugge. Sir Richard Vernon was the heir of Sir Fulke, who was his great uncle.13 Some of the remaining quarries are also heraldic and were again identified by Newton. Type 60 is charged with a boars head erased, a badge used by the Vernons. Type 58 is charged with a knot, a badge used by the Stafford family, Earls of Stafford. Type 59 is charged with a hound or Talbot and is probably the badge of the Talbot family. Newton, who identified all of these quarries, dates them all to after 1466, on the basis of the marriage of Sir Henry Vernon to Anne, daughter of John Talbot, Earl of Shrewsbury, which took place in 1466.14 In addition to these, in 5b and 5d of I are two quarries (type 43) identical to a quarry type remaining in window I at Norbury, Derbyshire (q.v.), in glass dating from the 1460s or 70s, charged with a Yorkist sunburst. Although the heraldic antiquarian sources of the sixteenth and seventeenth centuries do not record any glass in Haddon, a number of watercolour drawings of elements of the glass, dating from the 1791, by the Swiss topographical draughtsman Jacob Schnebbelie (q.v. Whittington), remain in the collection of the Society of Antiquaries of London and the collection of Richard Gough in the Bodleian Library. 10 Newton ‘Schools of Glass Painting’, vol. 2, pp. 33-64. 11 Newton ‘Schools of Glass Painting’, vol. 2, p. 48. 12 Newton ‘Schools of Glass Painting’, vol. 2, pp. 49-50. 13 Newton ‘Schools of Glass Painting’, vol. 2, p. 49. 14 Newton ‘Schools of Glass Painting’, vol. 2, pp. 51 and 52. 245 As well as showing the state of the glass in 1791, these incorporate details of glazing subsequently lost. 15 The following is a summary of the content of these drawings. 1. Page 20, piece A (Antiquaries) and f. 64r, piece B (Bodleian) shows window I. The window is more or less as it is today, though more complete. At the base of Christ’s cross were two additional angels, kneeling and collecting blood in chalices, which have subsequently disappeared. The figure of St John the Baptist was in light e and placed inside out. In light a, set upsidedown, was part of another figure subsequently lost. The remaining shields in panels 2b and 2c were reversed. 2. Page 21, piece A (Antiquaries) and f. 64r, piece A (Bodleian) shows window nII, more or less as it is today. There was no glass in panels 1a and 1c. 3. Page 21, piece B (Antiquaries) and f. 64r, piece D (Bodleian) both show window sVII, a lancet at the west end of the south nave aisle, containing the shield: Or, a lion rampant queve furche sable. The shield no longer remains. 4. Page 21, piece C (Antiquaries) shows a square-headed two light north nave window, presumably one of the clerestory windows. The left-hand light contains the figure of a sainted archbishop, mitred, wearing a blue cope over a white apparelled alb, holding a cross staff and book and set against a ground of plain quarries. The right hand light is filled with plain quarries. 5. Page 21, piece D1 (Antiquaries) shows a number of shields of arms: 1. Argent, fretty gules on each joint a bezant, with above in blackletter: /Will[el]mus Trussel/. The shield remains in 1a of nII, without the inscription, which is lost. 2. Argent, fretty sable, a quarter gules, the fret charged with an annulet at the centre, with above in blackletter /Will[el]mus Vern[on]/. 15 London, Society of Antiquaries, Red Book, Derbyshire, pp. 20-21 and Oxford, Bodleian Library, MS Gough Maps 4, 64r. 246 3. 6. Or, a lion rampant queve furche sable. See 3. Page 21, piece D2 (Antiquaries) shows a number of shields of arms: 1. The shield and inscription now in sII. 2. Quarterly, 1, On a fess dancetty argent, three martlets sable, 2, Azure three eagles displayed in fess or, 3 and 4, lost. Quarter 1 remains in panel 1c of nII. 3. 7. Argent, fretty sable, a canton. Page 21, E (Antiquaries), shows a number of quarries, including types 58, 59 and 60. The significance of most of the shields has been discussed in brief above. The shield in item 3, which is repeated as shield 3 of item 5, Or, a lion rampant queve furche sable, was identified by Peter Newton as the arms of the Welles family.16 Haddon Hall was unoccupied during much of the eighteenth and nineteenth centuries and significant damage was inflicted on the glass during this period. The loss of the heads in the east window was due to vandalism inflicted only a few years prior to Schnebellie’s visit, as related by John Byng in 1789: ‘The chapel, at one corner of the inner paved court, is very dirty and neglected; but the east window was highly to be admired for the very curious, and antique painting, till one of my brethren (antiquaries) (a sad dog!) lately cut out 5 of the saints faces.’17 More glass went in 1828, when, according to Rayner, a ‘mysterious midnight raid’ saw the loss of all the medieval glass in the west window (wI) of the chapel. A reward of one hundred guineas was issued at the time, but it seems that the glass was 16 Newton ‘Schools of Glass Painting’, vol. 2, p. 47. 17 C. B. and F. Andrews (eds.), The Torrington Diaries. A selection from the tours of the Hon. John Byng between 1781 and 1794, (London, 1954), p. 180. 247 never recovered. It is believed that the glass was removed to the continent. 18 Only fragments now remain in the window (see catalogue). Cox tells us that all the windows were repaired and releaded in 1858. Although no new glass was added to the windows at this time, quarries were removed from other windows to fill gaps in the ground of window I.19 On the author’s last visit to the site in February 2004, the glass in window sII had been removed as part of a general restoration of the fabric of the chapel. The glass is currently being conserved by Chapel Studio of Kings Langley, Hertfordshire. Catalogue I. 1a. Blackletter inscription (fig. 100): /Orate/ pro : a[n]i[ma]bus/ /. c.1427 w of light 0.38m. 1b. Blackletter inscription (fig. 100): /Ricardi: / Vernon /. Leaded breaks. c.1427. Below the inscription are quarries, types 14. 15th-c. w of light 0.38m. 1c. Blackletter inscription (fig. 100): /et : / Benedicte / : uxor[i]s : / Leaded breaks. c.1427. Below the inscription are quarries, types 14 and 57 (amended without ‘R’ on the base). 15th-c. w of light 0.38m. 1d. Blackletter inscription (fig. 99): /eius : / que : / : fecerunt / an[n]o /. Leaded breaks. c.1427. Below the inscription are quarries, type 14. 15th-c. w of light 0.38m. 18 S. Rayner, The History and Antiquities of Haddon Hall. Illustrated by thirty-two ... Drawings with an Account of the Hall in its Present State (Derby, 1836), p. 42. 19 Cox, vol. 2, p. 92. 248 1e. Blackletter inscrtiption (fig. 99): /d[omi]ni : / milles[i]mo /ccccmo / xxmo viimo / istam/. Some use of yellow stain. Leaded breaks. c.1427. w of light 0.38m. 2a. Donor image of Sir Richard Vernon (d. 1451) (fig. 100). Sir Richard is kneeling facing three-quarters right, on a tessellated floor at a desk with an open book. He is dressed in full plate armour with the hilt and the bottom of the scabbard of his sword visible at his waist and beside his feet. He is wearing a heraldic surcoat bearing the arms Argent fretty sable (Vernon). His head, arms and most of the sword scabbard have gone and elements of the rest of the figure are slightly dislocated. The figure is executed entirely in black line and stipple on white, with touches of yellow stain; the field of the surcoat is decorated with a diaper of contiguous circles, reserved on matt and the kneeling desk is powdered with yellow stain foliage. A number of quarries, type 14, have been intruded into the panel. c.1427. h 0.45 m, w 0.38m approx. 2b. Angels bearing a shield of arms (fig. 100). Two incomplete angels, seated on a tessellated floor, hold the shield of arms: Argent, a lion rampant gules collared or (Stacpole). A third angel, dressed in an alb and yellow stole, with outstretched peacock feather wings, stands over the shield, bearing between both hands, an illegible blackletter inscription scroll. Clouds billow between his wings. All in black line, stipple and white and yellow stain, with the exception of the lion rampant of the shield. A delicate rosette diaper reserved on matt decorates the ground of the shield. Remnants of a quarry ground, type 14. Numerous losses: only the right hand of the left seated angel remains and the head and most of the body of his left-hand companion and the head of the frontal angel have also gone. All replaced with white stopgaps. c.1427. h 0.45 m, w 0.38m approx. 2c. Angels bearing a shield of arms (fig. 100). In terms of its composition, colour and technique, the panel is identical to panel 2b. It is, however, better preserved. The angels bear the arms: Argent, fretty sable, a quarter 249 (Vernon). The frontal angel is dressed identically to that in 2b, it wears a diadem. The blackletter scroll reads: /Ricardus / Vernon mile[s]/. The only missing portions of the panel are the heads of the seated supporting angels. Remnants of a quarry ground, type 14. c.1427. h 0.45 m, w 0.38m approx. 2d. Angels bearing a shield of arms (fig. 99). In terms of its composition, colour and technique, this panel was identical to panels 2b and 2c. It is badly preserved. The shield and scroll have gone. Half the body and head of the frontal angel and most of the seated flanking angels have been replaced with modern glass and where old glass remains, the pigment is almost entirely effaced. There are remnants of a quarry ground, type 14. c.1427. h 0.45 m, w 0.38m approx. 2e. Fragmentary figure of a bishop (fig. 99), all that remains is the lowest part of a figure, from mid-thigh level down. Originally facing three-quarters left and set on a grassy knoll. He is wearing a white and yellow-stain chasuble with jewelled orphrey, over a blue dalmatic, with touches of yellow stain on the fringing and a white alb with yellow hem apparel. A single jewelled episcopal buskin appears under the alb. Remains of a yellow-stain pastoral staff to his right. Black line and stipple on white, with yellow stain as indicated. Remnants of a quarry ground, type 14. Stopgaps, paint loss and leaded breaks. c.1427. h 0.22 m, w 0.38m approx. 3b. The Blessed Virgin Mary (fig. 98), standing three-quarters right, on a tessellated floor, holding a clasped book in her right hand and a raising her mantle to her face with the left. She wears a white mantle with a decorative yellow trim, and a fur collar and lining, over a blue gown. Her nimbus has an internal border of fleurons and is stained yellow solid. Black line and stipple on white, with yellow stain as indicated. The panel has sustained some losses, including the head and feet and part of the mantle. Stopgaps and leaded breaks have created a muddle at the base of the gown and mantle. Quarry ground, type 14. c.1427. 250 h 0.68m, w 0.38m approx. 3c. Christ Crucified (fig. 97), suspended from a tau cross, with his head bowed towards the left, he has a cross nimbus and wears a ruby loin-cloth. A scroll with the blackletter inscription / I : N : R : I / is attached to the cross above his head. Around him and emerging from clouds, are demi-figures of angels, nimbed, in albs, with peacock wings. Three are holding chalices to collect blood from his hands and side and a third is to the right, sorrowing. Black line, stipple on white, with yellow stain on the cross, Christ’s hair, crown of thorns, angels hair and wings. The panel has sustained a number of losses, including areas of Christ’s legs, his right hand and much of the sorrowing angel. Modern white stopgaps, leaded breaks, paint loss. Ground of quarries, type 14. c.1427. h 0.85m, w 0.38m approx. 3d. St John the Baptist (fig. 96), standing three-quarters left on a grassy mound. He is wearing a yellow camel skin, under a white and yellow-stain paenula or mantle. His nimbus has an internal border of fleurons, decorated with yellow stain. The Agnus Dei, which sits on a yellow book in his left hand, has a yellow cross nimbus and holds a yellow staff and cross pennant in one of its front hooves. St John gestures to the Agnus Dei with his right hand. Black line and stipple on white, with yellow stain as indicated above. There are a number of losses to this panel, including: the head of the saint, parts of his mantle and the grassy mound. Modern white stopgaps, leaded breaks and some paint loss. Ground of quarries, type 14. c.1427. h 0.68m, w 0.38m approx. 4/5b. Roundel with the Evangelist symbol of St Matthew and quarries. An angel wearing an alb and winged, seated on grass, facing three-quarters right. He is holding a scroll in his left hand, to which he gestures with his right. Contained within a border decorated with black line beads, cross-hatched ground. Black line, stipple and cross-hatching on white, with yellow stain on the border and hair of the angel. The roundel is incomplete, the left-hand part has been replaced with modern white stopgaps and there are leaded 251 breaks across the remainder. Set on a ground of quarries, types 14 and 43. c.1427. h 0.50 m, w 0.38m approx. 4c. Quarries, types 14 and 43. c.1427. h 0.30m, w of light 0.38m approx. 4/5d. Roundel with the Evangelist symbol of St Mark and quarries. A lion in profile, winged and nimbed, standing on grass. There is a blackletter scroll beneath his feet: /S[an]c[tu]s Marcus/. Other decorative details are as 4b. Yellow stain on the lion and border. Leaded break across the centre of the roundel. Set on a ground of quarries, types 14 and 43. c.1427. h 0.50m, w 0.38m approx. A1. Tracery-light filling in situ, two sprays of seaweed foliage radiating from a central boss, reserved on matt and set within a plain line border. White with touches of yellow stain. c.1427. h 0.20m, w. 0.8m approx. A2. St Helen (fig. 101), with a cusped nimbus stands three-quarters right, dressed in a mantle over a diapered gown. She holds the yellow cross in her right hand and a book in her mantle-enveloped left hand. Black line and stipple on white, with yellow stain on her hair, on the diaper of her gown, mantle and nimbus and as indicated above. Quarry ground, type 14. c.1427. h 0.35m, w 0.12m approx. A3. The Archangel Gabriel (fig. 101), part of an Annunciation in companion with the figure of the Virgin in light A4. The angel is kneeling, winged, with cusped nimbus, wearing a white apparelled alb and apparelled amice and holding the following blackletter text scroll: /Ave : gracia/ plena : d[omi]n[u]s/. Black line and stipple on white, with yellow stain on the hair, nimbus, hem of the alb and wings. Part of the head and parts of the alb are 252 missing and have been patched with modern white glass. Quarry ground, type 14. c.1427. h 0.48m, w 0.12m approx. A4. The Virgin Annunciate (fig. 101), standing three-quarters left, on yellow grass, holding an open book in her right hand and with her left slightly raised. She is dressed in a white mantle, with jewelled morse, over a diapered gown. The lily pot, with flowering lily, the flower reversed, stands in front of her. The Holy Ghost is descending on her, the dove forming part of her cusped nimbus. Black line and stipple on white, with yellow-stain hair, nimbus, on the diaper of her gown, stem and flower of the lily and grass. Quarry ground, type 14. c.1427. h 0.48m, w 0.12m approx. A5. Tracery-light filling, in situ. In the top lobe of the trefoil, the shield of arms: England and France Modern quartered. Above the shield are small fragments of coloured glass as stopgaps, mostly opaque. The bottom two lobes are each filled with a spray of seaweed, reserved on a hatched ground, within a yellow stain border. Black line, stippling and hatching on white, except the shield which uses pot-metal glass. c.1427. h 0.25m, w 0.23m approx. A6. The Virgin and Child, the Virgin stands three-quarters left, crowned and nimbed, and wearing a mantle over a diapered gown. She holds the Christ child on her right arm and a sceptre in her left. The Christ child is naked, has a cross-nimbus and is holding a sceptre or staff in his left hand. Black line and stipple on white, with yellow stain on the nimbuses of both figures and the crown, hair and gown of the Virgin. Some losses including: most of the Virgin's lower body and parts of the ground, replaced with modern white stopgaps. Ground of quarries, type 14. c.1427. h 0.48m, w 0.12m approx. A7. St Sitha, standing three-quarters left, wearing a mantle over a powdered gown and with a rayed nimbus. She holds a book in her left hand, which is 253 enveloped in her mantle and has a bunch of keys suspended from her waist. Black line and stipple on white, with yellow stain on the rays of the nimbus, gown and mantle. Some losses to her body and general confusion in this area due to leaded breaks and dislocation of the glass. Ground of quarries, type 14. c.1427. h 0.48m, w 0.12m approx. A8. Fragmentary female saint, the torso and head missing. She is dressed in a mantle over a diapered gown. Black line and stipple on white, with yellow stain on the gown and mantle. Leaded breaks across the body. Set on a ground of quarries, type 14. c.1427. h 0.35m, w 0.12m approx. A9. Fragmentary tracery light filling as A1, the rest of the light filled with quarries, type 14. c.1427. h 0.20m, w. 0.12m approx. B1. Tracery light filling, seaweed foliage reserved on cross hatching, radiating from a yellow stain rose and set within a yellow stain border. Black line and hatching on white. Leaded break. c.1427. h 0.15, w 0.08m approx. B2. Tracery-light filling as B1. h 0.15, w 0.08m approx. C1. The Virgin Mary from a Coronation of the Virgin. Only her torso remains, her head and lower body have been replaced with modern white stopgaps. She is seated, wearing a mantle over a diapered gown, with her hands in the attitude of prayer. Black line and stipple on white, with yellow stain on the mantle and gown. Leaded breaks. Quarry ground, type 14. c.1427. h 0.22m, w 0.12m approx. 254 nII. 1a. Shield of Arms: Argent, fretty gules, on each joint a bezant (Trussell). The field of the shield is decorated with a diaper of black line circles. Some modern stopgaps to the field. Modern ground. First half of the 15th-c. h 0.52m, w 0.38m. 1b. Shield of Arms: Argent, fretty sable, a quarter gules (Vernon). Above the shield the blackletter inscription: /Ricard[us] Vernon /. The shield is badly damaged and is plated. There are very faint traces of decoration to the field similar to 1a. The fret is in black line. The quarter is a modern replacement. The ground is mostly modern, but incorporates quarries, types 58, 59 and 60. First half of the 15th c. h 0.52m, w 0.38m. 1c. Shield of Arms, only the first quarter survives: On fess dancetty argent, three martlets sable (Griffith). The rest of the shield is made up from fragments of coloured and white glass without decoration. Modern ground. First half of the 15th c. h 0. 52m, w 0.38m. 2-3a. St Michael the Archangel (fig. 107), standing three-quarters right, standing on a blue and yellow-stain dragon, which in turn, is set on a raised tessellated plinth. He has long curly yellow hair, is feathered and has peacock-feather wings. He wears a diadem, a white mantle trimmed with ermine and a ruby loin-cloth. He holds a shield in his right hand, decorated with a yellow foliate cross and spike and spears the dragon with the sword in his left hand. Behind the sword the scales are suggested by two yellow chains, the pans have disappeared. Black line and stipple on white, with yellow stain as indicated. Losses to the bottom left of the panel and to the body of the dragon. Leaded breaks, dirty. Ground of quarries, type 14. c1427. h 1.05m, w 0.38m. 255 2-3b. St Anne teaching the Virgin to read (fig. 106). St Anne stands threequarters right on a raised tessellated plinth, with her arms over the shoulders of the smaller figure of the child Virgin Mary who also stands three-quarters right. St Anne has a cusped nimbus, is dressed in a white and yellow mantle over a green gown, with a blue, ermine-lined hood or hat, placed over a clasped coverchief and wimple. The Virgin Mary, also with a cusped nimbus, wears a white, ermine and jewelled cote-hardi, over a blue and ruby gown. Her hair is encircled with a bejewelled and pearled chaplet. The Virgin holds an open book, with writing suggested, in both hands. St Anne has her hand ready to turn the page. Black line and stipple on white, with yellow stain as indicated and on the hair of the Virgin, both nimbuses and the gown of St Anne. Leaded breaks, dirty. Quarry ground, type 14. c.1427. h 1.05m, w 0.38m. 2-3c. St George (fig. 105), nimbed, standing three-quarters right on a green dragon, which is in turn, set on a raised tessellated plinth. St George is wearing full plate armour, with camail and bascinet and a surcoat bearing the arms:Argent, a cross gules. He has a short mantle cast over his shoulders. His bascinet has the visor lifted to reveal his face and moustaches. He has a sword at his waist. He attacks the dragon with a yellow lance held in both hands. Black line, stipple and yellow stain as indicated. Some stopgaps, leaded breaks, dirty. Quarry ground, type 14. c.1427. h 1.05m, w 0.38m. 4a. Quarries, type 14. c.1427. h 0.19, w 0.38m. 4b. Quarries, type 14. c.1427. h 0.19, w 0.38m. 4c. Quarries, type 14. c.1427. h 0.19, w 0.38m. 256 A1. St Simon (fig. 102), nimbed, standing facing three-quarters right, with his head raised, dressed in a mantle over a robe. His left hand is enveloped in his mantle and he holds a book in it, he holds a halberd in his right hand. Black line and stipple on white, with yellow stain on the nimbus, drapery, halberd shaft, robe and book binding. The bottom of the figure has gone. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. A2. St Bartholomew (fig. 102), nimbed, standing facing three-quarters left, with his head raised, dressed in a mantle over a robe. He holds a small bladed knife in his left hand and has his flayed skin over his right arm. Black line and stipple on white, with yellow stain on the nimbus, drapery, knife handle and flayed skin. Leaded breaks. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. A3. St Jude (?) (fig. 103), nimbed, standing facing three-quarters right, with his head raised, dressed in a mantle over a robe. His left hand is enveloped in his mantle and his right hand rests on an oar (?). Black line and stipple on white, with yellow stain on the nimbus, drapery, and oar. Some stopgaps and paint loss, leaded breaks. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. A4. St Matthias (fig. 103), nimbed, standing facing three-quarters left, with his head raised, dressed in a mantle over a robe. His left hand is enveloped in a mantle and in it he holds a closed book, he holds a falchion in his right hand. Black line and stipple on white, with yellow stain on the nimbus, drapery, book binding and the pommel and hilt of the falchion. Some stopgaps. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. A5. St James the Less (fig. 104), nimbed, standing facing three-quarters right, with his head raised, dressed in a mantle over a robe. His left hand is enveloped in a mantle and in it he holds a closed book, in his right hand he 257 holds a fuller’s club. Black line and stipple on white, with yellow stain on the nimbus, drapery, fuller’s club and book binding. Fracture across the face. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. A6. St Matthew (fig. 104), nimbed, standing facing three-quarters right, with his head raised, dressed in a mantle over a robe. His right hand is held against his breast and he holds a money box (?) in his left hand, suspended from a chain. Black line and stipple on white, with yellow stain on the nimbus, hair and beard, drapery, money box and chain. Leaded breaks. Ground of modern white glass. c.1427. h 0.40m, w 0.15m approx. sII. a. Quarries, types 14. 15th-c. w of light 0.38m. 2b. Shield of Arms: Azure, semy of cross crosslets or, two pipes or (Pipe). The field of the shield is decorated with a diaper of contiguous black line rosettes. Paint loss and stopgaps. Above the shield the blackletter text: /Mergareta / Pype : ux[oris]: ei[us]/. Dirty. 15th-c. w of light 0.38m. A2. St Andrew, nimbed, standing facing three-quarters left, with his head raised, dressed in a mantle over a robe. He holds a small saltire cross in his left hand. Black line and stipple on white, with yellow stain on the nimbus, drapery and saltire. Stopgaps in the upper part of the body and leaded breaks. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. A3. St James Great, nimbed, standing facing three-quarters right, dressed in a white mantle over a yellow hair robe. A scrip charged with a white cockleshell hangs against his right side, he holds a closed book in his right 258 hand and staff in his left hand, the latter with a strip wound around it. Black line and stipple on white, with yellow stain on the nimbus, drapery, hair, robe and staff. Stopgaps in the upper part of the body and leaded breaks. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. A4. St John Evangelist, standing facing three-quarters left, with his head raised, dressed in a mantle over a robe. He holds the chalice and viper in his left hand and his right hand is raised in the attitude of benediction. Black line and stipple on white, with yellow stain on the drapery and cup. The head has gone, replaced by a modern white stopgap; leaded breaks. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. A5. St Philip or St Thomas, standing facing three-quarters right, with his head raised, dressed in a mantle over a robe. His left hand is enveloped in his mantle and he holds a book in it, in his left hand he holds the shaft of a cross staff or spear (?). Black line and stipple on white, with yellow stain on the drapery and shaft of the cross or spear. The head has gone, replaced by a modern white stopgap; leaded breaks. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. A6 St Philip or St Thomas, standing facing three-quarters left, with his head raised, dressed in a mantle over a robe. He holds the shaft of a cross staff or spear in his right hand Black line and stipple on white, with yellow stain on the drapery and shaft. Most of the upper part of the body, including the head, has gone, replaced by modern white stopgaps; leaded breaks. Fragmentary quarry ground, type 14. c.1427. h 0.40m, w 0.15m approx. wI. a. Quarries, type 59, all placed at the top of the light. 15th-c. 259 w of light 0.38m. b. Quarries, type 59, all placed at the top of the light. 15th-c. w of light 0.38m. c. Quarries, type 59, all placed at the top of the light. 15th-c. w of light 0.38m. 260 Hathersage, Derbyshire, Parish Church of St Michael OS SK 233 818 Manuscript source Ashmole, p. 65. Printed sources Cox, vol. 2, p. 230. Nelson, p. 69. Cox saw in the upper tracery of one of the north aisle windows some ‘remains’ of old glass ‘chiefly of yellow colour.’ Among the fragments were ‘an ape seated, an owl, a griffin, and an eagle’s head and wings.’ Apparently the fragments came from Dale Abbey and were given to the vicar of Hathersage, by a Miss Wright of Brookfield.1 Nelson, probably copying Cox, also noticed the glass.2 It is not possible to date this glass, though the animals are perhaps suggestive of fourteenth-century marginalia. There is no medieval glass now remaining in the church and it is probable that the fragments were removed when the present glass in the north aisle was installed in 1893.3 In 1662 Ashmole saw the following shields of arms in ‘the Belfrey window’:4 1. Argent, a lion rampant gules between nine crowns azure, impaling, Argent, on a chevron sable, three quatrefoils or [Eyre].5 2. Eyre. 1 Cox, vol. 2, p. 230. 2 Nelson, p. 69. 3 M. F. H. Hulbert and P. Miles, The Parish Church of St Michael and All Angels, Hathersage, A Brief History and Description (Hathersage, 1995), p. 5. 4 Ashmole, p. 65. 5 Medieval Ordinary, vol. 2, p. 437. 261 3. Eyre with a label of three points gules, impaling, Quarterly argent and sable, overall a bend gules charged with three boars heads or. 4. Eyre, impaling, Argent, a chevron gules. The glass, like the west tower in which it was placed, was fifteenth-century.6 The Eyre family acquired the manor of Upper Padley in the parish of Hathersage in the first half of the fifteenth century on the marriage of Robert Eyre (d. 1459) of Thornhill in the parish of Hope (q.v.), to Joan (d. 1463) the heiress of Robert Padley.7 6 Pevsner Derbyshire, p. 240. 7 Cox, vol. 2, pp. 231-232. 262 Heath, Derbyshire, Demolished former parish church of All Saints OS SK 451 672 Manuscript sources Bassano MS, p. 173. Rawlins MS, vol. 1, pp. 210-21. The old church at Heath was demolished in 1852 when a new building was erected on a new site. Only fragments of the structure now remain.1 In the early eighteenth century the Bassano brothers saw the following shield of arms in glass in the old building:2 ‘In a south window of the church’: 1. Four fusils gules, a crescent. These were repeated on a beam in the north aisle and in the chancel. They also saw: ‘in a west window the monogram MB [conjoined] for Beata Maria’. In addition to these, Rawlins saw the following arms in the east window of the north aisle:3 2. Argent, a pale fusilly sable, a crescent for difference (Savage). Shields 1 and 2 were presumably the same. Cox, like Rawlins, came to the conclusion that the arms were those of Savage, who held the manor of Stainsby in the parish of Ault Hucknall (q.v).4 The arms as differenced here with a crescent, 1 Cox, vol. 1, p. 254. 2 Bassano MS, p. 173. 3 Rawlins MS, vol. 1, pp. 210-211. 4 Cox, vol. 1, p. 256. 263 were probably used by a cadet branch of the family seated at North Wingfield, which is three miles from Heath. The arms appear on the surcoat of the donor image of Ralph Savage, son of Arnold Savage of North Wingfield, which still remains in Papplewick church, Nottinghamshire (q.v.). 264 Hickling, Nottinghamshire, Parish Church of St Luke OS SK 691 292 Printed sources Mee Nottinghamshire, p. 130. Nelson, p. 161. Pevsner Nottinghamshire, p. 143. Truman (1946), p. 135. Illustrations Figs. 112-116. Hickling church consists of a western tower, nave with aisles, south porch and chancel. The fabric is mainly late fourteenth-century, with the western tower and nave clerestory dating from the fifteenth century. The chancel was rebuilt in 1845.1 The remaining fragments of medieval glass, some beyond the chronological scope of this thesis, are placed in the east window of the chancel, where they are incorporated into the borders and tracery lights of early nineteenth-century glazing. According to Truman, the nineteenth-century glass, which consists of brightly coloured sheets leaded into geometric patterns, was presented to the church in 1819 by William Mandell the Vice-President of Queen’s College, Cambridge, who were the patrons of the living. Apparently the gift was part of a bid by Mandell for the Presidency of the College.2 As no antiquarian sources record any glass in the church, the original context of the medieval glass or indeed if it originated in the church at all, cannot be established. Catalogue I. 1 Pevsner Nottinghamshire, p. 143. 2 Truman (1946), p. 135. 265 1a. Fragments (fig. 115), 14th and 15th-c. Two canopy fragments, one including part of a foliate capital in yellow, the second incorporating two pinnacles with cross-hatched openings. Both in blackline on white with yellow stain. 15th-c. h 0.22m, w 0.55m. 2a. Fragments (figs. 112-113), 14th and 15th-c. In the left border the following fragments of 15th-century date: Part of a vaulted canopy top, an ogee head flanked by crocketed pinnacles, in yellow stain and hatching. Fragments of foliate capitals as in 1a. The feet of a figure from a side-shafting - only the lower part of the skirt, feet and part of the plinth remain, in blackline on white with yellow stain. Two sections of plinth in blackline and yellow stain on white, one with the blackletter inscription /salom…/. In the right border: part of a vaulted canopy with an ogee head flanked by crocketed pinnacles, against which is superimposed a blackletter scroll with the text /S’…/ 15th-c. Part of a crocketed ogee head from a vaulted canopy. Both fragments are in blackline and hatching on white with yellow stain. 15th-c. h 0.38m, w 0.55m. 3b. St Michael (fig. 114), upper body only, standing three-quarters left, wielding a sword in his right hand. He is dressed in a yellow alb, decorated with foliage, under an apparelled amice and cope. The cope is powdered with yellow rosettes and is clasped at the chest with a large jewelled morse, the apparel is decorated with yellow stain. Blackline on white, with stippling and yellow stain on the hair, hilt and pommel of the sword and where indicated above. Set against an architectural background, which is indistinct due to paint loss. 15th-c. h 0.10m, w 0.08m. 4a. Fragments, 14th and 15th-c. Small fragment decorated with roundels in blackline on yellow stain. A plain quarry. Fragment of blackletter inscription indecipherable due to paint loss. All fragments described are 15th-c. Coloured fragments, which could be of any date. h 0.28m, w 0.55m. 266 5a. Small fragments of plinths or canopies in blackline and yellow stain, one with hatched shading. 15th-c. Coloured fragments, which could be of any date. h 0.38m, w 0.55m. A2. Two heads and a roundel (fig. 116). Cut-down head of a woman wearing a veil, in blackline on white with stippling. 15th-c. Cut-down head of a male child with cusped nimbus, in blackline and stipple on white, with yellow stain on the hair and border of the nimbus. Paint loss. 15th-c. Crowned ‘IHC’ monogram roundel, in blackline on white with yellow stain. Reversed, with leaded breaks. 15th-c. h. 0.48m, w. 0.25m approx. 267 Hodsock Priory, Nottinghamshire OS SK 611 854 Manuscript source Ashmole, p. 146 Hodsock Priory was not a monastic house but a medieval moated manor, belonging to the Clifton family of Clifton (q.v.), who inherited it in 1436 from the Cressy family. The medieval building, which dated mostly from the 1250s with early sixteenth-century additions, was, with the exception of the gatehouse, demolished in the nineteenth century to make way for the present house.1 Although no glass now remains, Ashmole saw the following arms in glass in 1662:2 ‘In the chapell’: ‘East window’: 1. England. 2. Quarterly, Sable, a lion rampant in an orle of cinquefoils [Clifton] and, Argent, a lion rampant queve furche sable [Cressy], impaling, Argent, a chevron or between three eagles displayed gules [Fraunceys].3 ‘South window’: 1. Clifton. 2. Per pale or and vert, a lion rampant gules. 1 Pevsner Nottinghamshire, pp. 144-145 and J. Bramley, ‘Hodsock Priory’, Thoroton Society, 42 (1938), pp. 25-27. 2 Ashmole, p. 146. 3 Thoroton and Throsby, vol. 1, p. 111. 268 ‘In the windowes of Sir Gervais Cliftons Bedchamb[er]’: 1. Clifton, quartering, Azure, a lion rampant or [Braytoft].4 2. Cressy, impaling, Argent, a saltire engrailed gules. 3. Blank, impaling, Cressy. 4. Fraunceys. ‘In the old Parlour window, very auncient’: 1. Clifton, impaling, Cressy. The shield of arms in the chapel bearing Clifton quartering Cressy impaling Fraunceys, was the achievement of Sir Gervase Clifton (died 1453), who was married to Isabel, daughter of Sir Robert Fraunceys of Foremark, Derbyshire.5 The Clifton/Cressy quartering in this shield (and elsewhere in the building) relates to the marriage of the parents of Sir Gervase, John Clifton (died 1403) and Katherine, daughter of Sir John Cressy, which brought the manor of Hodsock into his possession in 1436.6 4 Thoroton and Throsby, vol. 1, p. 111. 5 Payling, p. 232 and Thoroton and Throsby, vol.1, p. 104. 6 Payling, p. 30. 269 Holme-by-Newark, Nottinghamshire, Parish Church of St Giles OS SK 803 590 Manuscript sources A. B. Barton, ‘St Giles, Holme-by-Newark, Nottinghamshire: An Analysis and Contextualisation of a Late Fifteenth Century Parochial Chapel’, (MA dissertation, Centre for Medieval Studies, University of York, 1999), pp. 36-57 and figs. 48-66 and 72. London, British Library, Additional MS 37180, f. 3. Nottingham, Nottinghamshire Archives, M 13923, f. 10v. Ashmole, p.144. York, King's Manor Library, Newton notes, file marked 'Nottinghamshire'. Printed sources T. M. Blagg, ‘Second Excursion: the district around Collingham’, Thoroton Society, 9 (1905), pp. 32-39. Cox County Churches, p. 115. W. R. Dickinson, A History of the Antiquities of the Town of Southwell in the County of Nottingham (London, 1819), p. 173 and facing 172. Gill, p. 121. Mee Nottinghamshire, p. 132. Nelson, p. 160. Pevsner Nottinghamshire, p. 146. E. Trollope, 'The Church of St Mary Magdalene, Newark, and other Churches visited by the Society', AASRP, 11 (1872), p. 22. N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, Thoroton Society, 39 (1935), pp. 92-118. N. Truman, The Care of Churches – A Manual of Self-Help for all who are Interested in our Churches (London, 1935), pp. 61 and 67 and plates facing pp. 22, 60 and 64. E. G. Wake, The History of Collingham and Its Neighbourhood, including the Northern Half of the Hundred of Newark (Newark, 1867), p. 88. E. Woolley, St. Giles Church Holme, Nottinghamshire (London, 1912), plate XVII. 270 Illustrations Figs. 117-146. Holme-by-Newark church, formerly a chapel-of-ease to the prebendal church of North Muskham (q.v.), consists of a western tower with a short broach spire, nave with south aisle, south porch and a chancel with south chapel (fig. 141). With the exception of the western tower and spire of the fourteenth century and the north wall of the nave, which may be thirteenth century, most of the existing structure dates from a rebuilding in the 1480s and 90s. The rebuilding was instigated by the principal inhabitant of Holme at that time, a wool merchant and former mayor of the Staple of Calais, John Barton. During his lifetime Barton rebuilt the chancel and added to it a south chapel dedicated to the Virgin Mary, which incorporated his tomb. The tomb and chapel are described as ‘new’ in his will of December 1490.1 Barton’s ‘new tomb’, with effigies of himself and his wife, with a cadaver below, still occupies the position of honour between the chapel and high altar (figs. 140, 144-146). The western parts of the church were incomplete at the time of Barton’s death in 1491 and were finished, perhaps according to his instructions, by his eldest son and executor Ralph and the supervisor of his will, John Stanhope of Rampton (q.v. Tuxford). Reflecting the part they played in the work, their arms flank those of John Barton and the Staple of Calais over the principal south entrance to the church.2 The extant glass at Holme consists of miscellaneous figurative and architectural fragments, placed in the principal and tracery lights of window I and in the principal and tracery lights of window sII (fig. 142). All the glass that originates in the building is of the fifteenth century and is, with the exception of a number of the tracery fillings in I and a single filling in sII, ex situ. In the 1930s, this glass was augmented (see below) with thirteenth, fourteenth and fifteenth-century glass from elsewhere. The outer principal lights of I contain glass removed from the ruined 1 York, BIHR, Archbishop’s Register 23, f. 345v. 2 For further details of John Barton’s reconstruction of Holme church see: A. B. Barton, ‘St Giles, Holme-by-Newark, Nottinghamshire: An Analysis and Contextualisation of a Late Fifteenth Century Parochial Chapel’, (MA dissertation, University of York, 1999). 271 church at Annesley and Attenborough church3 (q.v.), both in Nottinghamshire, from Cawston in Norfolk and Salisbury Cathedral in Wiltshire. At the same time window sII received glass which apparently originated in Beauvais in France. As the remainder of this introduction deals with the glass native to Holme, the reader is directed to the 1935 article by Nevil Truman ‘Medieval Stained Glass in Holme-byNewark’ for details of the Salisbury and Beauvais glass, all of which is outside the chronological scope of this thesis.4 For the context of the Annesley and Attenborough glass, see the catalogue entries for those sites. Although the remaining glass is badly fragmented, details of the former iconography of the glazing and its possible original location within the church can be gleaned from what remains. There were clearly a series of standing figures of ecclesiastical saints. Among the fragments in I are the cut-down head of a bishop or abbot (4c), fragments of two distinct pallia (3c and 4d), the stole of a deacon (4d), three types of vestment orphrey (3/4 b-d) and the skirts of two apparelled albs (3 and 4d). Beyond the certainty that among the figures were two archbishops or popes, a bishop/abbot and perhaps a sainted deacon, little more can be said. There was almost certainly a series of standing figures of the apostles holding their attributes. In window I, the hand of St John the Evangelist with the viperous chalice (4c) and the purse and cockle-shell of St James the Great remain (6c), along with a hand holding the hilt of a sword (5b), which may be the remains of the falchion associated with St Matthias. There are also fragments of blackletter labels identifying former figures of Saints Peter (2d), John the Evangelist (2d) and Matthias (2b). Sweeting suggested that that the apostles may have been accompanied by clauses from the Creed, divided among them (q.v. Norbury).5 Indeed, among the surviving blackletter fragments, are parts of the clauses 'et vitam eternam' (and life eternal) and 'ascendit ad caelos, sedet ad dexteram dei patris omnipotens' (ascended into heaven, and sits on the right hand of God the Father almighty). In terms of the placement of a series of twelve figures, the logical position for them would be the 3 Apparently given to Holme by the Nottingham glazier H. Hincks. N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, Thoroton Society, 39 (1935), p. 100. 4 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, pp. 99-100 and 102- 105. 5 London, British Library, Additional MS 37180, f. 3r. 272 twelve lights of the windows of John Barton’s ‘new’ south chapel (sII, sIII and sIV). Weight is added to this presumed location by the presence of figures of Prophets, anti-types of the Apostles, in the tracery lights of these windows. Prior to 1933 Isaiah, Zephaniah, Amos and Jeremiah were still in situ in window sIII and parts of these remain, relocated to window sII (see below). Part of the diaper of the robe of St. John the Evangelist (4c), against which the chalice and viper are set, matches that of the prophet in A4 of nII, firming up the link and placement of the apostle images. Sufficient architectural fragments are extant in both window I and sII to surmise that at least some of these large standing figures were raised on plinths, with tessellated floors, under canopied tabernacles. It is not possible, however, to determine which of the figures were so placed. The only antiquarian to record the glass in any detail prior to its fragmentation was Elias Ashmole, who visited the church in 1662. His account sets the patronal context for the glass. In the east window of the south aisle (presumably John Barton’s ‘new chapel’) he saw the following glass:6 ‘the picture of a man kneeling in a Scarlet robe and his wife, behind him 4 sons, and behind her 3: Daughters from their mouths these Scrowles: Sic pater implora salvemur mortis ut hora.’ ‘And above them this Inscripcon’ Orate pro … Barton Mercatoris … Stapulae villa Calisiae, ac Majoris eiusdem C’ …’ The inscription implies that the kneeling donor images represented John Barton and his family. Fragments of these images still remain, scattered among various panels in window I. Three female heads in panel 1c may represent the three daughters, while the blackletter fragments ‘Bartonus’ ‘mercatoris’ and ‘ville’ are presumably from the inscription above the figures. Fragments of small-scale ruby drapery in 1b may be part of Barton’s scarlet robe. Part of one of the ‘scrowles’ remains in 4c and 6 Ashmole, p. 144. 273 it seems that Ashmole got his transcript slightly wrong, inserting 'salvemur' for 'pro nobis.' So complete, the scrolls, which rhymed, read: 'Sic pater implora pro nobis mortis in hora', which can be translated as: 'So Father, we plead to you for ourselves at the hour of our death'. In addition to this, Ashmole tricked the following arms from glass ‘in the north windows of the chancel’ (fig. 143): 7 1. Argent, an orle sable. 2. Azure, on fess or between three buck’s heads caboshed of the same, a mullet sable (Barton), impaling, Or, on a fess gules three waterbougets ermine (Bingham). 3. Barton. 4. Barry nebulee of six, on a chief a lion passant guardant (Staple of Calais). A drawing of John Barton’s tomb, published in William Dickinson’s History of Southwell in 1819 (fig. 140), shows the eastern north window containing shields of arms, incorporated into quarry glazing in the upper parts of each of the lights.8 One of the shields has the arms of the Staple of Calais and the remaining three were different versions of the Barton arms, including the Barton/Bingham achievement. Three versions of the Barton arms, presumably from this location, are extant in glass and are now in panels 2b, 2c and 2d of I. Ashmole noted that ‘most’ of the quarries in the windows of the church were charged with a merchant’s mark and a barrel. Many examples of these remain in window I. The mark is almost certainly that of John Barton and is incorporated into the heraldic display over the south door, where it is flanked by his initials. The beer barrel or tun, which usually has a bar across one end, is a rebus on his family name. Some extant quarries are charged with Barton’s initials. 7 Ashmole, p. 144. 8 W. R. Dickinson, A History of the Antiquities of the Town of Southwell in the County of Nottingham (London, 1819), plate facing 172. 274 In addition to the Barton glass, Ashmole saw the following glass in the ‘east window of the chancel’:9 The blackletter inscription: ‘Orate pro … Thome Leeke et Margarete uxor : eius.’ And the arms: Argent, on a saltire engrailed gules nine annulets or, within a bordure sable charged with six cross crosslets or (Leeke), impaling, Barry of six argent and azure (Grey). The impaled arms refer to the marriage of John Leeke to Alice (d. 1459), the coheiress of John Grey of Sutton Scarsdale, Derbyshire (q.v.), a marriage which brought a small estate at Holme-by-Newark and the adjoining parish of Langford into the Leeke family.10 The Thomas commemorated in the glass was probably Thomas Leeke of Hasland, the second son of William Leeke, and a grandson of John and Alice.11 The glass was presumably contemporary with that given by Barton. The evidence gleaned from the iconography of the surviving glass and antiquarian sources can be summarised thus: 1. The windows of the south chapel (figs. 141-142) may have incorporated the Apostles Creed, with the large standing figures of the Apostles in the main lights, matched by their anti-types, the Prophets, in the tracery. The whole scheme was probably given by John Barton as part of the building work he financed; his donor image and those of his wife and family, with an associated inscription, were placed at the bottom of the east window. The large figures may have been set against a ground of quarries, charged with Barton’s personal devices. 9 Ashmole, p. 144. 10 Thoroton and Throsby, vol. 1, p. 144. 11 London, British Library,Harley MS 5809, f. 30r. 275 2. The north windows of the chancel (fig. 143) incorporated shields of arms referring to John Barton and his family, set against a ground of quarries, charged with personal devices referring to him. 3. The east window (fig. 142, right), given by Thomas and Margaret Leeke, perhaps incorporated standing figures of sainted ecclesiastics set under canopies. By the early twentieth century, the fragmentary remains of this glazing were incorporated into panels placed in windows I, nII and nIII, where they were leaded randomly together, with many pieces reversed or set inside out (fig. 139). A group of quarries, now in window I, were formerly in sV.12 There were heavy deposits on the exterior surface of the glass and stopgaps had been made with putty, bricks, cement and eighteenth and nineteenth-century brightly coloured sheet glass.13 The arrangement and condition of the glass is recorded in photographs published by Ernest Woolley in 1912 and Nevil Truman in 1935.14 The condition of the glass was aggravated by the temperance zeal of the Revd. Barry, a late nineteenth-century vicar, who instructed glaziers to remove and throw away any quarries charged with John Barton’s 'beer barrel,' whenever minor repairs were effected. 15 In 1933 and 1934, Nevil Truman oversaw the restoration and rearrangement of the glass, as part of a major restoration to the fabric of the church. 16 Truman, who was directly responsible for overseeing the rearrangement, (leaving the cleaning and releading to Dennis King of Norwich), laid out in some detail the aims and results of the work in his article ‘Medieval Glass in Holme-by-Newark Church’.17 12 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, p. 101. 13 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, p. 93. 14 E. Woolley, St. Giles Church Holme, Nottinghamshire (London, 1912), plate XVII and N. Truman ‘Medieval Glass in Holme-by-Newark Church, Notts.’, facing page 97. 15 Based on a comment related to Nevil Truman during the 1933 restoration work. Nottingham, Nottingham Archives Office, M 13923, f. 10v. 16 Truman went on to conserve glass at Addlethorpe (1937), Croxton (1946) and Ingoldmells (1949) all in Lincolnshire, in conjunction with the Nottingham glazier H. Hincks, who gave the Attenborough glass to Holme-by-Newark. See Hebgin-Barnes, pp. 1, 77 and 140. 17 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, p. 98 and passim. 276 Truman’s declared aim at the beginning of the work was to reconstruct, from the fragments, what he conceived was ‘John Barton’s memorial window.’ He assumed, wrongly (but quite understandably, as he had not seen Ashmole’s manuscript before the work),18 that the east window of the chancel, rather than that of the chapel, was given by Barton, so the east window of the chancel became the final recipient of the re-arranged material. On the basis of the existing remains, he was convinced that the original arrangement was one of standing figures set under canopies, above donor images. Therefore, in order to give a sense of this arrangement, he placed fragments of donor images and inscriptions at the bottom, fragments of standing figures in the middle and fragments of canopies at the top of the centre three lights of the window.19 As no new coloured glass was added in the work and as the remains were so fragmentary, the arrangement only gives a feeling of such a composition – it isn’t a reconstruction. One interesting outcome of the restoration work on the Prophet figures was the discovery of two distinct glazier’s marks scratched into the matt, one repeated three times in the Isaiah figure and the second twice on the Amos panel.20 The glass has not been conserved since Truman’s work. The glass is generally in good condition, although some fragments with pre-existing corrosion have deteriorated further over the last seventy years (see 1a). Catalogue I (fig. 117). 1a. Fragments.21 Blackletter inscriptions: /Tr[i]nite/, /…s:/, /…a:/, also with much paint-loss: /:im…/. A piece of opaque glass, perhaps bearing part of a Trinity (?).22 Ruby glass in the border. All the fragments are 15th-c. 18 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, p. 94. 19 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, pp. 96-97. 20 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, p. 107. 21 An inscription (of 1933) at the base of the panel states that the fourteenth century glass in this light and light e were removed from Annesley church. The fifteenth century blackletter fragments that originated in Holme are shown in Wooley and Truman’s photographs. E. 277 h 0.39m , w 0.50m. 1b. Fragments (fig. 119). At the centre two cut-down female heads (probably from donor images), one with loose yellow stain hair and the second wearing a pedimental headress. Stippling. Leaded breaks and heavy corrosion. The heads are set together on fragments of dislocated blue, ruby and murrey drapery and two canopy elements, one with leaves reserved on matt with yellow stain. At the base of the panel blackletter inscriptions on scrolls, all set within yellow stain internal borders: /Ei[us] autem /, /plus gr[atia]e … /, [significant paint-loss from the end of ‘plus’]; also /pa… /, on a curved scroll. Border pieces - conventional lozenge filled rectangles, reserved against matt with yellow stain. Quarries, types 49, 50, 55 and 56. All the fragments are 15th-c. h 0.42m, w 0.50m. 1c. Fragments (figs. 119, 123 and 125). Three female heads from donor images, all painted on a single piece of glass. The left-hand head is wearing a pedimental headress decorated with needlepoint and with a yellow stain collar around her neck; the two heads behind her have loose hair enclosed with pendant jewels at the forehead. Stippling. A fragment of a further female head is behind the other three; all that remains is the neck with a yellow stain collar and part of a matt black butterfly headress. Stippling. All these heads are placed on fragments of yellow stain drapery (giving a sense of donor figures), four types: two with distinct yellow stain hems and two with different yellow stain diapers.23 At the base of the panel, a strip of blackletter scrolls with internal yellow stain borders: /pariet : autem/, /filium/, Woolley, St. Giles Church Holme, plate XVII and N. Truman ‘Medieval Glass in Holme-byNewark Church, Notts.’, facing page 97. 22 In 1957, among the Annesley glass, Peter Newton could see the feet of God the Father supporting the cross, from a late 15th century Trinity executed in blackline on white. York, King's Manor Library, Newton notes, file: 'Nottinghamshire’. 23 One section of the drapery came from Cawston in Norfolk and was given by King during the restoration work. N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, p. 100. 278 /perte : p[ec]c[a]t[u]m/, some paint loss. At the top of the panel, a fragment of blackletter on a curved scroll: /…ga…/. Also two pieces of a scroll decorated with ermine and foliage. Ruby fragments in the borders. Quarries, types 49 and 50. All the fragments are 15th-c. h 0.41m, w 0.50m. 1d. Fragments.24 Blackletter inscriptions: /Barton[us]/, /m[er]catoris :/, and /: ville/, the B and M of Barton and Mercatoris highlighted with yellow stain. Quarries, types 49, 50, 55 and 56. All the fragments are 15th-c. h 0.42m, w 0.50m. 2b. Shield of arms and fragments (fig. 119). Shield of arms in the centre of the panel: Azure, on a fess or a mullet sable, in chief two buck’s heads caboshed (Barton), impaling Or, on a fess gules three water bougets ermine (Bingham).25 Leaded breaks to the dexter field. Fragment of an 'MR' monogram roundel, executed in blackline and yellow stain. At the base of the panel are blackletter inscriptions, set within yellow stain internal borders: /S[an]c[tu]s/, /…G/. Also part of a scroll with a yellow stain internal border, but no text. At the top of the panel blackletter scrolls superimposed against an architectural ground, perhaps representing raised plinths: /S[an]c[tu]s : mathias/, / eternam :/, m : dei :/. Quarries, types 49 and 50. All the glass is 15th-c. h 0.40m, w 0.50m. 2c. Shield of arms and fragments (fig. 119). Shield of arms in the centre of the panel: Azure, on a fess or a mullet sable, in chief three buck’s heads 24 The panel also includes the following inscription placed here in 1933: 'Pray for the soul of John Barton of Holme/ merchant of the Staple of Calais builder/ of this church, who died in 1491, and for/ Isabella his wife/.' 25 During the Truman restoration, King renewed the dexter field below the fess with a piece of medieval blue seaweed rinceau, of unknown provenance and the sinister field with new glass. N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, p. 100. 279 caboshed (Barton).26 The chief and fess are decorated with trailing foliage stickwork reserved against a matt wash. Paint loss and leaded breaks to the chief. Blackletter inscription: /est ad …/. In the borders of the panel are two fragments of blue stippled drapery and a piece of blue seaweed rinceau. Quarries, types 49, 50 and 56. All the glass is 15th-c. h 0.40m, w 0.50m. 2d. Shield of arms and fragments (fig. 128). The shield of arms is in the centre of the panel: Quartered and sub-quartered, 1 and 4, Azure on a fess three buck’s heads caboshed or (Barton); 2 and 3, Argent, two bends engrailed sable (Radcliffe), quartering, Argent, a mullet pierced sable (Walton) and Gules, a cross engrailed argent (Norley). At the top of the panel are the following fragments of blackletter inscriptions: /S[an]c[tu]s/, /Petrus/, /Ioh[ann]es e/. At the top of the panel a section of trellising, each diamond of the trellis enclosing stylised foliage. All 15th-c. Quarries, type 6. Two border elements, rectangles filled with conventional foliage, reserved against matt, with a little yellow stain. 16th-c. h 0.40m, w 0.50m. 3/4b. Fragments (fig. 118) adapted to form a composite figure during the Truman restoration. At the top of the panel, the head is suggested by the use of fragments of stippled drapery, with a hand superimposed against them, leaded into a rough circle. To give the sense of a chasuble, two types of vestment orphrey, one decorated with jewels set against hatching and the other with roundels in yellow stain set against hatching, are leaded together with ruby fragments. To the lower left and right of this are added a number of fragments of drapery, decorated with a rosette diaper in yellow stain. To the right are parts of the ermine lining of a robe or vestment and sections of a yellow stain staff. At the base of the figure, as if to suggest a dalmatic under the chasuble, are set murrey, blue and green fragments, decorated with 26 During the Truman restoration, King renewed the lower part of the field below the fess with blue seaweed rinceau of unknown provenance. N. Truman, ‘Medieval Glass in Holmeby-Newark Church, Notts.’, p. 101. 280 painted fringe patterning, under which are placed a pair of feet removed from Annesley.27 At the base of the panel are sections of tessellated floor set within a raised decorated plinth. Quarries, type 55. All the fragments are 15th-c. panel 3b: h 0.42m, w 0.50m. panel 4b: h 0.39m, w 0.50m. 3/4c. Fragments (figs. 118, 120, 122, 124) adapted to form a composite figure during the Truman restoration. At the top the cut-down head of a bishop saint, the nimbus and mitre have mostly gone in the cutting, but the infulae are still visible. Stippling with yellow stain on the infulae and border of the nimbus. Around the head, and superimposed on a band of yellow stain, is the following blackletter inscription on a curved scroll: /pater / implora pro/ nobis mortis / hora /. The body of the composite figure is made of fragments of variously diapered yellow stain drapery, vestment orphreys (some jewelled) and fragments of a pallium, with the crosses fitchy set on a ground of contiguous yellow stain roundels. Amidst these drapery fragments are the following figurative elements: The hand of St John the Evangelist, gesturing at the chalice and viper, the hand set against a yellow stain diapered robe. A hand clutching a pair of closed books, the clasps decorated with yellow stain. At the base of panel 3c are sections of tessellated pavements, set within raised plinths and below are these blackletter inscriptions: /S[an]c[tu]s Jo/, /c/,/s/, /mar/,/cus/, /m./ At the top of panel 4c are fragments of quarries, types 50, 55 and 56 and in the borders of both panels are fragments of blue and ruby glass, some with stippling. All the fragments are 15th-c. panel 3c: h 0.42m, w 0.50m. panel 4c: h 0.39m, w 0.50m. 3/4d. Fragments (figs. 118, 121) adapted to form a composite figure during the Truman restoration and including: The bottoms of two alb skirts, of stippled drapery on white with yellow stain apparels. Part of a pallium with cross 27 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, p. 99. 281 fitchy. Part of a white stippled chasuble with yellow stain orphrey. Part of a white stippled alb with the ends of a deacon’s fringed stole. Hand holding part of a pastoral staff. Among these fragments are smaller stippled ruby drapery fragments. At the base of panel 3d a section of trellising, each fret of the trellis encompassing a yellow stain rosette. To the sides of both panels, fragments of side-shaftings and pinnacles from a canopy, in white with touches of yellow stain. All the fragments are 15th-c. panel 3d: h 0.41m, w 0.50m. panel 4d: h 0.40m, w 0.50m. 4a. Fragments from Annesley (fig. 130). At the centre the head and hands, perhaps of God the Father from a Trinity panel, with the nimbus highlighted in yellow stain. Significant paint loss. Two pinnacles from a canopy, two fragments of quarries, types 52 and three fragments from an acanthus border. All the fragments are 15th-c. h 0.38m, w 0.50m. 4e. Quarries from Annesley, types 52, 53 and 54. Also a number of opaque fragments. 15th-c. h 0.38m, w 0.50m. 5b. Fragments (figs 118 and 126). A hand holding the yellow stain hilt and pommel of a sword. Yellow stain rays or a sunburst emerging from the top of clouds. A yellow lion sejant, perhaps the supporter from a shield or from a side-shafting. Two border elements, vesicas enclosing fleur-de-lys, reserved on matt touched with yellow stain. Fragments of quarries, type 53. All the fragments are 15th-c. h 0.30m, w 0.50m. 5c. Fragments (figs. 118 and 127). At the centre an eagle, in profile, set against an architectural background, on white with stippled and hatched shading and yellow stain beak. Border elements as 5b and 1b. Quarries and quarry fragments, types 12 and 38. All the fragments are 15th-c. 282 h 0.32m, w 0.50m. 5d. Fragments (fig. 118). A roundel decorated with a symmetrical eightsegment design, encompassing and set against stylised needlepoint foliage. Leaded breaks. Around it a thin border of ruby glass, with opaque fragments arranged around that. Border elements, one as 2d, others stylised yellow stain crowns reserved against matt. Quarries, types 55 and 56. All the fragments are 15th-c. h 0.35m, w 0.50m. 6/7b. Fragments of canopywork. Elements from various distinct canopies and from different contexts within them, including: sections of side-shaftings, crocketed ogees, crocketed pinnacles, parapets and vaulting. All in blackline with varying degrees of stippling and hatched shading. In panel 7b fragments of blue drapery, opaque fragments and a single quarry (type 56) are set amidst the architectural elements. At the base of the panel quarries, type 55. All the fragments are 15th-c. h 0.68m, w 0.50m. 6/7c. Fragments of canopywork (fig. 131). Essentially as 6/7b, but without the vaulting fragments. In panel 7c blue and corroded ruby fragments are set amidst the architectural elements. At the base of the panel quarries, types 49, 50, 55 and 56. Also the purse of St James the Great, the cockle-shell reserved against the stippling of the body of the purse. All the fragments are 15th-c. h 0.65m, w 0.50m. 6/7d. Fragments of canopywork. As 6/7b. In panel 7d corroded ruby fragments are set amidst the architectural elements. All the fragments are 15th-c. h 0.61m, w 0.50m. 7e. Fragments from Attenborough, Nottinghamshire (q.v.) (fig. 129).28 Including parts of tracery light fillings as A1 of sIII at Attenborough, i.e. 28 N. Truman, ‘Medieval Glass in Holme-by-Newark Church, Notts.’, p. 100. 283 stylised foliage reserved on a cross-hatched yellow stain ground, within an alternating border of blackline rectangles and stylised yellow stain quatrefoils. Top of a light filling, yellow stain with a white border enclosed by black line. Ruby and white fragments. 15th-c. h 0.22m, w 0.50m. A1. Quatrefoil tracery light with in situ filling. A central roundel decorated with eight yellow stain segments filled with contiguous circles, with the radiating lobes edged with a strip of yellow stain set within blacklines. 15th-c. h 0.30m, w 0.15m approx. A2. Sexfoil tracery light, filled with quarries, type 6. 15th-c. h 0.50m, w 0.45m approx. A3. As A1 (fig. 133). A4. Tracery light (fig. 133)) with in situ filling. The light is edged with a strip of yellow stain, set within black lines and encompassing a central stylised rosette in yellow stain. 15th-c. h 0.18m, w 0.14m approx. A5. As A4. A6. As A1. A7. As A2. A8. As A1. B2. Censing angel (fig. 132), standing three-quarters right dressed in a white alb, having yellow stain wings and hair and swinging a yellow stain censer above its head. The top of the light has a border of yellow stain set within blacklines. Leaded breaks. 15th-c. h 0.35m, w 0.15m approx. 284 B3. Quarries, type 6. 15th-c. h 0.38m, w 0.16m approx. B4. As B3. B5. As B2, the angel facing three-quarters left. sII (fig. 134, detail). 1-6b. Quarries, types 1 and 51. 15th-c. w. 0.48m. 7b. Fragments. Central portion of a vaulted canopy with ogee head and flanking crocketed pinnacles, in white, with yellow stain and hatched shading. Leaded breaks. Section of a second identical canopy. Two sections of tessellated floor, one set on a raised plinth. Opaque and murrey fragments leaded round. All fragments are of the second half of the 15th c. h 0.22m, w. 0.48m approx. 1-6c. Quarries, types 1 and 51. 