Fragment of clear glass painted with brown pigment and yellow (silver) stain. English, 15th century. Part of a border. Painted in black with a quatrefoil and a close trellis pattern in silver stain.

Clear glass fragment painted on the front with brown pigment, scratched through to reveal a quatrefoil shape. Painted on the reverse with yellow stain and on the front with brown pigment to resemble a trellis pattern. Part of the border of a larger panel.

Given by Mr. Grosvenor Thomas

This fragment has been placed in a panel with the following other fragments:
C.359-1915, C.331-1915, C.346-1915, C.347-1915, C.329-1915, C.366-1915, C.372-1915, C.388-1915, C.378-1915, C.363-1915, C.358-1915, C.320-1915, C.362-1915, C.316-1915, C.333-1915, C.324-1915, C.336-1915, C.337-1915, C.335-1915, C.338-1915, C.318-1915, C.321-1915, C.351-1915, C.374-1915, C.341-1915, C.343-1915, C.334-1915, C.344-1915, C.350-1915.
C.399-1915 has been assigned the overall museum number for this panel. It was previously recorded as 19FR2.

The religious conflicts that affected the British Isles in the 16th and 17th centuries had a devastating effect upon the decorative arts and furnishings of the Christian church. Much of the stained glass in churches and cathedrals was damaged and only survives in a fragmentary state.

This pane of glass is composed of clear glass painted on the reverse with yellow stain and on the front with brown pigment. The thick coat of brown pigment was scrached through to reveal a quatrefoil design and a trellis pattern. This decorated pane of glass is a small section of the border of a larger panel. The panel probably had a figure of a saint under a canopy. The sides of the panel would have contained small rectangular panes of glass which were painted and stained with similar decorative motifs as seen here.

In contrast to traditional stained glass, which was coloured with metallic oxides when in a molten state, this fragment was decorated using a new technique introduced in England in the early 14th century. This consisted of painting a compound of silver on the back of the glass. After firing in a kiln, the silver compound turns yellow. Many panels from the 14th and 15th centuries are decorated simply in yellow (silver) stain and highlighted with a brown/black pigment.

In contrast to traditional stained glass, which was coloured with metallic oxides when molten, this fragment was decorated using a new technique introduced in England in the early 14th century. This consisted of painting a compound of silver on the back of the glass. After firing in a kiln, the silver compound turns yellow. Many panels from the 14th and 15th centuries are decorated simply in yellow (silver) stain and highlighted with a brown-black pigment.

This pane of glass is composed of clear glass painted on the reverse with yellow stain and on the front with brown pigment. The thick coat of brown pigment was scratched through to reveal a quatrefoil design and a trellis pattern. This decorated pane of glass is a small section of the border of a larger panel. The panel probably showed a figure of a saint under a canopy, and the sides of the panel would have contained small rectangular panes of glass, painted and stained with similar decorative motifs to those seen here.

The religious conflicts that affected the British Isles in the 16th and 17th centuries had a devastating effect upon the decorative arts and furnishings of the Christian church. Much of the medieval stained glass in churches and cathedrals survives only in a fragmentary state.

C.366-1915