Decorative Glass
detail from Saints and Donors

  Decorative Glass    detail from    Saints and Donors

Photo © Martin Crampin

upper part of the window.

larger image

1530-1542, reset in the nineteenth century

Two-light window with four rectangular panels, set in decorative frames. Top left: a tonsured monk is shown kneeling before a nimbed mitred figure and a further armoured figure behind, holding a shield and flag with a white cross on a red ground; top right: a tonsured abbot is shown kneeling before the Virgin and Child and a further armoured figure behind, who holds a flag with a white cross; below left: a tonsured monk kneels before a seated female saint holding a sword; below right: a standing male saint presents a tonsured kneeling abbot.

technique: stained glass
size: 68 cm (width of each light); width of figurative panels 54 cm

Church of St Cadoc, Aberpergwm, Neath Port Talbot
east wall of the chancel

Previously assumed to be Flemish, the panels have recently been identified by Roger Rosewell as originating from Steinfeld Abbey, near Cologne.

Since these photographs were taken (2010) the glass has been conserved.





 

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

Saints and DonorsSt Augustine with a Donor and St George: Saints and DonorsVirgin and Child with Abbot John V von Münstereiful and St Chrysanthus: Saints and DonorsSt Barbara with Donor: Saints and DonorsSt Potentinus with Abbot John IV: Saints and DonorsSt Potentinus with Abbot John IV: Saints and DonorsSt Barbara with Donor: Saints and Donors

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Further reading

Martin Crampin, Stained Glass from Welsh Churches (Talybont: Y Lolfa, 2014), p. 61.

Andrew Renton, 'Discovering Pre-1700 Stained Glass in South Wales' in Vidimus, vol. 34 (November 2009).

David King and Roger Rosewell, 'New Steinfeld Discoveries: Special Supplement' in Vidimus, vol. 35 (December 2009).

References

John Newman, The Buildings of Wales: Glamorgan (London/Cardiff: 1995), p. 360.




View this object on the Stained Glass in Wales Catalogue


Photo © Martin Crampin


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