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u
AN IKQUIET
THE DIFFERENCE OF STYLE
9iitient (iEUsa IPaintinis.
AN INQUIRY
INTO
THE DIFFERENCE OF STYLE
OBSERVABLE IN
Ancient (Slags l^aintings.
** QUARB QUtS TANDBM MB KBPRBHBNDAT, AUT QUIS MIHI JURB SUCCBNSBAT,
SI, QUANTUM CBTBRIS AD 8UA8 RBS OBBUNDA8, QUANTUM AD FKSTOS DIBS
LUDORUM CZLEBRANDOS, QUANTUM AD ALIAS VOLUPTATBS, BT AD IPSAM RS-
QUIBM ANIMI, BT CORPORIS CONCBDITUR TBMPORUM ; QUANTUM ALII TBIBUUNT
TBMPESTIVIS CONVIVIIS; QUANTUM DBNIQUB ALBiR, QUANTUM flLM ', TANTUM
MIHI BCOMBT AD H^C STUDIA BBCOLBNDA WMV^KUOT'—Ct'c. Pro Arck.
antitnt (^lass Jpaintlngs,
ESPECIALLY IN ENGLAND; .
WITH
HINTS ON GLASS PAINTING.
BY THE LATE
CHARLES WINSTON.
«4
Proba est materia, si probum sdhibeas artificem.'*— f roMri Adagia*
WITH ILLUBTBATI0I8 FEOX THB AUTHOR'S OVH DBAWIV&&
BT PHILIP H. BBLAXOTTB, F.8.A
SECOND EDITION.
PAET I.— TEXT.
^xfoi'ti aub Eoution:
JAMES PARKER AND CO.
1867.
I — I 1 —
fjo. /j^L
V
I
AN INQUIBY
INTO
THE DIFFERENCE OF STYLE
OBSERVABLE IN
Ancient (Slass ^aintivfls.
VI PREFACE TO THE SECOND EDITION.
is gained in technical excellence is lost in art, ..... and,
on the whole, it is better to have art without trans-
parency, than transparency without art." When, in
1861, the Glasgow windows — or, at least, so much of
them as he ever saw, — had been executed, as pure
mosaics, and combined two of the qualities which he
required in a glass-painting — artistic excellence and
transparency — he, in a letter to Mr. Ainmiiller, notices
both qualities, attributes their superiority over other
Munich works to the disuse of enamels, and compli-
ments him by saying, that they appear to him to touch
perfection ; but, when saying this, — which, perhaps, as
being addressed to the glass-painter, is to be taken with
some grains of allowance — he points out to him the
superiority of "harmony in a low key of colour" to that
in a high key, and the defectiveness of some particular
colours, and he accompanies his letter with " fourteen
pages of chemical details " towards the improvement of
the material, together with a box of specimens, as
" arguments addressed to his eyes" — ^a proof how much
importance he attached to the defects, which he had in-
dicated with a modesty becoming him as a mere ama-
teur, when addressing so eminent a glass- painter.
To much the same effect as in this letter to Mr. Ain-
miiller, he expresses himself, both in a criticism on the
windows, written nearly at the same time, with special
reference to those of Lichfield, and in a " Memoir on the
Lichfield Glass," in 1864. In the former, after men-
tioning with surprise the pleasure which he had felt
from ^' the harmonies in the lighter colours of some of
PREFACE TO THE SECOND EDITION. Vll
the windows," he adds, " it would be wrong, therefore,
to say that these windows are wholly inferior to the old
ones in paint of colour ; on the whole tfkey are inferior ;
they have in the stronger colours defects which one
deplores." In the Memoir, he points out in what re^
spects the Glasgow windows are improvements on the
Lichfield ones, and proceeds, ^4n colouring and power
the Glasgow windows are inferior to the Lichfield
the general treatment is also rather of the kind suitable
to fresco, which requires light colours and light shadows
for efiect at a distance, than that proper for a glass-
painting which, being by nature translucent, demands
deep colours."
In thus balancing the merits of works, both of which
he considers excellent, he seems to be quite free from
anything amounting to contradiction, or to a renuncia-
tion of his earlier teaching; but it has been thought
advisable to bring together here some passages in
which his opinions on them are contained, because
a few words occur which might seem inconsistent, if
placed in opposition to each other, without their con-
text to shew what particulars the writer had in view,
in attributing "inferiority and superiority" to these
works respectively.
Perhaps there are few series of writings, spread over
more than twenty years, in which so little resembling
contradiction can be found, as in Mr. Winston's on
glass- painting. Certainly there is not anything in his
Memoirs and Letters which contradicts the principles
set forth in the present work.
Vlll PREFACE TO THE SECOND EDITION.
Though a posthumous edition of a book is generally
accompanied with a biography of its author, it has
not been deemed necessary to make this usual addi-
tion on the present occasion, as a biographical memoir
of Mr. Winston is prefixed to the collection of Memoirs
already mentioned. It seems, however, proper, for the
sake of those who may not meet with that book, and
who may not have any knowledge of him from other
sources, to mention here a few circumstances of a
kind which a reader frequently wishes to be informed
of, and which, with reference to some parts of the
following work, it is desirable that he should be
acquainted with.
