Abstract. In 1803, Flemish, hand-painted glass from the destroyed Herkenrode Abbey, Belgium, was bought by the cathedral and 324 panes placed in 7 windows of the Lady Chapel. It dates from 1532 to 1539. The glass has been described as “perhaps the finest specimens of pictorial glass-painting in the world”.
Central east window in the Lady Chapel.Herkenrode Abbey depicted in a north bay window.
Early in the 16th-century, three successive abbesses commissioned glass work. The artists are unknown, but the names of Marten Tymus, Pieter van Venedigan and Peter Coeke are possibilities,[5] and the dates for the Lichfield glass are 1532–1539.[6] See the post ‘Lady Chapel and Saint Chapelle’ to know what was already in the windows. In 1802, eleven cases with 332 squares of glass, each 572 mm square (22½ inches), were shipped across the sea via Rotterdam and Hull and along canals. It was laid out on the nave floor for establishing the best order of installation and placed in the mullions in 1803. John Betton of Shrewsbury supervised the work.[7] It is now thought there is more original 16th-century Flemish glass in Lichfield than is today in Belgium.
Panel
showing a date
324 panes were placed in the
seven-most eastern windows (bays 2 to 8) and 8 panes were added to windows
elsewhere in the cathedral. In bays 2 and 3, on the north side, the glass shows
the donors (aristocrats, knights and a cardinal) that gave the glass to
Herkenrode. Bays 1 and 9 contain darker glass, which is also Flemish and
16th-century, thought to have come from Antwerp, and was installed in 1895. There
is added glass by Charles Kempe of London.
Panel showing Ascension of Christ.
During the 1880s much work was undertaken restoring the stonework and ironwork in the windows. All the Herkenrode panes were removed and re-fitted to new stone mullions. By now the painted glass was suffering from wear, damp and shoddy repair and because it is thin (2–3 mm) had become fragile in places. The bottom panel of the middle window was added by Burlison and Grylls and shows the three Marys painted in the same style as the Herkenrode. It replaced plain glass behind an altar that was removed.
Panel showing the 3 Marys.
Lady Chapel
with plain glass before return of the conserved Herkenrode
Panels showing the Last Supper |
[1]
The notion the nuns fled the abbey because of the threat of the guillotine is
wrong.
[2]
T. Harwood, The history and antiquities of
the church and city of Lichfield. (London:
1806), 113.
[3]
There is a narrative that Brooke Boothby was wealthy and on a European tour
with time to spare. There is the view that Brooke Boothby saw the purchase of the glass as
a way of memorialising his daughter, Penelope, who died in 1791 aged five
years. It has been suggested the loss of his daughter
much affected him. There is anecdotal evidence he had cheated his family and fled to France
to avoid those he had cheated. His move from Ashbourne Hall to a prebendal
house in the Close indicates his fortune had been dissipated. He collected artwork using his wife’s dowry. In
which case his purchase of the glass might have been an opportunity to redeem
himself. It is uncertain what Boothby paid for the glass, but £112 and £160
have been mentioned. The account of the purchase has become almost as important
as the saving of the windows.
[4]
It is unknown what glass was originally present in the lancet windows of the
early 14th-century Lady Chapel. With the restoration of the Lady Chapel after
the Civil War, there was glass showing the resurrection by Benjamin West and
glass showing armorial entitlement.
[5]
Marks of workers on the glass panes have been found.
[6]
C. Winston, ‘Remarks on the painted glass at Lichfield Cathedral’, The Archaeological
Journal. (1864), 21, 193.
[7]
Herkenrode glass also appeared in Ashstead, Shrewsbury, Barton under Needwood,
New Barnet and elsewhere. In 1805 some of the glass was offered for sale.
[8]
In collaboration with Belgium glasswork consultants.
[9]
Strap leads added when the windows were removed in the Second World War were
removed.
[10]
C. Winston, Memoirs illustrative of the art of glass-painting. (London:
1865), 251.
[11]
Y. V. Bemden and I. Lecocq, ‘The stained glass of Herkenrode Abbey’. Corpus
Vitrearum Medii Aevii. Great Britain. (2021).
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