[Sidenote: The Trinity Chapel, Canterbury.]

East of the choir in Canterbury Cathedral is the Trinity Chapel, of which the building was finished in 1185 and to which the body of St.

Thomas was translated with great pomp in the year 1220 and placed in a marvellous jewelled shrine, the position of which can still be traced on the pavement by the hollow worn round it by the knees of pilgrims. All around were gorgeous windows which, with the exception of those in the little circular chapel at the east end, known as "Becket's Crown," were filled with the stories of his posthumous miracles.

It is a little difficult to date these windows. They cannot of course be earlier than 1185, but I do not think that any of them are much later than 1220, though from the fact that one of the medallions, and one only, contains a representation of the famous shrine--everywhere else it is the martyr's tomb in the crypt that is shown--the particular window containing it cannot have been executed before the latter date, as the shrine would not have been in existence. It may, however, have been done in that year. This window and the one next it seem to me to be by an inferior hand, and contain certain features not found in the others, but common in later gla.s.s of the thirteenth century.

Whether this represents a gap in the execution of the windows it is, however, impossible to say without the evidence of the windows which have been destroyed. Seeing that from 1208 to 1213 the country was under an interdict, the existence of such a gap would not be surprising.

None of the windows are entirely filled with their original gla.s.s, but four of them are nearly so. The gaps have been filled up with most ingenious imitations of the old gla.s.s, executed from 1853 onwards by Mr. Caldwell, under the direction of Mr. G. Austin, and so cleverly are they done that they are very difficult to detect by the eye alone.

I do not think that "restoration" of old gla.s.s, by which is usually meant filling up or replacing it by imitation of the old work, is ever justifiable, but I am obliged to admit that, if it ever could be so, it has been justified here at Canterbury. I think there is not much doubt that in these four windows, at least, one can see the old gla.s.s better for the gaps being filled up with colour than if they had been left white. The principle, however, is a bad one, and I have seen little "restoration" elsewhere that did not disfigure the window.

Fortunately a most indefatigable lover of stained gla.s.s, the Rev. J.

G. Joyce, has left a series of coloured drawings of the gla.s.s as it was in 1841 before restoration. These and his ma.n.u.script notes are now in South Kensington Museum, together with some coloured tracings by a Mr. Hudson, and enable us to trace what has been done. From these we learn that in his time the place of the Crucifixion in the east window was occupied by a figure of the Virgin from a Jesse window, proving that there was once a Jesse window at Canterbury as well as elsewhere.

Judging from the tracing, the scroll work of the "tree" follows closely the lines of those at Chartres and St. Denis, but is a little more elaborate and very beautiful. It seems to me more in keeping with the earlier than the later work at Canterbury. Unfortunately no one seems to know what has become of it; but Winston who saw it, quotes it in a lecture as "some of the oldest gla.s.s in the country." If the Cathedral authorities have got it stowed away anywhere I hope they will some day place it in one of the empty windows where it can be seen.

[Ill.u.s.tration: PLATE XII AMAURY DE MONTFORT, FROM THE CHOIR CLERESTORY, CHARTRES CATHEDRAL Thirteenth Century]

[Sidenote: The east window.]

This east window, which is in "Becket's Crown," is one of the best preserved, only four or five of its four-and-twenty medallions being new. It is an example of an arrangement of subjects which occurs also at Bourges and at Chartres, and to which PP. Cahier and Martin in their work on Bourges give the name of "La Nouvelle Alliance." It represents, in fact, the foundation of the Church of Christ, as embodied in His Pa.s.sion, Resurrection, and Ascension, in the coming of the Holy Ghost, and in the reign of the Son of Man on high, each subject being accompanied and ill.u.s.trated by "types" from the Old Testament. Here, at Canterbury, on one side of the Crucifixion--which, though new, is doubtless a correct restoration as far as the subject goes--is the sacrifice of the Pa.s.sover, and on the other is Moses striking the rock in the desert, from whence, as from the side of Christ, gushes the life-giving stream. Above is the sacrifice of Isaac; and below, the spies returning from Eshcol carrying the great cl.u.s.ter of grapes--a type of the wine of the Sacrament.

Above this group come the Entombment (which is reproduced in Plate V.), the Resurrection, the Ascension, the Descent of the Holy Ghost, and Christ in Glory, each with its four types surrounding it. The Resurrection is modern, and so is the Escape of the Spies and the "Majesty." Noah and his Ark is a modern copy of the one in the north choir aisle, but the rest of the panels are original.

The work seems to me fairly early in character, but it is not so well drawn as that in the north choir aisle, and there is not, to me, the same feeling for line in it. It is, however, very beautiful, and the whole window is a shimmer of iridescent colour. Plate VI. shows some of the scroll work that fills the s.p.a.ces between the medallions.

[Sidenote: The Becket windows.]

