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diff --git a/42098-h/42098-h.htm b/42098-h/42098-h.htm index e0ea3ae..7a8a081 100644 --- a/42098-h/42098-h.htm +++ b/42098-h/42098-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> - <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Windows A Book About Stained & Painted Glass, by Lewis F. Day. @@ -168,46 +168,7 @@ table { </style> </head> <body> - - -<pre> - -The Project Gutenberg EBook of Windows, A Book About Stained & Painted -Glass, by Lewis F. Day - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Windows, A Book About Stained & Painted Glass - -Author: Lewis F. Day - -Release Date: February 15, 2013 [EBook #42098] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK WINDOWS *** - - - - -Produced by Pat McCoy, Chris Curnow and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - +<div>*** START OF THE PROJECT GUTENBERG EBOOK 42098 ***</div> <div class="figcenter" style="width: 322px;"> <img src="images/title.png" width="322" height="500" alt="Title Page" title="Title Page" /> @@ -293,7 +254,7 @@ decorative qualities the later masterpieces of glass painting were bought.</p> <p>In the second place (<a href="#Page_111">Book II.</a>), I have endeavoured to show -the course of <i>design</i> in glass, from the earliest Mediæval window +the course of <i>design</i> in glass, from the earliest Mediæval window to the latest glass picture of the Renaissance.</p> <p>Finally (<a href="#Page_322">Book III.</a>), I have set apart for separate discussion @@ -368,7 +329,7 @@ according to heraldic custom.</i></p> <tr><td class="tdr">III.</td><td class="tdl"><span class="smcap">Glazing</span></td><td class="tdr"><a href="#Page_15">15</a></td></tr> <tr><td class="tdr">IV.</td><td class="tdl"><span class="smcap">Early Mosaic Windows</span></td><td class="tdr"><a href="#Page_32">32</a></td></tr> <tr><td class="tdr">V.</td><td class="tdl"><span class="smcap">Painted Mosaic</span></td><td class="tdr"><a href="#Page_43">43</a></td></tr> -<tr><td class="tdr">VI.</td><td class="tdl"><span class="smcap">Glass Painting (Mediæval)</span></td><td class="tdr"><a href="#Page_59">59</a></td></tr> +<tr><td class="tdr">VI.</td><td class="tdl"><span class="smcap">Glass Painting (Mediæval)</span></td><td class="tdr"><a href="#Page_59">59</a></td></tr> <tr><td class="tdr">VII.</td><td class="tdl"><span class="smcap">Glass Painting (Renaissance)</span></td><td class="tdr"><a href="#Page_67">67</a></td></tr> <tr><td class="tdr">VIII.</td><td class="tdl"><span class="smcap">Enamel Painting</span></td><td class="tdr"><a href="#Page_77">77</a></td></tr> <tr><td class="tdr">IX.</td><td class="tdl"><span class="smcap">The Needle-point in Glass Painting</span></td><td class="tdr"><a href="#Page_87">87</a></td></tr> @@ -432,7 +393,7 @@ the lenses were presumably of glass. Of coloured glass there is yet earlier record. Egyptologists tell us that at least five if not six thousand years ago the Egyptians made jewels of glass. Indeed, it is more than probable that this was the earliest use -to which stained glass was put, and that the very <i>raison d’être</i> +to which stained glass was put, and that the very <i>raison d’être</i> of glass making was a species of forgery. In some of the most ancient tombs have been found scarabs of glass in deliberate imitation of rubies and emeralds, sapphires and other precious @@ -448,7 +409,7 @@ foible of humanity. The Greeks and their Roman successors made glass in imitation of agate and onyx and all kinds of precious marbles. They devised also coloured glass coated with white glass, which could be cut cameo-fashion—a kind of -glass much used, though in a different way, in later Mediæval +glass much used, though in a different way, in later Mediæval windows.</p> <p>The Venetians carried further the pretty Greek invention of @@ -480,7 +441,7 @@ Rome the arched window openings were sometimes filled with slabs of marble, in which were piercings to receive glass (which may or may not have been coloured), foreshadowing, so to speak, the plate tracery of Early Gothic builders. -According to M. Lévy, the windows of Early Mediæval +According to M. Lévy, the windows of Early Mediæval Flemish churches were often filled in this Roman way with plaques of stone pierced with circular openings to receive glass.</p> @@ -488,7 +449,7 @@ glass.</p> <p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span> Another Roman practice was to set panes of glass in bronze or copper framing, and even in lead. Here we have the -beginning of the practice identified with Mediæval glaziers.</p> +beginning of the practice identified with Mediæval glaziers.</p> <p>There is no reason to suppose that the ancients practised glass painting as we understand it. Discs of Greek glass have @@ -504,7 +465,7 @@ stained glass, unpainted: one reads that between the lines of the records that have come down to us.</p> <p>Stained and painted glass, such as we find in the earliest -existing Mediæval windows, may possibly date back to the +existing Mediæval windows, may possibly date back to the reign of Charlemagne (800), but it may safely be said not to occur earlier than the Holy Roman Empire. A couple of hundred years later mention of it begins to occur rather @@ -521,7 +482,7 @@ of the next century.</p> <p>Fragments, more or less plentiful, of the very earliest glass may still remain embedded in windows of a later period (the material was too precious not to have been carefully preserved); -but archæologists appear to be agreed that no complete +but archæologists appear to be agreed that no complete window of the ninth or tenth century has been preserved, and that even of the eleventh there is nothing that can quite certainly be identified. After that doctors begin to differ. @@ -550,10 +511,10 @@ of coloured windows, a colony of Venetian glass-workers having, they say, settled at Limoges in the year 979.</p> <p>Some of the earliest French glass is to be found at Chartres, -Le Mans, Angers, Reims, and Châlons-sûr-Marne; and at the -<i>Musée des Arts Décoratifs</i>, at Paris, there are some fragments +Le Mans, Angers, Reims, and Châlons-sûr-Marne; and at the +<i>Musée des Arts Décoratifs</i>, at Paris, there are some fragments of twelfth century work which may be more conveniently -examined than the work <i>in sitû</i>. The oldest to which one can +examined than the work <i>in sitû</i>. The oldest to which one can assign a definite date is that at St. Denis (1108) but its value is almost nullified by expert restoration.</p> @@ -595,12 +556,12 @@ can only be produced in it by breaking up the sheets and putting them together in the form of a mosaic: in fact, that is how the earliest windows were executed, and they go by the name of mosaic glass. The glass is, however, not broken -up into tesseræ, but shaped according to the forms of the +up into tesseræ, but shaped according to the forms of the design. In short, those portions of it which are white have to be cut out of a sheet of white glass, those which are blue out of a sheet of blue glass, those which are yellow out of a sheet of yellow, and so on; and it is these pieces of variously tinted -glass, bound together by strips of lead, just as the tesseræ +glass, bound together by strips of lead, just as the tesseræ of a pavement or wall picture are held in place by cement, which constitute a stained glass window. The artist is as yet not concerned in painting, but in glazing—that is to say, @@ -624,7 +585,7 @@ in pottery painting. The painted glass is then put into a kiln and heated to the temperature at which it is on the point of melting, whilst the colour actually does melt into it. By this means it is possible to paint a coloured picture upon a single -sheet of white glass, as has been proved at Sèvres.</p> +sheet of white glass, as has been proved at Sèvres.</p> <p>Strictly speaking, then, stained and painted glass are the very opposite one to the other. But in practice the two @@ -681,7 +642,7 @@ say, when painting was subsidiary to glazing—would set about putting into glass a map of modern Italy. In the first place, he would draw his map to the size required. This he would do with the utmost precision, firmly marking upon the paper (the -mediæval artist would have drawn directly on his wooden +mediæval artist would have drawn directly on his wooden bench) the boundary line of each separate patch of colour in his design. Then, according to the colour each separate province or division was to be, he would take a separate sheet @@ -996,7 +957,7 @@ of transparent glass, which was undoubtedly the form stained glass windows first took.</p> <p>It has been suggested that in some of the earliest windows -the glazing is meant to take the form of tesseræ; but the +the glazing is meant to take the form of tesseræ; but the examples instanced in support of that idea afford very little ground for supposing any such intention on the part of the first glass-workers. It may more reasonably be presumed @@ -1025,23 +986,23 @@ It was, in fact, a quite different operation, the only point in common between the two being that they were executed in vitreous colour upon a metal ground. The enamel referred to as having probably influenced the early glazier is of the -severer kinds familiar in Byzantine work, and known as <i>champlevé</i> -and <i>cloisonné</i>. In the one, you know, the design is scooped +severer kinds familiar in Byzantine work, and known as <i>champlevé</i> +and <i>cloisonné</i>. In the one, you know, the design is scooped out of the metal ground, in the other its outline is bent in flat wire and soldered to the ground. In either case the resulting cells are filled with coloured paste, which, under the action of the fire, vitrifies and becomes embodied with the metal. -In <i>champlevé</i> enamel naturally the metal ground is usually -a distinguishing feature. In <i>cloisonné</i> the ground as well as +In <i>champlevé</i> enamel naturally the metal ground is usually +a distinguishing feature. In <i>cloisonné</i> the ground as well as the pattern is, of course, in enamel; but in either case the -outlines, and, indeed, all drawing lines, are in metal. In <i>cloisonné</i> +outlines, and, indeed, all drawing lines, are in metal. In <i>cloisonné</i> enamel the metal “<i>cloisons</i>,” as they are called, fulfil precisely the function of the leads in glass windows; and it would have been more convenient to have left altogether out of account<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span> the sister process, were it not that, in the painting of quite early glass, the strokes with which the lines of the drapery and suchlike are rendered, bear quite unmistakable likeness -to the convention of the Byzantine worker in <i>champlevé</i>. For +to the convention of the Byzantine worker in <i>champlevé</i>. For that matter, one sees also in very early altar-pieces painted on wood, where gold is used for marking the folds of drapery, the very obvious inspiration of Byzantine enamel—but that is rather @@ -1089,9 +1050,9 @@ and specimens of it are to be found at the South Kensington Museum.</p> <span class="caption">6. <span class="smcap">Arab Lattice, Floral.