Corpus Vitrearum Medii Aevi

Medieval Stained Glass in Great Britain

[Image: Stained Glass Roundel]
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Norfolk: Ringland, Parish Church of St Peter

O.S. TG 134 141

South Aisle

sV.

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sV 2a.

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sV 2a.

2a. Roundel: centaur and dog. A centaur with forked tail terminating in vine leaves and wearing a tunic and hood faces to sinister playing a vielle. Beneath him runs a dog. The black background is powdered with relieved circles, and there is a double circular border. Trace-line, smear shading, thick matt wash, needle-work. White glass, with yellow stain (on hood, border and dog’s tail). Surrounded by a modern purple border. Excellent condition, with a little paint loss. c.1360 – c.1380.
d 0.17m (without border)
G. King & Son (col. trans., CVMA inv. no. 005181); UEA (1970–75, b&w neg. no. 34/17/13); NMR (1980, col. trans., CVMA inv. no.005181); Carrick Collection, NMR (1982, col. trans., CVMA inv. no. 005182); NMR BH091_16 (1980, col. trans., CVMA inv. no. 016758); DK (2007)

sVII.

3a. Fragments, set within a plain fillet of modern white glass, including canopy-work (early 14th-c and c.1360 – c.1380); also border pieces, painted quarries with yellow-stain strap-work, foliage diaper (all c.1360 – c.1380). Trace-line, smear shading, relieving. White and pot-blue glass, with yellow stain. Some paint loss and corrosion.
h 0.34m, w 0.39m (without fillet)
UEA (1970–75, b&w neg. no. 34/17/14); DK (2007)

3b. Fragments, set within a plain fillet of modern white glass, including canopy-work and fleurs-de-lys border (early 14th-c); four crowned Ws and two crowned Ts and further canopy fragments (c.1360 – c.1380). Trace-line, smear shading, relieving. White glass, with yellow stain. Also oak leaf, pot-blue and ruby glass (14th-c) and modern toned white glass.
h 0.34m, w 0.405m (without fillet)
UEA (1970–75, b&w neg. no. 34/17/14); DK (2007)

sVIII.

3a. Fragments, set within a plain fillet of modern white glass, including canopy-work and three crowned Ws; c.1360 – c.1380; trace-line, smear shading, relieving; white glass, with yellow stain. Also a piece of hawthorn diaper on white glass (14th-c), with some very corroded fragments of white glass.
h 0.34m, w 0.40m (without fillet)
UEA (1970–75, b&w neg. no. 34/17/14); DK (2007)

3b. Fragments, set within a plain fillet of modern white glass, including canopy-work; c.1360 – c.1380, trace-line, smear shading, relieving; white glass, with yellow stain; some paint loss. Also some ruby and pot-blue glass; 14th-c.
h 0.34m, w 0.40m (without fillet)
UEA (1970–75, b&w neg. no. 34/17/14); DK (2007)

3c. Fragments, set within a plain fillet of modern white glass, including canopy-work and a crowned W; c.1360 – c.1380; trace-line, smear shading, relieving; white glass, with and yellow stain; some paint loss. Also a quarry with a foliage pattern and pot-blue glass; 14th-c.
h 0.34m, w 0.40m (without fillet)
UEA (1970–75, b&w neg. no. 34/17/14); DK (2007)

North Clerestory

NIII.

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NIII 1a.

1a. A male secular donor figure kneeling before an altar-tomb in prayer to the right, wearing a blue houppelande with fur-lined cuffs and belted at the waist. On his right shoulder can be seen the roundlet of a purple chaperon, the liripipe of which falls down the front. The background is mainly modern quarries, but includes medieval fictive quarries with painted lead-lines and pieces of ruby glass. Borders to right and left are made of fragments, but include sunbursts that may be original to the panel. Below is an imperfect inscription in blackletter: 'Orate/ […]/ Rob /[…]/ Gylys'. Two insertions of blue and purple modern glass on chest, and of white at base of figure; altar patched on left of figure with medieval fragments, including part of a wooden beam; first missing part of inscription replaced by a fragment with small illegible blackletter inscription. Trace-line, stipple shading, relieving. White glass, with yellow stain. c.1460 – c.1470.