15th-c. w 0.50m. 3c. Fragments (fig. 138). Only one fragment is English and from the period covered by thesis: the upper torso of St John The Evangelist. St John is standing three-quarters left, holding a chalice and viper in his right hand and a palm in his left hand. Black line, stipple and yellow stain on white. The head and lower body have gone. 15th-c. The remaining fragments are continental, and include: a post-medieval head of a King and part of a Assumption of the Blessed Virgin Mary of the 15th c. h 0.22m, w. 0.48m approx. 285 7c. Fragments. Two sections of vaulted canopies, each with ogee heads, surmounted by crocketed pinnacles; three crocketed pinnacles. All of the above are on white with yellow stain. Minor architectural and painted fragments and fragments of murrey glass leaded in. All fragments are second half of the 15th c. h 0.22m, w 0.50m approx. A1. Shield of arms (fig. 137): Barry nebulee of six on a chief a lion passant guardant (Staple of Calais). The shield set on a murrey ground. Leaded breaks. Final quarter of the 15th c. h 0.20m, w 0.22 approx. A2. Fragments (fig. 137). Small architectural fragments, part of a parapet with superimposed canopy head and pinnacle; a group of pinnacles. All on white with yellow stain. Lower part of the skirt from a small tracery light figure, set against a tessellated floor, the drapery is on white with stippling and is powdered with a diaper of yellow stain rosettes, the hem of contiguous yellow stain roundels. Quarry type 51 and blue and murrey fragments. All fragments are second half of the 15th-c. h 0.25m, w 0.15m approx. A3. Prophet Zephaniah (fig. 136): bearded, standing three-quarters right, with his left hand extended and his right hand lifted to show the palm. He is dressed in a white stipple-shaded, fur-lined robe powdered with yellow stain daisies and with a fur turban on his head. Around his head the following blackletter text on a scroll: /Soph/onias/, /p[ro]ph[et]a/. The figure is set on a tessellated floor, against a ground of murrey seaweed rinceau reserved on matt. Leaded breaks. Final quarter of the 15th c. h 0.40m, w 0.15m approx. A4. Composite figure of the Prophet Amos (fig. 135): bearded, standing threequarters left, his right hand raised and gesturing with his middle finger at the scroll placed above and around his head and his left hand holding a purse at his waist. He is dressed in a white stipple-shaded, fur-lined robe powdered 286 with rosettes and with a fur turban on his head. Around his head the following blackletter text on a scroll: /A[mos] / p[ro]ph[et]a/. The figure is set on a tessellated floor, against a ground of blue seaweed rinceau reserved on matt. Leaded breaks and some restoration. Final quarter of the 15th c. h 0.40m, w 0.15m approx. A5. Prophet Isaiah, bearded, standing three-quarters left, with his right hand raised and gesturing with the middle finger at the scroll placed above and around his head and his left hand holding a scroll. He is dressed in a white stipple-shaded, fur-lined robe, powdered with rosettes and lined with fur, with a twisted turban, decorated with a yellow stain jewel on his head. Around his head the following blackletter text on a scroll: /Isaya/ p[ro]ph[eta]/. The figure is set on a tessellated floor, against a ground of murrey seaweed rinceau reserved on matt: Leaded breaks and some restoration. Final quarter of the 15th c. h 0.25m, w 0.15m approx. 287 Holme-by-Newark, Nottinghamshire, Demolished Manor House OS SK 803 591 approx. Printed sources Thoroton, p. 349. T. M. Blagg, 'Second Excursion: the district around Collingham', Thoroton Society, 9 (1905), p. 35. E. G. Wake, The History of Colllingham and Its Neighbourhood, including the northern half of the hundred of Newark (Newark, 1867), p. 86. John Barton (d. 1491), a Merchant of the Staple of Calais constructed a 'fair stone house' in Holme-by-Newark close to the church (q.v.) he had rebuilt between 1485 and his death. When Thoroton visited the house he saw in the windows this inscription, or 'posie' as he termed it, which read: ‘I thanke God, and ever shall, it is the sheepe hath payed for all’.1 The last remnants of this house were demolished in the late nineteenth century, but until its demolition the arms of the Barton family, fleur-de-lys and a stone version of the inscription were to be seen built into the remaining fabric.2 1 Thoroton, p. 349. 2 E. G. Wake, The History of Colllingham and Its Neighbourhood, including the northern half of the hundred of Newark (Newark, 1867), p. 86 and T. M. Blagg, ‘Second Excursion: the district around Collingham’, Thoroton Society, 9 (1905), p. 35. 288 Hope, Derbyshire, Parish Church of St Peter OS SK 172 834 Manuscript sources Bassano MS, pp. 165-166. London, British Library, Add MSS 18478, f. 52r. London, British Library, Add MS 28111, f. 103r. Printed source Cox, vol. 2, p. 263. Illustrations Figs. 147-148. Hope church consists of a western tower with broach spire, nave with aisles and chancel. The western tower is early fourteenth-century, the chancel nineteenthcentury (incorporating thirteenth-century details) and the nave and aisles fifteenthcentury.1 All that remains of the medieval glazing is a shield of arms and an unidentified heraldic roundel, both of the late fifteenth or early sixteenth century, set at the bottom of the east window of the north aisle (nIV.) The shield of arms is that of Eyre, quartering Padley, and refers to the marriage of Robert Eyre (d. 1459) of Thornhill in the parish of Hope, to Joan (d. 1463) the heiress of Robert Padley of Upper Padley, in the parish of Hathersage, an event that took place sometime in the first half of the fifteenth century. After this union the Eyre family used Upper Padley as their principal seat, reserving various estates within the massive peak parish of Hope, including Thornhill, Highlow, Ashop, Ollerton and Shatton, for younger sons. It is possible that one of these younger sons was the patron of the extant glass, 1 Pevsner Derbyshire, p. 247. 289 perhaps the most prominent of them, Robert and Joan’s sixth son, Ralph Eyre of Offerton, who died in 1493. 2 When the Bassano brothers were here in the early eighteenth century, the extant shield was in its present location3 and when Mitchell was writing in the 1840s the roundel was with it.4 Apparently by the time Cox was here (in the middle of the nineteenth century), the roundel had been moved and placed above another shield in window sV.5 That shield remains, bearing the arms in enamel of Robert Eyre of Highlow (died 1662).6 The roundel and shield may have been reunited in window nIV in the early twentieth century, when F.C. Eden filled the upper lights of the window with new glass.7 In 1823 Alfred Suckling recorded that many of the Perpendicular windows exhibited ‘remains of stained glass,’ suggesting a more widespread retention of medieval glazing in that period than is currently extant.8 Catalogue nIV. 1a. Heraldic elements. Shield of arms (fig. 147): Argent, on a chevron sable, three quatrefoils or (Eyre)9, quartering, Or, three horse barnacles, sable (Padley).10 All the fields of the arms have trailing foliage picked out against a matt wash. Blue glass to the left and right of the arms. Some leaded breaks, the glass dirty. Later 15th-c. 2 See Cox, vol. 2, pp. 231-232 and 262-264 and G. A. Lester, The Eyre Brasses of Hathersage (Hathersage, no date). 3 Bassano MS, p. 165. 4 London, British Library, Add MS 28111, f. 103r. 5 Cox, vol. 2, p. 263. 6 G. D. Squibb, The Visitation of Derbyshire begun in 1662 and finished in 1664, Harleian Society, New Series, 8 (1989), p. 73. 7 Pevsner Derbyshire, p. 247. 8 London, British Library, Add MSS 18478, f. 52r. 9 Medieval Ordinary, vol. 2, p. 437. 10 Medieval Ordinary, vol. 2, p. 215. 290 w 0.26m. Heraldic roundel (fig. 148): Per pale sable and or, a talbot argent. The talbot is executed in black line with stippling and the tongue is highlighted in yellow stain. Fragments of a yellow stain rod and acanthus border, the rest of the border made up with modern plain green and yellow glass. Leaded breaks, dirty. Late 15th-c. d 0.14m. Entire panel: h 0.54m, w 0.57m. 291 Horsley, Derbyshire, Parish Church of St Clement OS SK 375 444 Printed sources Butler, p. 105. C. Kerry, ‘The Ancient Painted Window in Hault Hucknall (Great Hucklow) Church, Derbyshire’, DAJ, 20 (1898), p. 46. In 1824 Samuel Butler recorded ‘some little old painted glass’ in the church.1 At the end of the nineteenth century Charles Kerry, in passing, in an article relating to Ault Hucknall, recorded its loss. The glass consisted of: ‘Six fragments (viz., four quarries, and two elegant leafy designs for tracery openings)’. On a return visit the site in 1898 the fragments had gone, to be replaced with ‘staring white glass’.2 The glass cannot be dated. The church was rededicated in 1450 following major rebuilding.3 1 Butler, p. 105. 2 C. Kerry, ‘The Ancient Painted Window in Hault Hucknall (Great Hucklow) Church, Derbyshire’, DAJ, 20 (1898), p. 46. 3 Pevsner Derbsyhire, p. 249. 292 Ilkeston, Derbyshire, Parish Church of St Mary OS SK 465 417 Manuscript sources Bassano MS, p. 199. Ashmole, p. 80. In 1662 Ashmole saw the following glass in the church:1 ‘In the East window of the south Isle’: 1. Gules, a fess vairy argent and azure, between three fleur-de-lys or [Cantelupe].2 2. Argent, a cross gules. 3. Azure, three crowns or. ‘In the windows of the North Isle’: 4. Argent, a saltire gules [Neville].3 5. Checky or and azure, a canton ermine [Warenne].4 When the Bassano brothers visited the church in the beginning of the eighteenth century only shield 2 was extant, in the east window of the south aisle.5 Although there is no direct evidence to date the glass, it was probably fourteenthcentury. Before heavy restorations and enlargement in 1853-5 and 1909-10, the aisles 1 Ashmole, p. 80. 2 Cox, vol. 4, p. 262. 3 Papworth, p. 1057. 4 Medieval Ordinary, vol. 2, pp. 256-257. 5 Bassano MS, p. 199. 293 were early fourteenth-century.6 The Cantelupe family, commemorated by shield 1, held the manor of Ilkeston until 1376, when, on the death of William Cantelupe, it passed to their relatives the Zouchs of Harringworth.7 6 Cox, vol. 4, p. 261 and Pevsner Derbyshire, p. 250. 7 Cox, vol. 4, pp. 257-258. 294 Kedleston, Derbyshire, Redundant Parish Church of All Saints OS SK 312 403 Manuscript sources London, British Library, Harley MS 5809, f. 17r. London, British Library, Harley MS 1093, f. 8r. Printed source Cox, vol. 3, pp.176-177 On the 16 August 1611 Richard St George saw the following glass in Kedleston church:1 ‘These 3 in the E[a]st quire windowes’: 1. Or, a cinquefoil sable (Brailsford). 2. Gules, on a bend argent, three martlets sable [Curzon].2 3. Barry of six argent and sable, on a canton sable a cinquefoil argent (Twiford). ‘These 6 Armes beneath stand in the windowes rounde about the Church’: 4. Ermine, two bendlets gules (Ireton), impaling, Curzon. 5. Argent, a chevron gules, between three martlets argent (Bagot), impaling, Argent, on a bend gules, three mullets or. 6. Curzon, impaling, Gules, on a fess argent, between three besants, a mullet, over all a label of three points sable. 7. Twiford. 1 London, British Library, Harley MS 5809, f. 17r and Harley MS 1093, f. 8r. 2 Blazoned variously as martlets or popinjays. The arms were also used by the collateral branch of the family of Croxall (q.v.). Medieval Ordinary, vol. 2, pp. 15 and 16. 295 8. Curzon. 9. Or, an eagle displayed azure (Montgomery), impaling, Ermine, a fess checky or and azure. Cox saw a transcript of some notes taken by ‘Mr Roper’ in the church in October 1657. These notes were apparently in the possession of the Curzon family in 1731 and both the original copy and the transcript have been subsequently lost. The following is Cox’s summary of the content.3 ‘in the east were the effigies, as appeared by a subscription, of Richard Curzon and his wife Joan, “conceived to be the work of Henry III’s time”. In the same windows were the coats of Brailsford and Twyford.’ ‘In the lancet window by the priests’ door were the coats of Ireton, Curzon and Shirley’ ‘The south transept window had figures of the Blessed Virgin, SS. Catherine and Margaret.’ ‘The north transept SS. Chad, Nicholas, and Thomas a’ Becket.’ ‘In the nave were the arms of Bagot and Longford in the south window, Montgomery and Arden in the west window, and Curzon and Twyford in the north window.’ The glass in the east window may have been fourteenth-century. Richard Curzon whose donor image appeared in the window in Roper’s account, was apparently alive in 1333.4 3 Cox, vol. 3, pp. 176-177. 4 Cox, vol. 3, p. 176. 296 The Twiford arms (3) referred to the marriage of John Curzon, probably Richard’s son or grandson, to Eleanor, daughter and co-heiress of Sir Robert Twiford in the middle of the fourteenth century.5 The Brailsford arms (1) appear as the Twifords were the heirs of that family.6 Glass elsewhere in the chancel was also of the fourteenth century. The shield of Ireton impaling Curzon (4), seen by Roper in a lancet by the priest’s door, referred to the marriage of Anne, daughter of John Curzon and Eleanor Twiford, to John Ireton.7 Some of the glass in other parts of the building was later and within the scope of this thesis. The shield of Montgomery (9), which according to Roper was in the west window, referred to the marriage of John Curzon (died 1405), the son of John Curzon and Eleanor Twiford, to Margaret, daughter of Sir Nicholas Montgomery.8 The arms of Bagot (5), which Roper has in a south window with the arms of Longford, referred to the marriage of the son of another John Curzon (died 1459/60), son of John Curzon and Margaret Montgomery, to Joan, daughter of Sir John Bagot. This John Curzon achieved his majority in 1411.9 As no shields of arms seem to have related to the figurative glass described by Roper in the transepts, it is not possible to date it. The north and south windows of the transept, like the majority of the building, are of the late thirteenth century, but the transepts were re-roofed and the central tower heightened during the fifteenth century, so it is possible that the glass was part of that remodeling.10 5 London, British Library, Harley MS 5809, f. 16r. 6 Cox, vol. 3, p. 176. 7 Cox, vol. 3, p. 176. 8 I. Rowney, ‘The Curzons of Fifteenth-Century Derbyshire,’ DAJ, 103 (1983), p. 108 and Wright, p. 220. 9 Rowney, ‘The Curzons of Fifteenth-Century Derbyshire, p. 108 and Wright, p. 220. 10 Pevsner Derbyshire, pp. 253-254 and Cox, vol. 3, p. 175. 297 Kedleston Hall, Derbyshire OS SK 312 402 Manuscript source London, British Library, Harley MS 5809, f. 17r. The remains of the medieval house of the Curzons at Kedleston, which adjoined Kedleston church, were swept away in the early eighteenth century when a new house was built. This house was in turn replaced between 1759 and 1765 by the present building by James Paine and Robert Adam.1 In 1611 Richard St George saw the following glass in the old house:2 ‘These 7 stand old in the glasses in Mr Cursons greate hall of his house in Kedlestone.’ 1. Barry of six argent and sable, on a canton sable a cinquefoil argent (Twiford). 2. Ermine, a fess checky or and azure, impaling, Sable, a cross engrailed ermine. 3. Vairy ermine and gules (Gresley), quartering, Sable, a lion rampant argent, gorged gules (Wastneys).3 4. Gules, on a bend argent, three martlets sable [Curzon].4 5. Argent, a pile gules. 1 Pevsner Derbyshire, pp. 255-258. 2 London, British Library, Harley MS 5809, f. 17r. 3 See Croxall and Croxall Hall. 4 Blazoned variously as martlets or popinjays. The arms were also used by the collateral branch of the family seated at Croxall (q.v.). Medieval Ordinary, vol. 2, pp. 15 and 16. 298 6. Gules, a lion rampant or within a bordure engrailed of the last, quartering, Argent, a bend gules between six martlets (?) of the last (Talbot and Furnivall). 7. Montgomery, see above. It is not possible to date all the shields with any accuracy. The identification of shields 1 and 9 suggest a late fourteenth or early fifteenth-century date for these. The Twiford arms (1) referred to the marriage of John Curzon to Eleanor, daughter and co-heiress of Sir Robert Twiford, in the middle of the fourteenth century.5 The shield of Montgomery (7) referred to the marriage of their son John Curzon (d. 1405) to Margaret, daughter of Sir Nicholas Montgomery.6 He achieved his majority in 1411.7 5 London, British Library, Harley MS 5809, f. 16r. 6 I. Rowney, ‘The Curzons of Fifteenth-Century Derbyshire’, DAJ, 103 (1983), p. 108 and Wright, p. 220. 7 Rowney, ‘The Curzons of Fifteenth-Century Derbyshire’, p. 108 and Wright, p. 220. 299 Kelham, Parish Church of St Wilfrid OS SK 773 553 Printed sources: A. M. Y. Baylay, ‘Kelham’, Thoroton Society, 17 (1913), p. 28. Gill, p. 120. Mee Nottinghamshire, p.140. Pevsner Nottinghamshire, p.151. E. Trollope, 'St Wilfrid's, Kelham', AASRP, 11 (1872), p. 10. Illustrations Figs. 149-154. The remaining glass consists of tracery fillings and roundels mostly in situ in the north and south nave aisles. Most of the roundels are charged with 'MR' and 'IHC' monograms. A single roundel is charged with a flowering white rose and blackletter legend of unclear meaning. The glass is in poor condition, dirty and pitted with a number of unleaded fractures. All the glass is contemporary with the fabric of the church, which is, with the exception of an eighteenth-century mortuary chapel, a complete build of the late fifteenth century (figs. 153 and 154). A comparison of the window tracery with those in the dateable buildings at Tuxford (1495) and Holmeby-Newark (complete 1490) suggests a date of the late fifteenth century for the church and therefore, by inference, the remaining glass.1 Most of the commentators have very scant remarks to make about the glass here. Gill, Mee and Pevsner all saw 'fragments'.2 Truman includes Kelham in his list of sites with remaining glass, but failed to catalogue the glass before he died.3 In 1 Baylay also compares details of the building with two structures under the patronage of the executors of Ralph, third Baron Cromwell. He compares the window tracery to that at Lambley, Nottinghamshire (q.v.), completed in 1480 and the arcade details with those at Tattershall College (Lincs.), underway 1469-82. A. M. Y. Baylay, 'Kelham', Thoroton Society, 17 (1913), pp. 25-26. 2 Gill, p. 120, Mee Nottinghamshire, p. 140 and Pevsner Nottinghamshire, p. 151. 3 Truman (1944), p. 53. 300 1872 Trollope saw fragments of old glass in the east window and the Marian legend 'lade help’ in several of the side windows.4 In 1913 Baylay saw the latter inscription in the east window of the north aisle (fig. 153) and inferred from this that the north aisle contained a 'lady chapel'.5 This glass does not remain. According to Truman some of the glass now at Averham (q.v.) was discovered in the cellar of Kelham hall and he conjectured that it came from Kelham church.6 This is a reasonable assumption, as the glass is mostly of the latter part of the fifteenth century, contemporary with the remaining structure. Catalogue nIII. B1 and B4. Eyelet fillings, radiating oak-leaves in black line and yellow stain on white, set within a yellow stain border. c.1475-1500. nIV. A1. ‘IHC’ monogram roundel (fig. 150), in black line with yellow stain and set on a ground of continuous circles, within a border of yellow stain. c.1475-1500. A2. ‘IHC’ monogram roundel (fig. 151), in black line with yellow stain and set on a ground of yellow stain spots, within a border of yellow stain. c.1475-1500. A4. ‘MR’ monogram roundel, in black line and yellow stain, within a border of yellow stain. c.1475-1500. 4 E. Trollope, ‘St Wilfrid's, Kelham’, AASRP, 11 (1872), p. 10. 5 A. M. Y. Baylay, ‘Kelham’, p. 27. 6 Truman (1944), p. 57. 301 nV. A4. Roundel (fig. 149), a rose bush bearing three white flowers, growing between diminutive thistles. Above and on either side of the rose is an inscription in blackletter: /: rosse : /…e : flurus/. The ground, stem and leaves of the rose and the outer edge of the petals of the flowers are in yellow stain. The whole roundel has leaded and unleaded fractures and part is heavily pitted, adding to the illegibility of the inscription. c.1475-1500. sVI (fig. 154, exterior). A1. Tracery lobe filling (fig. 152): a cross patonce, with radiating oak leaves in the angles between the arms, set within a border of yellow stain. In black line and yellow stain with cross-hatched shading. Part of a second filling, of the same type, is leaded in as a stopgap. Unleaded fractures. c.1475-1500. 302 Killamarsh, Derbyshire, Parish Church of St Giles OS SK 461 809 Manuscript Sources Bassano MS, p. 278. Rawlins, vol. 2, p. 198. Printed sources Butler, p. 108. Coe, p. 98. Cox, vol. 1, pp. 262-263. Thorold, p. 88. Illustrations Figs. 155-156. The church consists of a western tower, nave with north aisle and chancel. All that remains of the medieval structure are the Norman south door, the fifteenth-century tower and one late fifteenth-century south nave window. The rest of the fabric is the work of two rebuilds, the chancel between 1844 and 1846 and the north arcade and north aisle in 1895.1 A fifteenth-century Virgin and Child in a south chancel window, is the only medieval glass to remain. Despite the successive structural changes to the building it doesn’t seem to have moved that much. Although Cox was told that the glass was in the east window of the chancel prior to the 1844-6 restoration, in 1710 the Bassanos and in 1823 Butler saw it in its present position. When Rawlins was here it was ‘near the pulpit.’2 The panel received some restoration in the nineteenth century. The present ground of nineteenth century trellised quarries is fourteenth century in style and therefore out of character with the fifteenth-century figure. Small areas of the figure have also been renewed. As the east window of the chancel was put in by 1 Pevsner Derbyshire, p. 259. 2 Bassano MS, p. 278, Butler, p. 108, Rawlins, vol. 2, p. 198. 303 William Warrington during the 1844-46 restoration, it is probable that the restoration work was undertaken by him. 3 The original glass is for the most part in good condition. The robe of the Christ child has some pitting, while the heads have experienced some pigment loss. In addition to the remaining panel, the Bassano brothers also recorded the following shield of arms, now lost, in the east window of the chancel:4 1. Azure, three mullets of six points or. Cox assigns this to the Whittington family of Whittington near Chesterfield (q.v.).5 Cox also saw, in the window nearest the (south?) porch, several diamond quarries 'in yellow and white' decorated with trefoils, fleur-de-lys etc.6 These are no longer extant. Catalogue sII a. Virgin and Child (figs. 155 and 156). The Virgin is crowned, nimbed, standing three-quarters left holding the balding, nimbed Christ Child on her left arm - She gazes down at him. In her right hand she holds a sceptre, which terminates in a pomegranate. She has long flowing hair that falls over her right shoulder, which the Christ Child grasps in both hands. She is vested in a white ermine-lined mantle with yellow-stain hems, over a blue gown. The Christ child is vested in murrey robe. She stands on grass, the foliage picked out on a matt wash against a base of yellow stain. Set against the grass is the blackletter inscription scroll: / sancta / maria /, the second part 3 R. J. Bradshaw, The parish Church of St Giles, Kirkcroft Lane, Killamarsh - A Historic Background, p. 5. 4 Bassano MS, p. 278 5 Cox, vol. 1, pp. 262-263. 6 Cox, vol. 1, p. 263. 304 renewed. Black line, stippling and yellow stain. 15th-c. The figure is not set on its original ground, but on a ground of 19th-c. trellised trailing foliage quarries, which in turn are placed within a border of 15th-c. yellow stain and black line crowns, alternating with rectangular pieces of 15th and 19th-c. plain ruby. h 1.36m, w 0.43m. 305 Kirk Hallam, Derbyshire, Parish Church of All Saints OS SK 458 405 Manuscript source Bassano MS, p. 263. In the early eighteenth century the Bassano brothers saw the following arms in glass:1 ‘In one of the South Windows of the Church is’: 1. Azure, two bars or. ‘In another Window is’: 2. Azure, two bars and three mullets of 6 points in chief or. Although Cox identifies the arms as those of Burdett2, it is possible that they represent a version of the arms of the Grey family, who usually bore the arms Barry of six argent and azure.3 The Greys held a manor in Kirk Hallam up to the reign of Henry IV, when it passed, along with Sutton Scarsdale (q.v.) into the hands of the Leeke family, through the marriage of John Leeke of Cotham, Nottinghamshire to Alice Grey (d.1459), the coheiress of John Grey.4 The glass may have been of the early years of the fifteenth century, but was probably earlier. Most of the church windows are fourteenth century.5 1 Bassano MS, p. 263. 2 Cox, vol. 4, p. 215. 3 Medieval Ordinary, vol. 1, p. 87. 4 Thoroton and Throsby, vol. 1, p. 144 and Payling, p. 45. 5 Pevsner Derbyshire, p. 260. 306 Kirkby-in-Ashfield, Nottinghamshire, Parish Church of St Wilfrid OS SK 490 558 Manuscript source British Library, Add MS 15543, pieces 223. Kirkby-in-Ashfield church was destroyed by fire in 1907 and very little of the medieval structure was incorporated into the present building, which is by L. Ambler.1 A drawing by S. H. Grimm dating from between 1765 and 1790 of a ‘painting in an upper window opposite the pulpit,’ shows a fragmentary panel of the Trinity set within borders of architectural fragments. The panel shows God the Father in the attitude of benediction, supporting the Crucified Christ, whose cross rests on a globe.2 Based on the architectural fragments and general arrangement and feel of the drawing, the lost glass probably dated from the fifteenth century. 1 Pevsner Nottinghamshire, pp. 156-157. 2 British Library, Add MS 15543, piece 223. 307 Kirklington, Parish Church of St Swithun OS SK 679 575 Manuscript source Nottingham, Nottinghamshire Archives, DD TS 6/4/4/17, f. 29r. Printed sources Gill, p. 121. Thoroton and Throsby, vol. 3, p. 100. Illustration Fig. 157. In September 1820 Stretton noted that ‘the Chancel … has a rich window with Painted Arch at the east end, w[i]th many remains of Painted Glass’.1 Thirty years earlier Throsby saw in ‘the’ church window ‘a fine head on glass’.2 He includes an engraving of what he saw (fig. 157), the full frontal head and shoulders of a bearded man, with his hand in the attitude of benediction. Although the head is not nimbed, the attitude of the hand and the full frontal pose suggest that the fragment formed part of a Christ in Majesty. Though Throsby delineates the lead lines of the panel, his engraving is of insufficient quality to give any real sense of the date of the glass. The present chancel dates from 1873-4 and therefore gives no clue as to the tracery of the former east window, which may have helped date the lost glass.3 In the twentieth century Harry Gill noted ‘fragments’ in the church without giving any specific description of them.4 When the author visited in September 2000 he found no medieval glass remaining in the church. It is likely that all remains were swept away when the chancel was rebuilt in 1873-4. 1 Nottingham, Nottinghamshire Archives, DD TS 6/4/4/17, f. 29r. 2 Thoroton and Throsby, vol. 3, p. 100. 3 Pevsner, p. 157. 4 Gill, p. 121. 308 Kirton, Nottinghamshire, Parish Church of the Holy Trinity OS SK 691 693 Printed sources Ayre, pp. 101-102. Mee Nottinghamshire, p. 145. Pevsner Nottinghamshire, p. 158. Truman (1946), pp. 136-137. Illustrations Figs. 159-161. The church consists of a western tower, nave with north aisle and chancel. The arcade and nave fabric is mostly late thirteenth-century, with the chancel dating from the early fourteenth century. There was some remodelling in the fifteenth century, when the tower was erected and the north aisle windows and nave parapet inserted.1 The remaining glass of the period covered by this thesis consists of a single figurative roundel and minor figurative, drapery, architectural and inscription fragments. The glass is scattered among a number of windows in the building, where it is leaded in among fourteenth-century and brightly coloured nineteenth-century glass. According to Truman the medieval glass was dug up outside the church walls and inserted in the windows during a restoration in 1865.2 The poor condition of some of glass may reflect a prolonged period underground. The figurative roundel was catalogued in Kerry Ayres recent CVMA volume.3 It is charged with a white hart and inscription, imagery that refers to the beginning of psalm 41 (42). The hart is a visual rendering of the beginning of verse one: ‘Like as the hart desireth the water brooks’ and the text is taken from the beginning of verse 2: ‘sitiuit anima mea ad deum vivus’ (my soul thirsts for the living God). Ayre misread ‘sitiuit’ as ‘sitruit’ and argued that this was a glazier’s error for 1 Pevsner Nottinghamshire, p. 158, Cox County Churches, pp. 126-127. 2 Truman (1946), p. 136. 3 Ayre, pp. 101-102. 309 ‘sic ruit.’ On the advice of David King she suggested that instead of deriving directly from the second verse, the text was a paraphrase of the second half of the first verse of psalm 41, i.e. 'ita desiderat anima mea ad te Deus' (so my soul desires the living God).4 A fragment in the same panel as the roundel is charged with part of Gabriel’s ‘Ave’ salute to the Virgin Mary and presumably formed part of an Annunciation. Catalogue nIII. A1. Fragments, including a stipple-shaded drapery fragment, decorated with a narrow band of yellow stain. Dirty. 15th-c. A2. Fragments, including a triangular tracery light filling, a trellised border enclosing a stylised rose set on a yellow stain ground. 15th-c. A3. Fragments, including small fragments of drapery. 15th-c . nIV. A1. Roundel and fragments (figs. 159 and 161). The roundel is charged with a white hart, standing in profile on a grassy mound with its foreleg raised and set against a diapered ground of backpainted, cusped contiguous roundels. Around the upper edge of the roundel is a blackletter inscription scroll: /sitiuit a[n]i[m]a mea ad deu[m] vivu[m]/. Black line on white, with yellow stain on the antlers of the hart, the grass and the border of the scroll. The roundel has been cut down and has some paint loss. 15th-c. d 0.18m. 4 Ayre, p. 102. 310 Fragments include: Two canopy elements, including a portion of a crocketed arch in black line, yellow stain and hatching and the blackletter inscription /…ve gra…/, with yellow stain foliage draping over it. 15th-c. sII. B2. Fragments, mostly 14th-century, but including a part of a 15th-century tracery light filling with a border of yellow stain. Dirty and pitted. sIV. A1. Fragments (fig. 160). A hand emerging from a draped sleeve holding an unidentified object, black paint and yellow stain on white. A foot emerging from drapery. Small drapery and canopy fragments, black paint and yellow stain on white. 15th-c. wI. A2. Fragments, minor architectural. 15th-c. A3. Fragments. Fragment of an 'IHC' roundel and a white hand, both with paint loss. 15th-c. 311 Kniveton, Derbyshire, Parish Church of St Michael O.S. SK 210 503 Manuscript source Bassano MS, p. 201 Barton 2004, vol. 1, pp. 311-312 Printed sources Cox 1875-1879, vol. 2, p. 508 Nelson 1913, p. 69 Mee 1937, p. 173 Kniveton church is a small structure comprising a nave with Norman origins, a thirteenth-century western tower and spire, a south porch and a late fifteenth-century chancel, all, with the exception of the east end of the chancel, re-fenestrated in the eighteenth or early nineteenth century.1 The extant medieval glass is in window sII and consists of a quartered shield of the Kniveton family (who owned the manor and took their name from the village, q.v. Mugginton) and remnants of a fragmented and heavily corroded small-scale Crucifix and figurative fragments. All the glass appears to be late fifteenth or sixteenth-century. When the Bassano brothers visited the church in 1710 a Crucifix was in the centre light of the east window of the chancel, set above the existing shield of arms and flanked by figures of the Virgin Mary in the left light and St Mary Magdalene in the right.2 The latter figure was presumably confused with St John the Evangelist. By the time Cox visited the church in the 1870s the glass had been removed to the south chancel window, where the shield had been ‘put together in a clumsy way’ with the Kniveton quarter reversed.3 1 Pevsner Derbyshire, p. 261. 2 Bassano MS, p. 201. 3 Cox wonders if the glass was moved when the building was re-pewed in 1842. Cox, vol. 2, p. 508. 312 The glass was cleaned and back-glazed by York Glaziers Trust within the last twenty years.4 Catalogue sII. 1a. Shield of arms (fig. 162): Gules, a chevron vairy argent and sable (Kniveton),5 quartering, Or, a chevron reversed gules.6 Some paint loss on the chevrons in quarters 1 and 4, with minor pitting and leaded breaks elsewhere. Late 15th or 16th-c. h 0.26m, w 0.19m. 1b. Fragments of the Crucified Christ with attendant figures (fig. 163). Of the Crucified Christ the following fragments can be identified: Christ’s face, part of the hair, nimbus and upper left arm, fragments of the cross beam with superimposed arms, a hand with a nail through it, the crossed legs. Fragments that may constitute the remains of the attendant figures of the Virgin and St John include: a hand holding a clasped book and sections of drapery decorated with a rose diaper. Additionally, there is a small piece of stylised foliage. All the fragments are executed in a black line, apparently without stippling and with only the smallest touches of yellow stain. Heavy corrosion to all glass. Late 15th or 16th-c. h 0.44m, w 0.23m. 4 Peter Gibson personal comment. 5 Medieval Ordinary, vol. 2, p. 275. 6 These quarters have not been identified. Cox was of the opinion that they represented the arms of the Grey family, referring to the marriage of Sir Gilbert Kniveton of Mercaston to Mary the daughter and co-heiress of Andrew Grey of Hertfordshire in 1623/4. Cox, vol. 2, p. 508. However, the style of the shield is inconsistent with a seventeenth-century date. 313 Lambley, Parish Church of the Holy Trinity OS SK 631 454 Printed sources A. M. Y. Baylay, ‘Lambley Church’, Thoroton Society, 12 (1908), p. 20. C. J. Brooke and J. M. Nicholson, A guided historical tour of the Holy and Undivided Trinity, Lambley, Nottinghamshire (Lambley, 2000), p. 3. Coe, p. 112. Cowen, p. 165. Cox County Churches, p.129. Gill, p. 121. Mee, p. 147. Nelson, p. 160. Pevsner Nottinghamshire, p. 160. Truman (1945), pp. 137-138. Illustrations Figs. 164-167. Most of the fabric of Lambley church (figs. 166 and 167) dates from a rebuild in the third quarter of the fifteenth century. Ralph, third Baron Cromwell, financed the rebuilding through a provision made in the 1454 codicil of his will. Lambley was the principal seat of the Cromwell family until the end of the fourteenth century and it was here that Ralph Cromwell was born and his parents and grandparents buried. The aisleless nave and chancel (both with windows displaying debased, uncusped tracery) were erected by his executors between 1466 and 1480, when the church was re-consecrated. The rebuilding incorporated parts of an earlier church, including a thirteenth-century west tower and the (now demolished) Cromwell chapel on the 314 north side of the chancel, which contained a chantry founded in 1340 by an ancestor of Ralph Cromwell. 1 The remaining medieval glass of the period covered by this thesis consists of a small-scale Crucifix and a female figure in window I and minor fragments in windows sII and sIII, all probably contemporary with the fifteenth-century fabric. The female figure may be that of the Virgin Mary attendant on the Crucifixion. All the remaining glass, particularly the Crucified Christ, is dirty. The glass may have been releaded and placed in its present position during a restoration by Bowman and Hadfield in 1855.2 Catalogue I. 1c. Crucified Christ (fig. 165), suspended from a T-shaped cross. He is crowned with thorns, with cross nimbus and has a brown loin cloth. Over his head in blackletter on a scroll: /i[n]ri/. The base of the cross is supported on an architectural stone plinth, which in turn rests on a mound representing Golgotha, incorporating two skulls and some long bones amid tufts of grass. Blackline and stipple, with the cross, nimbus, crown of thorns and the blood issuing forth, executed in yellow stain. The skulls, bones and tufts or grass are picked out against a matt wash. The left forearm and hand are missing and there are some stopgaps at the top of the panel. 15th-c. h. 0.60m, approx. A5. Female figure (?) (fig. 164), facing three-quarters right, wearing a white gown decorated with a yellow stain diaper, under a blue mantle with a white 1 R. C. Marks, ‘The Re-building of Lambley Church, Nottinghamshire, in the Fifteenth Century’, Transactions of the Thoroton Society, 87 (1983), pp. 87-89. Pevsner Nottinghamshire, p. 160 and Thoroton and Throsby, vol. 3, p. 16. 2 C. J. Brooke and J. M. Nicholson, A Guided Historical Tour of the Holy and Undivided Trinity, Lambley, Nottinghamshire (Lambley, 2000), p. 3. 315 and yellow stain hem. She holds her mantle with her left hand and has her right hand raised with the palm outwards. The head is from a 14th-century figure. Blackline and stipple, with yellow stain. Stopgaps in the lower part of the body. Late 13th or early 14th-century oak trail fills in the panel. 15th-c. h. 0.45m, approx. sII. a. Fragments, including ruby drapery fragments that may be 15th-c. 2c. Fragments. Quarry type 20. sIII. 1a. Fragments. Quarry type 20. 316 Laxton, Nottinghamshire, Parish Church of St Michael OS SK 722 669 Printed source Thoroton and Throsby, vol. 3, p. 211. Illustrations Figs. 168-169. The most striking feature of this predominantly fourteenth-century church, is the late Perpendicular clerestory of massive tightly-spaced windows (figs. 168 and 169). Pevsner and others claim that this was erected through the munificence of Thomas Rotherham (1423-1500), who was archbishop of York from 1480 to 1500.1 Indeed a niche on part of the north parapet incorporates a figure of a bishop in full pontificals set above two bucks, which were part of Rotherham's arms.2 Rotherham's association with Laxton seems to have been through his brief acquisition of the manor and the advowson of the church, which he used to endow his college of Jesus in his home town of Rotherham, in the West Riding of Yorkshire.3 Thoroton saw the following glass that relates to Rotherham's clerestory, provides a date of 1490 for the work and suggests that others may have been responsible for glazing some of the windows:4 ‘In the upper windows of the Church, 1490, Orate --- Johannis --- Agnetis-‘. 1 Pevsner Nottinghamshire, p. 164, Mee Nottinghamshire, p. 156, Cox County Churches, p. 132. 2 Rotherham bore the arms Vert, three bucks passant, the bucks were sometimes or and sometimes argent. Medieval Ordinary, vol. 1, pp. 291-292. 3 Thoroton and Throsby, vol. 3, p. 210. 4 Thoroton and Throsby, vol. 3, p. 211. Thoroton also recorded glass in the south-west window and the east window of the choir, but this related to specific members of the Everingham family, who were lords of Laxton until the late fourteenth century. The glass was probably of that period and is therefore beyond the scope of this thesis. See Thoroton and Throsby, vol. 3, p. 211 for the transcript and pp. 207 and 209 for the evidence of dating. 317 The completeness of the inscription and the absence of heraldic evidence make it impossible to identify the patrons. None of this glass remains. 318 Longford, Derbyshire, Parish Church of St Chad OS SK 214 383 Manuscript source Bassano MS, pp. 190 and 192. Printed source Cox, vol. 3, p. 191. Illustrations Figs. 170-173. Longford church consists of a western tower, nave with aisles and aisle-less chancel. The nave arcades are Norman, the chancel and walls of the aisles are of the thirteenth century and the nave clerestory and western tower of the fifteenth century.1 Medieval glass remains in the tracery lights and some of the tops of the main lights of the north and south chancel windows. All the glass is armorial and consists of three shields of arms set within garters, a fragment of a further shield and fragments of a number of additional garters. The shields in light A1 of sII and A1 of sIII are associated with the Longford family, who held the manor of Longford throughout the period covered by the thesis and used the church as a burial place. The Stanley shield in A1 of sIII and the Montgomery impaling Longford shield in A1 of sII, both probably refer to the marriages of Joan, daughter of Sir Nicholas Longford (d. 1478) firstly to Sir John Stanley around 1460 and secondly to Nicholas Montgomery of Cubley (d. 1494).2 This and the stylistic evidence suggest a date in the last quarter of the fifteenth century for the glass. Cox suggested that these armorials originated in the adjoining hall, the home of the Longford family.3 As they are not recorded in the church prior to Cox’s time 1 Pevsner Derbyshire, p. 267. 2 Wright, p. 215 and 228. 3 Cox, vol. 3, p. 191 319 this is quite feasible. None of the fabric of the hall is earlier than the mid-sixteenth century and most of it is eighteenth century.4 In the early eighteenth century the Bassano brothers blazoned the following shields in glass in the church:5 ‘In the East Window the following Arms’: 1. Gules, a chevron between three horse-shoes or. 2. Or, a fist sable and argent, a canton gules . 3. Gules, a fess checky or and sable between six crosses pate fitchy, the first three in chief. ‘In one partition of the East Window’: 4. ‘the Arms of England’. ‘In a Nother partition’ 5. Gules, two pales or over all a bend argent. ‘In a Nother partition’ 6. Bendy of six or and azure. This glass cannot be dated. It may have been late thirteenth century like the original east window, which was replaced in 1843 by the current stonework. 6 Catalogue nII (fig. 173). 4 Pevsner Derbyshire, p. 268. 5 Bassano MS, pp. 190 and 192. 6 London, Society of Antiquaries, Incorporated Church Building Society, ICBS 36/3-5. 320 2b. Shield of arms, the dexter charged with: Or, a saltire engrailed sable.7 15thc. (?) The rest of the shield is modern. A1. Made-up shield, mostly modern, incorporating a fragment of an acanthus and rod border in blackline and yellow stain. 15th-c. The shield is set within a border incorporating fragments of a garter, including a buckle and unreadable blackletter text reserved against matt and yellow stain. 15th-c. nIII. A1. Shield of arms (fig. 171): France modern, quartering England. The whole shield is set within a garter, which is charged with the fragmentary motto of the Order of the Garter in blackletter: /hony/ soyt/ [q]uy/ mall/ pense/, the letters reserved against a matt wash and stained yellow. The garter is blue and is decorated with yellow stain rosettes and has a buckle and chape in black line on white with yellow stain. As infill between the shield and the garter: stylised foliage in blackline, hatching and yellow stain on white. Leaded breaks and varying degrees of paint loss. 15th-c. nIV A1. Modern shield of arms, the border incorporating fragments, including rod and acanthus and parts of a number of mottoes of the Order of the Garter in blackletter: /hony/, /…y/, /hony/, /…ony/. 15th-c. sII. A1. Shield of arms (fig. 172): Ermine, a bordure gules charged with ten horesehoes argent (Montgomery)8, impaling, Paly of five argent and gules, 7 Papworth has this as the arms of Mohun (Papworth, p. 615). 321 over all a bend argent (Longford). The whole shield is set within a garter, which is charged with the fragmentary motto of the Order of the Garter in blackletter: /soyt // pens /, the letters reserved against a matt wash and stained yellow. Fragments of acanthus and rod in blackline and yellow stain on white, have been inserted where parts of the motto are lost. The garter is blue and is decorated with yellow-stain rosettes and has a buckle and chape in blackline on white with yellow stain. As infill between the shield and the garter: stylised clouds or foliage in blackline and stipple with yellow stain. Leaded breaks and some paint loss. Late 15th-c. sIII. A1. Shield of arms (fig. 170): Quarterly, 1 and 4, argent on a bend azure three stags heads caboshed or (Stanley), 2, Or, on a chief dancetty azure, three roundels argent (Latham), 3, Gules, three legs armed proper conjoined in the fess point at the upper part of the thighs, flexed in a triangle, garnished and spurred or (Man).9 The whole shield is set within a garter, which is charged with the motto of the Order of the Garter in blackletter: hony / soyt / quy / mall / y/ pens /, the letters reserved against a matt wash and stained yellow. The garter is blue and is decorated with yellow-stain rosettes and has a buckle and chape in blackline on white with yellow stain. As infill between the shield and the garter: serrated leaves radiating from central rosettes, in blackline on white with yellow stain. Leaded breaks and some paint loss. Late 15th-c. sIV. 8 One of two distinct achievements used concurrently by the Montgomery family of Cubley, Derbyshire, they also used: Argent, an eagle displayed or (Medieval Ordinary, vol. 2, pp. 137 and 200). 9 Medieval Ordinary, vol. 2, p. 39. 322 A1. Modern shield of arms, the border incorporating two fragments of the motto of the Order of the Garter in blackletter, identical in detail to those elsewhere: /pens/, /mall/. 15th-c. 323 LOW MARNHAM REDUNDANT CHURCH OF ST WILFRID O.S. SK 806 694 Printed sources Coe 1981, p. 112. Cowen 1985, p. 165. Mee 1938, p. 170. Pevsner and Williamson 1979, p. 176. Truman 1949, p. 80. Low Marnham church consists of a western tower, nave with aisles and chancel with north chapel. Most of the interior features are thirteenth-century. The east end of the south aisle and south and east wall of the chancel have late Decorated fenestration. The north and south walls of the nave, along with the upper stage of the tower and the nave clerestory, are late fifteenth or early sixteenth-century.1 The church is redundant and is in the care of the Churches Conservation Trust. The remaining glass consists of a composite figure made up from the head of an image of St James the Great, elements of a deacon and other figurative and architectural fragments. Above is a foliage roundel. All the glass is contemporary with the late fifteenth or early sixteenth-century fabric. Truman and Pevsner both applied a broad ‘Perp’ date to it.2 Although Mee realised that the figure was a composite he identified it as St Wilfrid.3 nIV. 1b. Composite figure, incorporating the following fragments: The head of St James the Great, bearded, with long hair, wearing a broad-brimmed hat with cockleshell on the front. Black line, stipple and stickwork on white, with 1 Pevsner and Williamson 1979, p. 176. Cox 1912, p. 143. 2 Truman 1949, p. 80. 3 Mee 1938, p. 170. 324 yellow stain on the shell and crocketed nimbus. Heavy paint loss and leaded breaks. Part of a figure of a deacon, all that remains is a small section of the front of the dalmatic, a fringed sleeve and a hand holding an open book with the binding facing outward. Stippling on white, with stickwork foliage decoration on the vestment and book, and touches of yellow stain on the fringing. In other areas of the panel are dislocated fragments of drapery and fringing that match the vestment. A hand holding a book with a yellow stain foreedge, set against stippled drapery. Other fragments of drapery with heavy stippling, all dislocated and many leaded upside-down. Fragments of tessellated flooring, one set within a yellow-stain border. Paint loss and corrosion. All the glass is late 15th or 16th-c. h of figure 0.88m. A. B. Barton (digital images, 2006) 2b. Roundel, radiating oak leaves, executed in black line with hatching and yellow stain and set within a border of green glass. Paint loss and a single leaded break. 15th or 16th-c. d. 0.23m. A. B. Barton (digital images, 2006) 325 Mackworth, Derbyshire, Parish Church of All Saints OS SK 320 377 Manuscript source Rawlins, vol. 3, pp. 310-311. Printed sources Cox, vol. 4, p. 290. Nelson, p. 69. Illustrations Fig. 178. Mackworth church consists of a western tower, nave with aisles and south porch and chancel. The chancel dates from the first half of the fourteenth century, the nave arcades from the late fourteenth century and the aisle fenestration, west tower and spire from the fifteenth century. There were extensive restorations to the fabric in 1851 and 1886.1 All that is left of the medieval glazing are some fifteenth-century in situ foliate tracery fillings and architectural stopgaps in the two eastern north aisle windows. The glass was noted by both Cox and Nelson.2 The glass is in fair condition, with a few leaded and unleaded breaks. When Rawlins visited the church in 1818 he saw the following ‘delicately painted glass’ in the ‘compartments of the great east window’: ‘The centre subject is the figure of an aged personage sitting in a meditative posture in a tent door; and before him are standing three others. This is intended for the Interview of Mamre, mentioned in the 18th chapter of Genesis. 1 Pevsner Derbyshire, p. 269. 2 Cox, vol. 4, p. 290 and Nelson, p. 69. 326 In the first compartment on the left hand, is seen the walls of the town, before them are armed men, and in the distant prospect is a host marching to join them. I have no doubt but that this is designed for the compassing of the city of Jericho, as reflected in the 6th chapter of Joshua. The next is certain, in as much, as there is a chariot and horses, in which is sitting a black individual, with attendants standing round him, listening to one on foot, who faces the carriage. This is Philip and the Eunuch; Acts, Chapter 8th, verse 28th. In the compartment on the right hand are some tents and buildings, with warriors and other slaying of cattle; very probably they are to represent the spoil taken from the Amalekites, 1st Samuel, chapter 15th; and the Sacrifices at the Dedication of Solomon’s Temple.’3 None of this glass remains. The stonework of the present east window dates from a restoration in 1851, but according to Cox it is a precise replica of the previous window, which was of the first half of the fourteenth century.4 The glass may have been contemporary and was presumably lost when the window was renewed. Catalogue nII. A2. Tracery light filling (fig. 178), in situ. Stylised leaves reserved on a black matt wash within a yellow stain border. Each of the two lobes of the light is self-contained within its own border and is filled with a single leaf reserved on matt. Some damage to the lower lobe, where a piece of blue drapery is used as a stopgap; unleaded fractures. 15th-c. h 0.24m, w 0.10m approx. A3. Tracery-light filling (fig. 178), in situ and as A2. 15th-c. 3 Rawlins, vol. 3, pp. 310-311. 4 Cox, vol. 4, p. 287. 327 h 0.24m, w 0.10m approx. A4. Tracery-light filling (fig. 178), in situ and as A2. The bottom lobe is lost and filled with a modern white stopgap. 15th-c. h 0.24m, w 0.10m approx. A5. Tracery-light filling, in situ and as A2. Unleaded fractures and a small loss at top of bottom lobe. 15th-c. h 0.24m, w 0.10m approx. nIII. A1. Tracery-light filling and fragments. Only the lower three-quarters of the filling remains in situ, it is as A2 of nII. Heavy paint loss and leaded breaks. The upper lobe of the light is filled with a cut-down ex situ tracery-light filling, consisting of a border of black line and yellow stain enclosing a yellow-stain rosette. 15th-c. h 0.24m, w 0.10m approx. A2. Tracery-light filling, in situ and is detailed as A2 of nIII. Leaded breaks. 15th-c. h 0.24m, w 0.10m approx. A3. Tracery light filling and fragment. Only the lower three-quarters of the filling remain, it is in situ and is detailed as A2 of nIII. Paint loss. The upper part of the light is filled with a cut-down finial from a canopy in black line and yellow stain on white. 15th-c. h 0.24m, w 0.10m approx. A4. Tracery-light filling and fragment, as A3. 15th-c. h 0.24m, w 0.10m approx. 328 A5. 19th-century copy of a medieval tracery light, in detail as lights A1-4.5 A6. 19th-century copy of a medieval tracery light, in detail as lights A1-4. 5 According to an inscription at the base of the window the glass in the main lights was installed in 1891. Presumably the glass in A5 and A6 dates from that time. 329 Mapleton, Derbyshire, Parish Church of the Blessed Virgin Mary OS SK 166 480 Printed sources Cox, vol. 2, pp. 512-513. Mee Derbyshire, p. 183. Nelson, p. 69. Illustrations Fig. 179. With the exception of the glass herein recorded nothing remains and nothing is known of the medieval church at Mapleton. The present church dates from the eighteenth century and is a simple stone rectangle with a west tower surmounted by dome and cupola.1 The surviving medieval glass consists of small remains of a Crucifixion, what may be a donor head, with a small portion of blackletter script, all in one panel set within nineteenth-century coloured quarries. The glass is dirty and retains little pigment. The inscription fragment is probably part of a donor text and refers to Thomas Prince. Although nothing is known of him, he was presumably a relative of Henry Prince, who was rector of nearby Norbury (q.v.) between 1466 and 1500.2 In 1880 Cox noticed among the remaining fragments, a piece of glass bearing ‘a church tower with a tree’ and another with the ‘nave of a church’. 3 These are no longer extant and may have occupied the position in the panel that is now filled with a piece of modern frosted glass. 1 Pevsner Derbyshire, p. 270. 2 L. J. Bowyer, The Ancient Parish of Norbury (Ashbourne, 1953), p. 62. 3 Cox, vol. 2, pp. 512-513. 330 Catalogue nIII. 2a. Fragments (fig. 179). Part of a Crucifixion, the lower part of the legs of Christ and a Golgotha with skull and long bones. The legs are represented by a white area reserved against yellow stain; the Golgotha has some remnants of pigment, with the skull and bone reserved against yellow stain. The head of a male (?) donor, facing three-quarters right, no pigment left, recognisable by the yellow-stain shoulder-length hair and the shape of the neckline reserved against yellow stain. Blackletter inscription: /Thomae : Prince/, complete pigment loss, only the shadow of the inscription remaining in the stain. Fragment of a nimbus, with only the yellow stain left. Other minor yellow stained, pigment-less fragments, ruby fragments and a modern frosted glass stopgap. Late 15th or 16th-c. h 0.34m, w 0.30m, approx. 331 Matlock, Derbyshire, Parish Church of St Giles OS SK 300 597 Manuscript source Rawlins, vol. 1, p. 126. When Rawlins was here in 1827 he saw ‘a perfect portrait of a female saint; … bearing no name’ in the east window.1 This glass was probably lost when the chancel was rebuilt in 1859.2 The medieval chancel was apparently Decorated, i.e. fourteenth-century.3 1 Rawlins, vol. 1, p. 126. 2 Pevsner Derbyshire, p. 272. 3 Cox, vol. 2, p. 519. 332 Mattersey, Nottinghamshire, Parish Church of All Saints OS SK 691 893 Published sources Mee Nottinghamshire, p. 171. Illustrations Figs. 180-181. The church consists of a western tower and a nave and chancel, both with aisles. Internally the north chancel arcade is Early English and the remaining arcades Decorated. The church was refenestrated throughout in the fifteenth century, when the western tower was raised and a nave clerestory inserted.1 The surviving glass consists of a damaged head of St John the Evangelist, probably from a Crucifixion composition, a monogram roundel, border elements, quarries and drapery fragments. The glass is all coeval with the Perpendicular fenestration. The only author to notice any glass at Mattersey is Mee, who saw some ‘blue and yellow fragments.’2 In 1999 the glass sustained repeated shots from an air rifle. The head of St John was particularly badly damaged during this attack and has significant losses and fractures. The panel was conserved by the Lincolnshire Stained Glass Studio at Saleby, who plated the damaged areas.3 Catalogue nII. 1b. Head of St John the Evangelist, a roundel and fragments (figs. 180-181). At the bottom of the light is the head of St John, nimbed, with curly hair, 1 Pevsner Nottinghamshire, p. 178. 2 Mee Nottinghamshire, p. 171. 3 Personal comment expressed to the author by Mrs Lyndis Rowley, churchwarden. 333 supporting the left side of his face with his right hand. The head is executed in black line and stipple on white, with yellow stain on the hair and nimbus. Heavily pitted, fractured and with losses. ‘IHC’ monogram roundel, the monogram set on a ground of backpainted contiguous rosettes. Black line, cross-hatching and yellow stain. Dirty, with light pitting. Quarries, type 10. Crowns, lozenge-filled rectangles and twisted oak trail from borders, all in blackline on white, with yellow stain. Some of the borders are curved to fit around the head of a light. Fragments of ermine drapery with yellow-stain jewelling and blue drapery fragments. Dirty with pitting, fractures and losses. All the glass is 15th-c. h 0.49m, w 0.39m. 334 Measham, Derbyshire, Parish Church of St Lawrence OS SK 335 122 Printed sources Cox, vol. 3, p. 448. Nelson, p. 69. Illustrations Figs. 182-187. Although the parish of Measham was removed to the county of Leicestershire along with Willesley (q.v.) in 1888, it is included in this thesis by virtue of the fact that both politically and ecclesiastically it formed part of the ancient county of Derbyshire. In the Middle Ages the church was a chapel dependent on Repton priory.1 The church consists of a nave and chancel in one, with side aisles, south porch and western tower. The majority of the structure is of the fourteenth century, with the exception of the fifteenth-century clerestory and the western tower, which dates from the 1730s.2 The remaining medieval glass consists of fragments of the fourteenth, fifteenth and sixteenth centuries, leaded rather randomly, into the whole of window sVI and parts of window nIV. Of the fifteenth or sixteenth century are two shields charged with instruments of the Passion, one with the crown of thorns abraded against a ruby field. Of the fifteenth century: architectural fragments (including remains of over two dozen ‘MR’ monogram roundels), quarry fragments (including a rose en soleil) and figurative elements. The figurative elements are all small-scale and may be from narrative panels. There are the heads of two nuns and a fragment of a tonsured clerk, dressed in a surplice and holding an open book in one hand, 1 Cox, vol. 3, pp. 446-47. 2 N. Pevsner, E. Williamson and G. Brandwood, The Buildings of England, Leicestershire and Rutland (Harmondsworth, 1984), p. 187. 335 presumably from a panel portraying some liturgical function, perhaps one of the sacraments.3 Only Cox and Nelson noticed any medieval glass in the church. When Cox visited in the 1870s he saw, in the east window of the chancel, a shield of arms, which he identified as that of Grancourt (now in 3b of sVI),4 ‘several other armorial shields’ and ‘a large number of pieces of old yellow-stain glass’ with ‘two good figures in yellow and white’. These were leaded-up with ‘modern glass of the most glaringly vivid colours’.5 Nelson, probably copying Cox, saw the Grancourt shield and fragments, in the same location.6 Catalogue nIV. The medieval fragments in these lights are leaded in amidst pieces of irregular, brightly-coloured, early nineteenth-century glass. 3b. Fragments. A small fragment of a side-shafting in blackline and yellow stain. 15th-c. w of light 0.51m. 3c. Fragments. A small fragment of the curved yellow-stain border from a tracery light filling and a fragment of a side-shafting in black line with yellow stain. 15th-c. w of light 0.51m. 4a. 3 Quarry, type 44. Leaded break, pitting. In the series of late fifteenth-century roundels of the seven sacraments from Roger Wigston’s house in nearby Leicester, two scenes, Extreme Unction and Baptism, show the clerk, dressed in a surplice like the figure at Measham, holding an open book in one hand and the chrismatory containing the holy oils in the other. See: Ayre, p. 59. 4 Sable, a semee of fleur-de-lis or, Cox, vol. 3, p. 448. 5 Cox, vol. 3, p. 448. 6 Nelson, p. 69. 336 Second half of the 15th-c. w of light 0.51m. sVI. 1a. Fragments (fig. 187), including the head of a fourteenth-century trumpeting angel, but also the following fragments of the period covered by this thesis. The head of an angel, with the amice visible at the neckline and with its right hand raised with a gesturing finger, set against an architectural ground with a crocketed pinnacle visible, the head and wings in yellow stain. Paint loss. 15th-c. Fragments of three crowned ‘MR’ monogram roundels, blackline with yellow stain stain. Late 15th-c. Fragments of drapery with a diaper of quatrefoils set on a ground of yellow stain. Paint loss. 15th-c. Part of an inscription in uppercase script on a cross-hatched ground: /DA/. 16th-c or post-medieval. h 0.28m, w 0.30m. 1b. Fragments (figs. 182 and 183). A fragmentary tonsured clerk standing threequarters left, dressed in a surplice over a fur-trimmed cassock and holding an open book. Hair in yellow stain. The figure is trimmed, but part of a canopy or architectural structure in black line and yellow stain appears over his left shoulder. Heavy paint loss. 15th-c. The heads of two wimpled nuns, one facing three-quarters left and the other right, heavily trimmed, with considerable paint loss. 15th-c. Other minor fragments in white with yellow stain and a piece of stippled drapery. 15th-c. h 0.28m, w 0.30m. 2a. Passion shield and fragments (fig. 184). The shield is charged with the crown of thorns and three nails, abraded against a ruby seaweed rinceau field. The crown and the heads of the nails are in yellow stain. Some paint loss, leaded breaks and stopgaps. Late 15th-c. Fragments of three crowned ‘MR’ roundels as in 1a. Quarry type 67. Fragments of an inscription as in 1a: /LA/. h 0.28m, w 0.30m. 337 2b. Passion shield and fragments (fig. 185). The shield is charged with a cross argent, with two instruments of the Passion, the yellow vinegar rod and yellow spear with white blade placed behind it in saltire, the whole set on a field of ruby seaweed rinceau. 15th-c. Fragments include the lower part of a canopy in white and yellow stain (see panel 3b), minor architectural and foliate fragments in white and yellow stain, plain ruby glass. 15th-c. h 0.28m, w 0.30m. 3a. Fragments. Fragments of two ‘MR monogram roundels as 1a. Two types of blackletter inscription, the text of both outlined in blackline and filled with yellow stain: /n/, part of a minim. Paint loss. 15th-c. h 0.28m, w 0.30m. 3b. Fourteenth-century shield of arms and fragments (fig. 186). A fragment of an ‘MR’ roundel as 1a. A large section of a canopy, a crocketed ogee gable flanked by two crocketed pinnacles, all in blackline and yellow stain. 15th-c. Small yellow-stain fragments. Fragments of ruby glass with areas abraded and stained yellow. 15th or 16th-c. h 0.28m, w 0.30m. 4a. Fragments, surrounding a modern roundel charged with a ruby ‘A.’ Quarry, type 67. 15th-c. Fragments of four crowned ‘MR’ monogram roundels as 1a. Minor 15th-c. fragments, including a piece of stylised foliage in yellow stain. h 0.28m, w 0.30m. 4b. Fragments, surrounding a modern roundel yellow roundel charged with a ruby omega. Quarry type 67. 15th-c. Fragment of a crowned ‘MR’ monogram roundel as 1a. Ruby and yellow-stained fragments. h 0.28m, w 0.30m. 5a. Fragments. Including parts of three ‘MR’ monogram roundels as 1a. Other small yellow-stain fragments and fragments of ruby glass, with areas abraded and stained yellow. 15th or 16th-c. h 0.43m, w 0.30m. 338 5b. Fragments. Including parts of three ‘MR’ monogram roundels as 1a. Other small yellow stain fragments and fragments of ruby glass. h 0.43m, w 0.30m. 339 MISTERTON PARISH CHURCH OF ALL SAINTS O.S. SK 764 947 Published Sources Truman (1949), p. 80. Mee Nottinghamshire, p. 172. Pevsner Nottinghamshire, p. 179. The church consists of a west tower, nave with aisle and chancel with north chapel. The north nave arcade is early thirteenth century, the tower is of the nineteenth century, but incorporates some thirteenth century remains. Most of the building, including the south nave arcade, fenestration and clerestory belong to the fifteenth or early sixteenth century.1 All that remains of the medieval glazing here is the head of a bishop with a pastoral staff and some associated fragments. The head is late fifteenth or early sixteenth-century date and therefore contemporary with the late medieval fabric of the church. Truman and Pevsner both assigned a late fifteenth-century date to it.2 When Truman saw the glass, it was in its present location but was 'much cracked and bent' and leaded inside out.3 The glass has been releaded and cleaned in recent years and is in good condition. nV. 1b. Head of a bishop and fragments. The bishop is facing three-quarters right, wearing a precious mitre, with the head of a pastoral staff over his right shoulder. Black line on white, with yellow stain on the pastoral staff and mitre. The head is set on dislocated fragments of stippled blue drapery, incorporating a gloved hand in the attitude of benediction, no doubt part of 1 Pevsner Nottinghamshire, p. 179. 2 Pevsner Nottinghamshire, p. 179 and Truman (1949), p. 80. 3 Truman (1949), p. 80. 