The windows in the Trinity Chapel itself are all devoted to the tale of the posthumous miracles of the Blessed St. Thomas as related in the Chronicle of Prior Benedict, which affords a key to the pictures. The Chronicle is fascinating reading for the homely light it throws upon everyday life in England at the end of the twelfth century. By its means we can trace in the gla.s.s the story of the little boy who fell in the Medway while throwing stones at frogs, three of which, very large and green, are shown in the gla.s.s; of the workman William, who was overwhelmed by a fall of earth while digging a conduit near Gloucester; of the physician of Perigord and many others, who were one and all restored to life and health through prayer to the Blessed Martyr. There, too, is the tale of Eilward, whose eyes were put out by the magistrate for having, when drunk, broken into the house of Fulk (with whom he had quarrelled over a debt) and taken a pair of hedger's gloves and a whetstone; to whom St. Thomas, who seems to have thought the sentence excessive, appeared in a vision, and with a touch restored his eyesight. Here, too, we see the awful vengeance of the saint on the knight, Jordan Fitzeisulf, who, when his son was restored to life, meanly neglected to make the offering he had vowed at the Martyr's tomb.

Three of the windows on the north side are fairly perfect, and two on the south side contain many of their original medallions. Of those on the north, one, the sixth from the west, is the best, and might be by the same hand as the east window. An interesting point about it is the border, of which the design is identical with that of a window at Sens which also deals with the history of St. Thomas a Becket. As this window contains the story of Jordan Fitzeisulf, I shall refer to it, if I have to do so again, as the Jordan Fitzeisulf window.

The other two, the fourth and fifth from the west, are, I think, by an inferior hand, and contain, as I have said, certain features not found in the other windows, but common in later gla.s.s of the thirteenth century. One of them, the fifth from the west, is divided by the iron-work into four great circles, each of which contains four pear-shaped medallions, their points meeting in the middle. The spandrils between them are filled with scroll work on a ruby ground, not quite so good as those in the east window; but outside the large circles--and this is the important point--the ground is filled in with a regular mosaic of little pieces forming a repeat pattern as shown in Plate VIII. This is the only instance at Canterbury of this "mosaic diaper," as it is called, which is so common in gla.s.s a little later, and which from the fact that it could be done "by the yard," and if necessary by an apprentice, was a much cheaper method of filling in a background than by scroll work, which it soon completely superseded.

It is noticeable that it is this window which in its uppermost medallion contains the representation already mentioned of the famous shrine, from which the saint is issuing and addressing a sleeping monk, who is thought to be the Prior Benedict, the chronicler of the miracles.

In all the other medallions of the series it is the tomb of St. Thomas in the crypt, easily recognizable from the descriptions that remain, at which the sufferers pay their vows, so that it seems probable that the window was executed in, or soon after, the year 1220, in which the saint's body was removed to the shrine, but while the memory of the tomb in the crypt was still fresh.

[Ill.u.s.tration: PLATE XIII THE FLIGHT INTO EGYPT, FROM THE SOUTH AISLE, CHARTRES CATHEDRAL Thirteenth Century]

The other, the fourth from the west, has a very remarkable peculiarity, very seldom met with in gla.s.s of the Early Period at all.

The blue background to the figures in the medallions, which is of a paler and poorer quality than in the other windows, is covered all over with a thin "matt" of enamel, from which a delicate diaper pattern has been scratched out. Presumably the artist had for some reason been unable to get any more of the splendid deep blue gla.s.s, and used this means to give richness and texture to his background.

The only other thirteenth century gla.s.s I know of in which at all the same thing has been done is at St. Urbain at Troyes, but that belongs, I believe, to quite the latter part of the century. It was a common device in the fourteenth century, but the patterns used then were of quite a different character.

[Sidenote: Lincoln.]

Except for the grisaille windows at York and Salisbury, the only other extensive remains of thirteenth century work in England are those in Lincoln Cathedral, which, however, are little more than wreckage, and consequently very difficult to date with any attempt at precision. The only window in which any of the gla.s.s is in its original position is the great rose window in the north transept, and even this, though the original design can still be made out, is much mutilated.

The lancets under the rose in the south transept and the east windows of the choir aisles contain a miscellaneous collection of medallions, separated from their surrounding ornament and glazed in with remains of thirteenth century grisaille. Other medallions, too, have been used to fill gaps in the north rose, and the south rose is filled, with the exception of one light which retains its original fourteenth century foliage pattern, with sc.r.a.ps of thirteenth century ornament of which the effect, with the sunlight twinkling through, is wonderfully beautiful.

The medallions are not, I think, all of one date, which is not surprising, for the filling of the windows of a big cathedral must always have taken many years. The difficulty of dating them is increased by the fact that much of the painting does not seem to have been so well "fired" as at Canterbury, and in many cases has perished altogether. This seems to have happened in recent years, for Mr.