Mr. Winston was bom in March, 1814. He was by
profession a barrister, and was called to the bar in
1845, after having previously practised as a spe-
cial pleader. In the active exercise of his profession,
in which he attained a respectable position, he con-
tinued till May, 1864. In the preceding year his
health seems to have become seriously weakened, and
in October, 1864, he died suddenly from an affection
of the heart.
In the art treated of in this book, he took a strong
interest from a very early period, studying it for con-
siderably more than thirty years with a cultivated
taste, and with industry rarely surpassed. Besides the
present work, he wrote on it in 1844, "An Introduc-
tion to the Study of Painted Glass,'' and many Memoirs,
principally for the Archaeological Institute, containing
descriptions of ancient glass paintings, and critical
PREFACE TO THE SECOND EDITION. IX
remarks and practical suggestions on the art. These
Memoirs haye, since his death, been collected and pub-
lished under the title of " Memoirs Illustrative of the
Art of Glass-Painting." As may be supposed, many of
the questions treated of in the following pages are
discussed in them, and among them the treatment of
painted windows according to the style of the building
in which they are placed. One of them, read before
the Eoyal Institute of British Architects, is expressly
devoted to this subject. In the course of it, he points
out that much of the harmony observable between
buildings in the Early English style, and the painted
glass in them, is due to the colouring of the latter. In
another Memoir, he suggests, as a means of preserving
the desired harmony, and at the same time avoiding the
defectiveness of Mediaeval art, that recourse might be
had to the antique with requisite modifications ; and in *
accordance with this idea, which is slightly indicated
in the "Hints'*," he caused some windows to be exe-
cuted for the round part of the Temple Church. Though
he seems ultimately to have abandoned the hope of im-
proving Mediaeval picture windows by this or any other
expedient, the subject may not be unworthy of notice,
and it is an instance of the comprehensive views he took
of glass-painting, and of his efforts towards its improve-
ment. These efforts were also perseveringly directed,
with the aid of the chemical knowledge of his friend
Mr. C. Harwood Clarke, towards the improvement of
* See p. 336, post.
PREFACE TO THE SECOND EDITION.
the manufacture of coloured glass ; and the important
results of them in this respect have more than once
been acknowledged. It may be mentioned, that the
glass in the Temple windows, just spoken of, was mai^i-
factured in conformity with his receipts, and under his
direction.
In some of the early advertisements of this edition,
an intention was announced of including in it a series
of his letters on the improved manufacture of coloured
glass, but this intention was given up in consequence
of their appearing, on examination, not to be in a fit
state for publication, nor likely now to be of use.
As a final instance of Mr. Winston's study of glass-
painting must be mentioned his Drawings from ancient
glass-paintings, which represent both the design and
colouring of the originals with great spirit and fidelity.
The printed catalogue of these Drawings numbers con-
siderably more than seven hundred. Their character
may be inferred from the plates and woodcuts in these
volumes, which are all, with the exception of two or
three woodcuts in the text, and one plate, taken from
them. They were exhibited by the Archfleological In-
stitute in May, 1865, and afterwards at the South
Kensington Museum. Since then they have been pre-
sented by his widow, in pursuance of a wish expressed
by himself, to the British Museum.
Such were some of his labours in the art treated of in
this book ; and the services which he rendered to it, as
well as the extent and accuracy of his knowledge, have
been willingly acknowledged, even by those who differ
PREFACE TO THE SECOND EDITION. XI
from some of the opinions he put forth as to its modern
oaltivation.
It only remains to notice a few particulars as to the
execution of the present edition.
Ko additions have been made by the editor, except
a very few necessary explanations and references. These
are all very unimportant in themselves, and are mostly
placed between brackets, with the addition of the
letter E, though occasionally that mark of distinction
has accidentally been omitted. In the notes and pas-
sages of the first edition, where there is a reference to
time, such as the words " now," or " recently," or the
like, or where anything occurs which may make it de-
sirable to be known when they were written, the date
of the first edition [1847] has been inserted.
All the plates and woodcuts which were in the first
edition are reproduced in the present, and several new
ones have been added. Of these, the frontispiece may
be particularly mentioned. The whole of them are by
Mr. Philip H. Delamotte, who executed the Illustrations
of the before-mentioned "Memoirs Illustrative of the
Art of Glass-Painting."
PREFACE TO THE FIRST EDITION.
THE following work is the result of the study and
attention which, at intervals of leisure during the
last fifteen or sixteen years, have been given to a fa-
vourite pursuit. At a very early period it occurred
to me that the varieties of ancient glass-painting were
capable of a classification similar to that established by
the late Mr. Bickman * with regard to Gothic Archi-
tecture ; and in the year 1838 I accordingly sketched
out a little work, which, though not intended for pub-
lication, was shewn in MS. to several of my friends
and others interested in the subject. This work has
formed the nucleus of the present. My materials were
continually increasing on my hand, but I had no idea
whatever of giving them to the press, until in a conver-
sation with Mr. Parker he suggested that the publica-
tion of my observations might prove useful in direct-
ing attention to the study of painted glass, and in
facilitating the investigations of others.