UEA (1970–75, b&w neg. no. 34/17/11); NMR BH092_04 (1980 col. trans., CVMA inv. no. 016768); DK (2007)

2a. Roundel : 'M' monogram set in a now opaque plain border, possibly of ruby glass. The monogram, in yellow stain set against a black background with relieved circles, is surrounded by a star-shaped interlace pattern with leaf terminations in yellow stain and a beaded yellow-stain border. c.1460 – c.1470. Two repair leads, some paint loss.

UEA (1970–75, b&w neg. no. 34/17/11); DK (2007)

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NIII 1b.

1b. A veiled female secular donor figure kneeling before an altar-tomb in prayer to the left, wearing a long blue gown with fur-trimmed cuffs girdled at the waist with a purple belt. The background consists of plain quarries, some of which may be medieval. The lateral borders are made up of fragments, including blue and ruby pieces, rod-and-leaf border, three pieces from a wooden beam, a fragment with part of a glory, and some illegible blackletter text. Along the bottom is an inscription in blackletter: '&Matilde:/ uxori/s. ei /us:'. Trace-line, stipple, relieving. White glass, with yellow stain. c.1460 – c.1470.

UEA (1970–75, b&w neg. no. 34/17/12); NMR BH092_03 (1980 col. trans., CVMA inv. no. 016767); DK (2007)

2b. Roundel: 'IHS' monogram with a ruby border, but otherwise as NIII 2a. c.1460 – c.1470.

UEA (1970–75, b&w neg. no. 34/17/11); DK (2007)

NIV.

1–2a. This is now plain quarry glazing, but a panel depicting the Virgin and Child now in Norwich Cathedral in sVI can be assigned to this position. 20

3a. Roundel : Evangelist emblem with the bull of St Luke in a plain blue border. 21 The winged and couchant bull set on a feathered diaper pattern holds a scroll in its mouth with 'S(an)c(tu)s [L]uc[as]'. Trace-line, thin matt wash. White glass, with yellow stain. Broken in several places and mended with repair leads; piece in the middle missing. c.1460 – c.1470.

UEA (1970–75, b&w neg. no. 34/17/8); DK (2007)

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NIV 1b. and 2b.

1–2b. The nimbed and bearded St John the Baptist stands facing to dexter, holding a book in his left hand, on which sat a now missing Agnus Dei; parts of the pennant and cross are still visible. 22 He wears an olive-green mantle over a voluminous white robe whose hem is decorated with roundels. Beneath is a camel’s skin; the head is visible between his bare legs. He stands on a pedestal with chequered paving with a quatrefoil pattern. Behind his head runs a scrolls on which in blackletter is 'Ecce agnus/ dei'. This is painted on an area of fictive plain quarries, which presumably was the background to the whole figure, now set on modern plain quarries. The panel is narrower than the light at the sides, showing that a painted border, such as is still seen in other clerestory lights, was originally present. c.1460 – c.1470. Some exterior corrosion, a little paint loss, dirty in some areas, a few repair leads.

UEA (1970–75, b&w neg. no. 34/17/10); NMR BH091_17 (1980, col. trans., CVMA inv. no. 016759); DK (2007)

3b. Roundel: Marian monogram set in a plain blue border. The design is similar to but slightly different from the roundels in NIII 2a and 2b. The monogram is crowned, the interlace pattern has a double line and the beaded border is absent. Judging from G. A. King’s drawing, the roundel has been cut down slightly to make it the same size as the others. 23 It was placed here to replace the missing one with the emblem of St Matthew. Trace-line, thick matt wash, relieving. White glass, with yellow stain. Mid-15th-c. Exterior corrosion in lower half, some paint loss.

UEA (1970–75, b&w neg. no. 34/17/10); DK (2007)

NV.

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NV 1–3a.