Westlake shows many details in his drawings of the gla.s.s which I cannot now distinguish. Where the painting remains we find that in a few of the medallions the drapery is drawn in the stiff manner of the twelfth and very early thirteenth century, but in most of them the later more flowing treatment prevails. In some, too, the blue of the backgrounds resembles that used at Canterbury, but in many, and notably in the north rose, it is of a purplish colour and much less agreeable. In a few it is of quite a grey blue.

Nowhere can I trace the same hand as at Canterbury, and the borders and ornament are quite different; but that the artist had access to some at least of the same designs is shown by a medallion in the south choir aisle which represents Noah receiving the Dove, and is practically a replica of the Canterbury one in Plate IV., with a boat-like hull added to the Ark. It is not, however, nearly so good.

According to Mr. Westlake the work at Lincoln strongly resembles that at Bourges, and to me it has something in common with that in the Sainte Chapelle at Paris.

Lincoln Cathedral was not finished till after St Hugh's death in 1199, so none of the gla.s.s can be older than that. On the whole, I think the bulk of the gla.s.s is a little later than any but the very last of the work at Canterbury, that it is by a different hand, and shows less taste both in colour and design. Probably it was done between 1220 and 1240.

[Sidenote: The south rose.]

I am confirmed in this view by the examination of the fragments which fill the great south rose, which consist entirely of thirteenth century ornament and most probably once formed the setting of these same medallions. A little of it is scroll work, but the greater part is "mosaic diaper" of the kind shown in Plate VIII., and which is so characteristic of French work after 1220, whereas we only find it beginning at Canterbury.

Some of the medallions are, however, very interesting, the best being those in which the drapery shows the earlier treatment. In the north choir aisle is a good one of the Israelites crossing a Red Sea of a fine streaky ruby, and in the south choir aisle is one of St. Thomas a Becket being conducted to Heaven by angels and carrying the damaged top of his head in his hands. By a touch of realism both parts of his head have been made of gla.s.s that has slight ruby streaks in it, giving it a gory appearance. This is the earliest example I know of the deliberate use of an accident of colouring in the gla.s.s to produce a realistic effect.

[Ill.u.s.tration: PLATE XIV WORK OF CLEMENT OF CHARTRES IN ROUEN CATHEDRAL Late Thirteenth Century]

Among the medallions which have been glazed into the north rose is one representing the funeral of St. Hugh of Lincoln in 1199, the coffin being carried by three archbishops and three kings. One of the kings was William of Scotland, and the other King John of England (the only occasion on which I know of that monarch appearing in a pleasant light), but the artist must have put the third king in for the sake of symmetry as there is no record of his presence.

A curious medallion in the south transept shows Salome dancing before Herod, not in the languorous Oriental fashion one would have expected of her, but turning a somersault worthy of the music-hall stage, with a lavish display of red stockings. A similar treatment of the subject occurs at Bourges, and also in sculpture over one of the west doors at Rouen Cathedral.

[Sidenote: The north rose.]

The north rose still retains about three-quarters of its original glazing, and enables one to make out the design. In the centre is Christ, and in the four petal-like lights which surround Him are, or were, figures of the Blessed seated, not in circles but in horizontal rows. Filling the spandrils between these lights are four trefoils, of which two still each contain an angel swinging a censer, in an att.i.tude ingeniously fitted to the shape of the light. Outside these, sixteen circular lights form a ring round the whole, and once represented the Second Coming of Christ. At the top is Christ seated on the rainbow, and in two lights on either side of Him are angels carrying instruments of the Pa.s.sion. Next come St. Peter and the other Apostles, six in one light on each side, and below them, in the lights level with the centre, are the four archangels sounding trumpets. The lower half of the circle was probably devoted to the resurrection of the dead and perhaps their judgment, but of these only one light remains, showing the dead rising from their graves, the rest being filled with single figures from elsewhere.

The spandrils between these circles are filled with little triangular lights forming an inner and an outer ring of sixteen each. Of these the inner ring is filled with white wavy pointed stars on a red ground and the outer with similar red stars on a dark blue ground, thus suggesting the idea--in _colour_ alone, without use of light or shade, of light and warmth radiating from the centre.[8]

According to Mr. Westlake the central Christ has no stigmata, while the one in the outer circle has them; but the painting has now perished too much for me to see this even at close quarters. His theory is that the centre represents Christ as "The Word,--the uncreated Wisdom, as Creator, resting,"--and the outer circle shows His last coming as Judge.

FOOTNOTE:

[8] Were it not for the difference in the source of the light one would be reminded of Kipling's lines:--

"The first are white with the heat of h.e.l.l and the second are red with pain,"

and

"... Tomlinson looked up and up, and saw against the night The belly of a tortured star blood-red in h.e.l.lmouth light; And Tomlinson looked down and down, and saw beneath his feet The frontlet of a tortured star milk-white in h.e.l.lmouth heat."

VI

THIRTEENTH CENTURY GLa.s.s IN FRANCE

(SENS AND CHARTRES)

[Sidenote: Sens.]