The execution of it has been attended with consider-
able labour, from the difficulty of arranging the mass
of materials I had collected, and from the necessity
of entering very carefully into a great deal of minute
* I hiiYe adhered as nearly as I oonld
to Rickinan's nomencla^are, from a sense
of the inconvenience which results from
any nnneoesdary departare from esta-
blished terms. See some sensible re-
marks on this subject, Archaeological
Joorual, voL iii. p. 372 et seq.
XIV PREFACE TO THE FIRST EDITION.
detail. Unfortunately I have seldom been able to give
an undivided attention to the work for any consider-
able length of time. Interruptions occasioned by pro-
fessional duties, and by preparing drawings for the
plates, have prevented my doing so ; and I must plead
this circumstance as an excuse for occasional defects of
arrangement and style. I can however safely affirm
that no pains have been spared to render the work sub-
stantially as accurate as possible, in reference to those
matters which constitute the peculiar subject of it.
In forming such of my opinions as relate more ex-
clusively to glass-painting, I have, in addition to a prac-
tical knowledge of the art, — for which I am indebted
to the instruction of the late Mr. Miller, the distin-
guished glass-painter of his day, — derived much benefit
from an acquaintance with a few other leading glass-
painters, and from the opportunities which I have had
of watching the progress of several applications of this
art, conducted on principles very opposite to each other ;
while in those conclusions which rest on more exten-
sive views of Art in general, I have received the most
valuable assistance from my friend the Eev. George
Hamilton.
The present work is divided into two parts. In the
first I have attempted to lay down rules which may
serve to point out the leading distinctions of styles :
the second contains observations on the present state of
the art, and suggestions for its application to particu-
lar purposes, and as to the best means for its advance-
ment. In some of my views I may seem too much
PREFACE TO THE FIRST EDITION. XV
inclined to innovation, but I assure the reader that
none of them have been hastily adopted. It is an
error to suppose that glass-painting cannot be pro-
perly exercised now, without a strict recurrence, in all
respects, to the practice of the middle ages. It is
a distinct and complete branch of Art, which, like
many other medieval inventions, is of universal appli-
cability, and susceptible of great improvement. There-
fore it seems improper to confine it to a mere system
of servile and spiritless imitation. In expressing my
opinions on this part of the subject, I have not ven-
tured to do more than throw out a few hints for the
consideration of artists: to give any precise directions
on such a matter would be to travel out of the pro-
vince of an amateur, who, though at liberty to criticise
a work of art, has no right to assume the authority
of a teacher.
For this reason I have carefully abstained from lay-
ing down any rules as to the composition and colouring
of glass-paintings, the omission of which may perhaps
by some be' considered to lessen the value of the work.
With regard to colour, however, I may be permitted
to remark, that the same general principles apply to
a glass-painting as to any other: and to express my
conviction that there is no foundation for the belief
that anciently a symbolical disposition of colours was
observed in a scriptural glass-painting. The conclu-
sion I have arrived at on this latter point is confirmed
by the opinion of M. Lasteyrie ^
^ Lasteyrte, SUtoire de la Peiniure sur Verre, p. 70, note.
XVI PREFACE TO THE FIRST EDITION.
It is proper that I should make some observations
on the plates which accompany this work. I had
originally intended, in addition to the other illustra-
tions, to give a general view of a window belonging
to each style, and had prepared drawings for that pur-
pose : but I was induced to abandon the project, from
a conviction that the usefulness of these plates would
not be commensurate with the increased cost of the
work. The difficulty of producing in a plate the effect
of painted glass, has never yet been overcome, even in
engravings of large size, and as it is enhanced by every
reduction in the scale of the plate, it became evident
to me that my sole object in introducing these general
views would be frustrated. I have therefore endea-
voured to supply the deficiency, as well as I could, by
references to plates of entire windows in other works.
With the exception therefore of one general view of
a window, copied from a French work, and which
being represented in outline only, presented no diffi-
culty of execution, all the plates have been taken from
detached portions of glass-paintings. They are all
copied from genuine examples, and are arranged in
two classes ; the first consists of designs on a reduced
scale, some coloured, some executed merely in outline ;
which form of themselves a tolerably connected series
of glass-paintings from the thirteenth to the seven-
teenth century. ITie second class is composed of en-
gravings of the full size of the original examples:
these range over as wide a period as the subjects of
the first class, and, like them, are executed some in
J
PREFACE TO THE FIRST EDITION. XVll
colours, some in outline only. By this means I hope
to familiarize the reader's eye with the handling^ as
well as the general effect of ancient glass-paintings.
How far I may have succeeded in this remains to be
seen, I have, however, taken care in every plate to
notice those minute features which are peculiar to
glass-paintings, as the leads by which the work is
held together, &c. ; so that I trust the plates, if con-
sidered merely as dmgrams^ may serve in some measure
to explain the letter-press.
In conclusion, I must express my grateful thanks for
the assistance I have derived, in the progress of this
work, from the advice and suggestions of many of my
friends. My best acknowledgments are due to Richard
Charles Hussey, Esq., of Birmingham, for his liberal
offer, made through my friend, W. Twopeny, Esq., of
placing some valuable drawings of painted glass at my
disposal, of which, owing to the progress that had been
made in the work, I was not able to avail myself. Mr.
