Crecy Campaign

Historic England; Grade I Listing of Gloucester Cathedral on 23/1/1952; Details: 'STAINED GLASS: of major importance, the glass in the great east window believed to be a memorial of the Battle of Crecy but also incorporating some other panels of medieval glass...' CATHEDRAL CHURCH OF THE HOLY AND INDIVISIBLE TRINITY, Non Civil Parish - 1245952 | Historic England

Gloucestershire Echo - Saturday 10 February 1906 (page 4); report re the unveiling of the South African memorial window in the Cathedral's Chapter House included the Dean's comments: ''It was here in Gloucester that that wondrous form of Gothic was invented called "Perpendicular." It was in our great windows here that beautiful tracery was first sacrificed to beautiful glass. It was the mighty East window of our Choir which set the fashion years ago—a fashion which so large a proportion of our cathedrals and abbeys in England have followed. When the pilgrim crowd at the tomb of King Edward II, in the middle of the fourteenth century, saw that great window lighting up the superb Choir after the scaffolding was taken away, they were so moved by its exceeding beauty that they carried the news of it far and wide, and soon the whole nation copied the beautiful Gloucester Church. That east window in our Choir was like this - it was a war memorial -it commemorated the victory of Crecy and the fallen there, as this commemorates the noble victims in South Africa, of the soldiers who in our day, far away from England, died for the flag..' Loss Of Life | Gloucestershire Echo | Saturday 10 February 1906 | British Newspaper Archive

Gloucester Journal - Saturday 24 January 1920 (page 2) printed the following lengthy description of the Window and its history: 
'THE EAST WINDOW OF GLOUCESTER CATHEDRAL. Canon Goodwyn's Interesting Sermon. Preaching at Gloucester Cathedral on Sunday morning, the Rev. Canon Goodwyn took as his text the words found in Isaiah vi., 3, and Hebrews xii., 22, and in the course of his sermon said great thoughts were fixed in various ways, and the process of fixing they termed illustration. The painter illustrated his thoughts upon canvas, the sculptor upon stone, the musician in music, the orator in words, the student in books, and the architect in building. Gloucester builders and glaziers had fixed their thoughts upon the walls they saw around them that morning, illustrating ideas from the Word of God, bequeathing them to them for them to pass on for all time. The beautiful Choir of that Cathedral was designed to lead the thoughts of worshippers up to God. Serlo, William the Conqueror's Abbot, built an Abbey Church of Norman architecture, as they saw in the Nave, the crypt, the ambulatory, and the triforium above the interior work was Norman as Serlo completed it in 1100 (his bracket monument was there with the church upon his breast), but the main part of the Norman work was encased outside, and beautified within, by later periods of architecture. As they looked upwards from the Choir, continued the preacher, they saw nothing of that Norman work. How came the change? It commenced with the tomb of Edward II. Many of them knew the story well, but there were new-comers amongst them, and visitors also. Pilgrims flocked to Gloucester to pray at the shrine of the martyred King, and from their offerings the Abbey became wealthy. An Architectural School of Monks had formed itself, and fortunately for Gloucester, Abbots Wigmore, Stanton and Horton were church builders, as was Thokey before them and Frowcester afterwards. They saw part of their work around and above them, when the Perpendicular architecture screened the Norman from view. They desired height and light to impress worshippers, and lift them to God, and they raised the Choir roof considerably higher than the Nave. Perpendicular shafting was planned so that the upright lines would direct sight and thought upwards, just as a tall church spire, reared above the greenery of the countryside, might direct the minds of thoughtful people to God. 
THE EAST WINDOW. 
The manufacture of glass, and especially of stained glass, had advanced enormously in the years since Serlo's time. Therefore taking away the round Norman apse the Abbey builders substituted for it the wonderful East window, with its perpendicular shafts and its colour scheme, and its groups of figures lead thoughts upwards and onwards. In the roof above the altar, the enthroned Saviour was carved in stone, with the angel choir around Him, and the great window spoke of the Church of God, which in prayer and praise and noble deeds united its worship with theirs. Let them endeavour to grasp the original inspiration of that great wall of glass. Sometimes called the Creci window, it was certainly a war memorial. In the lower lights were heraldic devices; 12 or 13 of those coats-of-arms were borne upon shields of knights who fought at the battle of Creci in 1347 - friends and chiefs of Lord Bradlestone, the giver of the window, who. like a simple gentleman, chose the lowest place for his own device at the south end. Above the shields were tiers of figures, saints, kings and apostles. In the centre stood the Redeemer and His virgin mother, with St. Peter and St. Paul (to whom the Church was then dedicated) on either side, with other evangelists. Above them were angels under rich canopies and, above all, in the top light, there was originally some emblem of the Godhead. OUT OF PLACE. But there had been alterations, and they must in thought reconstruct the original idea of the designer. Two panels near the summit the window had evidently been interpolated. Let them look at the third row lights. There should have been six angels there, but. only five appeared. The picture with black background, was evidently out of place. It represented, not an angel but the Madonna, and was of 15th Century work - a hundred years after the other glass. An angel originally stood there, but some accident happened, or the glass decayed, and it was replaced by another figure, the Virgin Mary with Child, introduced from elsewhere. The top light of all was similarly out of place. Also 15th Century glass, it represented the figure of St. Clement, the patron Saint of Sailors (his badge, an anchor, could be seen hanging from his right arm).
Authorities agreed that the top light of all contained originally a symbol of the Godhead, even of the Holy Trinity, in the two whitish lights, either side of St. Clement, they could just trace the outline, greatly faded and much mutilated, of two flaming stars. Instead of St Clement, place a third flaming star in the centre and they had the Holy Trinity - quite possibly the central top light might have contained a scroll containing the Godhead. A SERMON IN STONE AND COLOUR.  It might interesting to note here, he proceeded, one feature of the great East window in York Minster (later in date than theirs, and a few feet smaller area) which only yielded to Gloucester the pre-eminence of being the largest in Europe. The York window contained far more painted glass, with hosts of figures in panels. A Latin scroll was said to surmount the beautiful mass of tracery, repeating two, at least, similar scrolls of the panels below. These scrolls set forth thus: "I am Alpha and Omega " (the first and the last), and he ventured to suggest that a similar scroll might have been written at the apex of their Gloucester window. Here, then, they had the window which Lord Bradestone, Governor of the Castle, gave to Gloucester about the year 1350. and which Thomas, the " glassewright," fashioned. 
In conclusion, Canon Goodwyn alluded to the window and the roof above, in glistening glass and perfect stone work, a sermon in stone and colour. Those worthies of old. he said, witnessed for Christ and strived and fought for Him. Theirs was the same warfare for right against wrong, in whatever field at home or abroad, and theirs the same reward. "For Jesus is the same yesterday, to-day and for ever."' 
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000532/19200124/005/0002

