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window. The pattern glazing which forms the ground of the lights follows the same design, and the shields are surrounded by similar strap-work and arabesques. But here the whole light is surrounded by delicate arabesques, and the effect is consequently richer and more elaborate. The colour is used in small quantities, generally warm, with much golden yellow. The inscriptions are placed on very small tablets under the shields, and are not so prominent a feature of the design as in the south window. The character of the lettering is somewhat similar to that employed in Lights III. 1 and 5 of the south window, but the names only are in capitals, and the rest of the inscription in small letters, with a considerable amount of flourish. Immediately above the shield in each light is a medallion less than 2 inches in diameter; one of these medallions (II. 5) contains a mask, two others (II. 6, 7) lions' heads, and the remaining three (II. 3, 4, 8) contain little portrait busts, daintily executed with all the delicacy of miniatures. In the upper tier of lights the general effect is much simpler and less delicate than in the lights below, doubtless designedly so, as being further from the eye. The pattern glazing which forms the ground of the lights is simpler than below; Fig. 12 shows its design. The shields and the small inscription tablets below them are grouped together within strap-work, bounded by the straight. lines of the glazing pattern. The strapwork is almost entirely of yellow stain. The inscriptions are in black-letter, similar in character to those in the upper and middle lights of the south window. In three of these upper lights (I. 1, 2, and 8) the original shields and inscriptions have disappeared, and Constable shields, with their inscriptions and strap work, have been inserted in their place, taken no doubt from the lower lights of the Constable window. One of the lights in the middle tier of the bay window (II. 2) is glazed with a series of fragments, on a ground of ordinary lozenge glazing; the two extreme

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1 In Lights II. 3, 4, 6 and 7, the names are in Roman capitals, and in Lights II. 5 and 8, they are in italic capitals.

2 One of these lights (I. 4) is illustrated, very inadequately, in Shaw's Details of Elizabethan Architecture, Plate 14. See also A History of Design

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FIG. 12.-BAY WINDOW, GLAZING-PATTERN
OF UPPER LIGHTS.

in Painted Glass, by N. H. J. Westlake (1894), vol. iv., pl. 158, where the date of 1528 is of course an error.

3 Both in this light, and in the last light (III. 5) of the south window, there are some small fragments of fourteenth century glass,

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lights in this tier (II. 1 and 9) are of seventeenth-century date, with an architectural framework in perspective, and are quite inferior to Dininckhoff's work, both in design, colour, and execution.

In the original work in these windows a little pot-metal is used for the large simple charges of some of the shields, and possibly in the wreaths in the upper lights of the south window, but, with these exceptions, all the painting is executed on white glass.

The other window on the east side, to the north of the bay window, is devoted to the heraldry and genealogy of the Constable family. Sir William Fairfax's only son, Thomas (afterwards first Viscount Fairfax of Emley), married for his first wife Catharine, the eldest daughter of Sir Henry Constable of Burton Constable. As the licence for their marriage is dated 1594, the glazing of this window must be at least nine years later than Dininckhoff's work in the two other windows. Although the general treatment is similar, the ornament is larger in scale, and less delicate in design. The ground of the lights is pattern

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glazing of the same design in all (Fig. 13). Each of the lights in the upper tier contains a single shield, surrounded by strap-work in yellow stain, bounded by the lines of the pattern glazing, with an inscription immediately below the shield. The lights in the middle tier are treated in exactly the same manner, except that here two shields with their strapwork surroundings and inscriptions are placed immediately over one another, forming a double of the painted part in the upper lights. The general design of the middle lights is shown in Fig. 13, which illustrates Light II. 3; Fig. 14 represents in detail the lower part of the same light.' The lower lights are now glazed with clear glass. The three Constable panels now in the bay window (Lights I. 1, 2, and 8), which have evidently been re

1 Fig. 14 is reproduced from Mr. Gotch's Architecture of the Renaissance in

VOL. XIX.

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moved from these lower lights, are of the same shape and design as the painted panels in the upper and middle lights of this window.'

I shall now proceed to describe in detail the heraldry, inscriptions, etc., in the glazing of these windows. In this description the Roman numerals indicate the horizontal tiers of the lights, I. referring to the upper, II. to the middle, and III. to the lower tier in each case. The lights in each tier are indicated by Arabic numerals, reading from left to right. The blazons of coats will not be repeated where they are exactly the same as coats which have previously been blazoned. Panels which have been inserted at a later date than that of the original glazing are distinguished by an asterisk.

I shall commence with the south, the Stapleton, window. The history and genealogy of the Stapleton family has already been exhaustively treated in this Journal, and the reader is referred to Mr. H. E. Chetwynd-Stapylton's paper for pedigrees and illustrations of arms which may be compared with those set forth in this window.3

LIGHT I. I.

SOUTH WINDOW.

Argent, a lion rampant sable.

Impaling-Quarterly.

I and 4, Sable, fretty or.

STAPLETON.

BELLEW.

2 and 3, Or, a saltire and a chief gules. BRUS.

Miles Staplitone Knight' maryed
Sibbill daghter and heaire of Jhon
Bellaque & had vllbe Nicolas

& Gilberte Staplitone
and dyed in the 32 yeare of Edw
arde the firlte.

1 From inscriptions scratched on two of the plain quarries, it appears that this east window was re-leaded in the second half of the eighteenth century. The glass of all three windows has recently (1906) been taken out, repaired and refixed under Mr. Brierley's direction. Everything, including all patched work, has been replaced with scrupulous care.

2 The Stapeltons of Yorkshire, by H. E. Chetwynd-Stapylton. Yorkshire Archæological and Topographical Journal, vol. viii., pp. 65, 223, 381, 427.

3 See also the Stapleton pedigrees in the Visitations of Yorkshire. Tonge's, of 1530 (Surtees Soc. ed.), pp. 1-4, with some valuable notes by the editor, Mr. W. H. D. Longstaffe. Flower's, of 1563-4 (Harl. Soc. ed.), pp. 293-7.

Glover's, of 1584-5, and St. George's, of 1612 (Foster's ed.), pp. 332-3. Dugdale's, of 1665-6 (Surtees Soc. ed.), p. 224; and better in Mr. J. W. Clay's edition, i. 163–180. See also Foster's Yorkshire Pedigrees, West Riding, vol. ii.

The first Stapleton in the window is Sir Miles, the son of Sir Nicholas, the judge, who died in 1290 (Yorks. Archeol. Journal, viii. 86-7). The date of Sir Miles's death in the window is an error, as he was slain at Bannockburn, 1314 (Ibid.,viii. 95). His wife, Sibill, was daughter and co-heir of John de Bella-aqua or Bellew and Laderina, sister and coheir of Peter de Brus. The Stapleton arms were probably derived from those of Brus-Argent, a lion rampant azure-differenced by substituting sable for azure as the tincture of the charge.

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