</span></span> </div> -<p>M. Vogué illustrates in his book, <i>La Syrie Centrale</i>, an important +<p>M. Vogué illustrates in his book, <i>La Syrie Centrale</i>, an important series of windows in the Mosque of Omar (Temple of Jerusalem), erected -in 1528, by Sultan Soliman. The plaster, says M. Vogué, was strengthened +in 1528, by Sultan Soliman. The plaster, says M. Vogué, was strengthened by ribs of iron and rods of cane imbedded in the stouter divisions of the framework, a precaution not necessary in the smaller Cairene lattices (measuring as a rule about four superficial feet), in which the @@ -1107,7 +1068,7 @@ the window, there is always both shadow and reflection from the deep sides of the openings, much to the enhancement of the mellowness and mystery of colour. In the Temple windows referred to, still further subtlety of effect is arrived at by an outer screen or lattice of -<i>faïence</i>. Thus subdued and tempered, even crude glass may be turned to +<i>faïence</i>. Thus subdued and tempered, even crude glass may be turned to beautiful account.</p> <div class="figleft" style="width: 190px;"> @@ -1116,7 +1077,7 @@ beautiful account.</p> <span class="caption">7. <span class="smcap">Arab Glazing in Plaster.</span></span> </div> -<p>Whence the mediæval Arabs got their glass, and the quality of the +<p>Whence the mediæval Arabs got their glass, and the quality of the material, are matters of conjecture. If we may judge by the not very ancient specimens which reach us in this country, the glass used in Cairene lattices is generally thin and raw; but set, as above described, @@ -1151,7 +1112,7 @@ we may not be able to trace back through the distant years the very fountain of this craft, we may quite certainly affirm that its current was swollen by more than one side-stream, and that its course was shaped by all manner of obstinate circumstances and conditions of the time, -before it went to join the broad and brimming stream of early mediæval +before it went to join the broad and brimming stream of early mediæval art.</p> <p>One more source, at least, there was at which the early glazier drew @@ -1273,37 +1234,37 @@ is not an outline, no outline which is not a lead.</p> <div class="figright" style="width: 202px;"> <a id="Fig_12" name="Fig_12"></a> -<img src="images/fig_12.png" width="202" height="300" alt="Châlons" title="Châlons" /> -<span class="caption">12. <span class="smcap">Châlons.</span></span> +<img src="images/fig_12.png" width="202" height="300" alt="Châlons" title="Châlons" /> +<span class="caption">12. <span class="smcap">Châlons.</span></span> </div> <p>It is not always that the glazier was so conscientious as this. M. Viollet le Duc pointed out, in the most helpful article in his famous Dictionary of Architecture, under the head of <i>Vitrail</i>, how in the -little window from Bonlieu, here illustrated, the mediæval craftsman +little window from Bonlieu, here illustrated, the mediæval craftsman resorted to a dodge, more ingenious than ingenuous, by which he managed to economise labour. Each separate lead line there does not enclose a separate piece of glass. The lines are all of lead; but some of them are mere dummies, strips of metal, holding nothing, carried across the face of the glass only, and soldered on to the more businesslike leads at -each end. The extent of <i>bonâ fide</i> glazing is indicated in the +each end. The extent of <i>bonâ fide</i> glazing is indicated in the right-hand corner of the drawing. I confess I was inclined at first to think that Viollet le Duc might, in ascribing this glass to the twelfth century, very possibly have dated it too far back; for this is the kind of trick one would more naturally expect from the later and more sophisticated workman; but I have since come upon the same device -myself, both at Reims and Châlons, in work certainly as old as the +myself, both at Reims and Châlons, in work certainly as old as the thirteenth century. You see, cutting the glass was the difficulty in those days, and sometimes it was shirked.</p> <div class="figleft" style="width: 235px;"> <a id="Fig_13" name="Fig_13"></a> -<img src="images/fig_13.png" width="235" height="300" alt="Châlons" title="Châlons" /> -<span class="caption">13. <span class="smcap">Châlons.</span></span> +<img src="images/fig_13.png" width="235" height="300" alt="Châlons" title="Châlons" /> +<span class="caption">13. <span class="smcap">Châlons.</span></span> </div> <p>It should be noted that the subterfuge employed at Bonlieu and in the -specimens from Châlons, <a href="#Fig_12">opposite</a>, was not in order to evade any +specimens from Châlons, <a href="#Fig_12">opposite</a>, was not in order to evade any difficulty in glazing—the designs present none—but<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span> merely to save trouble. There would have been more occasion for evasion in executing the design from Aix-la-Chapelle (<a href="#Fig_14">14</a>), where the sharp @@ -1312,7 +1273,7 @@ glazier to cut. It will be noticed that to the left of the panel one of the points joins the necking-piece, which holds the fleur-de-lys together. That is a much more practical piece of glazing than the free point, which presents a difficulty in cutting the background, indicative -of the late period to which the glass belongs. The earlier mediæval +of the late period to which the glass belongs. The earlier mediæval glazier worked with primitive tools, which kept him perforce within the bounds of simplicity and dignified restraint.</p> @@ -1457,7 +1418,7 @@ which interlacing ornament was carried.</p> <span class="caption">18. <span class="smcap">Marble Mosaic, Roman.</span></span> </div> -<p>Mediæval glaziers did not attempt anything like foliated ornament in +<p>Mediæval glaziers did not attempt anything like foliated ornament in leaded glass, and for good reason. In such work the difficulty of doing without lines detrimental to the design is greatly increased, whereas abstract forms you can bend to your will, as you can bend your strip of @@ -1472,7 +1433,7 @@ so easy as that. The designer cannot go far without wanting other connecting leads (besides those used for the stalk); and when some leads are meant very emphatically to be seen and some to be ignored, there is no knowing what the actual effect may be: the drawing lines may be quite -lost in a network of connecting leads. Again, the mediæval glazier did +lost in a network of connecting leads. Again, the mediæval glazier did not, so far as we have any knowledge, build up in lead glazing a boldly pronounced pattern, light on dark or dark on light.<span class="pagenum"><a name="Page_30" id="Page_30">[Pg 30]</a></span> This he might easily have done. On a small scale plain glazing must perforce be @@ -1504,7 +1465,7 @@ does not long keep a smooth face before it. Except there is a solid iron bar to keep it in place, it soon bulges inwards, and presents a surface as undulous, on a smaller scale, as the pavement of St. Mark’s; and, as it begins to yield, snap go the awkwardly shaped pieces of glass which -the glazier has been at such pains to cut. The mediæval artist, +the glazier has been at such pains to cut. The mediæval artist, therefore, exercised no more than common sense, when he shaped the pieces of glass he employed with a view to security, avoiding sharp turns or elbows in the glass, or very long and narrow strips, or even @@ -1686,8 +1647,8 @@ but it is the intuition of a man who knows.</p> simplicity of design—the one almost necessitated the other—and the earlier the window the more plainly is its pattern pronounced, light against dark, or, less usually, (as in some most -interesting remains of very early glass from Châlons now at the <i>Musée -des Arts Décoratifs</i> at Paris) in full, strong colour upon white. In +interesting remains of very early glass from Châlons now at the <i>Musée +des Arts Décoratifs</i> at Paris) in full, strong colour upon white. In twelfth century work especially, figures and ornament alike are always frankly shown <i>en silhouette</i>. Witness the design on <a href="#Fig_20">pages 33</a> and <a href="#Fig_61">115</a>. Similar relief or isolation of the figure against @@ -1826,7 +1787,7 @@ adapted to anything remotely like pictorial representation. The figures in his subjects have, as before said, to be cut out against the background in order to be intelligible. Hence a stiff and ultra-formal scheme of design, and also a certain exaggeration of attitude, which in -the hands of a <i>naïve</i> and sometimes almost childish draughtsman becomes +the hands of a <i>naïve</i> and sometimes almost childish draughtsman becomes absolutely grotesque. This is most strikingly the case in the larger figures, sometimes considerably over lifesize, standing all in a row in the clerestory lights of some of the great French cathedrals.</p> @@ -1848,13 +1809,13 @@ at you fixedly; there is no speculation in their stare; they look more like huge goggles than live eyes. And it is not these only which are grotesque; the smaller figures in subject windows are, for the most part, rude and crude, to a degree which precludes -one, or any one but an archæologist <i>pur sang</i>, from taking +one, or any one but an archæologist <i>pur sang</i>, from taking them seriously as figure design. They are often really not so much like human figures as “bogies,” ugly enough to frighten a child. What is more to be deplored is that they are so ugly as actually to have frightened away many a would-be artist in glass from the study of them—a study really essential to the proper -understanding of his <i>métier</i>; for repellant as those bogey figures +understanding of his <i>métier</i>; for repellant as those bogey figures may be, they show more effectually than later, more attractive, and much more accomplished painting, the direction in which the glass painter should go, and must go, if he wants to make @@ -1896,7 +1857,7 @@ a circular space the likeness is complete to him. But to know the lines on which an Early Gothic window was built, is to see, through all confusion of effect, the evidence of design, and to resent the implication of thoughtless mechanism implied in -the word kaleidoscopic. Nevertheless, little as the mediæval +the word kaleidoscopic. Nevertheless, little as the mediæval glaziers meant it—they were lavish of the thought they put into their art—their glass does often delight us, something as the toy amuses children, because the first impression it produces @@ -2138,7 +2099,7 @@ cameo-fashion in imitation of onyx and the like; at least, one <i>tour de force</i> of this kind is familiar to every one in the famous Portland vase, in which the outer layer of white glass is in great part ground away, leaving the design in cameo upon dark blue. -The mediæval glass-blower seems from the first to have been +The mediæval glass-blower seems from the first to have been acquainted with this method of coating a sheet of glass with glass of a different colour. As the Roman coated his dull blue with opaque white glass, so he coated translucent white with @@ -2180,8 +2141,8 @@ would be sure to suggest, sooner or later, the deliberate grinding away of the ruby stratum in places where a spot of white was needed smaller than could conveniently be leaded in. As to the precise date at which some ingenious artist may first have used this device, it may be left to -archæology to speculate. It must have been a very laborious process; and -the early mediæval ideal of design was not one that offered any great +archæology to speculate. It must have been a very laborious process; and +the early mediæval ideal of design was not one that offered any great temptation to resort to it during the thirteenth or even the fourteenth century. It was not, in fact, until the painting of windows was carried to a point at which there<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span> was some difficulty in so scheming the @@ -2342,7 +2303,7 @@ with his white glass; for it is clear that, in proportion as the white was delicately painted, there would be brutality in crossing it haphazard by strong lines of lead not forming part of the design; and to the last one of the most interesting things -in mediæval design is to observe the foresight with which the +in mediæval design is to observe the foresight with which the glass-worker plans his colour for the convenience of glazing.