Ward, the eminent glass-painter, must allow me to
thank him sincerely for the many valuable practical
hints he has at various times communicated to me.
I am forbidden to mention the name of an intimate
friend, to whom I feel under the deepest obligations,
for his kind aid not only in verifying dates and cor-
recting references, but in superintending the whole con-
struction of this work.
C. W.
October 8, 1846.
NOTE.
The terms ** Painted glass/' and ^' Stained glass/' are com-
monly used as if they were synonymous. I have however adopted
the former, from a belief that although not strictly correct, it is
on the whole a more correct expression than the latter. For
a glass-painting may be entirely formed of painted glass, — i.e.,
glass painted with an enamel colour, — ^but it would be impossible
to execute a glass-painting merely by staining the glass. Most
glass-paintings are formed by combining the two processes of
enamelling and staining.
I should perhaps state that this work treats only of that pro^
cess of glass-painting which is perfected by the aid of fire.
There is a mode of ornamenting glass with colours mixed with
copal, or other yarnish. But this is not glass-painting in its
true sense. A painting thus executed will perish as soon as
the Tarnish with which the colour is mixed loses its tenacity,
which is usually in the course of a few years. A real glass-
painting, however, if properly executed, will endure as long
as the glass itself.
As some of my readers may not be aware of the sense in which
the term ''white glass '^' is used in this work, I will add, that
amongst glass-painters it technically signifies uncoloured glass,
or glass to which no colour has been intentionally applied in
the manufacture of it.
CONTENTS.
IVTBODUCnON
Notes to the Introduction .
PAOS
1
15
CHAPTER I.
(PageS4.)
Ikteoductioit to the Styles.
SscTioK I. — ^The Early English Style
1. Texture and Ck)lour of the Glass
2. Mode of Execution
3. Figures
4. Foliage, &c.
5. Borders
6. Patterns
7. Pictures
8. Canopies
9. Heraldry
10. Mechanical Construction
11. Letters
35
50
53
55
60
62
63
66
69
71
ib.
73
Sectiok II. — ^Thb Degobated Style
1. Texture and Colour of the Glass
2. Mode of Execution
3. Figures
4. Foliage
5. Borders
6. Patterns
7. Pictures .
8. Canopies
9. Tracery Lights
10. Heraldry
11. Letters
12. Mechanical Construction
ib.
87
90
91
96
101
104
107
108
111
115
117
ib.
xxii
CONTENTS.
PAGB
Section
III. — The Peependiculak Style
117
1.
Texture and Colour of the Glass
. 138
2.
Mode of Execution
. 143
3.
Figures
. 146
4.
Foliaged and other Ornaments
. 151
5.
Borders
. 156
6.
Patterns
. 159
7.
Pictures
. 166
8.
Canopies
•
. 169
9.
Tracery Lights
. 179
10.
Heraldry
. 181
11.
Letters
. 184
12.
Mechanical Construction
ib.
Section IV. — The CiNQirE Cento Style
1. Texture and Colour of the Glass
. 206
2. Mode of Execution
. 208
3. Figures ....
. 209
4. Ornaments . . . . .
. 213
6. Borders ....
. 214
6. Patterns . . . . .
. 215
7. Pictures . . . . .
. 216
8. Canopies ....
. 219
9. Tracery Lights
. 223
10. Heraldry ....
. 224
11. Letters . . . . .
. 225
12. Mechanical Construction
. 226
:iO« V , i 1115 IJN TiSUALKUlA ri!< 1 X JLJi
»s/
1. Texture and Colour of the Glass
. 246
2. Mode of Execution
. 249
3. Figures
. 251
4. Ornaments
. 252
5 and 6. Borders and Patterns
. ib.
7 and 8. Pictures and Canopies .
. 254
9. Tracery Lights
. 255
10. Heraldry . . . .
. 256
11. Letters
. ib.
12. Mechanical Construction
. 257
CONTENTS.
XXlll
CHAPTER II.
Section L — Employment of painted glass as a means of decoration
II.— On the true principles of glass painting
IIL — On the selection of a style
PAGE
259
272
305
APPENDIX (A).
Translation of the second book of the Diversamm Artium Schednla of
Theophilus ....... 351
Chapteb I. — On the construction of a furnace for working glass ib.
II. — Of the annealing-furnace • . .357
III. — Of the furnace for spreading; and the implements for
the work . . . ib.
IV. — Of the raixtore of ashes and sand .358
V. — Of the working-pots, and the mode of fusing [et de co-
quando] white glass . . . .359
VI. — How tables of glass [vitreae tabulae] are made . ib.
VIL— Of yellow glass . . . .361
VIIL— Of purple glass [de purpureo vitro] . ib.
IX. — Of spreading out tables of glass 362
X. — How glass vessels are made .364
XL — Of bottles with long necks .365
Xn. — Of the different colours of glass . ib.