1–3a. Gnadenstuhl Trinity: the bearded God the Father (face now missing) stands against a glory with hands raised and right hand blessing, wearing an ermine lined ruby mantle with rosette pattern and a white hem with yellow-stain rosette pattern over a white robe with similar decoration, behind a figure of Jesus crucified, wearing a purple loin cloth. The dove of the Holy Spirit flies between the two heads. God the Father and the cross, which has a tripartite orb at the base, both stand on an ears-of-barley pedestal. To the left kneels a praying male secular donor wearing a blue houppelande with fur-lined cuffs and belted at the waist. The liripipe of his chaperon falls down the front. 24 Vertically above the donor’s head is a scroll with blackletter inscription 'S(an)c(t)a Trinita[s]'. To each side is a broad rod-and-leaf border, and at the bottom an incomplete blackletter inscription 'Orate p(ro) an[ima]/ [Wi]ll(ielm)i Gili[s] '. Above the figure of God the Father and in the head of the light is modern plain quarry glazing. Trace-line, stipple shading, relieving. White glass, with yellow stain. There also appears to be an abraded flower pattern on God’s mantle, but this is not shown on King’s watercolour and it may be that a back-painted pattern led to the corrosion of the ruby flash. Also lost are the tip of God’s left hand, a piece to the left of Jesus’s face, and parts of the lowest strip of glass, which is patched with fragments. King’s watercolour shows that the inscription has been cut short and raised; it originally had 'ora pro me' after the ‘Sancta Trinitas’. c.1460 – c.1470. Some external corrosion, ruby mantle very dark, several repair leads.

UEA (1970–75, b&w neg. no. 34/17/5); NMR BH091_19 (1980, col. trans., CVMA inv. no. 016761); DK (2007)

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NV 1-3b.

1-3b. The nimbed and crowned long-haired Virgin with Child stands facing to sinister on an ears-of-barley pedestal, wearing a blue ermine-lined mantle with a white hem decorated with a rosette pattern, over a white robe with the same pattern, holding a sceptre in her right hand and the Christ Child in her left. To the right kneels a female secular donor facing to sinister with hands raised in prayer, wearing a white veil and blue gown with fur-trimmed sleeves. Vertically from her hands rises a scroll with blackletter inscription 'Mat(er) dei memento mei ani'. To each side is a broad rod-and-leaf border, and at the base is an inscription in blackletter '& Matilde uxor eius'. Technique as 1a and 1b of this window. Missing areas include background above figure, part of Virgin’s chest and hair, and a piece at either end of inscription. King’s watercolour shows the Christ Child’s garment as missing except for the hem; possibly the blue glass now there is a replacement. c.1460 – c.1470. Moderate external corrosion, worse on the blue glass; several repair leads.

UEA (1970–75, b&w neg. no. 34/17/6); NMR BH091_18 (1980, col. trans., CVMA inv. no. 016760); DK (2007)

A1. Lower part. Evangelist emblem with the bull of St Luke. 25 The winged bull lies on a grassy field with clifflets against a background decorated with roundels, holding a scroll in his mouth that reads in blackletter 'S(an)c(tu)s Lucas'. Trace-line, stipple-shading. White glass, with yellow stain. A section top right is missing and patched with modern clear glass; considerable paint loss; two small repair leads. Upper part. Roundel: Marian monogram, possibly in situ, set on blue fragments with white fillet. Trace-line. White glass, with yellow stain. c.1460 – c.1470. Whole, but nearly all paint has gone.

UEA (1970–75, b&w neg. no. 34/17/7); DK (2007)

A2. Lower part. Evangelist emblem with the winged young man of St Matthew. 26 The figure holds a scroll with ' [Sanctu]s Mattheus' in blackletter. Design and technique as A1 of this window, but yellow stain very brassy in places. c.1460 – c. 1470. Small piece missing top left, some paint loss, several repair leads. Upper part. Intruded young nimbed head facing to dexter, probably from an angel, set on ruby fragments with white fillet. Trace-line. White glass, with yellow stain. c.1460– c.1470. Some paint loss, two repair leads on face, ruby very dark.

UEA (1970–75, b&w neg. no. 34/17/7); DK (2007)

A3. Lower part. Evangelist emblem with the lion of St Mark. 27 The lion holds a scroll in his mouth with 'S(an)c(tu)s Marcus' in blackletter. Design and technique as A1 of this window. Three small pieces missing in or near corners. Several repair leads. Upper part. Roundel: initial ?‘T’, presumably for the Trinity, set on ruby fragments with white fillet. Possibly in situ. Trace-line. White glass, with yellow stain. c.1460 – c.1470. Severe paint loss, one repair lead.