340 the same figure. Paint loss, leaded breaks, and modern stopgaps. Late 15th or early 16th-c. h 0.44m, w 0.26m. A. B. Barton (digital image, 2006) 341 Monyash, Derbyshire, Parish Church of St Leonard OS SK 151 664 Manuscript source Bassano MS, p. 168 In the early eighteenth century the Bassano brothers saw the following shield of arms in glass in a window of ‘the south Ile’ of ‘Monyash Chapel’: Argent, upon a bend gules, three escallops or.1 It has not been possible to identify or date the shield with any accuracy. Cox suggested that it might have been borne by the Cheshire family of Tankersley, or by John Peckham, archbishop of Canterbury 1279-1292, or his predecessor Robert Kilwardby, archbishop 1272-1278.2 He did not, however, offer any explanation for the presence of the arms in the fourteenth-century aisle.3 1 Bassano MS, p. 168. 2 The Medieval Ordinary has Tankersley. Medieval Ordinary, vol. 2, pp. 25-26. 3 Pevsner Derbyshire, p. 282. 342 Morley, Derbyshire, Parish Church of St Matthew OS SK 396 409 Manuscript sources Ashmole, p. 7. Printed sources G. Bailey, 'On a Painted Glass Window in Morley Church, Derbyshire', DAJ, 8 (1886), pp.143-149. T. O. Bateman, ‘Notes on Morley Church, near Derby’, The Reliquary, 13 (1872-3), pp. 131-137. J. Britton and E. Wedlake Brayley, The Beauties of England and Wales; or Delineations, Topographical, Historical, and Descriptive, of Each County (London, 1802), vol. 3, pp. 387-88. C. Bruyn Andrews and F. Andrews (eds), The Torrington Diaries. A Selection from the tours of the Hon. John Byng between 1781 and 1794 (London, 1954), p. 191. Coe, p. 98. H. M. Colvin, 'Medieval Glass from Dale Abbey', DAJ, 60 (1939), pp. 122-155. Cox, vol. 3, pp. 321-347. S. Fox, History and Antiquities of the Parish Church of S. Matthew, Morley (London, 1872), passim. C. Kerry, ‘Glass in Morley Church’, The Reliquary, 24 (1883-4), p. 219. Mee Derbyshire, p. 198. Nelson, pp. 69-72. Pevsner Derbyshire, pp. 283-284. J. Pilkington, A View of the Present State of Derbyshire; with an Account of its Most Remarkable Antiquities (Derby and London, 1789), vol. 2, pp. 208-18. J. S. Purvis, ‘A figure of St John of Bridlington in Morley Church’, DAJ, 46/7 (1924/5), pp. 258-262. F. Rought Wilson, ‘The Brasses and Glass of Morley Church’, The Antiquary, 14 (1886), pp. 233-236. Thorold, p. 100. 343 J. G. Waller, ‘On Ancient Glass in Morley Church,’, Journal of the British Archaeological Society, 8 (1852), pp. 28-34. Illustrations Figs. 189-219. Morley church consists of a nave with aisles, a chancel with north and south chapels, a western tower with spire and a south porch. The south arcade is Norman, the north nave arcade is of the thirteenth century, and the chancel arch and chancel east wall are of the early fourteenth century.1 Additions to the building were made by members of the Stathum family, lords of Morley: a north chapel was added to the chancel by Ralph Stathum (d. 1380), and the tower and spire by his widow Goditha (d. 1418) and their son Richard (d. 1403). The south chapel (fig. 215) may have been added either by John (d. 1453), Thomas (d. 1470) or Henry Stathum (d. 1480). The church has a large collection of monumental brasses and table tombs commemorating members of the Stathum family and their descendants the Sacheverells, and these are clustered in the north and south chancel chapels. The north chapel and nave aisle (fig. 216) were altered in the late 1530s (see below). A large amount of medieval glass remains, disposed in two clusters, located in the north and south chancel chapels in windows nII, nIII, nIV, sII, sIII and sIV. Some of this glass is native to the church but a substantial amount was brought in from elsewhere. The Provenance of the Glass According to long-held tradition the late fifteenth-century glass in windows nII, nIII and nIV (fig. 216), and the glass that formerly occupied nV and nVI, was removed from the nearby Premonstratensian abbey of Dale (q.v.) and brought to Morley when the house was dissolved in 1539. This tradition was already circulating locally as early as 1662 and it is reported by Ashmole.2 Fox was of the opinion that Francis Pole of Radbourne, who purchased Dale from the crown following its dissolution, 1 Pevsner Derbyshire, p. 283. 2 Ashmole, p. 7. 344 was responsible for bringing the glass to Morley.3 Cox, challenging Fox, was of the opinion that Sir Henry Sacheverell, who was lord of Morley at the time of the Dissolution, was responsible for the gift.4 Both Fox and Cox were of the view that the stonework of windows nII, nIII, nIV, nV and nVI, as well as the glass, were brought and that together they formed part of the fabric of the refectory of the abbey.5 This, however, was disproved by an archaeological exploration of the south range of the abbey undertaken in 1985-7, which included the undercroft of the refectory and revealed the building above to have been of the thirteenth century with glazing, represented by surviving glass fragments found among the rubble, of a similar date.6 Colvin suggested as an alternative that both the glass and stonework formed part of the cloister of the abbey rather than the refectory.7 He is almost certainly right: the close placement and low setting of the windows in the wall is compatible with their location within a cloister walk. The particulars of the sale of the abbey in October 1539 seem to confirm this theory, for the 'roffes, ireon, glasse, pavyng stines (sic.), and seats' of the 'cloyster' were sold to Francis Pole for £6.8 The date of the cloister is known. The visitation of the house made by Bishop Redman of Exeter records that work was underway on the cloister in 1478 and was complete by 1482,9 a date stylistically compatible with the glass. The majority of the glass in the south chancel chapel (fig. 215) is native to Morley and is for the most part still in situ. The arms of Stathum quartering Morley and Okeover in the tracery of sIII suggest that a member of the Stathum family, who were lords of Morley until 1480, paid for this window. Canon Purvis reasoned that the window was installed between 1470, when Henry Stathum inherited the property, and 1480 when he died. This close-dating was based on the inclusion in the window 3 S. Fox, History and Antiquities of the Parish Church of S. Matthew, Morley (London, 1872), p. 8. 4 Cox, vol. 4, p. 340. 5 S. Fox, History and Antiquities of the Parish Church of S. Matthew, Morley, p. 8. 6 See: C. Drage, 'Dale Abbey: The South Range Excavations and Survey, 1985-87', DAJ, 110 (1990), pp. 78 and 88. 7 H. M. Colvin, ‘Medieval Glass from Dale Abbey’, DAJ, 60 (1939), p. 130. 8 London, British Library, Additional MS 6698, f. 268v. 9 F. A. Gasquet, Collectanea Anglo-Premonstratensia, Camden Society, third series, 10 (1906), vol. 2, pp. 174 and 176. 345 of images of two Yorkshire saints, St William Fitzherbert and St John de Thwing of Bridlington, which he concluded were in honour of William and Lawrence Booth, successively archbishops of York (see Southwell) and nephews to Henry Stathum’s first wife Anne Booth.10 The glass is stylistically compatible with Purvis’s dating. Window sII also includes the arms of Stathum and probably also dates from Henry Stathum’s lifetime. It is likely, given that his tomb occupies the position of honour between the chapel and the high altar, that he rebuilt the chapel. The provenance of some of the glass in nII, and panel 1a in sII (a group of kneeling donors) is less clear. By tradition all the glass in nII is assumed to have to have been part of the glazing removed from Dale Abbey, as it is clearly located in a window frame identical in form to the frames that surround the other Dale windows. However, the glass contained in nII is composite, consisting of a group of standing figures set above cut-down panels from a distinctly separate composition produced by a different workshop. Comparison of elements of the upper panels in nII, particularly the canopies, suggests that the panels are by the same workshop that produced window sIII, a window that has been established as forming part of the original late fifteenth-century glazing of the church. It seems likely then, that the upper panels in nII were part of the original glazing of Morley church, and were inserted into a larger window frame from the cloister of Dale abbey in the 1530s. It may be that they are the remains of the previous east window displaced when the aisle was rebuilt. The glass in sII is also composite, the series of kneeling donors in 1a the product of a different workshop from the in situ figures above. The intruded panels in these two windows (row 1 in nII and panel 1a in sII) can be linked stylistically to the glass in windows nIII and nIV and are likely therefore to be spoils from Dale used as stopgaps in new locations. The restoration of the glazing A good deal of damage was inflicted on the glass in the seventeenth, eighteenth and nineteenth centuries, through vandalism and apathy. The earliest damage was done in the seventeenth century, when lights d of nII and light c of sII were lost when the lights were blocked up in 1656 and 1662 respectively, to admit wall monuments to 10 J. S. Purvis, ‘A figure of St John of Bridlington in Morley Church’, DAJ, 46/7 (1924/5), p. 260. 346 Jacynth and Jonathan Sacheverell. More damage was inflicted in the eighteenth century. When Torrington visited in 1789, there was broken glass lying on a monument, broken by ‘the entrance of a sacrilegious fellow’ to steal the church plate.11 Until Samuel Fox became rector in 1844 damage was constantly being inflicted by souvenir hunters, as Bateman recalls: ‘the custom of the friends and visitors of the village and others, at times of hospitality, …, to show their regard for the church and its interesting objects, by pulling a bit of stained glass out of the windows to take home as a relic, or as an object of amusement for the children!’12 As a result of these various misfortunes, by the 1840s, as demonstrated by drawings published by Green Waller in 1852 (figs. 217-219), the glass in the north aisle had significant losses. These losses were made good in 1847, when window nII, nIII and nIV were thoroughly restored by William Warrington of London. Warrington's restoration was heavy-handed, as well as adding new glass to the medieval panels, eight entirely new panels were added to nIII and nIV. Four of these were new narrative panels, the content of which was based on the interpretation of the iconography made by T. O. Bateman, who paid for the work, and the rector Samuel Fox.13 Warrington's additions are quite obvious, as they differ from the medieval glass in both colour and technique. In 1997 window sIII was conserved by Barley Studio of Dunnington, North Yorkshire. The glass was cleaned and re-leaded and isothermally glazed. Iconography The glass in the church can be roughly divided into two iconographic types, multipanelled narrative sequences and standing saints placed in tabernacles under canopies. The former are part of the glazing removed from Dale Abbey, while the 11 C. Bruyn Andrews and F. Andrews (eds.), The Torrington Diaries. A Selection from the tours of the Hon. John Byng between 1781 and 1794 (London, 1954), p. 191. 12 T. O. Bateman, ‘Notes on Morley Church, near Derby’, The Reliquary, 13 (1872-3), p. 132. 13 T. O. Bateman, ‘Notes on Morley Church, near Derby’, pp. 133-135. 347 latter are for the most part native to the church. The narrative panels in window nII, nIII and nIV can be divided up into five distinct groups: 1. The legend of the Holy Cross, from which seven heavily restored panels remain in nIII. 2. The legend of St Robert, from which five heavily restored panels remain in nIV. 3. Three panels in nII in which groups of figures are in the act of praising the Godhead. 4. A single panel in nIV with an instructional or moralistic theme. 5. Scattered fragments from the legend of St James the Great, Hermogenes and Philetus. Now reduced to less than a dozen pieces of glass in nIII. The iconography of the largest of the surviving cycles, the Legend of the Holy Cross, now consists of eight panels located in nIII. These panels are an amalgamation of two distinct events in the history of Christ’s cross. The first five panels are drawn from the Legend of the Invention or re-discovery of the Holy Cross by St Helena in AD 326, while the remaining five panels are from a separate legend, concerning the recovery and exaltation of the Holy Cross by the Byzantine Emperor Heraclius in AD 615. Only seven of the eight panels in the window are original, as panel 3d 'St Helen's vision of the cross' was added in 1847 to fit in with the rest. The theme of these panels reflects the events as described in the Golden Legend.14 It seems that the theme of the Holy Cross was particularly central to the liturgical life of the canons of Dale at the time the window was installed. In 1478, precisely the time the new cloister was being constructed, the canons were censured by their visitor because of their fondness in their liturgy for texts from an office of the Passion known as the ‘Office of the Holy Cross’.15 The liturgical importance of the cross in the fifteenth century is in turn probably a result of an event which forms part of the foundation history of the abbey as recorded in the thirteenth century by Thomas of Muskham. A notorious outlaw is said to have slept in Dale sometime before the abbey was founded, and in his sleep received a vision of 'a golden cross' 14 W. G. Ryan (ed.), The Golden Legend. Reading on the Saints (Princeton, 1993), vol. 1, pp. 277-284 and vol. 2, pp. 168-173. 15 J. A. Gribbin, The Premonstratensian Order in Late Medieval England (Woodbridge, 2001), pp. 115-116. 348 standing on the place where the abbey church was later to be built, 'reaching as far as heaven, with its arms extending to the bounds of the earth.'16 It was revealed to him that Dale would be ‘whitened’, an allusion no doubt to the colour of the Premonstratensian habit, and would be filled with ‘sweet flowers of the virtues’.17 The theme of the second narrative cycle has been the subject of some contention. The iconography is centred around a male figure clad in a white habit, who is shown discoursing with a king, apparently over land tenure and trespass. Each panel is accompanied by a blackletter inscription in Middle English. The original blackletter inscription in 2c identifies the figure in white as ‘Saint Robert’. Ashmole was the first to attempt to identify St Robert and he claimed the panels represented 'the story of Robert de Bloys the Hermet'.18 In the late eighteenth and through most of the nineteenth century, the panels were believed to illustrate the legend of St Robert of Dale, a supposed foundation legend of Dale abbey. This interpretation first appears in relation to the glass in 1789 in Pilkington’s A View of the present state of Derbyshire and is also included by Britton and Brayley in their Beauties of England.19 Pilkington’s version is as follows:20 ‘The glass was intended to convey an idea of the following circumstances. According to tradition, the keepers of the park, or forest, being disturbed by the encroachments of the monks, carried their complaints to the King; and, with a view of representing this fact, they are painted upon the glass in green 16 Et cum obdormiret vidit in sompnis crucem auream stantem in loco ubi nunc fundata est ecclesia nostra cujus cacumen celos tangebat, extremitates vero brachiorum usque ad fines orbis terrarum ex utraque parte se extendebat. De cujus claritatis mangnitudine totus mundus resplenduit. A V. Saltzman, ‘The History of the Foundation of Dale Abbey or the So-called Chronicle of Dale’, DAJ, 87 (1967), p. 28. 17 Vallis, inquit, ista virtutem floribus erit dealbata plena deliciis et amenitate. A. V. Saltzman, ‘Chronicle of Dale’, p. 28. 18 Ashmole, p. 7. 19 J. Pilkington, A View of the present State of Derbyshire; with and account of its most remarkable antiquities (Derby and London, 1789), vol. 2, pp. 208-18 and J. Britton and E. Wedlake Brayley, The Beauties of England and Wales; or Delineations, Topographical, Historical, and Descriptive, of Each County (London, 1802), vol. 3, pp. 387-88. 20 J. Pilkington, A View of the present State of Derbyshire, vol. 2, pp. 208-18. 349 habits, standing before him, with this inscription, “Whereof we complain unto the King;” when they received this answer; “Go, and tell him to come to me.” In another part of the window, the person against whom the complaint is lodged appears kneeling before the King. With a view of adjusting the dispute, and giving satisfaction to both parties, the King, it is said, granted to the canons of Depe-Dale, as much land as betwixt two suns could be encircled with a plough drawn by deer, which were to be caught from the forest. This is expressed by two other inscriptions: “Go, take them, and tame them.” “Go, take ground with the plough.” We find that this determination of the King was afterwards carried into execution: for upon the glass is painted a man with a plough drawn by deer, with these words painted underneath: “Here Sir Robert plougheth with them.” What extent of ground was encompassed in this way cannot now be ascertained. But it is probable that is comprehended the precincts of the abbey, or the whole liberty of Dale.’ In its form the story matches the glass remaining very well, which is no surprise, for according to Colvin the story was in fact the invention of the Revd. R. Wilmot, a late eighteenth-century rector of Morley, who passed it on to Pilkington.21 The story is not complete fantasy: for although it doesn’t refer to the events portrayed here in glass, the 'Chronicle of Dale' written by Thomas Muskham around 1260 does indeed trace the origin of the abbey to a hermit called Robert, a baker of Derby. 22 Warrington restored and augmented the glass to fit in with the St Robert of Dale legend. Bateman and Fox who had advised Warrington, both later realised that this was flawed, and that the panels probably referred to St Robert of Knaresborough.23 This is almost certainly correct. Robert of Knaresborough was the son of the mayor of York and lived from the end of the twelfth to the beginning of the thirteenth century as a hermit in a cave beside the river at Knaresborough in the 21 Colvin does not state his source for this view (H. M. Colvin, ‘Medieval Glass from Dale Abbey’, p. 139). 22 According to this source the hermit of Dale, a baker from Derby was commanded by the Virgin Mary to make a hermitage in Dale. He is given some resources to support himself by Ralph FitzGeremund and lives in a cave for some time, before building himself an oratory and cabin: A. V. Saltzman, ‘Chronicle of Dale’, pp. 18-38. 23 T. O. Bateman, ‘Notes on Morley Church, near Derby’, p. 135. 350 West Riding of Yorkshire. St Robert’s legend is recorded in two sources, a Latin prose text and an English metrical text.24 The glass panels at Morley seem to have conflated into one episode two events in St Robert’s life that are recorded separately in the texts: the first, his audience with King John and his subsequent grant of land, and the second, his complaint to the local lord that deer were encroaching on his land and the event where he ploughs with the deer. In both Latin and English texts the audience with King John comes first and the deer episode second. These separate events seem to have been conflated into one as they share the common theme of ploughing. In his audience with John, Robert is granted as much land as he can plough with one plough. In the legend of the deer, Robert is given the tamed deer to use as beasts of burden to plough his land. The most likely reason for their conflation in the window is that the panels were based on the oral memory of an individual rather than any one specific text. This also seems likely considering that the Middle English texts, that accompany the surviving panels bear no direct relation to the Middle English written text. Warrington added two extra panels, 3a and 3d, to fit in with the supposed legend of Robert of Dale and these have muddled of the original sequence, which it would seem consisted of only five panels. According to Bateman the first panel, 3a, ‘St Robert shooteth the deer’, was inserted ‘to give a good starting point for the legend’. The original starting point as recorded by Ashmole was: ‘Saint Robert being an Hermitt. Seyng the dere eytying ys corn’.25 The second panel 3d shows St Robert catching the deer. The remaining fifteenth-century inscriptions are not all in their original locations, or in their original relation to other inscriptions. For example, the inscription 'whereof the kepers complayn to the kyng', is placed under panel 3b, which is substantially of 1847. Ashmole has this placed in the same panel as the scroll: 'Bid hym come to me', which is now in the less restored panel 2c.26 24 Both contained in London, BL, MS Egerton 3143. The metrical text, with the Latin prose as an appendix, is published in: J. Bazire, The Metrical Life of St Robert of Knaresborough, Early English Text Society, Original Series, 228 (1955). A translation of the Latin prose is available in: F. Bottomley, St Robert of Knaresborough (Ruddington, 1993). 25 Ashmole, p. 7 26 Ashmole, p. 7. 351 Panels 1a, 1b and 1c in window nII are parts of a larger composition. The panels contain standing groups of figures, the Apostles led by St Peter, a group of saints lead by St John the Evangelist, and a group of clerics, led by the pope and including a cardinal, bishops and abbots. The figures all have their heads tilted upwards towards an object of focus outside the confines of their respective panels and each group has a scroll with blackletter text. The texts are in all praise of God and suggest that the lost focus of devotion was an image of the Godhead. The ecclesiastics have ‘Tibi laus et tibi gloria tibi decet honor (To you is praise and to you glory and to you right honour), the Apostles: ‘Te decet laus et honor domine’ (It is right to praise and honour you O Lord) and the mixed group of saints ‘In saecula sempiternam beata’ (You are blessed in all ages eternally). It has been suggested that this panel represents the Te Deum, with the panels reflecting the divisions of saints, martyrs, church, referred to in that text. However, the texts accompanying the panels do not relate to the canticle. A further fragment in panel 2b of sIV may be related to the three panels in nII. This small fragment includes a head, comparable with that of St John in panel 3a of nII, again with eyes raised toward some object of focus, now lost, and part of a blackletter inscription 'ih'. Diagonally across the fragment is a narrow band striped with black and yellow stain. It is possible that this is part of a Crucifixion, with the band representing the spear that pierced Christ's side. All that remains of what must have been another larger composition is a single panel, now placed at 2d of nIV. The panel shows two figures, dressed in blue fur-lined habits, with an inscription below: ‘Take heede of thy ways brother’. Kerry suggested that the panel represented Henry, who was the first Premonstratensian prior of Dale and committed suicide after the colonisation failed.27 Although Colvin dismissed this notion out of hand,28 and he is probably right to do so, it is possible that the panel relates in some way to part of the foundation history of the abbey. The way the figures are dressed is quite distinctive as they are both bearded and appear to wear blue fur-lined habits and hats. Their blue habits suggest that they are not Premonstratensians, who wore white habits. They could, however, be Augustinian canons, a row of whom, all wearing blue habits (representing black) 27 C. Kerry, ‘Glass in Morley Church’, The Reliquary, 24 (1883-4), p. 219n. 28 H. M. Colvin, ‘Medieval Glass from Dale Abbey’, p. 140. 352 survive at Papplewick in Nottinghamshire (q.v.), and formerly existed at Tuxford in the same county (q.v.). A community of Augustinian canons were the first to colonise Dale, but were removed by Henry II in the late twelfth century for forest offences, to be replaced in 1198 by the dissolute prior Henry and his Premonstratensian canons from Tupholme.29 As one would expect, as a Premonstratensian himself, Thomas of Muskham puts a less than positive spin on the departure of the less austere Augustinian canons. According to his account, they had become lax in their way of life and performance of divine service and were equally poor in their business dealings, this latter resulting in the forest offences that led to their expulsion from Dale. Thomas of Muskham saw this as divine providence: the black canons had withdrawn in order that the white canons, the Premonstratensians, might take their place. The exhortation ‘Take Heed of Thy Ways Brother’ is perhaps a reminder to the Premonstratensians of the need to maintain the rigidity of the rule. Some small fragments of an episode in the life of St James the Great survive in panels 1c and 1d of window nIII. The head of the saint, with a cockleshell in his broad brimmed hat, is obvious but there are also parts of inscription scrolls which relate to the conversion of the magician Hermogenes and his assistant Philetus. The texts 'Ite adducite Jacobus' (Go and persuade James), and 'simul cum Phileto' (likewise with Philetus), may be part of this, the former being Hermogenes' charge to Philetus to go and convince St James of the errors of his faith. The bearded head in 1c may be that of Hermogenes, whilst the head of a demon or devil at the base of the panel could be one of the demons Hermogenes summoned by his magical powers in order to put St James in chains.30 It could be conjectured that this fragmentary St James cycle, and the 'Take Heed of Thy Ways' panel, represent the remains of the former fillings of windows nV and nVI, which now contain nineteenth-century glass by Burlison and Grylls.31 Standing figures of saints, set within conventional canopied tabernacles, occupy the upper parts of windows nII and sII, and lights a and c of window sIII. The iconography of the panels in nII is entirely female. The Virgin Mary, St Mary Magdalene and St Ursula are identified by blackletter inscription scrolls swirling 29 A. New, A Guide to the abbeys of England and Wales, (London, 1985), p. 137. 30 W. G. Ryan (ed.), The Golden Legend (Princeton, 1993), vol. 2, pp. 4-5. 31 Pevsner Derbyshire, p. 284. 353 around their heads. The figures in window sII are mixed, with St Peter (holding a bunch of keys) and St Elizabeth, the mother of John the Baptist, neatly labelled. Light c of sII lost its glazing when the monument to Jonathan Sacheverell was introduced in 1662. It may be conjectured that the fragmentary figure of St John the Baptist, now at the top of light b in window sIV, was originally located next to his mother in light c of sII. Window sIII contains three standing figures of ecclesiastics, a bishop/abbot, an archbishop and an abbot, labelled as St Roger, St William and St John of Bridlington respectively. Although the identity of St William is not denoted by any geographical tag, the archiepiscopal cross-staff he carries, and his grouping with John of Bridlington, another Yorkshire saint, suggest he is St William Fitzherbert, archbishop of York. The true identity of the pontifically dressed figure of St Roger is slightly more elusive. Canon Purvis was of the opinion that the 'saint' Roger portrayed was the bishop of London, Roger Niger (1229-1242), who enjoyed some cult status around his birthplace at Beeleigh in Essex, but was never officially canonised.32 Another possible identification, and one that Purvis mentions but dismisses, is Roger of Ellant, an Englishman who founded and served as abbot of the Cistercian abbey of Ellant in Champagne. 'Saint' Roger, who died in 1160, was never canonised, although he was beatified long after the window was installed at Morley. The dress of the figure is consistent with both individuals. The figures of St Roger, St William and St John flank a central light containing figures of the four Evangelists. The Evangelists are represented in two tiers, all four represented as men, seated at a desk writing on a scroll. Beneath each is placed their usual symbol. The scrolls have blackletter inscriptions, which the present author has not been able to fully interpret. St Mark has ‘istis’ (that), St John has ‘Xpc complens omnia’ (Christ completes all), St Luke ‘in bis binis’ (twice, twoby-two). These puzzling texts do not appear to make a coherent whole and do not refer to any element of scripture. 32 J. S. Purvis, ‘A Figure of St John of Brildington in Morley Church’, DAJ, 46/7 (1924/5), p. 259. See also: S. P. Nunn, St. Roger of Beeleigh (Maldon, 2001). 354 Catalogue nII. 1a. Group of Prelates (figs. 189 and 217), all standing three-quarters right on a tessellated floor under a vaulted canopy. The group is headed by the pope and includes a cardinal, a bishop, two abbots and various other tonsured figures. The pope is wearing a tiara and holds a double cross in his left hand, his right hand is in the attitude of benediction, he is dressed in white alb, murrey tunicle (?), white and yellow stain dalmatic (?), white almuce, and blue cope. The cardinal is dressed in ruby cassock and wears a ruby hat without tassels. Behind him a bishop is wearing a white and yellow-stain mitre, yellow-stain apparelled alb, murrey cope, and yellow-stain buskins and is holding a yellow-stain pastoral staff in his right hand. Behind him two tonsured abbots, one in a blue habit and one in a white habit, both holding yellow stain pastoral staves in their right hands. Behind the main figures are further tonsured heads, one accompanied by the head of a yellow-stain pastoral staff. A blackletter inscription scroll is placed in front of the pope: /Tibi laus tibi gl[or]ia/ tibi decet/ honor/. Murrey ground reserved with sprigs of foliage. Yellow stain cresting to tessellated floor. Black line and stippling, yellow stain as indicated. Final quarter of the 15th-c, heavily restored in 1847. Some paint loss, particularly on the faces and inscription. h 0.72m, w 0.47m. 1b. The Apostles (fig. 193), all nimbed and standing barefoot, facing threequarters right or in profile on a tessellated floor. St Peter leads the group, wearing a green mantle over a red robe, and holding two large yellow-stain keys. In front of him is a blackletter inscription scroll: /Te decet: laus/ et honor/ d[omi]ne/. Behind him is a bearded apostle in blue mantle with a murrey hood, then an apostle in murrey mantle over a white and stain robe holding a staff, which has been wrongly restored as a pastoral staff. At the back of the front row, St John the Evangelist in a blue robe and white mantle, 355 holding a palm. The other apostles are only suggested by their heads, all have yellow-stain nimbuses. Blue ground with foliage diaper. Vaulted yellow-stain canopy, with red pendant bosses. Black line and stippling, yellow stain as indicated. Final quarter of the 15th-c, heavily restored in 1847. Some paint loss on the faces and inscription. h 0.72m, w 0.48m. 1c. Group of male and female saints (fig. 192), all nimbed, some crowned, all standing three-quarters left on a tessellated floor under a shallow yellow stain canopy. St John the Evangelist, holding a chalice with viper and wearing a ruby mantle over a yellow stain robe, leads the group. In front of him is a blackletter inscription scroll: /In saecula sempi[ternam]/ : beata/. Behind him is a bearded saint wearing a blue mantle over a white gown and holding a book, then a female saint in green mantle, a bearded male in blue gown and a female in green mantle. The figures of other saints are suggested by rows of heads. Murrey ground decorated with reserved trailing foliage. Black line and stippling, with yellow stain as indicated. Final quarter of the 15th-c, heavily restored in 1847. Some paint loss on the faces, and pitting on the ruby glass. h 0.72m, w 0.47m. 2-3a. The Virgin and Child (fig. 190). The virgin is nimbed and stands threequarters right holding a branch (a lily stem?) in her right hand, supporting the Christ Child on her left arm, which is covered with her mantle. The Christ Child touches the Virgin’s cheek. She wears a ruby gown and white and yellow stain mantle. Blue rinceau ground. Side-shaftings and an elaborate multi-pinnacled canopy in white and yellow stain. Black line and stippling, with yellow stain as indicated. The bottom of the panel has been truncated to allow the panel below to be inserted. 15th-c, with restoration in 1847 including the replacement of the head. h 0.92m, w 0.47m. 2-3b St Ursula and her Companions being lifted to Heaven (fig. 191). St Ursula is nimbed and crowned standing full-frontal within a rayed mandorla, holding 356 what may be a martyr’s palm (?). She wears a ruby gown under a yellowstain mantle in which she envelops eleven small crowned figures (her companions). The companions are standing in a cloth held by angels. There are two further hovering angels flanking Ursula’s head. At the top of the panel the following blackletter inscription: /S[an]c[t]a ursula/ cum xi m/ virginum/ cu[m] angeli/s as/[c]endens/ in c[a]elum/. Ground of blue rinceau. Side-shaftings and an elaborate multi-pinnacled canopy in white and yellow stain. Black line and stippling, with yellow stain as indicated. The bottom of the panel has been truncated to enable the panel below to be inserted. 15th-c, with restoration in 1847. h 0.92m, w 0.48m. 2-3c. St Mary Magdalene, nimbed and standing three-quarters left holding an ointment pot in her hands. She wears a white and yellow-stain mantle over a murrey gown and is set against a ground of blue seaweed rinceau. Blackletter scroll behind the saints head: /S[an]c[ta]/ maria magdalene/. Side-shaftings and an elaborate multi-pinnacled canopy in white and yellow stain. Black line and stippling, with yellow stain as indicated. The bottom of the panel has been truncated to allow the panel below to be inserted. Leaded breaks and some corrosion on the murrey glass. 15th-c, with restoration in 1847. h 0.92m, w 0.47m. 4a Fragments. At the centre a nimbed hovering dove (the Holy Ghost ?), set against yellow stain rays. Also fragments of murrey, blue, green and white fringing (?). Minor architectural fragments. h 0.27m, w. 0.47m approx. 4b As 4a. 4c As 4a. A1A6 Quarries, type 15. Leaded breaks. All lights h 0.36, w. 0.20m approx. 357 nIII. 1a. The gates of Jerusalem are sealed to prevent the Emperor Heraclius entering on Horseback with the Holy Cross (fig. 199).33 The emperor is on horseback holding the true cross in one hand, he is vested in tiara and a red robe. Behind him rides an attendant dressed in a green doublet, yellow hose and wearing a hat. Two further heads (one with red hat) are shown above the head of the first attendant. To the right of the panel is a walled city, the towers of a gateway are shown in blue with a blank wall between them. The roofs of houses can be seen inside the city and there are swirling clouds overhead. 19th-c blackletter inscription at the base of the panel: /Sancta /cruce[m]/ in hier/osoluna[m]/ po/rtant/. Last quarter of the 15th-century, heavily restored in 1847. Leaded breaks. h 0.58m, w 0.48m. 1b. The adoration of the Holy Cross in Jerusalem (fig. 198). The entirety of the panel is occupied by a yellow-stain building with a blue roof, open at the front to reveal the interior. Inside the building a group of figures stand on a tessellated floor in front of the yellow-stain True Cross, which is stood up on the far right. The two front figures of the group have their hands raised in adoration. At the base of the panel is the 19th-c blackletter inscription: /S[an]ctae /cruc/is exaltat/io . XVIII . K/al Oct/. Black line and stippling with yellow stain as indicated. Last quarter of the 15th-c, heavily restored in 1847. Decay on the ruby and murrey glass. h 0.58m, w. 0.48m. 33 ‘Now Heraclius carried the sacred cross back to Jerusalem … mounted on his royal palfrey and arrayed in imperial regalia, intending to enter the city by the gate through which Christ had passed on his way to crucifixion. But suddenly the stones of the gateway fell down and locked together, forming an unbroken wall’. (W. G. Ryan (ed.), The Golden Legend, vol 2, p. 169). 358 1c. Panel of fragments (fig. 201). At the centre of the panel is a figure, made-up of blue drapery fragments, with the head of a bearded man facing threequarters right. Black line and stippling on white. Warrington has placed a red cap on the figure to make him into a prophet, and has also added a hand. Around the head is a blackletter inscription scroll: Ite : adducite : in iacobu[s] /simul : in/ phileto/. The scroll is heavily pitted. In the bottom right-hand corner of the panel is a fragmentary head of a devil or demon in flashed ruby and black line. The devil has pointed tusks and a pointed ear. The ground is made of canopy fragments, many of which can be related to surviving canopies in nII and sIII. All in black line and hatching on white, with yellow stain. All the fragments listed are 15th-c h 0.57m, w 0.48m. 1d. Fragments (fig. 200). At the centre of the panel is a figure made up from blue and red drapery fragments, and a portion of a yellow-stain orphrey or vestment hem. The figure incorporates the following two fragments: the head of St James the Great, bearded and nimbed, wearing a broad brimmed hat in which is placed his cockleshell emblem; and a hand grasping the hilt of a sword. Both in black line on white with yellow stain. Ground of fragments, mostly architectural, i.e. canopies, tessellated floors. Also a fragment of a jewelled orphrey or hem, a large-scale acanthus leaf, part of a grassy ground, with two disembodied feet, and the upper part and fletchings of an arrow set against yellow stain.34 All fragments listed are 15th-c The head of St James is heavily pitted. h 0.56m, w 0.48m. 2a. St Helena Directs the Re-Discovery of the True Cross (fig. 196). In a rocky landscape three workman are uncovering the cross, which lies in the centre of the composition. A workman to the right is wearing a green doublet and ruby breeches and pushing a metal-tipped spade into the ground with his foot. A workman wearing a ruby doublet and blue knee breeches stands to the left. He is resting on his spade looking up towards the top right-hand 34 Perhaps from the restored figure of St Ursula in 2-3b of nII? 359 corner of the panel and gesturing toward the cross. A further workman in the centre of the panel is wearing a blue doublet and wealds a pick. In the top right-hand corner, behind a rocky outcrop, stands St Helena, imperially crowned and wearing a white gown and ruby mantle, she points to the spot where the cross has been discovered. To her left she is attended by a man in a blue doublet. The rocky landscape is stipple-shaded and cross-hatched, and is studded with flowering plants, with a green bush in the top left-hand corner. A turret behind St Helena suggests the presence of Jerusalem. There are star-studded clouds behind the head of the St Helena’s attendant. At the bottom of the panel a 19th-c blackletter inscription: /Sancta[m]/ cruce[m]/ Inv/eniunt/ Ao CCCXXVI/. Last quarter of the 15th-c, restored in 1847. Decay in the ruby glass. h 0.58m, w 0.48m. 2b. The Power of the Holy Cross Revives a Dead Man – ‘the devils go gibbering in the air.’35 This panel was made by Warrington to match the surviving 15th-c inscription. With the exception of the inscription only the upper part of the shrouded figure on the bier is medieval. He is surrounded by a number of figures, over him an emperor in tiara and red robe and a man in blue robe and black hat holding the true cross. Behind him stands St Helena, crowned and dressed in a ruby gown, watching a light murrey demon flee from the body of the shrouded man. Two further demons crawl away from the open bier. Further figures standing behind the man in blue are suggested by faces. Cloudy star-studded ground, yellow-stain foliage below. The 15th-c blackletter inscription at the base of the panel reads: /D/emones/ /fecerul[um]/ / ubillatu[m]/ / / in/ aere/. Paint loss on the shrouded figure. 15th-c elements in a panel mostly dating from 1847. 35 ‘Since they had no way of distinguishing Christ’s cross from those of the thieves, they placed them in the centre of the city and waited for the Lord to manifest his glory; and behold! At about the ninth hour the body of a young man was being carried past, and Judas halted the cortege. He held the first cross and the second over the body, but nothing happened. Then he extended the third cross, and the dead man immediately came back to life’. (W. G. Ryan (ed.), The Golden Legend, vol. 1, p. 282). 360 h 0.58m, w 0.47m. 2c. The Emperor Heraclius Kills Chosroes, King of Persia and Recovers the Holy Cross (fig. 197).36 To the left of the composition is the emperor standing three-quarters right wearing a tiara, dressed in a yellow-stain robe and an ermine-lined ruby mantle. His left hand is raised and in his right hand he wields a falchion. Behind him are three members of his entourage, one dressed in a blue robe and black skull cap, the other two suggested only by heads. The king is seated to the right of the composition, wearing a yellow gown and murrey mantle and holding two sceptres, he is bareheaded. His head is turned away from the emperor. To the right of the king is the diminutive figure of his son, standing on the tessellated floor under a small fabric canopy in white and yellow stain, he wears a ruby gown and a small yellow coronet. His hands are raised in a gesture surprise. Between the emperor and king is placed the yellow T-shaped cross. Tessellated floor and blue diapered ground. Small original blackletter inscription at the feet of the emperor: Hic Eraclius Amputat Caput. 19th-century inscription at the base of the panel: Heraclius Fide[i] Colchoi Obtulit. Last quarter of the 15th-c, restored in 1847, the head of Chosroes dating from that work. The ruby glass heavily decayed, minor paint loss. h 0.57m, w 0.48m. 2d. Heraclius has the son of Chosroes forcibly baptised (fig. 218).37 To the right of the composition is a large yellow stain font with traceried bowl and blackletter inscription on the traceried base: /Hic eraclius baptisavit suu[m] filiu[m] juniorem/. In the font is a naked, crowned prince, standing three- 36 ‘Heraclius journeyed to Chosroes and found him seated on his golden throne. He said to him: “Because you have honored the wood of the holy cross in your own way, you will be spared your life and your reign on condition that you accept the Christian faith and receive baptism”. … Chosroes refused the offer and Heraclius promptly decapitated him’. (W. G. Ryan (ed.), The Golden Legend, vol 2, p. 169. 37 ‘Heraclius found the king’s son, a child of ten years of age, with him. He had the boy baptized and with his own hand lifted him from the font’. W. G. Ryan (ed.), The Golden Legend, vol. 2, p. 169. 361 quarters left in the attitude of prayer. Over him and placing his hand on the prince’s forehead is a figure of a bishop, dressed in mitre, almuce and blue cope. Behind the font is the yellow stain T-shaped true cross, and to the left the figure of cleric in alb, holding an open book and chrismatory. To the left of the composition and facing the figure in the font is a figure of an emperor in tiara and ermine-lined ruby robe, with his right hand in attitude of benediction. Behind him is a further figure in blue robe and black hat. The right hand half of the panel is backed by a ground of murrey glass with foliage reserved on a matt wash. 19th-c blackletter inscription at the base of the panel: /Heracl/ius filiu[m]/ Colc/hois ba/ptizavit/. Last quarter of the 15thc, restored in 1847, the majority of the left hand part of the panel dating from that work. The ruby and murrey glass decayed and some paint loss. h 0.57m, w 0.48m. 3a. The Construction of the Holy Cross (fig. 194). The t-shaped yellow-stain cross is laid on three blocks. A workman in a ruby doublet and green hose stands to the left, drilling a hole with a hand drill in the joint of the shaft and cross-beam. To the right a further workman in a ruby doublet, green hose and red hat, planes the cross-shaft with an adze. Behind and to the left of him is a standing figure (the foreman?), wearing a blue gown and murrey hat. The ground is of yellow stain and stippled, with flowers and rocks reserved against the stippling. On the ground beneath the cross is a saw and a setsquare. Some architectural elements at the top of the panel may suggest the walls of Jerusalem. A 19th-c blackletter inscription at the base of the panel: Sa/nctum Cruc/em Faci/unt/. Last quarter of the 15th-c, restored in 1847. The ruby glass is decayed and there is some paint loss on faces. h 0.75m, w 0.48m. 3b. Christ is nailed and bound to the Cross (fig. 195). The cross is laid on the ground with Christ stretched out on it, he is cross-nimbed, wearing the crown of thorns and a murrey loincloth. A man wearing a ruby doublet and blue hose nails Christ's left hand to the crossbeam. A man wearing a blue doublet, white hose and a green hat and purse ties Christ’s right hand to the crossbeam. A further man wearing a green doublet and ruby hose ties 362 Christ’s feet to the cross shaft. Yellow stain and stipple ground, with flowers and rocks reserved against the stipple. Below the cross shaft is a yellow-stain basket containing pincers, nails and a hammer all picked out against the stain. The upper left and right-hand corners contain confused architectural fragments, probably intended to be the walls of Jerusalem. Stylised trees with green tops and blue trunks. Cloudy sky around the hammer of the upper figure, studded with yellow stain stars. There is an original blackletter inscription at the base of the panel: /Supe/r /cruce[m] / strictus/ est ihc/ . Last quarter of the 15th-c, restored in 1847. The ruby glass decayed and there is some paint loss. h 0.75m, w 0.47m. 3c. The burial of the Cross following the Crucifixion.38 The cross is being laid down in the centre of the composition by two men dressed in blue doublets, red hose and yellow hats. In the bottom left-hand corner, a man dressed in a red doublet, blue hose, yellow shoes and a violet hat, digs a hole with a pick. A man in the top right-hand corner of the composition, dressed in a ruby doublet and blue hat touched with yellow stain, tips soil on the centre of the cross with a spade. Appearing behind an outcrop of rock at the top of the composition are three demi-figures of men, one in a green doublet has his hands raised in adoration. 19th-c blackletter inscription at the base of the panel: Sancta Crux Sub Terra[m] Conditur/. Last quarter of the 15th-c, restored in 1847. The ruby glass is heavily decayed, one face is opaque and there is some paint loss. h 0.76m, w 0.48m. 3d. St Helena Receives a Vision of the Holy Cross. St Helena kneels in the left corner of the panel, she is crowned and nimbed, and is dressed in a ruby gown over an ermine gown. Her head is set in profile and she looks up toward the top right-hand corner of the panel. In the top right-hand corner of the panel, and set in a border of billowing clouds, is an angel, holding the 38 ‘The precious wood of the cross lay hidden underground for over two hundred years’. (W. G. Ryan (ed.), The Golden Legend, vol. 1, p. 278). 363 yellow T-shaped true cross. The whole scene is set against a rocky ground studded with the odd flower. The multi-coloured roofs and walls of a city are at the top of the panel, set below a star-studded cloudy sky. Blackletter inscription at the base of the panel. S[an]c[ta] Helena Per Somniu[m[ cruce[m] videt. The entire panel dates from 1847. 39 h 0.77m, w 0.47m. A1A8 Quarries, type 15. Leaded breaks. All lights h 0.36, w. 0.20m approx. nIV. 1a. 19th-c heraldic panel (fig. 207), incorporating some medieval fragments. Shield: Gules, a canon in the attitude of prayer Argent, on a chief azure, the Virgin and Child argent (Dale Abbey). Behind the arms the blackletter scroll: /Dale/ Abbey/. The shield hangs from a cord attached to the centre of a shallow yellow-stain canopy. The figure of the canon on the field of the shield is 15th-c He is kneeling facing three-quarters left in the attitude of prayer and has some oversize yellow stain beads hanging at his waist. Ground of 14th and 15th-c fragments, including: minor architectural elements which relate to architectural elements elsewhere in the church, drapery fragments, stippled grass and the head of a male figure, the left eye and part of the shoulder-length yellow stain hair remaining . 19th-c blackletter inscription at the base of the panel: /These/ ancient / Win/dows were // and were / restored/ by / W Warrington for/. h 0.52m, w 0.47m 1b. 19th-c heraldic panel, incorporating some medieval fragments. Shield: Argent, a chevron between three crescents gules (Pole). Behind the arms the blackletter scroll: /Fran[ci]s/ Pole/. The shield hangs from a cord attached to the apex of a shallow yellow stain canopy. Ground of 14th and 15th-c 39 T. O. Bateman, ‘Notes on Morley Church, near Derby’, p. 133. 364 architectural fragments, including: minor architectural elements which relate to architectural elements elsewhere in the church, drapery fragments and a female head with long-curly yellow-stain hair and significant paint loss. At the base of the panel the 19th-c blackletter inscription: /brought/ here by/ Francis/ Pole // Thom/as Osbo/rne B/ateman/. h 0.52m, w 0.47m. 1c. 19th-c heraldic panel, incorporating some medieval fragments. Shield: Quarterly, 1 and 4, Or, three estoiles between the horns of as many crescents gules, a canton gules azure, in chief a martlet sable, 2, Or, on a saltire azure five waterbougets or, 3, Or, on a bend sable between two griffins heads casboshed of the same, three dolphins of the field (Sacheverell-Bateman). Behind the blackletter scroll /Bate/man/. The shield hangs from a cord attached to the apex of a shallow yellow-stain canopy. Ground of 14th and 15th-c fragments. At the base of the panel the 19th-c blackletter inscription: /from / the Abb/ey of / Dale // in / the Ye/ar 18/47/. h 0.52m, w 0.48m. 1d. 19th-c shield of arms and medieval fragments (fig. 208). Shield: Barry of eight or and vert, three lions rampant sable, quartering, Sable, on a fess or between three eagles heads couped argent, three escallops gules (Sitwell). Behind the blackletter scroll /Sit/well/. The shield hangs from a cord attached to the apex of a shallow yellow-stain canopy. Ground of 14th and 15th-c fragments. Of the 15th-c are sections of drapery (some ermine), fragments of a jewelled hem or orphrey, part of an armed leg set against a stippled ground powdered with foliage and part of blackletter scroll /…gham/. h 0.52m, w 0.48m. 2a. Legend of St Robert: The Keepers Inform the King of St Roberts’ Actions (figs. 203 and 219). The King stands centre right, dressed in a ruby fur-lined mantle over a yellow gown, crowned and holding a sceptre. From his mouth issues a 15th-c blackletter inscription scroll: /Bid h/im come to/ me/. This is directed to the two keepers standing three-quarters left. Both are vested in green coats and yellow hose. The front figure has a purse strapped 365 to his waist, has his right hand raised and holds a yellow hat in his left hand. Behind the king are members of his court: a tonsured man in a blue furtrimmed gown, with hand raised and a man in a brown gown. The whole scene set against a blue ground with all the figures standing on a tessellated floor. 19th-c blackletter inscription at the base of the panel: /the : keepers/ : inform/ : the : kynge/. Last quarter of the 15th-c, heavily restored in 1847. Leaded breaks and some paint loss. h 0.59m, w 0.47m. 2b. Legend of St Robert: The King gives St Robert as much ground as he can plough with the deer (figs. 204 and 219). St Robert stands to the left of the composition. He is tonsured, has a cusped nimbus and is vested in a white habit with oversize rosary beads hanging from his waist. His right hand is raised and his left rests on a yellow staff. The king kneels in front of him vested in a ruby fur-trimmed mantle over a white and yellow stain robe. He is crowned, has a linked chain around his neck and holds a sceptre. His right hand is raised. An 15th-c blackletter scroll issues from his mouth: / Go ye whome : and yo/wke them :// And take the gronde / tht ye plooe/. To the left of St Robert is a shorter man, wearing a blue gown and with his hands in the attitude of prayer. To the right of the king is a further man wearing a blue fur-trimmed mantle over a black gown, with his hands elevated and palms outward. At the base of the panel a 19th-c blackletter inscription: /the / kynge / gyfyth / hym / the / groun /. Last quarter of the 15th-c, heavily restored in 1847. Some paint loss. h 0.59m, w 0.47m. 2c. Legend of St Robert: St Robert ploughs the ground with the deer. St Robert is to the far left of the panel, dressed as in the other panels and directing a yellow-stain plough along a furrow. The plough is drawn by two deer. There is an uprooted tree below Robert, and above him two companions, in blue habits clear and area of woodland. Above the trees the battlements of a castle are visible. At the base of the panel a 15th-c blackletter inscription: here say/nt rob/ert ploo/yth /wyth / the deere/. Last quarter of the 15th-c, heavily restored in 1847. 366 h 0.59m, w 0.48m. 2d. Moralistic Panel: ‘Take heed of thy ways brother’ (fig. 206). Two figures bearded canons (?), one to the left facing three-quarters right, and one to the right facing three-quarters left. Both dressed identically in blue habits, murrey cowls and red hats. The habit of the right-hand figure is lined with fur and he holds an open book in both hands. The hands of the left-hand figure are manacled. The figures stand on against a rocky ground with occasional plants and grasses and with a castellated wall with turrets at the top of the panel. At the base of the panel a 15th-c blackletter inscription: take/ he/ed : to/ thy / ways/: bro/ther/. Last quarter of the 15th-c, restored in 1847. Some decay on the murrey glass. h 0.59m, w 0.48m. 3a. Legend of St Robert: St Robert shoots a deer that is disturbing his crops. This panel dates entirely from Warrington's restoration in 1847. St Robert is in the bottom left-hand corner of the panel, gently holding a wounded deer, shot with a cross-bow bolt. His companion in a blue gown is kneeling next to him, shooting the deer, which are emparked in an area of woodland. In the woodland to the right of the panel are two park keepers. Above the woodland at the top are the multi-coloured battlements of a castle. At the base of the panel the blackletter inscription: /St robert/shoot/eth the deer/re eatyng /hys corne/. c1847. h 0.59m, w 0.47m. 3b. Legend of St Robert: The Park Keepers Complain to the King regarding St Robert’s actions (fig. 202). The king stands three-quarters right, to the left of the composition, dressed in a yellow-stain gown, a red fur-lined mantle, holding a sceptre in his right and gesturing with his left hand. In front of him, facing three-quarters left are three keepers, dressed in yellow hose, green coats and black hats. The first two keepers are girt with short swords, while the second and third have longbows and quivers full of arrows. All the figures are set on a tessellated floor with a plain blue ground. At the bottom 367 of the panel the 15th-c blackletter inscription: Wh/erof the /keper/s com/playn to the kyn[g]/. Last quarter of the 15th c, heavily restored in 1847. h 0.59m, w 0.47m. 3c. Legend of St Robert: St Robert complains to the king and is given permission to catch the deer (fig. 205). St Robert kneels in the left-hand portion of the composition on a tessellated floor. He is dressed, as in other panels, in a white habit and with large yellow-stain rosary beads. To the right is the king, standing three-quarters left, crowned, dressed in a yellow-stain gown, ruby fur-lined mantle, holding a sceptre in his left hand and gesturing with his right hand. Behind him members of his court, one man wearing a blue and yellow mantle, the others suggested by heads. From the king's mouth issues the following 15th-c blackletter scroll: /Go whom/ : / /[a]nd pin/e them :/ At the base of the panel the 19th-c blackletter inscription: Here /he complanyt/h hym to the /kynge/ Last quarter of the 15th c, heavily restored in 1847. Some pigment loss and leaded breaks. h 0.59m, w 0.48m. 3d. Legend of St Robert: St Robert catching the deer. This panel dates entirely from Warrington's restoration. St Robert stands in the centre of the composition with his back to the viewer and head turned toward the left. He rests his rights hand on a twisted stick. A number of deer are racing past him, toward the left and out of view. To the right of the panel are two keepers, dressed in yellow hose, green coats and black hats. One is facing threequarters left, with his head full-frontal, the second faces left, with his head in profile, and with his left hand resting on his longbow. Behind the composition a woodland, containing wattle hurdles, and above it the multicoloured battlements of a castle are suggested. At the base of the panel the blackletter inscription: /St/ robert/ /catchyth/ the / deere/. c.1847. h 0.59m, w 0.48m. 4a. Filling, consisting of a cresting of stylised strawberry leaves set on a jewelled strip, of yellow stain with hatching on the jewelled strip. Foliage fragments intruded at the top of the light. 15th-c. 368 h 0.21m, w 0.47m approx. 4b. Filling as 4a, with multi-coloured fragments intruded at the bottom of the light, and part of a window with yellow-stain ferramenta inserted at the top. 15th-c. h 0.21m, w 0.47m approx. 4c. Filling as 4a, with multi-coloured fragments intruded at the bottom of the light, and a fragment of trailing foliage reserved on matt at the top of the panel. 15th-c. h 0.21m, w 0.48m approx. 4d. Filling as 4a, with multi-coloured fragments (fringing?) at the bottom of the panel, and an architectural fragment at the top of the panel. 15th-c. h 0.21m, w. 0.48m approx. A1A8. Quarries, type 15. Leaded-breaks. All lights h 0.36, w. 0.20m approx. sII. Light c is blocked and filled with the monument of Jonathan Sacheverell (died 1662). 1a. Kneeling donors (fig. 211), three females and five males. The women wear close-fitting blue gowns, black veils with needlepoint decoration and yellow stain collars. The men wear blue gowns, with prominent yellow-stain purses, and have shoulder length yellow-stain hair. Ruby ground with black line diaper. The panel appears to have been cut-down to fit in its present position. Some pitting on the blue glass and little paint loss. Late 15th-c. w of light 0.38m. 369 1b. Panel of fragments.40 A central roundel made up of portions of 14th-c canopy set against fragments of blue and ruby rinceau and pot-yellow fragments. The roundel in turn set against fragments of 15th-c canopy, similar in form to those in window nII. Some of the 14th-c glass is decayed. w of light 0.38m. 2-3a. St Elizabeth (fig. 209), nimbed and standing three-quarters right on a raised plinth, holding a closed yellow-stain book in her right hand and with her left hand placed against her breast. She wears a blue mantle and veil over a white and yellow stain gown. Black line with stippling and yellow stain. The figure is set on a ground of ruby seaweed rinceau. Side-shaftings. Below the panel the contemporary blackletter inscription: /S/ancta/ E/lizabetha/. Some decay on the blue glass and a little paint loss. 15th-c. w of light 0.38m. 2-3b. St Peter (fig. 210), nimbed and bearded, standing three-quarters right on a raised plinth, holding an open book in his hands, one of which is covered by his mantle and with a bunch of keys hanging from his right hand. He wears a ruby mantle over a white and yellow stain robe. Black line with stippling and yellow stain. Ground of blue seaweed rinceau. Side-shaftings. At the base of the panel the contemporary blackletter inscription: /S/anctus / Petrus/. 15th-c. w of light 0.38m. 4a. Canopy top, with pendant bosses, in blackline and stipple on white and yellow stain. Ground of blue seaweed rinceau. 15th-c. 40 ‘Mr Fox, describes “a cross” as occupying part of a light in the east window of the south aisle … It is made of floriated fragments of a very peculiar character. One of Mr Warrington’s workmen had laid his hand on them, and because they were not connected with the picture glass, he said he thought he might keep them as a relic for his own perquisite. When I saw them in London, and the use he had turned them to, by making this singular and elaborate piece of work, somewhat resembling a cross, I insisted on paying the value of the workmanship, and returning it thus made up, as an additional and legitimate object of interest in Morley church’. (T. O. Bateman, ‘Notes on Morley Church, near Derby’, p. 136). 370 w of light 0.38m. 4b. Canopy top, as 4a. w of light 0.38m. A1. Tracery-light filling, stylised foliage reserved on matt. Unleaded break, dirty. 15th-c. w of light 0.38m. A2. Shield of arms: Azure, a lion rampant argent (Estafcren). Set on a ground of stylised foliage reserved on matt. Glass dirty. 15th-c. w of light 0.38m. A3. Shield of arms: Gules, a pale fusilly, argent (Stathum), on a ground as A2. Glass dirty. 15th-c. w of light 0.38m. sIII. 1a. St Roger (fig. 214), nimbed and mitred, standing three-quarters right on a shallow plinth, holding a closed book and a cloth in both hands, and with a pastoral staff under his right arm. He wears a white and yellow-stain cope over a ruby cassock and green shoes. Behind his head a contemporary blackletter inscription scroll: /S[an]c[tu]s / Rogerus/. Ground of blue seaweed rinceau. Side-shaftings and an elaborate canopy in white and yellow stain. Leaded breaks and minor pitting. 15th-c. h 1.20m, w. 0.47m. 1b. The Four Evangelists (fig. 213), each seated at a table, the lower figures set on a tessellated floor raised on a shallow plinth, each evangelist has his symbol under the desk. St Matthew is bottom left, dressed in a white and yellow stain mantle over a green robe accompanied by his angel symbol. St John is bottom right, dressed in yellow stain mantle over a ruby robe with 371 eagle symbol. St Mark is top left, dressed in a ruby robe with lion symbol. St Luke is top right, dressed in a ruby robe with bull symbol. All are cleanshaven except St Matthew and all are writing on a blackletter inscription scroll, which fall over the side of their tables. The texts on the scrolls are: St John: /xpc complens o[mn]ia/, St Luke: /in bis binis/. St Matthew: /m…/…ut(?)... c et filiu[s]/. St Mark: /istis/. The figures are set on a ground of blue seaweed rinceau, under a multi-pinnacled canopy with side-shaftings, in black line on white and yellow stain. Leaded breaks and some paint loss. 15th-c. h 1.20m, w 0.51m. 1c. Saints William of York and John of Bridlington (fig. 212), both standing facing towards each other, on a shallow plinth; St William three-quarters right, St John three-quarters left. St William, nimbed and mitred, holds an open book in his left hand and a cross-staff in his right hand, and wears a white and yellow-stain cope over a green cassock with red buskins. St John, nimbed and tonsured, holding a pastoral staff in his right hand, wears a blue cowl over a brown habit with green buskins. Behind St William’s head is the blackletter inscription scroll: /Will[el]m[u]s Archi e/p[iscopu]s/. Behind St John’s head the blackletter inscription scroll: /S[an]c[tu]s i/oh[an]ne[s]/ pr[i]or[is]/ /Bridli[n]/tone/. The figures are set on a ground of ruby seaweed rinceau, under a multi-pinnacled canopy with side-shaftings, in black line on white and yellow stain. The figures overlap the side-shaftings. Leaded breaks and minor paint loss. 15th-c. h 1.20m, w 0.47m. 2a. Canopy top, as referred to in the main panels, set on blue seaweed rinceau. 15th-c. h 0.25m, w. 0.47m. 2b. Canopy top, as referred to in the main panels, set on red seaweed rinceau. 15th-c. h 0.25m, w. 0.51m. 372 2c. Canopy top, as referred to in the main panels, set on blue seaweed rinceau. 15th-c. h 0.25m, w. 0.47m. A1. Tracery-light filling, a design of trailing foliage drawn in black line with hatched shading and yellow stain. Leaded breaks and paint loss. Late 15th-c. h 0.15m, w. 0.15m approx. A2. Shield of arms: Quarterly, 1 and 4, Gules, a pale fusilly, argent (Stathum), 2, stopgap, 3, Argent, a lion rampant, sable, crowned or, with a crescent for difference (Morley). Leaded breaks and stopgaps. Late 15th-c. h 0.19m, w. 0.38m approx. A3. Shield of arms: Ermine, on a chief, gules, three bezants (Ockeover). The shield is set on a made-up ground of minor architectural fragments. Leaded breaks and stopgaps. Late 15th-c. h 0.19m, w. 0.38m approx. A4. Tracery-light filling, a design of trailing foliage drawn in black line with hatched shading and yellow stain. Leaded breaks and paint loss. h 0.15m, w. 0.15m approx. sIV. 1a. Figure of St Katherine, almost entirely by Warrington with the following exception:41 the centre of her jewelled fur gown, and the hand supporting the hilt of the sword, which may be 15th-c. The ground composed of broken foliage fragments, almost certainly all 19th-c. w of light 0.38m. 41 The figure of St Catherine is not part of the medieval glazing of the church, but was put in by Warrington to fill up the window. (G. Bailey, ‘On a Painted Window in Morley Church, Derbyshire’, pp. 143-149). 