¹ Winston, C., Memoirs Illustrative of the Art of Glass Painting (London, 1865), p. 251.Google Scholar

² Jill Kerr (London, 1982).

³ Curange, or Kuringen, province of Limbourg, canton of Hasselt, was part of the diocese of Liège until 1967. It is now part of the diocese of Hasselt.

⁴ For the history of the abbey, see Opsomer, C., ‘L'abbaye de Herkenrode à Curange’, Monasticon Beige, Province de Limbourg (Gembloux, 1975);Google ScholarMoons, J., De abdij Herkenrode te Kuringen (Beringen, 1971).Google Scholar

⁵ The tomb, now lost, was once in the abbey church. The inscription is recorded in J. Mantelius, Historiae Lossensis libri decem (Liège, 1717), pt. I, p. 124.

⁶ Archives de Evêche de Liège, Chartrier de Herkenrode. See 22nd July 1387; Louis, Count of Looz, grandson of Gérard, granted an identical charter in 1222: ibid., 1222.

⁷ Wauters, A., ‘Gérard, Comte de Looz’, Biographie Nationale, VII (Brussels, 1880–3), cols. 631–5.Google Scholar

⁸ Henri de Looz, like his brothers Louis, Arnold and Gérard, renounced his rights to the lease of Herkenrode at the same time that his father sold it.

⁹ Cistercian abbey at Gozée, province of Hainault, canton of Thuin.

¹⁰ Each female Cistercian community was dependent on a male community which was charged with the supervision of the spiritual life of the nuns and saw that the monastic rule was respected.

¹¹ Cistercian abbey at Aubel, province of Liège, canton of Aubel.

¹² In the fifteenth century the Principality of Liège, stirred up by France, fought against the Burgundians—at first Philip the Good and then Charles the Bold, who razed Liège in 1468. Liège also revolted against its own prince-évêque, Louis de Bourbon, nephew of Philip the Good, who was eventually assassinated by Guillaume de la Marck, loyal to France. After the latter's death, at the instigation of the new bishop, a de Horns, a bloody feud was carried on between these two families for seven years. The Peace of Donchéry, in 1492, put an end to the fighting.

¹³ The Etat noble comprised the ancient aristocratie of the region, and was made up, on the one hand, of the État primaire (the aristocratic canons of the chapter of St-Lambert) and on the other of the État tiers (urban bourgeoisie), thetrois Puissances which, around the prince-évêque, played an important role in the City.

¹⁴ P. L. de Saumery, Les Delices dupais de Liège (Liège, 1744), IV, p. 220.

¹⁵ Laurent Dewez (1731–1812).

¹⁶ Van Impe, L., ‘De gebouwen van de Herkenrode Abdij’, in Het Oude land van Loon, xxxiv (1979), 157–227.Google Scholar

¹⁷ This letter survives in the Bibliothèque Provinciale at Hasselt. It was published by Daniels, P., ‘La lettre d'indulgence délivrée en 1363 en faveur de l'abbaye de Herckenrode’, VerzameldeOpstellen. Geschied en Oudheidkundige. Studiekring te Hasselt, i (1923), 53–4.Google Scholar

¹⁸ Archives Générales du Royaume: Dewez, Partie VII, A 131 (see Van Impe, op. cit. (n. 16), 213.

¹⁹ This plan was stuck inside the back of a Register in the Archives of the Archdiocese of Malines: ‘Abbaye de Herkenrode, Inlydinge of Cort begryp tot ware kennisse der origineele charters’.

²⁰ Saumery, op. cit. (n. 14), IV, pp. 221–2.

²¹ This tile floor is now in the Musée du Cinquantenaire, Brussels.

²² Artus Quellin (1609–68) was the most famous of a family of sculptors.

²³ Jean Delcour (1627–1707) was a pupil of Bernini's in Rome and worked principally at Liège.

²⁴ … consecratum fuit per nos presens altare in honorem sancte et individue Trinitatis et beatissime et gloriosissime dei genetricis Virginis Marie et domine Anne matris ejus sanctorumque Bernardi et Georgii. J. Bamps, ‘La chapelle privée des mères abbesses de Herckenrode au XVI^e siècle’, L'Ancien Pays de Looz, year 6, 25th March 1897, pp. 37–8.

²⁵ Ibid., pp. 37–8.

²⁶ Ibid., p 37

²⁷ Bamps, J., Bull, des Commissions Royales d'Art et d'Archéologie, xiii (1874), 11–12.Google Scholar

²⁸ These theories are criticized in section II.

²⁹ Nicaise, H., ‘Een Antwerpsch glasschilder in de abdij van Herkenrode’, Antwerpen's Oudheidkundige Kring, xii (1936), 56–61.Google Scholar

³⁰ Rombouts, Ph. and Lerius, Van, De Liggeren en andere historische archieven des Antwerpsche St-Lucasgilde, I, Liggere van 1453–1615 (Antwerp, 1864), p. 110.Google Scholar

³¹ Ibid., p. 152.

³² Ibid., pp. 193, 204.

³³ Archives of the Archdiocese of Malines, op. cit, (n. 19), ‘stipalboeken ende voordere documenten’, p. 347. See Appendix, p. 221.

³⁴ Malines, City Archives, ‘Schepenakten’, no. 146, f.94.

³⁵ Schoeffer, , Historische aantekeningen rakende de kerken, de kloosters, de ambachten en andere stichten der stad Mechelen (Malines, 1877), III, p. 50.Google Scholar

³⁶ Neeffs, E., Histoire de la peinture et de la sculpture à Malines, I. La gilde de St-Luc. L'Academie des Beaux-Arts. Les peintres malinois (Gent, 1876), p. 322.Google Scholar

³⁷ Archives of t h e City of Malines, ‘Schepenakten’, no. 146, f.95.

