Last Sunday (Easter Sunday) was another fabulous and busy day at Packwood. I got to spend some more time in my favourite space helping some more children to become expert weavers and talking to visitors about this amazing display. I felt much more confident for having spent some time with the lovely ladies of The Weavers Guild the week before so could be assured I was giving all the correct information without having to look it up first! I also spent time in the Ireton bedroom and a new room to me, the dining room.
Although the weather wasn't as glorious as we've had on some of the other days over Easter there were still plenty of people braving the elements to do the Cadbury's Easter egg trail and enjoy the gardens (between the showers!)
I promised you in my last post that I would share with you the details of my little personal research project. One of the first rooms I was 'introduced to' (by the lovely Len) as a room guide was Queen Margaret's bedroom. The windows in this room, like many at Packwood have some incredible stained glass. My favourite piece is a heraldic piece of a knight charging into battle. The colours are so rich and vivid even though it's dated 1598 and the painting work shows an exceptional standard of detail.
As Packwood was 'put together' as we see it today by G.B. Ash many of the elements (including the windows) are not original to the building. Many of the items we have here can only be traced back as far as the sale where Ash purchased them. It's an exciting prospect as an amateur historian to add to the knowledge of this special place as 'all is not already known'.
This is the piece I wanted to find out more about.
And here's what I know so far:
The painter it is reasonable to assume is Wolfgang Breny (Bräni) a Swiss painter from a glass painting family in Rapperswil.
Active: 1586-1612
20 pieces are attributed to him that we know of with same WB monogram I found 2 others in a Swiss research document (see below) & another one is possibly at Nostell Priory but I am waiting to hear back from them.
Please excuse the phone 'screen shots' but these were taken from a document that did not allow the photo's to be taken off and this was the best way to show you.
The Knight - I have to attribute much of this research to my Father in Law Peter Greenhill my secret weapon in all heraldic matters!
German Gothic knight, whose war cry was Kriegen
Oder Biegen which interprets as Catch or Bend. Bend in this context meaning
'Give Way'.
If you don't catch them with your lance you will yield (bend/give way) to theirs (their will)
***Modern version would be it's my way or the high way?!***
The shield being carried is Or (Gold) a Stag trippant Proper (in its natural colours). The crest being a demi stag as of the shield (ie proper) Mantled Or (ie the banderol is coloured Gold or Yellow.).
The shield shown on the rear trapper is Azure a rose bush Vert flowered Or & Argent (gold and white). The crest for these Arms being shown on the front trapper as a pair of Buffalo's horns Or (gold) mantled Azure doubled Or.
The plumes on the horses head are purely decorative and typical of the Gothic period.
The nearest identified Coat is of Arnold de Cervolle, Archpriest of Velines who fought at Poitiers wearing the Arms of the 10 year old Duke of Alencon and who was saved from certain death by the Black Prince. Cervolle's Arms were Or a stag trippant Azure. ***but we are still looking for one related to Swiss or German arms*** Pete has got the 'Big' books out so I await further information!
If you don't catch them with your lance you will yield (bend/give way) to theirs (their will)
***Modern version would be it's my way or the high way?!***
The shield being carried is Or (Gold) a Stag trippant Proper (in its natural colours). The crest being a demi stag as of the shield (ie proper) Mantled Or (ie the banderol is coloured Gold or Yellow.).
The shield shown on the rear trapper is Azure a rose bush Vert flowered Or & Argent (gold and white). The crest for these Arms being shown on the front trapper as a pair of Buffalo's horns Or (gold) mantled Azure doubled Or.
The plumes on the horses head are purely decorative and typical of the Gothic period.
The nearest identified Coat is of Arnold de Cervolle, Archpriest of Velines who fought at Poitiers wearing the Arms of the 10 year old Duke of Alencon and who was saved from certain death by the Black Prince. Cervolle's Arms were Or a stag trippant Azure. ***but we are still looking for one related to Swiss or German arms*** Pete has got the 'Big' books out so I await further information!
How was it done?
Method:
In the 16th century a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were then annealed to the glass before the pieces were assembled.
A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage. Which explains how the colours are so vibrant.
In the 16th century a range of glass stains were introduced, most of them coloured by ground glass particles. They were a form of enamel. Painting on glass with these stains was initially used for small heraldic designs and other details. By the 17th century a style of stained glass had evolved that was no longer dependent upon the skilful cutting of coloured glass into sections. Scenes were painted onto glass panels of square format, like tiles. The colours were then annealed to the glass before the pieces were assembled.
A method used for embellishment and gilding is the decoration of one side of each of two pieces of thin glass which are then placed back to back within the lead came. This allows for the use of techniques such as Angel gilding and Eglomise to produce an effect visible from both sides but not exposing the decorated surface to the atmosphere or mechanical damage. Which explains how the colours are so vibrant.
References:
Method: Wiki, Peter Greenhill
Arms/ Colours/ Motto: Peter Greenhill
Wolfgang Breny:
http://www.eliechtensteinensia.li/JBHV/1974/74/Die_Wappenscheiben_des_Grafen_Karl_Ludwig_von_Sulz_und_der_Graefin_Barbara_von_Sulz.pdf
http://www.answers.com/topic/master-wb-2
No comments:
Post a Comment