373 1b. Panel of 14th and 15th-c fragments. Shield of arms: Argent, on a saltire azure, three waterbougets or (Sacheverell). Also fragments of side-shaftings similar to those in sIII and the upper panels of nII, one with a partiially preserved blackletter inscription: /… h …we …/. 15th-c. w of light 0.38m. 2b Panel of 14th and 15th-c fragments. Part of a Crucifixion in white and yellow stain, the bowed head of Christ, crowned with thorns and with cross nimbus set against the cross beam, with swirling clouds above. 15th-c The bottom left-hand corner part of the head of a saint, his eyes raised as though looking up toward an object in the top right-hand corner. Above him is part of a blackletter inscription: ih/. A narrow band, striped yellow and black, runs from above the nimbus of the saint to above the blackletter inscription. Could this be part of a ray from an image of the Trinity or the spear that pierced Christ's side from a Crucifixion. 15th-c. w of light 0.38m. 3a. Fragments, a mixture of 14th, 15th and 19th-c foliage and canopy fragments. w of light 0.38m. 3b. Fragments, mainly canopies, some similar in design to those in sIII. Also two fragments of drapery, one with part of a yellow-stain jewelled hem identical in form to that in panel 4b above. 15th-c. w of light 0.38m. 4a. Fragments, including part of the torso of a feathered angel, yellow stain with peacock-feather wings. Also a fragment of blackletter scroll: /ave /. 15th-c. w of light 0.38m. 4b. St John the Baptist and fragments. Fragmentary figure of St John the Baptist. He is holding the Agnus Dei with staff and pennon, set on a book, his hand enveloped in a white robe, with a jewelled hem of yellow stain. Black line and stipple on white, with yellow stain. 15th-c. 374 w of light 0.38m. A1. Tracery light filling, probably in situ. Stylised foliage, on white with hatched shading and yellow stain. 15th-c. w of light 0.38m. A2. Fragments, including a cresting of stylised strawberry leaves set on a jewelled border, all in yellow stain on white, with hatching to the ground of the border. 15th-c. w of light 0.38m. A3. As A1. 375 Morley, Derbyshire, Demolished Manor House OS SK 397 409 approx. Manuscript source Ashmole, pp. 9 and 17. The manor house at Morley no longer exists. It may have occupied a site to the west of the church, where the remains of the medieval gateway still remain. In 1662 Ashmole saw the following glass in the building:1 ‘In the hall in a south window these five coats’: 1. Or, a cinquefoil sable. Underneath: ‘Breylsford’. 2. Azure, a lion rampant argent. 3. Gules, a fess or, between three bezants. Underneath ‘De la Laund’. 4. Or, on a saltire azure, five waterbougets or. Underneath: ‘Joh[anni]is Sacheverell’. 5. Sacheverell, quartering, Gules, a pale fusilly argent [Stathum]. ‘In another south window these eleven coates’: 6. Fretty argent and gules, on a chief sable a lion passant guardant or. Underneath: ‘Clopham’. 7. Argent, a chevron sable between three fusills of the same. Underneath: ‘Massey’. 1 Ashmole, pp. 9 and 17. 376 8. Gules, on a fess argent between three falcons on perches argent, three mullets sable. Underneath: ‘Lumley’. 9. Paly of six or and gules. Underneath: ‘Downus’. 10. Stathum with a label of three points gules, impaling, Argent, a chevron gules between three … sable. Underneath: ‘Henricus Stathum et uxor ejus’. 11. Stathum, impaling, Argent, a lion rampant gules, within a bordure engrailed sable bezanty or . Underneath: ‘Joh[ann]es Stathum et uxor ejus.’ 12. Stathum, quartering, Argent, a lion rampant sable, crowned or. Underneath: ‘Stathum and Morley.’ 13. Barry of six argent and azure. Underneath: ‘Henricus Dns Grey.’ 14. Morley. 15. Stathum, impaling, Argent, a cockatrice sable, membered or 16. Sable, a bend sinister or between six escallops of the same, impaling, Stathum with an annulet for difference. Underneath: ‘Joh[ann]es Stathum de Horsley et uxor’. ‘These two and two on the other side Coats in a North window’: 17. Sable, a bend or between six escallops of the same, impaling, Stathum. 18. Per pale, dexter, Sacheverell, impaling, Argent, a chevron gules between three hares playing bagpipes or, sinister, Sacheverell, impaling, Ermine, on a chief dancetty gules, three imperial crowns or [Leeche].2 Underneath dexter: ‘Rob[er]t[us] Sacheverell et uxor ejus’. 2 Cox, vol. 2, p. 183. 377 Underneath sinister: ‘Joh[ann]es Sacheverell et uxor ejus’. 19. Ermine, on a chief gules three bezants. 20. Stathum, quartering Morley. The arms refer to the descent and ownership of the manor of Morley, through the de Morley, Stathum and Sacheverell families, and to marriage alliances within these three families in the fourteenth and fifteenth centuries. The De la Launde arms (3) refer to the marriage of Richard de Morley to the heiress of Sir John de la Launde in the first half of the fourteenth century.3 The arms of Massey (7) refer to the marriage of Lucy Risley, the heiress of Morley, to William Massey.4 It was their daughter Goditha who married Ralph Stathum and transferred the manor into that family. The Lumley arms (8) refer to the marriage of Thomas Stathum, the son of Ralph and Goditha Stathum, to Elizabeth daughter of Richard Lumley.5 Henry Stathum, commemorated by 10, was son of the aforementioned Thomas and died in 1481. The arms impaled with Stathum are those of his second wife Elizabeth Seynclow.6 On the death of Henry the manor passed to his daughter Joan, who was married to John Sacheverell of Snitterton and Hopwell, who died at the battle of Bosworth in 1485.7 They are commemorated by 4 and 5. The John Sacheverell commemorated in shield 18 and the inscription below it, was the grandfather of John (d. 1485.) He was married to Anne, daughter of Sir Roger Leech of Chatsworth and died in 1459.8 3 Cox, vol. 4, p. 324. 4 Cox, vol. 4, p. 325. 5 Cox, vol. 4, p. 327. 6 Cox, vol. 4, p. 332. 7 Wright, p. 230. 8 Wright, p. 230. 378 Mugginton, Derbyshire, Parish Church of All Saints OS SK 283 428 Manuscript sources London, British Library, Harley MS 1093, f. 6v. Bassano MS, pp. 130 and 132. Printed sources Cox, vol. 3, p. 222. Mee Derbyshire, pp. 199-200. Thorold, p. 100. Illustrations Figs. 220-227. Mugginton church consists of a western tower, nave with south aisle and south porch and a chancel with south chapel. The earliest fabric is that of the tower, which may be eleventh century. The nave is essentially late thirteenth or early fourteenth century, with the arcade of a century later. A general refenestration was undertaken, the chancel was rebuilt and a south chancel chapel added (fig. 226 and 227) in the mid-to-late fifteenth century.1 The remaining medieval glass consists of quarries in sII, and two shields of arms and foliate fragments in sIII (figs. 224 and 225). The quarries in sII (type 57) are charged with covered cups bearing a capital R, which may be a rebus on the name of John Cowp, who was rector of Mugginton from 1469 to 1507.2 The shields of arms in sIII formed part of a larger heraldic display dating from 1480, which was recorded in trick by Richard St George, as part of his 1611 visitation of Derbyshire:3 ‘These eight Arms stand in the East window of the [south] Quyre.’ 1 Pevsner Derbyshire, p. 285. 2 Cox, vol. 3, p. 215. 3 London, British Library, Harley MS 1093, f. 6v. 379 1. A lion rampant within a bordure engrailed, surrounded by the garter. 2. A maunch, surrounded by the garter [perhaps Hastings].4 3. Quarterly, 1, argent within a bordure or two greyhounds passant sable, 2, or a tower triple-turreted azure, 3, vairy or and sable, 4, vairy argent and sable [Walter Blount, lord Mountjoy]. 4. Gules, a chevron vairy argent and gules, a marlet or for difference [Kniveton of Mercaston]. 5. Sable, five greyhounds courant in pale argent, collared or [Mauleverer]. 6. Argent, on a bend sable three martlets or [Curzon]. 7. Vairy argent and gules [Gresley], quartering, Sable a lion rampant argent [Wastneys]. 8. An eagle displayed [Montgomery]. ‘And in the same the inscription’: 'Orate pro bono statu Nich[ola]i Kniueton … uxoris eius qui ista[m] fenestram fieri fecerunt Anno D[omi]ni 1480' In the early eighteenth century, the window had already been damaged and the Bassano brothers saw only achievements 3, 4, 5, 7 and 8 remaining.5 Now only 3 and 7 are extant, in situ in the tracery lights. The donor of the glass, as the transcribed inscription suggests, was Nicholas Kniveton (died before 1506).6 Kniveton was lord of the manor of Mercaston and Underwood, within the parish of Mugginton, and served as an esquire of the body to King Henry VII. The glass formed part of the 4 The identifications of arms placed in square brackets here were made by Cox. Cox, vol. 3, p. 222. 5 Bassano MS, p. 132. 6 He exact date of his death is not known, but he was dead by 1506 when his second wife Alice married Sir Roger Mynors of Duffield. Cox, vol. 3, p. 138 and Wright, p. 226. 380 decoration of the two-bay mortuary chapel Sir Nicholas had prepared for himself before his death, in the angle between the south nave aisle and the chancel. The chapel, still enclosed by a parclose screen to the south (fig. 227), houses his tombchest, replete with brasses (again prepared before he died) originally placed underneath the eastern arch of the chapel arcade, between it and the chancel (fig. 226).7 The heraldic display Sir Nicholas placed in the window, which is repeated in brass on his tomb chest, reflects his familial connections and refers to his relationships with both his equals and superiors in Derbyshire and beyond. The Curzon arms (6) refer to the parentage of his mother Margaret, those of Mauleverer (5) to the family name of his first wife Joan, while the Montgomery arms (8) represented the marriage between his son John and Margaret, daughter of Nicholas Montgomery.8 The arms of Hastings (2) are included by virtue of Nicholas’ position within the retinue of Lord Hastings,9 with the arms of Gresley (7) reflecting his relationship with John Gresley (d. 1487), a fellow member of the Hastings following10 and the arms of Blount (3), referring to a connection with Walter Blount, Lord Mountjoy (q.v. Elvaston), who was Gresley’s cousin, the senior peer in Derbyshire and a fellow member, with Nicholas, of the judiciary in the county in the Yorkist period.11 Richard St George tricks the following arms and inscriptions elsewhere within the building:12 ‘In another window’: 9. Argent, between two bendlets as many martlets sable [Bradshaw].13 7 The inscription has been prepared with a space to receive the date of his death, which has not been filled in. 8 Wright, p. 246. 9 Wright, p. 90. 10 Wright, p. 116. 11 Wright, p. 116. 12 London, British Library, Harley MS 1093, f. 6v. 13 The identifications of arms placed in square brackets here were made by Cox. Cox, vol. 3, p. 222. 381 10. Ermine, on a bend gules, three bezants [Fulcher], impaling, A fess vaire or and gules, between three eagles displayed of the last [Kinnersley]. ‘And the inscription’: 'Orate pr[o] anima[bus] Joh[hann]is Bradshaw filiorumq[ue] suorum defunctorum ac etiam pro bono statu Isabella uxoris eius.' In addition to the glass recorded by St George, the Bassanos saw ‘in a North Window in Glass’: 14 11. Argent, a pile gules. 12. Argent, a chevron gules between three torteauxes. The John Bradshaw commemorated in the window recorded by St George owned a manor in Windley, less than three miles from Mugginton, within the neighbouring parish of Duffield. He was married to Isabella, the daughter of John Kinnersley of Loxley, Staffordshire, which explains the presence of the Fulcher and Kinnersley arms. 15 The ‘pro anima’ bidding for John and the ‘pro bono statu’ for Isabella (see above) suggest that the window dates from after the death of John in 1516, but within the lifetime of Isabella.16 When the author visited the church in 2000, the remaining glass in sIII (figs. 224 and 225) was in extremely poor condition. Some was perilously close to falling out, held in by little but a thin strip of mortar. The condition of the window has been aggravated by rusting iron ferramenta, causing expansion to the mullions at the top of the main lights. It is possible that some of the leads in the shields are original. All the glass is very dirty. 14 Bassano MS, p. 130. 15 Cox, vol. 3, p. 222. 16 Wright, p. 237. 382 Catalogue sII. 1b. Five quarries, type 57. Dirty, with some paint loss. Late 15th or early 16th-c. Other discoloured white quarries in both this light and light c may be old. w of light 0.44m. sIII. 1a. A fragment of groundwork (fig. 221), perhaps in situ, decorated with trailing vine stem in black line, reserved against a black matt wash decorated with needlepoint. 1480. h 0.11m, w 0.10m approx. A1. Shield of Arms (fig. 220) in situ. Quarterly, 1. Argent, within a bordure or two greyhounds passant sable, 2. Or, a tower triple-turreted azure, 3. Vairy or and sable, 4. Vairy argent and sable (Blount, lord Mountjoy). The shield is set against a ground of large-scale foliage outlined in black line and reserved against a yellow-stain hatched background. Losses and leaded and unleaded fractures to this – all the glass is dirty. 1480. h 0.31m, w 0.32m approx. A3. A fragment of groundwork (fig. 223) at the top of the light, in design as A1 and again in situ. Losses in the light are filled with 19th-century quarry glazing, which overlaps the bottom of the medieval glass, rather than being leaded into it. 1480. h 0.17m, w 0.17m approx. A4. Shield of Arms (fig. 222) in situ: Vairy argent and murrey (Gresley), quartering, sable a lion rampant argent (Wastneys). Ground and condition of the panel as A1. 1480. h 0.31m, w 0.32m approx. 383 Newark-on-Trent, Nottinghamshire, Parish Church of St Mary Magdalene OS SK 799 539 Manuscript sources London, British Library, Additional MS 19915, f. 3r. London, British Library, Additional MS 71474, f. 88r. Newton ‘Schools of Glass Painting in the Midlands’, vol. 3, pp. 428-478. Printed sources O. Allen, The Medieval Glass now in the Window of the Holy Spirit Chapel in the Parish Church of St Mary Magdalene, Newark (Newark, 1968). C. Brown, A History of Newark on Trent (Newark, 1904), vol. 1. pp. 287-290. Coe, p. 112. Cowen, p. 165. Gill, p. 121. J. Howson, ‘East window of south choir Newark Parish Church’, JBSMGP, 12, part 2 (1959), pp. 264-269. C. E. Long (ed.), Diary of the Marches of the Royal Army During the Great Civil War; Kept by Richard Symonds, Camden Society, Old Series 76 (1859), pp. 229-230. Mee Nottinghamshire, p. 178. Nelson, p. 160. B. Pask, Newark Parish Church of St Mary Magdalene (Newark, 2000), pp. 150-153. Pevsner Nottinghamshire, p. 186. Thoroton and Throsby, vol. 1, pp. 391-392. E. Trollope, ‘The Church of St Mary Magdalene, Newark, and other Churches visited by the Society on the 22nd and 23rd of June, 1871’, AASRP, 11 (1872), pp. 8-9. Illustrations Figs. 228-252. Newark church is the largest church in Nottinghamshire, reflecting in its scale the importance of the late medieval town in the economy of the county. It consists of a western tower with a two hundred and thirty foot broach spire, a nave with aisles, 384 north and south transepts, and quire with aisles and ambulatory (figs. 248-249). With the exception of the tower, spire and south nave aisle, which are of the thirteenth century, the church is more or less a complete build of the second half of the fifteenth century. Work began on the reconstruction of the church in 1460 at the west end of the nave, with the eastern arm completed by 1505, when two chantry chapels were erected on either side of the high altar. The gradual process of building and furnishing the church is well recorded in documentary sources, particularly the extensive collection of wills of the late medieval inhabitants of the town. 1 All the remaining medieval glass is now in window sII at the east end of the south quire aisle. The glass dates from a number of distinct periods. Lights c and d are filled with panels of the fourteenth century, with lights a, b, e and f and the tracery containing glass of the fifteenth and sixteenth centuries. The vast majority of the glass was removed from elsewhere in the building and was brought together in window sII in 1846 by Edward Bousfield.2 The glass in tracery lights C3 and C8 was removed from the common house of the Newark chantry priests in Apeltongate, when that structure was demolished in 1920.3 All the glass in sII was re-arranged by Joan Howson in 1957. Prior to her work the fourteenth and fifteenth-century glass was muddled up together. The fourteenth and early fifteenth-century glass is discussed at length in Peter Newton’s thesis.4 The glass includes quite a number of narrative panels, which probably represent a number of distinct cycles. Some of these panels can be easily identified, as they are fairly standard, with the Annunciation, Visitation of the Virgin Mary to St Elizabeth, the Massacre of the Innocents and the Ascension, presumably forming part of a Marian cycle. Some of the extant panels, by their fragmentary character are more difficult to identify. The iconography of panel 2f, which shows a series of saints, including St Peter, holding lighted tapers, cannot be firmly established. Joan Howson suggests 1 The documentary evidence for the fifteenth and early sixteenth century building work is outlined in: J. F. Dimock, ‘Newark Church. Its Documental history’, AASRP, 3 (1856), pp. 1-13. Most of the wills are transcribed in B. M. Pask, Newark Parish Church of St. Mary Magdalene (Newark, 2000). 2 B. M. Pask, Newark Parish Church of St Mary Magdalene, p. 150 3 B. M. Pask, Newark Parish Church of St Mary Magdalene, pp. 53-54. 4 Newton ‘Schools of Glass Painting’, vol. 3, pp. 428-478 385 that it might represent a Candlemas procession.5 Newton suggests that it represents a portion of a panel portraying the death of the Virgin.6 He is probably correct: the scene corresponds with the Golden Legend’s description of the death of the Virgin: ‘When blessed Mary saw all the apostles assembled, she thanked the Lord and sat in their midst, surrounded by lighted torches and lanterns’.7 Howson identified panel 4e as the suitors of the Virgin Mary attacking St Joseph, and Joseph being restrained by a rabbi, the suitors armed with staves.8 Newton agrees with this identification.9 Another possibility is that it depicts the moment where St Joseph is chosen as the spouse of the Virgin. This event is related in the Golden Legend, where all the unmarried men of the house of David were to bring branches to the temple, and the man whose branch bloomed would be the spouse of Mary. No branches bloomed so it was declared that the man who had not brought a branch would become Mary’s spouse. Joseph was the only man who hadn’t brought a branch whereupon he was compelled to fetch one by the priest and it burst into flower.10 The Newark panel no doubt represents the moment in which Joseph is discovered to be the only man without a branch. This probably wasn’t an isolated panel, as flowering branch in panel 4a may be remains of a second, showing the moment the branch flowered. The iconography of some panels has been confused through restoration. In 1957 Joan Howson amalgamated fragments of two panels representing the Deposition and Crucifixion of Christ into a single panel (3e), removing the remaining fragments of the Deposition to elsewhere in the window. These panels and the numerous three-quarter heads of Christ, suggest the former existence of an extensive sequence of the life and Passion of Christ. Cornelius Brown quotes a document, sadly un-referenced and untraceable, in which reference is made to the destruction of a window ‘of Thomas Becket’ in the 5 J. Howson, ‘East window of south choir Newark Parish Church’, p. 269. 6 Newton ‘Schools of Glass Painting’, p. 450. 7 W. G. Ryan (ed.), Jacobus de Voragine: The Golden Legend, Readings on the Saints (Princeton, 1993), vol 2, p. 79. 8 J. Howson, ‘East window of south choir Newark Parish Church’, p. 267. 9 Newton ‘Schools of Glass Painting’, vol. 3, p. 443. 10 W. G. Ryan, Jacobus de Voragine: The Golden Legend Readings on the Saints, Princeton, vol. 2, p. 153. 386 church, before Christmas 1538 or 39, as part of the reforming legislation of Henry VIII’s reign.11 There are some hints as to the original placement of this narrative glazing. When David Powell visited the church in 1819 or 1820, he saw in some of the windows of the north quire aisle ‘a good deal of the faire old brilliant painted glass representing subjects from the Scriptures,’ but it was all badly damaged and ‘patched again in a very confused way.’12 Apparently William Camden in his Britannia stated that ‘the windows of the north aisle have been painted with the history of the New Testament, of which are several good compartments; and the great east window had the history of Joseph’.13 This may provide a context for Passion cycle as well as the St Joseph panel in 4e. As well as the narrative panels, sII also includes other figurative remains, including figures of St Nicholas, St Thomas and St Sitha, all of which probably came out of tracery lights. There is also a series of panels representing the Seven Deadly Sins, with anger, gluttony, sloth and lust, represented by standing figures. Again the original context of these panels was probably in tracery lights. A good deal is known of the patronage of the medieval glazing, with Dugdale and Sedgwick visiting the church in 1641and recording glass in their Book of Monuments (fig. 247). Thoroton also provides details of glass extant in his time. To avoid repetition of material already covered in Peter Newton’s thesis14, the following transcript and description of Dugdale's account, only covers glass that can be dated to the period covered by this thesis:15 'In orientali fenestra Chori': The figure of a man in plate armour with shoulder length hair kneeling three-quarters right on a raised tessellated floor at a prie-dieu 11 C. Brown, A History of Newark on Trent (Newark, 1904), vol. 1, p. 286. 12 London, British Library, Additional MS 19915, f. 3r. 13 C. Brown, History of Newark, vol. 1, p. 287. 14 Newton ‘Schools of Glass Painting’, vol. 3, pp. 458-467. 15 London, British Library, Additional MS 71474, f. 88r. 387 covered with a green fall and bearing an open book. On his tabard bears the arms: 1. Argent, on a chevron sable three escallops or (Mering). Opposite him a woman, kneeling three-quarters left with an identical prie-dieu. She wears a pedimental headress and blue gown, over which is a tabard bearing the arms: 2. Argent, on a chevron sable three escallops or (Mering). Behind her, kneeling on a yellow cushion, is a younger woman wearing a blue gown and white coverlet. Over the heads of the main figures are scrolls and between them and above the arms: 3. Argent, on a chevron sable three escallops or (Mering), impaling, Gules, a saltire ermine (Neville). Below the figures is the blackletter inscription: ‘Thomas Meryng Armiger et Elizabetha uxor hanc fenestram origi … anno d[omi]ni Mo CCCCo nonogesimo’. 'In eadem orientali Fenestra': A woman kneeling three-quarters left in the attitude of prayer, on a red cushion set on a raised tessellated floor, before a prie-dieu covered in a green fall, bearing an open book. She is dressed in a black pedimental headdress, a white gown with blue sleeves and a tabard bearing the arms: 4. Gules, a saltire ermine (Neville.) Over her head a blank scroll. 'In Australi Fenestra': 388 A woman kneeling three-quarters left in the attitude of prayer, on a green cushion set on a tessellated floor, before a prie-dieu covered with a white fall, bearing an open book. She is dressed in a black pedimental headress and white wimple, with a white gown decorated with yellow stain foliage over which is a heraldic mantle bearing the arms: 5. Argent, on a cross engrailed sable nine annulets or (Leake.) Thoroton also transcribed the inscription ‘at the bottom of the great East window’, his transcription differing slightly to Dugdale’s:16 ‘… Thom. Mering, & Elizabet ux ejus hanc fenestram fieri causaverunt … M CCCCo ….gesimo.’ In addition to the glass seen by Dugdale and Sedgwick, Thoroton saw the following glass in the church:17 ‘The great window, of the Cross South Ile, seems to have been given by William Philpot, wherein the Arms of Deyncourt are often placed.’ ‘In the contrary Ile is’: 6. Argent, a chief gules and a bendlet azure (Cromwell) quartering, Checky or and gules, a chief ermine (Tattershall). 7. Gules, three sheaves within a bordure engrailed or (Kemp, archbishop of Canterbury). 8. Argent, a chevron with a cinquefoil sable in the first quarter (Rempston). 9. Azure, two chevrons or (Chaworth), quartering, Argent, an orle of cinquefoils about a ‘scutcheon’ sable (Caltoft). 16 Thoroton and Throsby, vol. 1, p. 392. 17 Thoroton and Throsby, vol. 1, pp. 391-392. 389 10. Azure, five fusills in fess or, each charged with an escallop gules (Plumpton), quartering, Sable, a bend between six escallops or (Folejambe). 11. Argent, three birdbolts gules (Bozome). 12. Argent, on a saltire engrailed sable, nine annulets or, within a bordure of the second crusilly of the first (Leek of Kirton). 13. Gules, three pickaxes argent. 14. Argent two bars embattelled gules (Barry of Torlaston). 15. Argent, two bars vert (Harthill), impaling, Leek. 16. ‘Markham quarters with Leek’. ‘In another Window, which Thomas Mering, and Mary his wife, caused to be made’: 17. Argent, on a chevron sable, three escallops or (Mering), impaling, Gules, a saltire ermine (Neville). 18. ‘Mering impaled Leek also’. 19. ‘There is Babingtons Arms likewise’. ‘Sir Thomas Brough, Knight of the Order [of the Garter], built another Window’ 20. Azure, three ‘flower de luces’ ermine (Burgh), quartering, Paly or and sable, impaling, Or, a lion rampant azure, ‘all which so together quarter with’, Gules, three waterbougets argent (Lord Roos), ‘which quarters’ Argent, a fess double cotised gules (Badlesmere). 21. Azure, a chief and three chevronells intermixed in base or (Lord Fitz-Hugh), ‘impales with’ Burgh, ‘quartering as before; with which quarterings Brough also impales with’ Gules, upon a chevron or, three stars sable. ‘In another window’: 22. Argent, a lion rampant sable, with cinquefoils about him (Pierpont) ‘impales with’ Argent, six annulets sable, 2. 2. 2. (Maunvers). 390 23. ‘Pierpont also impaled with’ Azure, three hedgehogs or (Heriz). 24. ‘and also with’ Sable, a saltire engrailed or. 25. ‘Impales with’ Argent, three cocks heads gules ‘if they be not Escallops’, 26. ‘and so doth Pierpont’. 27. ‘and with’ Lozengy argent and gules (FitzWilliam). ‘At the bottom of the great South window of the Cross Ile, called Trinity Chappel, wherein are the Arms of England and France quarterly, and Deincourts before mentioned, Orate pro bono statu Willielmi Phelypot & Johanne uxoris ejus & omnium …. Sororum … & benefactorum …. Nunciatoris beat Marie virginis qui istam fenestram fieri fecerunt, Anno Domini M CCCCC tricesimo nono.’ Thomas Mering, who presented the east window of the chancel, was a merchant of the Staple of Calais and a member of an established Nottinghamshire gentry family, being the second son of Sir William Mering (died 1466) of Mering in the parish of Sutton-on-Trent (q.v.) and Elizabeth, daughter of Thomas Neville of Rolleston. Thomas and his wife and their daughter were commemorated by donor images in the window, along with another female donor image wearing a mantle bearing the Neville arms, who is presumably his mother Elizabeth Neville.18 In his will of August 1500 Meryng asked to be buried between the two pillars next to the high altar where the Easter Sepulchre was set up annually. He gave all his clipped wool and all his sheep to build a stone mortuary chapel (fig. 250), decorated with the Meryng and Neville arms to the north of the high altar.19 Thoroton saw another window given by Thomas Mering and his wife Mary. The heraldry suggests that this is the same Thomas Mering as gave the east window for shields 17 (Mering impaling Neville) and 19 (Babington) refer to his mother, 18 A. Cameron, ‘Meering and the Meryng family’, Thoroton Society, 77 (1974), pp. 46-48. 19 York, BIHR, York Will Register, vol. 3, f. 327r. 391 Elizabeth Neville and her mother Elizabeth, daughter of Sir William Babington.20 There is no evidence to suggest that Thomas Mering ever had a wife called Mary, so it seems likely that Thoroton simply transcribed the names wrongly and that it was Elizabeth who was commemorated here. The arms of Mering impaling Leeke (18) may refer to the parentage of his wife. Sir Thomas Burgh (1430-1496) of Gainsborough, Lincolnshire, who gave another window, was a knight both of the oOrder of the Garter and of the Body to Edward IV and was raised to the peerage as Baron Burgh in 1487. Shield 20 referred to his marriage to Margaret, daughter of Thomas, Lord Roos.21 Sir Thomas and his family had some associations with Newark. He was given a gold ring in the will of William Boston, chaplain, of 16 July 146622 and his grandson, Thomas, third Baron, is listed as a member of the fraternity of the Trinity guild of Newark in 1541.23 These associations are perhaps the result of common trade interests, Gainsborough being situated only twenty miles downstream on the Trent. As Sir Thomas Burgh was described as a knight in the window, the glass was probably erected prior to his elevation to the peerage. William Phelypot and his first wife Joan gave the great south window of the south transept in 1539. William Phelypot was a draper and merchant and served as alderman (mayor) of Newark in 1550. He died in 1557 and was buried with his second wife Elizabeth under a brass (which still remains, although relocated, figs. 251 and 252) below the window.24 This part of the building, as Thoroton noted, formerly served as the chapel of the Trinity guild, which governed medieval Newark and of which Phelypot was a prominent member.25 Part of the damaged inscription invoking prayers for the ‘sisters’ in his window, may have been part of a clause referring to the fraternity of this guild. As Thoroton noted, the glass in the east window was not entirely the gift of Phelypot, but incorporated glass of the fourteenth century commemorating members of the Deincourt family and presumably retained 20 Payling, p. 237. 21 J. C. Wedgwood, Biographies of the members of the commons house 1453-1509 (London, 1936), p. 136. 22 BIHR, York Will Register, vol. 4, f. 18r. 23 C. Brown, History of Newark, vol. 1, p. 249. 24 P. Bask, Newark Parish Church of St Mary Magdalene, p. 199. 25 C. Brown, History of Newarj, vol. 1, pp. 242-254. 392 from the earlier building. Shields of the Deincourt family, presumably part of this glazing, remain in light e of sII and parts of Phelypot’s inscription, including part of his surname and ‘benefactorum’ are extant at the base of panel 1a of sII. It is possible that the sixteenth-century donor images in panel 1e were also related to this glazing. Some of the surviving remains hint at the late medieval patronage of other individuals and corporate groups. A barrel with a bar across its base in A4 may refer to the prominent wool merchant John Barton (d. 1491), who rebuilt the church of Holme (q.v.), two miles north of Newark. This emblem is a rebus on his family name and is used in quarries in Holme church and at neighbouring North Muskham. Barton was involved in funding some aspect of the building work at Newark, for the image of the Virgin Mary over the main south porch is decorated with his merchant’s mark, which also appears in glass at Holme. Catalogue sII.26 1a. Panel of fragments (fig. 234). Numerous male heads from narrative panels and some grouped together on one piece of glass and probably therefore from donor images. All with short-cropped yellow-stain hair. 15th-c. At the top of the panel is a shallow-arched canopy in white, yellow stain with hatching and stickwork in the spandrels. 15th or 16th-c. Two trees with yellow stain trunks painted on the same piece of glass as an architectural fragment. 15th-c. Fragments of blue and ruby glass, some with a seaweed rinceau and drapery, one piece decorated with a yellow stain diaper. Numerous small fragments of blackletter inscriptions: / Ave : gra[cia]/, /plena/, /as/tecu[m] /, / redii /, / uxu/, /, / iat : regi/, / ..mu /, /:Ne /, / ilitas/, / Domi[ni]/, / Spi /, / irt: /, / : [et] : su /, / s: … /, / lle /, /…ryng/ , /sicut/ , /: debit /, / m /, / maio /, / bu / actoru[m] /, / : beate /, / os /, / er /, / …lypot: /. And fragments of inscription 26 Please note that the location of the window precluded the taking of measurements. The window is placed quite high in the wall and is directly over an altar. 393 in an uppercase script: / HER /, / …NGE /, / AE O /, /AI/ , /N /, / IHC : SAVE: /, / THROUG /, / …CON/. 15th or 16th-c. 1b. Damaged narrative panel (figs. 230 and 231O). Soldiers performing obeisance to an enthroned king, perhaps the soldiers before Herod (?) The right hand side of the panel, including the figure of the king, is badly damaged, the left-hand side is better preserved. The remnants of the king shows him seated, crowned, vested in a yellow stain robe and green mantle and slippers, holding a sword upright in his left hand. Nothing survives of the throne, which has been replaced by intruded drapery fragments from other figures, including apparelled alb and feet of an ecclesiastic, set on a tessellated floor. Kneeling before the king is the well-preserved figure of a young soldier, in full plate armour, green surcoat, skullcap, with a falchion suspended at his left side. He is removing his left gauntlet off. Behind him are confused figures of further soldiers, one in a bascinet is removing his breastplate, another in a sallet is armed with a club, which he rests on his right shoulder. Between the soldiers and the king is an intruded head of a bearded and nimbed ecclesiastic, wearing an apparelled amice and the fragmentary torso of a knight, with the pommel of his sword visible at his belt. Canopy fragments at the top and sides of the panel. All details are in black line with stippling and yellow stain. 15th-c. 1c. Fourteenth-century heraldic panel (fig. 245), incorporating, the right of the panel part of a 15th-c side-shafting, which contains a figure dressed in doublet and hose facing three-quarters left and gesturing with his raised left hand. Black line, hatching, stipple and yellow stain on white. 1e. Panel of fragments (fig. 240). At the centre of the panel are two composite donor images. The head to the left shows a woman wearing a black pedimental headdress decorated with needlepoint and a jewelled collar round her neck. The head to the left is of a man, with shoulder-length hair and the collar of his shirt visible at the neckline. With the heads are associated hands in the attitude of prayer, both decorated with yellow-stain rings. These figurative elements are in a linear style in black line and are 16th-c. The 394 heads and hands are set on dislocated drapery fragments in a deep purpleblue, decorated with bands of black. Between the figures is a kneeling desk, draped with a green cloth and supporting an open book, with text roughly suggested. 16th-c. The rest of the panel is filled with earlier fragments. Above and between the composite donors is the demi-figure of a saint, facing threequarters dressed in a white robe decorated with a yellow stain diaper and holding the small image of a church. Black line and stipple on white with yellow stain. 15th-c. Other figurative fragments include: part of a female donor (?) image, the neck and hands of a bejewelled woman and the tiny figure of a king. Both in black line and stipple on white. 15th-c. To the left of centre, a fragment of an altar, supporting a chalice and paten. 15th-c. Canopy fragments in black line, hatching and yellow stain on white and light blue stippled drapery. 15th-c. 1f. Tudor Royal Arms (fig. 237): France Modern, quartering England, with the supporters: a dragon gules and a greyhound argent. The arms are surmounted by an imperial crown, which is flanked by double roses (alternating red and white) and roundels charged with the initials ‘R’ (left) and ‘H’ (right). Black line on white with yellow stain. Leaded breaks, stopgaps and some paint loss. Most of the supporters have gone. The panel incorporates fragments of a canopy, a four-centred arch with recessed spandrels. 15th-c drapery and architectural fragments to the left and right of the shield and 14th-c fragments at the base of the panel. 2a. Composite panel (fig. 246), incorporating a number of distinct figurative elements. At the base of the panel are two figures of academics, that to the left dressed in a ruby gown, that to the right in a blue gown, both wearing fur almuces and black pileus. They face each other, hands raised in salute. Above are two entirely unrelated figures: the figure of a young king superimposed against a castle, holding a yellow ciborium, perhaps a king from the Adoration of the Magi and the head of a bearded emperor in tiara, dressed in a white and yellow-stain robe, holding a yellow sceptre. All these figurative elements are in black line, stipple and yellow stain on white and all are 15th-c. The rest of the panel is filled with fragments, including much 395 broken blue seaweed rinceau. The edges of the panel incorporate canopy fragments, to the left and right two inhabited side-shaftings, occupied by two bearded figures dressed in doublet and hose, both facing three-quarters, with one hand placed on the breast and one hand on their belts. Black line, stipple and yellow stain on white. 15th-c. 2b. The Annunciation to the Blessed Virgin Mary (fig. 233). The Virgin is set within a white pavilion or tent decorated with green fringing and yellow cresting. She kneels at her devotions at a desk covered by a green cloth, turning the page of an open book. She has a cusped nimbus and is dressed in a white gown with a yellow stain diaper and a ruby mantle. The Holy Ghost, in the form of a dove, descends towards her borne on a yellow stain ray from the cross-nimbed head of God the Father, who is situated in a cloud in the top left hand corner of the panel; the ray contains the Holy Ghost represented as a dove. Gabriel is entering from the left, he is nimbed with curly yellow hair, he holds a sceptre in his left hand and the end of a scroll in the other and his body is completely covered with yellow stain feathers, except for his hands, feet and head. He wears a apparelled amice and has a belt slung around his waist. The inscription scroll has the blackletter charge: /Ave [maria] gracia ple/na d[omi]n[us]/ [t]ecum/. Between the two figures is yellow pot containing a flowering lily. The whole panel is set on a tessellated floor, against a ground of blue seaweed rinceau. All figurative elements are in black line with stipple and yellow stain. Dislocated canopy work to the left and right and top of the panel in black line, hatching and yellow stain on white. 15th-c. 2e. The Ascension of Christ (fig. 235). At the top of the panel the pierced feet of Christ are shown disappearing into striated ruby clouds. The feet are flanked on either side by two hovering angels with yellow-stain hair and wings. Below the Virgin Mary, St Peter and the apostles are gathered around the Mount of Olives looking upwards. The stone at the top of the Mount is formed from a piece of striated ruby and bears the impression of Christ’s feet outlined in black. Mary is nimbed and set to the left in blue gown with hand raised in adoration. St Peter is to the right in a white diapered robe and blue 396 mantle, with hand similarly raised. The rest of the apostles are suggested by heads, all nimbed and a confused mass of dislocated drapery. The panel is set on a blue ground of seaweed rinceau. All figurative elements are in black line with stipple and yellow stain. Dislocated canopy work to the left and right and top of the panel in black line, hatching and yellow stain on white. 15th-c. 2f. The Death of the Virgin Mary (?) (fig. 241). This is an incomplete and confused panel, the iconography of which is far from established. It seems to shows a mixed group of male and female saints, all nimbed and set on confused drapery fragments, most of them holding lighted tapers. All the male faces are bearded. A figure at the front, St Peter (?), is carrying a cross over his shoulder and heads up the group. Numerous intrusions: including a group of heads, one a man with a hat, a further figure of standing man, and a larger nimbed female figure in the top right-hand corner. Made-up ground of murrey, ruby and blue rinceau, incorporating pot-yellow flaming stars. All figurative elements are in black line with stipple and yellow stain. Dislocated canopy work to the left and right and top of the panel in black line, hatching and yellow stain on white. 15th-c. 3a. Composite panel, incorporating the following figurative elements: To the left St Sitha, nimbed with long yellow-stain hair, dressed in a white fur mantle over a rubu robe, holding a rosary and bunch of keys in her right hand. Very confused. To the right a made-up figure, the head of a bearded male saint and a body made-up from pieces of blue, diapered drapery, with yellow stain utilised to create a green hem. The panel is set against a made-up ground including blue and murrey glass and incorporating ten yellow flaming stars. Fragments of tessellated floor at the bottom of the panel and canopy work to the left and right, including two damaged figures of saints, perhaps the Evangelists, from side-shaftings. The figure to the left holds a pen and the figure to the right a yellow book. All figurative elements are in black line with stipple and yellow stain. 15th-c. 397 3b. The Visitation of the Virgin Mary to St Elizabeth (fig. 232). The Virgin Mary with her right hand raised, stands three-quarter right to the centre left of the composition, dressed in a gown with a yellow diaper and a blue, erminelined mantle. She gazes down at her torso on which a sunburst is placed. The Virgin’s left hand rests on the torso of St Elizabeth, standing three-quarters left to the centre right of the composition. St Elizabeth is dressed in ruby gown and blue mantle and veil and gazes towards the Virgin with both hands raised in adoration. The figures are flanked by two angels standing threequarters playing lutes, nimbed, feathered and with curly yellow hair. Two blackletter inscription scrolls issue from behind the Virgin and St Elizabeth and swirl around their heads: / Ecce/ … / i fiat m/ ochi : scd/ tui /, / Ut f[a]c[t]a est no/ salutac[i]o[ne]/ s tue : in aurib /. The figures are set on a tessellated floor, against a ground of ruby rinceau with damaged clouds over the central part of the composition. All figurative elements are in black line with stipple and yellow stain. Canopy work to the left and right, the sideshaftings incorporating two yellow eagles. 15th-c. 3e. Composite Crucifixion (fig. 228). The panel was created in 1957 by Joan Howson from fragments of two panels depicting the Crucifixion and Deposition. To these she added new glass to complete the composition.27 From the Crucifixion panel are the head and torso of Christ in black line on white glass, a fragmentary loin cloth touched with yellow stain, and the righthand portion of the yellow cross member and the fragmentary figure of St John, his head nimbed with curly yellow hair and set on a made-up murrey robe, and the Virgin, nimbed and veiled, set on a made-up blue gown. From the Deposition panel are legs of Christ, the nail in his feet being removed by a man holding pincers, who is dressed in a close-fitting cap, brown doublet and white hose. The panel is set against a composite ground of blue and red rinceau, with the cross set against a hillock of green glass. All figurative elements are in black line with stipple and yellow stain. Canopy work to the left and right. 15th-c. 27 J. Howson, ‘East window of south choir Newark Parish Church’, p. 267. 398 3f. Fragments. Figurative fragments include: the cross-nimbed head of Christ, facing three-quarters right, gesturing hands and fragments of a figure of an archangel, including an almost entirely effaced head, with diadem visible and a sceptre or staff superimposed against diapered drapery. These elements are set on or within made-up figures created from miscellaneous drapery fragments, some in ruby, some white with yellow stain diapers. All figurative elements are in black line with stipple and yellow stain. The wheel emblem of St Katherine in black line is placed in the centre of the panel. The rest of the panel is filled with miscellaneous fragments, including murrey rinceau and flaming pot-yellow stars, part of a tessellated floor and various architectural elements, including pieces of side-shafting and canopy tops. All fragments are 15th-c. 4a. Fragments (fig. 243). Figurative fragments include, from left to right: the head of a king or patriach facing left, with forked beard, wearing a cut-down crown and a jewelled collar, the remains of his fur-lined mantle visible at the neck. The rest of the figure is made-up from white drapery powdered with yellow stain and from architectural fragments. A second head of a king facing right, his crown cut-down and the top of his fur-lined mantle showing. Composite figure, incorporating a hand holding a flowering branch. The head and shoulders of a female saint, nimbed, with long yellow hair and her hands raised above her breast, set on a figure made-up from fragments of white drapery decorated with a yellow-stain diaper. The head of a patriarch or prophet, with forked beard, wearing a turban and set on a made-up figure of blue drapery, powdered with yellow-stain rosettes. All figurative elements are in black line with stipple and yellow stain. The ground is made up of red and blue fragments incorporating yellow flaming stars. Many architectural fragments including the remains of a prophet in the left-hand shafting. 15th-c. 4b. The Massacre of the Innocents (fig. 229). At the front centre of the panel is a man facing three-quarters right, wearing armour, bascinet and camail and taking a child from a kneeling woman in a blue robe. His sword, most of which is gone, was raised in his right hand. Behind them another soldier, in a 399 brown hat and red surcoat over plate armour, thrusting the sword in his right hand into the damaged figure of a child. To the left a group of other figures, one a soldier, in sallet and green tunic, wields a halberd. There is also the head of a man wearing a broad-brimmed hat decorated with a yellow badge, and a further male head with forked beard. To the right the head, torso, calves and feet of another soldier, in bascinet, camail and plate armour. All figurative details are in black line and stipple with yellow stain, the armour is painted with a light grey wash and highlighted with yellow stain. The ground was originally red and studded with trees, some of which, with leaves of varying shades of green appear between the figures. The whole panel is confused due to leaded breaks and losses. The panel is edged with canopy fragments. 15th-c. 4e. St Joseph chosen as the spouse of the Virgin Mary (fig. 242). This is one of the most complete fifteenth-century panels. At the centre right is the figure of an ecclesiastic standing three-quarters left, vested in white alb, apparelled amice and green cope and with the remains of a mitre on his head. The ecclesiastic gestures to a figure to the left, with his extended right arm. The figure is probably St Joseph, who is shown as a short bearded man in blue gown, white girdle and yellow shoes. He is standing three-quarters left with his head turned towards the ecclesiastic and his right arm raised. Around these central figures are further male figures, all facing towards the central images. From left to right: a tonsured man wearing a red robe, the head of a man in a yellow hat with han raised, a figure in a hat and diapered robe holding a staff, a figure wearing a green hat holding a staff, a figure in a red turban, a figure in a red doublet with short-cropped yellow holding a staff and a figure in a blue gown with murrey lining, right hand holding a staff and left hand with palm raised. Behind is a further group of figures. All figurative details are in black line and stipple with yellow stain. The whole scene is placed in a raised tessellated plinth, against a ground of blue seaweed rinceau. Canopy fragments to the left, right and top of the panel. 15th-c. 4f. Angels and fragments (fig. 236). The centre of the panel is filled with fragmentary figures of angels, all dressed in albs and apparelled amices, 400 playing an assortment of instruments. Bottom row, from left to right: angel holding a bow, instrument missing, an angel playing a lute, and an angel playing a rebec. Top row: an angel plucking a harp, an angel plucking a lute with a plectrum and an angel plucking a harp. The figures are badly broken with numerous leaded breaks and stopgaps. The angels are all set amid fragments of blue seaweed rinceau and three flaming stars. Canopy fragments surround the panel. In the side-shaftings are two small angels, facing three-quarters, with hands raised in gesture. All figurative details are in black line and stipple with yellow stain. 15th-c. 5a. Fragments. Most of the fragments are architectural, remains of canopy work, side-shaftings and tessellated floors. Fragments of a rod and acanthus border at the top of the panel, in black and yellow stain on white At the centre is a fractured head of Christ, in black line and stipple on white. 15th-c. 5b. Canopy top, almost complete and perhaps in situ. Multi-levelled with vaulted sections and pinnacles, executed in black line on white, with vaults and cusps in yellow stain, and the whole backed by a light murrey ground. In the central opening of the canopy is a demi-figure of an angel playing a lute, black line on white with stipple and yellow stain. 15th-c. 5c, 5d. Fragments, at the apex of the lights are fragments of a rod and acanthus border as in 5a. 15th-c. 5e. Canopy top, late fifteenth century, badly broken by leaded breaks but basically intact. Multi-levelled with vaulted sections and pinnacles, executed in black line on white, with vaults and cusps in yellow stain and the ground formed from misplaced fragments of red and light murrey glass. 15th-c. 5f. Fragments. Most of the fragments are architectural, remains of canopy work, side-shaftings and tessellated floors. Fragments of a rod and acanthus border 401 at the top of the panel, in black and yellow stain on white. At the centre a head of Christ, facing left, in yellow stain on white, set on a rough roundel of ruby. Above is a diminutive head and shoulders of Christ, from a Last Judgement, full frontal hand raised in benediction, set against a yellow ground. Figurative fragments in black line, stipple and yellow stain A1. Roundel, late fifteenth-century, with ‘MR’ monogram, set within a patterned border. 15th-c. Plain quarry ground. A3. Panel of fragments, mainly 15th-c., and including from that period quarry fragments, types 42 and 44 and some green drapery. Also the head of a man wearing a tall hat with a feather in it, in black line on white. A4. Panel of fragments. At the centre a tun with a bar across its base, in black line on white with yellow stain. Blue fragments, border fragments and peacocks feathers in black line on white with yellow stain. 15th-c. A5. Panel of fragments. A fragment of robe with a yellow-stain chain across it part of a representation of a deadly sin, in black line on white with yellow stain (part of a figure from the Seven Deadly Sins, see B6-B9). Three blazing suns and a castellated canopy fragment at bottom of light. 15th-c. A6. Panel of fragments. Of the 15th-c, a purse set against drapery, with a yellow-stain chain crossing it, in black line on white with yellow stain (perhaps part of a figure from the Seven Deadly Sins see B6-B9). Three blazing suns and castellated canopy fragments at bottom of light. 15th-c. A7. Panel of fragments. Of the 15th-c, part of a yellow stain chain (as A5 and A6) and canopy fragments as in A5 and A6. 15th-c. A8. Panel of fragments. Fifteenth-century canopy fragments as in A5. 402 A9. Panel of fragments. Fragments from a Deposition scene (see 3e), including portions of cross, two crossed hands, hands holding pincers and the top of cross beam with a fragmentary /INRI/ inscription. Also God the Father with outstretched arms, from a Trinity panel. All figurative fragments in black line and stipple on white, with yellow stain. 15th-c. A10. Fragments (fig. 239). At the centre of the panel a fragment of a large male head with shoulder-length wavy hair, facing three-quarters right. Late 15th or 16th-c. Black line and stipple on white. Also a fragment of another largescale head, facing three-quarters left, only one eye and part of the nose visible. Black line and stipple on white. 15th-c. Quarries, types 42 and 44 and small blue and green fragments. 15th-c. A12. Fifteenth-century roundel. Yellow-stain crown set within a yellow-stain border. 15th-c. Plain quarry fragments. B1, B4-5, B1011 and B14. Quarries, type 42 and 44. 15th-c. B2. St Thomas (fig. 244). Nimbed, and facing three-quarters left, dressed in a white and yellow robe, holding a spear in his left hand and a book in his right. Black line and stipple on white, with yellow stain. The figure set on a ground of quarries, types 42 and 44. 15th-c. B3. St Nicholas. Nimbed, and facing three-quarters left, dressed in full pontificals, holding three balls in his left hand. Black line and stipple on white, with yellow stain. Quarry ground as B2. B6. Deadly Sin: Anger. A man facing three-quarters right, dressed in a padded arming jacket, in the act of thrusting a sword into his own chest. A yellow- 403 stain chain crosses his middle. The bearded head belongs to another figure, the lower half of the figure has gone and is made up with portions of unrelated diapered vestment. Black line and stipple on white, with yellow stain. The whole figure is set against a ground of blue seaweed rinceau. 15thc. B7. Deadly Sin: Gluttony. The figure of a bearded man facing three-quarters left, cut off at the knees and with a chain across him. He holds a cup and has a haunch of meat over his shoulder, while a drinking vessel hangs from his belt. Black line and stipple on white, with yellow stain. The whole set against a ground of blue seaweed rinceau. 15th-c. B8. Deadly Sins: Lust The figures of a man and woman, shown in embrace, he is to the left wearing a high-necked tunic and jewelled collar, she is to the right wearing a white gown and coverchief. A yellow-stain chain crosses them both. Black line and stipple on white, with yellow stain. The whole set against a ground of blue seaweed rinceau. 15th-c. B9. Deadly Sin: Sloth. The figure of a man, standing three-quarters right, with his eyes closed, holding a set of beads and dressed in a boldly diapered gown. Black line and stipple on white, with yellow stain. The whole set against a ground of blue seaweed rinceau. 15th-c. B12. An incomplete figure of a female saint. The figure is facing three-quarters right, nimbed, wearing a mantle over a diapered gown. The lower half of the figure has gone, and is made-up from drapery fragments. Black line and stipple on white, with yellow stain. The figure is set on a quarry ground, types 35, 42, 44. 15th-c. B13. A composite figure of a male saint, the head and shoulders of a nimbed male saint, facing three-quarters left, with curly yellow hair. The figure is made-up from fragments, including the alb and apparelled amice of an ecclesiastic. All the glass is executed in white touched with yellow stain, and is set on a quarry ground as B12. 404 C1-2, C910. Eyelet fillings, as B1. C3. Panel of fragments, mostly14th-c. Glass of the 15th-c.: the upper part of a head of Christ; the lower part of an alb with orphrey; and an incomplete head of a saint. Black line and stipple on white, with yellow stain. Also minor coloured fragments. C4. Fragments. Of the 15th-c.: a figure of a young man in grey gown holding an axe; a fragmentary seated figure, now headless, wearing a white mantle over a diapered gown and the broken cross-nimbed head of Christ. Black line and stipple on white, with yellow stain. C5. Fragments (fig. 238). Of the 15th-c.: a shield of the Trinity, with blackletter inscriptions on white against a blue field, fragments of a large-scale pallium from a standing figure. Fragments of blue rinceau and of rod and acanthus, as 5a. C6. Fragments (fig. 238). Of the 15th-c: a shield with the Instruments of the Passion, cross, nails, crown of thorns, vinegar rod and flails all reserved against matt and stained yellow. Fragments of red rinceau and of rod and acanthus, as 5a. C7. Panel of late fifteenth-century fragments. At the centre a fragmentary figure of a woman with her hands raised to her breast, dressed in cowl and gown. Fragments are intruded into the figure, including elements of blackletter inscriptions: / III’ et /, and / s e /. Also the fragmentary head of an angel, in white with yellow stain, a wing that might be associated with it, and miscellaneous drapery fragments. The figurative and drapery fragments in black line and stipple on white. THE STAINED GLASS OF DERBYSHIRE AND NOTTINGHAMSHIRE 1400-1550 TWO VOLUMES VOLUME II ALLAN BENJAMIN BARTON PhD UNIVERSITY OF YORK HISTORY OF ART MARCH 2004 TABLE OF CONTENTS Page Volume II Newstead Priory, Nottinghamshire 405-408 Norbury, Derbyshire 409-430 Norbury Manor, Derbyshire 431-444 North Muskham, Derbyshire 445-452 Nottingham, St Mary 453-458 Nottingham, St Peter 459 Nuthall, Nottinghamshire 460-467 Ockbrook, Derbyshire 468-469 Papplewick, Nottinghamshire 470-473 Plumtree, Nottinghamshire 474-475 Radbourne, Derbyshire 476 Ratcliffe-on-Soar, Nottinghamshire 477-478 Saundby, Nottinghamshire 479-480 Sawley , Derbyshire 481-483 Screveton, Nottinghamshire 484-487 Selston , Nottinghamshire 488-490 Shirland, Derbyshire 491-492 Smisby, Derbyshire 493-495 South Muskham, Nottinghamshire 496-498 South Normanton, Derbyshire 499-500 South Wingfield, , Derbyshire 501-502 Southwell, Nottinghamshire 503-515 Stanford-on-Soar, Nottinghamshire 516-517 Stapleford, Nottinghamshire 518-519 Staveley, Derbyshire 520-526 Strelley, Nottinghamshire 527-531 Sutton Bonington, St Anne, Nottinghamshire 532 Sutton Bonington, St Michael , Nottinghamshire 533 Sutton-on-the-Hill, Derbyshire 534 Sutton-on-Trent, Nottinghamshire 535-540 Sutton Scarsdale, Derbyshire 541-549 Swarkeston, Derbyshire 550 Thorpe , Derbyshire 551 Ticknall, Derbyshire 552 Tuxford, Nottinghamshire 553-561 Walkeringham, Nottinghamshire 562 Warsop, Nottinghamshire 563-567 West Hallam, Derbyshire 568-571 Weston, Nottinghamshire 572-574 Weston-on-Trent Church, Derbyshire 575-576 Weston-on-Trent Rectory, Derbyshire 577-578 Whatton, Nottinghamshire 579-580 Whittington, Derbyshire 581-584 Willesley, Derbyshire 585-587 Willoughby-on-the-Wolds, Nottinghamshire 588 Wilne, Derbyshire 589 Wingerworth, Derbyshire 590-591 Wirksworth, Derbyshire 592 Bibliography 593-614 i. Primary Sources: Unpublished ii. Primary Sources: Published iii. Secondary Sources iv. Unpublished theses Distribution Maps 615-618 Quarry typology 619-629 Illustrations 405 Newstead, Nottinghamshire, Augustinian Priory of the Blessed Virgin Mary OS SK 541 537 Manuscript source Nottingham, Nottinghamshire Archives, M 493, f. 180r. Printed source Thoroton and Throsby, vol. 2, p. 286. The Priory of the Blessed Virgin Mary at Newstead, commonly known as Newstead Abbey, was a house of Augustinian Canons established in the royal forest of Sherwood by Henry II around 1170. Following the Dissolution of the Monasteries it was granted to Sir John Byron of Colwick, who demolished all but the west front of the priory church, retaining the claustral buildings as the nucleus of a country house.1 The early sixteenth-century prior’s lodging, situated over the west range of the cloister, was preserved as the private apartments of Sir John. These lodgings, which still remain, consist of a large two-storey hall lit by two full-height bay windows and a smaller parlour beyond. It was in these apartments that Thoroton saw the following glass:2 In 'the bow window’ of the Hall were the following arms: 1. ‘The arms of Newstede priory England, with a chief azure, in the middle whereof is the Virgin Mary, with the Babe Or.’ ‘there is yet W. S. P. William Savage, prior’. 2. England, quartering France. 1 VCH Nottinghamshire, vol. 2, pp. 112-117. 2 The following transcript constitutes a summary of the manuscript and printed versions. In the manuscript the arms are tricked and in the published version are blazoned. Nottingham, Nottinghamshire Archives, M 493, f. 180r and Thoroton and Throsby, vol. 2, p. 286. 406 3. Azure, a pall argent [See of York], impaling, ‘a pale deeply indented (or lozengy) sable’3 'Savage Bishop of -'. ‘In the Pantry were the arms’: 4. ‘Grey of Codnors’ [Barry of six argent and azure].4 5. ‘Crumwell quartering Tattershall’ [Per chief gules and argent, a bendlet azure5, quartering, Checky gules and or, a chief ermine].6 ‘In the windows of Henry the sevenths lodgings pictures of King H[enry] 7 and Ebrak his Queene7 and prince Arthur.’ In ‘the next pane’ of the window were the arms of: 6. Argent, ten torteauxes, and a file of three labels azure. ‘… Babington militis’.8 7. Barry of six argent and azure ‘Henrici Grey’. 8. Sable, a bend between six cross crosslets argent9 'arme Johannis Stanhope, Armig[er].' Shield 3 probably refers to Thomas Savage, who was successively bishop of Rochester, London and archbishop of York. Thomas was a brother of prior William 3 Usually blazoned as lozengy (Papworth, p. 1003). 4 Medieval Ordinary, vol. 1, p. 87. 5 Papworth, pp. 193-194. 6 Papworth, p. 556. 7 The printed version of Thoroton has 'Henry the seventh, and Elizabeth his Queen, and Prince Arthur' (Thoroton and Throsby, vol. 2, p. 286). 8 Usually blazoned as: Argent, ten torteaux four three two and one label of three points. The Babingtons were seated at Dethick, Derbyshire (q.v.) (Papworth, p. 1055). 9 The arms of Lungvilliers of Tuxford were appropriated by their descendants the Stanhopes of Rampton (Medieval Ordinary, vol. 1, pp. 380-381). 407 Savage of Newstead, who ruled sometime between 1504 and 1526 and was commemorated by shield 1 and the initials W. S. P. 10 They were the sons of Sir John Savage (died 1496) of Clifton, Cheshire and Stainsby in the parish of Ault Hucknall (q.v.) in Derbyshire, which was an advowson of Newstead. 11 The inclusion of the inscription describing Thomas as a 'bishop', suggests that the glass dated from before his elevation to the archiepiscopacy in 1508. The lay shields of arms probably refer to lay patrons of the priory. John Stanhope esquire, commemorated by shield 8, was probably John Stanhope of Rampton (d. 1493).12 The Stanhope family were considered ‘founders’ or benefactors of the priory, as their ancestor John Lungvillers had given the advowson of Tuxford to the house in 1368.13 Shields 5 and 6 probably refer to alliances within the Stanhope family. Shield 5 with the arms of Cromwell and Tattershall may allude to the marriage in 1410/11 of Richard Stanhope, grandfather of John, to Matilda Cromwell, sister to Ralph, third Baron Cromwell of Tattershall and Lambley.14 Shield 6 with the arms of Babington may allude to the marriage of Sanchia, daughter and heiress of Richard Stanhope of Rampton to John, son of Anthony Babington of Dethick sometime in the first half of the sixteenth century.15 Henry Grey commemorated by shield 4 has no connection with the Stanhope family and no apparent links with Newstead. He is presumably the illegitimate son of Henry, Lord Grey of Codnor (4) who inherited the manor of Barton-in-Fabis (q.v.) from his father in 1502.16 In the description of the images of Henry VII and his family, the printed version of Thoroton and his manuscript differ. In the printed version Henry VII is accompanied by 'Elizabeth his Queen and Prince Arthur', while in the manuscript version he is accompanied 'with Ebrak his Queen and Prince Arthur'. If 'Ebrak' isn't a scribal error for Elizabeth of York (which seems by far the most likely explanation), 10 VCH Nottinghamshire, vol. 2, p. 117. 11 See the entry for Ault Hucknall for more details of the family and for a pedigree: C. Kerry, 'An Ancient Painted Window in Hault Hucknall Church', DAJ, 20 (1898), appendix. 12 He was also patron of glass at Tuxford (q.v.). 13 VCH Nottinghamshire, vol. 2, p. 161. 14 Thoroton and Throsby, vol. 3, p. 245. 15 Thoroton and Throsby, vol. 3, p. 246 16 Thoroton and Throsby, vol. 1, p. 39. 408 it could be argued that it infers that an image of Ebrauk the mythical founder of York was included in the window. Henry had some knowledge of Ebrauk, for in 1486 he made a progress to the north where in York he was treated to a 'syght' or pageant, during which Ebrauk addressed and submitted the city to him.17 There is one known image of Ebrauk in glass, which may give a sense of the type of image we may have here. In panel 1a of the east window of York Minster, he is shown seated in state on a canopied throne, crowned and holding a sceptre in his right hand and an upright sword in his left, with figures of nobles flanking him to the left and right.18 The heraldic and iconographical evidence seems to suggest two phases for the glass. A date of between 1504 (the earliest possible date for William Savage's prioriate) and 1508 (the date of the elevation of Thomas Savage to the see of York) can be applied to the glass in the hall; and a date of before 1493 (the demise of John Stanhope) or at the very latest before 1502 (the demise of Prince Arthur) for the glass in ‘Henry the Seventh’s lodging’. 