³⁸ Steenackers, E., La Confrérie de Notre-Dame des Sept Douleurs à Malines (Malines, 1927), p. 7.Google Scholar

³⁹ Wayment, H., ‘A rediscovered master: Adrian van den Houte (c. 1459–1521) and the Malines/Brussels School. I. A solution to the Ortkens Problem’, Oud Holland, lxxxii, 4 (1967), 186–7.Google Scholar

⁴⁰ Neeffs, E., Notes sur les anciennes verrières de l'église métropolitaine de Malines (1887), esp. p. 7.Google Scholar

⁴¹ We wish to thank Dr. Weidenhaupt, curator of t he Düsseldorf Museum, who informed us of an important bibliography on this subject in F. Lau, Geschichte der Stadt Düsseldorf von den Anfängen bis 1815 (Düsseldorf, 1921), I, p. 291; II, p. 294. Daelen, E., ‘Zur Geschichte der bildenden Kunst in Düsseldorf’, Geschichte der Stadt Düsseldorf in zwölf Abhandlungen (Düsseldorf, 1888), p. 297.Google Scholar

⁴² Paris, Archives Nationales, F 17 A 1088, dossier 19.

⁴³ Grauwels, J., ‘De overbrenging van de kunstvoorwerpen van Herckenrode naar Hasselt in 1803’, Limbourg, xxxvii (Hasselt, 1958), 159.Google Scholar

⁴⁴ Bamps, J., Bull, des Commissions Royales d'Art et d'Archéologie, xiii (1874), 11.Google Scholar

⁴⁵ Among others: Britton, J., The History and Antiquities of the See and Cathedral of Lichfield … (London, 1820), pp. 52–3.Google Scholar (Mrs.) Jameson, A. B., Legends of the Monastic Orders as Represented in the Fine Arts (London, 1850), p. 154.Google Scholar Winston, op. cit. (n.1), pp. 312–25.

⁴⁶ Bamps, J., ‘Résumé des procès-verbaux. Vitraux provenant de l'ancienne abbaye de Herckenrode’, Bull, des Commissions Royales d'Art et d'Archéologie, xiii (1874), 10–17.Google Scholar

⁴⁷ Especially Hand Guide to Lichfield Cathedral … 5th edn. (Lichfield, 1898);Google ScholarDay, L. F., Windows. A Book about Stained and Painted Glass (London, 1909), pp. 209–10Google Scholar; Bright, H., The Herckenrode Windows in Lichfield Cathedral (Lichfield, 1932).Google Scholar

⁴⁸ Helbig, J., ‘Les vitraux de l'ancienne église abbatiale des Dames Nobles de Herckenrode’, Bull, des Commissions Royales d'Art et d'Archéologie, xvi (1877), 366–82;Google ScholarNeuss, H. Van, ‘Les vitraux de l'abbaye des Dames Nobles de Herckenrode’, Bull, des Mélophiles de Hasselt, xxxi (1894), 117–90.Google ScholarOuverleaux-Lagasse, F. A., ‘Les vitraux de l'ancienne église abbatiale d'Herckenrode à la cathédrale de Lichfield’, Ann. de la Société Royale d'Archéologie de Bruxelles, xxxii (1926), 89–97;Google Scholar Nicaise, op. cit. (n. 29), 56–61; R. Forgeur, ‘L'église Saint-Martin à Ougrée. Annexe’, Bull, de la Société Royale Le Vieux-Liège, vii (1968), no. 160–1,289.

⁴⁹ Lichfield Cathedral itself comprises several successive buildings from the twelfth to the nineteenth centuries and was severely damaged during the Civil War. The original Lady Chapel was built under Bishop William Langton (1296–1321): Bumpus, T., The Cathedrals of England and Wales (London, 1906), III, pp. 1–64.Google Scholar

⁵⁰ Boothby was a great patron of the art and poetry of his time; he commissioned Joshua Reynolds to paint his portrait in 1787 and that of his daughter in 1789. See Ouverleaux- Lagasse, op. cit. (n. 48), 96, and Nicholson, B., ‘Joseph Wright of Derby, painter of light’, Studies in British Art (London, 1968).Google Scholar

⁵¹ Bright, op. cit. (n. 47), pp. 9–10.

⁵² Britton, op. cit. (n. 45), p. 52, and repeated by subsequent authors.

⁵³ Deposited in the Lichfield Record Office. The records of the contents of the cases and the payments for the glazing programme are of considerable interest. Transcripts of all these accounts are deposited at the Society of Antiquaries and in the C.V.M.A. Archive at the National Monuments Record.

⁵⁴ It was Rowland who installed the majority of the glass in St. Mary's, Shrewsbury. This glass is mostly German and Low Countries in origin and the numerous roundels now set into the windows came from private collections.

⁵⁵ Lonsdale, J. G., Recollections of Work done in and upon Lichfield Cathedral from 1856 to 1894 (Lichfield, 1895), p. 19.Google Scholar

⁵⁶ It was Kempe who acquired the two westernmost windows of the Lady Chapel for the cathedral from the Convent of the Grands Cannes at Antwerp. These two windows are the work of Arnold of Nijmegen and his follower, J. Floris. See, among others, Helbig, J., ‘Jacques Floris va-t-il enfin se révéler’, Revue Beige d'Archdologie et d'Histoire de l'Art, xiv (1944), 129–41.Google Scholar

⁵⁷ Bright, op. cit. (n. 47), p. 11.

⁵⁸ Each of t h e twin bays is 167 cm. wide, and the panels are 57 cm. high.