Cheltenham Chronicle - Saturday 26 October 1940 (page 5) reported: 
'Cathedral Window. THE East window of Gloucester Cathedral, one of the most beautiful examples of fourteenth century glass, and a war memorial of the knights who fought at Crecy, is to be removed to safety. In making an appeal to-day to the nation to help the Dean and Chapter to preserve this memorial, the Bishop of Gloucester (Dr. A. C. Headlam) states that the cost will be £750 -- £250 to remove it, and £500 to replace it. "But," says the Bishop, "their income has been very much reduced. They have not sufficient for current expenses. They are more than £2,000 in debt." 
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000518/19401026/066/0005

Gloucestershire Echo - Saturday 31 August 1946 (page 3) reported: 
'Famous Window. ERECTED as a memorial to the men of Gloucestershire who fell at the battle of Crecy, the famous east window in Gloucestershire Cathedral is claimed to be the earliest known war memorial in the country. It is also the largest of its kind in England. During the war, the window was removed for safety. The work of replacing it is now almost complete'.  https://www.britishnewspaperarchive.co.uk/viewer/bl/0000320/19460831/026/0003

Gloucester Citizen - Saturday 31 August 1946 (page 4); printed the following article by Mrs Enid Airy:
'ENGLAND’S FIRST WAR MEMORIAL.  THE CATHEDRAL EAST WINDOW. "GEM OF GREAT BEAUTY".  We have heard many discussions on the subject of suitable war memorials. No doubt there are some who feel it is not their responsibility and that the difficulties of the present time should exclude all thoughts of this kind. Yet, when you have received a gift or help from a friend which has been of service to you, it is an involuntary feeling of gratitude and goodwill that prompts you to show your joy and appreciation. In looking at the great East Window in Gloucester Cathedral you are awed by its beauty and the spirit that prompted the artists and craftsmen to create this war memorial to the memory of the men who fell at the battle of Crecy in 1346. It may be that there were men and women in those days who challenged the Idea of spending so much time and money on the creation of a window -- the largest in England -- when they were probably lacking just as many of the essentials and amenities of life as we are to-day. Surely the spiritual need in us all at the present time needs manifestation, just as it did to those that felt they wanted to perpetrate their gratitude to the men of Gloucestershire who fell at the battle of Crecy, by constructing the great East Window in Gloucester Cathedral -- the first war memorial in England. Inspired. How many people throughout the ages may not have been inspired by this gem of great beauty? Surely, as we leave the Cathedral and its precincts, we should have the desire and will not only to preserve the beauty of our land, but also to contribute, in our generation, works of art that may, in their turn, be handed on to other generations to come. In doing we should manifest the spirit that caused men to make the supreme sacrifice and show that we, too, still have that same spirit within us and that we have not altogether, in these materialistic days, sacrificed the love of beauty, for purely utilitarian necessities. The chief feature of this great window is the transparent, silvery-white glass, of which there is a great deal; otherwise, its colour is mostly red and blue, with a little yellow. The whole fires a wonderful feeling of lightness. The window, which was completed in 1350, is splayed on the north and south sides, so that it is actually six feet wider than the chancel of the Church itself. All the glass of the window was stowed in two different places for safety during the war and it is now being put back into position. To the lovers of Gloucester Cathedral who knew it well before the war, it will be a great joy to see the great East Window safely restored, and to those who have not yet had the privilege of seeing it, it cannot fail to make a lasting impression'. 
https://www.britishnewspaperarchive.co.uk/viewer/bl/0000325/19460831/077/0004