17 L. Attreed (ed.), The York House Books (1461-1490) (Stroud 1991), pp. 481-485. 18 See: T. W. French, York Minster. The Great East Window, CVMA, Great Britain, Summary Catalogue, 2 (Oxford, 1995), p. 137. 409 Norbury, Derbyshire, Church of St Mary and St Barlock OS SK 125 423 Manuscript sources Rawlins MS, vol. 1, pp. 135-140. Fitzherbert Family Book. Present location unknown, known in a transcript among the Newton Papers, York, Centre for Medieval Studies, University of York, Newton Papers, folder ‘Derbyshire’. London, British Library, Additional MS 35211, vol. 1, f. 28. York, Centre for Medieval Studies, University of York, Newton Papers, folder ‘Derbyshire’. Printed sources Bowyer, L. J., The Ancient Parish of Norbury (Ashbourne, 1953), passim. Butler, p. 129. Coe, p. 98. J. D. le Couteur, English Medieval Painted Glass (London, 1926), p. 125. Cox, vol. 3, pp. 243-247. T. Dilworth-Harrison, Our Glorious Derbyshire Churches (Derby, 1952), p. 30. Mee Derbyshire, p. 203. Nelson, pp. 72-73. Pevsner, p. 290. Thorold, p. 101. Illustrations Figs. 253-282. Much of the fabric of Norbury church (fig. 277) owes its existence to the Fitzherbert family, who lived in the adjoining manor house (q.v.), first as tenants of Tutbury Priory and then from 1448 as lords of the manor.1 The church consists of a massive early fourteenth-century chancel, to which is attached a later clerestoried nave and 1 L. J. Bowyer, The Ancient Parish of Norbury (Ashbourne, 1953), p. 54. 410 north aisle, with a western tower placed on the south side of the nave between two side chapels. The nave, north aisle, tower and south-east chapel (fig. 278) are all of the mid-fifteenth century and were probably built by Nicholas Fitzherbert (d. 1473), whose tomb in the chancel (figs. 279 and 280) formerly included an inscription stating that he had ‘made’ the church at his own expense.2 The south-west chapel (fig. 282) was added by his grandson, John Fitzherbert (d. 1532) and was complete by 1517.3 An extensive amount of medieval glazing survives. The north and south walls of the chancel retain much of their original glazing in situ, dating from the early years of the fourteenth century.4 Windows I, wI, sVI and sVII contain glass of the second half of the fifteenth and early years of the sixteenth century. The fifteenth and sixteenth-century glass in I is not the original glazing of that window. According to Rawlins, who was here in 1823, the window had been blocked with lath and plaster at the end of the eighteenth century, as an expedient to save the cost of repairing the original glazing, which was left in situ.5 The original glass was lost sometime between then and 1842 when the window was re-opened. It is possible that it was sold, for according to Rawlins, an offer had been made to the Revd. John Bingham, rector in his time, to acquire the glass to glaze a new Catholic chapel in Yorkshire.6 The original glazing having gone, the present glazing, formerly in the south-western chapel and north aisle, was moved to take its place in 1842. Two sources enable a reconstruction of the placement and arrangement of the glass in window I, the Rawlins’ manuscript of 1823 (referred to above) and Michael Jones’s manuscript The Fitzherbert Family Book produced in 1828. The author has not been able to trace the whereabouts of the latter, but its contents are known from a typescript produced by Dennis King, among Peter Newton’s papers at the University of York.7 2 L. J. Bowyer, The Ancient Parish of Norbury, p. 83. 3 L. J. Bowyer, The Ancient Parish of Norbury, p. 42. 4 Newton ‘Schools of Glass Painting’, vol. 2, pp. 65-78. 5 Rawlins, vol. 1, p. 139. 6 Rawlins, vol. 1, p. 139. 7 The manuscript was known to Bowyer and was in his time in the possession of Mr C. Fitzherbert in London. L. J. Bowyer, The Ancient Parish of Norbury, p. 44. Enquiries with members of the Fitzherbert family (including Charles Wright, the current tenant of Norbury 411 The south-east chapel The south-east chapel (fig. 278) was built as a mortuary chapel by Nicholas Fitzherbert (d. 1473) and his tomb (figs. 279 and 280), now removed to the chancel, was formerly positioned under the arch between it and the nave.8 The space is lit by a three-light window in the east wall and a three-light window, set lower, in the south wall. Both contain their original glazing. At the base of both windows are kneeling donor images. In the east window, flanking the arms of Fitzherbert impaling Booth, Nicholas is shown dressed in a red civilian gown with eight of his sons. On the opposite side of the window is a woman wearing a butterfly headdress, presumably his first wife Alice, daughter of Sir Henry Booth of Harlestone,9 who kneels in front a group of five daughters. In the south window, flanking a shield of Fitzherbert, formerly impaling Ludlow,10 are the family of Nicholas and his second wife Isabella Ludlow.11 To the left are three sons and to the right Isabella, wearing a butterfly headdress, with two daughters behind her. Above the donor images are large-scale standing figures of saints set under canopies, each identified by a blackletter label. In the east window are St Winifred, St Anne teaching the Virgin Mary to read and St Sitha and in the south window, St John the Baptist, St Anthony and St Barlock the abbot. The image of St Barlock the abbot, who is the joint patron of the church, is the only known image of this saint in existence. Who he was is unclear. Cox, on the advice of Revd. S. Baring Gould concluded that he was a local sainted abbot.12 Nelson suggested he might be St Barroc, a sixth-century British saint.13 Bowyer’s conclusion, by far the most feasible, is that he is the Irish saint Finbarr, who was alternatively known as Lochan Finbarr, or Lochan Barr.14 St Finbarr was bishop of Cork and Barra and died in Manor) have not shed any light on the whereabouts of the manuscript. York, Centre for Medieval Studies, University of York, Newton Papers, folder ‘Derbyshire’. 8 L. J. Bowyer, The Ancient Parish of Norbury, p. 83. 9 Wright, p. 222. 10 Michael Jones MS, Newton typescript, p. 3. 11 Wright, p. 222. 12 Cox, vol. 3, p. 246. 13 Nelson, p. 72. 14 L. J. Bowyer, The Ancient Parish of Norbury, pp. 34-36. 412 either in 610 or 623 in Cork.15 Presumably his inclusion in the window was due to the personal devotion of Nicholas or his family to the saint. Bowyer suggests that John Fitzherbert, who served in the 1180s as governor of Waterford, may have initiated an interest in the saint within the family.16 The north nave aisle The north nave aisle (fig. 281) is pierced with five three-light windows, one in the east, one in the west and three in the north wall. Michael Jones saw the following glass in these windows:17 In the western window of the north aisle of 3 bays are the figures of St Peter with the Keys. St Andrew with the cross - saltire gold. The third figure made up of various fragments, a hand holding a staff. The letters N.F. and stars repeated in the 3 bays. In the east window of the Chapel at the East end of the Nave - of 3 bays - 1st Bay a female Saint crowned in blue and white - 2nd Bay another female Saint in crimson, crowned, holding a sword - 3rd Bay - a female Saint crowned holding staff. In the north window of the same Chapel - of 3 Bays - 1st Bay - the head of a man with a long beard underneath which has been strangely misplaced "Sancta Margareta" - the word Margareta upside down - 2nd bay - the entire figure of a saint long hair and beard holding a ship in the right hand - 3rd Bay the entire figure of Sanctus Mathias and the letters N.F. inscriptions of Scriptural sentences on Scrolls attached to most of the figures - namely the credo in Latin in portions over the heads of the 12 apostles.' Rawlins also recorded elements of this glazing, identifying the three female figures in the east window as the ‘three Marys’.18 15 D. Farmer, Oxford Dictionary of Saints (Oxford, 2003), p. 195. 16 L. J. Bowyer, The Ancient Parish of Norbury, p. 36. 17 Michael Jones MS, Newton typescript, p. 4. 413 The figures of the twelve Apostles, all holding emblems and in differing levels of completeness, are extant in lights a, b, d and e of window I, to where they were removed in 1842. Each has a clause of the Apostles’ creed above him and presumably, they were originally arranged in the order determined by that text, St Peter starting the sequence at the west end of the aisle. The glass around the creed clauses is quarried and the quarries are charged with the initials ‘N’ and ‘F’ and Yorkist sunbursts. The patron therefore, was again Nicholas Fitzherbert (d. 1473). The Yorkist sunbursts, which also appear on the collar of his effigy in the chancel, denote an affinity to the Yorkist cause. He is known to have been one of a group of prominent tenants of the Duchy of Lancaster who managed the affairs of the Honour of Tutbury during the reign of Edward IV.19 The female figures in the east window were not the ‘three Mary’s’ but St Margaret, St Helen and a sainted abbess and they are now in light c of window I. The figures are by the same workshop as the Apostle sequence and were probably installed by Nicholas in conjunction with that glass. Alternatively the patron may have been Ralph (d. 1483), the eldest son of Nicholas whose tomb was formerly in the eastern bay of the north aisle enclosed by a parclose screen.20 The west window of the nave Michael Jones saw the following glass in the west window of the nave:21 ‘A female figure, hands joined, a white robe over a red tunic and gold border - no feet white cross bones on a yellow ground. In one bay is represented. Some gold stars and fragments of stained glass in another bay’. Part of the female figure (the Virgin Mary?) and the cross bones were still in the centre light of wI in 1961. They were removed to panels 2/3c of window I in 1978 (see below). The surviving elements suggest that the west window contained a largescale representation of the Crucifixion, with attendant figures. 18 Rawlins, vol. 1, p. 137. 19 Wright, pp. 90-91. 20 L. J. Bowyer, The Ancient Parish of Norbury, p. 84. 21 Michael Jones MS, Newton typescript, p. 2. 414 The south-west chapel This chapel (fig. 282), now the vestry, was built between the south wall of the nave and the west wall of the tower, by John Fitzherbert (d. 1531) and was complete by 1517.22 The detailing of the chapel is identical to that erected by his grandfather Nicholas, to the east of the tower (see above.). Like his grandfather’s chapel, John intended this space to act as his mortuary chapel and he is buried beneath the arch, between the chapel and nave, where his tomb chest with brasses still remains. It may also have served as a domestic chapel for the family, as it was connected to their adjoining manor house (q.v.) by a covered walkway, traces of which can still be seen on the west wall of the structure. Although the glass in the three-light window of the south wall was moved to window I in 1842, the original arrangement of the glazing is recorded in Michael Jones’ manuscript:23 In the window of the south wall of the Chapel at the South west end containing 4 bays - 1st Bay the fragment of a face and the letter N. repeated in the lozenge frames of glass in gold. In the 2nd Bay - the Almighty with triple gold crown holding the Christ crucified and the Dove; all the lower part of the figures lost. The letters I.F. and stars repeated in the lozenge frames. This window may have been given by John Fitzherbert 13th Lord of Norbury whose monument and brass tablet stand in the Chapel. He died 24th July 1531. In the 3rd bay - the figure of a Bishop with Mitre and Crozier complete - the letter F. only repeated on the frames. The 4th Bay Scs. Cedd - bearing a mitre and Crozier. The letter N. repeated. The Trinity, a large-scale representation which had been re-located to light b of window I in the nineteenth century, was moved again in 1978 to light b of wI. With it are some of the ‘I’ and ‘F’ quarries Jones saw, which presumably formed a ground for the figures. Jones’ figure of ‘a bishop in mitre and crozier complete’ is probably the unidentified archbishop in panels 7-9c of I. His figure of 'St Cedd' is probably the figure of an unidentified bishop or abbot in panels 10-11c of I. Nelson identified 22 L. J. Bowyer, The Ancient Parish of Norbury, p. 42. 23 Michael Jones MS, Newton typescript, pp. 3-4. 415 these figures as St Chad and St Fabian.24 The dominance of the image of the Trinity in the window and the fact that John gave 'a table' (retable) of the Trinity to the chapel, is strongly suggestive that it was dedicated to the Holy Trinity.25 Modern Conservation26 Windows I (fig. 272), wI, sVI (fig 275) and sVII (fig. 276) were all conserved by Dennis King of Norwich between 1960 and 1978, with the aid of grants from the Pilgrim Trust. The glass in I was considerably rearranged. Before 1960 the figures from the south-west chapel and the east window of the north aisle, were in the tops of lights a, b, d and e of I. The Trinity (now in wI) was at the top of light b above two of the Apostles and the remaining ten Apostles were arranged above composite panels of quarries and border elements at the bottom of all five lights. Between all the panels were large areas of nineteenth-century plate glass. King removed all the nineteenth-century glass, he regularised the apostle panels, incorporating the quarries from the base of the lights to fill gaps above and below the figures and placed these reconfigured panels in lights a, b, d and e. The figures from the south-west chapel and the east window of the north aisle were all placed in light c. All the panels were reset against a ground of modern white quarries. The six shields of arms remaining in the tracery of I were set within new roundels and placed against new quarry glazing. All the glass was cleaned. Prior to 1960 the many of the figures were opaque, with a heavy covering of the algae that still covers the north windows of the chancel. King also removed all the fragments from wI. He placed the figure of the Virgin Mary and Crucifixion fragments at the base of light c in window I. Of the six fragmentary shields here, one was replaced in panel 1/2b of I, and three reconstructed and set on roundels in 15a, A2 and A5 of I. Little rearrangement was required in windows sVI and sVII. The donor images were reconstructed to make them uniform and losses that had been patched with eighteenth or nineteenth-century white glass, were filled with new coloured or painted glass, as appropriate. 24 Nelson, p. 72. 25 L. J. Bowyer, The Ancient Parish of Norbury, p. 42. 26 The following account is based on photographs and records provided by Dennis King, now among the Newton Collection at the Centre for Medieval Studies, University of York. 416 The north and south windows of the chancel are currently being conserved by Holy Well glass of Wells, Somerset. The first windows were removed in 2001. Catalogue I (fig. 272). 2-5a. St James the Great, facing three-quarters left holding a staff in his right hand and a ruby book with yellow fore-edge in his left. He has a cusped yellow nimbus and is wearing a white skin robe and a broad brimmed hat. A blue scrip decorated with yellow stain, to which is fastened a cockleshell, is suspended from a yellow strap. The figure is fragmentary, with the lower part of the figure gone and the face has been replaced by a modern stopgap. Above his head is a blackletter inscription scroll: /qui concept[us] / est / de Sp[iri]ti S[an]c[t]o, nat[us] ex Ma/ria virgine/. The figure is set on a ground of quarries, types 43, 46 and 47, within a made-up border of alternating ruby, crowns and lozenge-filled rectangles. Quarries (as above) fill the bottom of the panel. All details are in black line and stipple, with yellow stain. Leaded breaks, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 6-9a. St Andrew, facing three-quarters left, with a yellow saltire. Only his bearded head, the upper members of the saltire and associated fragments of the drapery with yellow, jewelled hem remain. Above his head is the blackletter inscription scroll: /Et/ in Jh[esu]m/ X[hrist]um/ filiu[m] ei[us]/ unicu[m] d[omi]n[u]/m n[ost]r[u]m/. The inscription is on a ground of quarries, types 43, 46 and 47. They fill the rest of the panel, set within a border of alternating ruby, crowns and lozenge-filled rectangles. All details are in black line and stipple, with yellow stain. Leaded breaks, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 417 10-13a. St Peter (fig. 254), facing three-quarters right, holding a pair of oversize yellow keys in his left hand and a clasped yellow book in his right. Only the bearded head, nimbus (decorated with yellow rays) and upper torso remain. He wears a blue made-up robe. Above his head is a blackletter inscription scroll: /Cr/edo in/ Deu[m] /Patre[m] omnipotente[m] Cre/a/tore[m] c[o]eli/ et terr[a]e/. The capital C highlighted in yellow stain. The inscription is on a ground of quarries, types 43, 46 and 47. They fill the rest of the panel, set within a border of alternating ruby, crowns and lozenge-filled rectangles. All details are in blackline and stipple, with yellow stain. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 14a. Fragments, ruby and yellow stain on white. h 0.16m, w 0.41m. 15a. Shield of Arms: Argent, a chief vairy or and gules, over all a bend sable (Fitzherbert), impaling, Or, an eagle displayed azure, beak and legs gules (Montgomery).27 Set on a modern roundel. Dirty, leaded breaks. Mid 15th-c. d 0.36m approx. 2-5b. St James the Less (fig. 257), facing three-quarters left, holding a gnarled fuller's club in his right hand and a closed book with yellow fore-edge and binding in his left hand. He is bearded, has a cusped nimbus and is wearing a white and yellow stain mantle with jewelled hem over a blue gown. The lower third of the figure has gone. Over his head is the blackletter inscription scroll: /asce[n]dit / ad c[a]elos sedet / ad d/extera[m] dei p[at]ris [omnip]/otentis/. The figure is set on a ground of quarries, types. Quarries (types as above) fill the base of the panel and the whole is set within a border of alternating blue 27 Prior to the 1978 restoration this was in wI (L. J. Bowyer, The Ancient Parish of Norbury, p. 99). 418 and murrey rectangles, crowns and lozenges. All details are in blackline and stipple, with yellow stain. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 6-9b. St Thomas, standing three-quarters right holding a spear in his right hand and a book with a yellow-stain binding in his mantle-enveloped left hand. He is bearded, has a cusped nimbus and is wearing a white mantle with a yellow, jewelled hem, over a red gown. Above his head is the blackletter scroll: /desc[e]ndit/ ad inferna[m] tercia [sic] die resur/rexit : / a : mor/tuis/. The figure is set on a ground of quarries, types 43, 46 and 47, within a made-up border of blue alternating with crowns and lozenge-filled rectangles. Details in black line, stipple and yellow stain. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 10-13b. St John Evangelist, facing three-quarters right, with only the head and upper torso and left arm remaining. He is clean-shaven, nimbed, with yellow hair and wears a made-up mantle of white, with a yellow, jewelled hem, over a blue gown. Blackletter inscription scroll above his head: /Passu/s sub / poncio [sic] / pilato cru/cifixu[s] / mortu[us]/ et s/[e]pul[tus]/. Quarry ground around the inscription, types 43, 46 and 47, with quarries filling the lower part of the panel. Made-up border of blue alternating with crowns and lozenge-filled rectangles. All details in black line, stipple and yellow stain. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 14b. Fragments, blue and yellow stain on white. h 0.16m, w 0.41m. 419 15b. Shield of Arms: Fitzherbert, impaling, Argent, nine torteauxes, a label of three points argent (Babington).28 Set on a modern roundel. Partly made up. Dirty, leaded breaks. Mid 15th-c. d 0.36m approx. 2-3c. Virgin Mary (figs. 260 and 263, detail), from a Crucifixion, facing three-quarters right with her hands crossed at her breast. Only the head and upper torso remain. She is wimpled and is wearing a white mantle with a yellow hem, over a red robe. The lead line has been cut in tight around the wimple, so no evidence of a nimbus remains. Blackline, stipple and yellow stain. Paint loss and fractures. Below are fragments from a Golgotha, including long bones, flowers and grass, all picked out or reserved against a matt wash, with a little use of yellow stain. Fragments of a rayed mandorla in yellow stain reserved on matt. The rest of the panel made up of quarries, types 43, 46 and 47. Mid 15th-c. Border of yellow vine stem, partly 14th and partly 19th-c. h 0.57m, w 0.41m. 4-6c. St Helen (fig. 261, detail), standing three-quarters right, holding a Tshaped cross in her left hand, which passes over her left shoulder and behind her head. She is crowned, has a cusped nimbus and loose flowing hair. She is dressed in a blue mantle with yellow-stain hem and clasp, over a white gown powdered with yellow-stain rosettes. The lower third of the figure has gone. She is set on a ground of white glass, decorated with remains of large-scale foliage. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. Border as 2-3c. h 0.87m, w 0.41m. 28 John Fitzherbert of Etwall, a younger son of Nicholas Fitzherbert (d. 1473) married Margaret daughter of Robert Babington. He was still alive at the beginning of the sixteenth century. Wright, p. 222. 420 7-9c. Sainted Archbishop (fig. 259), standing full frontal, holding a yellow cross-staff in his left hand and with his right hand in the attitude of benediction. He wears an alb, amice, yellow mitre, yellow brocade chasuble with jewelled orphreys, pallium and jewelled episcopal gloves. The figure is confused and foreshortened. Black line, hatching, stipple and yellow stain. Ground of quarries, types 43, 46 and 47. Leaded breaks, stopgaps and paint loss. First quarter of the 16th c. Border as 2-3c. h 0.87m, w 0.41m. 10-11c. Sainted Bishop or Abbot (fig. 258, lower part), standing threequarters left with a yellow pastoral staff in his left hand and his right hand raised in the attitude of benediction. He wears a white chasuble with yellow, jewelled orphreys, over a blue fur-lined habit, and jewelled and tasselled episcopal gloves. Only the upper part of the figure remains and this is confused; the head has been trimmed. Black line, hatching, stipple and yellow stain. Ground of quarries, types 43, 46 and 47. Leaded breaks, stopgaps and paint loss. First quarter of the 16th-c. Border as 2-3c. h 0.57m, w 0.41m. 12-13c. Fragments of St Margaret (fig. 258, upper part) and a sainted abbess. Only the middle of St Margaret remains. She was originally full-frontal, wearing a murrey fur-lined mantle, with yellow-stain hems, over a white robe. The hilt of a sword is set against her robe and she was evidently holding it in her left hand, which is enveloped in her mantle. Above is the fragmentary head of a crowned and nimbed abbess, with heavy paint loss. A section of flowing yellow hair is placed to the right-centre of the panel. Ground of quarries, types 43, 46 and 47. Mid 15th-c. Border as 2-3c. h 0.57m, w.0.41m. 14c. Large yellow-stain crown, set within a border as 2-3c. Mid 15th-c. h 0.27m, w 0.41m. 421 15c. Shield of Fitzherbert, set on a modern roundel. Dirty, with leaded breaks. Mid 15th-c. d 0.36m approx. 2-5d. St Matthew (fig. 256), facing three-quarters left, holding a halberd in his right hand and an inkhorn in his left. He is bearded, with a blue nimbus decorated with yellow and is dressed in a white robe powdered with rosettes and with a yellow neckband. The lower third of the figure has gone. Blackletter inscription scroll above his head: /eccles[ia]m / sanctam / comm/[un]ionem/. Quarry ground around the inscription, types 43, 46 and 47, with quarries filling the lower part of the panel. Made-up border of blue alternating with crowns and lozenge-filled rectangles. All details in blackline, stipple and yellow stain. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 6-9d. St Bartholomew (fig. 253), facing three-quarters right, holding a flaying knife in his left hand and an open book in his right. He is bearded, with a cusped nimbus and is wearing a white mantle with a yellow, jewelled hem, over a red robe. The lower half of the figure has gone. Blackletter inscription scroll above his head: /Credo in/ / spiri/tum / sanctum/. Quarry ground around the inscription, types 43, 46 and 47, with quarries filling the lower part of the panel. Made-up border of blue alternating with crowns and lozenge-filled rectangles. All details in blackline, stipple and yellow stain. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 10-13d. St Philip, facing three-quarters right, holding three yellow loaves in his left hand and a book with yellow binding in his right. He is bearded, has a decorated yellow nimbus and is wearing a white mantle with yellow, jewelled hem, over a blue robe. The lower half of the figure has gone. Above his head is a blackletter inscription scroll: 422 /Inde vent/u/rus [est] in judicare/ viv/os /et m/ortuos/. Quarry ground around the inscription, types 43, 46 and 47, with quarries filling the lower part of the panel. Made-up border of blue alternating with crowns and lozenge-filled rectangles. All details in blackline, stipple and yellow stain. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 14d. Fragments as 14a. h 0.16m, w 0.41m. 15d. Shields of Arms: Argent, a chevron between three crescents (Pole), impaling, Fitzherbert.29 Mid 15th-c. d 0.36m approx. 2-5e. St Matthias, standing three-quarters left on a tessellated floor, holding a falchion (with a yellow pommel and band of yellow decoration on the blade) in his left hand and a closed book with a yellow binding, in his right. He is bearded and nimbed and is wearing a white mantle with a yellow, jewelled hem, over a blue robe. Over his head the blackletter inscription scroll: E/t/ / / vitam :/ eterna/m/:/. Quarry ground, types 43, 46 and 47. Made-up border of ruby alternating with crowns and lozenge-filled rectangles. All details in blackline, stipple and yellow stain. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 6-9e. St Jude or St Simon (fig. 255), standing three-quarters right on a tessellated floor, holding a ship in his left hand. The ship is fully rigged, with mast and crow’s nest. He is bearded, has a cusped nimbus and is wearing a white mantle with yellow, jewelled hems, 29 Joan, daughter of John Fitzherbert of Etwall (see shield in 16b), married John Pole of Radbourne. Wright, p. 230. 423 over a blue robe. Blackletter inscription scroll around his head: /Carnus :/ resu/rectionem/. Quarry ground around the inscription, types 43, 46 and 47. Made-up border of ruby alternating with crowns and lozenge-filled rectangles. All details in blackline, stipple and yellow stain. Leaded breaks, fractures, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 10-13e. St Simon or St Jude, facing three-quarters right, holding the shaft of a yellow oar (?) in his right hand and a closed book with a yellow binding in his left. He is bearded and nimbed. The lower half of the figure is lost and the torso is made-up of fragments of white drapery, some with yellow, jewelled hems and ruby fragments. Above his head the smallest fragment of a blackletter scroll: /m/. Quarries, types 43, 46 and 47, fill the upper and lower parts of the panel. Made-up border of ruby alternating with crowns and lozenge-filled rectangles. All details in blackline, stipple and yellow stain. Leaded breaks, stopgaps and paint loss. Mid 15th-c. h 1.15m, w 0.41m. 14e. Fragments as 14a. h 0.16m, w 0.41m. 15e. Shield of Arms: Azure, an eagle spread argent (Cotton), impaling, Fitzherbert.30 Set on a modern roundel. Dirty, with leaded breaks. Mid 15th-c. d 0.36m approx. A1. Shield of Arms: Argent, a fleur-de-lys between six cross-crosslets fitchy sable (Gayer), impaling, Argent, a raven sable (Corbet).31 Set on a modern roundel. Dirty. Mid 15th-c. 30 Joan, daughter of Nicholas Fitzherbert (d. 1473), married John Cotton of Hamstall Ridware (Cox, vol. 3, p. 236). 424 d 0.36m approx. B1. Shield of Arms: Vairy or and sable, quartering, Or, a tower tripleturreted azure (Blount), impaling, Or, three bends gules. This shield is a conjectural reconstruction, only some small elements of the dexter are, in fact, old.32 Mid 15th-c. d 0.36m approx. B2. Shield of Arms: Argent, three bendlets gules (Byron),33 impaling, Argent, a bend sable. Set on a modern roundel. Dirty, with leaded breaks, the sinister indistinct. Mid 15th-c. d 0.36m approx. A2. Shield of Arms: Or, three piles meeting in base gules, on a canton argent a griffin segreant sable (Basset), impaling, Or, three bendlets gules (Frenes or Byron).34 Set on a modern roundel. Dirty, leaded breaks. 1460s or 70s. d 0.36m approx. sVI (fig. 275). 1a. Nicholas Fitzherbert and his sons (fig. 271). Nicholas kneels threequarters right in the attitude of prayer at a desk. He is dressed in a ruby gown, with a large purse hung from his waist. The collar of his doublet is matt black and is decorated with sunbursts and white roses in needlepoint. Behind him eight of his sons, those in the foreground kneeling, wearing blue gowns, with the others suggested by heads. 31 L. J. Bowyer, The Ancient Parish of Norbury, p. 77. 32 Formerly in wI (L. J. Bowyer, The Ancient Parish of Norbury, p. 99). 33 Cox, vol. 3, p. 247. 34 L. J. Bowyer, The Ancient Parish of Norbury, p. 80. 425 The figures are set on a ground of murrey painted rinceau, under a shallow vaulted canopy, executed in blackline, stipple and yellow stain on white. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.48m, w 0.38m. 1b. Shield of arms: Argent, a chief vairy or and gules, over all a bend sable (Fitzherbert), impaling, Argent, three boars heads erect and erased sable (Booth). The white field of the Fitzherbert arms is decorated with painted trailing foliage. The shield is set against a ground of blue painted seaweed rinceau and is placed under a shallow vaulted canopy, executed in blackline, stipple and yellow stain, on white. At the base of the panel is a badly damaged blackletter inscription: m : ar..e dui… Pur… le… Leaded and unleaded fractures, stopgaps and paint loss throughout the panel. Mid 15th-c. h 0.48m, w 0.38m. 1c. Alice Booth, first wife of Nicholas Fitzherbert and their daughters (fig. 270). Alice kneels three-quarters left, in the attitude of prayer at a desk. She is dressed in a murrey fur-trimmed gown and butterfly headress. Behind kneel five daughters, some with butterfly headresses, others with loose hair, dressed in blue gowns. The figures are set on a ground of murrey painted rinceau, under a shallow vaulted canopy executed in blackline, stipple and yellow stain, on white. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.48m, w 0.38m. 2-3a. St Winifred, standing three-quarters right, under a canopy, on a tessellated floor, against a ruby rinceau ground powdered with white roses. She is veiled and wimpled, nimbed and crowned and wears a blue mantle over a white habit. In her right hand she holds a pastoral staff and in her left an open book. At the base of the panel a scroll with a blackletter inscription: /S[an]c[t]a Win/ifreda …/ The whole 426 panel in blackline, stipple, with yellow stain on white. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.87m, w 0.38m. 2-3b. St Anne teaching the Blessed Virgin Mary to read (fig. 264). St Anne is standing three-quarters right. She is nimbed, veiled, wimpled and wears a murrey mantle over a white gown, powdered with yellow-stain flowers. St Anne envelops the Virgin Mary in her mantle. Mary is a smaller figure, standing three-quarters left. She is nimbed, with loose yellow-stain hair and wears an ermine cote-hardi over a ruby gown. The Virgin holds a book in her left hand, St Anne points to this with her right hand. The figures are set on a tessellated floor under a canopy and against a ground of blue seaweed rinceau powdered with white roses. At the bottom of the panel is a damaged scroll with a blackletter inscription: /S[an]c[t]a/ /marie/. The whole panel in black line, stipple, with yellow stain on white. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.87m, w 0.38m. 2-3c. St Sitha (fig. 265), standing three-quarters left, under a canopy, on a tessellated floor, against a ground of murrey seaweed rinceau. She is nimbed, wimpled and veiled and wears a blue fur-lined mantle over a white gown, powdered with yellow stain flowers. She holds a closed book in her right hand and a bunch of keys in her left hand. At the base of the panel a scroll with the blackletter inscription: /sca: /citha/. The whole panel in black line, stipple, with yellow stain on white. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.87m, w 0.38m. 4a. Canopy top. Three vaulted bays of two tiers, with pendant bosses and crocketed ogee pinnacles. White and yellow stain, against a blue ground. Black line and stipple on white, with yellow stain. Leaded breaks, stopgaps and paint loss. Mid 15th-c. 427 h 0.28m, w 0.38m. 4b. Canopy top and Holy Trinity. In basic form as 4a against a murrey ground, with three tiers, supporting in the centre a sub-canopied tabernacle. This contains the Holy Trinity conventionally rendered with God the Father, enthroned supporting the Crucified Christ, with the Holy Spirit on the crossbeam. Black line and stipple on white, with yellow stain. Leaded breaks, stopgaps and paint loss. Mid 15th-c. h 0.51m, w 0.38m. 4c. Canopy top as 4a. sVII (fig. 276). 1a. Three sons of Nicholas Fitzherbert (fig. 269), kneeling threequarters left, in the attitude of prayer, at a kneeling desk. They are dressed in ruby gowns and have yellow shoulder-length hair. The figures are set on a ground of murrey painted rinceau, under a shallow vaulted canopy. Black line, stipple and yellow stain on white. At the base of the panel, a fragmentary blackletter inscription: /in q[u]o o[mn]ia/. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.48m, w 0.38m. 1b. Shield of arms: Argent, a chief vairy or and gules, over all a bend sable (Fitzherbert), impaling a lost achievement.35 The white field of the Fitzherbert arms is decorated with painted trailing foliage. The shield is set against a ground of blue painted seaweed rinceau and is placed under a shallow vaulted canopy. Black line, stipple and yellow stain on white. At the base of the panel is a badly damaged blackletter 35 The lost achievement in the sinister of the shield was Ludlow, see transcript of the Michael Jones manuscript cited above. 428 inscription: /p[er] que a/ie xpi / …hia/. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.48m, w 0.38m. 1c. Isabella Ludlow, second wife of Nicholas Fitzherbert and their daughters. Isabella kneels three-quarters left in the attitude of prayer at a desk. She is dressed in a ruby mantle over a white gown and a butterfly headress. Behind kneel two daughters, dressed in murrey gowns. The figures are set on a ground of blue painted rinceau, under a shallow vaulted canopy. Blackline, stipple and yellow stain on white. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.48m, w 0.38m. 2-3a. St John the Baptist (fig. 268, detail), bearded and nimbed and standing three-quarters right, under a canopy, on a tessellated floor, against a ground of murrey seaweed rinceau. He wears a blue mantle over a yellow camel-skin coat, with the camel’s head hanging between his legs. He holds a closed book in his left hand, on which is placed the Agnus Dei, to which he gestures with the second finger of his right hand. The lamb’s cross-staff has a pennant flying from it, with the blackletter inscription: /Ecce/ agnus /dei/. Blackletter inscription scroll at the base of the panel: /Sanct[us] /oh[ann]es / baptista/. The whole panel in blackline, stipple, with yellow stain on white. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.87m, w 0.38m. 2-3b. St Barlock Abbot (fig. 267, detail), nimbed and tonsured, standing three-quarters right, under a canopy, on a tessellated floor, against a ground of blue seaweed rinceau. He is vested in an apparelled alb, apparelled amice and a ruby chasuble with yellow trim. He holds a pastoral staff in his left hand and a closed book in his right. Blackletter inscription scroll at the base of the panel: /Sanct[u]s / 429 barlok[us] / abbas /. The whole panel in blackline, stipple, with yellow stain on white. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.87m, w 0.38m. 2-3c. St Anthony Abbot (fig. 266, detail), nimbed and bearded, standing three-quarters left, under a canopy, on a tessellated floor, against a ground of murrey seaweed rinceau. He wears a blue cope over a white chasuble, both with yellow orphreys. He holds a tau cross-staff in his right hand and a closed book in his left. Blackletter inscription scroll at the base of the panel: /Sanct[u]s / a[n]ton[i]us/. In front of the scroll and painted on the same piece of glass, is a pig, with collar and bell. The whole panel in blackline, stipple, with yellow stain on white. Leaded and unleaded fractures, stopgaps and extensive paint loss. Mid 15th-c. h 0.87m, w 0.38m. 4a. Canopy top, three vaulted bays of two tiers, with pendant bosses and crocketed ogee pinnacles. White and yellow stain against a blue ground. Blackline and stipple on white, with yellow stain. Leaded breaks, stopgaps and paint loss. Mid 15th-c. h 0.28m, w 0.38m. 4b. Canopy top as 4a, with three tiers. h 0.51m, w 0.38m. 4c. Canopy top, as 4a. wI. 1-2b. Fitzherbert shield and quarries, types 47 and 48. Heavy decay. Shield mid 15th-c., quarries first quarter of the 16th c. w 0.45m. 430 3-5b. The Holy Trinity (fig. 262). God the Father is bearded and nimbed and is wearing a yellow tiara, white alb and a blue cope with yellow orphreys and morse. He supports the Crucified Christ, who is suspended on a yellow cross. Christ has a yellow crown of thorns, yellow hair and a murrey loincloth. The Holy Trinity, in the form of the dove, hovers above the head of Christ. Heavy pitting, paint loss, with leaded breaks and losses. First quarter of the 16th c. h 0.74m, w 0.31m. 431 Norbury Manor, Derbyshire OS SK 125 423 Manuscript source London, British Library, Harley MS 2113, f. 117r. Printed sources Ayre, pp. 20-21. G. Bailey, ‘The Stained Glass at Norbury Manor House – First Article’, DAJ, 4 (1882), pp 152-158. G. Bailey, ‘The Stained Glass at Norbury Manor House – Second Article’, DAJ, 5 (1883), pp. 64-68. Coe, p. 98. B. A. Henisch, The Medieval Calendar Year (Pennsylvania, 1999), pp. 209-210 and figs. 8-7. G. Jackson-Stops, ‘Norbury Manor Derbyshire – A Property of the National Trust’, Country Life (May, 1990), p. 154. Nelson, p. 73. Pevsner, p. 290. The Mediaeval Hall Norbury (1973), p. 4. N. H. J. Westlake, A History of Design in Painted Glass, vol. 3 (1886), pp. 148 and 150 and plate CVI. Illustrations Figs. 283-292. The Manor House at Norbury, formerly the residence of the Fitzherbert family, is now the property of the National Trust. The present structure consists of a thirteenthcentury solar block attached to a seventeenth-century house, the latter replacing a significantly larger fifteenth and sixteenth-century courtyard house built by Ralph Fitzherbert, (d. 1483) and his son John Fitzherbert (d. 1532.) Ralph is believed to have added a ‘new parlour’ by the time of his death in 1483 and John completed the 432 work by 1517, having added a new Hall with a bay window, a second ‘over parlour,’ and chambers and offices.1 The surviving medieval glass, which is contemporary with Ralph and John’s house, comprises six figurative roundels, minor figurative fragments and shields of arms and armorials. The figurative roundels are in the upper sitting room of the seventeenth-century house and represent January to June from a series of the Labours of the Months. They are first recorded in the house in 1882 when they were then grouped together in the window of the first half-landing of the main staircase of the house. 2 They are discussed in Kerry Ayre’s recent Corpus Vitrearum volume, where she assigns a mid fifteenth-century date to them.3 Although the agricultural theme of the roundels reflects the interests of John Fitzherbert (d. 1532), who was the author of a best-selling book on husbandry first published in 1523,4 it is more likely, in view of their date that they were purchased or commissioned for his father Ralph Fitzherbert. It is possible they formed part of the adornment of his ‘new parlour’ (see above). The heraldic glass consists of four rectangular armorial panels in the main entrance hall and four shields in the oak drawing room, both on the ground floor of the seventeenth-century house. Two of the armorial panels in the hall are set on a ground of yellow-stain acanthus leaves, with a third on a foliage ground. Three incorporate blackletter inscriptions referring to those who bore the achievements. Some of these shields and armorials formed part of an extensive series that formerly filled the windows of the hall of the late medieval house and were recorded in 1581 by the herald Lawrence Bostock:5 1 See J. C. Franklin, ‘Norbury Old Manor, Derbyshire’ (MA thesis, Department of Archaeology, University of York, 2002), particularly pp. 39-40, 59 and appendix 2 and G. Jackson-Stops, ‘Norbury Manor Derbyshire – A Property of the National Trust’, Country Life (May, 1990), pp. 152 and 153. 2 G. Bailey, ‘The Stained Glass at Norbury Manor House – First Article’, DAJ, 4 (1882), pp. 152-153. 3 Ayre, pp. 20-21. 4 John Fitzherbert, A Boke of Husbandrie (London, Wynknyn de Worde, 1523). 5 London, British Library, Harley MS 2113, f. 117r. 433 'In the hall windowes at Norbury in county Derby, Sir Thomas le fitz herbert his howse, in glass.' 1. ‘Imprimis John Coton of hampstall Rydware and Isabell daughter of William fitzherbert of Norbury’:6 Gules three lions. Azure, an eagle spred argent (Coton). Argent, a chief vairy or and gules, a bend sable (Fitzherbert). 2. ‘Richard Coton of Rydware and Margaret daughter of John Bothe of Arlston’: 7 Argent, three boresheads raised sable (Booth 'lyke bothe of dunham in Chestir'). Azure, an eagle spred argent (Coton). 3. ‘John Coton of Panfeld and Ales daughter of John Langham’: ‘Langham bereth’: Argent, three chevrons gules (Langham). 4. Argent, a fess between three cinquefoils pierced of the field (Powtrell), impaling, Azure, an eagle spred argent (Coton).8 5. Gules a chevron argent between three maskels ermine voided gules, ‘cecilie daughter of … Coton impaled viz’, Azure, an eagle spred argent (Coton). 6. ‘Thomas Coton of Rydware: Azure, an eagle spred argent (Coton), ‘his wife katheryn daughter of Sir John Ferres of thamworth’: Gules, 6 Joan daughter of Nicholas Fitzherbert (d. 1473) married John Cotton of Hamstall Ridware (Cox, vol. 3, p. 236). 7 Sir Anthony Fitzherbert (d. 1538), second son of Ralph married Matilda Cotton, daughter and heiress of Richard and Margaret Cotton of Hamstall Ridware, Staffordshire (Wright, p. 222 and Cox, vol. 3, p. 241). 8 Thomas Powtrell (d. 1484) married Katherine, daughter of John Cotton and Joan Fitzherbert (Cox, vol. 4, p. 225). 434 seven mascles or yoided gules, over all a label of three points (Ferrers).9 7. ‘Hughe Willoughby of Rysseley’ Or, three bars in bend azure, ‘his wyfe Isabel daughter of John Bradbourne of the Hoghe in county Derby’: Argent, on a bend gules, three mullets or.10 8. ‘Sir John Stanley of Elford’: Gules, three crosslets fitchy or, a chief or ‘and Elizabeth his wife daughter of Sir … vernon of Haddon’: Argent, fretty sable. 9. ‘Sir John Melton’ Azure, a cross 'lyke Pulford' argent ‘ … daughter of Sir John Stanley of elford’: Gules, three crosslets fitchy or, a chief or. 10. ‘Sir John Ferrys of thamworth’: Gules, seven mascles or, a chief embatlled azure, a label of three points azure, a chief embattled azure ‘his wife maude daughter of Sir John Stanley of Elford’: Gules, three crosslets fitchy or. 11. ‘Sir hugh pessal of …’: Gules, a cross ermine ‘Isabell daughter of Sir stanley of elford’: Gules, three crosslets fitchy or. 12. ‘John Port of chester’: Azure, a fess engrailed or between three portfowls passant with crosses formy fitchy in their beaks, or ‘his wyfe Johanne, daughter of … Fitzherbert of Norbury:11 Argent, a chief vairy or and gules, a bend sable. 9 He was the brother of Matilda, wife of Sir Anthony Fitzherbert (see note 7). 10 Isabel was the sister of Benedicta, wife of John Fitzherbert (Wright, p. 211). 11 Sir John Port, a justice of the King's Bench (d. 1541) was the son of Henry Port a Chester merchant. He was married (around 1495) to Jane or Joan the heiress of John Fitzherbert of Etwall, a son of Nicholas Fitzherbert of Norbury (d. 1473) (Cox, vol. 3, pp. 163 and 166167, Wright, pp. 27 and 214). 435 13 ‘William Crossby of London’: A merchant's mark - argent, a cross fitchy, the shaft reflexed dexter and terminating in a cross fitchy ‘Elizabeth, daughter of … of Norbury: Gules, three lions rampant or (Fitzherbert).12 14 ‘Richard Lyster’: Ermine, on a bend sable three mullets argent pierced ‘Agnes, daughter of Ralph Fitzherbert of Norbury’.13 15 ‘Sir Thomas Gresley of drakelow’: Vairy, argent and gules ‘Anne, daughter of Thomas Ferres of Thamworth knight’: Gules, seven mascles or, a label of three points azure (Ferrers). 16 ‘henry Sacheverell or Morley bereth’: Argent, on a saltire sable, three thigh bones of a man or ‘his wife Isabell the daughter of Sir Thomas Montgomery’: Or, an eagle azure, beak and legs gules (Montgomery). 17 ‘henry Bradburne of the Hoghe’: Argent, on a bend gules, three mullets or ‘his wife Margery daughter of Sir John Bagot of blythfild knight’14: Argent, a chevron between three mullets sable. 18 ‘John Curson of kedleston’: Argent, on a bend sable three martlets or ‘his wyfe Johan daughter of Sir John Bagot of blythfyld’:15Argent, a chevron between three mullets sable. 19 ‘Norbury [i.e. Fitzherbert] and bo[o]th’.16 12 She was a daughter of Nicholas Fitzherbert (d. 1473) (Cox, vol. 3, p. 236). 13 Confirmed by Wright, p. 213. 14 Grandfather of Benedicta, wife of John Fitzherbert (d. 1531) (Wright, p. 219). 15 Great Aunt of the wife of John Fitzherbert, see note 13. 16 Nicholas Fitzherbert (d. 1473) married Alice the daughter of Sir Henry Booth of Harlestone (Wright, p. 222). 436 17 20 ‘norbury and marshall’.17 21 ‘norbury and babington’.18 22 ‘norbury and etc.’. 23 ‘norbury and etc.’. 24 ‘Norbury and marshall quartered’.19 25 ‘[Norbury] and Bradbourne’.20 26 ‘Babington and Norbury’.21 27 ‘Lyster and Norbury’.22 28 Argent, three docturs caps sable ‘and Norbury’. 29 Gules, on a cross engrailed or, nine torteauxes ‘and Norbury’. 30 ‘norbury and etc.’. Ralph Fitzherbert (d. 1483) married Elizabeth, daughter and heiress of John Marshall (Wright, p. 222). 18 John Fitzherbert of Etwall (q.v.), a younger son of Nicholas Fitzherbert (d. 1473) married Margaret daughter of Robert Babington. He was still alive at the beginning of the sixteenth century (Wright, p. 222), Cox has him married to Dorothy, daughter of William Babington. (Cox, vol. 3, p. 103). 19 See 16. 20 John Fitzherbert married Benedicta, daughter of John Bradbourne of the Hough (q.v. Ashbourne) (Wright, p. 211). 21 Sir Thomas Babington of Dethick (d. 1519) married Edith Fitzherbert daughter of Ralph Fitzherbert (d. 1483) (Wright, p. 218). 22 Agnes, the daughter of Nicholas Fitzherbert (d. 1473) married Richard Lister (Wright, p. 213). 437 31 Argent, on a pile gules a crescent argent ‘and norbury’. 32 ‘Cochen and fitzherbert of Etwall’. 33 ‘copwod of london and sophia, daughter of John Fitzherbert al[ias] Norbury’. 34 ‘port and Norbury’. 35 ‘… of london and norbury’. 36 ‘… and norbury’. 37 ‘Rolston Sir Thomas Fitzherbert's man’: Azure on sable, a chevron between nine mullets argent ‘and Babington impaled etc.’.23 38 ‘vernon and shrewsbury’: Gules, one lion rampant argent, between a bordure engrailed or. 23 39 ‘montgomery and vernon’. 40 ‘bradburne and vernon’: Argent, fretty sable. 41 Paly of six or and gules ‘and Vernon’. 42 ‘arderne vel Sir John Stanley and vernon’. 43 ‘Coken and vernon’. 44 ‘fuliambe and vernon’. Presumably James Rolleston of Lea (d. 1507), who married Anne the daughter of Sir John Babington of Dethick (q.v. Ashover) (Wright, p. 211). 438 43 ‘Corbet’ Argent, a raven passant sable, legs gules ‘and vernon’. 45 ‘leche and vernon of hanysart': Argent, three chess rooks gules. 45 ‘okeover and Bradburne’. 46 ‘norbury and Bradburne’.24 47 Argent a wolfs head raised sable ‘and Bradburne’. 48 Argent, a chevron between three escallops sable ‘and vernon of hanysart’: Argent, three chess rooks gules. 49 ‘chaworth and babington’. 50 ‘Rolston’: Sable, a chevron between nine mullets argent ‘and babington impaled’. 51 Argent, a griffin sagriant sable ‘and babington’. 52 ‘norbury and longford’.25 'All there said coates be impaled for marriages' Of the arms recorded by Bostock in the Hall, only 9, 14 and 19 and 20 now remain. Most of the achievements in this series referred to Ralph Fitzherbert (d. 1483), his brothers and sisters and his sons John (d. 1531) and Anthony (d. 1538). The achievements cover both the direct marital alliances of the family, being 24 See note 19. 25 Nicholas Fitzherbert (d. by 1531), the son of John and Benedicta married Dorothy, daughter of Sir Ralph Longford, in or around 1501 (Wright, p. 211). 439 extended to encompass many of the brothers and sisters of Fitzherbert spouses. Some of the shields reflected ties of social and political affinity. The Stanleys of Elford and their relatives, the Ferrers of Tamworth are known to have been members of a group of Yorkist gentry, that included the Fitzherberts, who were tenants of and/or managed the affairs of the Duchy of Lancaster in the Midlands during the reign of Edward IV.26 The Rollestons of Lea were clearly associates of the family, as the descriptive text under shield 37 ‘Rolston Sir Thomas Fitzherbert’s man’ bears out. Other shields refer to men prominent in Derbyshire affairs right at the end of the fifteenth and the beginning of the sixteenth century. The stylistic evidence of the remaining achievements, combined with those commemorated, suggests that the series were installed by John Fitzherbert (d. 1531). Presumably the shields referring to John and his wife Benedicta Bradbourne were installed prior to their separation in 1517 and that of their son Nicholas Fitzherbert after his marriage to Dorothy Longford in 1501. There are some small figurative and decorative fragments in the thirteenthcentury upper hall. In 1961 Dennis King of Norwich removed them from the armorial panels in the seventeenth-century house where they had served as stopgaps.27 The fragments consist of remains of an acanthus setting of a lost armorial panel, a small piece of drapery, some minor architectural elements and group of male and female heads from a donor panel. Catalogue Entrance Hall South wall, east window. 26 Wright, pp. 90-91. 27 Personal comment by Mr Charles Wright, who was the tenant of the property in 2001. For drawings of the panels prior to the conservation see: G. Bailey, ‘The Stained Glass at Norbury Manor House – First Article’, plates. 440 2a. Armorial panel (fig. 283): Quarterly, 1 and 4, argent three cocks statant gules (Cockayne of Ashbourne), 2 and 3, barry of four vert and argent (Herthul) impaling, Argent, fretty sable (Vernon). Set within a border of acanthus leaves in black line and stipple with yellow stain. Some paint loss. Late 15th or early 16th-c. h 0.30m, w 0.28m. 2b. Armorial panel:28 Azure, a cross patonce (?) argent (for Sir John Melton) impaling, Gules, three crosslets fitchee or (Stanley of Elford). Fragments of a blackletter inscription scroll are arranged around the shield: / he[n]ry fuliam/ ; /rlton o/; /do/ughte[r]/ /of/ / joh[n]/ / nl/ey of elford:/ Stopgaps, leaded breaks, paint loss and pitting. Late 15th or early 16th-c. h 0.33m, w 0.26m. South wall, west window. 2a. Armorial panel (fig. 284):29 Ermine, on a bend sable three mullets pierced argent [Lister] impaling, Argent, a chief vaire or and gules, over all a bend sable [Fitzherbert.] There is a blackletter inscription scroll around the arms: /Richard Lyster of Ro/wston a[nd]/ / agnes/ do[ughter]/ / /of / / [Rau]uff/ /[Fit]zherbert of norbury/. Shield and inscription set against a ground of foliage in black line, hatching and yellow stain on white. Leaded breaks, stopgaps and paint loss. Late 15th or early 16th-c. h 0.33m, w 0.23m. 2b. Shield of arms: Gules, a chevron vairy argent and sable [Kniveton], impaling Or, an eagle displayed azure [Montgomery].30 Fragment of a blackletter scroll: /lmountgom[e]ry of co/ble/[y]. The ground is made up with 28 Shield 9 in Bostock’s account. 29 Shield 14 in Bostock’s account. 30 Referring to John Kniveton of Mercaston (d. 1502) (q.v. Mugginton) and his wife Margaret, daughter of Nicholas Montgomery of Cubley (Wright, p. 246). 441 sections of acanthus as 2a of the east window. Stopgaps, leaded breaks, paint loss. Late 15th or early 16th-c. h 0.34m, w 0.29m. Oak Drawing Room South wall, east window. 2a. Shield of arms:31 Fitzherbert impaling, Argent, three boars heads erased and erect sable [Booth]. Stopgaps, leaded breaks and paint loss. Probably late 15th or early 16th-c. h 0.22m, w. 0.19m. 2b. Shield of arms:32 Fitzherbert impaling, Barry of six argent and sable, a canton ermine [Marshall].33 Probably late 15th or early 16th-c. h 0.22m, w. 0.19m. South wall, west window. 2a. Shield of arms: Fitzherbert impaling, Argent, ten annulets sable, a label of three points of the first. Leaded breaks. Probably late 15th or early 16th-c. h 0.22m, w. 0.19m. 2b. Shield of arms. Fitzherbert, impaling, Argent, two bars sable. Leaded breaks and pitting. Probably late 15th or early 16th-c. h 0.22m, w. 0.19m. 31 Shield 19 in Bostock’s account. 32 Shield 20 in Bostock’s account. 33 Medieval Ordinary, vol. 1, p. 66. 442 Upper Sitting Room South wall, east window. 2a. Labour of the Month Roundel: January (fig. 287). A bearded man dressed in a fur-trimmed gown and wearing a hat on his head and pattens on his feet is seated facing right in a tub chair, before a fireplace, holding a large cup in his left hand. The canopy of the fireplace supports a pot suspended from a chain, in which is placed a ladle. Broken by the head of the man is the blackletter inscription: Janu/arius. The whole panel is executed in blackline and yellow stain with some stippling. Leaded break and a little paint loss. Mid 15th-c. d 0.17m. 2b. Labour of the Month Roundel: February (fig. 288). A bald clean-shaven man stands three-quarters left in the centre of the roundel, on a grassy knoll, dressed in doublet and hose. His left foot is on a metal-tipped spade. Beside him is a two-handled covered pot and a loaf. Blackletter inscription behind him: februari/us. Blackline and yellow stain with some stippling. Leaded and unleaded breaks, some paint loss and pitting. Mid 15th-c. d 0.17m. South wall, centre window. 2a. Labour of the Month Roundel: March (fig. 285). A man with tightly cropped hair dressed in doublet and hose stands in the centre of the roundel, on a raised grassy ground. He holds a double-bladed curved knife, with which he prunes a tree or vine, which sweeps over his head and is supported by a stake. Above his head the blackletter inscription: marcius. Blackline and yellow stain with some stippling. Leaded break and some paint loss. Mid 15th-c. d 0.17m. 443 2b. Labour of the Month Roundel: April (fig. 286). A man dressed in hose, a short belted fur-trimmed coat and floppy hat, stands three-quarters left in the centre of the roundel on grassy patch. In his left hand he holds three flower stems with stylised heads, and in his right five blades of corn. Behind him the blackletter inscription: Apri/lis. Blackline and yellow stain with some stippling. Leaded break and paint loss. Mid 15th-c. d 0.17m. South wall, west window. 2a. Labour of the Month Roundel: May (fig. 289). A man dressed in a long fur-trimmed coat and floppy hat, stands three-quarters left in the centre of the roundel on a grassy patch. He supports a bird on his right hand and in his left holds a flower stem in his left. Behind him the blackletter inscription: May/us. Blackline and yellow stain with some stippling. Leaded break and paint loss. Mid 15th-c. d 0.17m. 2b. Labour of the Month Roundel: June (fig. 290). A man dressed in a doublet (party yellow and white) and hose and broad-brimmed hat, stands threequarters left on a patch of grass in a corn field. He weeds the corn with a hook and crotch. To the right of him the blackletter inscription: junius. Blackline and yellow stain with some stippling. Leaded breaks and paint loss. Mid 15th-c. d 0.17m. Thirteenth-century Upper Hall West wall, south window. A1. Fragments. At the centre of the panel, on one piece of glass, the head and shoulders of two men and six women, one with hands in the attitude of prayer, so presumably part of a donor panel (fig. 291). The men have 444 shoulder-length hair and the women have loose hair pushed back behind their ears, three with a thick blackline along their hair line. Black line and yellow stain with some stipple. Paint loss. A small figural fragment with erminetrimmed drapery, in blackline and yellow stain. Black line, stippling and yellow stain. Two fragments of acanthus leaf identical to those around the armorials in entrance hall (see above). All fragments are late 15th or early 16th-c. h 0.27m, w 0.27m. West wall, north window. A1. Fragments. Three architectural elements: part of a pinnacle from a canopy, what may be the lower part of a kneeling desk and part of a diapered ground or tessellated floor, with part of a decorated hem passing across it. All three fragments in black line, stipple and yellow stain on white. A single fragment of an acanthus leaf identical to those around the armorials in entrance hall (see above). Other small yellow-stain fragments with paint loss. Late 15th or early 16th-century. h 0.27 m, w 0.27m. 445 North Muskham, Nottinghamshire, Parish Church of St Wilfrid OS SK 798 586 Printed sources Cowen, p. 165. Cox County Churches, p. 145. W. Dickinson, The History and Antiquities of the Town of Southwell (London, 1819), p. 166. Gill, p. 121. Mee Nottinghamshire, p. 189. Nelson, p. 160. Pevsner Nottinghamshire, p. 212. Throsby and Thoroton, vol. 3, pp. 158-159. E. Trollope, 'St Wilfrid's, North Muskham', AASRP, 11 (1872), pp. 20-21. Truman (1954) p. 160. Illustrations Figs. 293-300. North Muskham church consists of a western tower, clerestoried nave with aisles, south porch and aisleless chancel. Only the west tower and north arcade of the twelfth century predate an extensive rebuilding campaign of the late fifteenth century. All the windows in the structure have the same shallow, uncusped main and tracery heads lights, as the chancel of Holme-by-Newark church (q.v.), a chapel-ofease within the parish of North Muskham, erected around 1490 for the merchant John Barton. This is unsurprising as the north nave aisle (fig. 298) was constructed as a result of a bequest in the will of Barton in December 1490: ‘Lego quod insula borialis ecclesie parochiae de North Muskham de novo fabricetur meis sumptibus et expensis, secundum provisionem executorum meorum, et Radulphi, filii mei, qui in hac parte plenarie instructus’.1 1 BIHR, Archbishop's Register 23, f. 345r. 446 The evidence that Ralph Barton (d. before 1515) undertook this work on his father’s behalf is provided by the inclusion of his arms and initials on the buttresses of the aisle (figs. 299 and 300). The remaining glass consists of ex situ fragments in two windows of the north and one window of the south nave aisle. These fragments include remains of figures, which may have been set on tessellated plinths within borders, and remains of quarry grounds, the quarries charged, as at Holme-by-Newark, with the initials 'J' and 'B,' for John Barton, his merchant’s mark and the rebus of the family name, a barrel or tun with a bar attached to its base. In Thoroton's time there was also a series of shields of arms in the windows of the nave aisles and the clerestory:2 In the East window of the north aisle: 1. Argent, two bendlets engrailed sable (Radcliffe), quartering, Gules, a cross engrailed, argent [Norley]3, and Argent, a mullet sable [Walton].4 2. Azure, on a fess between three bucks heads caboshed, or, a mullet sable (Barton), impaling 1. 3. Barton (without the fess), impaling 1. In a north window of the north aisle: 2 Throsby and Thoroton, vol. 3, p. 158. 3 Thoroton wrongly identified this as the arms of Lee. The arms are in fact those of Norley, borne by the Radcliffe family of Smithells, Lancashire who were descended from a Norley co-heiress. The arms were also quartered within the arms of the Lee family, who were descendants of a second Norley co-heiress. Both Ralph Barton and his son John married members of the Radcliffe family. See: W. Langton (ed.), The Visitation of Lancashire and part of Cheshire made by Thomas Benalt in 1533, Cheetham Society, 110, part 2 (1882), pp. 197-198. 4 Thoroton identified these as the arms of Ashton. In this context they are in fact the arms of the Walton family and were borne by the heirs of the family of Norley (see note 3); (W. Langton, The Visitation of Lancashire and part of Cheshire made in 1533, pp. 197-198). 447 4. Walton, as 1. 5. Norley, as 1. 6. Gules, a lion 'of England' in chief, the rest broken. 7. Argent, three boars heads couped, two and one gules (Barton of Barton, co. Lancaster).5 8. Barton, but Thoroton says this is ‘supposed to be Gernons’.6 In the east window of the south aisle: 9. Barton, impaling, On a saltire engrailed nine annulets or (Leeke). In a south window: 10. Or, on a fess gules, three waterbougets ermine (Bingham), impaling, Gules, a saltire ermine (Neville of Rolleston). In a high south (i.e. south clerestory) window: 11. Azure, six eagles heads erased, three and three, or, impaling, Argent, three Boars passant sable, two and two (Barton of Barton, co. Lancaster).7 None of these shields are now extant. When Dickinson visited the church in 1787 most of the arms had already gone, and of the remainder ‘scarcely any [was] perfect’. 5 Papworth, p. 923. 6 This is first mentioned in 1533 as the arms of Barton of Holme-by-Newark and later of Smithells (W. Langton, The Visitation of Lancashire and part of Cheshire made in 1533, pp. 197-198). The Gernon family of South Muskham and South Carlton had an entirely distinct achievement, the only feature common to the Barton arms being the use of the caboshed bucks head. Their achievement was Argent, a buck’s head caboshed gules, at middle chief a mullet gules. British Library, Harley MS 1400, f. 77v. 7 Papworth, p. 923. 448 The arms of Barton remained, along with the 'bear and tun' rebus of the family, an alternative to the bar and tun, which also appears on the exterior of the porch at Holme.8 When Throsby saw the church in 1790 none of Thoroton's glass was remaining.9 Oddly Trollope saw one shield in 1871.10 Truman briefly recorded the extant glass, dating it to circa 1490 and noting its connection with the Barton family and the construction of the north aisle.11 Although Gill only mentions ‘fragments’, Cox, Mee, Nelson and Pevsner all noticed the Barton rebus.12 Most of the shields recorded by Thoroton referred to the Barton family. The arms in the north aisle all refer to Ralph and his family. The arms of Barton impaling Radcliffe, Norley and Walton (3) refer to his marriage to Joanna Radcliffe, which took place sometime in the 1450s or 60s. Where the coat is quartered rather than impaled (1), this refers to the marriage of John Barton II, Ralph’s son, to the heiress Cecilia Radcliffe of Smithells in Lancashire, a second cousin of Joanna, which took place in 1486.13 The arms of Barton impaling Leeke (9) in the south-east window cannot be explained with certainty. The Leekes of Sutton Scarsdale (q.v.) had property in Holme-by-Newark and its adjoining parish, Langford, and some members of the family paid for the east window of Holme church (q.v.).14 The fact that the arms are impaled with the Barton arms on the dexter suggests that a male member of the Barton family was married to a member of the Leeke family, but such an alliance has yet to be traced. The arms of Bingham impaling Neville of Rolleston in a south window are also to be explained. It is likely that they relate to the family of Isabella, who was the wife of John Barton at the time he made his will in 1491. She, as denoted by the impaled arms of John in stone on the exterior of the north 8 W. Dickinson, The History and Antiquites of the Town of Southwell (London, 1819), p. 166. 9 Throsby and Thoroton, vol. 3, pp. 159. 10 E. Trollope, 'St Wilfrid's, North Muskham', AASRP, 11 (1872), pp. 20-21. 11 Truman (1954), p. 160. 12 Gill, p. 121, Cox County Churches, p. 145, Mee Nottinghamshire, p. 189, Nelson, p.160 and Pevsner Nottinghamshire, p. 212. 13 See A. B. Barton, ‘St. Giles, Holme-by-Newark, Nottinghamshire: An analysis and contextualisation of a late fifteenth century parochial chapel’ (MA dissertation, Centre for Medieval Studies, University of York, 1999), pp. 18-21 and pedigree. 14 Thoroton and Throsby, vol. 1, pp. 144 and 368. 