⁵⁹ The majority of the coats of arms cited here are described in full in Rietstap, J., Armorial général (Gouda, 1884–1887).Google Scholar

⁶⁰ The small figures carrying the donor's device also feature, for example, in the side panels of the lower parts of three windows at Lierre donated c. 1535 by Arnold Streyters, Denis Van Zeverdonc and Marcus Cruyt. J. Helbig, Corpus Vitrearum Medii Aevi ( = C.V.M.A.). Belgique, II: Les Vitraux de la première moitié du XVI^e siècle conservés en Belgique. Province d'Anvers et Flandres (Brussels, 1968), pp. 252–72.Google Scholar

⁶¹ Prince-Bishop of Liège from 1505 to 1538, he became cardinal in 1521. After having broken off friendly relations with France, which had not been sufficiently supportive during a previous unsuccessful bid to obtain his cardinalty, he signed a treaty in 1518 with Charles V, and became closer to the Low Countries. He was a subtle politician who brought peace to the Principality, encouraged industrial development and improved the economic situation; he was a great builder, a generous benefactor and an enlightened humanist. Buchin, E., ‘Le règne d'Erard de la Marck’, Bibliothèque de la Faculté de Philosophie et Lettres de l'Université de Liège, XLVII (Liège-Paris, 1931);Google Scholarde Haneffe, J. de Chestret, Histoire de la Maison de la Marck, y compris les Clèves de la seconde race (Liège, 1898), pp. 147–51.Google Scholar

⁶² ’Nous sommes déçus par nos voeux et trompés par le temps, la mort se rit de nos soucis, une vie anxieuse n'est que néant.’ Puraye, J., La Renaissance des études au Pays de Liège au XVI^e siècle (Liège, 1949), p. 25.Google Scholar

⁶³ Y. Vanden Bemden, C.V.M.A. Belgique, iv: Les Vitraux de la première moitié du XVI^e siècle conservés en Belgique. Provinces de Liège, Luxembourg, Namur (Brussels, 1981), fig. 135, pp. 175–90.Google Scholar

⁶⁴ He gave another window to St-Pierre at Liège and made further donations of windows to the new church and cloister at Scheut (Brabant), the church of St-Hadelin at Vise (Liège), the church at Anderlecht (Brabant), the Augustinian priory of Rouge-Cloître (Brabant), and for the church at Sept-Fontaines (Brabant). Helbig, J., De glasschilderkunst in Belgie, Repertorium en documenten (Antwerp, 1943 and 1951).Google Scholar

⁶⁵ Painting by J. C. Vermeyen in the Rijksmuseum, Amsterdam, and a portrait engraved after the same; drawing in the library at Arras, Vanden Bemden, op. cit. (n. 63), fig. 135; f. 326 (308) of the manuscript of J. Brunsthem, ‘Res gestae Episcoporum Leodiensium et Ducus Brabantiae a temporibus St. Materni’, Brussels, Bibliothèque Royale; title page in Gerson, Opus tripartitum, published by M. Hillen at Antwerp in 1512; portrait dated 1538, Commission Assistance Publique Hôpital des Anglais, the ancient convent of the English Jesuits at Liège; painting dated 1532 in the Arenberg Collection; a lost effigy formerly in St-Lambert at Liège, Vanden Bemden, op. cit., fig. 4. See also ibid., p. 190 n. 2.

⁶⁶ .Bribiosa, M., ‘L'iconographie de saint Lambert’, Bull, de la Commission Royale des Monuments et des Sites, VI (Brussels, 1955), 85–248; Vanden Bemden, op. cit. (n. 63), figs. 68, 85, 277.Google Scholar

⁶⁷ The first quarter of Egmont seems to have suffered from alterations, probably during restoration in England, where the arms are unfamiliar. The first should be the same as the fourth quarter: chevronny or and gules of twelve pieces.

⁶⁸ The dynamism of this group is reminiscent of a similar group by Dürer which is linked by both a description and a note in his journal to a journey through the Low Countries. He states that during his visit he completed several drafts on the subject of St. Christopher for Patenier. Dürer et son temps, Exhibition Catalogue, Brussels, Palais des Beaux-Arts, 7th October-6th December 1964, no. 50.

⁶⁹ J. Helbig, op. cit. (n. 60), p. 141.

⁷⁰ Florent d'Egmont (1469–1539) was Lord of Ysselstein, Comte of Buren, a Knight of the Golden Fleece in 1505, Stadhouder of Frise and then of Holland. He married Marguerite de Berghes in 1500, and she died in 1551. Dek, A. W. E., Genealogie der heren en graven van Egmond (The Hague, 1958), pp. 65–6.Google Scholar

⁷¹ The date 1571 is certainly inaccurate since Florent d'Egmont and his wife were already deceased. There is a portrait of Florent d'Egmont at Mauritshuis in The Hague, no. 841, illustrated in Vanden Bemden, op. cit. (n. 63), fig. 200, for which see also the St-Martin Liège glass, fig. 196, pp. 236–48.

⁷² The Collection of the Comte of Limbourg-Stirum at Huldenberg. Cited by Goole, F. and Potargent, P., Graf en gedenkschriften uit de Provincie Limburg, pt. 1 (Tongeren, 1965), p. 81.Google Scholar

⁷³ This glass is reminiscent of the work of Pierre Coecke of Alost, notably in the head of St. Anne. See Marlier, G., La Renaissance flamande. Pierre Coeck d'Alost (Brussels, 1966), p. 362. (All the photographic reproductions of the works of Pierre Coecke, his workshop and his followers can be seen in this book.)Google Scholar

⁷⁴ Helbig, op. cit. (n. 60), pp. 140–52,201–10.