</p> <p>There is very skilful engineering in the subject from Ross on @@ -2448,7 +2409,7 @@ at my disposal by Mr. John R. Clayton, himself a master of design in glass.</p>< <h3>CHAPTER VI.<br /> <br /> -GLASS PAINTING (MEDIÆVAL).</h3> +GLASS PAINTING (MEDIÆVAL).</h3> <p>The end of the fifteenth century brings us to the point at which painting and glazing are most evenly matched, and, in so @@ -2498,7 +2459,7 @@ from ruby to pale pink, from sea-green to smoky-black.</p> <p>This gradation of tint wisely used was of great service in giving something like shadow without the aid of paint, and it was used with great effect—in the dragons, for example, -which the mediæval artist delighted to depict—as a means +which the mediæval artist delighted to depict—as a means of rendering the lighter tones of the creature’s belly. Supposing the beast were red, the glass painter would perhaps assist the natural inequality of the glass by abrading the ruby, @@ -2805,12 +2766,12 @@ from that translucency which is the glory of glass.</p> <p>It is rash to say, at a glance, whether glass has been too heavily painted or not. I once made a careful note, in writing, -that certain windows in the church of S. Alpin, at Châlons, +that certain windows in the church of S. Alpin, at Châlons, were over-painted. After a lapse of two or three years I made another equally careful note to the effect that they were thin, and wanted stronger painting. It was not until, determined to solve the mystery of these contradictory memoranda, I went -a third time to Châlons, that I discovered, that with the light +a third time to Châlons, that I discovered, that with the light shining full upon them the windows were thin, that by a dull light they were heavy, and that by a certain just sufficiently subdued light they were all that could be desired. There is @@ -2818,7 +2779,7 @@ indiscretion, at least, in painting in such a key that only one particular light does justice to your work; but the artist in glass is always very much at the mercy of chance in this respect. He cannot choose the light in which his work shall -be seen, and the painter of Châlons may have been more unfortunate +be seen, and the painter of Châlons may have been more unfortunate than in any way to blame. There comes, however, a degree of heaviness in painted glass about which there can be no discussion. When the paint is laid on so thick that under @@ -2931,7 +2892,7 @@ earlier glass, and in glass of about the same period as this.</p> <p class="p2"><span class="caption">42. RENAISSANCE WINDOW, S. GUDULE, BRUSSELS.</span></p> <p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span> -For example, at Liège, where there are beautiful windows of +For example, at Liège, where there are beautiful windows of about the same period, very similar in design, the glass is altogether lighter and more brilliant, partly owing to the use of paint with a much lighter hand, but yet more to greater reliance upon @@ -2990,7 +2951,7 @@ to accept the situation.</p> especially of shade—may account for the character of the Brussels glass. Against that it should be said that, elsewhere in Flanders, splendid glass was being done about the same time, -less open to the charge of being too heavily painted—at Liège, +less open to the charge of being too heavily painted—at Liège, for example. But everywhere, and perhaps more than anywhere in the Netherlands, which became presently a great centre of glass painting, the tendency, towards the latter part of the @@ -3098,8 +3059,8 @@ to the painter. He could not only get, without lead, contrast of colour between a head and the white ground upon which it was painted, or the white drapery about it, but he could very readily give the effect of white hair or beard in contrast to ruddy -flesh, and so on. There is a fragment at the <i>Musée des Arts -Décoratifs</i> at Paris, attributed to Jean Cousin, 1531, in which +flesh, and so on. There is a fragment at the <i>Musée des Arts +Décoratifs</i> at Paris, attributed to Jean Cousin, 1531, in which a turbaned head appears to have been cut out of a piece of purplish-blue glass, the flesh abraded, and then painted in red, the lips still redder, whilst the beard is painted on the blue, @@ -3208,10 +3169,10 @@ painting, lacking the qualities of oil paint.</p> <div class="figcenter" style="width: 408px;"> <a id="Fig_47" name="Fig_47"></a> -<img src="images/fig_47.png" width="408" height="500" alt="S. Martin ès Vignes" title="S. Martin ès Vignes" /> +<img src="images/fig_47.png" width="408" height="500" alt="S. Martin ès Vignes" title="S. Martin ès Vignes" /> </div> -<p class="p2"><span class="caption">47. <span class="smcap">S. Martin ès Vignes, Troyes.</span></span></p> +<p class="p2"><span class="caption">47. <span class="smcap">S. Martin ès Vignes, Troyes.</span></span></p> <p>The French glass painters were less reckless. At Troyes, indeed, there is plenty of seventeenth century glass in which a @@ -3466,7 +3427,7 @@ bears, for example, the device of the city of Berne, which occur very frequently in Swiss heraldic work, are rendered at Lucerne in the most marvellously skilful manner. First a juicy wash of colour is floated all over the body of the beast, more or less -translucent, but judiciously varied so as to give <i>à peu près</i> the +translucent, but judiciously varied so as to give <i>à peu près</i> the modelling of the creature. Then with a fine point the lines of the fur are scraped out, always with an eye to the further development of the modelling. Finally, the sharp lights are @@ -3587,7 +3548,7 @@ in Swiss glass it did not of course entirely supersede other methods. At the Germanic Museum at Nuremberg (where there is a fair amount of good work, 1502-1672) there is some matted tint which is shaded and then lined in brown, much after -the manner of one of Dürer’s woodcuts. It has very much +the manner of one of Dürer’s woodcuts. It has very much the appearance of a pen drawing shaded, as many of the old masters’ drawings were, in brown wash.</p> @@ -3825,7 +3786,7 @@ introduction of large sheets of thicker glass, to improved glass kilns, and also to more accurate knowledge of the chemistry of enamel colours, it is possible to paint a picture-window on one sheet of glass. That has been done with extraordinary -skill at Sèvres. You may see really marvellous results in this +skill at Sèvres. You may see really marvellous results in this kind in the Chapel of the Bourbons at Dreux. If you want neither more nor less than a picture upon glass, and are content<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span> with a picture in which the shadows are opaque and the lights @@ -4170,7 +4131,7 @@ of light.</p> <p>Glass painters who know what they are about use plenty of solid painting out; but it takes experience to do it cunningly. -An artist whose <i>métier</i> is really glass is not careful of the +An artist whose <i>métier</i> is really glass is not careful of the appearance of his drawings. Cartoons are nothing but plans of glass, not intrinsically of any account. Really good glass is better than the drawings for it—necessary as good sketches may @@ -4197,7 +4158,7 @@ where they use oyster, tortoise, and crocodile shell; or from ancient Rome, where mica, shells, and alabaster were employed. There is nothing very new in blended, streaked, or even wrinkled glass, except that moderns do by deliberate intention -what the mediæval glass-maker could not help but do, and +what the mediæval glass-maker could not help but do, and carry it farther than they. In chipping flakes or chunks out of a solid lump of glass, Mr. Lafarge certainly struck out an idea which had probably occurred to no one since, in prehistoric ages, @@ -4302,7 +4263,7 @@ Gothic—to about 1530.</p> <p>Renaissance art has been classified in Italy according to the century, and in France has been named after the reigning -sovereign—François Premier, Henri Deux, and so on. In England +sovereign—François Premier, Henri Deux, and so on. In England also we make use of the terms Tudor, Elizabethan, Jacobean, and the like. No one, however, has attempted to draw subtle distinctions between the periods of Renaissance glass, for the @@ -4330,7 +4291,7 @@ Perpendicular but Flamboyant, and so on.</p> character of the architectural or ornamental detail of the design. Such architectural or other detail—that of costume, for example—is of the very greatest use as a clue to the date -of glass. That is a question of archæology; but it is not +of glass. That is a question of archæology; but it is not so much the dates that artists or workmen have to do with as with the course of craftsmanship, the development of art. It is convenient for us to mark here and there a point where @@ -4569,7 +4530,7 @@ there by a line or a jewel of colour.</p> <p>Occasionally, as at Auxerre, Reims, and Poitiers, rich figure work is found set in grisaille or framed by it; and in some -fragments from Châlons, now at the <i>Musée des Arts Décoratifs</i> at +fragments from Châlons, now at the <i>Musée des Arts Décoratifs</i> at Paris, coloured figures are found on a white ground.</p> <p>You find also in France rich colour-work surrounded by @@ -4579,7 +4540,7 @@ of their churches, and accordingly removed so much of the coloured glass as seemed good to their ignorance, and replaced it with plain glazing. But, as a rule, and apart from the tinkering of the latter-day ecclesiastic, rich colour and grisaille -were kept apart in early mediæval churches; that is to say, +were kept apart in early mediæval churches; that is to say, a coloured window has not enough white in it perceptibly to affect the depth and richness of its colour, nor a grisaille window enough colour to disturb the general impression of @@ -5157,7 +5118,7 @@ Dignity of effect there can be none. Not now for the first time, seemingly, is art sacrificed to what we call the literary idea.