Stained Glass of Percy Bacon & Brothers

Cranborne, St Mary & St Bartholomew

Dorset

Posted 12 February 2023.

There was a Benedictine monastery in Cranborne perhaps as early as the 10th century, founded by a Saxon knight called Ayleward Sneaw.¹ At the time of the Domesday Survey, the Abbey was an important establishment holding a considerable number of lands until Robert Fitz-Hamon moved the whole lot to Tewkesbury, of which he was Lord. Relegated in stature, St Mary's and St Bartholomew continued as a Priory Church until it's Dissolution in 1540 when it became the parish church. Nothing of it's Saxon beginnings remain, but the north door with its splendid dog-tooth ornamentation and nook shafts provides a reminder of the churches Norman reincarnation, before being comprehensively rebuilt in 1252. Inside, wall paintings thought to date from as early as the thirteenth century, illustrating (amongst other sujects) the Trees of the Seven Deadly Sins & Seven Virtues, and a St Christopher, the latter on the south wall and visible from the north door to tempt the faithful to a daily visit and view it for luck. Above the chancel arch are modern paintings; The seated figures of Christ and 12 Apostles, which replaced a medieval mural discovered when the chancel was restored in 1875.² Richard, Duke of York, and his wife Cecily, paid for the tower to be rebuilt in 1440, their coats of arms carved into the spandrels above the west doorway and their much eroded likenesses carved either side attesting to their benefaction.

There are two windows from the Bacon Studios at Cranborne. These windows were installed around 1895, and record the transition from the use of the "Three Bees" to the Bacon Coat of Arm rebuses. Clearly the three busy bees rebus which was first used by the studio, refers to Percy and his two brothers, Herbert and Archibald. The question arises as to why at this time, and relatively early in the firm's development, there was a need to change it. The obvious (though speculative) reason would be that one of the three brothers left the company, i.e. Herbert. The adoption of the Bacon arms was also short-lived. One of the first uses was in the south transept window in St Peter's, Bournemouth from 1896. However, after 1898 there are no examples of the shield being used. Windows after that time, when signed, were furnished with a written credit. It may be possible that Bacon had used the arms without being entitled under the College of Arms Rules (coats of arms are awarded to individuals, not families), or perhaps there was an objection from the true owner.

 

 

 

 

 

 

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The window was a children's offering as most of the 40 shillings raised to pay for the work was collected over a number of years at the Children's Sunday services.³ At the time of the window's installation the matter of an inscription was held over. That appears still to be the case.
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The window is dedicated to the memory of Henry Francis Brouncker who died 19^th September 1895.

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References: Use your browser's Back button to return to text.

1. Hall, Jason. The Church of St Mary and St Bartholomew, Cranborne. 2010. Link.
2. Southern Times and Dorset County Herald - Saturday 13 November 1875, p7. Click to expand report
   

   Text of the report published in the Southern Times and Dorset County Herald - Saturday 13 November 1875, p7.
   
   CRANBORNE. INTERESTING DISCOVERY. - A few weeks ago we reported the proceedings in connection with the reopening of the new chancel at the parish church. We learn that on the removal of the plaster over the whole chancel arch a mural painting of very ancient date was discovered. The group consisted of ten figures, arranged in appropriate position; beneath the crucified Redeemer. Immediately under the arms of the cross, on either side, were two graves, the shrouded occupants with uplifted hands in prayer; again on either side were two crowned figures, supposed to be the Earl and Countess of Gloucester, patrons of the church, and behind thorn were guardian angels, five feet in height, standing, all the other figures kneeling. At the foot of the cross, on either side, were a male and female figure with scrolls, the woman imploring for the dead, "Voce me cum benedictis ;" the man supplicating for all, living and dead, " Jesu, miserere nobis." Under the right arm of the cross, between the living and dead, as being dead to the world, was a nun, and below all, on the right, a man supposed to be the designer. The subject was painted on the stone, and at a distance has the appearance of mosaic work. The ground colour, typical of the precious blood, was red, and between the figures, here and there, were lily blossoms as emblems of purity.

3. Salisbury and Winchester Journal - Saturday 13 July 1895 , p7.