⁷⁵ Jean de Hornes, Provost of the cathedral of St-Lambert at Liège in 1505, resigned his position after the death of his brother Jacques, who had no heir. He married the daughter of Florent d'Egmont in 1532; the latter is also represented in the glass at Lichfield. He died in 1544, she in 1574. For their alliances see Goethals, V., Dictionnaire généalogique et héraldique des families nobles du Royaume de Belgique, III (Brussels, 1850), pp. 43–4Google Scholar, 165–90. de Montjardin, J. de Theux, Le Chapitre de Saint-Lambert à Liège, II (Brussels, 1871–1872), pp. 345–6.Google Scholar

⁷⁶ D. O. F. M. Van Wely, ‘Litteraire geschiedenis van 16de eeuwse belgische glasramen in Engeland, Shrewsbury and Lichfield’, and Goole, F., ‘Resultaat van het heraldisch onderzoek, in Album Dr. M. Bussels, Federatie der geschied en oudeidkundige kringen van Limburg (Hasselt, 1967), pp. 595–610Google Scholar; Vanden Bemden, op. cit. (n. 63), figs. 35, 37; Goole and Potargent, op. cit. (n. 72), pt. 2, p. 265.

⁷⁷ Vanden Bemden, op. cit. (n. 63), fig. 62, p p. 93–103.

⁷⁸ Helbig, op. cit. (n. 64), 1 (1943). p. 158.

⁷⁹ Marlier, op. cit. (n. 73), p p. 235–6,252–3.

⁸⁰ Ibid., p. 367.

⁸¹ Maximillien was the son of Florent d'Egmont. He became Charles V's general, was a Knight of the Golden Fleece in 1531 and Stadhouder of Frise in 1540; he died in 1548. In 1531 he married Françoise de Lannoy, who died in 1562. Dek, op. cit. (n. 70), pp. 66–77.

⁸² The manuscript ‘Inscriptions funéraires du Limbourg’ mentions the abbesses Lexhy and reproduces the tombstones of Mathilde and Gertrude. Goole and Potargent, op. cit. (n. 72), pp. 64, 65, 70. MS. G.1682 in Brussels, Bibliothèque Royale, also contains information on the abbesses Lexhy (p. 171) and includes a drawing on p. 156 of Mathilde's tombstone which is very different from that in the previously cited manuscript.

⁸³ Window 205 cm. wide. The panels are the same height as those in n.IV.

⁸⁴ In the triptych which was in the church of Santiago at Teruel (Spain) until its loss during the Civil War, and which derived from a design of Van Doornicke, the face of the Virgin is also enveloped by a light veil which reveals the blonde hair falling in front of and behind the shoulders. As in the glass, the large sleeve terminates at the elbow and has an under-sleeve tightly attached to the arm, which it covers to the wrist; the position of the arms, the curved design of the hand and the position of the fingers which support the Child are identical. However, the depiction of the Child differs widely in the two cases. The hands and the arm can also be closely paralleled in the Adoration of the Magi by Coecke, also based on the design of Van Doornicke; similar depiction of the Virgin's hair can be seen in the same artist's Adoration of the Shepherds in the provincial museum at Valencia which also has a similar collar to the Virgin's robe as the glass. Marlier, op. cit. (n. 73), pp. 128–30,136–42,176.

⁸⁵ MS. G.1682, Bibliothèque Royale, Brussels: ‘Recueil d'épitaphes, vitrages et commémorations, qui se trouvent dans plusieurs églises et monastères’, collected by the Baron Herkenrode in the year 1794, p. 166.

⁸⁶ Bamps, op. cit. (n. 27), p. 13.

⁸⁷ Party per pale dexter a maunche argent and gules charged with a mullet argent in the second part; party sinister quarterly 1,4 ermine a saltire gules 2, 3 or a lion argent (for sable ?).

⁸⁸ Goole a nd Potargent, op. cit. (n. 72), I, p. 97.

⁸⁹ Prints and Drawings Department, the Louvre. See also Marlier, op. cit. (n. 73), pp. 298–9, fig. 241.

⁹⁰ Marlier, ibid., pp. 136–42.

⁹¹ Bright, op. cit. (n. 47), p. 16. Identification formerly made by Britton, op. cit. (n. 45).

⁹² Marlier, op. cit. (n. 73), pp. 360–1: Helbig, op. cit. (n. 60), pp. 201–10.

⁹³ Jameson, op. cit. (n. 45), p. 154. The same scene is depicted in a painting by the Master of Delft in Metz Museum and in a painting by Jacob Corneliz Van Amsterdam which was sold in Cologne in 1932, and there is a sixteenth-century painting on glass of the same subject in the National Museum in Madrid. One of the illuminations in an antiphonal made for the abbess Mathilde de Lexhy in 1544 (MS. 17, f.2^r, Obrecht Collection, Institute of Cistercian Studies, Western Michigan University, Kalamazoo, U.S.A.) has a representation of the Lactation of St. Bernard. The figures are arranged in front of a rich Renaissance portico which opens to a landscape in the background.

⁹⁴ Marlier, op. cit. (n. 73), p. 363.