449 aisle here at Muskham and in glass at Holme, was a member of the Bingham family, seated at Car Colston.15 Two versions of the arms of the Barton's of Barton-in-Irwell in Lancashire were also included in the scheme. There is no connection between the Barton’s of Holme and this family, and in fact John Barton's distinct arms really preclude a connection.16 The remaining glass is in mixed condition. All the glass is jumbled and many fragments are upside down or reversed. The glass is all very dirty. The dirty quarries and fragments referred to in the catalogue could be of any date. Catalogue nV. A2. Quarries (fig. 297), four types 49, 50 and 55. c.1490. h 0.30m, w 0.15m approx. A4. Quarries, four types 49, 50 and 55. c.1490. h 0.35m, w 0.15m approx. nVI. a, b, c, d. Quarries, twenty-eight, type 56. c.1490. w of light 0.45m. sIV (fig. 293). 1a. Fragments. From a border: two fragments of crowns in black line and yellow stain. c.1490. Dirty quarries and fragments. 15 Thoroton and Throsby, vol. 1, p. 242. 16 W. Langton, The Visitation of Lancashire and part of Cheshire made in 1533, p. 198. 450 w of light 0.46m. 2a. Fragments. From a border: a yellow stain crown set upside down; a rectangle filled with a lozenge and stylised leaves. Blue drapery. c.1490. Dirty quarries and fragments. w of light 0.46m. 3a. Fragments. From a border: the smallest part of a crown (as 1a) and a rectangle as 2a. c.1490. Other dirty fragments. w of light 0.46m. 8a. Quarries, types 27, 29, 49, 50 and 55. More delicately painted than those in the north aisle. c.1490. w of light 0.46m. 1b. Fragments. At the bottom of the light the blackletter inscription: ‘/ Tw…/’, paint loss from ‘w’ the 'T' filled with yellow stain. c.1490. Dirty white fragments and quarries. w of light 0.46m. 2b. Fragments. A border crown as 1a and the remains of second. c.1490. Dirty white quarries. w of light 0.46m. 3b. Fragments. A fragment of one border crown as 1a. c.1490. Dirty quarries, one with a shadow of a former design, too indistinct to determine. w of light 0.46m. 4b. Fragments. Small fragments and dirty quarries, some are touched with black line and yellow stain and are therefore 15th-c. w of light 0.46m. 451 5b. Fragments. Part of one rectangular border element as 2a. c.1490. Dirty quarries and fragments of white. w of light 0.46m. 6b. Fragments. Fragment of a tracery light filling, a foliage design in yellow stain within a trellised border. Also a fragments of black line foliage trail. c.1490. Dirty white fragments and quarries. w of light 0.46m. 7b. Dirty white quarries and fragments. 8b. Quarries (fig. 296), types 27, 29, 49, 50 and 55. c.1490. w of light 0.46m. 1c. Quarries and fragments (fig. 294). Quarry fragments, types 49 and 50. Part of a stylised foliage border in yellow stain. Smallest remnant of a tessellated floor set within a crested yellow stain plinth. c.1490. Dirty white quarries. w of light 0.46m. 2c. Dirty white quarries (fig. 294). w of light 0.46m. 3c. Fragments (fig. 294). A border rectangle as 2a. Stippled drapery, one piece with a crocketed band of yellow stain across it, another with an ermine tail in black. Fragment of yellow stained glass, no decoration. c.1490. Dirty white quarries and fragments. w of light 0.46m. 4c. Fragments (fig. 294). Border fragments, crown as 1a, rectangle as 2a. Fragments of stylised foliage in black line and yellow stain, context uncertain. Section of stippled drapery decorated in one area with a black ermine tail. c.1490. Dirty white quarries. w of light 0.46m. 452 5c. Fragments (fig. 295). Two border crowns as 1a, set upside down. Part of a tessellated floor, set within a raised with plinth, the tiles containing yellow stain quatrefoils. Small part of a jewelled orphrey from the vestment of a large figure, in black line and yellow stain. c.1490. w of light 0.46m. 6c. Fragments (fig. 295). Border fragments: part of a crown as 1a and a rectangle as 2a. Part of a scroll with yellow stain border and blackletter inscription: / J/. Stipple shading drapery fragment, touched with yellow stain. c.1490. Dirty quarry fragments. w of light 0.46m. 7c. Fragment (fig. 295). Drapery fragments, stipple shaded with yellow stain hemming. Further fragment of stippled drapery. A fragment of trailing oak leaves, in black line and yellow stain, context unclear. c.1490. Dirty quarry fragments. w of light 0.46m. 8c. Quarries, types 27, 29, 49, 50 and 55. c.1490. Dirty quarry and other fragments. w of light 0.46m. 453 Nottingham, Nottinghamshire, Parish Church of St Mary OS SK 576 396 Manuscript sources Ashmole, pp.132-33. Nottingham, Nottinghamshire Archives, M494, f. 77r. Nottingham, Nottinghamshire Archives, DD TS 6/4/4/11, f. 56v. Printed sources J. Blackner, J. The History of Nottingham, Embracing its Antiquities, Trade, and Manufactures (Nottingham, 1815), p. 85. A. du Boulay Hill, ‘The Church of St Mary the Virgin Nottingham’, Transactions of the Thoroton Society, 20 (1916), p. 58. J. W. Clay (ed.), Yorkshire Church Notes 1619-1631 by Roger Dodsworth, Yorkshire Archaeological Society, Record Series, 34 (1904), p. 199. C. Deering, Nottinghamia vetus et nova or an historical Account of the Ancient and Present State of the town of Nottingham (Nottingham, 1751), p. 19. Mee, p. 212. Nelson, p. 161. Pevsner Nottinghamshire, p. 222. A. Stapleton, Some Account of the Tombs, Chapels, Chantries and Gilds, in the Parish Churches of Old Nottingham (Nottingham, 1902), p. 8. Thoroton and Throsby, vol. 2, 83 and facing page 83. Truman (1955), pp. 160-161. Illustrations Figs. 301-302. St Mary’s Nottingham, as befits its status as the parish church of the county town, is a large structure consisting of a nave with aisles, central crossing tower with transepts and chancel with south aisle (fig. 301). The church is all of a single build, the work commencing at the end of the fourteenth century and occupying much of 454 the fifteenth century.1 As the itinerary John Leland commented in 1534, the church is a Perpendicular glass house: ‘the chirch of St Mary is excellente, new and unyforme yn worke and [hath] so maine faire wyndows yn it that no artificer can imagine to set mo[re] ther.’2 Sadly all that is left of the original glazing of these many ‘faire’ windows are thirteen quarries in nX. In addition to this, in the twentieth-century south chancel aisle is a single fifteenth-century feathered angel, set amidst nineteenth-century fragments, apparently given by the glazier when the aisle was erected in 1913.3 Its original provenance is unknown. The antiquarians record a significant amount of glazing still extant in the church in the seventeenth, eighteenth and nineteenth centuries. In 1662 Ashmole saw the following glass: 4 ‘In the south windows under the portraiture of a man (in a Scarlett Gowne) and Woman kneeling Orate pro animabus Johis Saman et Agnete uxoris. ‘and nere unt[o] him this Coate’ 1. Argent, a bend azure with a mullet of six pointes voided in chief and an annulet in base gules. ‘In the North window this Coat of Arms’: 2. Argent, a chevron sable between in chief two mullets and in base an annulet sable (Plumptre). 1 See Pevsner and the more detailed A. du Boulay Hill, ‘The Church of St Mary the Virgin Nottingham’, Thoroton Society, 20 (1916), pp. 47-61 and H. Gill, ‘Architectural Notes on the Church of St Mary the Virgin, Nottingham’, Thoroton Society, 20 (1916), pp. 62-88. 2 L. Toulmin Smith (ed.), The Itinerary of John Leland in or about the years 1535-1543 (London, 1906-10), vol. 1, p. 94. 3 Truman (1955), p. 161. 4 Ashmole, pp. 132-133. 455 ‘In the windowes of the South Isle of the body of the Church’: 3. Quarterly, 1 and 4, Gules a lion rampant or, 2 and 3, Checky or and azure, all in a bordure engrailed [Thomas Arundel, archbishop of Canterbury 1397-1414].5 4. Quarterly France and England. 5. Quarterly France and England, impaling, quarterly, 1 and 4, Or an eagle displayed sable, 2 and 3, Gules a lion rampant argent crowned or [Richard II and Queen Anne of Bohemia].6 6. Gules, a saltire or charged with a fleur-de-lys sable at the fess point [William Neville].7 Thoroton also saw the John and Agnes inscription in the south transept.8 In 1638 Dodsworth, like Ashmole, saw a kneeling male donor figure dressed in ‘a scarlet gowne’ in the south window of the transept. The inscription with it referred to Richard and Margaret Saman rather than John and Agnes.9 In the nineteenth century, in the same window, Trollope saw 'quarries bearing the horse shoes of the Ferrers family.'10 Deering saw shield 2 ‘in the east window’ of the transept ‘level with the top of a loft,’ which he, as Ashmole, identified as the arms of Plumptre.11 In his manuscript Thoroton added the following shield, charged with a merchant’s mark, to those recorded by Ashmole: 5 Medieval Ordinary, vol. 1, p. 131. 6 The arms of England and France impaling the Holy Roman Empire, the latter for Anne of Bohemia (d. 1394.) Medieval Ordinary, vol. 2, p. 138. 7 In a roll of c.1392-97 William Neville bore Gules on a saltire argent a fleur de lys or. Papworth, p. 1081. 8 Thoroton and Throsby, vol. 2, p. 83. 9 J. W. Clay (ed.), Yorkshire Church Notes 1619-1631 by Roger Dodsworth, Yorkshire Archaeological Society, Record Series, 34 (1904), p. 199. 10 A. Stapleton, Some Account of the Tombs, Chapels, Chuntries and Gilds, in the Parish Churches of Old Nottingham (Nottingham, 1902), p. 8. 11 C. Deering, Nottinghamia vetus et nova or an historical Account of the Ancient and Present State of the town of Nottingham (Nottingham, 1751), p. 20. 456 7. A cross patee, extending from a triangular supporting base surmounted by a cross member partly confined by a shield and set between two annulets. The charges azure. 12 In his published work he saw the following two ‘in a high Window of the middle Ile':13 8. Azure a cross patee, with a basis and supporting laces between four mullets of six points within a bordure engrailed or. Presumably a version of 7. 9. Broken, impaling, Or a saltire azure. Ashmole and Dodsworth’s accounts suggest that the great south window of the south transept contained kneeling donors of two couples, members of the Saman family. They were the merchant and former mayor of Nottingham, John Saman (died 1395) and his wife Agnes and their son (six-times mayor of Nottingham) Richard Saman (died 1457) and his wife Margaret.14 An ogee-headed niche in the south wall of the transept directly below the window, containing a damaged effigy of a civilian, is believed to be the tomb of John. Richard was buried close by at the altar of St Lawrence.15 As the construction of the south transept extended well into the fifteenth century, long after the death of John Samon, we can presume that Richard was patron of the glazing in the south window and was responsible for erecting the monument to his father. The Plumptre or Plumptree family, whose arms were in the north transept, were another prominent Nottingham family. They used an area of the transept (known as the chapel of All Saints or the ‘Plumptre chapel’) for burial, from the 12 Nottingham, Nottinghamshire Archives Office, M494, f. 77r. 13 Nottingham, Nottinghamshire Archives Office, M494f, f. 77r and Thoroton and Throsby, vol. 2, p. 86. 14 A. du Boulay Hill, ‘The Church of St Mary the Virgin Nottingham’, p. 55. 15 A. du Boulay Hill, ‘The Church of St Mary the Virgin Nottingham’, p. 54. 457 fifteenth right through to the seventeenth century.16 Their arms in glass could be of any date within that broad period, though it would be a reasonable assumption to suggest that they were contemporary with the transept, i.e. mid-fifteenth century. The inclusion of the arms of Richard II and Anne of Bohemia (5) and Thomas Arundel, archbishop of Canterbury (3) in the south aisle are suggestive of a date in the last decade of the fourteenth century for this glass. In addition to the heraldic glass, Deering, Blackner, Throsby and Stapleton all saw a figure of St Andrew in one of the chancel windows. 17 According to Stapleton it was located in the western window of the north wall.18 Throsby provides the best description of the figure and includes an engraving of it (fig. 302), along with the damaged blackletter inscription scroll that curved around its head. The latter, probably part of an apostles’ creed clause, infers the former existence of figures of the remaining eleven apostles. Although when Blackner saw the figure in 1815, it was as he states 'protected, on the outside by a piece of wirework against the destructive hand of follies,' the figure has subsequently disappeared.19 Deering saw some additional figurative glass. In the north window of the chapel of All Saints in the north transept were the head of the Virgin Mary and two other female heads, one of which he interpreted as St Mary Magdalene’s. In the 'tops of the windows' (presumably the tracery lights) of the north aisle were figures of Christ and the apostles. A 'good part' of Christ was remaining in his time, but only the heads of the apostles were then extant.20 Catalogue nX. 16 A. du Boulay Hill, ‘The Church of St Mary the Virgin Nottingham’, pp. 54 and 57. 17 C. Deering, Nottinghamia, p. 19 and J. Blackner, The History of Nottingham, Embracing its Antiquities, Trade, and Manufactures (Nottingham, 1815), p. 85. 18 A. Stapleton, Some Account of the Tombs, p. 8. 19 J. Blackner, The History of Nottingham, p. 85. 20 C. Deering, Nottinghamia, p. 20. 458 c. Quarries, type 13. Probably in situ, most broken and plated. 15th-c. sVII, lower level. 2c. Feathered Angel, playing a harp, the head and torso only, nimbed with curling hair. Black line on white with stippling and little yellow stain. 15th-c. The remainder of the window is made up of broken fragments of 19th-c. glass. 459 Nottingham, Parish Church of St Peter OS SK 572 397 Printed sources J. Blackner, The History of Nottingham, Embracing its Antiquities, Trade, and Manufactures (Nottingham, 1815), p. 95. C. Deering, Nottinghamia vetus et nova or an historical Account of the Ancient and Present State of the town of Nottingham (Nottingham, 1751), p. 36. No medieval glass remains, but both Deering and Blackner relate that the east window of St Peter’s was formerly filled with ‘coats of arms’.1 Blackner notes that the window was blocked in 1720 when an altar-piece was placed against it, so presumably the glass went then.2 The glass could have been of any date but was most probably contemporary with the church building, which (prior to a rebuilding in 1875) was a fifteenth-century structure.3 1 C. Deering, Nottinghamia vetus et nova or an historical Account of the Ancient and Present State of the town of Nottingham (Nottingham, 1751), p. 36 and J. Blackner, The History of Nottingham, Embracing its Antiquities, Trade, and Manufactures (Nottingham, 1815), p. 95. 2 J. Blackner, The History of Nottingham, p. 95. 3 Pevsner Nottinghamshire, p. 223. 460 Nuthall, Nottinghamshire, Parish Church of St Patrick OS SK 514 445 Manuscript source Nottingham, Nottinghamshire Archives, DD TS/6/4/4, f. 13r. Printed sources Coe, p. 112. Cox County Churches, p. 155. Gill, p. 121. Mee Nottinghamshire, p. 224. Nelson, p. 160. Pevsner Nottinghamshire, p. 280. Thoroton and Throsby, vol. 2, p. 255. Truman (1954), pp. 161-162. Illustrations Figs. 303-308. Nuthall church consists of a western tower, nave with north aisle, south porch and a chancel. With the exception of the Early English west tower, the rest of the fabric of the church dates from the early fifteenth century. There was a restoration in 1884 by James Fowler of Louth, Lincolnshire, which resulted in the addition of vestries to the north of the chancel and alterations to the north aisle.1 The remaining glass consists of a Crucifixion, with the Virgin Mary and St John the Evangelist, disposed under canopies, over three lights of window I and shields of arms divided between I and sIII. As a result of a heavy-handed restoration by William Warrington in 1853, the glass in window I is difficult to date and other commentators have come up with rather disparate conclusions, Truman assigning an 'early Perp. date', Pevsner a late fifteenth-century date and Cox an early sixteenth- 1 Pevsner Nottinghamshire, p. 280. 461 century date.2 Stylistically, the original elements suggest a mid to late fifteenthcentury date, for although elements such as the head of St John have some of the sentimental feeling of the 'soft style' associated with glass of earlier in the century, the figures are perhaps slightly more rigid and clumsy than might be expected at such an early date. The way the figures are disposed, slightly too large for the canopies, is reminiscent of the treatment of the east window of Holy Trinity, Goodramgate, York, which dates from 1470.3 According to Warrington's inscription at the base of the window, which provides the evidence of his restoration work, the glass was removed to its present location from the east window of the south aisle.4 As no south aisle ever existed, presumably he means the east window of the north aisle. The shields of arms at the bottom of I, though not originally forming part of the Crucifixion composition, were also in this part of the building. In Thoroton's time the remaining shields were in the following positions: 1. The arms preserved in 4a of sIII were 'in the east window of the north aisle'. 2. The arms preserved in 1b of I were 'on the top of the same …in a window over the pew'. 3. The arms preserved in 1c of I were in the same location as 2. 4. The arms preserved in 4b of sIII were in a 'middle window' of the north aisle. 5. The arms preserved in 2a of sIII were in the 'west end' of the north aisle'. Additionally Thoroton also saw what he blazoned as Paly of six Argent and Azure, in the south window 'near the pulpit'. He may have confused this with the arms Barry of six argent and azure of the Darcy family, which remains in 1a of I.5 In 1801 2 Truman (1954), p. 161, Pevsner Nottinghamshire, p. 280 and Cox County Churches, p. 155. 3 See: P. E. S. Routh, 'A gift and its giver: John Walker and the east window of Holy Trinity, Goodramgate, York', Yorkshire Archaeological Journal, 58 (1986), pp. 109-121. 4 The inscription reads: ‘/This Ancient Window was/ Removed from the East End/ of South Aisle and Restored/ by Wm Warrington LONDON 1853/ for the Honble and Revd./ John Venables Vernon. Rector/’. 5 Thoroton and Throsby, vol. 2, p. 255. 462 Stretton saw numbers 1, 2, 3 and 5 and the Darcy arms in 'the chapel,' i.e. the east end of the north aisle.6 The east end of the north aisle served as the mortuary chapel of the Cockfield family, who held the manor and advowson of Nuthall.7 The north wall incorporates a niche containing a late fourteenth century alabaster effigy, said to commemorate Sir Robert Cockfield. Although none of the heraldic glass can be said to relate directly to the Cockfield family, John Cockfield, son of Robert, who was in possession of the property in 1444, or his wife Margaret, who died in 1465, seem to be the most obvious possible donors of the remaining glazing. 8 Catalogue I. 1a. Shield of arms: Barry of six argent and azure (Grey of Codnor).9 The azure had a painted decoration of continuous circles. The shield is set on a ground of trelliswork in black line and yellow stain, consisting of a lozenge, with two large and two small radiating lobes, filled with an oak leaf decoration, reserved on a hatched ground with yellow stain. Border of alternating yellow-stain crowns and plain blue and ruby glass. Some paint loss and leaded breaks. Part of the 1853 inscription at the base of the panel. 15th-c. h 0.31m, w 0.34m. 1b. Shield of arms (fig. 306): Argent, a lion rampant sable and crowned or (Morley).10 The field has a light foliage diaper. The shield is set on a ground of trelliswork as 1a. At the top of the panel a blackletter 6 Nottingham, Nottinghamshire Archives, DD TS/6/4/4, f. 13r. 7 Thoroton and Throsby, vol. 2, p. 255. 8 Thoroton and Throsby, vol. 2, p. 255. 9 Medieval Ordinary, vol. 1, p. 87. 10 Medieval Ordinary, vol. 1, p. 126. 463 inscription, set against imitation trellised quarries: /M [au]/ /ley/. Border as 1a. Paint loss. 19th-c. inscription at the base of the panel. 15th-c. h 0.31m, w 0.34m. 1c. Shield of arms: Azure, crusilly argent, three sexfoils argent (Darcy).11 The field is decorated with stickwork foliage, reserved on a light matt wash and with seemingly random use of yellow stain. The shield is set on a ground of trelliswork as 1a. Composite border, incorporating parts of two buttressed and pinnacled side-shaftings in black line and yellow stain and a single crown. Paint loss and leaded breaks. 19th-c. inscription at the base of the panel. 15th-c. h 0.31m, w 0.34m. 2-3a. Virgin Mary (fig. 303), standing three-quarters right, on a brown hillock, with a slightly curving posture and hands raised in front of her. She is nimbed and is wearing a ruby gown, under a white mantle with yellow stain hems and a green clasp. The figure is set on a plain blue ground under a canopy. Some stippling. The canopy, in black line and yellow stain, is supported on side-shaftings and has a triple arched head with pendant bosses and a central pinnacle that rises to the apex of the light. Heavily restored, pitting on the ruby fragments and the head. 15th-c. h 1.32m, w 0.34m. 2-3b. The Crucified Christ. Christ, wearing a loin cloth and with blue and yellow cross-nimbus, is suspended on a green tau-cross. The figure fills most of the light and is slightly larger than the flanking figures. The cross is supported on a small architectural plinth. Ruby ground. Canopy in black line and yellow stain on white, supported on sideshaftings, with a triple arched head and pendant bosses. Heavily restored. 15th-c. 11 Papworth, p. 876. 464 h 1.32m, w 0.34m. 2-3c. St John the Evangelist (fig. 304 and 305, detail), standing threequarters right on a brown hillock. He has a yellow nimbus, wears a white and yellow stain mantle over ruby gown and supports the righthand side of his head with his right hand. Although stylistically, the head, with stippling, is of the fifteenth century, the vibrant yellow stain on the same piece of glass may have been added by Warrington. Blue ground. The canopy, in black line and yellow stain, is supported on side-shaftings and has a triple-arched head, with pendant bosses and a central pinnacle that rises to the apex of the light. Heavy pitting on the ruby glass. Heavily restored. 15th-c. h 1.32m, w 0.34m. A1. Eyelet filling. Plain fragments with leaded breaks. A2. Tracery-light filling. Imitation foliage quarries, leaves with trailing tendrils, all within a trelliswork border of yellow stain. Paint loss and leaded breaks. 15th-c. h 0.32m, w 0.14m approx. A3. Tracery-light filling as A2, but with the addition of a small red cinquefoil in the centre of the light. Paint loss and leaded breaks. 15th-c. h 0.44, w 0.08m approx. A4. Tracery-light filling as A3. h 0.44, w 0.08m approx. A5. Tracery-light filling as A2. h 0.44, w 0.08m approx A6. Eyelet filling, plain glass with unleaded breaks. 465 sIII. 1a. Fragments. Border crowns and rectangles containing trelliswork leaded up alternately as a border, with a narrow strip of ruby along the inside edge. Plain fragments at the base of the panel. All fragments are in black line on white, with yellow stain. Leaded and unleaded breaks; paint loss and pitting. 15th-c. h 0.30m, w 0.37m. 1b. Fragments. Border crowns and semi-opaque blue fragments leaded up alternately as a border, with a narrow strip of ruby along the inside edge. Fragments of side-shafting or canopy, leaded in as stopgaps and at the base of the panel. All fragments are in black line on white, with yellow stain. Leaded breaks, paint loss and pitting. 15th-c. h 0.30m, w 0.37m. 2a. Shield of Arms and fragments. Shield: Gules, a bend argent between six cross-crosslets fitchy argent (Howard of Fersfield).12 The field had a painted foliage diaper. The shield is set on a trellis, identical to that in 1a of window I. Border of fragments, including border crowns and lozenge filled rectangles, part of a finial and a tracery light filling, all leaded up randomly with a narrow strip of ruby on the inside edge. At the top and bottom of the light, architectural and foliage fragments. All fragments, unless stated otherwise, are in black line on white, with yellow stain. Paint loss and corrosion on the red field. 15th-c. h 0.34m, w 0.37m. 2b. Fragments. At the centre of the panel, fragments arranged in a shield-shaped formation, incorporating a lozenge filled border rectangle, part of a crown, finials and other architectural and foliage 12 Medieval Ordinary, vol. 1, p. 383. 466 fragments. The shield is set on architectural fragments, within a border of crowns and lozenge filled rectangles. The inside edge of the border has a narrow strip of ruby. All fragments, unless stated otherwise, are in black line on white, with yellow stain. 15th-c. h 0.34m, w 0.37m. 3a. Fragments. Crowns, lozenge filled rectangles and blue and ruby fragments leaded up as a border, with a narrow strip of ruby along the inside edge. At the top of the panel foliage fragments, one a flower with the stem reserved on matt. The inside edge of the border has a narrow strip of ruby. All fragments, unless stated otherwise, are in black line on white, with yellow stain. 15th-c. h 0.31m, w 0.37m. 3b. Fragments. Crowns, lozenge filled rectangles, part of a side-shaftin leaded up with other fragments leaded up as a border, with a narrow strip of ruby along the inside edge. Architectural fragments with stickwork at the top of the panel. All fragments, unless stated otherwise, are in black line on white, with yellow stain. 15th-c. h 0.31m, w 0.37m. 4a. Shield of Arms and fragments (fig. 308). Shield: Checky or and azure, a fess ermine (Calthorp).13 Each check is decorated with a trailing foliage design, reserved on a matt wash. The shield is set on a trellis identical to that in 1a of I. Border of fragments including crowns, architectural elements and parts of the trellis ground of a further shield, with a narrow strip of ruby along the inside edge. All fragments, unless stated otherwise, are in black line on white, with yellow stain. 15th-c. h 0.34m, w 0.37m. 13 Papworth, p. 703. 467 4b. Shield of Arms (fig. 307): Per cross argent and azure, on a bend sable three martlets or (Groos or Gros of Norfolk).14 The azure field is decorated with stickwork trailing foliage on a matt wash. The shield is set on a trellis identical to that in 1a of I. Border of fragments including crowns, architectural elements and parts of the trellis ground of a further shield, with a narrow strip of ruby along the inside edge. All fragments, unless stated otherwise, are in black line on white, with yellow stain. 15th-c. h 0.34m, w 0.37m 5a. Fragments. The ruby strip defining the inner edge of the border continues to an ogee termination at the apex of the light. The border filled with fragments, of trellised imitation quarries, but including fragments of quarries, side-shaftings and blue drapery. The top lobe of the light filled with a roundel, a sunburst, reserved on a matt ground with yellow stain. All fragments, unless stated otherwise, are in black line on white, with yellow stain. 15th-c. h 0.21m, w 0.37m. 5b. Fragments. The ruby strip defining the inner edge of the border continues to an ogee termination, at the apex of the light. The border filled with fragments, mostly trellised imitation quarries, but including fragments of quarries, side-shaftings and a blue stickwork field and ruby glass. The top lobe of the light filled with a roundel, a sunburst reserved on a matt ground with yellow stain. All fragments, unless stated otherwise are in black line on white, with yellow stain. 15th-c. h 0.21m, w 0.37m. 14 Medieval Ordinary, vol. 1, p. 15. 468 Ockbrook, Nottinghamshire, Parish Church of All Saints OS SK 423 357 Printed sources Coe, p. 98. Cox 2, p. 208. Nelson, p. 73. J. Nichols, The History and Antiquities of the County of Leicester (London, 1815), vol.1, part 2, p. 495. F. White (ed.), History, Gazetteer And Directory of the County Of Derby (Leeds, 1857), p. 301. Cox, Nelson and the author of White’s Directory all refer to figures of the Four Evangelists in the east window of Ockbrook church, which have subsequently disappeared. Cox states that the figures were holding their emblems and according to Nelson they were charged on roundels.1 It is believed that the glass came from Wigston’s Hospital in Leicester and was brought to Ockbrook around 1810 by the rector Thomas Pares, who had been Master of the Hospital.2 In 1790 the Leicester antiquary John Nichols saw figures of the Evangelists, undoubtedly the same as those later removed to Ockbrook, in the west window of the chapel at Wigston’s Hospital. One figure was holding a book (in fact a scroll is illustrated by Nichols) inscribed with ‘In illo tempore cu’ ..us:’. The hospital was an almshouse of twelve poor men and twelve poor women, founded in 1513 by William Wigston, a merchant of the staple of Calais and sometime mayor of Leicester.3 The Evangelists were not set in isolation, but were part of a larger glazing scheme in the chapel, contemporary with the foundation of the hospital. In the west window was a rebus and merchant’s mark of William Wigston and there were donor images, a 1 Cox, vol. 2, p. 208 and Nelson, p. 73 and F. White (ed.), History, Gazetteer And Directory of the County Of Derby (Leeds, 1857), p. 301. 2 F. White, History, Gazetteer and Directory of Derby, p. 301. 3 J. Nichols, The History and Antiquities of the County of Leicester (London, 1815), vol. 1, part 2, pp. 471-472. 469 memorial inscription and a figure of the Virgin in the south window and remains of the twelve Apostles in the east. As far as Nichols was aware, all the glass was destroyed or dispersed shortly prior to 1807, when the chapel was ‘restored’.4 Cox tells us that the Evangelists, by that point in Ockbrook, were restored in the mid-ninteetenth century, the work apparently undertaken ‘after a poor fashion’ with ‘the modern parts discernible at a glance’.5 It is not quite clear when the glass disappeared - it is possible it went as late as 1968, when the present east window by Edward Payne was installed.6 In addition to the Evangelists from Leicester, in Meynell’s time there was some figurative and narrative glass in the south chancel window. The glass included a figure of St Peter (whose head had apparently been broken during Thomas Pares’ funeral in 1824) and a roundel with ‘Our Saviour bearing the Cross,’ but was mostly filled with a range of Old Testament scenes. There was ‘King Hanun ordering the beards to be shaved and the skirts to be cut off',7 'Elisha talking to the great man',8 'the battle of the Amalekites'9 and in ‘two squares below’, Solomon’s Judgement10 and Balaam and his ass.11 There is no dating evidence for the glass. Cox, who transcribed the lost Meynell manuscript, relates that this glass had only disappeared ‘a few years ago’, i.e. sometime in the mid-nineteenth century, around the time that the Evangelists were repaired.12 4 J. Nichols, The History of Leicester, vol. 1, part 2, p. 495. 5 Cox, vol. 2, p. 208. 6 Pevsner Derbyshire, p. 293. 7 II Samuel 10. 4: 'Wherefore Hanun took David's servants, and shaved off the one half of their beards, and cut off their garments in the middle, even to their buttocks, and sent them away.' 8 This probably refers to the curing of Naaman's leprosy by Elisha. Naaman is referred to as 'a great man with his master' in II Kings 5. 9 '[Saul] gathered an host, and smote the Amalekites, and delivered Israel out of the hands of them that spoiled them.' I Samuel 14. 48. 10 I Kings 3. 16-28. 11 Numbers 22. 21: 'And Balaam rose up in the morning, and saddled his ass, and went with the princes of Moab.' 12 The only source we have for the contents of the Meynell manuscript are Cox's notes, the present location of the manuscript being unknown. Cox, vol. 2, p. 208. 470 Papplewick, Nottinghamshire, Parish Church of St James OS SK 545 515 Printed sources Coe, p. 112. Cowen, p. 166. Cox County Churches, p. 162. Gill, p. 122. Mee Nottinghamshire, p. 234. Nelson, p. 160. Pevsner Nottinghamshire, p. 288. Truman (1954), pp. 162-163. Illustrations Figs. 309-314. The nave and chancel of Papplewick church were entirely rebuilt in 1795 in the 'Gothick' style for the Honourable Frederick Montagu. All that is left of the medieval fabric is the fourteenth-century western tower, which was externally refaced in 1795.1 Four panels of medieval glass remain in window sVI. These consist of two small standing figures of St Peter and St Stephen, a kneeling male donor and a group of kneeling clerics. There is no record of any glass in the church prior to the twentieth century and Gill claimed that the glass may have come from Newstead Priory, an Augustinian house situated less than three miles north of Papplewick.2 Newstead held the advowson of Papplewick from 1170 and the church was served by one of the canons throughout the Middle Ages.3 1 Pevsner Nottinghamshire, p. 288. 2 Gill, p. 122. 3 K. S. S. Train, Lists of the Clergy of Central Nottinghamshire, Thoroton Society, Record Series, 15, part 3 (1954), p. 1. 471 The identification of the male donor adds weight to Gill’s claim. He is dressed in plate armour with a surcoat that bears the arms of Savage, as differenced with a mullet, for Arnold Savage of North Wingfield, Derbyshire.4 The image either represents Arnold or, more likely, his son Ralph, who is known to have been resident at Newstead priory in the early sixteenth century and was a patron of the community, having presented them with a lectern, which is now in Southwell Minster.5 When Ralph made his will at the priory in 1506 he asked to be buried in the ‘ladi qwere’ of the priory church and referred to ‘his chantry of Winkfield’, i.e. North Wingfield, Derbyshire, which he had founded to pray for the soul of his father in 1488.6 The row of kneeling ecclesiastics, who are wearing cappae nigrae over albs or rochets, are presumably Augustinian Canons of Newstead. A similar row of canons, identical to those at Papplewick, was included in a lost window at another Newstead advowson, Tuxford (q.v.), given in 1495 by Thomas Gunthorpe, the prior of Newstead. The figures were dressed in what Dodsworth describes as ‘surplices and blew copes’.7 Although a Newstead connection seems to be established, it is not necessarily the case that the glass came from the priory. The glazing could be, as at Tuxford, part of the abbey's patronage of one of their livings, with which Ralph Savage chose to associate himself. As all the panels have a common workshop origin, the identification of Ralph’s donor image infers a late fifteenth or early sixteenth-century date for all the glass. In addition to the four remaining panels, Nelson refers to remains of glass in the west window of the tower, which he claims were removed from the east window of the church. These no longer remain.8 4 The shield was formerly in North Wingfield church alongside Arnold’s name (Cox 1, p. 420). 5 The brass eagle lectern was found in a lake on the priory site in the mid-eighteenth century. An inscription round the knop refers to Ralph: Orate pro Animabus Radulphi Savage et pro Animabus Omnium Fidelium. See R. C. Marks and P. Williamson (eds), Gothic Art for England 1400-1547 (London, 2003), p. 364. 6 BIHR, Will Register 6, f. 159r and Cox, vol. 1: 418. 7 Dodsworth, pp. 185-186. 8 Nelson, p. 160. 472 The remaining glass is quite dirty and some pieces, most notably St Stephen, have heavy corrosion on both surfaces. The leading of all the panels is weak and some of the lead in 1b may be original. Catalogue sVI. 1a. Donor figure of Ralph Savage (d. 1506) (figs. 309 and 310), kneeling threequarters right at a yellow stain kneeling desk. He has short-cropped hair and is dressed in full plate armour, with the sheath of his sword appearing behind his legs. He wears a heraldic tabard bearing: Argent a pale lozengy sable (Savage),9 differenced by a crescent argent on the sleeve. The figure is executed in black line and stipple on white, with yellow stain used to highlight the kneeling desk and armour. Ground of quarries, types 7, 8, 9, 10. Minor paint loss on the tabard and some light pitting. Weak leads. Late 15th or early 16th-c. h 0.46m, w 0.30m. 1b. Six clerics (fig. 314), all kneeling three-quarters left, three are in the attitude of prayer, two have hands raised in adoration and one is suggested by a head only. They probably represent Augustinian canons and are therefore dressed in blue cappae over white albs or rochets.10 The heads and hands are executed in black line and stipple on white, with yellow stain to highlight the hair. The whole composition is set on a ground of quarries, types 8 and 9. Below the figures are fragments of blackletter texts of two sizes, set upside-down and badly broken by leaded breaks: /te : p : r/,//pirit[u] s: sa[n]ctus/ pi/. Beneath are border pieces, including a crown in black line and yellow stain and two black line lozenge-filled rectangles. Some stopgaps. The glass is very dirty 9 Papworth, p. 1003. 10 The use of blue is no doubt intended to represent the black of the cappa nigra, from which the Augustinian's took their name. 473 and has minor pitting. The leading may be original in places, particularly around the hands of the figures. Late 15th or early 16th-c. h 0.46m, w 0.30m. 2a. St Stephen (figs. 311 and 312), nimbed and tonsured, standing three-quarters right on a tessellated floor holding three stones in a cloth between his hands. He is vested in an apparelled alb, apparelled amice and murrey dalmatic, with white cloth maniple over the right shoulder and pointed shoes. The dalmatic is ornamented down the centre with a straight jewelled orphrey and with fringing at the side and base. Beneath the figure the following blackletter scroll, broken by leaded-breaks: /s /stefa/nu/s/. Black line and stippling for the head and other details. Yellow-stain highlighting on the orphrey, the fringing of the dalmatic, the scalloped edge of the nimbus, hair, alb, apparels and shoes. Quarry ground, types 7, 8, 9, 10. The panel is very dirty and some parts of the dalmatic have a heavy internal black encrustation. Stopgaps, including a piece of fourteenth-century oak trail Dirty, with light pitting, leaded and unleaded breaks. The leads weak. Late 15th or early 16th-c. h 0.64m, w 0.29m. 2b. St Peter (fig. 313), bearded, tonsured with a scalloped nimbus, standing three-quarters right on a tessellated floor within a raised plinth, holding two large yellow keys. He is dressed in a white mantle with yellow-stain hem over a blue robe. Stippling on the head and drapery. The plinth includes the scroll with black-letter inscription: /[Pet]/rus/. Stopgaps include: Another portion of a tessellated floor and plinth placed vertically and incorporated a blackletter /s/ on part of another scroll; a portion of yellow-stain finial and a hand in the gesture of benediction. At the bottom of the panel a further inscription in blackletter: /Anno : d[omi]ni : mill[es]imo : ccc/, [with continuing upside down]: /age : armiger/.11 Quarry ground, types 7, 8, 9, 10 and 33. Dirty, with light pitting and paint loss. The leads weak. Late 15th or early 16th-c. h 0.59m, w 0.35m. 11 This is presumably part of an inscription referring to Ralph Savage portrayed in panel 1a. 474 Plumtree, Nottinghamshire, Parish Church of St Mary OS SK 615 330 Printed source Thoroton and Throsby, vol. 1, p. 136. When Thoroton was here he saw the following arms ‘in the East Window of the Chancel’:1 1. Lozengy argent and gules (FitzWilliam), impaling with Cromwell [Argent, a bend azure, chief gules]2 and Tattershall [Checky or and gules, a canton ermine].3 2. FitzWilliam, impaling, Argent, two chevrons or (Chaworth), quartering Caltoft [Argent, an orle of cinquefoils, about a small escutcheon sable].4 3. FitzWilliam, impaling, Gules, a bend between six martlets argent [Clarell].5 4. FitzWilliam, impaling ‘another broken away’. ‘Fitz-Williams is in the Church Windows likewise, and’: 5. Argent, a plain cross gules. The shields of arms in the east window all referred to members of the FitzWilliam family of Sprotborough in South Yorkshire,6 who held a manor in Plumtree from the 1 Thoroton and Throsby, vol. 1, p. 136. 2 Medieval Ordinary, vol. 1, p. 366. 3 Medieval Ordinary, vol. 2, p. 229. 4 Thoroton and Throsby, vol. 1, p. 298. 5 The Clarell’s usually bore the arms with the bend omitted. Medieval Ordinary, vol. 2, p. 186. 475 reign of Henry III.7 The arms of FitzWilliam impaling Chaworth (shield 2) referred to the marriage of William FitzWilliam of Sprotborough (d. 1474) to Elizabeth, daughter of Sir Thomas Chaworth of Wiverton, Nottinghamshire.8 FitzWilliam impaling Clarell (shield 3) referred to William FitzWilliam’s parents, John FitzWilliam (d. 1418) and Margaret daughter of Thomas Clarell. 9 FitzWilliam impaling Cromwell and Tattershall (shield 1) referred to the alliance, in the fourteenth century, of another William FitzWilliam and Maud Cromwell, daughter of Ralph, second baron Cromwell of Lambley (q.v.).10 The glass was probably mid-fifteenth century, a date consistent with the tracery of the five-light east window. There is no medieval stained glass surviving in Plumtree church and the east window now contains nineteenth-century glass by Burlison and Grylls.11 6 Sprotborough church contains an extensive array of fourteenth-century armorial glass relating to the FitzWilliam family. See Sprakes, pp. 77- 81. 7 Throsby and Thoroton, vol. 1, p. 133. 8 Payling, p. 232. William and Elizabeth FitzWilliam are commemorated by a monumental brass at Sprotborough. N. Pevsner and E. Radcliffe, The Buildings of England: Yorkshire West Riding (London, 1967), p. 497. 9 Throsby and Thoroton, vol. 1, p. 133. 10 Throsby and Thoroton, vol. 1, p. 133. 11 Pevsner Nottinghamshire, p. 290. 476 Radbourne, Derbyshire, Parish Church of St Andrew OS SK 285 359 Manuscript source London, British Library, Egerton MS 3510, f. 109v. In 1616 in Radbourne church William Burton tricked the following arms:1 In the east window of the chancel: 1. Broken. 2. Paly of six argent and azure, a bend gules (Annesley), impaling, Argent, on a pile gules, a martlet argent (Chandos). 3. Argent, a fess vairy or and gules, between three waterbougets sable (Dethick). In the north-east window: 4. Barry of six argent and sable, on a canton sable, a cinquefoil or (Twiford). The Chandos family (commemorated by shield 2) held the manor of Radbourne up to the death of Sir John Chandos in 1432, when it passed through marriage to the Pole family of Wakebridge in the parish of Crich. Elizabeth Laughton, the daughter of Eleanor Chandos (the niece of Sir John) and Sir John Laughton, married Peter Pole (died 1432).2 The arms in the east window could be early fifteenth century, but the stonework of the east window is nineteenth century so provides no evidence to confirm it.3 1 London, British Library, Egerton MS 3510, f. 109v. 2 Cox, vol. 3, p. 253 and Wright, p. 229. 477 The north-east window is presumably the thirteenth-century east window of the north aisle. This illuminates an area of the church containing the monuments of the Pole family, which was formerly screened off from the rest of the aisle.4 The arms cannot be connected to the Pole family and cannot, therefore, be dated. 3 Cox, vol. 3, p. 256. 4 Cox, vol. 3, p. 257. 477 Ratcliffe-on-Soar, Nottinghamshire, Parish Church of the Holy Trinity OS SK 494 288 Manuscript sources London, British Library, Harley MS 6593, f. 63r. Ashmole, p. 156. Richard and Henry St George saw the following arms in 'the church window' in 1611:1 1. Paly of six or and azure, a quarter ermine (Shirley), impaling, Azure, crusily or, a lion rampant or [Bruce].2 2. Paly of six or and azure, a quarter ermine (Shirley), impaling, Or, three piles meeting in base gules, in a quarter argent a griffin sable (Basset of Drayton). When Ashmole was here fifty years later, both these arms were in the east window of the chancel. In addition he saw the following two shields in ‘the south window of the same chancel’:3 3. Azure, three stags courant gules. 4. Or, fretty sable. Although the east window is fourteenth-century the glass in it was probably fifteenth-century. 4 Shield 1 was borne by Sir Ralph Shirley and appeared on his seal used in 1432-3.5 Sir Ralph held a manor in Ratcliffe, which he had inherited from his father, Sir Hugh Shirley, in 1403. Sir Hugh was the son of Sir Thomas Shirley 1 London, British Library, Harley MS 6593, f. 63r. 2 Medieval Ordinary, vol. 1, pp. 170-171. 3 Ashmole, p. 156. 4 Pevsner Nottinghamshire, p. 293. 5 Medieval Ordinary, vol. 1, p. 171. 478 and Isabel Basset and the manor had been given to him at the end of the fourteenth century by his uncle Ralph, Lord Basset of Drayton.6 6 Thoroton and Throsby, vol. 1, pp. 26-27. 479 Saundby, Nottinghamshire, Redundant Church of St Martin OS SK 785 879 Printed sources Cowen, p. 165. Cox County Churches, p. 174. Gill, p. 122. Nelson, p. 160. Pevsner Nottinghamshire, p. 303. Truman (1955), p. 206. Illustrations Fig. 315. Saundby church comprises a western tower, nave with north aisle and aisle-less chancel. The north arcade is Early English, the south side of the nave dates from the fifteenth century and the tower from 1504. The chancel was rebuilt in 1885-6 by Pearson, and the north aisle in 1891-2 by Weatherley and Jones. Weatherley and Jones are said to have rebuilt the north aisle on the site of two chapels. 1 One of these chapels may have been associated with a chantry founded by William de Saundeby, lord of Saundby (died 1418) and his wife Elizabeth, a foundation recorded on their monumental brass in the floor of the nave. The surviving medieval glass is all in the west window of the western tower and consists of fourteenth and fifteenth-century fragments. Gill, Cox and Nelson all noticed ‘fragments’, the latter two noting its present location in the west window. Only Truman recorded the glass in any detail.2 The remaining glass is in poor condition, heavily corroded and in weak leads. The church had long been neglected and when it was vested in the Churches Conservation Trust it was described by them as ‘altogether one of the saddest cases [it] has had to handle’.3 1 Pevsner Nottinghamshire, p. 303. 2 Gill, p. 122, Cox County Churches, p. 174, Nelson, p. 160, Truman (1955), p. 206. 3 Redundant Churches Fund, Churches in Retirement - A Gazeteer (London, 1990), p. 105. 480 Catalogue wI. 1b. Figurative fragments (fig. 315). At the centre of the panel the head of an archangel, small, with cusped nimbus, wearing an apparelled amice and diadem. Executed in blackline and stipple on white, with yellow stain. Heavy paint loss and exterior pitting. 15th-c. Tiny head of a bearded man, cut down so that only his face and part of his hat and collar are visible. Black line on white glass, with yellow stain on the hat and collar. Dirty. Late 15th-c. The rest of the panel made up of 14th-c. glass and heavily corroded fragments that may be of any date. h 0.28m, w 0.40m. 2b. Fragments, principally 14th-c., but included many corroded fragments, which could be later. h 0.40m, w 0.40m. 3b. Fragments. Stippled drapery fragments, decorated with a diaper of rosettes in blackline and yellow stain. Stippling. 15th-c. Quarries, types 16 and 22. 15th-c. All the glass is dirty and heavily pitted. h 0.11m, w 0.40m. 481 Sawley, Derbyshire, Parish Church of All Saints OS SK 472 313 Manuscript source Bassano MS, pp. 136-137. Illustrations Figs. 316-317. There is no medieval glass extant at Sawley, but in the early eighteenth century the Bassano brothers saw the following:1 ‘In the East Window of the said [north] Ile are’: 1. ‘Booths Armes’ Argent three boars heads erect and erased sable ‘in the Center’ two annulets or. ‘In the first window of the south side of the Chancell are’: 2. ‘the Bothes Arms’ Argent three boars heads erect and erased sable ‘in the Center’ a tau cross or. ‘under the Arms written Arma Magistri Radulphi Bothe Archdiaconi de Eboraco.’ ‘In the same Window’: 1 Bassano MS, pp. 136-137. 482 3. Argent three boars heads erect and erased sable ‘in ye Center’ a tun or a mullet argent, impaled with, Argent, on a bend azure, three bucks heads caboshed [Stanley].2 ‘under the Arms Arm Roberti Bothe Armigeri et Margarete uxor eius.’ ‘In the former window’: 4. ‘the Bothes Arms again in the center’ a Catherine wheel or, impaling, Argent, a Griffin segreant sable [Hatton].3 ‘under Arma Rogeri Bothe Armigeri.’ 5. ‘Another Escutcheon the Arms broke out.’ ‘under which Arma Magistri Johnannis Bothe Archidiaconi Dunelm.’ ‘Within the Arch of this Window which seemes built out of the Chancell (fig. 317) purpose to receive the figure there laid, is a large figure in Alabaster representing a dignified Popish Clergy man.’ ‘In the window just by [the tomb of Roger Boothe]’: 6. ‘the Bothes Arms in the Center’ two annulets or. 2 Medieval Ordinary, vol. 2, pp. 39-40. 3 Cox, vol. 4, p. 389. 483 The Booths of Sawley were descended from the Booths of Barton, Cheshire. Roger Booth (d. 1467) commemorated by shield and inscription 4 was a younger son of Sir John Booth of Barton and a brother of archbishops William and Lawrence Booth of York (q.v. Southwell). Roger and his wife Katherine Hatton (d. 1466) settled at Sawley, having acquired a long-term lease of the estate pertaining to the prebend of Sawley, in Lichfield Cathedral. 4 Roger and Katherine were buried at Sawley, where their tomb with brasses still remains, set against the north wall of the chancel. Roger and Katherine had three sons, Robert, John and Ralph, all of whom were commemorated by the glazing on the south side of the chancel. The eldest son Robert Booth (d. 1478) was commemorated by shield and inscription 3 and inherited the lease of the prebendal estate. 5 Robert and his wife Margaret Stanley are buried in a tomb chest with brasses at the west end of the chancel. John Booth, another son, commemorated by shield and inscription 5, served as treasurer of Lichfield Cathedral and was by virtue of that office also prebendary of Sawley.6 From 1459 until his death in 1496, he held these offices in plurality with the prebend of Riccall in York Minster.7 John is buried in Sawley church, beneath a tomb chest surmounted by an effigy (the Bassanos’ ‘dignified popish clergyman’) set within a small chapel, which projects like a bay window beyond the thirteenth-century south wall of the chancel (figs. 316 and 317). Shields 4 and 5 were in the four-light window above the tomb. Although John Booth did not hold the archdeaconry of Durham as inscription 5 infers, his brother Ralph (d. 1497) did. He held this in plurality with the archdeaconry of York (as stated in inscription 2) from 1478 to 1497.8 4 Cox, vol. 4, p. 388. 5 Cox, vol. 4, pp. 389-390. 6 Cox, vol. 4, p. 391. 7 Fasti Ecclesiae Anglicanae, vol. 6, p. 76. 8 Fasti Ecclesiae Anglicanae, vol. 6, pp. 19 and 113. 484 Screveton, Nottinghamshire, Parish Church of St Wilfrid OS SK 728 434 Manuscript source Ashmole, p. 150. Printed source Thoroton and Throsby, vol. 1, pp. 251-252. Illustrations Figs. 318-319. Although no medieval glass now remains in Screveton church, Thoroton saw the following: ‘At the top of the east window, in the chancel’:1 1. Argent, a chevron and a mullet, pierced in the dexter point sable (Rempstone). 2. Gules, three waterbougets argent (Lord Roos). 3. Azure Billet, and a fess dauncy or (Deyncourt). 4. Azure, two chevrons or (Chaworth). ‘Below was’: 5. Argent, on a Saltier sable, nine annulets or, within a bordure of the second likewise engrailed, and charged with crosslets paty of the first (Leek). ‘And before one in Armour on his Knees, an Helme or Crest, a Sheaf of Feathers upon the Wreath or Torce, Leek’. 1 Thoroton and Throsby, vol. 1, pp. 251-252. 485 ‘In the south Aisle … in the east Window, … was in the lower Part’: 6. Party per fess gules and sable, a Lion Rampant argent (Bellers). 7. Leek. ‘In the next pane’: 8. Argent, a large Tau ‘or Crosse’ raguly gules (Stockton). ‘and under, Orate pro animabus Willielmi de Leek, et Amice de Leek uxorus [sic] ejus’. ‘On the top of this window is’: 9. Argent, a chief gules, with a bendlet azure (Cromwell). 10. Lord Roos. 11. Gules, a saltire argent (Nevill). 12. Deyncourt. 13. Argent, five fusils in fess gules, within a bordure sable, charged with crosslets of the first. ‘In the North Aisle Windows is’: 14. Argent, three birdbolts gules. 15. Ermine, three birdbolts gules. 16. Quarterly gules and or, a mullet argent in the first (Oxford). 17. England. 18. England, with a label of three points azure. ‘In the South Aisle windows’: 19. Argent, five fusils in fess gules (Newmarch). 486 20. Gules, five fusils in fess or (Newmarch). 21. Lord Ros. 22. Azure, two birdbolts in saltire gules, between four conquefoils or. When Ashmole visited the church in 1662 he saw 1, 2, 4 and 5 (without the bordure) in the east window (fig. 318). Shields 6, 7, 8, 9, 10, 11 and 12 were as Thoroton saw them, except 7 was with the inscription Thoroton has with 8. Shield 14 was in the west window of the north aisle, 15 in the east window and 16, 17 and 18 in a north window of the same. Shield 19 was in the eastern window of the south wall of the south aisle (fig. 319), 20 in the next window west and 21 in the west window of the same.2 The shields and inscription in the east window of the south aisle (fig. 319) relate to William Leek, a king’s esquire3 and his wife Avicia, who as heiress of John Stockton, brought the manor of Kirton in Screveton parish into the possession of the Leek family. The marriage took place sometime before 1384 and the couple died early on in the fifteenth century.4 Therefore the glass dated from the late fourteenth or early fifteenth century. The couple probably paid for the stonework of the window, which is early fifteenth century, inserted into an aisle, which otherwise has fenestration of the fourteenth century. The shields in the east window of the chancel appear to refer to the extended Leek family and its collateral branches. The Rempstone arms (1) may refer to the marriage of Margaret Leek (d. 1454), a niece of William Leek of Kirton, to Sir Thomas Rempstone.5 The arms of Chaworth (4) may refer to the marriage of William Leek of Sutton Scarsdale, a great nephew of William Leek of Kirton, to Katherine, daughter of Thomas Chaworth. The latter event took place in the 1450s, therefore providing a possible rough dating for the glass.6 At the time of the 2 Ashmole, p. 150. 3 Payling, p. 123. 4 Payling, p. 44. 5 Payling, p. 235. 6 Payling, p. 235. 487 Leek/Chaworth marriage, the manor of Kirton was in the hands of Ralph Leek, a grandson of William and Avicia. 7 It might be postulated that he was represented by the kneeling figure at the bottom of the window. The present east window of the chancel is nineteenth century. 7 Thoroton and Throsby, vol. 1, p. 249. 488 Selston, Nottinghamshire, Parish Church of St Helen OS SK 458 533 Manuscript source Bassano MS, p. 217. Printed source Thoroton and Throsby, vol. 2, p. 266. Thoroton saw the following glass in Selston church:1 ‘In the east Window of the south Ile’ : 1. Or, a fess dancetty sable (Vavasor). 2. Argent, a lion rampant queve furche sable (Cressy). 3. Argent, a chevron between three martlets erected sable. ‘In the Chancell east Window’: 4. Gules, on a bend argent, three roses of the first [Jay].2 ‘and under it’: ‘Willielmus Jay, Armig[er] sibi et haered … riam, Anno …’. In the early eighteenth century the Bassano brothers saw shield 4 in the east window, but the Jay inscription, which they transcribed from Thoroton, had gone.3 They noted the following additional glass in this window:4 1 Thoroton and Throsby, vol. 2, p. 266. 2 Burke assigns this to Jay of Selston. Burke General Armory, p. 537. 3 Bassano MS, p. 217. 489 ‘In the East Windows has been a Crucifix And over it in a roundel is remaining Jesus Christus Salvator Hominum’. ‘In another partition on a line with thys is another of the like figure for Jesus C. S. Hominum’. They also saw the following glass elsewhere in the church: ‘In a North Window in the body of the Church next the Chancell (is four of the Apostles) in the next Window has been four, in the third window are no remains.’ According to Thoroton the Cressy family of Hodsock, commemorated by shield 2, held property in Selston in the reigns of Edward I and Richard II. The shield of Vavasour (shield 1) probably refers to the marriage of Elizabeth, daughter of Sir Hugh Cressy (d. 1347) to William Vavasour of Hazlewood, Yorkshire. 5 This evidence suggests that the glass was fourteenth century, contemporary with the stonework of that window. The fabric of the east window of the chancel is fifteenth century6 and it and the Crucifix it contained were presumably the gift of William Jay, of whom nothing is known.7 The window has three lights and it is probable that the Crucified Christ occupied the central light, flanked by figures of the Virgin Mary and St John in the outer lights. The ‘body of the church next the chancell’ was presumably the north chancel chapel, which is pierced by two two-light windows of the late thirteenth century; the site 4 Bassano MS, p. 217. 5 Thoroton and Throsby, vol. 2, p. 265. 6 A. S. Buxton, ‘Selston church’, Thoroton Society, 16 (1912), pp. 11-19. 7 No will appears to survive for him and Thoroton’s only comment is that ‘at Selston sometimes lived Mr. Jay’ Thoroton and Throsby, vol. 2, p. 265. 490 of a third, in the east end of the chapel, is covered by a modern vestry.8 The figures of the Apostles could have been of any date after the construction of the chapel. 8 Pevsner Nottinghamshire, p. 305 and A. S. Buxton, ‘Selston church’, pp. 11-19. 491 Shirland, Derbyshire, Parish Church of St Leonard OS SK 399 584 Manuscript source Rawlins, vol. 2, p. 269 Printed sources Butler, p. 149 Cox, vol. 1, p 340 Mee Derbyshire, p. 232 Nelson, p. 73 Pevsner, p. 317 Although no glass now remains, a number of authors have noticed glass in the church. In 1823 Butler saw ‘a few fragments’1, in the 1830s Rawlins saw fragments and a ‘few inscriptions’2, while in 1913 Nelson recorded fragments in the south clerestory windows.3 More recently Mee saw glass in two windows4 and Pevsner recorded some ‘old fragments’ in the nave.5 Cox also saw some glass in the clerestory, providing a few more specifics. On the south side one window contained a portion of blackletter inscription with the abbreviated name 'Johis' (i.e. Johannis), while a north window included the donor text 'pro bono statu'.6 As the windows in the clerestory exhibit the uncusped light tops usually associated with the end of the fifteenth and beginning of the sixteenth century (q.v. Staveley and Sutton Scarsdale), it is tempting to link the inscription to Sir John Revell of Ogston (died 1537), who is commemorated by an incised slab in the north 1 Butler, p. 149. 2 Rawlins, vol. 2, p. 269. 3 Nelson, p. 73. 4 Mee Derbyshire, p. 232. 5 Pevsner Derbyshire, p. 317. 6 Cox, vol. 1, p. 340. 492 aisle.7 Sir John's grandfather Thomas Revell founded a perpetual chantry in the north aisle of the church in 1474.8 7 Pevsner Derbsyhire, p. 318. 8 Cox, vol. 1, p. 337. 493 Smisby, Derbyshire, Parish Church of St James OS SK 347 191 Manuscript sources London, British Library, Egerton MS 3510, f. 109r. London, College of Arms, Bassano MS, p. 256. In 1611 William Burton tricked the following glass In ‘Smithesby’ church:1 ‘In the east window of the chancel’: 1. Argent, three garbs gules, banded or (Comyn). 2. Azure, six martlets or 3.2.1 (Appleby). 3. Azure, a cross gules, fretty or (Shepey). ‘In the south east window’: 4. Azure, a cross gules, fretty or (Shepey). 5. Argent, three garbs gules, banded or (Comyn). ‘In a south window of the chancel’: 6. Argent, three garbs gules, banded or (Comyn). ‘In a south window of the chancel’: 7. Quarterly, 1. Azure, a cross or, 2. Argent, a cross moline azure, charged with five fleur-de-lys or (Molyneaux), 3. 1 London, British Library, Egerton MS 3510, f. 109r. 494 blank, 4. A lion rampant, all impaling, Azure, an Eagle displayed argent (Cotton). ‘In a north window of the chancel’: 8. Gules, a fess checky or and azure, between three eagles displayed or (Kendall), quartering, Argent, a fess gules, with a fleur-de-lys sable between two cross-crosslets fitchy or the same, in base and chief. 9. 8 impaling 7. ‘In a north window of the nave’: 10. Gules, on a bend argent, three cross-crosslets fitchy sable, quartering, Gules, within a bordure engrailed argent, six fleur-de-lys of the last (Reresby), impaling, Argent, a fess vairy or and gules, between three waterbougets sable (Dethick). In the early eighteenth century the Bassano brothers saw shields 1, 3, 4, 5 and 8 in the same locations as Burton. Quarters 2 and 3 of shield 8 were blazoned Ermine, a fess sable.2 None of the glass recorded by the antiquarians was still extant when Cox was here in the 1870s.3 The Comyn and Shepey families, whose arms were prominent in the glazing of both the east and south walls of the chancel, were the major landowners in Smisby in the thirteenth, fourteenth and fifteenth centuries. The Comyn family held the manor of Smisby until the middle of the fourteenth century, when it passed through marriage to 2 Bassano MS, p. 256. 3 Cox, vol. 3, p. 456. 495 the Shepeys, who then held it until the end of the fifteenth century.4 Bearing this in mind and as the chancel east window has tracery of the Decorated period, it is perhaps logical to assume that the glass in this window and perhaps by inference in the south windows also was of the fourteenth century.5 Shields 8 and 9, bearing the arms of Kendall, date from after 1480, when the last member of the Shepey family, Margaret, married Bartholomew Kendall, devolving the property on his family.6 4 Cox, vol. 3, p. 456. 5 Pevsner Derbyshire, p. 319. 6 Cox, vol. 3, p. 456. 496 South Muskham, Nottinghamshire, Parish Church of St Wilfrid OS SK 793 572 Printed sources E. Trollope, ‘The Church of St Mary Magdalene, Newark, and other Churches Visited by the Society on the 22nd and 23rd of June 1871’, AASRP, 11 (1872), p. 24. Nelson, p. 160. Pevsner Nottinghamshire, p. 316. Thoroton and Throsby, vol. 3, p. 152. Truman (1954), p 160. Illustrations Figs. 320-321. The church comprises western tower, nave with two aisles, south porch and chancel. The earliest work is the lower half of the tower and the chancel, which are both of the thirteenth century. The rest of the church, including the upper stage of the tower and east window (fig. 321), is of the late fifteenth century or sixteenth century. 1 The church was a prebendal church of the prebend of South Muskham in Southwell Minster.2 Thoroton saw the following glass in the church:3 1. Sable, a chevron between three roses argent. 2. Argent, three boars heads erased and erected sable (Booth), impaling the see of Canterbury ‘mistaken for the Arms of York’. 3. A cross engrailed, quartering, a fess and billety or (Archbishop Lee), impaled as 2. 1 Pevsner Nottinghamshire, p. 316. 2 W. Dickinson, The History and Antiquites of the Town of Southwell (London, 1819), pp. 160-161. 3 Thoroton and Throsby, vol. 3, p. 152. 497 4. England and France quartered. 5. Azure, a bend or (Scrope) 6. As 5 with a label argent.4 Only shield 1 remains. It is now in window sVIII with a number of contemporary quarries and the patronal inscription ‘fieri fecit’. It was in the east window (fig. 321) when Trollope saw it in 1872, though in ‘an inverted position’.5 When Nevil Truman visited in the 1930s or 40s it had been moved to its present position but was still inverted.6 The shield cannot be identified with certainty, but it may be the achievement of either William Smith, bishop of Lincoln (1496-1513) or, as Trollope suggested,7 the Bonnington family of Barrowcote in Derbyshire.8 Bearing in mind the presence of the other episcopal arms in Thoroton’s record, the former identification is perhaps the more likely. Shield 2 presumably refers to either William Booth, archbishop of York 1452-1464 or his brother Lawrence Booth, archbishop of York 1476-1480 (q.v. Southwell). Archbishop Lee is presumably Edward Lee, archbishop 1531-45.9 If the latter is correct this suggests a date in the 1530s or 40s for the shields, a date stylistically consistent with the survivor. In addition to the extant glass and that recorded by Thoroton, Nelson also noted a figure of St Wilfrid in glass. There is no additional evidence of this and it is possible he is confusing his reference with the stone figure of the saint that remains on the west face of the tower.10 4 Thoroton and Throsby, vol. 3, p. 152. 5 E. Trollope, ‘The Church of St Mary Magdalene, Newark, and other Churches Visited by the Society on the 22nd and 23rd of June 1871’, AASRP, 11 (1872), p. 24. 6 Truman (1954), p. 160. 7 E. Trollope, ‘The Church of St Mary Magdalene, Newark, and other Churches’, p. 24. 8 The Medieval Ordinary only has Smith listed as bearing this achievement, but both Papworth and the 1662 visitation of Derbyshire have Bonnington bearing the same arms (Medieval Ordinary, vol. 1, p. 343, Papworth, p. 424, G. D. Squibb, The Visitation of Derbyshire begun in 1662 and finished in 1664, Harleian Society, New Series, 8 (1989), p. 12). 9 Fasti Ecclesiae Anglicanae, vol. 6, pp. 4-6. 10 Nelson, p. 160. 498 Catalogue sVIII. 3b. Shield of arms (fig. 320), set on a roundel of ruby glass: Sable, a chevron argent between three roses argent (William Smith or Bonington of Barrowcote). The two upper roses, which are reserved against the matt of the field, are touched with yellow stain. The lower rose is of a different form and is leaded in. Below the shield part of a blackletter inscription /fieri : f/ecit :/. Leaded breaks. Late 15th or 16th-c. d 0.25m (roundel). w 0.16m (inscription). 