UEA (1970–75, b&w neg. no. 34/17/7); DK (2007)

A4. Lower part. Evangelist emblem with the eagle of St John. 28 The eagle holds a scroll in its beak with 'S(an)c(tu)s Joh(ann)is' [sic]’ in blackletter. Design and technique as A1 of this window. c.1460 – c.1470. Small piece missing next to head, some paint loss, several repair leads.Upper part. Intruded head of nimbed and bearded figure facing to sinister. Trace-line, stipple-shading. White glass, with yellow stain. c.1450 – c.1470.

UEA (1970–75, b&w neg. no. 34/17/7); DK (2007)

B1. Roundel: geometric design, set on white glass. Trace-line. White glass, with yellow stain. Possibly 19th-c.

UEA (1970–75, b&w neg. no. 34/17/7); DK (2007)

B2. Roundel: crowned 'IHC' monogram, cut to a circle, set on white glass. 29 Trace-line, thick matt wash, relieving. White glass, with yellow stain. c.1460 – c.1470.

UEA (1970–75, b&w neg. no. 34/17/7); DK (2007)

C1. Quatrefoil with ruby disc set on white glass with faded foliage pattern in yellow stain. c.1460 – c.1470.

UEA (1970–75, b&w neg. no. 34/17/7); DK (2007)

NVI.

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NVI 1-2a.

1-2a. Virgin Annunciate kneels on an ears-of-barley pedestal facing (unusually) to sinister at a prie-dieu, with her right hand on a book and her left across her breast. She wears an ermine-lined ruby mantle with decorated white hem over a white robe with a cinquefoil pattern. She is nimbed and has long hair. The prie-dieu is covered with a cloth decorated with a rosette pattern; before it stands a vase of lilies. To the right of her head is part of a scroll with 'd(omi)ni' in blackletter. 30 To either side is a border with sun-bursts, foliage ornament, and pieces of pot-purple and blue glass. Trace-line, stipple shading, relieving. White glass, with yellow stain. Strip of glass missing across Virgin’s face, together with tip of her long hair, replaced by white glass; nearly all background and much of cloth over the prie-dieu with part of the lily pot missing and replaced by modern white glass. c.1460 – c.1470. Exterior corrosion, heavy on the ruby glass, which has lost much of its flashing in places.

UEA (1970–75, b&w neg. no. 34/17/3); NMR BH091_21 (1980, col. trans., CVMA inv. no. 016763); DK (2007)

3a. Roundel : Evangelist emblem with the lion of St Mark set in a plain ruby border. 31 The lion holds a scroll in its mouth with 'S(an)c(tu)s Marcus' in blackletter. Feathered diaper ground. Trace-line. White glass, with yellow stain. c.1460 – c.1470. Some exterior corrosion, two repair leads.

UEA (1970–75, b&w neg. no. 34/17/3); DK (2007)

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NVI 1-2b.

1-2b. The archangel Gabriel from the Annunciation standing nimbed and with a low coronet facing to sinister with a sceptre in his left hand. 32 He wears an ermine tippet, short skirt and feathered tights. The upper pair of wings are blue and the lower purple. From his left hand rises a vertical scroll with ' [Ave] gra(t)ia plena' in blackletter. Below is an ears-of-barley pedestal. To either side and along the bottom is a border made of ruby, purple and blue glass with sunbursts and foliage ornament. Technique as 1a and 2a of this window. Top and bottom of scroll missing; gap to each side of pedestal; missing piece bottom left. One piece of blue wings and one of purple replaced by same colour glass. Figure set on a plain quarry background, some of which may be original. c.1460 – c.1470. Flashing worn on some of ruby pieces; head of Gabriel has been smashed and repaired with several leads.

UEA (1970–75, b&w neg. no. 34/17/4); NMR BH091_20 (1980, col. trans., CVMA inv. no. 016762), NMR BH092_05 (1980, col. trans., CVMA inv. no. 016769); DK (2007)

3b. Roundel: Evangelist emblem with the eagle of St John with a plain blue border, set on a feather diaper. 33 Trace-line. White glass, with yellow stain. c.1460 – c.1470. Whole, but paint badly worn.

UEA (1970–75, b&w neg. no. 34/17/4); DK (2007)

NVII.

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NVII 1a.