</p> <p>It shakes one’s faith somewhat in the sincerity of the early -mediæval artist to find that in the serried ranks of Kings, +mediæval artist to find that in the serried ranks of Kings, Prophets, Bishops, and other holy men, keeping guard over the church in the clerestory lights, one figure often does duty for a variety of personages, the colour only, and perhaps the face, @@ -5371,7 +5332,7 @@ used to save leading. That, it has been already explained (<a href="#Page_24">pa a practice from the first; and it was resorted to more and more. It came in very conveniently in the French windows, in which the design consisted largely of white strapwork. It was adopted in the example from -Châlons <a href="#Fig_98">here given</a>, though it does not appear in the sketch, any more +Châlons <a href="#Fig_98">here given</a>, though it does not appear in the sketch, any more than it does in the glass until you examine it very carefully. However, in the sketches from the great clerestory window from Reims Cathedral (<a href="#Fig_99">overleaf</a>), and in the smaller one from S. Jean-aux-Bois (<a href="#Fig_100">facing it</a>), @@ -5389,8 +5350,8 @@ they no longer always follow or define the main lines of the pattern.</p> <div class="figleft" style="width: 240px;"> <a id="Fig_98" name="Fig_98"></a> -<img src="images/fig_98.png" width="240" height="250" alt="Châlons." title="Châlons." /> -<span class="caption">98. <span class="smcap">Châlons.</span></span> +<img src="images/fig_98.png" width="240" height="250" alt="Châlons." title="Châlons." /> +<span class="caption">98. <span class="smcap">Châlons.</span></span> </div> <p>In a remarkable window in the choir of Chartres Cathedral (<a href="#Fig_103">page 150</a>) the @@ -5434,7 +5395,7 @@ paint, might have been executed in the twelfth century, but its border indicates more likely the latter part of the thirteenth.<span class="pagenum"><a name="Page_146" id="Page_146">[Pg 146]</a></span> Quite the simplest form of glazing was to lead the glass together in squares or diamonds. These “quarries,” as they are called -(from the French <i>carré</i>) are associated sometimes with rosettes +(from the French <i>carré</i>) are associated sometimes with rosettes and bands of other pattern work, as at Lincoln (<a href="#Fig_189">pages 284</a>, <a href="#Fig_192">287</a>); but more ordinarily the ornamental part of the window is made up entirely of them. “Quarry” is a term to be remembered. @@ -5767,7 +5728,7 @@ the use of which the glaziers had by this time come back, divide the lights each into a series of panels, which panels are filled at York alternately with coloured subjects and ornamental grisaille. Elsewhere perhaps two panels are filled with colour -<span class="pagenum"><a name="Page_159" id="Page_159"></a><br /><a name="Page_160" id="Page_160">[Pg 160]</a></span>to one of grisaille, or three to one, or <i>vice versâ</i>. In any case +<span class="pagenum"><a name="Page_159" id="Page_159"></a><br /><a name="Page_160" id="Page_160">[Pg 160]</a></span>to one of grisaille, or three to one, or <i>vice versâ</i>. In any case these alternate panels of white and colour, occurring always on the same level throughout the lights composing the window (and often through all the windows along the aisle of a church), @@ -5999,8 +5960,8 @@ interfere with it.</p> <div class="figleft" style="width: 188px;"> <a id="Fig_121" name="Fig_121"></a> -<img src="images/fig_121.png" width="188" height="250" alt="Châlons." title="Châlons." /> -<span class="caption">121. <span class="smcap">Châlons.</span></span> +<img src="images/fig_121.png" width="188" height="250" alt="Châlons." title="Châlons." /> +<span class="caption">121. <span class="smcap">Châlons.</span></span> </div> <p>That this did not deter them, that they made a shift with interlacing @@ -6015,8 +5976,8 @@ altogether admirable, any more than are the figures.</p> <div class="figright" style="width: 149px;"> <a id="Fig_122" name="Fig_122"></a> -<img src="images/fig_122.png" width="149" height="250" alt="Châlons." title="Châlons." /> -<span class="caption">122. <span class="smcap">Châlons.</span></span> +<img src="images/fig_122.png" width="149" height="250" alt="Châlons." title="Châlons." /> +<span class="caption">122. <span class="smcap">Châlons.</span></span> </div> <p>What you most enjoy in it is the distribution of white and colour; and @@ -6041,12 +6002,12 @@ century glaziers seldom complicated their quarry work by the introduction of bands or straps of colour between the quarries, or by the introduction of colour other than such as might occur in rosettes or shields and so on, planted upon them, rather than worked into the -design. Occasionally, however, as at Châlons-sur-Marne, you come upon an +design. Occasionally, however, as at Châlons-sur-Marne, you come upon an ornamental window (<a href="#Fig_121">page 167</a>) in which quarries are separated by bands of clear white, a certain amount of colour being introduced in the form of yellow quarries substituted at regular intervals for the white. On the <a href="#Fig_122">same page</a> is another coloured diaper window designed on quarry lines, -also at Châlons. In that quarries of white and yellow are separated by a +also at Châlons. In that quarries of white and yellow are separated by a trellis of blue. Something of the sort is to be seen also at S. Radegonde, Poitiers.</p> @@ -6221,7 +6182,7 @@ perhaps<span class="pagenum"><a name="Page_175" id="Page_175">[Pg 175]</a></span <a href="#Fig_132">here illustrated</a>; but there lingers in German borders such as this and the one on <a href="#Fig_230">page 338</a>, something of early tradition. It looks as if it would not be difficult to accept glazing lines like these and fill them -in with painted detail <i>à la Romanesque</i>. In one of the windows in York +in with painted detail <i>à la Romanesque</i>. In one of the windows in York Minster there is a border of alternate leaves and monkeys, both much of a size, which broadens out at the base, affording space for the representation of a hunt, men, dogs, grass and all complete.</p> @@ -6319,7 +6280,7 @@ the important thing. The precise and certain year in which this or that device was by exception for the first time employed, or until which by chance a practically obsolete practice survived, is interesting (if it can be ascertained) only as a question of -archæology. Anyway, a workman would rather believe the +archæology. Anyway, a workman would rather believe the evidence of his eyes, which he can trust, than of documents, which, even if authentic, may not be trustworthy, and which are perhaps open to misinterpretation.</p> @@ -6980,7 +6941,7 @@ SIXTEENTH CENTURY WINDOWS.</h3> drawn at about <span class="smcap lowercase">A.D.</span> 1530. That is to say, that there are to be found examples, presumably of that date, which are still undoubtedly Gothic in character. But he would be a bold man, -even for an archæologist, who dared to say precisely when the +even for an archæologist, who dared to say precisely when the Gothic era came to an end.</p> <p>Quite early in the sixteenth century the new Italian movement @@ -6989,14 +6950,14 @@ due course it spread to this country. Eventually it supplanted the older style; but it was only by degrees that it insinuated itself into the affections of cis-alpine craftsmen. And in stained glass, even more plainly than in wood or stone carving, is seen -how gradually the new style was assimilated by the mediæval +how gradually the new style was assimilated by the mediæval craftsmen—more quickly, of course, by the younger generation than the older—so that, concurrently with design in the quasi-Italian manner, Gothic work was still being done. Much of the earlier Renaissance work shows lingering Gothic influence. In the first quarter of the sixteenth century a great deal of glass was designed and executed by men hesitating between the old love -and the new, only partially emancipated from mediæval tradition, +and the new, only partially emancipated from mediæval tradition, or only imperfectly versed in the foreign style.</p> <p>There is a window at S. Nizier, at Troyes, for example, in @@ -7006,8 +6967,8 @@ scrolls or labels inscribed in black, very much after the manner of those which form such a feature in the German Gothic work at Shrewsbury (<a href="#Fig_142">page 186</a>). Renaissance forms are traced with a hand which betrays long training in the more rigid -mediæval school; and Gothic and Italian details are put together -in the same composition with a <i>naïveté</i> which is sometimes +mediæval school; and Gothic and Italian details are put together +in the same composition with a <i>naïveté</i> which is sometimes quite charming.</p> <p>You can see that the designer of the window on <a href="#Fig_152">page @@ -7068,7 +7029,7 @@ implication, it tells against the later Renaissance glass painters, whose triumphs were in a direction somewhat apart from their<span class="pagenum"><a name="Page_203" id="Page_203">[Pg 203]</a></span> craft. The great windows at Brussels, for example (<a href="#Fig_42">page 71</a>), illustrate a new departure. They seem to have nothing in -common with mediæval art. On the other hand, one traces +common with mediæval art. On the other hand, one traces the descent of such masterpieces of translucent glass painting as are to be found at Arezzo (<a href="#Fig_254">page 397</a>), through those same intermediate efforts, directly to Gothic sources.</p> @@ -7082,7 +7043,7 @@ which swept over sixteenth century art. Nowhere is this<span class="pagenum"><a more clearly argued than in the windows at Auch, completed, according to all accounts, as early as 1513. A strain of Gothic is betrayed by the cusping which here and there fringes a -semicircular canopy arch; but no less mistakably mediæval is +semicircular canopy arch; but no less mistakably mediæval is the technique throughout, and equally so the setting out of the windows. For the somewhat imposing canopies are not, for once, devised as frames to correspondingly important pictures; @@ -7188,7 +7149,7 @@ subjects, a plan adopted in several others of the windows at S. Vincent, Rouen. In a series of unframed subjects, such as these, there is much less danger of confusion should some one prominent figure recur throughout always in the same costume. -That is the case here, and again at Châlons, where the figure of +That is the case here, and again at Châlons, where the figure of Our Lord, robed in purple, is conspicuous throughout: the mind grasps at a glance that this is not one picture but a series.</p> @@ -7226,7 +7187,7 @@ head from the light ground, as the face is separated from the darker drapery of his teacher; and, in so far, little of definition is sacrificed; but, after all, admirably as the design is schemed, the oval nimbus is not a whit less conventional -than the round disc of mediæval times, and it does lack +than the round disc of mediæval times, and it does lack something of distinction and dignity which that conveyed.<span class="pagenum"><a name="Page_209" id="Page_209">[Pg 209]</a></span> The date inscribed (1544) serves to remind us that we are nearing the middle of the century, at which period glass @@ -7371,7 +7332,7 @@ beautiful.</p> <p>Admirable Flemish work, Renaissance in detail, but carrying on the traditions of Gothic art, is to be found in plenty at -<span class="pagenum"><a name="Page_213" id="Page_213"></a><br /><a name="Page_214" id="Page_214">[Pg 214]</a></span>Liège, both in the cathedral (1530 to 1557) and at S. Martin. +<span class="pagenum"><a name="Page_213" id="Page_213"></a><br /><a name="Page_214" id="Page_214">[Pg 214]</a></span>Liège, both in the cathedral (1530 to 1557) and at S. Martin. This is excellent in drawing and composition, most highly finished in painting, fine in colour, and silvery as to its white glass, which last is splendidly stained. In the same city there @@ -7409,7 +7370,7 @@ depth occupies with its canopy about half the entire height of the window.