Del 7 i serien Corpus Vitraearum Medii Aevi: Great Britain

The Stained Glass of Herkenrode Abbey

Inbunden, Engelska, 2021

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The sixteenth-century glazing from Herkenrode Abbey in Belgium constitutes the most significant body of Flemish stained glass in the world. In the early nineteenth century, an English aristocrat took advantage of the secularization of the monasteries on the Continent to purchase the abbey church's glazing; glass from the abbess's private chapel was acquired by another English aristocrat. This account of the glazing, the result of a unique and fruitful collaboration between the Corpus Vitrearum in Great Britain and Belgium, has sections on the three locations in England where the glass is now located - Lichfield, Shrewsbury, and Ashtead - prefaced by a historical introduction on Herkenrode Abbey. It benefits from extensive research into artistic practice in the Low Countries (for art-historical context), draws on the rich documentation in the Lichfield Cathedral archives (for the glass's reception in England), and presents the insights gained during recent conservation of the glass at Lichfield Cathedral (for the glazing's execution and condition).

Produktinformation

Utgivningsdatum2021-12-16
Mått216 x 305 x 43 mm
Vikt2 778 g
FormatInbunden
SpråkEngelska
SerieCorpus Vitraearum Medii Aevi: Great Britain
Antal sidor624
FörlagOUP OXFORD
ISBN9780197267189

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Yvette Vanden Bemden is a researcher for the study of stained glass in Belgium for the publication of volumes of the Corpus Vitrearum. She is member and former president of the Belgian committee of the Corpus Vitrearum Belgique-België and a member of the Royal Academy of Sciences, Letters and Arts of Belgium.Isabelle Lecocq is the chef de travaux at the Institut royal du Patrimoine artistique, Brussels, initially in the department for conservation/restoration, now in the Documentation Department - Art History Research and Inventory Unit. She is the Secretary of the Corpus Vitrearum Belgique-België; Secretary of The Royal Academy of Archaeology of Belgium; and a scientific collaborator to the University of Liège (Faculty of Philosophy and Letters, Department of Historical Sciences. Art History and Archaeology of Modern Times).

PRELIMINARIESNational Committee of the Corpus Vitrearum (Great Britain)National Committee of the Corpus Vitrearum (Belgium)ForewordList of IllustrationsAcknowledgementsGround Plan of Lichfield CathedralWindow PlanGlossaryNote to the ReaderAbbreviationsKey to the Restoration DiagramsBibliographyGENERAL INTRODUCTIONThe Former Abbey of Herkenrode and its Stained GlassThe Former Abbey of HerkenrodeThe AbBey Church and Its DecorationThe Herkenrode Glazing: Material History and the Original SchemeThe Glazing of the Abbess's Private ChapelGlazing at Other Locations in the AbbeyGlazing from the Abbey Conserved in BelgiumI. LICHFIELD (STAFFORDSHIRE): LICHFIELD CATHEDRALHistory of Lichfield Cathedral from its Origins until the Civil WarThe Anglo-Saxon CathedralThe Romanesque CathedralThe Gothic CathedralThe Civil WarThe Herkenrode Glass at Lichfield: Context, Acquisition, Installation, and RestorationIntroductionThe 'Lady Choir'Francis Eginton's East WindowThe Herkenrode OfferPrincipal Figures Involved in the PlanningEvolution of the PlanThe Crucifixion PanelsThe Herkenrode Glazing and the Lady ChapelThe Herkenrode Glazing Outside the Lady ChapelThe Burlison and Grylls Restoration in the Lady ChapelThe Camm and Winfield Restoration in the Lady ChapelRestoration of Herkenrode Glass Outside the Lady ChapelOther Late Nineteenth-Century WorkCamm's Wartime RestorationThe Herkenrode Glass at Lichfield: Conserving the Lady Chapel GlazingThe Herkenrode GlazingThe Need for Conservation and ProtectionConserving the GlazingThe Herkenrode Glass at Lichfield: Historical and Art-Historical AnalysisScholarly Interest in the Herkenrode Windows at Lichfield Cathedral in the Nineteenth CenturyLocations of the Herkenrode Glazing at LichfieldCondition and AuthenticityMarks, Glaziers' Marks, and InscriptionsIconographyTechniqueDatingStyleAttributionCATALOGUE Windows in the Lady ChapelWindow IWindow nIIWindow nIIIWindow nIVWindow sIIWindow sIIIWindow SivWindows Outside the Lady ChapelWindow nVIWindow sVIWindow sXIIWindow sXIIIWindow sXVGarland PanelII. SHREWSBURY (SHROPSHIRE): CHURCH OF ST MARY Architectural and Glazing Overview of the ChurchThe Herkenrode Glass at ShrewsburyCatalogue: Part of St John from the Crucifixion Window at Herkenrode Abbey ChurchIII. ASHTEAD (SURREY): CHURCH OF ST GILESArchitectural and Glazing Overview of the ChurchThe Herkenrode Glass at AshteadCatalogue: The Crucifixion with St George, St Anne with the Virgin as a Child, and St BernardAPPENDICESAppendix 1. Description of the Medieval Glass in Lichfield Cathedral by Thomas HarwoodAppendix 2. Documents in the Aartsbisschoppelijk Archief (Mechelen, Belgium) Relating to Lambert Spulberch at HerkenrodeAppendix 3. Documents in the Rijksarchief (Maastricht, The Netherlands) Relating to Pierre Libotton's Removal of the Herkenrode Abbey Church GlazingAppendix 4. Documents in the Lichfield Cathedral Archive Relating to the Herkenrode Glazing and Its ContextAppendix 5. Genealogy of those Members of the de Lexhy Family Represented in the Herkenrode GlazingAppendix 6. Locations at Lichfield Cathedral of Donors' ArmsAppendix 7. Cold-Painting Applied by Barley Studio to the Herkenrode Glazing in the Lady Chapel at Lichfield CathedralAppendix 8. Glass Erroneously Attributed to HerkenrodeINDEX

It makes an important contribution to the study of Netherlandish drawings and other media, to the history of sixteenth-century monastic patronage, and to the understanding of the history of trade, collecting, and the international transport of sixteenth-century Netherlandish art works in the nineteenth and early twentieth centuries. In addition, the authors highlight the importance of stained-glass design in the career of a major figure, Pieter Coecke van Aelst. By integrating stained glass into the wider context of painting, drawing, and printmaking of the period, this excellent study helps clarify our view of the Netherlands in the first half of the sixteenth century, and will be of great interest to all scholars of Northern European art.