⁹⁵ Gerard III Van Velpen, lawyer, the son of Georges and Beatrix Van den Bosch married Agnes de Mettecoven, daughter of Jean de Mettecoven, Alderman of St-Trond, and Marguerite de Lexhy, sister of the abbesses Mathilde and Aleyde. She died in 1557. For the Mettecoven family, see the Annuaire de la noblesse de Belgique, published by Baron Isidore de Stein d'Altenstein (Brussels, 1874), XXVIII, p. 225. See also Forgeur, op. cit. (n. 48), p. 289.Google Scholar

⁹⁶ Goole and Potargent, op. cit. (n. 72), p. 72. With some variations in the spelling. In L. de Herckenrode, Collection de tombes, épitaphes et blasons, recueillis dans les églises et couvents de la Hesbaye (Gent, 1845), p. 11, there is a note which contradicts the dates in the manuscripts ‘Gérard III de Velpen épousa par le contrat du 14 septembre 1553, Agnès de Mettecoven, qui trépassa le 20 octobre 1557; elle était fille de Jean et de Marguerite de Lechy’.Google Scholar

⁹⁷ Jean de Mettecoven, Alderman of St-Trond in 1506, died in 1534. He had, among his sons, Herman, Dean of the Chapter of Notre-Dame at St-Trond, and Henri, father of Marie, who also became a nun at Herkenrode in 1540.

⁹⁸ J. de Hemricourt, Miroir des nobles de Hesbaye, new edn. with additions by F. Jalheau (Liège, 1791), p. 16.

⁹⁹ Loc. cit. (n. 98).

¹⁰⁰ Azure three fleurs de lis or a scutcheon of pretence per pale parti dexter a fesse or and argent parti sinister or three crosslets argent. First helm with argent wings and mantling argent and azure, second helm with a unicorn and mantling gules and argent. For the arms see p. 203.

¹⁰¹ In the Erard de la Marck donor panel (n.IV, 1a) the architecture is also cut at the top, severing the leg of a small figure at the apex.

¹⁰² Exhibition Jean Gossaert dit Mabuse, Bruges, Groeninge-museum, 10th July-31st August 1965. Catalogue no. 64, pp. 320–2.

¹⁰³ Lavalleye, J., Lucas van Leyden—Peter Bruegel l'Ancien. Gravures. Oeuvre complet (Arts et Métiers graphiques) (Paris, 1966), figs. 26, 28, 137.Google Scholar

¹⁰⁴ Wayment, H., The Windows of King's College Chapel, Cambridge, C.V.M.A. Great Britain, Suppl. Vol. 1 (London, 1972), PP 79–80, pl. 95.Google Scholar

¹⁰⁵ Marlier, op. cit. (n. 73), pp. 55–61.

¹⁰⁶ In a small-scale Christ Carrying the Cross by Pierre Coecke (in the gallery of C. Marshall Spink in London in 1958), the soldier facing Christ has the same dynamic pose and expresses the same violence in his gestures.

¹⁰⁷ In the glass painting of the ‘Etats de Hollande’ at Hoogstraten the representation of the Last Supper is based on a cartoon attributed to Coecke dated 1535. The figure in the left foreground at Hoogstraten is reminiscent of the figure in the right foreground in the Lichfield representation. Marlier, op. cit. (n. 73), pp. 93–8, 361.

¹⁰⁸ The dynamic movement of the figure can be paralleled in other works by Coecke, for example, the central figure in the drawing of St. Paul on Malta (now in a private collection in England), and in the right-hand figure in a sketch for a painting of Pride dated 1537 (Frankfurt, Institut Staedel).

¹⁰⁹ Marlier, op. cit. (n. 73), pp. 354–5.

¹¹⁰ Vanden Bemden, op. cit. (n. 63), pp. 285–319, figs. 236, 239.

¹¹¹ van Isselt, H. Van Dam, ‘La fresque la “Conversion de Saül” de Michelange dans la capella Paolina du Vatican’, Actes du XVIII^me Congrés International d'Histoire de l'Art, Amsterdam, 23–31 July 1952 (The Hague, 1955). PP. 315–22. See also Vanden Bemden, op. cit. (n. 63), figs. 239, 251.Google Scholar

¹¹² Marlier, op. cit. (n. 73), pp. 203,208.

¹¹³ Helbig, op. cit. (n. 60), pp. 36–51, 211–25; Marlier, op. cit. (n. 73), p. 361.

¹¹⁴ In MS. G. 1682 (Bibliothèque Royale, Brussels) she is mentioned on p. 174. Her tomb is referred to on p. 158, and the Limbourg-Stirum manuscript contains the same information.

¹¹⁵ The Christ figure in the Incredulity of St. Thomas window at St-Germain l'Auxerrois (Paris) has certain affinities with the Lichfield glass in the similar proportions, the powerful torso, the cloak revealing one leg and the right hand held out to St. Thomas. These two representations are exactly contemporary and exhibit the same stylistic traits and the same feeling in the anatomies. The St-Germain glass is dated by a contract between the master glass-painter Jehan Chastellain and Thomas Bohier, King's Counsellor, dated 4th April 1533. J. Lafond, ‘La cananéenne de la cathédrale de Bayonne et le vitrail parisien aux environs de 1530’, Rev. de l'Art, x (1970), 77–84.

¹¹⁶ Marlier, op. cit. (n. 73), pp. 213–15.

¹¹⁷ Coecke has based his representation of the Virgin on a copy he made of the same figure in a painting by Jan Van Doornicke (National Museum of Ireland), ibid., p. 213. Coecke reused the same posture of this figure of the Virgin for the figure of Lydia in his drawing of ‘St Paul prêchant à Philippes’ (1530–40) now in the Prints and Drawings Collection in the Munich State Library, ibid., pp. 313–15.

¹¹⁸ Van Neuss, op. cit. (n. 48), 182.

¹¹⁹ A. C. Lomax, A Short Account of Lichfield Cathedral with Engravings and a Plan of the Windows (Lichfield, n.d.), 10th edn., p. 18.