1a. Two male secular donor figures kneeling facing to sinister with hands raised in prayer before an altar-tomb, on an ears-of-barley pedestal. 34 They are identical. Each wears a blue fur-trimmed tunic with white belt, and on the right shoulder can be seen the roundlet of a purple chaperon, the liripipe of which falls down the front. The left-hand figure overlaps the border. The background consists of plain quarries, some of which may be original. To either side and at the bottom is a border of blue, ruby and purple pieces with sun bursts and foliage ornament. Below the figures is a blackletter text: 'Orate p(ro)/[animab]us Joh(ann)is guntun'. Trace-line, stipple shading, relieving. White glass, with yellow stain. c.1460 – c.1470. Complete, except for part of the inscription; some exterior corrosion and repair leads.

UEA (1970–75, b&w neg. no. 34/17/1); NMR BH092_01 (1980 col. trans., CVMA inv. no. 016765); DK (2007)

3a. Roundel: Marian and ‘IHS' monograms set in a plain purple border. 35 In the centre is a lily-pot and a Marian monogram forms part of the lily. Either side of the vase is a small 'IHS' monogram, and in the loops of an interlacing border are further Ms. The lily-pot is set on a glory. Trace-line, thick and thin matt washes, relieving. White glass, with yellow stain. c.1460 – c.1470. Two repair leads on roundel and several on border. some paint loss.

UEA (1970–75, b&w neg. no. 34/17/1); DK (2007)

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NVII 1b.

1b. A female secular donor figure kneeling facing to dexter with hands raised in prayer before an altar-tomb, on a chequered pedestal with a quatrefoil pattern. 36 She wears a blue gown with fur collar and ruby belt and a veil. Below the figure is a blackletter inscription 'roberti bende/ & Alicie uxoris eor(um) '. To either side and along the bottom is a border of blue and ruby pieces, sunbursts, and foliage ornament. The background is plain quarry glazing, some of which may be original. Trace-line, stipple shading, relieving. White glass, with yellow stain. c.1460 – c.1470. Complete, except for a small piece of blue gown; exterior corrosion; several repair leads.

UEA (1970–75, b&w neg. no. 34/17/2); NMR BH092_02 (1980 col. trans., CVMA inv. no. 016766); DK (2007)

3b. Roundel: Marian monogram set on a glory inside a large interlace pattern, the whole within a plain ruby border. 37 Trace-line, thick matt wash, relieving. White glass, with yellow stain. c.1460 –c.1470. Whole and in good condition.

UEA (1970–75, b&w neg. no. 34/17/2); DK (2007)

Footnotes

20.
See introduction. Return to context
21.
George A. King watercolour (UEA neg. no. 40/16/35). Return to context
22.
George A. King’s watercolour (UEA neg. no. 40/16/12) shows that the lamb was missing when he painted the panel, but he shows the now damaged pedestal as complete. Return to context
23.
UEA neg. no. 40/15/31. Return to context
24.
George A. King’s watercolour (UEA neg. no. 40/16/18) shows the chaperon on the right shoulder and hanging down the back, as in the figure in NIII, 1a; these are now missing. Return to context
25.
There are two slightly different King watercolours (UEA neg. no. 40/16/31). Return to context
26.
There are two slightly different King watercolours (UEA neg. no. 40/16/29). Return to context
27.
There are two slightly different King watercolours (UEA neg. no. 40/16/32). Return to context
28.
There are two slightly different King watercolours (UEA neg. no. 40/16/30). Return to context
29.
There is a watercolour by George A. King of the complete roundel (UEA neg. no. 40/15/31). Return to context
30.
The George A. King watercolour (UEA neg. no. 40/16/19) shows the panel in a more complete condition, with the scroll has ‘Ecce ancilla d(omi)ni’, partly covered by the dove. Return to context
31.
George A. King watercolour (UEA neg. no. 40/16/35). Return to context
32.
George A. King watercolour (UEA neg. no. 40/16/15). Return to context
33.
George A. King watercolour (UEA neg. no. 40/16/35). Return to context
34.
George A. King watercolour (UEA neg. no. 40/16/26). Return to context
35.
George A. King watercolour (UEA neg. no. 40/16/36). Return to context
36.
George A. King watercolour (UEA neg. no. 40/16/27). Return to context
37.
George A. King watercolour (UEA neg. no. 40/16/36). Return to context
Corpus Vitrearum Medii Aevi

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