4b. Four quarries, type 30. Late 15th or early 16th-c. Leaded breaks, light pitting. w of light 0.41m. 499 South Normanton, Derbyshire, Parish Church of St Michael OS SK 442 569 Manuscript source Bassano MS, p. 93. Printed source Nelson, p. 73. In the early eighteenth century the Bassano brothers saw the following shield of arms in glass ‘in a low window in the south side of the Chancell’: Argent, a cross patee sable (Banester).1 Cox was of the opinion that the shield was not that of Banester, but of Leigh of Adlington, Cheshire, who were patrons of the living of South Normanton from 1405 until the seventeenth century.2 The visitation of Cheshire gives the Leigh arms as Azure, two bars argent, over all a bendlet gobone or and gules, but includes in their achievement the quarter: Argent, a cross fleury sable (which is perhaps the same as the arms the Bassanos saw at Normanton) to represent Belgrave. This quarter commemorated the marriage in 1407/8 of Sir Robert Leigh of Adlington to Isabel, daughter and heiress of Thomas Belgrave.3 It was this Sir Robert who acquired the patronage of the advowson of South Normanton in 1405. Presumably, if the arms at South Normanton were those of Belgrave, they dated from after 1407/8. There is no longer (since rebuilding in 1878)4 a low south window of the chancel and the glass recorded by the Bassano brothers is no longer extant. Nelson referred to 1 Bassano MS, p. 93. 2 Cox, vol. 1, pp. 284 and 287. 3 J. P. Rylands (ed.), The Visitation of Cheshire in the year 1580, made by Robert Glover, Harleian Society, 18 (1882), p. 151. 4 Pevsner Derbyshire, p. 321. 500 fragments in the east window of the chancel, but these, if they existed, are also no longer in evidence, the east window being filled with mid to late nineteenth-century glass.5 5 Nelson, p. 73. 501 South Wingfield, Derbyshire, Parish Church of All Saints OS SK 383 557 Manuscript sources London, British Library, Additional MS 6701, f. 7v. London, College of Arms, Bassano MS, p. 82. No glass now remains in the church, but in the mid-eighteenth century Reynolds saw the following: ‘In each of the two eastern windows of the body, or nave … is an Escutcheon painted upon the glass’:1 1. Quarterly, Argent, a chief gules, and bendlet azure (Cromwell), Checky or and azure, a chief ermine (Tattershall). ‘Being the arms of Rafe, Lord Crumwell, Baron of Tateshall in the county of Lincoln, and Treasurer to King Henry, the sixth, who built Wingfield Manor-House …’ ‘There’s no other paintings upon the glass, either in the church or chancel windows, save the above.’ In 1710 the Bassano brothers saw the same arms in a south window, but tinctured the Checky ‘or and gules’, which as Cox observes, is the correct rendering of the Tattershall arms.2 Ralph, third Baron Cromwell (d. 1456) (q.v. Lambley, Nottinghamshire) acquired the manor of South Wingfield in 1439 and immediately embarked on a large and ambitious building campaign at the manor house, which 1 London, British Library, Additional MS 6701, f. 7v. 2 Bassano MS, p. 82, Cox, vol. 4, p. 443, and Medieval Ordinary, vol. 2, p. 257. 502 lasted until 1450.3 The inclusion of the arms in the nave suggests that he may have had a hand in remodelling this part of the church, a conclusion reinforced by the tower, which is constructed by the same masons as were working on the manor. All the nave windows were renewed in a restoration in 1803, at which point the glass was probably lost.4 3 Pevsner Derbyshire, pp. 321-323 and R.C. Marks and P. Williamson (eds.), Gothic Art for England 1400-1547 (London, 2003), p. 284. 4 Cox, vol. 1, p. 439 and Pevsner Derbyshire, p. 321. 503 Southwell, Nottinghamshire, Cathedral and Parish Church of the Blessed Virgin Mary OS SK 701 538 Manuscript sources London, British Library, Additional MS 71474, ff. 82r, 82v and 85r. Newton ‘Schools of Glass Painting’, vol. 1, p. 479-488. Nottingham, Nottinghamshire County Archives, DD TS/ 6/4/4, f. 21r. Printed sources J. Beaumont, The Stained Glass of Southwell Minster (Southwell, 1988), passim. Coe, p. 112. Cowen, p. 166. W. Dickinson, The History and Antiquities of the Town of Southwell (London, 1819): facing page 64. J. F. Dimock, History of the Collegiate Church and Town of Southwell, with a Descriptive Account of the Church (Southwell, 1875), p. 42. W. B. Killpack, The History and Antiquities of the Collegiate Church of Southwell (London, 1839), p. 16. G. M. Livett, Guide to Southwell Minster, With a Brief History of the College of Secular Canons (Southwell, 1883), pp. 130-31. R. Westmacott, ‘Removal of Glass from Gonalston, Notts., to Southwell’, The Archaeological Journal 6 (1849), pp. 6 and 12. C. Winston, 'An Account of the Painted Glass in Lincoln Cathedral and Southwell Minster: With Some General Remarks on Glass-Painting' in his, Memoirs Illustrative of the Art of Glass-Painting (London, 1865), p. 89. Illustrations Figs. 322-344. Southwell Minster, now the cathedral church of a diocese that encompasses most of Nottinghamshire, was one of three large collegiate churches (the others are Ripon and Beverley) established by the archbishops of York, as pro-cathedrals within their 504 massive archdiocese. Southwell, at the southern extreme of the archdiocese, was a convenient base for the archbishops on the route to London and the fabric and glazing of the Minster church and adjoining palace were a focus of their artistic patronage in the Middle Ages. Most of the Minster fabric dates from the twelfth and thirteenth centuries. The nave, crossing tower and transepts were erected in the first half of the twelfth century, the eastern arm between 1230 and 1260, the chapter house and vestibule between 1288 and 1300, and the pulpitum between 1320 and 1340. In the midfifteenth century the west end of the Norman nave was pierced with a large new window (fig. 343), and in the late 1470s and early 1480s a projecting chapel (now demolished) was added to the south nave aisle.1 The remaining medieval stained glass consists of fragments dating from the thirteenth to the sixteenth century, arranged in the windows of the chapter house (fig. 342) and in window sIX in the south quire aisle. Most of the fragments in the chapter house do not belong to that structure, but were removed from elsewhere and arranged there in the nineteenth century. Some of the fourteenth-century glass, though it is unclear precisely which, was apparently brought from the neighbouring churches of Calverton and Gonalston in the late eighteenth century.2 The literature on this glass is quite extensive.3 The later glass, dating from the fifteenth and sixteenth centuries, came from elsewhere within the minster. Where precisely is unclear; some may have come from the west window (fig. 343), where Winston in 1 Pevsner Nottinghamshire, pp. 319-327. 2 J. Beaumont, The Stained Glass of Southwell Minster (Southwell, 1988), p. 2, R. G. M. Livett, Guide to Southwell Minster, With a Brief History of the College of Secular Canons (Southwell, 1883), p. 130. According to Westmacott (writing in 1849) the glass from Gonalston had been removed to Southwell ‘late last century’. Dickinson's engraving of the interior of the chapter house from 1819 shows hatched panels in the windows, which correspond roughly with the present arrangement of fragments. R. Westmacott, ‘Removal of Glass from Gonalston, Notts. to Southwell’, The Archaeological Journal, 6 (1849), pp. 6 and 12 and W. Dickinson, The History and Antiquities of the Town of Southwell (London, 1819), facing page 64. 3 See Dimock, Livett, Westmacott and Winston among the printed sources. Both Beaumont in his Stained Glass of Southwell Minster, p. 36 and Newton in his ‘Schools of Glass Painting’, vol. 1, pp. 479-488, provide catalogues of the glass. 505 1865 saw 'a few late shields of arms, and other fragments' of the 'Perpendicular' period.4 Beaumont tells us that the glass in window sIX was put there in the 1920s, by a local glazier called Butler, after it was discovered in the space over the chapter house vestibule.5 Again the original context of this glass is uncertain. Among the fragments of the period covered by this thesis, in both the chapter house and window sIX, are figurative remains (including fragments of angels, largescale figures of saints and part of a large-scale figure of an archbishop), parts of canopies and roundels, quarries and shields of arms. As one might expect in a church directly patronised by the archbishops of York, some of the extant fragments have stylistic links with glass from York workshops. The lion masks in panels 7 and 9 of window sXI can be compared with those in the borders and in the grounds behind the main figures in the Wolveden window (nVIII) of the 1420s, in the north quire aisle of York Minster. Figures inhabiting the tops of canopies, as remain in 5c of nIV in the chapter house, are a common theme in York glass of the first half of the fifteenth century. The male head in 3a of nIII in the chapter house bears comparison with heads in the great east window of York Minster, the product of John Thornton’s workshop of the early fifteenth century. The principal antiquarian source for the lost medieval glass in Southwell is the Book of Monuments or Book of Draughts, produced by William Dugdale and William Sedgwick and based on their journeys in 1640 and 1641. In this they provide detailed coloured drawings of shields of arms within the body of the church and donor images, inscriptions and shields in a chapel called ‘Booth’s chapel’ (fig. 341).6 The forty-six shields recorded by Dugdale and Sedgwick in the south and north windows of the Minster were all transcribed and identified by Peter Newton. They were, with the exception of a shield of England quartering France in a south window, dateable to the thirteenth or fourteenth century and are therefore beyond the chronological scope of this thesis.7 4 C. Winston, 'An Account of the Painted Glass in Lincoln Cathedral and Southwell Minster: With Some General Remarks on Glass-Painting' in his Memoirs Illustrative of the Art of Glass-Painting (London, 1865), p. 89. 5 J. Beaumont, The Stained Glass of Southwell Minster, p. 5. 6 London, British Library, Additional MS 71474, ff. 82r, 82v and 85r. 7 Newton ‘Schools of Glass Painting’, vol. 1, pp. 489-494. 506 Booth’s Chapel (demolished in 1784) was attached to the two penultimate western bays of the south nave aisle (fig. 344).8 The chapel was constructed by Lawrence Booth, who was archbishop of York from 1476 to1480,9 to house his tomb and provide a liturgical space for the celebration of masses, as part of a perpetual chantry dedicated to St William and St Cuthbert which he had founded.10 When he made his will in 1479, the chapel was still incomplete, so he gave instructions for its completion, asking to be buried in its south wall. 11 His tomb was seen in that location in the eighteenth century.12 Lawrence’s chapel adjoined the western end of the south nave aisle at a point occupied by an altar dedicated to St John the Baptist at which his half-brother, William Booth, who was archbishop of York from 1452 to 1464,13 had been buried. William’s tomb, with effigy and cadaver, was built into the south wall.14 Dugdale and Sedgwick recorded the following glass in the east and south windows of Lawrence’s chapel, which presumably dated from, or shortly after, its construction, i.e. from the early 1480s. 8 See A. H. Thompson, ‘The Certificates of the Chantry Commissioners for the College of Southwell in 1546 and 1548, with an introduction and notes,’ Thoroton Society, 15 (1911), p. 87. 9 Fasti Ecclesiae Anglicanae, vol. 6, p. 5. 10 J. Raine (ed.), Testamenta Eboracensia. A selection of wills from the registry at York. Part II, Surtees Society, 3 (1855), p. 249. 11 A. H. Thompson, ‘The Certificates of the Chantry Commissioners for the College of Southwell in 1546 and 1548’, pp 87-88 and 91 and J. Raine (ed.), Testamenta Eboracensia. A selection of wills from the registry at York. Part II, p. 249. 12 Grimm drew the tomb of Lawrence Booth shortly before the demolition of the chapel. It consisted of a tomb chest decorated with quatrefoils, sunk into the wall (as Lawrence desired) within a recess, forming an integral part of one of the south windows. According to Sedgwick’s drawing, which shows the tomb chest alienated from its setting, monumental brass inserts bearing a figure of the archbishop and a fillet inscription were inserted into the top of the slab. London, British Library, Additional MS 15544 and Add MS 71474, f. 84v. 13 Fasti Ecclesiae Anglicanae, vol. 6, pp. 4 and 5. 14 William asked to be buried in the chancel of St John the Baptist, in the south part of the church. Testamenta Eboracensia, vol. 2, p. 265. Sedgwick saw and drew the tomb, which consisted of a three-dimensional effigy set on an openwork chest enclosing a cadaver. London, British Library, Additional MS 71474, f. 84v. 507 ‘In Australi Fenestra ejusdem Capella[e]’ (fig. 341): 15 A male donor image kneeling three-quarters left on a cushion, with his head raised and hands in the attitude of adoration. He is dressed in plate armour. Over this on the body of an heraldic surcoat is: Sable, semy of cinquefoils, a lion rampant argent, armed and langued gules, quartering, Argent, a lion rampant sable, armed gules [Clifton]. On the left sleeve of the surcoat: Gules, a saltire ermine [Neville]. Underneath the figure is written in blackletter: ‘G Clifton.’ A female donor image kneeling three-quarters left on a cushion with her head raised and hands in the attitude of adoration. She has long loose hair and is dressed in an heraldic gown, under an heraldic mantle. The gown bears the arms of Neville (as above), the mantle the quartered arms of Clifton (as above.) Underneath the figure is written in blackletter: ‘… ux: eius’ Between the figures, the quartered arms of Clifton (as above), impaling Neville (as above). ‘In alter[e]a Australis Fenestra’ (fig. 341): A male donor image kneeling three-quarters left, on a cushion, with his head raised and hands in the attitude of adoration. He is dressed in plate armour, with an heraldic surcoat over bearing: Bendy argent and gules [Byron.] Underneath the figure is written in blackletter: ‘Joh[ann]es Byron miles.’ 15 London, British Library, Additional MS 71474, f. 85r. William Dickinson saw the manuscript and includes in his volume an engraving of folio 85r. W. Dickinson, The History and Antiquities of the Town of Southwell, facing page 64. 508 A female donor image, kneeling three-quarters left, on a cushion with head raised and hands in the attitude of adoration. She is wearing a butterfly headress and is dressed in a heraldic gown under an heraldic mantle. The gown bears the arms: Argent, three boars' heads erect and erased sable, and the mantle, the arms of Byron (see above). Under the figure is written in blackletter: ‘Margeria ux[oris]: eius’. Between the figures the arms of Byron (as above) impaling Booth (as above). ‘In orientali Fenestra ejusdem Capella’ (fig. 341): The figure of an archbishop, kneeling three-quarters right, on a cushion, beside an arcaded kneeling desk (?), with head raised and hands in the attitude of adoration. He is vested in a white alb, apparelled amice, mitre, blue chasuble with pallium and rests his cross-staff against his right arm. Under the figure is written in blackletter: ‘Robertus Bothe Ebor archie[pisco]pus.’ Above is the shield: Azure, an episcopal staff in pale ensigned with a cross formy or, surmounted by a pall argent semy of crosses fitchy sable [see of York], impaling, Argent, three boars' heads erect and erased sable, a bordure engrailed of the last [Booth]. The figure of a bishop, kneeling three-quarters left, on a tessellated pavement, beside an arcaded kneeling desk, covered with a green cloth, bearing an open book, with his head raised and hands in the attitude of adoration. He is vested in a white alb, apparalled amice and mitre, with a tunicle, decorated with trailing foliage under a blue cope. He holds his pastoral staff in his right hand. Under the figure is written in blackletter: 509 ‘Joh[ann]es Bothe Ep[iscop]us Exon[iensis].’ Above is the shield: Gules, three mitres or [See of Exeter], impaling, Argent, three boars' heads erected and erased sable [Booth]. John Booth was bishop of Exeter from 1465-1478.16 He was the brother of archbishop Lawrence, the builder of the chapel. He is buried at East Horsley in Surrey, where he is commemorated by a monumental brass, showing him kneeling in the attitude of prayer in full pontificals, holding his pastoral staff, an image that strongly resembles the image of him in the chapel here in Southwell.17 There was no ‘Robert Booth, archbishop of York’, the image labelled thus by Dugdale and Sedgwick, so is almost certainly archbishop Lawrence; a conclusion borne out by the bordure engrailed, in the shield accompanying the figure, which is known to have been part of his arms.18 The figures of ‘G Clifton’, presumably Gervase Clifton and Sir John Byron and their respective wives in the south wall, are included by virtue of close familial connections with Lawrence Booth. Sir Gervase Clifton (d. 1491) of Clifton, Nottinghamshire (q.v.) was the son of Sir Robert Clifton by Alice, sister of Lawrence. Gervase, who was married to the daughter of Thomas Neville of Rolleston, was an executor of his uncle’s will.19 Sir John Byron of Clayton, Lancashire, was married to Margery Booth, another sister of Lawrence.20 All the figures are in the attitude of adoration and have their heads tilted upwards, presumably towards a focus of devotion in the panels above. 16 Fasti Ecclesiae Anglicanae, vol. 9, p. 2. 17 The brass is illustrated in: R. Hutchinson (ed.), Drawings of Monumental Brasses and Incised Slabs by the Waller Brothers 1837-1844 (London, 2001), p. 108. 18 William Booth bore the arms Argent, three boars' heads erased in a bordure sable, while Lawrence is known to have borne: Argent, three boars’ heads erased gules in a bordure engrailed. W. K. Riland Bedford, The Blazon of Episcopacy being the arms borne by the Archbishops and Bishops of England and Wales (Oxford, 1897), pp. 136 and 137. 19 Payling, p. 233 and J. Raine (ed.), Testamenta Eboracensia. A selection of wills from the registry at York. Part III, Surtees Society, 45 (1864), p. 250. 20 G. W. Marshall (ed.), The Visitations of the County of Nottingham in the Years 1569 and 1614, Harleian Society, 4 (1871), p. 9. 510 With the exception of a single boar’s head erased, remaining in panel 2 of sIX, which is almost certainly a fragment from a Booth shield, none of the extant glass can be directly linked to the Booth chapel glazing. Catalogue Chapter House I. 2b. Shield of arms (fig. 337): Azure three fleur-de-lys or (France), quartering, Gules three lions passant guardant in pale or (England). The azure field decorated with sprays of foliage. Paint loss and leaded breaks. Late 15th or 16th-c. 2c. Fragments of 13th, 14th and 15th-c. date. A cut-down stylised border crown in black line and yellow stain. 15th-c. 3b. ‘IHC’ monogram roundel (fig. 322). Monogram in yellow stain. Only the lower half remains and this is dirty. Set within a border of yellow-stain acanthus leaves, set against a hatched ground. Dirty, with leaded breaks. 15thc. nII. 1a. Fragments of 14th and 15th-c. date. The ogee head of a crocketed canopy top, with part of a finial to the left. Executed in black line on white, with yellow stain. 15th-c. Shaded blue and ruby drapery fragments could be 15th or 16th-c. 1c. Fragments (fig. 333) including, from shields of arms, four pot yellow lions passant guardant and a large pot yellow fleur-de-lys. Perhaps late 14th or 15th-c. Vaulting from a canopy, with yellow stain ribs and stippling. 15th-c. Blue and ruby fragments. 511 nIII. 3a. Fragments of 14th and 15th-c. date (fig. 336). Large-scale male head, threequarters right, with wavy hair at either side of the head. Stipple-shading with touches of yellow stain in the hair. The upper part of the head has been lost and the left-hand side has leaded breaks. First half of the 15th c. Blackletter inscription: /S[an]c[t]us/. 15th-c. Small fragment with the top of a finial set against a shaft, the crockets in yellow stain. 15th-c. A cross in yellow stain with consolidated fractures. 15th-c. (?) 3b. Fragments of 14th and 15th-c. date (fig. 330). Part of a side-shafting with a projecting off-set and a rectangular and a quatrefoil piercing, in blackline and stipple on white with yellow stain. 15th-c. 3c. Fragments of 14th and 15th-c. date (fig. 332). Fragmentary figure of a trumpeting angel, set in profile, nimbed and dressed in a white alb. Feathered wings, hair and trumpet mouth piece in yellow stain. Paint loss. 15th-c. Stippled drapery fragment with severe paint loss. 15th-c. 4b. Fragments of 14th and 15th-c. date (fig. 338). At the centre of the panel, a small fragment of a female head, facing three-quarters right. All that remains is the right eye, the tip of the nose, corner of the mouth, a section of hair and part of the nimbus. Black line and stipple on white, with yellow stain on the nimbus. Leaded breaks. 15th-c. The head is flanked on either side by fragments of two side-shaftings, in black line on white with crocketed finials and panelled openings in yellow stain. 15th-c. nIV. 3c. Made-up shield of arms, incorporating ruby, blue and pot-yellow fragments and a pot-yellow lion passant guardant. The fragments could be 14th or 15thc. Also small architectural fragment in blackline on white with yellow stain. 15th-c. 512 5a. Fragments of 14th and 15th-c. date (fig. 327). At the top of the panel, a largescale head of an angel, facing three-quarters left. On white glass, with stippling, the hair and part of a feathered wing in yellow stain. 15th-c. Also two fragments from an acanthus roundel border as 3b of I. 15th-c. 5c. Fragments of 14th and 15th-c. date (fig. 323). Sections of an inhabited canopy top, with the heads and shoulders of two figures, flanking a pair of crocketed pinnacles. The figures are facing three-quarters and are peering downwards as though over a parapet. Black line and stippling on white, with yellow stain on the hair and canopy details and on the cross-hatched canopy ground. 15th-c. Minor architectural fragments of the 14th-c. and part of a yellow-stain crocket from a canopy of 15th-c. date. sII. 1c. Fragments of 14th and 15th-c. date (fig. 339). To either side, two vaulted side-shafting compartments, black line and cross-hatching on white with yellow stain. 15th-century. Two fragments with swimming fish, the fish in black line on white, the water lightly coloured with yellow stain. 15th-c. Ruby and blue fragments. 2a. Fragments of 14th and 15th-c. date (fig. 325). Six separate canopy fragments, all with crocketed gable ends, executed in blackline, crosshatching and yellow stain on white. 15th-c. Part of a jewelled vestment orphrey in blackline and yellow stain on white. 15th-c. Blue and ruby fragments. sIII. 1a. 'IHC' monogram roundel (fig. 328), the lettering in yellow stain, reserved against a light matt ground, decorated with stickwork trailing foliage. Leaded breaks and paint loss. 15th-c. 513 1b. Made-up roundel, containing murrey, blue and ruby fragments and a quarry type 66. The latter 15th or 16th-c. 1c. 'IHC' monogram roundel (fig. 329), the lettering in yellow stain, set within in an internal border of the same, against a ground of trailing foliage. Dirty, with many leaded breaks and paint loss. 15th-c. 2a. Fragments of 14th and 15th-c. date. Architectural fragments include: a finial with a crocketed flying buttress and a crocketed ogee-headed gable. All in black line and hatching on white with yellow stain. 15th-c. Ruby fragments. 2c. Fragments leaded separately within the panel (fig. 324). To the left, small architectural fragments including: a crocketed ogee head of a canopy and a crocketed finial. All in black line on white with yellow stain. 15th-c. To the right: a cut-down ship, with mast and rigging. The hull in yellow stain with blackline, the mast and rigging in yellow stain, reserved against matt. Some paint loss. 15th-c. 3b. Fragments of 14th and 15th-c. date (fig. 335). At the centre of the panel, the head of a female saint, nimbed and wimpled and facing three-quarters left. Black line and stipple on white, with nimbus stained solid in yellow. Paint loss. 15th-c. Blue, ruby and opaque fragments. 3c. Shield of arms (fig. 331): Azure, an archepiscopal staff in pale or ensigned with a cross paty or, surmounted by a pall argent, fringed or, and charged with five crosses paty fitchy sable (Province of York), impaling blue and yellow fragments. 15th-c. 4a. Fragments (fig. 326). Top right: a small head of a bishop, facing threequarters left, wearing a mitre and an apparelled amice. Black line and stippling on white, with yellow stain on the hair, the decoration on the mitre and the apparel of the amice. Leaded break across the face and some paint loss. 15th-c. Bottom left: A hand emerging from the folds of stippled drapery, grasping the stem of a yellow-stain object, with a broad foliated foot, perhaps 514 a monstrance? A couple of small architectural fragments in black line on white, with yellow stain. 15th-c. A small fragment of stippled drapery with yellow-stain hair falling beside it. 15th-c. Blue fragments. 4b. Fragments (fig. 334). Large-scale gloved hand of an archbishop or pope, in the attitude of benediction, set against stippled drapery and a pallium, with one cross fitchy visible. In blackline and stipple on white, with the jewel of the glove in yellow stain. Paint loss and leaded break. 15th-c. Nimbed head of a saint, almost totally effaced, with the exception of pigment detailing the yellow stain hair. 15th-c. Blue and ruby fragments. South Quire Aisle sIX 1 Fragments mostly 14th-c., but including a number of small 15th-c architectural fragments (including part of a side-shafting), in black line on white, with yellow stain. 2 Fragments mostly 14th-c., but including the following of 15th-c. date: Part of a shield of arms of the Booth family (see above): a single boars head erect and erased sable. A fragment of a blackletter inscription set within a yellowstain border: /e i .../. The head of a man peering over the parapet of a canopy, in black line and hatching on white with yellow stain. Paint loss. 3 Fragments mostly of 14th-c. date, but incorporating numerous minor 15th-c. fragments, in black line on white, with yellow stain, including fragments of pinnacles, canopies and side-shaftings. Numerous coloured fragments, date uncertain. 4 As 3. 5 As 3. 515 6 As 3, with a fragmentary nimbed and tonsured head, cut-down below the forehead. Blackline, with yellow stain on the hair. 15th-c. 7 As 3 (fig. 340), with a cut-down yellow-stain lion mask from a border. Early 15th-c. 8 As 3 (fig. 340). 9 As 3 (fig. 340), with a lion mask, similar to that in 7, set within a border. Black line on white with yellow stain for the mask. Paint loss. Early 15th-c. 10 As 3, with part of the blackletter inscription: /…lfrid…/. 15th-c. 11 As 3. 516 Stanford-on-Soar, Nottinghamshire, Parish Church of St Michael OS SK 543 220 Manuscript source London, British Library, Harley MS 6593, f. 4v. Printed source Thoroton and Throsby, vol. 1, p. 6. Thoroton saw the following glass in Stanford church:1 In a window in the chancel:2 1. Argent, a chevron azure, with a label of three points ermine (Swillington). 2. Azure, three hedgehogs or (Heriz). In a window over the tomb of John Harrison (d. 1532): 3. Argent, a fess on both sides fleury, between three anchors sable [presumably Harrison], quartering, Argent, a fess gules, two bars engrailed sable. 4. As 3. 5. Sable, a fess between three stars argent, impaling, Ermine, a cross engrailed sable. 6. 5, impaling, Argent, a chevron between three staples sable. 7. 3, impaling, Argent, a fess gules and two bars sable. 8. Ermine, a cross engrailed sable, impaling, A chevron azure, between three staples sable. 1 Thoroton and Throsby, vol. 1, p. 6. 2 Thoroton implies this location and the St Georges confirm it. 517 Earlier, in 1614, Richard and Henry St George had seen all of these. Shields 3 and 4 were also repeated on the tomb of John Harrison.3 The arms of Swillington, a Suffolk family, were included in the chancel glazing, as they were the overlords of a small area of property in Stanford at the end of the fourteenth century.4 The glass was presumably of that period. The present writer can find no additional background on John Harrison. According to both the St Georges and Thoroton, the inscription on the tomb read: ‘Hic jacet magister Joh[ann]es Harison et Alicia et Agnes uxores ejus qui quidem Joh[ann]es ob[it]: 4 die Nov : 1532.’5 The tomb and glass may have disappeared when the church was restored and the chancel rebuilt by W. S. Weatherly in 1893-94.6 3 London, British Library, Harley MS 6593, f. 4v. 4 Thoroton and Throsby, vol. 1, p. 5. 5 Harley MS 6593, f. 4v and Thoroton and Throsby, vol. 1, p. 6. 6 Pevsner Nottinghamshire, p. 335. 518 Stapleford, Nottinghamshire, Parish Church of St Helen OS SK 492 372 Printed source Thoroton and Throsby, vol. 2, p. 195. Thoroton saw the following glass in Stapleford church:1 In a 'high window in the Church, and twice on surcotes': 1. Argent, on two bars azure, three cinquefoils or (Teverey).2 2. 1, impaling, Argent, a bendlet gules. In a window in the chancel: 3. Gules, on a bend azure between two wolves heads erased argent, three leopards heads or, a bordure gobony of the second and third. Underneath: 'Thomas Gunthorp Prior of Newstede'.3 4. Three lions passant guardant argent, upon large bars sable, divided with barrulets, gules. ‘The chief is broken away and intended for the Priory of Newstede’. 5. Argent, on a bend sable, three birds or choughs or. 'In the North Ile window of the Church, quartered': 6. Or, on two bars gules, three waterbougets argent (Willoughby). 1 Thoroton and Throsby, vol. 2, p. 195. 2 Thoroton and Throsby, vol. 2, p. 196. 3 The same arms are incorporated into the monument of John Gunthorpe, Dean of Wells (1472-1498), who may have been related to Thomas. See: C. Woodforde, Stained Glass in Somerset 1250-1830 (Oxford, 1946), pp. 132-141 and plate 30. 519 7. Sable, a lion rampant amongst cinquefoils argent (Clifton). 8. ‘On the upper half’: Argent, on two bars azure, three cinquefoils or, ‘and on the lower half’: Argent, on a bend gules, three hedgehogs or. 9. 'Willughby again' impaling: Gules, on a bend argent, three scallops sable. The glazing of the 'high' i.e. clerestory window may have been late fifteenth or early sixteenth century as the windows display the uncusped main lights and tracery common in that period (q.v. Tuxford, Holme-by-Newark and Kelham).4 The arms represented confirm the dating, for they referred to the Teverey family of Long Eaton, who inherited property in Stapleford in the mid-fifteenth century.5 The arms of Willoughby in the window in the north aisle were also of a similar date and related to the marriage of Hugh Teverey (died 1517) to the daughter of Hugh Willoughby and Isabella Clifton, which occurred sometime at the end of the fifteenth century.6 Thomas Gunthorpe, who was commemorated in a window in the chancel, was the prior of Newstead Priory (q.v.) from 1467 to 1504.7 Newstead held the advowson of Stapleford.8 Gunthorpe was responsible for some of the glazing at Tuxford (q.v.), another Newstead advowson, where further details of his career are outlined. Unlike Tuxford, where the glass commemorated the building of a new chancel by the priory, the glazing at Stapleford was put into a pre-existing chancel of the late thirteenth century.9 4 Pevsner Nottinghamshire, p. 336. 5 Thoroton and Throsby, vol. 2, p. 194. 6 Thoroton and Throsby, vol. 2, pp. 194 and 209. 7 VCH Nottinghamshire, vol. 2, p. 117. 8 VCH Nottinghamshire, vol. 2, p. 116. 9 Pevsner Nottinghamshire, p. 336. 520 Staveley, Derbyshire, Parish Church of St John the Baptist OS SK 433 748 Manuscript Sources Rawlins, vol. 2, pp. 281-282. Ashmole, p. 69. London, British Library, Harley MS 5809, f. 34r. London, British Library, Harley MS 1093, f. 142r. Printed sources Holles, pp. 250-251. Thorold, p. 112. Illustrations Figs. 345-346. Staveley church consists of a western tower, nave with two aisles and chancel with south chapel. The western tower has a thirteenth-century base and fifteenth-century upper stage, the south nave arcade and south aisle are late fourteenth century, the south chapel (fig. 346) is of the early sixteenth century and the north side of the building and chancel of 1865-9 by Sir G. G. Scott.1 All that remains of the medieval glazing of the church are some figurative roundels and small fragments of fourteenth-century date in window sII,2 with small fragments of the late fifteenth or sixteenth century in nIII, incorporated into glass of the early twentieth century by Christopher Webb. 3 The fragments are part of a larger glazing scheme, that was recorded in detail by a number of seventeenth-century antiquarians, including Richard St George, Gervase Holles and Elias Ashmole. 1 Pevsner Derbyshire, pp. 326-327. 2 These fragments are beyond the chronological scope of this thesis, for details see: Ayre, pp. 21-22 and Newton ‘Schools of Glass Painting’, vol. 1, p. 88. 3 Thorold, p. 112. 521 During his 1611 visitation Richard St George tricked the following arms and recorded the following inscriptions in glass:4 ‘These six in the east chancell windowe’: 1. Checky or and azure, a fess gules (Clifford). 2. Gules, three lions passant guardant or (England). 3. Azure, a bend between six escallops argent (Frechville). 4. Barry of six argent and azure (Grey). 5. Azure billety, a fess indented or (Deincourt). 6. Argent, a chevron between three cross-crosslets fitchy sable (Findern). ‘These six in the south windows’: 7. Sable, six annulets three, two one [Leake].5 8. Sable, on a bordure argent eight cinquefoils of the field (Darcy). 9. Argent, three livery pots gules, a border sable bezanty (Monboucher). 10. Or, on a fess gules three waterbougets argent, over all a bend sable (Bingham). 11. Paly of six or and gules, on a bend sable three waterbougets argent (Byrton). 12. Barry of six or and gules, a canton ermine (Gousell). ‘In another window’ 13. Quarterly, Babington and Dethick. Beneath the inscription: 4 London, British Library, Harley MS 1093, f. 124r and Harley MS 5809, f. 34r. 5 See Sutton Scarsdale. 522 ‘Orate pro bono statu D[omi]ni Joh[ann]is Babington, qui istam [fenestram] fieri fecit.’ ‘In another window:’ 14. Argent, a bend between six martlets sable (Tempest). 15. Ermine, five fusills in fess gules (Bosville). 16. A helm party per pale, dexter ermine, sinister charged with a crosslet, surmounted by a cornet or, supporting a griffins head party per pale ermine and argent. Beneath the inscription: ‘Orate pro bono statu Thom[a]e Tempest armigeri, et … uxoris ejus, qui istam fenestram fieri fecerunt.’ ‘In another window two coats’: 17. Frechville. 18. Argent, on a saltire engrailed sable, nine annulets or (Leake). ‘At the bottom of the window, under the first coat, one in armour kneeling; upon his surcoat, the bend and 6 escallops; his hayre yellow; his hands closed and erect. Underneath this inscription: Orate pro anima Joh[ann]is Frechvile Armegeri, et pro a[n]i[m]abus omnium antecessorum.’ ‘In the next pane, his wife kneeling at an altar (as likewise here husband), her hands erect, upon her gowne saltoyre and annulets. Under-written: Orate pro bono statu Elizabethae uxoris ejus unius benefactorum.’ 523 ‘In the same pane behind him, his son kneeling at an altar in a red robe, yellow hayred. Underwritten: Orate pro bono statu Petri Frechvile filii dicti Joh[ann]is.’ ‘In the next windowe’: 19. Argent, three magpies proper (Bakewell). ‘Orate pro anima Joh[ann]is Bakewell, Capellani qui istam fenestram fieri fecit.’ Ashmole and Holles’ accounts (both of which are not as detailed as St George) have shields 13 and 14, along with the inscription referring to Thomas Tempest, in ‘the east window’ of the south chapel.6 In Ashmole’s account shield 13 was surmounted by the crest: ‘[An] eagle’s head half ermine on a crowned helm with an ermine mantle.’7 Holles’ account of shields 15 and 16 and the inscriptions and figures that went with them is identical to that of St George. He places this glass in ‘the next window south’ from the Tempest glass, implying the first window from the east in the south wall of the chapel.8 He has shield 17 with the Bakewell inscription in the next window along in the chapel, with shields 4, 7, 9, 10 and 11 grouped together in ‘a south window’ probably in the south nave aisle. In addition to the glass seen by St George, Holles saw the arms of Frechville with the inscription ‘Radulphus Frechvile’ ‘written in old characters’, placed in another south window.9 Some of the glass recorded by the seventeenth-century antiquarians was still extant in the early nineteenth century when Rawlins was here. In his time all the surviving glass was in the ‘south side’. Shields 15 and 16 and the Tempest inscription were as Holles saw them. Shield 17 with the Bakewell inscription was 6 Ashmole, p. 69 and Holles, p. 250. 7 Ashmole, p. 69. 8 Holles, p. 250. 9 Holles, p. 251. 524 still in the next window along. Shields 4, 7, 9, 10 and 11 were all in a window together in the south side. The arms of Frechville and the Ralph Frechville inscription were also still extant.10 According to Cox the arms of Grey in the east window of the chancel referred to the marriage, in the reign of Edward III, of Ralph Frechville, lord of Staveley, to Isabella Grey and from this it is perhaps reasonable to assume that the glass dated from the fourteenth century.11 The inscription referring to Ralph in the south aisle probably referred to the same man and was likewise therefore of the fourteenth century. The four windows in the south chancel chapel, given by Thomas Tempest, Sir John Babington, John Bakewell and John and Elizabeth Frechville, dated from the late fifteenth or early sixteenth century. This chapel (fig. 346) still known as the Frechville chapel was used as a burial place of the family, through to the seventeenth century.12 The heads of the four lights of the three original chapel windows, which are comparable with those in the north chapel at Sutton Scarsdale (q.v.), which can be dated to 1505, suggest that the structure is late fifteenth or early sixteenth century, so it is likely that the glass formed part of its contemporary adornment. One window, the third from the east in the south wall, was given by and incorporated donor images of John Frechville, his wife Elizabeth and their son Peter. The arms of Leake in the window confirm the identity of the couple. John is he who died in 1518 and was married in 1498 to Elizabeth, the daughter of John Leeke of Sutton Scarsdale (q.v.).13 As lords of Staveley, it is likely that they were the patrons of the fabric of the chapel. The glass in this window had gone by the time Rawlins was here in the nineteenth century. The position it occupied is now filled with glass by Henry Gyles of York, set in a new window frame and given by Lord Frechville in 1676.14 10 Rawlins, vol. 2, pp. 281-282. 11 Cox, vol. 1, p. 354. 12 It contains monuments of members of the family dating from 1653 and 1682. Pevsner Derbyshire, p. 327. 13 Wright, p. 224 and Cox, vol. 1, p. 354. 14 See: J. T Brighton, ‘The Heraldic Window in the Frechville Chapel of Staveley Church’, DAJ, 80 (1960), pp. 98-104. 525 There were three individual windows within the chapel containing the arms of and with inscriptions invoking prayers for the good estate of Thomas Tempest, Sir John Babington and John Bakewell, chaplain. All three were named in the inscriptions, as the donors of their specific windows. Thomas Tempest, whose glass was in the east window of the chapel, is probably the same Thomas Tempest, of Bracewell in the East Riding of Yorkshire, who bequeathed money in his will of 1506 for the glazing of a chapel in Newark, Nottinghamshire (q.v.).15 A familial connection with the Frechville family may explain his patronage of the window. Peter Frechville, son of John and Elizabeth (see above) was married to Elizabeth, daughter of Richard Tempest,16 Thomas’s nephew and executor.17 Sir John Babington, whose glass was in the eastern window of the south wall of the chapel, was almost certainly a member of the family seated at Dethick (q.v) in the south of the county. Although Cox identifies him as the Sir John Babington who fell at Bosworth in 1485 and apparently held some property in Staveley,18 it is perhaps more likely to commemorate his son and namesake, who was a knight of St John of Jerusalem.19 Little is known of the chaplain John Bakewell whose arms and inscription appeared in the third window from the east in the south wall, next to that of John and Elizabeth Frechville. He may have been a parochial chaplain, an assistant to the Rector of Staveley, or more likely a domestic chaplain to the Frechville family. He had connections to the Frechville family and property in Staveley, for in 1497 he grants it to Anker Frechville and others.20 Catalogue 15 York, BIHR, York Will Register, vol. 6, f. 229r. 16 G. D. Squibb, The Visitation of Derbyshire begun in 1662 and finished in 1664, Harleian Society, New Series, 8 (1989), p. 136. 17 Wright, p. 224 and Cox, vol. 1, p. 354. 18 Cox, vol. 1, p. 354. 19 Cox, vol. 1, p. 43. 20 Cox, vol. 1, p. 354. 526 nIII. 1c. Shield of arms and fragments (fig. 345). Shield bearing: Azure, a bend between six escallops argent (Frechville). Fragments including: part of a prie-dieu covered with a damask cloth and supporting a book in blackline and yellow stain; part of the hem of a robe and flowers picked out against a matt wash and the smallest portion of a blacketter inscription, with only two minims decipherable. Late 15th or early 16th-c. w of light 0.40m approx. 527 Strelley, Nottinghamshire, Parish Church of All Saints OS SK 506 421 Printed sources A. E. L. L. ‘Old Stained Glass at Strelley, Notts.’, Notes and Queries, 5th Series 6 (1876), pp. 248-249. Ayre, p. 102. Coe, p. 112. W. Cole, A Catalogue of Netherlandish and North European Roundels in Britain, CVMA Great Britain, Summary Catalogue 1 (London, 1993), pp. 266-268. Cowen, p. 166. Cox County Churches, p. 206. Guilford Little Guide, p. 191. A. D. Hill, ‘Strelley Church’, Thoroton Society, 10 (1906), pp. 15 and 18. Mee Nottinghamshire, p. 281. Nelson, p. 161. Throsby and Thoroton, vol. 2, p. 222. Truman (1956), pp. 30-35 Illustrations Figs. 347-352. Strelley church consists of a western tower, nave with aisles and south porch and a chancel with north and south chapels. With the exception of the lower part of the tower, which is thirteenth century, most of the fabric dates from the second half of the fourteenth century. The work was underway in 1356 and may have been paid for by Sir Sampson de Strelley, whose altar tomb is in the centre of the chancel. The clerestory was added to the nave in the later fifteenth century.1 The remaining old glass in the church, which is a mixture of English medieval glass of the fourteenth and fifteenth centuries, and later medieval and post1 Pevsner Nottinghamshire, pp. 338-339 and A. D. Hill, 'Strelley Church', Thoroton Society, 10 (1906), pp. 14-15. 528 medieval continental glass, is clustered in windows nII, nIV, nV, nVII and sIII. This catalogue only includes English glass of the period 1400-1550 and readers are referred to Nevil Truman's article and William Cole’s volume for details of the postmedieval and continental glass.2 According T. L. K. Edge, who owned the adjacent hall in Truman's time, most of the glass in the church was brought to Strelley at the end of the eighteenth century from Shirburn in Warwickshire3 by Thomas Webb Edge.4 Some of the glass in the nave is clearly native to Strelley. The shields of arms in nV and nVII, though dated by Cox, Mee and Nelson to the fourteenth century, refer to the marriage alliances of John de Strelley (d. 1501) and his children (see footnotes for significance). An inscription in nVII claims that the shields in that window were removed from the late medieval clerestory windows. The female donor heads in 2a of nVII are of about the same date as the shields and have stylistic affinities with glass elsewhere in Nottinghamshire. Presumably some of the other late medieval English fragments, including fragments of canopies, inscriptions and quarries, are also native to the church. The fragmentary figurative roundel in 4a of nV has been discussed in Kerry Ayre's recent CVMA volume, where she dates it to the third quarter of the fifteenth century. She expresses the view that the roundel may represent a sign of the Zodiac, the ram representing Capricorn and the holly bush the month of December. 5 Catalogue nII. Panel of fragments (fig. 351),6 mostly post-medieval and continental, but including a large red and white double rose, a single quarry, type 28 and a single yellow lion passant. 15th or 16th-c. 2 W. Cole, A Catalogue of Netherlandish and North European Roundels in Britain, CVMA Great Britain, Summary Catalogue 1 (London, 1993), pp. 266-268. 3 Presumably this is Shirburn in Oxfordshire. 4 Truman (1956), p. 30. 5 Ayre, p. 102. 6 The panel is suspended from wires in front of the window. 529 h 0.71m, w 0.46m. nIV. 2b. Canopy fragment, a pair of crocketed pinnacles in blackline on white with yellow stain. 15th-c. Width of light 0.30m approx. B1. Cut-down mitre in blackline on white with yellow stain. Late 15th or 16th-c. Width of light 0.55m approx. nV. 2a. Panel of fragments (fig. 352). Mostly post medieval and continental, but including the following English medieval fragments: Part of a tessellated floor; a small section of a crocketed pinnacle in yellow stain and quarries, types 23, 24 and 44. 15th-c. Other minor and opaque fragments. h 0.42m, w 0.34m. 2b. Panel of fragments (fig. 348). Figurative fragments include: part of a robe or vestment with a fur lining, decorated yellow-stain hems and a matt black purse with yellow stain drawstring. Both late 15th-c. Architectural fragments include: three sections of canopy all in bold black line on white, shaded with cross-hatching and touched with yellow stain, including part of a large vaulted canopy with crocketed arch and parapet, a panelled base of a side-shafting and the canopied aedicule from a side-shafting. All late 15th-c. Part of a canopy of a different type, a crocketed arch set against a parapet, shaded more delicately with cross-hatching and stippling and with minimal use of yellow stain. Early 15th-c. Two portions of scroll decorated with an internal yellow-stain border and with blackletter script all of one type: /unus : deu[s] /rere :/.7 Late 15th-c. 7 This is probably the second part of a clause referring to the Holy Trinity - 'sancta trinitas unus deus' and the incomplete 'rere' is probably part of the missing text 'miserere.' The 530 h 0.42m, w 0.34m 3b. Shields of arms and fragments (fig. 349). Shield: Paly of six argent and azure (Strelley),8 the field and azure decorated with a stickwork diaper of contiguous circles on a light wash. Paintloss and leaded breaks. Late 15th or early 16th-c. At the top of the shield is a section of canopy, an ogee head, terminating in a finial set against a quarried ground. Blackline and crosshatching on white with yellow stain. 15th-c. Shield: Strelley, impaling, Or, on two bars gules three waterbougets argent (Willoughby of Willoughby and Wollaton),9 the field and gules are decorated with a stickwork diaper of contiguous circles on a light wash and the waterbougets abraded on the ruby. Paint loss and leaded breaks. Late 15th or early 16th-c. w of light 0.54m. 4a. Panel of fragments (fig. 347). Two-thirds of a roundel (the upper part missing) showing a goat standing on its hind legs against a holly tree on a grassy mound, with a dog to the left tugging at a low bunch of berries. The whole scene is set within a cusped internal border, in black line on white with yellow stain and the tree and main figures are reserved against a matt ground decorated with picked out trailing foliage decoration. 15th-c. A winged lion (presumably the symbol of St Mark the Evangelist), its head facing fullfrontal and its tongue sticking out, all in blackline on white with yellow stain. 15th-c. A falcon with bells on its feet in blackline and stipple on white with yellow stain, enclosed within a yellow border. 15th-c. Fragments of two conventional lozenge filled rectangular border pieces; part of a picket fence or gate (?) in yellow stain; a yellow-stain barrel with a bar across its base reserved on a matt ground with needlepoint decoration and blackletter whole together may have been part of an invocatory scroll forming an element of a donor image. 8 Papworth, p. 117. 9 For John de Strelley (d. 1501) and his second wife Sanchia Willoughby. (Thoroton and Throsby, vol. 2, p. 220). 531 inscriptions also reserved on a matt ground with needlepoint decoration: /Rest/, /Welt/. 15th or 16th-c. h 0.31m, w 0.26m. nVII. Inscription at the base of light a: ‘These shields from the clerestory windows with other fragments of glass were placed here in 1913’. 1a. Shield of Willoughby (see 3b of nV), the field and gules are decorated with a stickwork diaper of contiguous circles and rosettes on a light wash. Dirty. 15th-c. h 0.32m, w 0.28m. 2a. Two female heads (fig. 350), probably from donor images, both with loose long hair and a pendant jewel at the hairline. Executed in blackline with a little stippling on white, with yellow stain for the hair and jewels. Late 15th or early 16th-c. h 0.16m, w 0.24m. 3a. Shield of arms: Argent, a fess gules between three roses gules (Powtrell of West Hallam), impaling Strelley,10 the field decorated with a diaper of contiguous rosettes in blackline. Dirty, with leaded breaks and the lower charge missing. Late 15th or early 16th-c. h 0.31m, w 0.27m. 3b. Shield of arms: Quarterly, 1, Azure A greyhound sejant (?) argent, 2, gone, 3, Gules a cross engrailed argent, 4, sable a stag passant (?) argent, all impaling Strelley. The achievement is badly damaged, with leaded breaks, losses and heavy corrosion. Late 15th or early 16th-c. h 0.31m, w 0.27m. 10 Margaret, daughter and co-heiress of John de Strelley (d. 1501) was married to John Powtrell of West Hallam (q.v.) (Cox, vol. 4, p. 220). 533 Sutton Bonington, Nottinghamshire, Parish Church of St Michael OS SK 504 254 Manuscript source London, British Library, Harley MS 6593, f. 42r. Printed source Thoroton and Throsby, vol. 1, p. 18. St Michael’s is the larger of the two churches in Sutton Bonington, consisting of a western tower, nave with aisles and aisleless chancel. Most of the structure is thirteenth and fourteenth century, the tower dating from the fifteenth century. In 1614 the heralds Richard and Henry St George recorded the following arms, in a window in St Michael’s: 1 1. ‘The Lord Segrave’ Or, a Lion rampant azure. 2. ‘Mowbray’ Gules, a Lion rampant argent. Thoroton saw the same two achievements, but tinctured the lion rampant in 2 as or rather than argent. He shared the same Mowbray identification as the heralds, but noted that the tincturing was wrong for their arms.2 The Segrave family held the patronage of St Michael’s from the reign of Henry III.3 John, third baron Segrave, who died in 1353, was succeeded by his daughter Elizabeth, wife of John, the fourth baron Mowbray.4 The patronage of the advowson was therefore transmitted to the Mowbray family, later Dukes of Norfolk, whose heirs still held it in the seventeenth century, albeit with a brief interruption in the reign of Henry VII.5 A date of after 1353 can therefore be accorded to the glass. 1 London, British Library, Harley MS 6593, f. 42r. 2 Thoroton and Throsby, vol. 1, p. 18. 3 Thoroton and Throsby, vol. 1, p. 15. 4 Burke Extinct Peerages, pp. 479-480. 5 Thoroton and Throsby, vol. 1, p. 15. 532 Sutton Bonington, Nottinghamshire, Parish Church of St Anne OS SK 507 250 Manuscript source London, British Library, Harley MS 6593, f. 42r. Although physically one unit, the settlement of Sutton Bonington consists of two distinct parishes, each with its own church, St Michael’s (q.v.) serving the greater area of Bonington and St Anne’s serving the smaller Sutton. St Anne’s is a small two cell-building, dating from the thirteenth and fourteenth centuries.1 In 1614 the heralds Richard and Henry St George recorded the following arms in 'the window': 2 1. Vairy argent and sable a crescent for a difference (Staunton). Also they saw: ‘hard by for a crest … a falcons head or some other bird betwix the wynge gules apon a wreth argent and sable’. The Staunton family held property in the parish and used the church for burial. The shield in the window was 'near' a monument, which bore the arms of Thomas Staunton and his wife Millicent Mering (died 1456), daughter of William Mering.3 This monument can probably be identified with the surviving effigy of a man in armour of c.1470-80 that occupies a niche in the north wall of the chancel.4 As Thomas and Millicent were buried in St Michael's (q.v),5 the tomb probably covers the burial of one of the descendants. The position of the monument suggests a location in the north side of the chancel and a date in the fifteenth century for the lost glass. 1 Pevsner Nottinghamshire, p. 341. 2 London, British Library, Harley MS 6593, f. 42r. 3 Harley MS 6593, f. 42r and Thoroton and Throsby, vol. 1, p. 18. 4 York, Philip Lankester MS notes (1999), p. 7. 5 Thoroton and Throsby, vol. 1, p. 18. 541 Sutton Scarsdale, Derbyshire, Parish Church of St Mary OS SK 442 688 Manuscript sources Rawlins, vol. 2, p. 301. London, British Library, Harley MS 1093, f. 15r. Bassano MS, pp. 273-276. Printed sources Butler, p. 164. Coe, p. 98. Mee, pp. 249-250. Nelson, p. 73. Thorold, p. 115. Illustrations Figs. 362-365. Sutton Scarsdale church, standing next to and attached to the ruins of the eighteenthcentury mansion of the Leeke family, Earls of Scarsdale, comprises a western tower, nave with aisles and a chancel with north aisle. The nave, chancel and south side of the building date from the fourteenth century, with both the north nave and north chancel aisles of the early sixteenth century (see below).1 The surviving medieval glass, consisting of a fragmentary kneeling donor image and an associated shield of arms, formed part of a larger glazing scheme in the north aisles, recorded in some detail by St George and the Bassano brothers. In 1611 Richard St George saw the following glass in the ‘north side’ of the church:2 ‘In a window’: 1 Pevsner Derbyshire, pp. 335-336. 2 London, British Library, Harley MS 1093, f. 15r. 542 Argent, on a saltire engrailed sable nine annulets or (Leeke), impaling, A pale lozengy sable (Savage). And the inscription: ‘Orate pro animabus Joh[ann]is Leeke viri nobilis D[omi]ni de Sutton in le Dale Ar[miger]: et Elizab[ethae]: uxoris eiusdem qui huius Eccl[es]iae p[ar]tem borialem una cum choro principalim in omni op[er]e in Lapide cum Ligneo cum vitrio tumq[u]e plumbeo et Ferreo fieri fecit de novo qui quidem Johannes penultimo die Martij Anno D[omi]ni 1505 ad hac luce migrauit ad Dominum’. ‘In another windowe’: Blank, impaling, Savage. Leake, impaling, Azure a bend between six escallops or. (Foljambe). The inscription: ‘Orate bono statu honorabilissimi p[at]ris in xpo Tho[mae]: Sauage Ebor[acensis] Archiprasulis meretissimi nec non prosp[er]o statu Joh[ann]is Leke filij et haeredis Joha[ann]is et Elizabethae et Johannae consortis suae’. ‘this in another window’: Quarterly, 1 and 4, Argent, a bear rampant collared chained and muzzled sable (Beresford), 2 and 3, Per chevron argent and or, three pheons sable with a crescent for difference (Hassall). And the inscription: ‘Orate quae sumus pro animabus Joh[ann]is Leeke at Elen et nec non pro a[n]i[m]abus magistri Jacobi Berisford sacrum legum Baccalarij 543 … Chesterfield ac d[i]c[t]or[um] Joh[ann]is et Ellen oratoris obsequentissimi’. Leeke with a crescent for difference. And the inscription: ‘Orate pro bono statu Thomae Leeke filij Joh[ann]is Leeke at Elizabethae consortis suae ac fratris Johannis Leeke’. In the early eighteenth century the Bassano brothers saw the following in the north aisle:3 ‘In one of the North Windows is stain[e]d in Glasse’: ‘the Image of a Man in Armour kneeling with his hands elivated in praying posture, upon ye Breaste of his Surcoate, is’: Argent a Saltier engrailed Sable charged with nine Annulets a Crescent for a difference, ‘upon his right Arme from the Elbow up to the Shoulder poynt, is, the same Armes & a book before him opened’. ‘In the next Window is’: ‘the Image of a Man Cloathed in Robes barefooted, about his neck and downe the Edges of his Outer Garment which is lined with white are Annulets standing close one to another, in his left hand he holds a white Trunchion and a black scroyle of Annulets, upon which is Buckled upon a silver plate two Escallops & three Bezernts [bezants], and about his Feet are many plaine Saltires’. ‘In Another partition of the same window these Armes Quartered’: 3 Bassano MS, pp. 273-275. 544 1. Argent, a bear sejant (or rampant) sable, collared and chained or, 2. Between and chevron argent and or, three pheons sable, a crescent for difference, ‘the 3rd as the second the 4th as the first’. ‘In a peece of Glass in the same Window Jacobi Beresford’. ‘In the North Window here’: ‘in one partition is the Image of a young Man his hands elevated, and upon the Breast of his white Vestment’ A saltire engrailed sable charged with Annulets, ‘the same Armes are from the bend of his right Arme to the poynt of his Shoulder’. ‘In the top of another Partition of the Window’: Azure, an episcopal staff in pale or ensigned with a cross paty argent, surmounted with a pall of the last charged with four crosses formy fitchy sable, impaling, Argent, a pale fusily sable ‘for Savage Archbisshop of Yorke’. ‘Under it is the Effigies of a Man, his under Garment is white his vestment comes down to his knees which is blew fringed of the same, lined with white, upon it crosses fiched s[able] and a[rgent] a long white staff in his hand, his Sandalls red, by which is written Sanct[u]s Will[iel]m[u]s’. ‘In the first Partition of the East Window’: about the mid[d]le of the Window is the Image of the Blessed Virgin Mary standing in her Robes with her hands Elevated in praying posture in the sun or’. ‘In the next Partition was our Lord & Saviour on the Cross over which now is INRI’. 545 ‘In the next Partition is: St John the Appostle barefooted, Cloathed in his Vestment, with his hands elevated standing in the sun’. ‘In the 4th Partition is’: ‘the Effigies of a Man Cloathed in a Red Vestment lined white holding a sword before him in his left hand, pomell handle & guarded or/in a black Sheath with a yellow belt wrap’d about it’. ‘below in the Secon[d] Partition of the Window is’: ‘a Woman in black kneeling in praying posture with her hands elevated, and on her Garment is’: a sinister bend between six escallops or. ‘Under written’ was the inscription referring to John and Elizabeth Leeke and the construction of the chapel and high quire in 1505 and ‘in the same window’ the inscription referring to Thomas Savage and John Leeke, son of John and Elizabeth. There is a clear sense comparing these two accounts, that some of the glass in the north aisle had been damaged and other elements moved and re-arranged in the intervening period, between St George and the Bassano brothers’ respective visits. However, the accounts are sufficiently reconciled to get a sense of the original arrangement of the glazing in the north aisle and its imagery. The glass was presumably arranged in the four four-light windows of the continuous north chancel and north nave aisles (figs. 364 and 365). The glazing of the window at the east end of the chancel aisle (fig. 365) was given by John Leeke (died 1505) and his wife Elizabeth. He was, as the inscription in the window stated, ‘lord of Sutton in the Dale’. Elizabeth, as evidenced by a shield of arms in the window, was the daughter of Sir John Savage (died 1496) of Clifton, Cheshire and 546 Stainsby in the parish of Ault Hucknall (q.v.), Derbyshire.4 The window incorporated kneeling donor images of John and Elizabeth set below a Crucifixion, flanked by figures of the Virgin, St John and perhaps St Paul. The inscription in the window was not only a memorial to John and Elizabeth, but recorded their reconstruction with ‘stone, wood, glass and lead’ of the north aisles (where the window was located) and the principal quire, or chancel. The inscription dated all this work to 1505, implying that it was completed prior to John’s death in March of that year. However, the inclusion of a reference to John’s death infers that the work of glazing at least was completed after his demise. The other three windows in the aisle were filled with glass, presumably part of a unified scheme, installed at the same time as that in the east window. One window in the aisle commemorated Thomas Savage, archbishop of York (15011507), who was the brother of Elizabeth, wife of John Leeke.5 He was commemorated with his nephew, the eldest son and heir of John and Elizabeth, John Leeke and his wife Jane Foljambe, the daughter of Henry Foljambe (d. 1504) of Chesterfield.6 The window incorporated kneeling donor images, armorial bearings relevant to the patrons and a labelled image of St William of York, Savage’s predecessor in the see of York. A further window incorporated a kneeling donor image of and an inscription to Thomas Leeke, son of John and Elizabeth; the arms on his surcoat were differenced with the use of the crescent for the second son. Another window commemorated James Beresford, bachelor of sacred theology, along with John and Ellen Leeke, children of John and Elizabeth. James Beresford was the son of Thomas Beresford of Fenny Bentley (q.v.), Derbyshire and a wealthy pluralist clergyman at the end of the fifteenth and beginning of the sixteenth centuries. He was rector of Chesterfield (q.v.) (1484-1520), a living he held in plurality with the rectory of Matlock (q.v.) (1497-1504), the vicarage of Wirksworth (q.v.) (15041520) and a Lichfield prebend (from 1507).7 Cox suggested that the combined 4 C. Kerry, ‘The Ancient Painted Window in Hault Hucknall (Great Hucklow) Church, Derbyshire’, DAJ, 20 (1898), pedigree. 5 C. Kerry, ‘The Ancient Painted Window’, pedigree. 6 Wright, p. 214. 7 Cox, vol. 2, pp. 464-65 and vol. 4, p. 453. 547 commemoration might be due to Beresford having held a position within the Leeke household, perhaps as a domestic chaplain or tutor to John and Ellen.8 The surviving shield of arms is that of Beresford and is presumably from the last window, while the extant donor image, by virtue of the undifferenced arms of Leake on the surcoat, probably represents John Leeke (died 1505) and therefore originated in the east window. In addition to the glass in the north aisle St George and the Bassanos saw other glass in the east window and south windows of the chancel. First St George’s account: ‘These 4 [arms] stand in the East quire windows’:9 1. Barry of six argent and azure (Grey of Codnor). 2. Barry of six argent and azure, a label of three points charged with nine torteaux. 3. Barry of six argent and azure, on a bend gules, three leopards head or. 4. Barry of six argent and vert, a cinquefoil pierced or. ‘These 3 in the south windowes’: 5. Sable, three leopard’s heads argent, between seven crosses fitchy of the same. 6. Checky argent and gules. The Bassano brothers saw 2, 3 and 4 in the location stipulated by St George, 5 was in the south window ‘against the altar’.10 The Grey family of Sandiacre held the manor of Sutton until the reign of Henry IV, when it passed into the hands of the Leeke family, through the marriage of John Leeke of Cotham, Nottinghamshire to Alice 8 Cox, vol. 1, p. 369. 9 London, British Library, Harley MS 1093, f. 15r. 10 Bassano MS, p. 276. 548 Grey (d. 1459), the co-heiress of John Grey.11 The glass may have been of the first half of the fifteenth century, but was probably fourteenth century, as the windows in this area have tracery of the Decorated period. By the early nineteenth century, some of the glass recorded by St George and the Bassanos was still extant, but fragmentary. In 1823 Butler saw only ‘three painted figures at the east end of [the] nave’ and several fragments in the east window of the chancel.12 When Rawlins was here in the 1830s, he saw ‘remains of painted glass, comprising with various figures, richly clad, in kneeling and standing postures; numerous devices, and portions of inscriptions in old text letters, interspersed with the Arms of Foljambe, Leake, Savage, and the see of York’. He implies, however, that the glass was damaged: ‘when perfect, they must have added greatly to the beauty of the fabric, and it will ever be a source of regret, that the hands of Violence should have destroyed such a munificent gift to the church.’13 By the time Cox was writing in the 1870s, the ‘hands of violence’ had destroyed all but the extant remains.14 Catalogue. nIV. 1b. The head and torso of a male donor of the Leeke family (fig. 362). He has long curling hair and is dressed in plate armour, over which is a tabard bearing the arms Argent on a saltire engrailed argent nine annulets or. He has one hand raised in adoration. The painting of the body is linear without shading - the head has some stippling and a little yellow stain on the hair. The figure is set on a ground of plain ruby glass, incorporating a narrow strip of decorative roundels, reserved against matt, with needlepoint and yellow stain. 11 Thoroton, vol. 1, p. 144 and Payling, p. 235. 