¹²⁰ Typical parallels are the 1525 painting of the Last Judgement by Bernard Van Orley (Antwerp, Museum of Fine Arts) and the glass in the west front of the cathedral of St-Michel in Brussels (1528). In all these cases the Christ in Glory is associated with the Virgin, St. John the Baptist and groupings of auxiliary figures.

¹²¹ Bright, op. cit. (n. 47), pp. 17–18.

¹²² Goole and Potargent, op. cit. (n. 72), 1, p. 83.

¹²³ There were two nuns of this name at Herkenrode: Elisabeth Van Berckel, who died there in 1623, and Catherine Van Berckel in 1632. In the Limbourg—Stirum manuscript (ibid., p. 91) the following is recorded: a shield of arms quarterly van Eyck-Berckel overwritten ‘Noble Dame Bernarde van Eyck, morte 7 juin 1745, agée 42, relig. 23’. This record concerns a painted glass window.

¹²⁴ Two nuns at Herkenrode were members of this family, Marie (d. 1534), and another Marie (d. 1550).

¹²⁵ Shield identical to that in s.II which is the sinister half of the shield at the apex of the central window.

¹²⁶ The scutcheon is legible here as quarterly 1, argent three fers-de-moline gules 2, argent a saltire (tincture illegible) 3, barry of gules and argent 4, or.

¹²⁷ Goole and Potargent, op. cit. (n. 72), 1, p. 82, the scutcheon in n.II is checky or and gules, in n.III, quarterly I, argent three fers-de-moline 2, argent a lion 3, barry or and sable 4, argent three crosslets.

¹²⁸ One of these figures points to the central scene with his finger, a pose that can be seen in several of the Lichfield compositions.

¹²⁹ Bright, op. cit. (n. 47), p. 18.

¹³⁰ Wayment, op. cit. (n. 104), pp. 82–3, pl. 29.

¹³¹ Marlier, op. cit. (n. 73), pp. 208–10. This painting belongs to the same group as the Entry into Jerusalem and the Deposition.

¹³² These figures are similar to those in the window opposite.

¹³³ Helbig, op. cit. (n. 60), pp. 211–25. The expressive gestures of the soldiers in the glass are also reminiscent of many similar figures in the works of Coecke and Jan Van Doornicke.

¹³⁴ Wayment, op. cit. (n. 104), pp. 82–4, pl. 107.

¹³⁵ Marlier, op. cit. (n. 73), pp. 75–85.

¹³⁶ Heraldic Devices: sable three eagles or; a winged horse in a gold half circle; party per pale dexter azure a chevron reversed or sinister or a saltire checky gules and argent; a winged head; a maunche argent on azure; a winged horse; quarterly I, 4 argent (device illegible) argent 2, 3 argent; the remains of a double-headed eagle or on a field of or and argent; the winged head of an angel. None of these shields has been identified.

¹³⁷ The dimensions of the old glass are: h. 120 cm., w. 220 cm.

¹³⁸ Gertrude (d. 1574), Catherine (d. 1584), Marie (d. 1627), and Elisabeth (d. 1638).

¹³⁹ Her arms are shown on p. 174 of MS. G.1682 (Bibliothèque Royale, Brussels), as well as in the Limbourg-Stirum manuscript; Goole and Potargent, op. cit. (n. 72), I, p. 65.

¹⁴⁰ Her tomb is illustrated on p. 161 of MS. G.1682 and also in the Limbourg-Stirum manuscript: ibid., p. 71.

¹⁴¹ Anne's parents were Chrétien (d. 1575) and Marguerite Printhage (d. 1564). Her tomb is illustrated in L. de Herckenrode, op. cit. (n. 96), p. 168, no. 104.

¹⁴² A Johan de Blocquerie was Recorder of the abbey and Alderman of Vliermael; he died in 1531. See p. 145 of MS. G.1682 and the Limbourg-Stirum manuscript; Goole and Potargent, op. cit. (n. 72), I, p. 68.

¹⁴³ Marlier, op. cit. (n. 73), p. 216.

¹⁴⁴ H. 120 cm., w. 220 cm.

¹⁴⁵ Wayment, op. cit. (n. 104), pp. 82–4, pls. 21, 105.

¹⁴⁶ Other examples by Bouts, Capella Real, Granada; Metsys, National Gallery, London; Memling, Museum, Visence; Mostaert, Engelbrechts, etc.

¹⁴⁷ Primitifs Flamands anonymes. Maîtres aux noms d'emprunt des Pays-Bas méridionaux du XV^e et du début du XVI^e siècle, Exhibition, Bruges, Groeningemuseum, 14th June-21st September 1969, pp. 180–3.

¹⁴⁸ Marlier, op. cit. (n. 73), pp. 188–9.

¹⁴⁹ Goole and Potargent, op. cit. (n. 72), I, p. 81. The drawing is described as ‘glasschildering-venster “kapel”’.

¹⁵⁰ Mantelius, Hasseltum, op. cit. (n. 5), p. 223.

¹⁵¹ Similar extensive series survive in glass at St-Florentin (Yonne), which is later in date; at King's College Chapel, Cambridge, which is a typological series; and at Segovia and Salamanca in Spain.

¹⁵² Britton, op. cit. (n. 45), p. 52: ‘[the glass paintings] are supposed to be executed from designs of Italian and Flemish Masters’.

¹⁵³ Van Neuss, op. cit. (n. 48), 180–1: ‘La supériorité des vitraux qui nous occupent est due en grande partie à l'adoption de modèles italiens dans la plupart des sujets … les figures sont évidemment peintes d'après les dessins de grands maîtres italiens de la fin du XV^e et du commencement du XVI^e siècle’.

