BristolConference - Corpus Vitrearum Medii Aevi

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1501-1502. Besides what is probably the
finest collection of 15 th -century glass outside
York Minster, Malvern retains an unparalleled
collection of medieval tiles, as well as choir
stalls with 14thand 15 th -century misericords.
By the 18 th century the church was dilapidated
and its glass in a shocking state. The response,
in 1802,was a plan to tidy up what remained
by a wholesale movement of panels to fill the
gaps, mainly from the nave to the eastern parts
of the church. Despite vigorous protests, this
misguided and disastrous scheme was set in
motion in 1812. Further restoration took place
under Gilbert Scott in 1861, before careful
repairs were carried out from 1909by Kempe
& Co. Some glass has been releaded recently
by Hardman and John Baker, but nothing has
come of discussions on protective glazing.
Many panels have been lost or moved and
an understanding of the original layout,
patronage and dating depends on antiquarian
sources, like Thomas Habington's 'Survey
of Worcestershire' (c. 1605-47) and William
Thomas's Antiquitates Prioratus Majoris
Malverne (1725). Conclusions were presented,
along with a brilliant study of the iconography,
by G. MeN. Rushforth in his Medieval Christian
Imagery as illustrated by the Painted Windows in
Great Malvern Priory Church, Worcestershire
(1936).
East Window and Choir Clerestory (I,
NII-NIV, SII-SIV)
The iconography of the glazing followed a
broadly definable scheme in which the east end
of the choir was used for the early life of the
Virgin, and Christ's Incarnation and Passion. A
pair of windows (NIl, SII) given by Prior John
Malvern (£1.1435)and other monks, dealt with
the first two themes, although nothing survives
of the Nativity and Adoration once in SIl,which
now contains tracery panels from the nave.
The impressive east window (I) depicts the
Passion and Resurrection, from Christ's Entry
into Jerusalem to Pentecost. The tracery lights,
with Apostles, saints and angels, are well
preserved, but many main-light panels are
broken or replaced by intruded glass from the
choir aisles and clerestory, particularly on the
right. Well preserved panels like the Entry
into Jerusalem or the Last Supper confirm the
quality of the glass, which is typical of English
International Gothic in colour, style and
design. Comparisons have been made with
the St William Window at York (c.1415) and
glass, closer to hand, from Hereford and Rosson-Wye,
windows perhaps to be associated
with John Thornton of Coventry, active in the
Midlands and York at this time. Connections
with manuscripts like the Hours of Elizabeth
the Queen (c.1420-30) are tantalizing, as the
latter was owned by the Beauchamp Earls of
Warwick who were overlords of Malvern and
benefactors of the Priory. Their arms, once
carved at the apex of the window and
dateable to 1423-39, may provide a dating for
the glass.
The glazing of the other two windows in the
north choir clerestory is still in situ. The first
(NIII) proclaims bishop saints of the Worcester
diocese, and includes Wulstan, the supposed
founder of the Priory, along with St Anne and
the Virgin, who regularly appear in the
Malvern glass. Some donor panels of citizens of
Worcester and monks (mentioned in
documents of the 1420sand 1430s)are now in
the east window. Continuing the historical
theme and of particular interest is the Founders
Window (NIV) of c.1440-50.This illustrates the
founding of St Werstan's hermitage at Malvern,
his martyrdom at the hands of the Danes, the
founding of the Priory in the reign of Edward
the Confessor and subsequent charters and
donations granted by William the Conqueror
and others. Armorials in the tracery stress
Malvern's links with the Confessor and
Westminster.
Two windows opposite (Sill, SIV) originally
contained the Apostles Creed and saints, but
little remains in situ. Note in the first window
an extended Crucifixion and in both windows
figures from a series of the Nine Orders of
Angels, all originally in the north nave
clerestory. St Michael was one of the patron
saints of Malvern.
North Choir Aisle (nIl-nV)
The windows in this aisle were mainly given by
local families during the first half of the 15 th
century. They were used to reinforce orthodox
Christian teaching and included subjects
frequently found in parish churches: the Mass,
Doctors of the Church, Seven Sacraments, Ten
Commandments and Lord's Prayer. Little,
apart from the canopies and tracery lights,
remains in place, but Rushforth identified
fragments from most of the windows in the
great east window. The Museum Window (nV)
retains its tracery lights with the Infancy of
Mary and Christ. Originally this was a Creed
window with prophets, Apostles and, perhaps
under the influence of German block-books,
pictorial representations of each article in the
Creed. It now contains an interesting collection
of fragments.
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