12 Butler, p. 164. 13 Rawlins, vol. 2, p. 301. 14 Cox, vol. 1, p. 368. 549 Leaded breaks to the ruby ground and across the neckline of the figure. c.1505. h, 0.22m, w 0.19m approx. 1c. Shield of Arms (fig. 363): Quarterly, 1 and 4, Argent, a bear rampant collared chained and muzzled sable (Beresford), 2 and 3, per chevron argent and or three pheons sable with a crescent for difference (Hassall). All in black line and yellow stain. Leaded breaks and small losses in the second quarter. c.1505. h 0.22m, w 0.19m approx. 534 Sutton-on-the-Hill, Derbyshire, Parish Church of St Michael OS SK 237 284 Manuscript source Bassano MS, p. 143. In the early eighteenth century, the Bassano brothers blazoned the following shield of arms, from ‘the South Window of the Chancell’: Bendy of six or and gules, over all a bend argent.1 Cox identifies this as the arms of Longford of Longford (q.v.), but offers no explanation for its presence.2 Longford is the neighbouring parish to Sutton. Although this is not entirely certain, the glass may have been fourteenth century, like the original tracery light filling of light A1 of nII, which was discovered in 1990, in situ, behind a monument of 1634 of Sir Samuel Sleigh. The light contains a figure of a member of the Bakepuze family, of neighbouring Barton Blount (q.v.), dating from the first half of the fourteenth century. The glass is now in A1 of sIV on the south side of the chancel. 1 Bassano MS, p. 143. 2 Cox, vol. 3, p. 332. 535 Sutton-on-Trent, Nottinghamshire, Parish Church of All Saints. OS SK 801 659 Printed sources Mee Nottinghamshire, p. 288 Nelson, p. 161 Pevsner Nottinghamshire, p. 345 Truman 8, p. 137 E. Trollope, ‘The Church of St Mary Magdalene, Newark, and other Churches Visited by the Society on the 22nd and 23rd of June 1871’, AASRP, 11 (1872), p.18. Illustrations Figs. 353-361. Sutton-on-Trent church comprises a western tower, nave with aisles and a chancel with south chapel. The earliest elements of the building are the nave arcades and chancel arch of the thirteenth century. The church was extensively remodelled in the fifteenth-century, when new fenestration was inserted into the nave aisles and a tall clerestory added. In the sixteenth century a south chancel chapel was erected (figs. 360 and 361).1 The remaining medieval glass is scattered throughout the building and consists of in situ tracery-light fillings in one window of the north aisle and a number of windows of the clerestory, fifteenth-century fragments in windows I and nII and fragments in the south chancel chapel. The church was sensitively restored in 1902 by William Weir, who retained previous eighteenth and nineteenth-century reglazings.2 The south chapel is divided from the chancel by a two-bay arcade, the eastern bay containing a vast Purbeck marble tomb-chest. As the tomb-chest has been 1 Pevsner Nottinghamshire, p. 345. 2 Cox County Churches, p. 211, Pevsner, p. 345. A bulls-eye roundel in A2 of sII has a dimaond-engraved inscription recording a re-glazing in 1782 by John Milner, a glazier of Tuxford. 536 denuded of its brasses and no antiquarian sources have anything to say of it, its occupant, who presumably paid for the construction of the chapel, is not known for certain. As both the west parclose and a fragment of glass in the east window bear the Mering arms, it was probably a member of the Mering family, who held the manor of Mering in the parish of Sutton. Architecturally, the chapel (figs. 360 and 361), with its extensive internal and external blank panelling and heavily enriched parapet, can be dated to the first half of the sixteenth century. Pevsner says c.1525,3 so it has been suggested that it was built by Sir William Mering, who died in 1537,4 the brother of the wool merchant Thomas Mering, who glazed the east window of Newark church (c.f.).5 The fragments of glass in the chapel reinforce the architectural dating, for they are Renaissance in detail. In the east window are two in situ canopy tops, in which late medieval Gothic architectural forms have been replaced with a shallow semicircular arch over which are draped bunches of grapes, issuing from a vessel or cornucopia. Elsewhere fragments include covered cups and other decorated vessels. Although no obvious comparisons can be made with known work by immigrant glaziers in the first half of the sixteenth century, the confident use of these forms is suggestive of their work. Henry VII made Sir William Mering a knight of the body in 1497 and he served as Marshal of Calais between 1509 and 1511.6 These strong connections with the court may explain how he came into contact with these foreign glaziers. Catalogue 3 Pevsner Nottinghamshire, p. 345. 4 E. Trollope, ‘The Church of St Mary Magdalene, Newark, and other Churches Visited by the Society on the 22nd and 23rd of June 1871’, AASRP, 11 (1872), p.18, Mee Nottinghamshire, p. 287. For details of Sir William's career see: A. Cameron, ‘Meering and the Meryng family’, Thoroton Society, 77 (1974), p. 48. Mering and his wife were also patrons of glazing, now lost, at Car Colston (q.v.). 5 Cameron ‘Meering and the Meryng family’, p. 46. 6 Cameron ‘Meering and the Meryng family’, p. 47. 537 Chancel I.7 4e Fragments (fig. 355), two small sections of a grass in yellow stain, the individual grasses and plants in black pigment. 15th-. A portion of drapery with a jewelled hem. Blackline, yellow stain and stippling. Late 15th or 16thc. nII. A4 Fragments, including quarry type 6. 15th-c. A5 Fragments (fig. 353). At the centre of the panel a roundel, two intersecting convex-sided circles, enclosing a four-petalled flower on brown glass with blackline and cross-hatching. Fragment of a stole or maniple set against diapered drapery in white, blackline and yellow stain. A feathered wing and body with part of a scroll, perhaps part of the eagle symbol of St John the Evangelist (?), in blackline and yellow stain. All glass 15th c. A6 Fragments (fig. 353). Roundel in pot-yellow, a double rose in blackline with cross-hatching. Fragments of stippled drapery diapered with yellow stain circles filled with the blackletter text /ave/.8 15th-c. North nave aisle nVI. 7 The window is filled with seventeenth and eighteenth-century glass incorporating many broken unpainted quarries that may be of late medieval date. 8 Perhaps the robe of Gabriel from an Annunciation (?). 538 A1, A4 Tracery-light fillings (fig. 354) in situ. These consist of narrow internal yellow-stain borders following the shape of light, enclosing a yellow-stain five foiled rose. In both cases the top two lobes of the lights have lost their filling. Dirty, paintloss in A4. 15th-c. Nave clerestory NI. A1, A6. Tracery-light fillings in situ. Identical in form to those in nVI. Opaque and pitted. 15th c. NII. A4. Tracery-light filings, as NI. NIII. A3. Tracery-light fillings, as NI. NVI A2. Tracery-light fillings, as NI, but badly broken. SV. A1, A6. Tracery-light fillings, as NI. South chancel chapel 539 sII (fig. 356, detail). 7a Canopy top (fig. 358) in situ (?). A central basket overflowing with swags of grapes draping over two yellow-stain relieving arches decorated with fleurons. The relieving arches are superimposed against a round-headed arch on white with stipple, which in turn is capped by a decorative cover in black pigment and yellow stain, placed in the top lobe of the light. A ground of blue glass fills the ground behind the canopy. Losses, stopgaps, leaded breaks and some paintloss. Second quarter of the 16th-c. (?) 7b. Canopy top identical in form to 7a. Losses, stopgaps and leaded breaks and some paintloss. 7d. Two fragments (fig. 357) from a quartered achievement, one placed upside down, both bearing Argent, a chevron sable charged with three cockle shells or (Mering.)9 A1. Fragments of blue medieval glass set around an 18th-c 'bull’s-eye.' A2. Fragments of blue and brown medieval glass set around an 18th-c 'bull’seye.' A4. Fragments of medieval blue glass. sIII. A1. Eyelet filling formed from a cut-down piece of medieval white glass decorated with painted cross-hatching. A2. 9 Eyelet filling ex situ, yellow stain border following edge of light. 15th-c. Medieval Ordinary, vol. 2, p. 431. 540 sIV. 7b. Canopy fragments (fig. 359). Fragment from a bunch of grapes as 7a of sII; two sections of pillar with foliated capitals; part of a covered cup and cover and a closing ring or handle from a door or vessel. All in black line and stipple on white, with yellow stain. Blue fragments. Second quarter of the 16th-c. (?) 550 Swarkeston, Derbyshire, Parish Church of St James OS SK 372 286 Manuscript source London, British Library, MS Egerton 3510, f. 107r. In 1609 William Burton tricked the following arms in glass in the east window of the chancel of ‘Swarston’ church:1 1. Argent, a cinquefoil azure, on a chief gules a lion passant or (Rolleston), quartering, blank, and impaling, Argent, ten torteauxes, and a file of three labels azure (Babington). The Rolleston family of Lea (q.v. Ashover) held the manor of Swarkeston for about two hundred years, from the middle of the fourteenth century to the 1540s.2 The arms of Rolleston impaling Babington probably refer to the marriage in the late fifteenth century of James Rolleston of Lea (d. 1507) to Anne, daughter of Sir John Babington of Dethick (d. 1485).3 The Rolleston family used the chancel as a burial place and, though heavily restored in 1874-6, it still contains an effigy of John Rolleston (d. 1482).4 1 London, British Library, MS Egerton 3510, f. 107r. 2 Cox, vol. 3, pp. 493-494. 3 Wright, p. 211. 4 Pevsner Derbyshire, p. 337. 551 Thorpe, Derbyshire, Parish Church of St Leonard OS SK 156 501 Printed sources Cox, vol. 2, p. 532 Nelson, p. 73 There is no medieval glass in Thorpe church. Cox and Nelson, the latter probably copying the former, recorded ‘a few fragments of old heraldic glass’ in the south window of the chancel.1 Additionally Cox relates that Godfrey Meynell saw the following arms in ‘the chancel window’ in 1820: 1. Longford [Paly of five argent and gules, over all a bend argent].2 2. Argent, a lion rampant sable.3 There is no dating evidence for any of this glass, except to say the stonework of the south window is fifteenth century.4 It is probable that this old glass was discarded either during the restoration of the chancel in 1881 or when the present glass in the south chancel window, by F. C. Eden, was installed in 1930.5 1 Cox, vol. 2, p 532 and Nelson, p. 73. 2 See catalogue entry for Longford. 3 The Meynell manuscript is in private hands and its current whereabouts is unknown (Cox, vol. 2, p. 532). 4 Pevsner Derbyshire, p. 340. 5 Pevsner Derbyshire, p. 340. 552 Ticknall, Derbyshire, Demolished Parish Church of St George OS SK 350 242 Manuscript source London, British Library, Egerton 3510, f. 107r. In 1608 William Burton tricked the following arms in glass in ‘Tickenhall’ church:1 In the east window: 1. Three lions passant. In another window: 2. Argent, a chevron gules between three eagles displayed of the last (Francis). The church, which was mostly pulled down in 1841 when it was replaced by a new building, was according to Cox of various different periods - mostly Decorated, but incorporating some Norman and Early English work and a nave clerestory of the Perpendicular period.2 The east window of the chancel remains and its intersecting tracery provides a possible dating context of the late thirteenth or early fourteenth century for shield 1.3 Neither the known architectural details of the demolished church nor its identification can provide a firm date for shield 2. The Francis or Frances family held the manor of Ticknall from the reign of Edward I right through to the end of the period covered by this thesis.4 1 London, British Library, Egerton 3510, f. 107r. 2 Cox, vol. 3, p. 461. 3 Pevsner Derbyshire, p. 341. 4 Cox, vol. 3, pp. 462-463. 553 Tuxford, Nottinghamshire, Parish Church of St Nicholas OS SK 736 711 Printed Sources Coe, p. 112. Cowen, p. 165. Cox County Churches, p. 224. Dodsworth, pp.185-186. Gill, p. 122. Holles, pp. 95-97. Mee Nottinghamshire, p. 298. Pevsner Nottinghamshire, p. 358. J. Standish, ‘Tuxford Church’, Thoroton Society, 11 (1907), pp. 25 and 27. Thoroton and Throsby, vol. 3, pp. 224-225. Truman (1957), p. 137. Illustrations Figs. 366-371. The church of St Nicholas, Tuxford comprises a western tower, nave, south porch, chancel and north chapel. The church is essentially a fifteenth-century rebuild, constructed around two retained Early English arcades. The fifteenth-century work is in two phases: sometime in the 1470s the aisles were refenestrated and the nave heightened with the addition of the clerestory (fig. 371), and in or around 1495 the chancel was rebuilt (fig. 370).1 The remaining medieval glass, which is all late fifteenth century, is in window sVI. It consists of parts of an inscription removed from the chancel and the figure of St Lawrence in white and yellow stain. The lost glazing of both the chancel and nave is well recorded by the seventeenth-century antiquarians, with 1 Pevsner Nottinghamshire, p 358 and J. Standish, ‘Tuxford Church’, Thoroton Society, 11 (1907), pp. 21-33. 554 Roger Dodsworth recording some of the glass in the 1626, Gervase Holles in the 1630s and Thoroton in the 1660s.2 The chancel glazing The three seventeenth-century antiquarians recorded the following glazing in the chancel of the church, of which the following is a summary account: In the east window of the chancel: all three antiquarians saw this inscription: 'Orate pro anima Thomae Gunthorpe, | Prioris de Novo Loco in Shirwod, qui | Cancellam istam aedificavit A[nn]o D[omi]ni | MCCCCLXXXXV’.3 Additionally Dodsworth saw: ‘thirteen in surplices a[nd] blew copes, kneeling, with shaven crownes’.4 In the first south window of the chancel were: The arms: 1. Gules, three Lyons passant guardant or, an a chief azure 'ye Virgin with Christ in her armes sitting in a Castle or’ (Newstead Priory).5 And the inscription: 'Arme Monasterii de Novo Loco on Shirwod’.6 2 Dodsworth, pp. 185-186, Holles, pp. 95-97 and Thoroton and Throsby, vol. 3, pp. 224-225. 3 Holles, p. 95, Dodsworth, p.185 and Thoroton and Throsby, vol. 3, p. 224. 4 Dodsworth, p.185. 5 Holles, p. 96, Dodsworth, p. 186, Thoroton and Throsby, vol. 3, p. 224. 6 Holles, p. 96. Dodsworth, p. 186, Thoroton and Throsby, vol. 3, p. 224. 555 In the second south window of the chancel were: The arms: 2. France and England quartered. And the inscription: 'Arme Regis Angliae Fundatoris de Novo Loco in Shirwode’.7 In the third south window of the chancel were: The arms: 3. Gules, a bend gobony azure and argent, charged with three suns in their glory, between two lions heads erased argent, a border gobony azure and argent (Gunthorpe).8 And the inscription: ‘Arme Thomae Gunthorpe Prioris de Novo Loco in Shirewode’.9 In the fourth south window of the chancel were the arms: The arms: 4. Sable, a bend between six crosses botony argent (Lungvillers).10 And the inscription: ‘Arme Joh[ann]is Lungvillers quondam patronus istius ecclesiae’.11 7 Holles, p. 96. 8 Holles, p. 96. 9 Holles, p. 96. 10 Holles, p. 96, Dodsworth, p. 186, Thoroton and Throsby, vol. 3, p. 224. 556 The only elements of this glazing now extant are fragments of the inscription from the east window and a further section from one of the side windows. This is now at the bottom of the three lights of window sVI. The glass from the east window was still in its original location, although in a 'mixed up' condition, when the Thoroton society visited the church in 1907 and when Cox was writing in 1912.12 Although Truman does not mention it in his surveys written in the 1930s, it was probably transferred to the bottom of window sVI when the present glass was placed in the east window in the early twentieth century.13 The inscription refers to the construction of the chancel (fig. 370) by Thomas Gunthorpe, prior of Newstead, an Augustinian house in Sherwood Forest, which held the advowson of Tuxford at that time.14 Gunthorpe ruled Newstead from 1467 to around 1504. 15 The figures in blue copes were probably a series of donor images of Augustininan canons, Gunthorpe and his brethren, similar to those that survive at Papplewick (q.v.), which may have originated at Newstead. The arms in the south wall of the chancel included achievements that reflected the status of the priory and its patronage - Newstead was a royal foundation, so the arms of the English royal house (shield 2) are included. The arms of John Lungvillers (shield 4), who was lord of part of the manor of Tuxford are included, as he was responsible for transferring the advowson to Newstead in 1368.16 The glazing of the nave The antiquarians record glass in the upper windows, i.e. the clerestory of the nave and in one of the south aisle windows: In an [upper]17 window in the nave were: 11 Holles, p. 96, Dodsworth, p. 186, Thoroton and Throsby, vol. 3, p. 224. 12 J. Standish, ‘Tuxford Church’, pp. 21-33 and Cox County Churches, p. 224. 13 Truman (1957), p. 137. 14 VCH Nottinghamshire, p.116. 15 VCH Nottinghamshire, p.117. 16 VCH Nottinghamshire, p. 161. 17 Implied by the next window. 557 The following achievements in pale within the same shield: 5. Quarterly, argent and sable, a bend fusilly sable (Cheyney).18 6. Gules, a fess dauncy between six cross crosslets or (Engayne).19 7. Defaced.20 And the inscription: ‘orate pro anima Joh[ann]is Cheyney, Militis, qui istam fenestra, fieri fecit’.21 In an upper north window opposite were:22 The following arms: 8. Quarterly, 1 and 4, Gules, a cross sarcely23 argent, quartering, sable a cross engrailed or24 (Willoughby), 2 and 3, Argent, a chief gules, over all a bend azure (Cromwell). ‘Near to this Escocheon in the same window the picture of a Lady, hir goune adorned with the ensignements of Beke, Ufford and Crumwell; over hir head this inscription: Orate pro anima D[omi]nae Matildae uxoris D[omi]ni Rob[er]ti Willughby quae illam fenestram fieri fecit’.25 In a [upper] window close to the last26, or the window next to the last were:27 18 This is Cheyne or Cheyney of Cambridgeshire, although the bend is more usually blazoned lozengy rather than fusilly (Medieval Ordinary, vol. 1, p. 359). 19 Papworth, p. 748. 20 Holles, p. 96. 21 Holles, p. 96. 22 Thoroton and Throsby, vol. 3, p. 225 and Holles, p. 96. 23 Thoroton has a cross formy (Thoroton and Throsby, vol. 3, p. 225). 24 Thoroton has or, a cross engrailed sable (Thoroton and Throsby, vol. 3, p. 225). 25 Holles, p. 96. 26 Holles, p. 96. 558 The inscription: ‘Orate pro animabus Johannis Stanhop et Catharinae uxoris’.28 'In ye same window, he and his wife kneeling, over hir gowne [the arms]': 9. Azure, a cross sarcely or (Molyneux).29 'Upon a Surcoat of John Stanhop, Azure, a cross moline or.'30 In the ‘uppermost window of ye North Isle was’:31 ‘The picture of a man in a red robe w[i]th longe yellow hayre, under-written Eduardus Stanhope’.32 In ‘the South Ile within’ were':33 The arms: 11. Quarterly, Or and gules, on a bend sable, three escallops argent,34 and, Sable, a cross sarcely (or flory) or, impaling 'broken'.35 27 Thoroton and Throsby, vol. 3, p. 225. 28 Holles, p. 96. 29 Holles, p. 96. 30 Thoroton and Throsby, vol. 3, p. 225. 31 Holles, p. 97. 32 Holles, p. 97. 33 Thoroton and Throsby, vol. 3, p. 225. 34 The Medieval Ordinary has this as the arms of Evers or Eure a family of Yorkshire and county Durham, with no obvious connection to Tuxford or the Stanhope's (Medieval Ordinary, vol 2, p. 27). 35 Thoroton and Throsby, vol. 3, p. 225. 559 12. Quarterly, Or and gules, on a bend sable, three escallops argent, and, Sable, a cross sarcely (or flory), impaling, On a chief argent, three mullets pierced sable 'the rest broken'.36 Work was underway on the clerestory and side aisles in 1473.37 The major patrons of the clerestory (fig. 371), as evidenced by the inclusion of their arms on the parapet, were the Stanhope family and they were, at least for the most part, also the patrons of the glazing that filled the new windows. Principal among those commemorated in the glazing was John Stanhope, who succeeded to the manor of Rampton and the Lungvillers portion of the manor of Tuxford in 1436. He founded a chantry in the church shortly before his death in 1493.38 In the window he was commemorated alongside his second wife Catherine Molyneaux the widow of Sir Robert Radcliffe of Smithills, Lancashire and daughter of Sir Richard Molyneaux of Sefton.39 Catherine's daughter was married to Ralph, the heir of John Barton of Holme-by-Newark (q.v.) and no doubt through this connection, John Stanhope came to be a close associate of Barton and supervisor of his will.40 John Stanhope's arms and name were also formerly in the windows of the priors lodging at Newstead (q.v), where, as the descendant of Lungvillers, he was accorded the dignity of 'founder' of the house. Other members of Stanhope's family commemorated by donor images, arms and inscriptions in the clerestory included Edward Stanhope, knighted 1497, the grandson and heir of John Stanhope,41 and the aunt of John Stanhope, Matilda, the wife of Sir Robert Willoughby, lord Willoughby de Eresby and daughter of Sir Richard Stanhope and Maud Cromwell. She held a further portion of the manor of 36 Thoroton and Throsby, vol. 3, p. 225. 37 In 1473 John Smith alias Barber bequeathed forty shillings to the work. York, BIHR, Will Register 4, ff. 201r-202r. 38 H. Chadwick, ‘The History of the Manor of Rampton, in Nottinghamshire’, Thoroton Society, 24 (1920), pp. 15-16. 39 F. R. Raines (ed.), The Visitation of Lancashire by Sir William Dugdale, 1664-5, Chetham Society, 85 (1872), p. 205. 40 York, BIHR, Archbishop's Register 23, f. 345v. 41 H. Chadwick, ‘The History of the Manor of Rampton, in Nottinghamshire’, p. 19 and Thoroton and Throsby, vol. 3, p. 243. 560 Tuxford as one of the co-heiresses of her uncle Ralph, 3rd Baron Cromwell of Tattershall, Lincolnshire and Lambley, Nottinghamshire (q.v.).42 She died in 1497.43 Among this predominantly Stanhope clerestory scheme, was a window given by Sir John Cheyne. As the arms in the window were those of Cheyne of Cambridgeshire, this is presumably the lawyer Sir John Cheyne of Fen-Ditton, Cambridgeshire (1423-1490).44 Although Cheyne had some Nottinghamshire connections, in that in 1449 he had married Elizabeth the heiress of Sir Thomas Rempston of Rempston, there is no discernible link either between him and Tuxford or the Stanhopes that would explain his gift of a window.45 Although the figure of St Lawrence in window sVI is placed above a medieval carved reredos panel portraying his martyrdom, this is probably not its original location. It is clearly too short for its present position and would be better suited to the shorter clerestory lights. Stylistically the figure is wholly consistent with the date of the lost glazing from that part of the building. The remaining glass was cleaned and re-leaded in 1967 by Dennis King of Norwich for the Worshipful Company of Glaziers and Painters of Glass.46 Catalogue sVI (fig. 366). 1a. Blackletter inscription (fig. 367): /Ora/t/e/ p/ro/ a[n]i/[m]a T/ho/m/. Elaborate calligraphic capital. 1495. w of light 0.39m. 42 Thoroton and Throsby, vol. 3, p. 223. 43 Thoroton and Throsby, vol. 3, pp. 16-17. 44 J. C. Wedgwood, Biographies of the Members of the Commons House 1453-1509 (London, 1936), p. 181. 45 Payling, p. 84. 46 Inscription on a quarry in the window and personal comment by Brian Sprakes. 561 1b. Blackletter inscription: /loc/o/ ir/wod/ q[u]/i/ cancella[m]/, and below: d[omin]i : mill[i]mo C/C/CCmo/ lxxxxmo /q/uinto/. Elaborate calligraphic style. 1495. w of light 0.39m . 2b. St Lawrence (figs. 368 and 369), tonsured and nimbed and standing threequarters left, holding his gridiron in both hands. He is vested in a dalmatic and apparelled amice and presumably an alb, though the base of the figure, where it would have shown, has gone. The dalmatic has fringing at the base and sides and an orphrey where the one visible sleeve joins the body of the vestment. The figure is executed in black line on white, with stippled and hatched shading and with yellow stain decorating the hair, gridiron and the orphreys and fringe of the dalmatic. The saint stands on broken ground of yellow stain, with a blackletter scroll on it: /S[an]c[tu]s L / a’./ Heavy pitting in places, particularly on the head. Late 15th-c. h. 0.61m. 1c. Blackletter inscription: edifica/, /../fundat/. Elaborate calligraphic style. Some paint loss. 1495. w of light 0.39m. 562 Walkeringham, Nottinghamshire, Parish Church of St Mary Magdalene OS SK 770 922 Printed Sources Gill, p. 122. Nelson, p. 161. Truman (1944), p. 51. Nelson lists Walkeringham among his sites with medieval glass, but gives no specific details of the remains.1 Gill also mentions fragments.2 In 1943, when Truman was writing, there were no remains and a visit by the author in August 2000 confirmed this.3 1 Nelson, p. 161. 2 Gill, p. 122. 3 Truman (1944), p. 51. 563 Warsop, Nottinghamshire, Parish Church of St Peter and St Paul OS SK 568 687 Manuscript source Oxford, Bodleian Library, MS Dodsworth 136, f. 40r. Printed sources A. du Boulay Hill, ‘Warsop church’, Thoroton Society, 18 (1914), p. 8 and plate facing p. 9. Gill, p. 121. Mee Nottinghamshire, p. 302. Nelson, p. 161. Pevsner Nottinghamshire, p. 364. Truman (1957), pp. 137-138. Illustrations Figs. 372-378. Warsop church consists of western tower, nave with aisles, south porch and aisleless chancel with low south sacristy. The west tower is Norman, the south arcade is thirteenth-century and the north arcade and nave fenestration fourteenth-century. The nave clerestory and sacristy were added and the east wall, with its massive east window, rebuilt sometime near the end of the fifteenth century.1 The remaining glass is all in the sacristy to the south of the chancel and consists of one complete and three fragmentary heads from large standing figures, along with drapery fragments, quarries, a single shield of arms and architectural fragments. Stylistically all the glass is of the later part of the fifteenth century. The figurative elements have some visual affinity with glass of the 1480s in Browne's Hospital Stamford, which Marks has assigned to the workshop of John Glasier or 1 Pevsner Nottinghamshire, p. 364. 564 John Wymondeswalde.2 The acanthus border of the shield of arms can be compared with similar borders of a similar date at Ashbourne (q.v.), Balderton (q.v.) and Egmanton (q.v.). According to Truman the glass was found in a box by the vicar and was placed in its present location in 1900, by a Lancaster firm.3 This was probably Shrigley and Hunt of Lancaster, who glazed the east window of the church in 1906.4 Some of the glass in sacristy window sIII was badly damaged in 1990 by vandals and has suffered substantial losses.5 The head and armorial are now plated. When Dodsworth visited the church in 1635 he recorded the following 'scauchons' in glass:6 In the 'quyre' window: 1. Or, two lions passant azure, in a quarter or a lion rampant vert, with a label of five points gules [Sutton, lord Dudley].7 2. Per pale or, two lions passant azure [Sutton, lord Dudley], impaling, Gules, a chevron between ten cross crosslets or, within a border of the second [Berkeley], 8 all 'wythyn a garter'. 3. Or, two lions passant azure [Sutton, lord Dudley], quartering, Argent a cross patonce azure [Lexington, Dodsworth has Malpas].9 2 R. C. Marks, The Stained Glass of the Collegiate Church of the Holy Trinity, Tattershall (Lincs.) (New York and London, 1984), pp. 124-131. 3 Truman (1957), p. 137. 4 A. Du Boulay Hill, ‘Warsop church’, Thoroton Society, 18 (1914), p. 7. 5 Personal comment expressed by the churchwarden. 6 Oxford, Bodleian Library, MS Dodsworth 136, f. 40r. 7 Or, two lions passant azure was borne by the Somerys, Barons of Dudley. The arms were assumed with this peerage by the Sutton family (later Dudley) on the marriage of John de Sutton to Margaret, the heiress of Somery, in 1332-42 (Papworth, p. 148, Medieval Ordinary, vol. 1, p. 259 and Burke Extinct Peerages, p. 487). 8 Medieval Ordinary, vol. 2, pp. 329 and 358. 9 Papworth has Lexington (Papworth, p. 604). 565 4. Argent, a cross patonce azure [Lexington]. In a west window: 5. Argent, a lion rampant sable … [lost], quartering, Argent, six annulets sable. 6. Quarterly Roos and Badlesmere, with the escutcheon of pretence, azure, a 'caterine whele' or. In a north quire window: 7. Azure, a bend between six mullets argent (Luterell). 8. Or, a cross sable. The arms in the quire window all refer to Sir John Sutton, fourth Baron Dudley, KG (d. 1487), who probably gave the window. Shield 2 refers to his marriage to Elizabeth Berkeley, co-heiress of Sir John Berkeley of Beverston (died 1478).10 Shields 3 and 4 refer to his descent from the Lexington family, who held the manor and advowson of Warsop in the thirteenth century.11 Beyond the family connection in the thirteenth century, Lord Dudley had no traceable interests in Warsop. He was the descendant of a younger son and the Lexington property devolved on the senior branch of the Sutton family, who were later seated at Averham (q.v.) and Kelham (q.v.). It passed out of the family entirely in 1328/9 when they sold it to John de Nunnes, a citizen of London, who the following year sold it to Sir John Roos.12 The latter transfer explains the presence of the Roos and Badlesmere arms (6) in the west window in 1634.13 10 Burke Extinct Peerages, p. 181. 11 Thoroton and Throsby, vol. 3, pp. 110 and 367. 12 Thoroton and Throsby, vol. 3, p. 368. 13 Margery, the daughter of Bartholomew, Baron Badlesmere, married William, Baron Roos of Hamlake sometime in the first quarter of the 14th century (Burke Extinct Peerages, p. 22). 566 According to Truman and Du Boulay Hill all the glass in the sacristy came from the east window of the chancel.14 The presence among these remains of the Lexington arms, part of Lord Dudley's scheme, appears to prove this theory. We may hypothesise that the figurative glass is also part of the glass he patronised. Catalogue Sacristy I. 1a. Figurative and other fragments (figs. 372, 373 and 374). A cut-down head of a female saint, with part of the nimbus and long flowing hair visible at the side. Black line and stippling, with yellow stain on the hair. On to the top of this head, as though it belonged to it, has been placed the wildly curling hair and nimbus of a male saint, perhaps part of St John the Evangelist. The hair and the inside border of the nimbus are in yellow stain. Leaded and unleaded fractures, some paint loss. Quarry ground behind, type 14. Late 15th-c. Stipple shaded drapery fragments and jewelled vestment orphreys decorated with yellow stain, set against ermine. Parts of a vaulted canopy top, the vaulting in yellow stain, with associated crocketed finials. Some paint loss and leaded breaks. 15th-c. h 0.64m, w 0.30m. 2a. Architectural fragments (fig. 377), including a section of vaulting with boss, crocketed finials and two blue roundels. Black line and yellow stain on all except the roundels. Paint loss. 15th-c. h 0.18m, w 0.30m. Sacristy sII. 14 Truman (1957), p. 137 and A. Du Boulay Hill, ‘Warsop church’, p. 8. 567 a. Head of St James the Great (fig. 376), bearded, with a cusped nimbus highlighted with yellow stain and a broad-brimmed hat. The hat is executed in a light backpainted wash outlined in black line, with traces of a cockleshell in black line. Heavy paint loss. An internal glazing bar is placed vertically across the head. Ground of quarries, type 14. Late 15th-c. h 0.82m, w 0.33m. Sacristy sIII. a. Head of an Apostle (?) (fig. 375) and a shield of arms (fig. 378). The apostle is nimbed and bearded with wavy hair, the nimbus has an internal border of yellow stain. Black line and stippling. The head was damaged in 1990 and has numerous losses, areas were edge bonded and plated. Ground of quarries, type 14. Shield of Arms: Argent, a cross patonce (?) azure (Lexington). The field is decorated with delicate trailing foliage. The shield is superimposed against a roundel of ruby seaweed rinceau reserved on a matt wash, within a border of acanthus leaves in black line, hatching and yellow stain. The glass is dirty and there are numerous leaded breaks and losses. Ground of quarries, type 14. Late 15th-c. h 0.64m, w 0.32m. 568 West Hallam, Derbyshire, Parish Church of St Wilfrid OS SK 431 411 Manuscript sources Bassano MS, p.188. Rawlins, vol. 3, p. 249. Printed sources Butler, p. 175. Coe, p. 98. Cox 4, p. 224. Mee Derbyshire, p. 266. Nelson, p. 73. C. Woodforde, ‘Some medieval English glazing quarries painted with birds’, Journal of the British Archaeological Association, 3rd series, 9 (1944), pp. 4-5 and plate 12. Illustrations Figs. 379-382. West Hallam church consists of a western tower, nave with aisles, north porch and chancel. The nave arcades and chancel arch are the earliest parts of the structure, dating from the early fourteenth century. The rest of the church, including the tower, nave clerestory and most of the fenestration is late fifteenth or sixteenth century.1 The surviving glass, all dating from the late fifteenth or early sixteenth century, is in nII and SII. The glass in nII (fig. 382) consists of two fifteenth and four nineteenth-century shields of arms, set on a ground of fifteenth-century decorative quarries, including some charged with birds. The arms relate to the familial alliances of Thomas Powtrell (who died in 1484 and is commemorated by an incised slab in the chancel) and his immediate family. They were apparently brought from West Hallam hall, the home of the Powtrells, when that building was 1 Pevsner Derbyshire, p. 349. 569 demolished sometime during the nineteenth century.2 The glass was initially placed in the east window of the church, but in 1855 was removed to its present location.3 Window SII in the nave clerestory (fig. 381) contains a fragmentary (and probably in situ) figure of St James the Less, the creed scroll around him confirming the original context of the figure, as part of an Apostles’ Creed sequence. The other eleven apostles were no doubt arranged in the remaining eleven lights of the clerestory. In addition to the extant glass, in the early eighteenth century the Bassano brothers saw the following glass in the church:4 ‘In a North Window in 2 partitions of the Window are 2 images: and underwritten is Orate pro ania Roberti Aleyn (?) quondam Rectoris hujus Eccl[esi]e Qui istam fenestram fieri fecit.’ ‘In the East Window is’: 1. Argent, between a fess three torteauxes charged with five files. Thomas Powtrell presented Robert Aleyn to the living of West Hallam in 1483.5 Rawlins comments that ‘the windows have some few remains of painted glass, sufficient to enable us to conjecture, that what was originally placed herein, was very fine and good’.6 2 Cox, vol. 4, p. 224. 3 Cox, vol. 4, p. 224. 4 Bassano MS, p. 188. 5 Cox, vol. 4, p. 222. 6 Rawlins, vol. 3, p. 249. 570 Catalogue nII (fig. 380). 1a. 19th-c. shield on a ground of 15th-c. quarries, types 34, 62, 63 and 65. 15th-c. h 0.42m, w 0.38m. 1b. 19th-c. shield on a ground of 15th-c. quarries, types 34, 62, 63 and 65. h 0.42m, w 0.38m. 2a. 19th-c. shield on a ground of 15th-c. quarries, types 34, 62, 63 and 65. h 0.30m, w 0.38m. 2b. 19th-c. shield on a ground of 15th-c. quarries, types 34, 62, 63 and 65. h 0.30m, w 0.38m. 3a. Shield of arms: Azure and eagle displayed argent (Cotton),7 set on a ground of 15th-c. quarries, types 34, 62, 63 and 65. The shield is 15th-c. with some later stopgaps. It is dirty and has heavy paint loss on the charge. h 0.48m, w 0.38m. 3b. Shield of arms: Argent a fess gules between three cinquefoils (roses?) gules (Powtrell), impaling, Azure an eagle displayed argent (Cotton).8 Set on a ground of 15th-c. quarries, types 34, 62, 63 and 65. The shield is 15th-c., with some later stopgaps. It is dirty and has heavy paint loss on the eagle charge. h 0.48m, w 0.38m. A. 7 15th-c. quarries, types 34, 62, 63 and 65. Thomas Powtrell (d. 1484) was married to Katherine, the daughter of John Cotton of Hamstall Ridware, Staffordshire (Cox, vol. 4, p. 225). 8 See note 7 for significance. 571 h 0.10m, w 0.13m. SII. 1a. St James the Less (fig. 379), bearded with a cusped nimbus, standing threequarters right, dressed in a white and yellow-stain mantle, over a ruby robe. He holds a yellow-stain book in his left, mantle-enveloped hand and a yellow-stain fuller’s club in his right hand, which he rests on his right shoulder. Stipple shading on the drapery and face. The lower part of the figure has gone. Around his head is a broken blackletter scroll, with the following Creed clause: /S[anc[t]am/ /[Eccle]sia[m] /Catho / lica[m]/ Sanctorum / Co/ [m]mu/ /[ni]onem/. The figure is probably in situ, though with the exception of some old white quarries, the setting is modern. The glass is dirty, with some paint loss, pitting and an unleaded fracture running across the face. Late 15th-c. h 0.65m, w 0.40 approx. 572 Weston, Nottinghamshire, Parish Church of All Saints OS SK 773 680 Printed sources Mee Nottinghamshire, p. 307. Pevsner Nottinghamshire, p. 377. Illustrations Figs. 383-384. The church consists of a western tower, nave with aisles and aisleless chancel. The west tower is thirteenth century and the chancel late fourteenth century. The nave is early fourteenth-century, heightened with the addition a clerestory in the late fifteenth century. The remaining glass consists of fourteenth and fifteenth-century fragments leaded into the tracery lights of the square-headed north and south windows of the chancel. Prominent among the glass of the fifteenth century are fragments of a figure of Gabriel from an Annunciation and part of the evangelist symbol of St Mark. Pevsner and Mee were the only other authors to notice any glass here, but provide no details of it.1 The glass is in poor condition, dirty and heavily corroded. Catalogue nII. A1. Fragments of white and blue glass, some could be 15th-c. h 0.19m, w 0.32m approx. A2. Fragments, all heavily corroded, some remains of yellow-stain tracery-light fillings. 15th-c. 1 Mee Nottinghamshire, p. 307, Pevsner Nottinghamshire, p. 377. 573 h 0.21m, w 0.20m approx. A3. Fragments, all heavily corroded. Mostly 14th-c. oak trail, some fragments of 15th-c.(?) yellow stain. h 0.19m, w 0.32m approx. sII. A1. Fragments, all heavily corroded, one piece of white with a touch of yellow stain. h 0.09m, w 0.11m approx. A2. Fragments, all heavily corroded, but including three fragments from tracery light filling, decorated with yellow-stain internal borders. 15th-c. h 0.18m, w 0.30m approx. A3. Fragments (fig. 383), all heavily corroded, including crown from a border in matt black and yellow stain on white and part of a yellow-stain wing. The latter has paint loss. 15th-c. h 0.18m, w 0.30m approx. A4. Fragments (fig. 383). Some remains of tracery-light fillings with yellowstain borders on white. Fragments of a scroll with the blackletter inscription: /leua a/. 15th-c. h 0.09m, w 0.11m approx. sIII. A1. Fragments, all heavily corroded, one touched with yellow stain. h 0.09m, w 0.11m approx. A2. White, blue and ruby fragments, all heavily corroded. Medieval? 574 h 0.18m, w 0.30m approx. A3. Fragments (fig. 384). Part of a figure of an angel, probably Gabriel from the Annunciation. All that is left is part of an alb sleeve and a hand holding a scroll with the blackletter inscription /Av.../. Black line on white with yellow stain on the scroll. Also part of the Evangelist symbol of St Mark. All that remains is the front part of the torso and the foreleg of the lion, with a scroll between the legs bearing the blackletter inscription /ar /cas./ Black line on white, with some yellow stain in the scroll. Paint loss. Part of a feathered yellow stain wing, again with paint loss. 15th-c. h 0.18m, w 0.30m approx. A4. Fragments (fig. 384), including part of an angel. All that remains is part of its alb and a section of a yellow-stain feathered wing. 15th-c. h 0.09m, w 0.11m approx. 575 Weston-on-Trent, Derbyshire, Parish Church of St Mary OS SK 397 276 Manuscript source London, British Library, Harley MS 1093, f. 104v. When Richard St George was here in 1611 he saw the following shields of arms with inscriptions below them, in the windows:1 1. Argent, three boars heads erect and erased, a crescent for difference [Booth].2 ‘Orate pro bono statu Joh[ann]is Boothe Thesurij Eccl[es]ia Cathedr[al]is de Lichfield.’ 2. Azure, a wolf’s head erased argent [Chester].3 ‘Orate pro bono statu Episcopi Sodorensis et Abbatis Cestriae.’ 3. Argent, on a bend gules, three annulets [or bezants?] or. ‘Orate pro bono statu …all prebendarij Eccl[es]ia cathedrali Lichfeild [sic].’ 1 London, British Library, Harley MS 1093, f. 104v. 2 See Sawley and Southwell. 3 Cox, vol. 4, p. 431. 576 4. Quarterly or and gules. ‘Orate pro bono statu D[omi]ni Hugonis viccar Eccl[es]ia p[ar]ochialis Melbourne.’ Master John Booth commemorated by shield 1 was treasurer of Lichfield Cathedral and prebendary of Sawley from 1459-95.4 He died in 1496 and was commemorated by glass at Sawley (q.v.), four miles from Weston, where he is buried. The Abbot of Chester and Bishop of Sodor commemorated by 2 was almost certainly Richard Oldham, who was abbot from 1453 until his death in 1485 and bishop of Sodor and Man from 1478.5 Chester was in the diocese of Coventry and Lichfield and the abbot of Chester was patron of the living of Weston.6 According to Cox, the vicar of Melbourne Sir Hugh Fayrclogh, commemorated by 4, served the living three miles from Weston between 1459-82.7 The prebendary of Lichfield whose surname ended with ‘all’, commemorated by shield 3, cannot be firmly identified. The two possibilities are Henry Edyall, who was prebendary of Gaia Minor between 1480 and 1520 and Roger Wall, who was prebendary of Offley between 1440-49 and Eccleshall between 1449-1488.8 The latter is perhaps the most likely, as according to Burke, the family of Wall of Preston and Wallrush, Lancashire, bore arms resembling those in 3: Argent, a bend gules between three boars heads couped.9 All these shields and inscriptions were of the second half of the fifteenth century and were probably part of a unified scheme or commission. 4 Fasti Ecclesiae Anglicanae, vol. 10, p. 12. 5 Cox, vol. 4, p. 431 and E. B. Fryde (ed.), Handbook of British Chronology (London, 1986), p. 273. 6 Cox, vol. 4, p. 431. 7 Cox, vol. 4, p. 431. 8 Fasti Ecclesiae Anglicanae, vol. 10, pp. 36, 43 and 47. 9 Burke General Armory, p. 1066. 577 Weston-on-Trent, Derbyshire, Demolished Rectory Summerhouse OS SK 398 276 Printed Sources Ayre, p. 14. Transactions of the Leicestershire Architectural and Archaeological Society, 4 (1878), p 107. In 1878 the Revd. Thomas Farebrother brought to a meeting of the Leicestershire Architectural and Archaeological Society two roundels of medieval glass, formerly installed in a summerhouse at Weston-on-Trent rectory in Derbyshire. The roundels were both five inches in diameter and members of the society concluded they were of fifteenth-century date. 1. The first roundel was decorated with a deer ‘lodged’ or ‘lying down.' 2. In the second roundel, 'a monk' [should this be monkey?] was represented 'standing in an ambo or pulpit, attired in a monk's loose gown, with a large hood hanging over his shoulders'. His right hand was elevated and 'he appears in the act of speaking to his congregation of geese below. One goose is already in his hood from which its head appears, and another is grasped around the neck by his left hand.'1 Recently Kerry Ayre has suggested that these two roundels survive in the collection of the Stained Glass Museum in Ely, on deposit from Byfield church in Northamptonshire. The roundels, which she illustrates, are fifteenth century, more or less five inches in diameter and follow Farebrother’s description almost precisely, except that the monk or monkey is in fact a fox, dressed in alb, chasuble and mitre. According to Ayre, and there seems no reason to dispute this, the glass found its way 1 Transactions of the Leicestershire Architectural and Archaeological Society, 4 (1878), p. 107. 578 to Byfield church through the same Revd. Thomas Farebrother, who was a local landowner and had erected a monument in the church to his parents.2 2 See Ayre’s entry for details of their condition, style and technique. Ayre, p. 14. 579 Whatton, Nottinghamshire, Parish Church of St John of Beverley OS SK 744 396 Manuscript source Ashmole, p. 153. Printed sources J. T. Godfrey, Notes on the Churches of Nottinghamshire: Hundred of Bingham (London, 1907), p. 472. Thoroton and Throsby, vol. 1, pp. 269-70. Thoroton saw the following arms in glass in Whatton church in the 1660s:1 1. Argent, on five fusills in fess gules, each an escallop or (Aslacton). 2. Argent, five fusills in fess gules (Newmarch). 3. Argent, on a bend sable between six cross-crosslets gules, three besants (Whatton). 4. Gules, a lion rampant with a bordure engrailed argent. 5. Sable, a chevron between ten cross-crosslets argent. ‘There was in a Window’: 6. Gules, a lion rampant argent crowned or, ‘the Crest an Eagle’s Head, betwixt the Wings sable, coming out of a Crown Argent’. When Ashmole was here in 1662, he saw 2, 3, 4 and 5 together in the east window of the north aisle, with 1 in the west window of the same aisle. 2 When Godfrey was here in the late nineteenth century only a single shield of arms was left in the north 1 Thoroton and Throsby, vol. 1, pp. 269-270. 2 Ashmole, p. 153. 580 aisle, apparently bearing azure, five lozenges gules.3 Presumably, he recorded the tincture of the field wrongly and what he saw was shield 2. The Newmarch family (shield 2) held a manor in Whatton from the reign of King John until the middle of the fifteenth century.4 The Whatton family (shield 3) held another manor in the parish from the time of the Norman Conquest to the early fifteenth century.5 Shield 5, which bears an achievement that appears to be a differenced version of the Newmarch arms, was ascribed by Thoroton to the Aslacton or Aslockton family, who held the manor of Aslockton, within the parish of Whatton until the reign of Henry VI. Thoroton’s grounds for this identification are the use of the arms on the incised slab of Thomas Cranmer (died 1501), who held the manor as a descendant of an Aslockton heiress.6 The arms were used by Archbishop Thomas Cranmer (1489-1556), a son of the aforementioned Thomas Cranmer, as part of his achievement of arms, where they were quartered with the arms of Cranmer (A chevron between three cranes) suggesting that they did indeed originate from an heiress.7 The glass could be of the period covered by this thesis, but is more likely to have been contemporary with the north aisle, i.e. mid-fourteenth century.8 3 J. T. Godfrey, Notes on the Churches of Nottinghamshire: hundred of Bingham (London, 1907), p. 472. 4 Thoroton and Throsby, vol. 1, pp. 265-267. 5 Thoroton and Throsby, vol. 1, pp. 267-268. 6 Thoroton and Throsby, vol. 1, pp. 262-263. 7 Illustrations of the arms of Archbishop Cranmer used in various contexts, including glass, can be found in: D. MacCulloch, Thomas Cranmer (London, 1996), pp. 10-11. 8 Pevsner Nottinghamshire, p. 377. 581 Whittington, Derbyshire, Parish Church of St Leonard OS SK 384 752 Manuscript sources Bassano MS, pp. 175-176. Oxford, Bodleian Library, MS Gough Maps 4, f. 75v. Printed source G. L. Gomme (ed.), The Gentleman's Magazine Library: English Topography (London, 1893), part 3, pp. 65-70. Nothing remains of the medieval church of Whittington, which was replaced in 1896 by the present building designed by E. R. Rollinson.1 In the third quarter of the eighteenth century the rectory of Whittington was held by the antiquary Dr Samuel Pegge, so it is perhaps no surprise to find among the collection of his friend and fellow antiquarian Richard Gough drawings of Whittington by the Swiss topographical draughtsman Jacob Schnebbelie. In 1789 Schnebbelie recorded, in watercolour, two panels of medieval glass in the church. These highly finished drawings are pasted into a volume among the miscellaneous antiquarian scrapbooks known as MS Gough Maps in the Bodleian Library, Oxford. Both drawings are signed by Schnebbelie and dated the 27th of July.2 Drawing 1. West window: St John the Baptist.3 This panel was formerly in 'the upper tier of the w[est] window.' St John the Baptist is standing three-quarters right, wearing a yellow robe and a white mantle. He is bearded and has a nimbus decorated with yellow rays. In his right hand he holds a book, supporting the Agnus Dei, which has the usual cross-staff and banner. The saint gestures at the Agnus Dei with the extended fourth finger of his left 1 Pevsner Derbyshire, p. 148. 2 Oxford, Bodleian Library, MS Gough Maps 4, f. 75v. 3 MS Gough Maps 4, f. 75v, piece d. 582 hand. Blue ground, with the suggestion of a tessellated floor. Probably 15th-century. Drawing 2. 'The south window': Christ of the Wounds.4 Schnebbelie described this lost panel as 'our Saviour w[i]th the five wounds.' Christ is shown seated in majesty, with both hands raised to the level of his head, with the palms facing outwards. He wears a furlined mantle with a jewelled morse and yellow hems. He has a full curly beard, and a cross nimbus decorated with yellow rays. He wears no garment under the mantle, and his torso is uncovered to expose the wound in his side. All five wounds, in his hands, feet and side are quite graphically executed, with blood issuing forth. The figure is set against a ground of grey (probably black originally) powdered with yellow stars. To the left is the figure of a trumpeting archangel, who faces away from Christ. He is dressed in a long alb, has long hair, yellow wings, a cross diadem and holds a yellow trumpet up to his mouth. A corresponding angel to the right of Christ is suggested by part of a remaining yellow wing. Probably 15th-century. According to Pegge, in a description of the building published in 1809 in the Gentleman’s Magazine, the Christ of the Wounds panel was located 'in the upper part of the south window of the chancel' with St John the Baptist 'on a pane of the upper tier' of the west window.5 Pegge also recorded additional glass to Schnebbelie. This included, in the east window 'a small female saint,' and at the bottom of the same the inscription 'Rogero Cric.' He also saw the following shields of arms: ‘In the east window of the chancel’: 4 MS Gough Maps 4, f. 75v, piece e. 5 G. L. Gomme (ed.), The Gentleman's Magazine Library: English Topography (London, 1893), part 3, p. 67. 583 1. Argent, a fess vaire gules and or between three water-bougets sable (Dethick). 2. Checky argent and gules, on a bend sable a martlet (Beckering). ‘At the bottom of the window an inscription: Rogero Cric.’ In the ‘south window of the chancel’ were the arms: 3. Barry wavy of six argent. and gules, a chief argent[sic] ermine and gules (Burley). 4. Ermine, on a chief indented gules, ‘or’ [sic] lozenge. In the 'easternmost south window of the nave': 5. Argent, on a chevron sable, three quatrefoils argent (Eyre). This window had ‘been renewed …before which there were other coats and some effigies in it’.6 When the Bassano brothers were here in the early eighteenth century, they saw the same Roger Cric inscription in the east window of the chancel and remains of arms in the east and south windows of the chancel, which were too damaged to be recorded. They saw the figure of Christ in Majesty drawn by Schnebellie, which, as Pegge noted, was in the south chancel window.7 The brothers saw the following additional glass, not recorded in any other sources:8 ‘In the south side Window of the Church’: 6 G. L. Gomme, The Gentleman's Magazine Librray, part 3, p. 67. 7 Bassano MS, pp. 175-176. 8 Bassano MS, pp. 175-176. 584 6. ‘A Quartered Cote the first not to be taken the second not to be taken the 3rd’: Argent, three fusils in fess gules, ‘ye 4th’ Azure, a chevron ermine. ‘In a North Window is’: 7. ‘a Coat not be taken & with [it] is Impaled’: Argent, a chevron between three escallops gules. ‘And in one part of the Windows is the Image of Jesus above it. I H S for Jesus Christ Salvator hominum In the uper part of the Window is the like’ ‘In the West Window of the Church in Staind [sic] glass’: 3. Sable, a bend between six escallops or (Foljambe). Regarding the date of all the glass, a drawing of the exterior of the church by Schnebbelie shows three south windows in the chancel and nave, all with Perpendicular 'panel' tracery, suggesting a date of the late fourteenth or fifteenth century. A fifteenth-century date would be stylistically consistent with the glass recorded in Schnebbelie’s drawings.9 There is a further piece of evidence that suggests the glass in the east window, at least, was early fifteenth century. The inscription in the east window refers to Roger Cric or Crich, who was a rector of Whittington until his death in 1413 and was commemorated in Pegge's time, by an incised slab in the sanctuary below the window.10 9 MS Gough Maps 4, f. 5v, piece a. 10 G. L. Gomme, The Gentleman's Magazine Library, part 3, p. 67. 585 Willesley, Derbyshire, Redundant Church of St Thomas OS SK 340 147 Manuscript sources Ashmole, p. 86. London, British Library, Egerton MS 3510, f. 109v. Printed source Cox, vol. 3, p.521. Illustrations Figs. 385-387. The parish of Willesley has been part of the county of Leicestershire since 1888, but is included in this thesis as it formed part of the ancient county of Derbyshire. The church consists of a western tower, aisleless fifteenth-century nave with clerestory and a fourteenth-century chancel. The western tower dates from a restoration in 1845.1 The church was made redundant in the 1980s and is currently owned by the Scouting Association who use it as a meeting room for their permanent campsite. Medieval glass remains in windows nII, sII and sIII. That in sIII consists of fragments of oak trail and border elements of the fourteenth century placed in A1 and a small male kneeling donor at the top of light b. The latter can be dated, according to its dress, to the second quarter of the sixteenth century. In nII and sII are two identical shields of arms of late fifteenth or sixteenth-century date, both seen by Cox, which may be contemporary with the donor image.2 When William Burton was here in 1616, he saw the following versions of the extant arms in two windows of ‘Willesley chapel’:3 1 N. Pevsner, E. Williamson and G. Brandwood, The Buildings of England Leicestershire and Rutland (Harmondsworth, 1984), p. 264 and Cox, vol. 3, p. 520. 2 Cox, vol. 3, p. 521. 3 London, British Library, Egerton MS 3510, f. 109v. 586 In the east window: 1. Or, on a chief gules a demi lion rampant argent. In a north window of the chapel: 2. Or, on a chief gules a demi lion rampant argent. Oddly, Burton assigned these identical achievements to two different families, shield 1 to Abney and shield 2 to Ingwardby. In 1662 Ashmole assigned shield 2 to Ingwardby.4 The Ingwardby family held the manor of Willesley until the middle of the fifteenth century, when the heiress of the family married William Abney.5 On inheriting the property the Abneys are thought to have assumed the Ingwardby arms, which explains Burton’s twin identification.6 The chancel floor incorporates incised slabs commemorating John Abney (d. 1505) and his wife Mary and their son George Abney (d. 1578) and his wife Ellen; both gentlemen are dressed in plate armour. 7 In view of the apparent date of the extant donor image, the latter is the likely patron. Catalogue nII. A1. Shield of arms (fig. 386): Or, on a chief argent a demi lion rampant argent (Abney). The field is decorated with stickwork foliage reserved against matt, the chief with stickwork contiguous rosettes. Leaded break. 16th-c. sII. 4 Ashmole, p. 86. 5 Cox, vol. 3, p. 521. 6 G. D. Squibb, The Visitation of Derbyshire begun in 1662 and finished in 1664, Harleian Society, New Series, 8 (1989), p. 107 and Cox, vol. 3, p. 521. 7 F. A. Greenhill, The Incised Slabs of the Leicesteshire and Rutland (Leciester, 1958), pp. 185-187. 587 A1. Shield of arms (fig. 385) Or, on a chief argent a demi lion rampant argent (Abney). 16th-c. sIII. 2b. Male kneeling donor and fragments (fig. 387). The donor is kneeling on a tasselled cushion facing three-quarters left. He has yellow stain shoulder length hair and is dressed in a yellow stain doublet with puff sleeves and square neckline over white hose. All the detail is in blackline without stippling. The left part of the doublet has gone and has been replaced with a fragment of a green doublet from a different figure. Paint loss. Around the left side of the figure are fragments in blackline, decorated with yellow stain. Second quarter of the 16th c. h 0.16m, w 0.10m. 588 Willoughby-on-the-Wolds, Nottinghamshire, Parish Church of the Blessed Virgin Mary and All Saints OS SK 633 254 Manuscript source Ashmole, p. 122. In 1662 Ashmole saw the following arms within the church: 1 In the east window: 1. Gules, three waterbougets argent [Roos].2 In 'the' south window: 2. Quarterly England and France. 3. Sable, a cross engrailed or, quartering, Gules, a cross moline argent. No other antiquarian recorded any glass here. The church is best known for the large collection of monuments of the late thirteenth to mid-fifteenth centuries, commemorating members of the Willoughby family. 1 Ashmole, p. 122. 2 Papworth, p. 347. 589 Wilne, Derbyshire, Parish Church of St Chad OS SK 448 318 Manuscript source Ashmole, p. 83. In 1663 Ashmole saw the following arms in the east window: Azure, a winged falcon argent, clawed or.1 Although the fabric of the east window was apparently fifteenthcentury, there is no firm dating evidence for the glass.2 1 Ashmole, p. 83. 2 Cox, vol. 4, p. 400. 590 Wingerworth, Derbyshire, Parish Church of All Saints OS SK 377 675 Printed sources Cox, vol. 1, p. 454. Mee Derbyshire, p. 273. Nelson, p. 73. Illustrations Figs. 388-389. The medieval church of Wingerworth is now the south portico and side chapel of a new church erected in 1963-4. The old fabric comprises a late fifteenth-century western tower, a nave with a Norman north arcade, a fifteenth-century clerestory and fenestration and an Early English chancel.1 The medieval glass consists of fifteenth-century stylised border pieces, re-set in the south windows of the former chancel. Cox, Nelson and Mee all saw some old glass in the tracery of the east window of the north aisle, and Cox and Mee’s descriptions confirm that it was the extant glass.2 It seems probable that the glass was moved to its present location in 1963-4, when the north aisle was demolished to make way for the new church. Catalogue sII. 1a. Border fragments (fig. 388). A single stylised crown in black line and yellow stain, leaded upside-down and four lozenge-filled rectangles in black line on white with yellow stain. 15th-c. w of light 0.37m. 1 Pevsner Derbyshire, p. 355. 2 Cox, vol.1, p. 454, Mee, p. 273 and Nelson, p. 73. 591 sIII. 1a. Border fragments (fig. 389). Four crowns in black line and yellow stain, identical to that in sII, with the addition of cross-hatching, and a single lozenge-filled rectangle as in sII. 15th-c. w of light 0.35m. 592 Wirksworth, Derbyshire, Parish Church of St Mary OS SK 287 539 Manuscript Source Bassano MS, p. 208. In the eighteenth century the Bassano brothers saw the following glass in the church:1 ‘In the said East Window [of the south aisle] is:’ 1. Argent, a Frett with a Mullet [Vernon?] ‘Under neath [sic] Vernon fundatoris Canterice’ ‘In a South Window IHS: for Jesus Saluater [sic] hominum.’ The glass in the east window of the south aisle, as the inscription suggests, was related to the foundation of a chantry at the altar below it. This chantry, known as the ‘rode’ or ‘rood’ chantry, was established in the second half of the fifteenth century by Sir Henry Vernon of Haddon Hall (d. 1515). Presumably the inscription in the window referred to him.2 The Bassanos also record a monumental brass to Roger Vernon, situated below the window and constituting part of a former tomb-chest.3 Cox identifies Roger as one of the younger sons of Sir Richard Vernon of Haddon Hall (q.v.) and an uncle to Sir Henry, the founder of the chantry.4 Perhaps Roger’s burial in this location was the catalyst for the foundation of the chantry. 1 Bassano MS, p. 208. 2 Cox, vol. 2, p. 554. 3 Bassano MS, p. 207. 4 Cox, vol. 2, p. 555. 593 BIBLIOGRAPHY Unpublished Primary Sources Derby, Derby Local Studies Library, MS A726 (Notes on the Churches and Chapels of Derbyshire by the Revd. Richard Randall Rawlins, 3 volumes, c. 1819-43). London, British Library, Additional MS 5832. Additional MS 6701 (Derbyshire church notes by John Reynolds of Plaistow, with additions by Adam Wolley, 1750-75). Additonal MSS 15537-15548 (Grimms drawings of churches, mansions etc., late eighteenth century). 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PhD thesis, University of London, 3 vols., 1961. 615 Distribution Map Derbyshire Extant glass Lost glass 1 2 3 4 5 6 8 7 9 10 11 14 16 18 12 13 15 17 19 21 20 23 22 24 25 26 27 29 28 31 30 32 33 40 34 41 45 43 46 39 42 38 44 48 47 51 52 53 54 55 56 37 36 35 57 58 49 50 616 Distribution Map Nottinghamshire 1 2 Extant glass 3 Lost glass 4 5 6 7 8 9 10 14 13 11 15 12 16 17 18 19 20 22 25 24 27 26 29 30 28 35 37 36 42 45 43 44 47 52 5 55 54 58 57 59 61 60 62 38 41 40 46 48 50 51 32 31 33 49 21 23 34 627 QUARRY TYPOLOGY Owing to the fragmentary condition or poor state of preservation of the quarries, some of the designs are only conjectural. Shading indicates the use of yellow stain. A window number without panel numbers, indicates that a particular design is to be found in multiple panels within the window. 1 Cotham, Nottinghamshire nII, b 2 Cotham, Nottinghamshire nII, b 3 Cotham, Nottinghamshire nII, b 4 Averham, Nottinghamshure nII, 2a 5 Cotham nII, b 6 Holme-by-Newark, Nottinghamshire I Sutton-on-Trent, Nottinghamshire nII, A4 7 Papplewick, Nottinghamshire sVI 8 Papplewick, Nottinghamshire sVI East Markham, Nottinghamshire sVII, A3 and A4 9 Papplewick, Nottinghamshire sVI 10 Papplewick, Nottinghamshire sVI Mattersey, Nottinghamshire nII, 1b 11 Holme-by-Newark, Nottinghamshire I, 4b 12 Holme-by-Newark, Nottinghamshire I, 5c 13 Nottingham, St Mary nX, c 14 Haddon Hall, Derbyshire I, nII, wI Warsop Sacristy 15 Morley, Derbyshire Tracery of windows nII, nIII, nIV 16 Saundby, Nottinghamshire wI, 3b 17 Averham, Nottinghamshire nII, 3a 18 Averham, Nottinghamshire nII, 3a 19 Averham, Nottinghamshire nII, 1a 20 Lambley, Nottinghamshire sII, 2c and sIII, 1a 21 Cossall, Nottinghamshire sV, 2b 22 Saundby, Nottinghamshire wI, 3b 628 23 Strelley, Nottinghamshire nV, 2a 24 Strelley, Nottinghamshire nV, 2a 25 Averham, Nottinghamshire nII, 3a 26 Averham, Nottinghamshire nII, 3a 27 North Muskham sIV, 8a-c. 28 Strelley nII 29 North Muskham sIV 30 South Muskham sVIII, 4b 31 Newark-on-Trent, Nottinghamshire sII 32 Averham, Nottinghamshire nII, 3a 33 Papplewick, Nottinghamshire sVI, 2b 34 West Hallam, Derbyshire nII 35 Holme-by-Newark, Nottinghamshire sII Newark, Nottinghamshire sII Balderton, Nottinghamshire nIII, 2a 36 Averham, Nottinghamshire nII, 3a 37 Holme-by-Newark, Nottinghamshire sII, 3c 38 Holme-by-Newark, Nottinghamshire I, 5c 39 Averham, Nottinghamshire nII, 3a 40 Averham, Nottinghamshire nII, 1a 41 Averham, Nottinghamshire nII, 1.2a 42 Newark sII 43 Averham, Nottinghamshire nII, 3a Haddon Hall, Derbyshire I Norbury, Derbyshire I Barton-in-Fabis, Nottinghamshire wI Measham, Derbyshire nIV, 4a Newark-on-Trent, Nottinghamshire sII Strelley, Nottinghamshire nV, 2a Balderton, Nottinghamshire nIII, 5a 45 East Retford, Nottinghamshire sVI, 1b 46 Norbury, Derbyshire I 47 Norbury, Derbyshire I 44 629 48 Norbury, Derbyshire wI 49 Holme-by-Newark, Nottinghamshire I North Muskham, Nottinghamshire 50 Holme-by-Newark, Nottinghamshire I North Muskham, Nottinghamshire 51 Holme-by-Newark, Nottinghamshire sII 52 Holme-by-Newark, Nottinghamshire I, 4e 53 Holme-by-Newark, Nottinghamshire I, 4e 54 Holme-by-Newark, Nottinghamshire I, 4e 55 Holme-by-Newark, Nottinghamshire I and sII North Muskham, Nottinghamshire 56 Holme-by-Newark, Nottinghamshire I and sII North Muskham, Nottinghamshire 57 Mugginton, Derbyshire sII, 1b Haddon Hall, Derbyshire (derivative I, 1c without ‘P’) 58 Haddon Hall, Derbyshire nII 59 Haddon Hall, Derbyshire nII and wI 60 Haddon Hall, Derbyshire nII 61 Averham, Nottinghamshire nII 62 West Hallam, Derbyshire nII 63 West Hallam, Derbyshire nII 64 Averham, Nottinghamshire nII 65 West Hallam, Derbyshire nII 66 Southwell Minster, Derbyshire Chapter House sIII, 1b 67 Measham, Derbyshire sVI Quarry Typology, page 1 619 Type 1 Type 2 Type 3 Type 4 Type 5 Type 6 Type 7 Type 8 Type 9 Quarry Typology, page 2 620 Type 10 Type 11 Type 12 Type 13 Type 14 Type 15 Type 16 Type 17 Type 18 Quarry Typology, page 3 621 Type 19 Type 20 Type 21 Type 22 Type 23 Type 24 Type 25 Type 26 Type 27 Quarry Typology, page 4 622 Type 28 Type 29 Type 30 Type 31 Type 32 Type 33 Type 34 Type 35 Type 36 Quarry Typology, page 5 623 Type 37 Type 38 Type 39 Type 40 Type 41 Type 42 Type 43 Type 44 Type 45 Quarry Typology, page 6 624 Type 46 Type 47 Type 48 Type 49 Type 50 Type 51 Type 52 Type 53 Type 54 Quarry Typology, page 7 625 Type 55 Type 56 Type 57 Type 58 Type 59 Type 60 Type 61 Type 62 Type 63 Quarry Typology, page 8 Type 64 Type 67 626 Type 65 Type 66 Fig. 391 D2 D1 B1 B2 C2 C1 A2 A1 14/15a 14/15b 14/15c 14/15d 14/15e 10-13a 10-13b 10-13c 10-13d 10-13e 6-9a 6-9b 6-9c 6-9d 6-9e 2-5a 2-5b 2-5c 2-5d 2-5e 1a 1b 1c 1d 1e Parish Church of St Mary, Norbury, Derbyshire, window I, showing the CVMA panel numbering system.