¹⁵⁴ Van den Corput, ‘Abbaye cistercienne de Herckenrode’, Intermédiaire des chercheurs et des curieux, 43rd year, 1907, term 1, col. 26; A. Boghaert-Vache, ibid., cols. 283–4; Bright, op. cit. (n. 47), p. 19; Jameson, op. cit. (n. 45), p. 154; Helbig, op. cit. (n. 48), p. 379.

¹⁵⁵ Colman, P., Le Trésor de la cathédrale Saint-Paul à Liège. Feuillets archéologiques de la Société Royale Le Vieux Liège, XIV (Liège, 1968), pp. 4–8.Google Scholar

¹⁵⁶ Brassinne, J., ‘Le tombeau d'Erard de la Marck évêque et prince de Liège’, Bull, de la Société des Bibliophiles Liègeois, xvii (1946), 85–118, with particular reference to p. 103.Google Scholar

¹⁵⁷ Gobert, T., Liège à travers les âges. Les rues de Liège, III (Liège, 1926), p. 468.Google Scholar

¹⁵⁸ Helbig, op. cit. (n. 48), 378–9; Day, L. F., Windows. A Book about Stained and Painted Glass, 3rd edn. (London, 1909), p. 210.Google Scholar

¹⁵⁹ The glass in St-Jacques at Liège has been heavily restored and very little of it is actually original. As that which survives is completely based on nineteenth-century reconstructions of the original glazing programme, any assessment which does not take this into account is likely to be incorrect unless the greatest caution is exercised: Vanden Bemden, op. cit. (n. 63), pp. 53–135, and inclusive restoration diagrams and illustrations.

¹⁶⁰ Relations were extremely close between the episcopal principality of Liège and Antwerp, a wealthy commercial, artistic and financial centre. Even the Liège glass itself has been influenced by the artistic centre at Antwerp, for example, the Coronation of the Virgin in St-Paul, Liège, of 1530 has a direct relationship with the same subject painted in 1521 by Dirick Vellert for the church at Lubeck: ibid., pp. 281–5, and inclusive illustrations. There is also an affinity in some of the architectural designs between the glass in St- Jacques, Liège, and the Hoogstraten glass.

¹⁶¹ ‘Ontvangen voor de pakken die ik hem geleverd heb’: Nicaise, op. cit. (n. 29), 5.

¹⁶² R. F. Lefevre, ‘Les travaux de l'orfèvre Malinois Jean Vermoelen pour l'abbaye d'Herkenrode en 1547’, Mechlinia, 5th year, 1925, no. 7, 107–12, with particular reference to 109–11.

¹⁶³ The Liège glazier, Dirick Van Halle, whose signature is perhaps the one to be seen in the Marguerite de Hornes glass at St-Jacques, Liège, was known to be working with an artist from Malines from whom he reclaimed cartoons intended for glass designs in 1538. Yernaux, J., ‘L'art du vitrail au pays mosan’, Bull, de la Société des Bibliophiles Liègeois, xviii (1951), 155.Google Scholar

¹⁶⁴ The influence of Coecke and his studio is widespread in varying degrees of intensity throughout a considerable number of the Antwerp altarpieces. For instance, the Pentecost and the Christ Leaving Pilate in the Wattignies (France) retable and the same scenes in the Lichfield glass have a general affinity with Coecke's style, whereas the figures of the Virgin in the Pentecost and the Annunciation in the Banne-lez-Messieurs (Jura, France) altarpiece are directly related to both the figure of the Virgin in the Pentecost at Lichfield and the Antwerp Master himself. A study of these altarpieces is contained in a doctoral thesis by H. Nieuwdorp on the Flemish altarpieces in France, University of Leuven.

¹⁶⁵ The church was originally a Norman foundation; traces of Romanesque work survive and the tower is sixteenth-century. The whole church was rebuilt in the nineteenth century in a restoration which began in 1830.

¹⁶⁸ ‘It has been said that this glass came from Herck near Maastricht’: Nairn, I. and Pevsner, N., The Buildings of England, Surrey (Harmondsworth, 1962), p. 83.Google Scholar

¹⁶⁷ The episcopal archives at Winchester perhaps contain the faculty for glazing the glass into the church, but so far this has not actually been found.

¹⁶⁸ Sir Charles Bagot, 1781–1843, diplomat, undertook numerous official duties in England and abroad: France, the U.S.A., Russia, Canada and the Low Countries. He became ambassador to The Hague in 1824: Dictionary of National Biography (London, 1930), p. 46.Google ScholarPubMed

¹⁶⁹ ‘When Sir Charles Bagot was ambassador at The Hague he procured the glass from M. Claes the owner of the dissolved abbey and presented it to the church in honour of his relative the Hon. Mrs. Greville Howard, then in occupation of the Manor’: Austin, E. J., Ashtead Church: its Story and Memories (Epsom, 1933), p. 26.Google Scholar

¹⁷⁰ Width of the window c. 230 cm. The height is approximately similar.

¹⁷¹ Vanden Bemden, op. cit. (n. 63), figs. 26, 48, 49, 52, 53, pp. 91 ff.

¹⁷² Primitifs Flamands anonymes. Maîtres aux noms d'emprunt des Pays-Bas méridionaux du XV^e et du début de XVI^e siécle, Exhibition, Bruges, Groeningemuseum, 14th June-21st September 1969, pp. 180–1.

¹⁷³ Ibid., pp. 182–3.

¹⁷⁴ Marlier, op. cit. (n. 73), pp. 181–2. The Madrid example is attributed to Isenbrandt and Van Orley. It is particularly close to the work of the latter, even though the face of the Virgin is most reminiscent of the work of Isenbrandt.