Xni. — Of glass drinking-bowlsy which the Greeks decorate with
gold and silver . . . . ' . 366
XIV. — The same by another method . . . ib.
XV. — Of Greek glass, which ornaments Mosaic work 367
XVI. — Of earthen vessels painted with differently coloured glass ib.
XVII.— Of the making of windows .368
XVIII.— Of dividing'glass 369
XIX. — Of the colour with which glass is painted ib.
XX. — Of the three colours for the lights in glass [de coloribus
tribus ad lumina in vitro] .... 370
XXI. — Of the ornamenting of a picture in glass . .371
XXII. — Of the furnace in which glass is burnt .372
XXIII. — How glass is burnt [coquatur] .... 373
XXrV. — Of the iron moulds ..... 374
XXV. — Of casting the rods [de fundendis calamis] . . ib.
XXVI. — Of wooden moulds [de ligneo infusorio] . 375
XXVII. — Of putting together and soldering windows . 376
XXVIII. — Of placing gems on painted glass .378
XXIX. — Of simple windows [de simpUcibus fenestris] . . 379
Xxiv CONTENTS.
PAOK
XXX.— How a broken glass vessel may be mended . 379
XXXL— Of rings 380
Appendix (B).— Notices of the cost of some ancient windows, wages of
workmen, &c. . .383
(C). — ^Description of glass-paintings in Canterbury Cathedra] 393
(D). — ^Extracts from the Vision and the Creed of Piers Plowman 408
(E). — ^Examples of monumental inscriptions on painted windows 415
Index ......... 419
Cuts in the Text . . .423
ERRATA, &o.
P. 81, 1. 11 from bottom,/or 19 read 48.
— 57, — 3 from bottom, /or "latter half" read "perhaps first quarter."
--94^—8 fix>m bottom,/or 27 read 29.
— 128, To the examples of figures on brackets may be added the Frontispiece
to the Memoirs, illustrative of the art of glass-painting.
— 228, The book referred to in the note is Mrs. Merrifield's " Ancient Practice
of Palntiog.'
»>
INTEODUCTION.
HE principal object of this work is to inves-
tigate the varieties of ancient glass-paint-
ing, and to reduce them to a few classes or
styles, in the same manner as has been suc-
cessfully attempted with regard to Gothic architecture.
But, for the study of this subject, and indeed for the
proper understanding of the following essay, it is neces-
sary to have some acquaintance with the principles and
practical details of glass-painting ; and with the species
of evidence by which alone the date of a glass-painting
can be ascertained, and a place assigned to it in any
particular style. I think it desirable therefore, to lay
before the reader, who may not be already familiar with
these subjects, some information and remarks, which
may serve as an introduction both to the practical and
antiquarian knowledge of the art.
It is unnecessary to enter into any lengthened disqui-
sition concerning the antiquity of the manufacture of
glass, or of its employment, whether white, coloured,
plain or painted, in windows. It is well ascertained
that glass, both white and coloured, opaque and trans-
parent, was made by the Egyptians upwards of three
thousand years ago': but until the commencement of
* Sir Qardiner Wilkinaon describes
the proficiency of the ancient Egyptians
in the art of making white and eolonred
glass* at the period of the eighteenth
dynasty. "Manners and Customs of
the ancient Egyptians." Lond., vol. iii.
p. 99. The space of time he allots to
this dynasty, is from 1575 to 1269 b. g.
lb., vol. i. p. 47. The Egyptians were
acquainted with the art of gUui^hlowing
upwards of d|500 years ago. lb,, vol. iii.
p. 88, where a representation of work*
B
INTRODUCTION.
the Christian era, the material does not appear to have
been applied to any other purpose than the formation
of various utensils and ornaments, of mosaic works,
and the counterfeiting of precious stones. A passage
in Lactantius is commonly referred to as the first un-
doubted mention of the use of glass in windows^.
Leo III. is said to have adorned the windows of the
Lateran with coloured glass, — the earliest instance of
the kind that can be cited with confidence®; and it
may be inferred that the art of glaas-painting was
known at least as early as the tenth century, since the
process is minutely described in the second book of
the Diver sarum Artium Schedula of Theophilus ; a work
supposed to have been written in that or the following
men engaged in the process is given
from one of the tomhs.
I think all that can be said on the
antiquity of glass manufacture is to be
found collected in L. Batissier's Hittoire
de Vart monumental dans VantiquitS et
au moyen age, Paris, 1845, pp. 633 et
seq., a book of the existence of which
I was not aware when the present work
was first published. Batissier mentions,
on the authority of M. Baoul Bochette,
(Peinturee Antiques, 4to., 1836, p. 384^)
the existence of a glass pavement in
Isola Farnese, also of some pieces of
pictures painted on glass. "Nous avons
recueilli dans les d^mbres des villes
romaines plusieurs fragments de tableaux
peints sur verre qui avuent ^1^ enchass^
dans les parois." According to M. Batis-
sier'sviewyglass-painting has degenerated
since the thirteenth century. As to red
glass used in a pavement at Cirencester,
see ArchsBological Journal, No. 28, p.
352. As to Roman window-glass, see
Qell's Pompeiana, i. 96, ii. 79—100.
^ " Verius et manifestius est, mentem
esse, que per oculos ea, que sunt oppo-
fiita, transpiciat, quasi per /eneitram
lucente vitro aut speculari lapide ob-
dactam." De opif, Dei, c. 8. Tbis
work is supposed to have been written
at the close of the third century, or the
beginning of the fourth.
