East and west across almost the whole width of Kent run three parallel
lines of low hills affording many charming views which, however, are
only part of the many beauties of that picturesque county. Upon the
easterly end of one of these ridges lies Sevenoaks. Although the present
town is by no means an ancient one, it possesses great interest in that
just below its edge lies the large estate of Knole Park which, if we may
play upon words, is a series of knolls that together with their
intersecting glades are shaded by groves of great beeches whose soft
green foliage has for many a long day sheltered the herds of deer
wandering to and fro beneath them. Upon an eminence of greater size than
its fellows stands the ancient dwelling known as "Knole," a great series
of courts and quadrangles combined into an abode of such size that it is
said to contain, in addition to its superb state apartments, no fewer
than 365 bedrooms. Enclosed within a wide sweeping battlemented wall are
charming old-world gardens that nestle about the ancient grey mansion,
and soften by their dainty setting of variegated flowers, green lawns
and trees, the fortress-like appearance of its towers and long stretches
of stone enclosure. Thanks to a fine combination of patriotism and
hospitality so often seen in England, a large portion of this house is
(upon payment of a trifling fee) thrown open to the study and
appreciation of the public on the afternoons of Thursday and Saturday
(2-5), as well as all day Friday (10-5). It is because it can be so
conveniently seen by our glass-hunting pilgrim (owing to the generosity
of the owners and the fact that it is under an hour by train from
Charing Cross, London) that Knole has been selected to illustrate in how
decorative a fashion the sixteenth century glazier could spread the gay
tints of heraldic story upon his windows. Here can also be remarked one
or two other minor manifestations of stained glass at that time. One of
these is to be seen in the first stairway up which visitors are
conducted. Upon some of its diminutive diamond-shaped panes are
enamelled armorial crests, much in vogue at the end of the sixteenth
century and the beginning of the following one. On one of these little
panes in the chapel of Lullingstone Castle near here appears the date
1612: these on the Knole staircase are of about the same date. This
house was long the property of the See of Canterbury; perhaps the
pilgrim may have one of the rare opportunities to visit the bedroom so
long occupied by Archbishop Cranmer and observe in the upper lights of
the bay window the six large ovals containing coats of arms in enamel,
bits of which have peeled off, as is so often the case with this method
of applying colour. How mystified that worthy ecclesiastic would be to
see the modern bathroom which now opens into his old bedroom! While
speaking of Canterbury, it is of interest that we are enabled to date
one of the Knole towers by the fact that a morsel of glazing high up in
the traceries of one window (all that is left of the original equipment)
bears a double knot, the insignia of Archbishop Bourchier, thus proving
that it is at least as old as his tenancy here (1456-86). But let us
come to the main reason for our visit--the Cartoon Gallery. Named after
the set of Raphael's cartoons especially copied for Charles I., and by
him presented to the Earl of Dorset to decorate these walls, this long
room is brilliantly lighted by a series of windows giving off upon the
delightful gardens. This is no place to dwell upon the sumptuous silver
furnishings of King James' bedroom that opens out to the south, nor of
the treasures of English portraiture in the rooms through which we have
come to this gallery. We are here to enjoy the work of the glazier who
set upon the windows the arms of the great houses allied to this one by
marriage. One after another they unfold themselves all along the upper
lights of this series of embrasures, and tell their story in a far more
brilliant manner than can ever be attained by any musty tome on
genealogy. This estate was more than once the property of the Crown, and
an evidence of one of these periods is provided by the appearance on
some of the westerly windows of the arms of certain Law Officers of the
Crown, such as the Lord Chief Justice, Attorney-General, Chief Baron of
the Exchequer, Master of the Requests, Judge of Admiralty, &c. These are
somewhat earlier than those first mentioned and are freer from the
unfortunate enamel painting.
Taking into consideration the dimensions of this superb apartment, and
the paintings and glass that adorn it, together with the pleasing
outlook upon the gardens below, it is doubtful if a more impressive
gallery is to be found in any of the stately homes of England.
The chapel, which was built by Archbishop Cranmer, has an unpleasantly
smeared east window, but upon its surface high up are a series of
Apostles done in grey and stain which, if brought down to the level for
which they were originally intended, would show themselves to be very
attractive. At the south end of the little gallery used as the "Family
Pew" are a group of about a dozen scenes in grey and stain of excellent
execution, and so placed as to permit of a satisfactory examination of
this agreeable form of Renaissance glass-painting.
* * * * *
If one be travelling by bicycle or automobile, a pleasant addition to
this trip may be made, on the way back to London, by taking one small
_detour_ of about ten miles to visit Nettlestead, and another of about
three to West Wickham Church. The glass at both these places is
Perpendicular, but not of sufficient importance to have made them
stations on that tour. However, they can be so conveniently seen at this
stage of our rambles that they are here duly mentioned. It is only
recently that, thanks to the skilful heraldic researches of W. E. Ball,
LL.D., the date of the Nettlestead windows has been discovered, as well
as the significance of the many coats of arms scattered over them.
Recent restoration has made complete the glazing of the entire north
side and also of the east window. Note the narrow one at the north of
the small chancel--quarry background with a large figure standing on a
bracket, very reminiscent of sundry prototypes at St. Neot in Cornwall.
The other windows on this side (except the westmost) are rich, almost
florid examples of the elaborated canopy style. Indeed, so deep are the
tones that one is tempted to suspect that some Frenchman had a hand in
their manufacture. The smaller chancel light just noted is much lower
in colour and therefore more typical of the then prevailing English
taste. This is also true of the westmost or "Becket window," as it is
called, because it shows scenes from that martyr's life. The south
windows retain their original glass only in the tracery lights, but it
is planned to reglaze them as nearly as possible like those on the north
side. Nettlestead Church is not easily noticed from the road because of
some farm buildings and an orchard which mask it.
If, when we resume our journey Londonward, it be decided to take a peep
at the West Wickham glass, one should be careful not to overshoot the
church, for it lies at least a half-mile nearer the London road than
does the village whose name it bears. The embrasures on the north and
east of a chapel opening off the chancel contain examples of a saint
standing on a bracket against a quarry background, which we have just
observed in the Nettlestead chancel light and also on a former tour at
St. Neot. The quarries here each bear the monogram "I.H.S." in stain.
The supports below the brackets are shorter than is customary. What
painstaking care was used in the manufacture of these windows is
revealed by an examination of the central one on the north side, bearing
the familiar figure of St. Christopher carrying the infant Jesus.
Notice that the little pool of water in which he stands contains small
golden fishes; also remark the careful leading of the three tiny red
trees in the background. This very attention to detail noticeable in all
the panels has much to do with the satisfactory effect of these windows.