</p> <p>The Lichfield glass has very much the character of that -at Liège. So has the Flemish glass now at the east end of +at Liège. So has the Flemish glass now at the east end of S. George’s, Hanover Square, a church famous for its fashionable weddings. This is some of the best glass in London, well worthy the attention of the guests pending the arrival of @@ -7909,7 +7870,7 @@ girt with clouds and cherubs, distinctly recalls the work of the Della Robbia School; and again the figures <a href="#Fig_169">opposite</a> remind one of late sixteenth century paintings. An unusual thing, however, about some of these windows is the way they are set out. The disposition of the design -of the three-light window from S. Martin ès Vignes is as simple and +of the three-light window from S. Martin ès Vignes is as simple and severe as though it had been Gothic. The glazing, too, is not in squares, but follows the design. Except for the rather robustious drawing of the figures, and the futile kind of detail which does duty @@ -7920,10 +7881,10 @@ sixteenth century.</p> <div class="figcenter" style="width: 371px;"> <a id="Fig_169" name="Fig_169"></a> -<img src="images/fig_169.png" width="371" height="500" alt="Three Lights, S. Martin-ès-Vignes" title="Three Lights, S. Martin-ès-Vignes" /> +<img src="images/fig_169.png" width="371" height="500" alt="Three Lights, S. Martin-ès-Vignes" title="Three Lights, S. Martin-ès-Vignes" /> </div> -<p class="p2"><span class="caption">169. <span class="smcap">Three Lights, S. Martin-ès-Vignes, Troyes.</span></span></p> +<p class="p2"><span class="caption">169. <span class="smcap">Three Lights, S. Martin-ès-Vignes, Troyes.</span></span></p> <p><span class="pagenum"><a name="Page_232" id="Page_232">[Pg 232]</a></span> Again, in the subject of the marriage of SS. Joachim and @@ -7975,10 +7936,10 @@ brilliant colour.</p> <div class="figcenter" style="width: 327px;"> <a id="Fig_170" name="Fig_170"></a> -<img src="images/fig_170.png" width="327" height="500" alt="St. Martin ès Vignes, Troyes" title="St. Martin ès Vignes, Troyes" /> +<img src="images/fig_170.png" width="327" height="500" alt="St. Martin ès Vignes, Troyes" title="St. Martin ès Vignes, Troyes" /> </div> -<p class="p2"><span class="caption">170. <span class="smcap">St. Martin ès Vignes, Troyes.</span></span></p> +<p class="p2"><span class="caption">170. <span class="smcap">St. Martin ès Vignes, Troyes.</span></span></p> <p>The opposite defect of opacity reaches probably its greatest depth in the four great Rubens-like windows at S. Gudule in @@ -8062,7 +8023,7 @@ itself that a picture could be painted quite apart from the decoration of something, and it never entered his mind to do anything but adapt himself to the decorative situation.</p> -<p>A picture, then, in mediæval times was a work of decorative +<p>A picture, then, in mediæval times was a work of decorative art, designed to fit a place, to fulfil part of a scheme of decoration, in which it might more often than not take the first place, but no more; it had no claim to independence.</p> @@ -8075,7 +8036,7 @@ years the ideal of architectural fitness underwent successive changes, and the limitations of the glass painter grew less; his<span class="pagenum"><a name="Page_237" id="Page_237">[Pg 237]</a></span> scope, that is to say, was widened, and his art took what we call more pictorial shape. Still, so long as the pictorial ideal -itself was restrained within the limits of mediæval ambition, +itself was restrained within the limits of mediæval ambition, glass painting might safely approach the pictorial. It was not until painting broke loose from traditional decorative trammels and set up, so to speak, on its own account, until @@ -8674,7 +8635,7 @@ windows.</p> LANDSCAPE IN GLASS.</h3> <p>At once a distinguishing feature of picture-glass, and a characteristic -of later work generally, is the <i>mise-en-scène</i> of the subject.</p> +of later work generally, is the <i>mise-en-scène</i> of the subject.</p> <div class="figleft" style="width: 176px;"> <a id="Fig_173" name="Fig_173"></a> @@ -8708,7 +8669,7 @@ three-sided. Sometimes the figure stood upon a pedestal (<a href="#Page_391">pag more usually, as time went on, upon a pavement. Certain subjects were bound to include accessory architecture, but at first it was as simple as the scenery in the immortal play of <i>Pyramus and Thisbe</i>. But even in -the fifteenth century it was rendered, one may judge how naïvely, from +the fifteenth century it was rendered, one may judge how naïvely, from the little Nativity on <a href="#Page_54">page 54</a>, a subject hardly to be rendered without the stable. Again, the quite conventional vinework, also from Malvern, shown in the upper part of <a href="#Page_345">page 345</a> (a jumble of odds and ends), forms @@ -8836,7 +8797,7 @@ grapes grey-blue, whilst grey stakes are leaded in pot-metal.</p> <p>Sometimes, as at Ecouen, far-off architecture would be painted not upon blue but upon a pale purple hill. At Laigle figures and animals are painted upon green, but they do not hold their -own. On the other hand, at Alençon, some distant figures +own. On the other hand, at Alençon, some distant figures appearing in very pale grey against a delicate greenish landscape (stained upon the grey), are charming in effect.</p> @@ -8976,7 +8937,7 @@ painting it.</p> <p>In Germany the course of art ran smoother. Glass throve under the Holy Roman Empire, and it was not until the -Reformation that it suffered any very severe check. Mediæval +Reformation that it suffered any very severe check. Mediæval Swiss glass may be classed with German.</p> <p>In the Netherlands glass painting blossomed out suddenly @@ -9453,7 +9414,7 @@ Lincoln, or they were made up of piercings very definitely divided by massive stonework. In proportion as mullions become narrow, and form in themselves a design, it seems doubtful how far deep-coloured glass can do them justice. Only -strong tracery lines will stand strong colour. At Châlons-sur-Marne, +strong tracery lines will stand strong colour. At Châlons-sur-Marne, for example, the foils of certain cusped lights surrounding a central circular picture are successfully ornamented with arabesque of deep yellow upon paler yellow ground; and again @@ -9559,7 +9520,7 @@ lights at Lincoln, two of which are here given. Again in the North Rose at Le Mans there are twenty-four radiating figures. In fact, they were customarily so arranged, even down to the sixteenth century, a period at which one does not credit the -designer with mediæval artlessness.</p> +designer with mediæval artlessness.</p> <p>It is obvious that out of a series of twenty or more figures, radiating like the spokes of a wheel, only a very few can stand @@ -9631,7 +9592,7 @@ round the heads of Decorated lights applies more forcibly still to tracery. The merest fillet of colour is often as much as can safely be carried round the opening, if even that. On the<span class="pagenum"><a name="Page_278" id="Page_278">[Pg 278]</a></span> other hand, a broad border of white and stain, even though it contain a -fair amount of black in it, may safely be used—as at Châlons, +fair amount of black in it, may safely be used—as at Châlons, where it frames small subjects in rich colour. Some admirable Decorated tracery occurs at Wells, much on the usual lines, and containing a good deal of pleasant green; but there the white and yellow foliage in the @@ -9709,7 +9670,7 @@ only spots of white.</p> <p>The Later Gothic plan was to keep tracery light, even though the window below it were altogether in rich colour, and the -effect was good; as at Alençon, where a distinctly blue window +effect was good; as at Alençon, where a distinctly blue window has in the tracery only angels in white and yellow on a white ground; or, again, at Conches, where white-robed angels, on a ground of rich stain, contrast pleasantly with the cool blue @@ -9773,11 +9734,11 @@ and stain on purple, occur at Moulins.</p> <p>Larger and more prominent lights often contain a separate picture, or one picture runs through several lights, or perhaps all through the tracery. Worse than that is, where the picture -runs through from the lights below; as at Alençon, where the +runs through from the lights below; as at Alençon, where the trees grow up into the blue of the tracery, broken otherwise only by white clouds; or at Conches, where the architecture from the subject below aspires so high. It is almost worse -still where, as at Alençon again, and at the chapel at Vincennes, +still where, as at Alençon again, and at the chapel at Vincennes, it is the canopy which so encroaches. In the exceptional case of a Jesse window there seems less objection to accepting the whole window as a field through which the tree may grow; @@ -9787,7 +9748,7 @@ to appear as though they were part of the tracery.</p> <p>A happier form of Renaissance tracery design is where medallion heads in white and stain are introduced upon a -ground of plain colour—blue at Châlons, purple-brown at +ground of plain colour—blue at Châlons, purple-brown at Montmorency. These are sometimes most beautifully painted, as are the Raffaellesque little cherubs amidst white clouds, also at Montmorency; but they are much more delicately done @@ -9945,7 +9906,7 @@ itself monotonous.</p> may be introduced into quarry work. It is best in the form of patches, and not in the form of lines between the quarries as occurs occasionally, at Poitiers, for example, at Rouen -cathedral, and at Châlons (<a href="#Page_167">page 167</a>).</p> +cathedral, and at Châlons (<a href="#Page_167">page 167</a>).</p> <p>Big rosettes, discs, wreaths, rings of colour, and the like<span class="pagenum"><a name="Page_286" id="Page_286"></a><br /> <a name="Page_287" id="Page_287">[Pg 287]</a></span>, are more @@ -10099,14 +10060,14 @@ great quantity as compared with coloured subjects, these appear to be floating rather uncomfortably in their midst. The Italians, who also used roundels in place of quarries, often let colour into the interstices between them, and also little painted squares or -pateræ of white and stain. In the sham windows decorating the +pateræ of white and stain. In the sham windows decorating the Sistine Chapel at Rome, separating Botticelli’s series of Popes, the pointed spaces between the rounds are coloured diagonally in successive rows of red, yellow, and green; but the result is most pleasing where, as at Verona and elsewhere, the little triangular spaces are neither of one tint nor yet symmetrically arranged, but distributed in a quasi-accidental and unexpected -way. Sometimes it was the little pateræ that was in colour and +way. Sometimes it was the little pateræ that was in colour and the rest white. In any case, the effect is refined, as it is at Arezzo also, where the monotony of roundels, in sundry clerestory windows, is broken by figure medallions and other features<span class="pagenum"><a name="Page_294" id="Page_294">[Pg 294]</a></span> @@ -10135,7 +10096,7 @@ DOMESTIC GLASS.