^ ** Fenestras de apside ex vitro diver-
sis coloribus conclusit." Fleury, Sist,
JEecl., 12mo. vol. x. p. 158. "In con-
nection with a restoration of the church
of St. Mary's in the Transtevere by
Benedict III. (a.d. 855—8), Mr. Gre-
gorovius produces a passage of the ' Pon-
tificals' which is perhaps the earliest
mention of the art of glass-painting.
' Fenestras vero vitreis coloribus omavit
et pictnra mussivi decoravit,' (iii. 134,
Anast. in Migne Patrol, cxxviii., 1354)."
Quarterly Review, No. 229. (Leo III.,
A.D. 795— S16.) The historian of the
monastery of St. Benignus at Dijon, who
wrote about 1052, afiirms that there was
still in existence in his time, in the church
of the monastery, a very ancient window
representing the martyrdom of St. Pas-
chasia, and that this painting had been
taken from the old church restored by
Charles the Bald. Emeric David, JBut.
de lapeinture, 1842, p. 79.
INTRODUCTION.
century. A translation of this part of the treatise is
given in the Appendix* to the present work. The in-
formation which it contains is most interesting, and
throws light on the execution of glass-paintings, not
only during that particular age, but throughout many
subsequent centuries. In consequence, however, of the
changes which have since been introduced into the prac-
tice of the art, it becomes necessary to describe it as it
exists at present.
The glass used in glass-paintings is, in its original
manufactured state, either white^ or coloured. The in-
gredients of White glass®, of which silex and alkali are
the most important, are incorporated by fusion in the
melting-pot of the glass-house, having been in general
previously fritted^ i. e. roasted with a strong fire, in
order to facilitate their union. When the vitrification
in the melting-pot is complete, the glass is formed into
sheets'. These are afterwards annealed^ i. e. suffered to
cool very graduallv, a process which renders them less
brittle ; and they are then ready for use.
Coloured glass is of two kinds : —
One kind is coloured throughout its entire substance*^,
and is called pot-metal glasa : the other is coloured only
on one side of the sheet, and is termed covered^ or coated
glass ; i. e. white glass covered with a coat of pot-metal
colour^.
Ked, or ruby glass, is almost invariably coated glass^;
' See post. Appendix A.
* See note a at the end of this Intro-
dnction.
' See note h at the end of this Intro-
duction.
f See note c at the end of this Intro-
duction.
^ See note d at the end of this Intro*
dnction.
* The reason to be assigned for the
peculiar manufacture of Ruby glass is
that its colouring matter is so intense*
that it would appear opaque, if formed
into a sheet by itself of the usual thick*
b2
INTRODUCTION.
other kinds of coloured glass are generally pot-metal
glass ; but they are not unfrequently manufactured as
coated glass.
Coloured glass is formed by adding a certain quantity
of colouring matter to the materials of white glass^, and
incorporating these ingredients by fusion in the melting-
pot of the glass-house. It is manufactured into sheets^
in the same way as white glass, and is of the same trans-
parency.
The Glass-painter possesses the power of colouring
white glass, and even of varying the tints of coloured
glass, by the use of stains^ and enamel colours.
All shades of yellow, to a full orange red, may be im-
parted to white glass by staining it" : other colours are
produced by means of enamels.
A stain penetrates the glass to some little depth, and
is properly as transparent as white glass itself.
An enamel colour" only adheres to the surface of the
glass, without penetrating it, and always partakes more
or less of an opaque nature.
There are three distinct systems of glass-paintmg,
which for convenience sake may be termed the Mosaic
metlwd ; the Enamel method; and the Mosaic Enamel
method.
Of these the most simple is the Mosaic pethod.
ness of an ordiDary piece of glass. The
colouring matter therefore requires a
hacking of white glass, to render the
sheet thick and strong enough to remst
the weather.
^ The compositions of various coloured
glasses are described at large in From-
berg's Sandhuch der Olasmalerei, Qaed-
linburg and Leipzig, 1844; (a transla-
tion of which, by my friend Henry James
Clarke, Esq., is printed in Weale's Quar-
terly Papers,) and in p. 268 of Dr. Lard-
ner's work, mentioned in note a at the
end of this Introduction.
' It is usually made into cylinders,
which are opened out into sheets.
"* See note e at the end of this Intro-
daction.
" See note /at the end of this Intro-
daction.
INTRODUCTION.
Under this system, glass paintings are composed of
white glass, — ^if they are meant to be white, or only
coloured with yellow, brown, and black, — or else they
are composed of diflferent pieces of white and coloured
glass, arranged like a mosaic, in case they are intended
to display a greater variety of colours. The pieces of
white glass are cut to correspond with such parts of
the design as are white, or white and yellow ; and the
coloured pieces with those parts of the design which
are otherwise coloured.
The glass-painter in the Mosaic style uses but two
pigments; — a stain which produces a yellow tint, and
a brown enamel, called enamel brown. The main out-
lines of the design are formed, when the painting is
finished, by the leads which surround and connect the
various pieces of glass together: and the subordinate
outlines and all the shadows, as well as all the brown
and black parts **, are executed by means of the enamel
brown; with which colour alone a work done according
to the Mosaic system, can be said to be painted. The
yellow stain is merely used as a colour.
It therefore appears, that under the Mosaic method
each colour of the design, except yellow, brown, and
black, must be represented by a separate piece of glass.
