Tracery Lights
detail from Glass Fragments

  Tracery Lights    detail from    Glass Fragments

Photo © Martin Crampin

Detail from the upper right-hand side of S1.

larger image

sixteenth-seventeenth century, with later additions, set in about 1860
Two three-light windows containing glass from a variety of provenances. Includes a roundel of the Nativity and a rectangular panel of the Crucifixion, that are suggestive of a sixteenth-century origin.

technique: stained glass


Church of St Beuno, Bettws Cedewain, Powys
south wall of the nave

The windows contain Flemish glass bought by the Hanbury Tracy family (later Lords Sudeley), who owned nearby Gregynog Hall until 1894. Their extensive collection of Flemish roundels was formerly housed at the family's Gloucestershire house at Toddington. Includes fragments that may be as early as about 1500, together with grisaille work from about 1600, and pieces of heraldry or merchants marks from the seventeenth or eighteenth century. Much of the surrounding glass probably dates from the nineteenth century. The medieval-style female saint below the Nativity appears modern however, and the Nativity and Crucifixion scenes could be modern copies in a sixteenth-century style.




 

For other views of this work click on the image(s) below:

Glass FragmentsGlass FragmentsGlass FragmentsGlass FragmentsGlass FragmentsGlass FragmentsThe Nativity: Glass FragmentsGlass FragmentsGlass FragmentsThe Crucifixion with the Virgin Mary, St John and Mary Magdalene: Glass FragmentsGlass FragmentsGlass FragmentsGlass FragmentsTwo Grisaille Scenes: Glass Fragments

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Further reading

Martin Crampin, Stained Glass from Welsh Churches (Talybont: Y Lolfa, 2014), pp. 64–5.

Mostyn Lewis, Stained Glass in North Wales up to 1850 (Altrincham: John Sherratt and Son Ltd, 1970), pp. 28-9.

D. R. Thomas, The History of the Diocese of St Asaph (Oswestry: Caxton Press, 1908-1913), vol. I, p. 513.




View this object on the Stained Glass in Wales Catalogue


  Tracery Lights    detail from    Glass Fragments

Photo © Martin Crampin


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