</h3> <p>It is customary to draw a distinction between “Ecclesiastical” and “Domestic” glass.</p> -<p>In mediæval days the Church was the patron of art; and, +<p>In mediæval days the Church was the patron of art; and, when kings and corporations commissioned stained glass windows, it was usually to present them to Mother Church. It is in churches, then, that the greater part of the old glass @@ -10246,7 +10207,7 @@ was not invariable. At S. Frediano, Lucca, for example, there is a white window, which, except for a little medallion in its centre, might at a glance almost pass for thirteenth century work: the Cinque-Cento scroll is so rendered, with cross-hatched ground and all, as to suggest the -early mediæval craftsman; it is centuries away from Da Udine in style.</p> +early mediæval craftsman; it is centuries away from Da Udine in style.</p> <div class="figright" style="width: 160px;"> <a id="Fig_204" name="Fig_204"></a> @@ -10254,7 +10215,7 @@ early mediæval craftsman; it is centuries away from Da Udine in style.</p> <span class="caption">204. <span class="smcap">Certosa in Val d’Ema.</span></span> </div> -<p>The domestic quarry window differed, in mediæval work, in +<p>The domestic quarry window differed, in mediæval work, in no respect from church work. In the sixteenth century it took rather a new form. It consisted no longer of a more or less diaper-like all-over pattern, but of a panel, designed @@ -10318,7 +10279,7 @@ treatment of tenderly painted ornament.</p> <p>Other good examples of Dutch domestic glass, not quite so good as this, but painted with admirable directness, are -to be found at the <i>Musée des Antiquités</i> at Brussels. At the +to be found at the <i>Musée des Antiquités</i> at Brussels. At the Louvre also the Dutch work is good. There are two lights there in which cartouches enclosing small oval subjects (fables) spread over the greater part of the quarry glazing, leaving only @@ -10366,7 +10327,7 @@ extraordinary emphasis.</p> <p>In ultra-delicate domestic work the leads are more than<span class="pagenum"><a name="Page_303" id="Page_303">[Pg 303]</a></span> ever the difficulty. One is uncomfortably conscious of them in the wonderful series of windows—formerly at Ecouen, and -now in the Château de Chantilly—in which is set forth in forty +now in the Château de Chantilly—in which is set forth in forty pictures the story of Cupid and Psyche. A specimen of these is given on <a href="#Fig_160">page 218</a>, thanks to the friendly permission of Monsieur Magne, who illustrates the whole of them in his @@ -10442,7 +10403,7 @@ to conceal them. The glaziers of the Renaissance eventually got over the difficulty by the simple plan of inserting into quarry windows (usually unpainted) or into pattern work of plain glass only, little panes of painted glass. In this way -there are introduced into some windows at the Château +there are introduced into some windows at the Château de Chaumont some very beautiful little portrait medallions, outlined with a firmness and modelled with a delicacy which remind one of the drawings of Clouet. At the Germanic @@ -10453,7 +10414,7 @@ painted (by Linard Gontier they say), is reproduced on <a href="#Fig_207">page 305</a>. It represents, as the inscription and cypher go to show, Louis Treize and Anne of Austria, as bride and bridegroom. Its date, therefore, speaks for itself. Another little pane by -Gontier, from the Hôtel des Arquebusiers at Troyes, now in +Gontier, from the Hôtel des Arquebusiers at Troyes, now in the library there, is given on <a href="#Fig_211">page 310</a>. The characteristic ornamental work surrounding this, though not forming a consecutive frame to the picture, is of about the same period @@ -10473,7 +10434,7 @@ custom to present to neighbouring towns or friendly Corporations a painted window panel. Great part of these have been dispersed, and in Switzerland they are now perhaps rarer than in the museums of other countries. The Germanic Museum at -Nuremberg and the Hôtel Clûny, at Paris, are rich in Swiss +Nuremberg and the Hôtel Clûny, at Paris, are rich in Swiss glass; and we have some at South Kensington. Superb examples, however, still remain in Switzerland—for example, in the Rath-haus at Lucerne—though they belong to a period as late @@ -10499,7 +10460,7 @@ the armorial shield, all in their Sunday best, and very proud of themselves too. Little Bible subjects were also painted, mainly in grisaille. It was for window panes that Holbein drew the Stations of the Cross, now among the chief treasures -of the museum at Bâle. These also must be classed with +of the museum at Bâle. These also must be classed with domestic work. They may in some cases have been destined for a church; but they would much more appropriately decorate a private oratory.</p> @@ -10599,7 +10560,7 @@ other familiar architectural enrichment in white and stain.</p> appear at first sight to be simply framed by lines of pale purple; but on examination these resolve themselves into a simple architectural elevation, with even a hint of unsuspected shadow in it. The date of -that example is 1512; and canopies, not to go back to Græco-Roman +that example is 1512; and canopies, not to go back to Græco-Roman decoration, begin with the beginning of Gothic. It is adduced, therefore, to show, not the origin of canopy work, but how inevitably something of the sort occurred. Its immediate source is clearly @@ -10697,7 +10658,7 @@ coloured canopies, other than yellow, are rare; but they occur. There are, for example, the hideous flesh-coloured constructions peculiar to Germany. At Troyes are some not unsatisfactory little canopies in green, and others in purple (1499). -At Châlons-sur-Marne is an effective canopy (1526-1537) of +At Châlons-sur-Marne is an effective canopy (1526-1537) of golden arabesque on purple. At Freiburg (1525) is a steely-blue Renaissance canopy, from which depend festoons of white and greenish-yellow, against the ruby ground of the @@ -10759,7 +10720,7 @@ very effective plea for canopy work.</p> <p>Were the canopy more defensible than it is in glass, it would still have monopolised far too large a place in the scheme -of mediæval and Renaissance design. We owe largely to it, +of mediæval and Renaissance design. We owe largely to it, in connection with the gradually increasing claims of figure work, the all but extinction of pattern glass. Figure work is practically implied by the canopy. Occasionally, indeed, @@ -10894,7 +10855,7 @@ perhaps have been better expressed with less attention to decorative effect. We are not shocked at the archaic effigy, because we realize that reverence underlies its simplicity. In modern work it is otherwise. Artistic intention, admirable or -not from the æsthetic point of view, is responsible for the +not from the æsthetic point of view, is responsible for the introduction into our churches of delineations of all that Christians hold sacred so ridiculous, it is a wonder devout worshippers allow them to be there. The excuse for glass @@ -10968,7 +10929,7 @@ conditions are not in the nature of things. Ornamental design has subsided because no one asks for, cares for, or encourages, ornament. It needs only to be in the hands of an artist—not necessarily a Holbein, but just a Rhodian potter, a Persian -carpet weaver, a mediæval carver, or a nameless glazier—to be +carpet weaver, a mediæval carver, or a nameless glazier—to be worthy of its modest place in art.</p> <p>Considering the costliness of good figure work and the @@ -11443,8 +11404,8 @@ earlier style.</p> <div class="figleft" style="width: 214px;"> <a id="Fig_227" name="Fig_227"></a> -<img src="images/fig_227.png" width="214" height="250" alt="Châlons" title="Châlons" /> -<span class="caption">227. <span class="smcap">Châlons.</span></span> +<img src="images/fig_227.png" width="214" height="250" alt="Châlons" title="Châlons" /> +<span class="caption">227. <span class="smcap">Châlons.</span></span> </div> <p><i>Canopies.</i>—Canopies occur now over subjects as well as @@ -11887,7 +11848,7 @@ that is most positive proof of Late work.</p> <p>Renaissance glass does not, like Gothic, divide itself into periods. It was at its best when it was still in touch with -mediæval tradition.</p> +mediæval tradition.</p> <div class="figcenter" style="width: 500px;"> <a id="Fig_238" name="Fig_238"></a> @@ -11920,7 +11881,7 @@ but it is less positively white. It is enriched with much more yellow stain; and the mass of white and stain is broken by festoons and wreaths of foliage, fruit, and flowers, medallions with coloured ground, ribbons, or other such features, in -pot-metal colour. A simple François Ier canopy is given on +pot-metal colour. A simple François Ier canopy is given on <a href="#Fig_239">page 349</a>.</p> <p>Sometimes these canopies consist rather of arabesque ornament @@ -11980,7 +11941,7 @@ plain white glass, glazed in rectangular or diamond quarries <p>A coloured ground above a Renaissance canopy indicates Gothic tradition, and an Early period therefore (S. Jacques, -Liège).</p> +Liège).</p> <p>More to the latter half of the century belong the pictorial compositions in which architecture, more or less proper to the @@ -11994,8 +11955,8 @@ some window or other opening (<a href="#Fig_158">page 213</a>).</p> <div class="figleft" style="width: 245px;"> <a id="Fig_239" name="Fig_239"></a> -<img src="images/fig_239.png" width="245" height="250" alt="François Ier Canopy" title="François Ier Canopy" /> -<span class="caption">239. <span class="smcap">François Ier Canopy, Lyons.</span></span> +<img src="images/fig_239.png" width="245" height="250" alt="François Ier Canopy" title="François Ier Canopy" /> +<span class="caption">239. <span class="smcap">François Ier Canopy, Lyons.</span></span> </div> <p>The grey-blue distance has often figures as well as landscape and @@ -12179,12 +12140,12 @@ his trade.</p> <p>Moreover, a workman skilled only in his craft may be prolific in good work: one, on the other hand, learned only in -archæology, is, in the nature of things, sterile. He may know +archæology, is, in the nature of things, sterile. He may know as much about old glass as Winston, and fail as utterly even to direct design a-right as he did at Glasgow. The Munich windows there are glaring evidence as to what a learned antiquary and devoted glass-lover can countenance. Too surely the fire -of archæological zeal warps a man’s artistic judgment.</p> +of archæological zeal warps a man’s artistic judgment.</p> <p>What, then, about historic style? Are we to disregard it in our work? That question may be answered by another: @@ -12297,7 +12258,7 @@ consideration the architecture of the building of which his work is to form part. The only possible question is as to what consideration may be due to it.</p> -<p>The archæologist (and perhaps sometimes the architect) +<p>The archæologist (and perhaps sometimes the architect) claims too much. Certainly he claims too much when he pretends that the designer of a window should confine himself to the imitation of what has already been done in glass<span class="pagenum"><a name="Page_357" id="Page_357">[Pg 357]</a></span> @@ -12402,7 +12363,7 @@ of his own.