¹⁷⁵ In the ‘Haus Caen’ Crucifixion, discussed above (p. 207) in relation to the Lichfield glass, St. John also holds a book and has one leg in front of the other, but these are the only points in common with the glass. The same details are also found in another work by Coecke sold in the Stilwell sale in New York in 1927: ibid., pp. 177–8,180–1,188–9.

¹⁷⁶ Archives Générales du Royaume, Archives Ecclésiastiques Saint Pierre Louvain no. 19628, f.i, comprises a drawing of the Virgin and St. George in stained glass, and f.6 contains written confirmation that this glass was in the chapel of the Ste-Trinité at St-Pierre, Louvain.

¹⁷⁷ Goole and Potargent, op. cit. (n. 72), 1, p. 69.

¹⁷⁸ ‘Hic yacet Humo Domina Gertrudis/de Lechy Abbatissa obit Anno/millesimo quingentesimo …/decimo nono … die novembris.’

¹⁷⁹ In MS. G.920, p. 12, the wife of Jean de Mettecoven, who was the sister of Mathilde and Aleyde de Lexhy, bore the quarterly arms of Lexhy and Zelighs.

¹⁸⁰ See above, p. 200, for the Lichfield fragments, and p. 218 for those at Shrewsbury.

¹⁸¹ In the drawing of the chapel, pl. LXVII d, each panel of the window contains a roundel. As the drawing is nineteenth-century, it is most likely that the windows were reglazed with roundels at that time to replace the original glass.

¹⁸² Austin, op. cit. (n. 169), p. 26.

¹⁸³ This church was the first religious foundation in the town and became an independent Chapel Royal in the tenth century. It was rebuilt in the twelfth century and further alterations to the fabric took place throughout the ensuing centuries until the fifteenth century. Among the most recent publications, see particularly Hunt, J. E., The Glass in St. Mary's Church, Shrewsbury, 4th edn. (Shrewsbury, 1968), P. 5.Google Scholar

¹⁸⁴ C. E. Jarman, The Story of St. Mary's Church Shrewsbury, 7th edn. (Gloucester, n.d.).

¹⁸⁵ Van Wely and Goole, op. cit. (n. 76).

¹⁸⁶ Harvey, J. H. and King, D. G., ‘Winchester College stained glass’,.Archaeologia, ciii (1971), 160.Google Scholar

¹⁸⁷ Lloyd, , Notes on St. Mary's Church, Shrewsbury (Shrewsbury, 1900).Google Scholar

¹⁸⁸ ‘Most of the old Flemish glass came from the Abbey of Herkenrode, near Liège in Belgium, and was bought by Rev. W. G. Rowland vicar at the time‘: Forrest, H. E., The Church of St. Mary, Shrewsbury (Shrewsbury, 1911).Google Scholar

¹⁸⁹ Hunt, op. cit. (n. 183), p. 19. Ouverleaux-Lagasse, op. cit. (n.48),94.

¹⁹⁰ Jarman, op. cit. (n. 184); Hunt, op. cit. (n. 183), pp. 19–20.

¹⁹¹ Lloyd, op. cit. (n. 187); and Forrest, op. cit. (n. 188).

¹⁹² Hunt made a mistake, as he speaks of the blue mantle of the Virgin in The Collegiate and Parish Church of St. Mary the Virgin, Shrewsbury (London, 1958). He corrected his error on the basis of Lloyds' observations when he published his later work on the glass in 1968.Google Scholar

¹⁹³ The areas each side of the central light of the Crucifixion window at Lichfield also contain sixteenth-century glass, but this was placed there during the reglazing programme, and has no relationship with the Crucifixion.

¹⁹⁴ ‘I judge it to be circa 1450, possibly rather earlier’: Hunt, op. cit. (n. 183), p. 19.

¹⁹⁵ Jarman, op. cit. (n. 184); Hunt, op. cit. (n. 183), pp. 19–20.

¹⁹⁶ The male arms are or a mullet argent in the upper right angle and three fasces sable in the lower part. Female arms a lozenge couped argent a lion sable on a mullet of six points or.

¹⁹⁷ See for instance Goole and Potargent, op. cit. (n. 72), 1, pp. 59–103.

¹⁹⁸ The authors are extremely grateful to Mr. Martin Harrison, who drew their attention to this fragment and provided the information regarding the David Evans connection in a letter dated 4th February 1977.

¹⁹⁹ We are grateful to the Reverend Mother Superior of the Convent of Herkenrode for her kindness in permitting the examination and recording of panels in her charge.

²⁰⁰ Helbig, J. and Bemden, Y. Vanden, C.V.M.A. Belgique, III: Les Vitraux de la première moitié du XVI^e siècle conservés en Belgique, Brabant et Limbourg (Gent, 1974), pp. 148–54.Google Scholar

²⁰¹ Ibid., pp. 154–64.

²⁰² ‘Early stained glass panels at Abbey Folk Park—Cathedral's former window traced’, The Times, 2nd October 1934, p. 11. See also The Times, 25th January 1935, p. 11; 15th September 1937, p. 7, and 15th February 1938, p. 20.

²⁰³ Loc. cit.

²⁰⁴ See among others, Lafond, J., La Résurrection d'un Maître d'autrefois. Le peinture-verrier Arnould de Nimègue … (Rouen, 1942).Google Scholar

²⁰⁵ Grauwels, op. cit. (n. 43), 153–64.

²⁰⁶ For example, a panel with the arms of Marguerite de Berghes in the Victoria and Albert Museum, Daniels, P., ‘A propos d'un vitrail hasseltois de 1624’, Verzamelde Opstellen. Geschieden Oudheidkundige. Studiekring te Hasselt, III (1927), pp. 109–17.Google Scholar

²⁰⁷ For instance the east window of Elford Church near Lichfield.