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Published online by Cambridge University Press: 29 November 2011
Innumerable panels of Flemish glass of the late sixteenth/early seventeenth centuries survive in England and on the Continent. This paper describes and catalogues over seventy glass-paintings, deriving from the Mannerist-influenced religious paintings of the Netherlandish artist Marten van Heemskerck (1498–1573), found in parish churches and secular buildings in this country. Thomas Kerrich, F.S.A., compiled an incomplete catalogue of the engravings of Heemskerck's work from which the glass-paintings were copied. Published posthumously in 1829, it now forms part of the list of glass-paintings in this paper.
1 Preibisz, Leon, Martin van Heemskerck: ein Betrag zur Geschichte des Romanismus in der niederländischen Malerei des XVI Jahrhunderts (Leipzig, 1911), p. 52Google Scholar.
2 van Mander, Carol, Dutch and Flemish Painters (translated from the Schilderboek and with an introduction by Constant van de Wall) (New York, 1936), p. 208.Google Scholar The Schilderboek was published in Haarlem in 1604. The facts about Heemskerck's life are taken from this author unless otherwise stated.
3 Hülsen, C. and Egger, H., Die römische Skizzenbücher von Martin van Heemskerck int Königlichen Kupferstichkabinett zu Berlin (Berlin, 1913–1916)Google Scholar.
4 Preibisz, , op. cit., ‘propter artem graphicam in qua excelluit’, p. 6. Preibisz quotes from the dedication in Schrevelius (Harlemum, Leiden, 1647)Google Scholar.
5 Wilenski, , Flemish Painters 1430–1840, vol. 1 (London, 1960), p. 583.Google Scholar ‘Christ on the sea of Tiberius’, 1577, at Barnard Castle; ‘a self portrait with the Colosseum in the background’, 1553, at the Fitzwilliam Museum, Cambridge; ‘Jonah under the Gourd’, 1561, and ‘Death and Judgement’, 1565, both at Hampton Court.
6 De Jongh, editor of the third edition of van Mander (op. cit.) states that Burgomaster Huls of the Hague collected 648 engravings.
7 Vasari, , Le Vite de più eccellente Pittori, Scultori ed Architettori, ed. Milanese, , vol. 5 (English edition, ed. W. Gaunt, London, 1963, vol. iv, p. 253)Google Scholar.
8 Friedländer, , Die altniederländische Maleret, vol. xiii (Leiden, 1936).Google Scholar Edition in English, Sijthoff, A. W., Leyden, , La Connaissance (Brussels, 1975), p. 41Google Scholar.
9 Hoogewerff, , De Noord-Nederlandsche SchUderkunst.'s-Gravenhage Martinus Nijhojf 1941–2, vol. iv, pp. 290–386Google Scholar.
10 Preibisz, op. cit. Ibid.
12 In 1971 there was an exhibition of the 135 drawings by Heemskerck in Copenhagen. They are described in the catalogue, , Den Kongelige Kobbersiksamling, Tegninger af Maarten van Heemskerck (illustreret katalog ved Jan Garff, Statens Museum for Kunst, Copenhagen, 1971)Google Scholar.
13 Details from Dictionary of National Biography, vol. xi.
14 Dr. Ilja Veldman, an associate of the Art History Institute of Amsterdam, is preparing a complete catalogue of the prints of Heemskerck with an emphasis on their contents. The author is grateful to her for her ready help and interest and for assistance over problems of identification.
15 Veldman, Ilja, Maarten van Heemskerck and Dutch Humanism in the Sixteenth Century (Maarssen Gary Schwartz, 1977), p. 17Google Scholar: ‘Kerrich gave many of them a name or a title for the first time’.
16 Kerrich spells the name ‘Curenhert’ but the accepted modern spelling is ‘Coornhert’.
17 Preibisz, op. cit., p. 53.
18 Kerrich, in his note on engravers, writes ‘Qu. Heemskerck himself'. Wurzbach, , Niederländisches Kunstler Lexicon (Vienna and Leipzig, 1906)Google Scholar describes him as a Historienmaler (historical painter), Glasmaler (glass-painter) and Radierer (engraver).
19 Preibisz, op. cit.
20 See Wurzbach, op. cit. Houbraken, , Wiener Quellenschriften (1880), p. 7Google Scholar(mentioned in Preibisz, op. cit., p. 54). Also Houbraken, , Groote schonburgh der Nederlandsche kunst-schilders en schilderen, vol. 1 (Amsterdam, 1718), p. 12Google Scholar; see Veldman, op. cit., n. 55.
21 Preibisz, op. cit.
22 Vellert was an exception. There is a signed roundel of his in the Musées Royaux d'Art et d'Histoire, Brussels, and there are other examples (one at Warwick Castle) with his five-pointed star.
23 Veldman, op. cit., p. 16.
24 Cole, William, ‘The Flemish glass in the upper chantry of King Edward IV’, Report of the Society of the Friends of St. George's and the descendants of the Knights of the Garter (1975–1976), 291.Google ScholarRackham, Also B., ‘English importations of foreign stained glass in the early nineteenth century’, Journal of the British Society of Master Glass-Painters, vol. ii (1927), 86–94Google Scholar.
25 Maes, P. V., Oud Levens brandglass in Engeland (ArcaLovaniensis Jaarboek, 1972, Vrienden Stedelijk Museum, Leuven), p 90Google Scholar.
26 The author has a Christie catalogue in his possession dated nt h March 1786 which contains ‘A few windows of Curious stained Glass purchased on the continent by Mr. Burrowes’.
27 St. Andrew, Gatton, Surrey, is very rich in Continental glass and woodwork. ‘The interior is elegantly fitted up with elaborate carvings, oaken stalls and other ornamental work, procured in different parts of the continent; and the windows are enriched with stained and painted glass of great merit’, Brayley, , History of Surrey, vol. iv, p. 316Google Scholar.
28 See n. 12.
29 Th e writer is indebted to Dr. Ilja Veldman for this information and also for identifying the scene.
30 Maes, P. V., De Leuvense brandglas medaillons. Een historisch en typologisch onderzoek (Area Lovaniensis Jaarboek, 1976, Vrienden Stedelijk Museum, Leuven), p. 338.Google Scholar He states that sacred panels were often given to convents and similar institutions as presents by tradesmen and others who profited from their connection with the institution. This panel and the one immediately following it may come into this category. However they may be thanksgiving presents in answer to prayer or simply panels to adorn the owners’ houses.
31 Kerrich, in this and other places, thinks that Heemskerck engraved, but later opinion is against this (see p. 5).
32 Rackham, Bernard, A Guide to the Collections of Stained Glass (London, 1936), p. 116.Google Scholar Rackham writes, ‘the style of Wouther Pietersz Crabeth … has been recognized in the panel (no. 1256–1855) with the Good Samaritan’. In a letter dated 23rd November 1964 to the Keeper of Ceramics at the V and A, the writer pointed out that this was in fact after Heemskerck.
33 Since the photograph was taken the panel has been damaged by vandals and is being repaired. Unfortunately part of the lower left hand portion was not recovered. The panel will eventually be placed in Addington church in a light box.