</p> <p>Doubtful and curious points concern the antiquary not the artist. He had best keep to the broad highway of craftsmanship, -not wander off into the byeways of archæology. Typical +not wander off into the byeways of archæology. Typical examples concern him more than rare specimens—examples which mark a stage in the progress of art, and about which there is no possibility of learned dispute. He wants to know what has @@ -12430,8 +12391,8 @@ say, in the eyes of an artist, not necessarily of a savant. Evidence of modernity is no sin, but a merit, in modern work. To see how a man adapted his design to circumstances not those of his own day, gives interest to work. We never wander -so wide of the old mediæval spirit as when we pretend to be -mediæval or play at Gothic. True style, as craftsmen know, +so wide of the old mediæval spirit as when we pretend to be +mediæval or play at Gothic. True style, as craftsmen know, consists in the character which comes of accepting quite frankly the conditions inherent in our work.</p> @@ -12525,7 +12486,7 @@ subject; it is difficult to make them out with any certainty.</p> <img src="images/fig_243.png" width="330" height="500" alt="Part of Early Jesse Window" title="Part of Early Jesse Window" /> </div> -<p class="p2"><span class="caption">243. PART OF EARLY JESSE WINDOW, MUSÉE DES ARTS DÉCORATIFS, PARIS.</span></p> +<p class="p2"><span class="caption">243. PART OF EARLY JESSE WINDOW, MUSÉE DES ARTS DÉCORATIFS, PARIS.</span></p> <p>Occasionally what seems at first sight a medallion window <span class="pagenum"><a name="Page_362" id="Page_362"></a><br /><a name="Page_363" id="Page_363">[Pg 363]</a></span>resolves itself, as at S. Kunibert, Cologne, into a kind of @@ -12624,7 +12585,7 @@ into which the tree eventually blossoms.</p> <p class="p2"><span class="caption">246. PART OF A JESSE WINDOW, CATHEDRAL, TROYES, 1499.</span></p> <p>Quite one of the most beautiful Jesse trees that exist is in -a Late Gothic window at Alençon. It is unusual, probably +a Late Gothic window at Alençon. It is unusual, probably unique in design. The figures, with the exception of Jesse, are confined to the upper lights and tracery, forming a double row towards the top of the window. This leaves a large amount @@ -12638,7 +12599,7 @@ as big as the width of the light allows, mostly of red, or purple, or white, with a calyx in green. The Virgin issues from a white flower suggestive of the lily. In the window shown on <a href="#Fig_247">page 368</a> the tree blossoms also into a topmost lily supporting -the Madonna. A characteristic feature about the Alençon +the Madonna. A characteristic feature about the Alençon <span class="pagenum"><a name="Page_366" id="Page_366">[Pg 366]</a><br /><a name="Page_367" id="Page_367">[Pg 367]</a></span>window is, the absence of symmetry in its scheme. Of the eight lights which go to make up its width, only three are devoted, below the springing of the great arch over it, to the @@ -12755,7 +12716,7 @@ more use might be made of it is suggested by this Tree of Life.</p> STORY WINDOWS.</h3> <p>There is something very interesting in the simple heartedness -with which the mediæval artist would attack a subject quite +with which the mediæval artist would attack a subject quite impossible of artistic realisation, apart from his modest powers of draughtsmanship, or the limitations of glass.</p> @@ -12776,13 +12737,13 @@ at Fairford (<a href="#Fig_248">overleaf</a>), with its bald architecture and li Gothic fountain, to say nothing of the serpent. But down to the sixteenth century no subject was impossible to the designer. Even the Creation did not deter him; on the contrary, it was -a favourite subject in old glass, throughout the mediæval +a favourite subject in old glass, throughout the mediæval period (<a href="#Fig_174">page 252</a>): there is no shirking the difficulty of rendering the division of light from the darkness, or the separation of the waters from the dry land. Indeed, problems such as these are sometimes solved with very remarkable ingenuity, if not quite in a way to satisfy us: the Creator in the likeness -of a Pope, triple crown and all, as at Châlons-sur-Marne, was +of a Pope, triple crown and all, as at Châlons-sur-Marne, was pictured no doubt in all good faith and reverence.</p> <p>Perhaps one of the most daring notions ever put into @@ -12864,7 +12825,7 @@ wait for the soul of the impenitent thief upon the cross, is not by any means a favourable specimen of the Fairford fiends.</p> -<p>Occasionally there is a grimness about the mediæval Devil +<p>Occasionally there is a grimness about the mediæval Devil which we feel to this day. In a window at S. Etienne, Beauvais, there is a quite unforgettable picture of a woman struggling in the clutches of the evil one. She is draped @@ -12897,7 +12858,7 @@ cleverly put in, but it plainly belongs no longer to the early sixteenth century. It suggests a theatrical “property,” not the hobgoblin of old belief. That is just what the devilry in old glass never does.</p> -<p>It must be owned that mediæval Angels charm us less. +<p>It must be owned that mediæval Angels charm us less. They are by comparison tame. Their colour is delicate and silvery, belike, but not seductive; their wings sit awkwardly upon them; they fulfil more or less trivial functions, bearing @@ -12911,10 +12872,10 @@ if not the more angelic, at least the less obviously of the earth.</p> <p>The glass hunter cannot but be amused every now and<span class="pagenum"><a name="Page_376" id="Page_376">[Pg 376]</a></span> -again by odd anachronisms in mediæval and even later illustrations +again by odd anachronisms in mediæval and even later illustrations in glass. But wonder at them ceases when we remember how simple-minded was the craftsman of those -days before archæology. If he wished to picture scenes of +days before archæology. If he wished to picture scenes of the long past—and he did—there was nothing for it but to show them as they occurred to his imagination—as happening, that is to say, in his own day; and that is @@ -12932,7 +12893,7 @@ histories, much less inaccurate in detail doubtless, to which to-day and henceforth artists are pledged.</p> <p>There is no occasion to dwell upon the oddities of glass -painting; they are those of mediæval art all through. If we +painting; they are those of mediæval art all through. If we take a certain incongruity for granted, the guilelessness of it only charms us. That same guilelessness enables the artist to make absolutely ornamental use of themes which to-day we @@ -13019,7 +12980,7 @@ inscription explains how:—</p> <div class="poem"> <span class="i0">“En revenant du pays de Syrie</span> <span class="i0">En mer fut tourmente ... gde furie</span> -<span class="i0">Mais en priant Jesu Christ il en fut delivré.”</span> +<span class="i0">Mais en priant Jesu Christ il en fut delivré.”</span> </div> <p>It must be allowed that the storm does not rage very terrifically; @@ -13089,7 +13050,7 @@ the best of glass under circumstances like that.</p> of equal merit, one’s appreciation of them, at first sight, would depend upon the time of day; and the light which did most justice to the northern windows would do least to the southern, -and <i>vice versâ</i>. Experience teaches a man to make allowances, +and <i>vice versâ</i>. Experience teaches a man to make allowances, but he can only judge what he has seen; and it is only with the light shining through a window that he can see its colour or judge of its effect.</p> @@ -13158,7 +13119,7 @@ same thing, staring you in the face, will stamp itself upon the vision. When years, instead of days, intervene, the justice of even the most retentive memory is open to gravest doubt.</p> -<p>Go to the church of S. Alpin, at Châlons, and in the morning +<p>Go to the church of S. Alpin, at Châlons, and in the morning you will find the East windows brilliantly rich: in the early afternoon, even of a bright day, they will be lacking in transparency, dull, ineffective. So at S. Sebald’s, Nuremberg, the @@ -13347,7 +13308,7 @@ dream, you found yourself in some huge cavern, lit only by the light of jewels, myriads of them gleaming darkly through the gloom. It is difficult to imagine anything more mysterious, solemn, or impressive. Yes, Chartres is the place in which to -be penetrated by the spirit of Early mediæval glass. There is a +be penetrated by the spirit of Early mediæval glass. There is a story told of a child sitting for the first time in his life in some French church, awed by the great Rose window facing him, when all at once the organ burst into music; and it seemed to<span class="pagenum"><a name="Page_388" id="Page_388">[Pg 388]</a></span> @@ -13376,7 +13337,7 @@ figures. Indeed, the period of this glass is most perplexing to the student of style, until he realises that, after the great fire at the very end of the thirteenth century, remains of earlier glass, spared from the wreck, were incorporated with the newer work. -And, not only this, but, what was rare in mediæval days, the +And, not only this, but, what was rare in mediæval days, the fourteenth century designer, in his endeavour to harmonise, as he most successfully did, the old work with the new, gave to his own work a character which was not of his period,—much to @@ -13391,7 +13352,7 @@ an hour to spare before noon—at which hour the cock crows and the church is shut—he allows himself to be driven by the verger, with the rest of the crowd, into the transept, and penned up there until the silly performance begins. To hear -folk talk of the thing afterwards at the <i>table d’hôte</i> you might +folk talk of the thing afterwards at the <i>table d’hôte</i> you might fancy that Erwin Von Steinbach had built his masterpiece just to house this rickety piece of mock old mechanism.</p> @@ -13482,11 +13443,11 @@ church was built to accommodate them. English antiquaries make claim that they are English, but internal evidence shows them to be Flemish or German. Considerable notoriety attaches to the Fairford windows owing to a theory which was at one time propounded to the effect that they were -designed by Albert Dürer. The theory is now as dead as a back number, +designed by Albert Dürer. The theory is now as dead as a back number, but the notoriety remains—and not undeservedly; for although this glass stands by no means alone, and is distinctly second to some contemporary work (such, for example, as that on the north side of the -nave of Cologne Cathedral, which Dürer might conceivably have designed), +nave of Cologne Cathedral, which Dürer might conceivably have designed), it is remarkably fine; and it enjoys the comparatively rare distinction of practically filling the windows of the church. You not only, therefore, see the colour (which, rather than the painting, is its @@ -13523,14 +13484,14 @@ later Gothic glass painters.</p> Lorenz Kirche at Nuremberg, and another almost equal to it in the cathedral at Ulm. The Tree of Jesse is very differently, but certainly not less beautifully, rendered in the fine West -window at Alençon.</p> +window at Alençon.