A limited number of colours may however be exhibited
on the same piece of glass, by the following processes.
Part of a piece of blue glass may be changed to green,
by means of the yellow stain. The coloured surface of
coated glass may be destroyed by attrition, or the appli-
cation of fluoric acid ' ; and the white glass beneath it
* See note ^ at the end of this Intro- I p This is the only acid known to
daction. * I rapidly corrode glass.
INTRODUCTION.
exposed to view. This may of course be wholly or in
part stained yellow, like any other white glass. Two
shades of yellow may also be produced on the same
piece of glass, by staining some parts twice over. But,
unless he adopt one or other of the above-mentioned
processes, the glass-painter under the Mosaic system
cannot have more than one colour on the same piece of
glass. A variety of tint^ or depth^ may often be observed
in the same piece of coloured glass, arising from some
accident in its manufacture^. Of this a skilful glass-
painter will always avail himself to correct as much as
possible the stiffness of colouring necessarily belonging
to this system of glass-painting.
Under the Enamel method, which is the most difficult
of accomplishment, coloured glass is not used under any
circumstances, the picture being painted on white glass,
with enamel colours and stains.
The Mosaic Enamel method consists in a combination
of the two former processes ; white and coloured glass,
as well as every variety of enamel colour and stain,
being employed in it.
The practical course of proceeding under each of these
three methods is nearly alike.
A cartoon of the design is made, upon which are also
marked the shapes and sizes of the various pieces of
glass. The glass is cut to these forms, and is afterwards
painted, and hurnt^ i.e. heated to redness in a furnace or
kiln^ which £lxes the enamel colours, and causes the
stains to operate. The number of burnings to which
the glass is subjected varies according to circumstances.
1 This appearance generally arises
from an inequality in the thickness of
the sheet in pot-metal glass, and of the
colouring matter in coated glass.
INTRODUCTION.
It is in general sufficient to bum glass painted with only
one enamel colour, once or twice ; the self-same opera-
tion sufficing also to give effect to the stain, if any is
used. Where several enamel colours are employed, it
is necessary to bum the glass more frequently; each
colour, in general, requiring to be fixed by a separate
burning.
It only then remains to lead the glass together ^ and to
put it up in its place ^.
The Mosaic system of glass-painting, as now practised,
may, I think, be considered a revival of the system which
prevailed throughout the Middle Ages, and until the
middle of the sixteenth century '. The glass employed
during this period is similar to the modem in its general
character, but materially differs from it both in texture
and colour. These differences are the more perceptible
in proportion to the antiquity of the glass. It seems to
have been always painted, burnt, and leaded together,
nearly as at present *.
The Mosaic system of glass-painting is admirably
adapted to the nature of the material. It is however
unsuited for mere picturesque effect, owing to the nature
of its colouring, which being produced by broad pieces
of glass, whose tints can scarcely be varied either in the
lights or shadows, (the latter being represented by
means of the enamel brown,) imparts to works executed
in this style the flat and hard, though brilliant character
of an ancient oil painting ^
' See note h at the end of this Intro-
dnctioD.
* See note » at the end of this Intro-
duction.
* See note Xi at the end of this Intro-
daction.
* It was, I believe, the andent prac-
tice in oil-piunting, to paint for instance
a red drapery, at first entirely red, and
afterwards to represent its folds, by re-
lieving the light parts with white painty
and occasionally deepening the darkest
8
INTRODUCTION.
The revival of art in the sixteenth century, and the
extraordinary efforts then achieved in oil painting, by
which the hard and dry illumination of the Middle Ages
was transformed into a beautiful picture, glowing with
the varied tints of nature, and expressing to the eye, by
a nice gradation of colouring, the relative position of
near and distant objects, seem to have excited the ambi-
tion of the glass painters. Not content with carrying
Mosaic glass-painting to the highest pitch of perfection
it has hitherto attained, and with borrowing the excel-
lent drawing and composition of the oil and fresco
painters, they strove to render their own art more com-
pletely an imitation of nature, and to produce in a trans-
parent material the atmospheric and picturesque effects
so successfully exhibited by the reflective surfaces of oil
and fresco paintings. The facility of applying colour
to glass with the brush, at the pleasure of the artist,
afforded by the discovery of the various enamel colours,
about the middle of the sixteenth century "", soon led to
their extensive employment. It was not however until
the eighteenth century that they entirely superseded the
use of coloured glasses in large works ^.
Bhadows with brown, or aome other dark
colour.
^ Did not experienco teach ns how
much we are indebted to chance for our
boasted discoveries, it would seem un-
accountable that the art of enamelling,
itself of such high antiquity, should
have been confined to opaque substances,
until the middle of tbe sixteenth cen-
tury. An interesting account of the
process of enamelling earthenware is
given in Theophilus's treatise, book ii.
chap. 16, [post Appendix A.] It does
not appear to differ materially from
the process now in use. See Dr. Lard-
ner*s "Porcelain and Glass Manufac-
ture," chap. 6.
The art of enamelling was practised
by the ancient Egyptians upwards of
2000 years before Theophilus wrote.
See Sir Gardiner Wilkinson's "Man-
ners and Customs of the Ancient Egyp-
tians."
