England, Hereford Cathedral (?), Hampton Court (Herefordshire), east window of chapel
1420-1435
Pot metal glass and white with silver stain
Window: 563 x 263 (221 1/2 x 103 1/2); main lights (a-d): 414 x 48 (163 x 18 7/8); panels 1-4, height : 77.5-80 (30 1/2-31 1/2); panels 5, height : 81-82 (31 7/8-32 1/4); tracery lights: 6 A-D, 40.0 x 15.0 (15 3/4 x 5 7/8); 6 A/B and C/D, 7 B/C, 103.5 x 45.0 (40 3/4 x 17 3/4)(original glass height, 45.0 [17 3/4]); 7 B,C, 28.0 x 18.0 (11 x 7 1/8)
The order of the figures has been altered, and they have been repaired with numerous stopgaps of glass from the same series; four extra canopies in the bottom would have accommodated figures now missing. The glass must have been made for a larger window, perhaps in Hereford Cathedral. The panels in the tracery, where the design of the stonework is modern, have been filled out with fragments of canopies. The angel in 7 B was damaged after 1925, possibly when the window was dismantled during World War II (1942-1944).
Provenance: Wilfred Drake and Roy Grosvenor Thomas
Bibliography: Thomas Dingley, History from Marble [ed. Camden Society, 94] (London, 1867), 35, n.35, ccxxxviii; Rev. George Coningsby, “Notes,” c. 1725, manuscript in the possession of Lady Mary Clive; James Hill of The Middle, “Notes,” vol. 51 Hereford City Library, f. 339; Bird, “Herefordiane,” vol. I, Hereford City Library, f. 389; Charles G. Robinson, The Mansions and Manors of Herefordshire (Hereford, 1873), 145; Roy Grosvenor Thomas, typescript, 1924, Department of European Decorative Arts and Sculpture, Boston Museum; Bulletin of the Boston Museum of Fine Arts 26 (1928), 981 roo; Orin Skinner, “Stained Glass in the Boston Museum of Fine Arts,” Stained Glass 28 (Winter 1933-1934), 173-176; Robert Sowers, Stained Glass: An Architectural Art (New York, 1965), fig. 9; Madeline H. Caviness, “Fifteenth Century Stained Glass from the Chapel of Hampton Court, Herefordshire: The Apostles’ Creed and Other Subjects,” Walpole Society Publications 42 (1970), 35-60; John Cornforth, “Hampton Court, Herefordshire-III,” Country Life (8 March 1973), 584; Annette Dixon Carmichael in Caviness et al. (1978), 53-55; Medieval, Renaissance and Baroque Ivories, Metalwork and Sculpture, Including the Property of Dirk Laurens de Leur, Nils Tellander and Major R.M.O. de la Hey [sale cat., Sotheby’s, 29 March] (London, 1979), lot. 136 (sale of related glass); Nicole Mezey, “Creed and Prophets Series in the Visual Arts, with a Note on Examples in York,” The Edam Newsletter 2 (November 1979), 8, table 1.
Collection: Museum of Fine Arts Boston, Department of European Decorative Arts and Sculpture (Boston, Massachusetts)
Object/Accession: 25-213, Marie Antoinette Evans Fund
Image Credit: Museum of Fine Arts Boston
1-2 a. St. Bartholomew; 1-2 b. St. Mathias; 1-2 c. St. James Minor; 1-2 d. St. Simon; 3-4 a. St. Peter; 3-4 b. St. Andrew; 3-4 c. St. James Major 3-4 d. St. John; 5 a-d. Canopies 6 A-D. Angels; 6 A/B. St. John the Baptist; 6 C/D. St. Francis; 7 B,C. Angels; 7 B,C. The Virgin with the dead Christ
Inscriptions:
1-2 a. ASCENDIT AD·CELOS: SEDET: AD DEXTRAM ·DEI PATS OMIPOTETIS / SCS BARTHOLOME’
1-2 b. INDE·VETURUS E IUDICARE: VIVOS: + MOR / SC MATHIAS
1-2 c. SCAM: ECCLICIA CATHOLICAM SCOY COMUNIONE / S IACOBS
1-2 d. REMISSIONEM·PECCATORUM / SYMO
3-4 a. CREDO·I DEM OMIPOTENTEM CREATORE·CELI E TERE / SC PETRUS
3-4 b. ET IN IHM XPM FILIU EUS UNICU DOMINU ·NOSTRU
3-4 c. QI CONCEPTUS DE SPO SANCTO: NATUS·EX:MARIA·VIR / S IACOBS
3-4 d. PASSUS:SUB·PONTIO·PTO .RUCIU MORTU: + SEPULTUS / JOHES
6 A/B. SCS IOH BAPTISTA
6 C/D. SC FRANCISCUS