Journal of the British Archaeological Association; Volume 171, 2018 (Issue 1, pages 100-130): 'The Great East Window of Gloucester Cathedral and its Heraldic Glass', by Netta Clavner. The Great East Window of Gloucester Cathedral and its Heraldic Glass: (The final paragraph of this analysis' Conclusion' on pages 18/19 ends with the comment: 'The window thus memorializes not just the triumph of English knights, but the extensive conception of the Battle of Crécy as a heroic legend and Christian exemplar. The knights who fought alongside the Christ-like king function as God’s instruments: Rather than being glorified for their strength and valor, they are revered as manifestations of divine power'). https://www.cambridgescholars.com/resources/pdfs/978-1-5275-6019-2-sample.pdf

Geograph website; Photo 5159197 by J. Hannan-Briggs, accompanying text:
'The Great East Window at Gloucester Cathedral is 72 feet high and 38 feet wide, and dates from around 1350.
The window was built on the original foundations of the crypt which explains the design of a central section of six lights and, on either side, wings of four lights each. The lower part of the window is designed with plain glass and decorative roundels because it is partly obscured by the entrance to the Lady Chapel and the Whispering Gallery.
The window consists mostly of canopied figures giving the impression of sculpted figures in niches. 
Traditionally, the subject of the window was thought to be the Coronation of the Blessed Virgin Mary or possibly Christ and his mother seated beside each other in Glory, but it can also be seen as a backcloth to the part of the Cathedral where the murdered King Edward II lay buried, and as a larger reredos to the high altar. 
At the head of the window is a Pope, St Clement, surrounded by flaming stars. This figure dates from the 15th century and possibly came from the Lady Chapel. There are six canopies below this and beneath them are six Angels. The second from left has been replaced with a Madonna and child. The row beneath this is the first full-length row of figures, the centre of which shows the Virgin looking towards our Lord. These are flanked by St Peter and St Paul. Other saints include St James the Less, St Andrew, St Thomas, St John the Evangelist, and two unidentified figures. The right-hand side of this row was damaged in the past and the figures were replaced by four Kings.
The next row depicts 14 Saints, in pairs turned towards each other. They are St Cecilia, St George, possibly St Agatha, St Canute or St Edmund, St Margaret with dragon, St Laurence, St Catherine, and St John the Baptist. The next two Saints are damaged and contain fragments with replaced heads. The next Saint has a green club and replaced head. The last three figures are also made of fragments depicting Kings, however the middle figure is wearing a pilgrims hat with a scallop shell badge, usually signifying St James the Great.
The lowest row of figures depicts Abbots and Bishops. There is extensive paint loss and mending leads present. The central figure represents St Edmund, holding three arrows, and was probably originally in the clerestory.
The lower part of the window depicts 14 armorial bearings of Kings and Nobles of the 14th century. Only 10 are part of the original design, these are for Richard Fitz Alan Earl of Arundel, Thomas Baron Berkeley, Thomas Beauchamp Earl of Warwick, William Bohun Earl of Northampton, Edward the Black Prince, Henry Earl of Lancaster, Lawrence Hastings Earl of Pembroke, Richard Lord Talbot, Sir Maurice Berkeley, and Thomas Lord Bradeston. There are further Arms which were inserted from other windows in the central panels dating from the late 14th century. There is also a shield with the instruments of the passion from the mid-to late 15th century.
There are also 14 roundels in the window the most famous of which is a 14th century depiction of a figure playing a stick and ball game. Despite the appearance, this is not golf but probably a 14th century game known as "Bandy Ball"'.
https://www.geograph.org.uk/photo/5159197

Gloucester Citizen - Saturday 29 May 1999 (page 12) reported:
'Earliest war memorial. THIS week’s question comes from B.D. of Stroud.
Q: Someone told me that Gloucester Cathedral boasted the oldest war memorial in the world. Is this true? A: Well no, not really. I should think if one scoured the ruins of the glory that was Greece and the grandeur that was Rome you would find the odd tribute to their martial prowess. And that doesn’t include the ancient Egyptians, Persians, Moors, Chinese, Aztecs or Incas. However, if you examine the Great East Window in the Cathedral, you will see it was installed by Lord Bradeston, Governor of Gloucester Castle in about 1350 as a memorial to his chum Sir Maurice Berkeley. Sir Maurice was killed along with some other knights during the French campaign of 1346-7, a conflict which embraced the Battle of Crecy and the Seige of Calais. So it does have claim to be the earliest war memorial in Britain'.  https://www.britishnewspaperarchive.co.uk/viewer/bl/0004999/19990529/012/0012