When the country was in its natural state, and before any embankments had been made to confine the waters of the Trent into one channel, the Castle of Kinnard would command the passage of the river from Lincolnshire to the Isle of Axholme; and was then most probably placed as near the water as was consistent with the comforts and convenience of the garrison. Surrounded on the south and east by an extensive tract of low marshy ground, it was no doubt a place of considerable strength, which might easily be defended against a superior force. On the ground which once formed the Castle Yard, now stands the parish church, dedicated to St. Martin, of which we may say, as Leland has of Doncaster, "there is likelihood that when this church was erected, much of the ruins of the castelle were taken for the foundation and filling up of the wallis of it." From the style of the architecture, we may be certain that the aisles have been rebuilt in the reign of Henry the VII: the pointed arches of the nave, the east window in the chancel, and those in the tower, shew that these parts of the fabric are buildings of much earlier date. About forty-nine years since this Church underwent a thorough repair. The roof of the nave being considered in a dangerous state, a new one was erected and covered with slate. A few years after the aisles underwent a similar repair. However necessary these repairs might be, they have had the usual effect which generally follows the substitution of slate for lead, that of destroying the clear story or upper range of windows above the arches of the nave, so denominated from being glazed with clear instead of stained glass, and which is a very material part in the design of our most beautiful Gothic churches. The clear story gives a light to the nave and roof, which cannot be obtained from the windows of the aisles, especially when the arches which support the nave are low. The body of the Church, being deprived of the light from these upper windows, appears heavy and dull. The window of the aisles and chancel being glazed, the painted glass which was in a daimaged state was removed, save one single specimen, which remains to shew that it was of the very best and richest colours. The Church was also new pewed; and the substantial oak seats, with their beautifully carved fineals, were were replaced by high square closets, as unsightly and inconvenient as the cattle pens in Smithfield market. One of these seats with the fineal perfect still survives, and, with the small remnant of stained glass, may be sufficient to convince us how little the munificent founder regarded expence when he fitted up this Church to the worship of Almighty God. It appears from the fenestella*, or niche in the walls intended to hold the piscina, that the original design of the architect contemplated the erection of two other altars, one at the east end of the south aisle, and the other at the east end of the north aisle. We have no record, however, of the endowment of any chantries in this Church. Several improvements and additions have been made to this Church within the last few years. In the year 1823 a vestry was built on the north side of the Chancel, in a style of architecture corresponding with the other parts of the building. About the same period also an approach was made, by altering and levelling the ground, and planted with elms, sycamores, and chesnuts on each side, which have already become very umbracious, and will in the course of a few more years, when he who planted them rests beneath their shade, form a stately avenue. In 1835, an organ loft was erected by the donations of his Grace the Archbishop of York and the Right Honourable Earl Pindar Beauchamp, in *The fenestella, or small niche, contained a vessel bason, or piscina, for washing the hands. Two pair of such basons were bequeathed by Cardinal Beaufort to the altar of the Chantry by him founded in his Cathedral at Winchester. The piscina was applied also to other uses; should a fly or spider fall into the chalice before consecration, it was directed to be thrown, together with the wine, into this receptacle; but should it happen after consecration, it was directed to be burnt super piscinam. This direction is contained in a book named the Royal, "compyled at the request of King Philip le Bel of France, in the year 1279, to which are annexed certain injunctions or instructions to a priest saying mass, intituled of the Negligences happyning in the Masse, and of the Remedies made especially for the symple people and for the symple priests, which understand not latyn." Very requisite, therefore, was it that the piscina should be situated near the celebrant; and this accounts for our finding these niches not only in the walls of chancels, not far from the high altar, but also in the aisles and chantry chapels where there were side altars for private masses. in which was placed an excellent organ, built by Ward, of York. following inscription is on a brass plate, on the front of it ELIZABETH STONEHOUSE DEDICATED THIS ORGAN TO THE SERVICE OF ALMIGHTY The In the year 1836 the East Window in the Chancel was filled with the most beautiful painted glass*, executed by Mr. Thomas Ward, of London. Above the spring of the arch, in the smaller compartments, are four angels in the attitude of adoration, and looking up to the name of Jehovah, surrounded by a glory, which