</p> <p>In most of the great French churches, and in many of the smaller ones, you find good fifteenth century work. At Bourges you have seven four-light windows and one larger one, all fairly typical. The best of them is in the chapel of Jacques Cœur, the Jack that built at Bourges quite one of the most remarkable -of mediæval houses extant. But there is no one church +of mediæval houses extant. But there is no one church which recurs before all others to the memory when one thinks of Late Gothic glass in France. One remembers more readily certain superlative instances, such as the flamboyant Rose window @@ -13577,11 +13538,11 @@ is to say, instead of pigment—and depends less than usual upon painting, he yet lays his colour about the window in a remarkably painter-like way.</p> -<p>There are noteworthy windows at Châlons-sur-Marne, in +<p>There are noteworthy windows at Châlons-sur-Marne, in the churches of SS. Madelaine and Joseph, which can be claimed neither as Gothic nor Renaissance, details of each period occurring side by side in the same window. At the -church of S. Alpin at Châlons is a series of picture windows +church of S. Alpin at Châlons is a series of picture windows in grisaille, not often met with, and very well worth seeing.</p> <p><span class="pagenum"><a name="Page_394" id="Page_394">[Pg 394]</a></span> @@ -13641,7 +13602,7 @@ you to put down the date of a pilgrimage to Conches as a red-letter day in your glass-hunting experiences.</p> <p>There is magnificent Renaissance glass in Flanders, and -especially at Liège, in which, for the most part, Gothic tradition +especially at Liège, in which, for the most part, Gothic tradition lingers. Most beautiful is the great window in the South transept of the cathedral. The radiance of the scene in which the Coronation of the Virgin is laid, reminds one of nothing @@ -13810,7 +13771,7 @@ what these men failed to do? That is the moral of it.</p> <img src="images/fig_255.png" width="218" height="500" alt="The Virgin" title="The Virgin" /> </div> -<p class="p2"><span class="caption">255. THE VIRGIN, S. MARTIN-ÈS-VIGNES, TROYES.<br /> +<p class="p2"><span class="caption">255. THE VIRGIN, S. MARTIN-ÈS-VIGNES, TROYES.<br /> <small>“<span class="smcap">Photo-Tint</span>” by James Akerman, London, W. C.</small></span></p> <p>The only other place where later glass is of sufficient worth @@ -13820,7 +13781,7 @@ century work arouses much interest, is Troyes. There is a quantity of it in the churches of S. Nizier, S. Pantaleon, and in the cathedral, attributed, for the most part, to Linard Gontier, who is certainly responsible for some of the best of it. -But it is in the church of S. Martin-ès-Vignes, in the outskirts +But it is in the church of S. Martin-ès-Vignes, in the outskirts of the town, that it is to be appreciated <i>en masse</i>. There you may see some hundred and ten lights in all, executed during the first forty years of the seventeenth century. This is the place @@ -13853,7 +13814,7 @@ find? Conspicuous before us is the great West window, which might as well have been painted on linen, so little of the translucency of glass is there left in it. It in no way lessens the credit of the great portrait painter that he knew -nothing of the capacities of glass; that was not his <i>métier</i>. +nothing of the capacities of glass; that was not his <i>métier</i>. And there was no one to advise him wisely in the matter. But the result is disastrous. The beauty of his drawing—and there is charm at least in the figures of the Virtues—counts @@ -13876,7 +13837,7 @@ design consists largely of canopy work, never profoundly interesting; the figures are, at the best, rudely drawn; some of them are even grotesquely awkward. Their heads are too large by half, their hands and feet flattened out in the familiar, -childish, mediæval way. In all the sixty-four figures there is +childish, mediæval way. In all the sixty-four figures there is not one that can be called beautiful. Yet for all that, there is a dignity in them which the graceful Virtues lack. They are designed, moreover, with a large sense of decoration. The @@ -13955,7 +13916,7 @@ we may see a thirteenth century chapel with its glass as it appeared when first it was built. If that is so, then time has indeed been kinder even than one had thought. No less an authority than Mr. Ruskin (in a letter to Mr. E. S. Dallas, -published in the <i>Athenæum</i>) praises the new work there, and +published in the <i>Athenæum</i>) praises the new work there, and says he cannot distinguish it from the old. There is at least a window and a half (part of the East window, and the one to the left of that) in which, at all events, the old is easily @@ -14188,7 +14149,7 @@ not restored. Restoration is a word to make the artist shudder.</p> one side, the doubting Thomas, and on the other the Magdalene, the customary inscription, “Noli me tangere,” is followed (in letters of precisely the same character) by the signature of the -artist, Arnaut de Moles. It is the reverend Abbé responsible +artist, Arnaut de Moles. It is the reverend Abbé responsible for the authorised description of the church, who suggests that it may have been with intention he signed his name just there. He has come off, as it happens, very much better at the hands @@ -14237,7 +14198,7 @@ in black type to the pages of the book.)</p> <li class="ifrst"><a id="IX_A" name="IX_A"></a><span class="smcap">Abrasion</span>, <a href="#Page_60"><b>60</b></a>, <a href="#Page_62"><b>62</b></a></li> <li><span class="smcap">Aix-la-Chapelle</span>, <a href="#Fig_14">14</a></li> <li><span class="smcap">Alabaster</span> windows, <a href="#Page_380"><b>380</b></a>, <a href="#Page_381"><b>381</b></a></li> -<li><span class="smcap">Alençon</span>, <a href="#Page_366"><b>366</b></a></li> +<li><span class="smcap">Alençon</span>, <a href="#Page_366"><b>366</b></a></li> <li><span class="smcap">Angels</span>, <a href="#Page_375"><b>375</b></a></li> <li><span class="smcap">Angers</span>, <a href="#Fig_61">61</a>, <a href="#Fig_62">62</a>, <a href="#Fig_63">63</a>, <a href="#Fig_256">256</a></li> <li class="isub3">museum, <a href="#Fig_168">168</a></li> @@ -14284,7 +14245,7 @@ in black type to the pages of the book.)</p> <li><span class="smcap">Canterbury</span>, <a href="#Page_385"><b>385</b></a>, <a href="#Fig_23">23</a>, <a href="#Fig_73">73</a>, <a href="#Fig_79">79</a>, <a href="#Fig_81">81</a>, <a href="#Fig_214">214</a></li> <li><span class="smcap">Carcassonne</span>, <a href="#Page_362"><b>362</b></a>, <a href="#Page_369"><b>369</b></a></li> <li><span class="smcap">Cartouches</span>, <a href="#Page_229"><b>229</b></a></li> -<li><span class="smcap">Châlons</span>, <a href="#Page_393"><b>393</b></a>, <a href="#Fig_12">12</a>, <a href="#Fig_13">13</a>, <a href="#Fig_98">98</a>, <a href="#Fig_121">121</a>, <a href="#Fig_122">122</a>, <a href="#Fig_227">227</a></li> +<li><span class="smcap">Châlons</span>, <a href="#Page_393"><b>393</b></a>, <a href="#Fig_12">12</a>, <a href="#Fig_13">13</a>, <a href="#Fig_98">98</a>, <a href="#Fig_121">121</a>, <a href="#Fig_122">122</a>, <a href="#Fig_227">227</a></li> <li><span class="smcap">Chantilly</span>, <a href="#Page_303"><b>303</b></a>, <a href="#Fig_160">160</a></li> <li><span class="smcap">Chartres</span>, <a href="#Page_144"><b>144</b></a>, <a href="#Page_387"><b>387</b></a>, <a href="#Fig_27">27</a>, <a href="#Fig_71">71</a>, <a href="#Fig_76">76</a>, <a href="#Fig_103">103</a>, <a href="#Fig_117">117</a>, <a href="#Fig_216">216</a>, <a href="#Fig_219">219</a></li> <li class="isub4">(S. Pierre), <a href="#Fig_96">96</a>, <a href="#Fig_115">115</a></li> @@ -14435,7 +14396,7 @@ in black type to the pages of the book.)</p> <li class="isub3">(scheming of), <a href="#Page_27"><b>27</b></a>, <a href="#Page_28"><b>28</b></a></li> <li><span class="smcap">Le Mans</span>, <a href="#Fig_20">20</a>, <a href="#Fig_218">218</a></li> <li><span class="smcap">Lichfield</span>, <a href="#Page_214"><b>214</b></a>, <a href="#Page_395"><b>395</b></a></li> -<li><span class="smcap">Liège</span>, <a href="#Page_214"><b>214</b></a>, <a href="#Page_395"><b>395</b></a></li> +<li><span class="smcap">Liège</span>, <a href="#Page_214"><b>214</b></a>, <a href="#Page_395"><b>395</b></a></li> <li><span class="smcap">Lincoln</span>, <a href="#Fig_67">67</a>, <a href="#Fig_93">93</a>, <a href="#Fig_95">95</a>, <a href="#Fig_185">185</a>, <a href="#Fig_189">189</a>, <a href="#Fig_192">192</a></li> <li><span class="smcap">Lisieux</span>, <a href="#Fig_167">167</a></li> <li><span class="smcap">Local</span> schools, <a href="#Page_261"><b>261</b></a></li> @@ -14452,7 +14413,7 @@ in black type to the pages of the book.)</p> <li class="isub4">(Decorated), <a href="#Page_152"><b>152</b></a></li> <li class="isub4">(French), <a href="#Page_125"><b>125</b></a></li> <li class="isub4">of many lights, <a href="#Page_153"><b>153</b></a></li> -<li><span class="smcap">Mediæval</span> artlessness, <a href="#Page_376"><b>376</b></a></li> +<li><span class="smcap">Mediæval</span> artlessness, <a href="#Page_376"><b>376</b></a></li> <li><span class="smcap">Mending</span> (judicious), <a href="#Page_407"><b>407</b></a></li> <li><span class="smcap">Middle Gothic</span> glass, <a href="#Page_162"><b>162</b></a> <i>et seq.</i></li> <li><span class="smcap">Milan</span>, <a href="#Page_263"><b>263</b></a></li> @@ -14496,7 +14457,7 @@ in black type to the pages of the book.)</p> <li><span class="smcap">Painting</span> out, <a href="#Page_11"><b>11</b></a>, <a href="#Page_34"><b>34</b></a>, <a href="#Page_35"><b>35</b></a>, <a href="#Page_44"><b>44</b></a>, <a href="#Page_45"><b>45</b></a>, <a href="#Page_278"><b>278</b></a></li> <li><span class="smcap">Palette</span> (the early), <a href="#Page_328"><b>328</b></a></li> <li><span class="smcap">Paris</span> (Louvre), <a href="#Page_208">208</a></li> -<li class="isub2">(Musée des Arts Décoratifs), <a href="#Page_243">243</a></li> +<li class="isub2">(Musée des Arts Décoratifs), <a href="#Page_243">243</a></li> <li><span class="pagenum"><a name="Page_414" id="Page_414">[Pg 414]</a></span><span class="smcap">Paris</span> (S. Eustache), <a href="#Page_223"><b>223</b></a></li> <li class="isub2">(S. Gervais), <a href="#Fig_166">166</a></li> <li><span class="smcap">Pattern</span> windows (German), <a href="#Page_174"><b>174</b></a></li> @@ -14612,7 +14573,7 @@ in black type to the pages of the book.)</p> <li class="isub3">(museum), <a href="#Fig_211">211</a></li> <li class="isub3">(private collection), <a href="#Fig_207">207</a></li> <li class="isub3">(S. Jean), <a href="#Fig_241">241</a></li> -<li class="isub3">(S. Martin ès Vignes), <a href="#Page_230"><b>230</b></a>, <a href="#Fig_47">47</a>, <a href="#Fig_169">169</a>, <a href="#Fig_170">170</a>, <a href="#Fig_255">255</a></li> +<li class="isub3">(S. Martin ès Vignes), <a href="#Page_230"><b>230</b></a>, <a href="#Fig_47">47</a>, <a href="#Fig_169">169</a>, <a href="#Fig_170">170</a>, <a href="#Fig_255">255</a></li> <li class="isub3">(S. Urbain), <a href="#Fig_31">31</a>, <a href="#Fig_108">108</a>, <a href="#Fig_114">114</a>, <a href="#Fig_226">226</a></li> <li class="ifrst"><a id="IX_V" name="IX_V"></a><span class="smcap">Van Linge</span>, <a href="#Page_233"><b>233</b></a></li> @@ -14674,384 +14635,6 @@ little pictures with sufficient border-lines to keep them distinct).</p> Antwerp (1615)").</p></blockquote> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Windows, A Book About Stained & -Painted Glass, by Lewis F. 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