is immediately above them: these figures are about two feet in length. In the three large and principal compartments of the window, The most mistaken ideas and injurious notions have been entertained, of late years, with reference to this splendid production of human ingenuity and talent,-glass painting in vitreous colours; such for instance that the art was lost, that modern artists could not produce such colours as the ancients did, and many other opinions equally erroneous. That this art was ever lost or could be lost is not true: that it has in modern times been nearly starved to death for want of patronage is very true; but so long as a china or even a pottery manufactory remains in any country, the elements of the art of making colours proper for glass painting never could be lost. The bases of the colours are the same for china as for glass; with this difference, the glass painter requires his tints to be much more intense, inasmuch as his recipient is translucent, while that of the potter is opaque. Bernard Pallisq, who painted so beautifully on glass subjects, after Raphael, in chiaro obscuro, for Charles the IX. of France, was himself a potter, and as such was appointed "Inventeur des Rustique Figulines du Roy et de la Reine sa Mere." Even the ancient ruby is not lost to those artists who can and will patiently seek after it. Surely it may with propriety be asked, why the modern artists, with all their astonishing improvements in chemical knowledge, should not produce works equal to the ancients? The answer is plain,-want of patronage, he cannot afford it, he has no inducement to give up his time to make those repeated essays and experiments in an art which depends more than any other on practical knowledge, and must always more or less live and die with the artist himself. Give him the same unbounded patronage as was bestowed upon the ancients, and he will soon go beyond them: patronage such as Cosmo and Lorenzo de Medicis gave to genuine talent is all that is wanted. The papers of Brogniart shew that, after the rage of the revolutionists in France had destroyed all that was royal, and Buonaparte wished to restore the manufactory of glass and china at Sevre, although they had the library of receipts, yet when they came dow, are full length figures of the Redeemer, St. Peter, and St. Paul. The colours of their garments are equal to the best specimens of ancient glass: and the rich carmine, or imperial purple of our Saviour's vest, the artist informed the author of this work, had never been obtained in glass before. The drawing and colouring of the face, hands, and feet are infinitely superior to any thing ever executed in the times when this beautiful art was so much cultivated, and of which the ancient glass painters had but little conception, their finest works being painted, in all that relates to flesh, on pieces of white or plain glass, with one tint of brown only, and at one firing; whereas this window has had four firings at a very high temperature, producing combinations of tints which even Albert Durer never attempted. An inscription on the lower part informs us, that "THIS WINDOW WAS GIVEN BY FRANCES SANDARS, FOR THE ORNAMENT OF THIS HOUSE OF GOD, 1836. In came to practise, the artists having been destroyed, all was dark; and even to this day the royal manufactory at Sevre has not regained its ancient reputation for the extraordinary superiority of its colours. In Saxony, however, where the horrors of the French revolution were not so destructive of the fine arts, there are artists still in possession of the secrets, and are using the very same materials to make coloured glasses which were used in the time of Albert Durer. The artist assured the author of this work that the purple and crimson tints, in the Owston window, were made of the purple oxide of gold. How then can we expect that, without a prospect of ample remuneration, men will devote their time and talents to work with such costly materials? The author of this topographical work hopes he may be pardoned if he reminds the lovers of this finest of all the fine arts in the county of Lincoln, that the Minster one of the noblest churches in Europe, affords an excellent opportunity for the extension of liberal patronage to the modern glass painter, inasmuch as most of the ancient glass has been destroyed; still sufficient remains to challenge a competition of skill, which I feel certain, under liberal patronage, like that of the bishops, and deans, and chapters of former times, would greatly surpass even the best productions of the ancient masters. To those who, from laudable curiosity or from any higher motive, desire information as to the recorded theory and practice of the ancient glass painters, the following works will be most useful. M. Le Vicil, who was himself a descendant of a race of glass painters, published in folio, 1774, L'Art de la Printure sur Verre, et de la Vitrerie par Feu, M. Le Vicil. This book is in itself a little library of glass painting and glass painters, historical, theoretical, and practical. In the notes also numerous references are given to standard works in various languages upon the same subject. Observations on English Architecture, &c. by the late Rev. James Dallaway, 8vo. London, 1806, v. section XI. p. 252; also Two Papers of Brogniart, published in the Philosophical Magazine, Vol. XIV. and XV. |