7 Pot-metal glass occurs in a drapery
in the glass painting at the end of the
library of Trinity College, Cambridge,
which was executed by Peckitt, from a
design of Cipriani, at the end of the last
INTROliUCTION.
The introduction of enamels, though it certainly occa-
sioned a grieat extension of the scale of colour in glass-
painting, was not without its disadvantages. The paint-
ings lost in transparency what they gained in variety of
tint; and in proportion as their picturesque qualities
were increased by the substitution of enamel colour-
ing for coloured glass, their dq[>th of colour sensibly
diminished.
The practical application of enamel colours to glass,
seems always to have been conducted nearly as at pre-
sent. Some of the earlier examples of Enamel painting
are, however, superior in transparency to the modem.
This is particularly the case with Swiss glass-paintings
of the seventeenth, and close of the sixteenth century ;
in which enamel colours are constantly to be met with,
firmly adhering to the glass in lumps of one-sixteenth
of an inch in thickness, and so well fluxed in burning
as to be nearly, if not quite, as transparent as pot-metal
glass. I am not aware that these enamels have ever
been successfully imitated, but modem chemical dis-
coveries have been of late productive of enamel colours
of very superior quality, both in tint and transparency,
to those in general use during the last century, and to
a late period in the present.
Having given this brief outline of the process of glass-
painting, I shall now proceed to offer some observations
on the means by which the age of particular specimens
of the art can best be ascertained. In few branches of
antiquarian research will a knowledge of minute details.
centnry. Bat both tbe west window of
New College, Oxford, executed by Jcr-
vais, after a design by Sir Joshua Rey-
nolds, and the windows of Arundel
Castle, are entirely coloured with en-
amels and stains.
lO
INTRODUCTION.
and the consideration of internal evidence, be found more
important than in this. It is seldom that the age of
a glass-painting is determined by the direct testimony
of a date affixed to it, or of written documents ; nor can
a safe conclusion always be drawn from the situation
which it occupies. It might at first be supposed that
the glass would not be older than the window in which
it is found, especially when the principal divisions of the
picture or pattern coincide with the apertures of the
window ; but the inference from this circumstance cannot
be always relied upon, since instances are known in
which windows have been constructed for the reception
of glass older than themselves". It is therefore only
from the internal evidence afforded by the work itself,
that the date of a glass-painting can in general be ascer-
tained ; and this evidence is not, as in a Gothic build-
ing, presented by a few prominent features, the contour
of a moulding for instance, or the form of a window, but
by a variety of minute particulars, no one of which is
perhaps adequate of itself to decide the question.
Some of these tests are peculiar to glass-paintings,
such as those afforded by the nature and texture of the
material, its colour, and the mode of painting it. Some,
again, it has in common with other objects ; such as the
character of the drawing, the form of the letters, the
* The Perpendicular windows, for in-
stance, of the north aisle of Lowick
Church, Northamptonshire, have evi-
dently been constructed for the recep-
tion of some rather early Decorated
glass, — a Jesse, a considerable portion of
which remains in excellent preservation.
The tracery lights of many of the clear-
story windows of the nave of York
Minster arc filled with Early English
glass of more ancient date than any part
of the present fabric that appears above
ground. Other examples of churches
containing vestiges of glazing more an-
cient than the buildings themselves
might be cited. Painted glass was at
all times expensive, and this may occa-
sionally have caused its preservation
when a church was enlarged or re-
stored.
INTRODUCTION. 1 1
architectural details, the costume of the figures, the
heraldic decorations, &c. All these features are not
equally trustworthy; those derived from the general
practice of the day, as regards the manufacture of the
glass, and mode of painting it, are often more to be
relied on than those afforded by the nature of the par-
ticular subjects represented.
Each period of mediaaval glass-painting has its dis-
tinctive style of execution, but artists were at all times
prone to copy the designs of their predecessors. This
may serve to account for the occasional representation
in a glass-painting, of the armour, costume, and archi-
tectural features of a period anterior to that of the
work itself.
I shall now endeavour to shew more particularly the
value of certain evidences of date.
Mere general arrangement affords scarcely any criterion
of date. The ^^ medallion window ^^^ is perhaps confined
to the Early English period; and designs extending
themselves into more than one lower light of a window,
can hardly be said to be earlier than the Decorated. But
almost every late arrangement is to be found more or
less developed in the earlier styles.
The general appearance or effect of a glass-painting is
a feature deserving the utmost attention; but taken
alone, it affords only a sure proof that the work belongs
to some general period, without conveying a more defi-
nite idea of its date. The general effect of a glass-paint-
ing depends indeed almost entirely on the quality and
texture of the glass employed in it. Hence it varies
* The meaiiing of the term "medallion window/' is explained in the first
section of Chapter I.
1 2 INTRODUCTION.
according to the progressive changes in the manufacture
of that material. These, as might be expected, were so
slow and gradual as to be hardly perceptible ; and glass,
apparently of the same quality, was therefore employed
during long periods of time. Owing to this circum-
stance, it becomes impossible to pronounce with cer-
tainty whether, for instance, an early glass-painting,
judging only from its general ejffect, is of the Early
English, or early part of the Decorated period ; whether
another is late Decorated, or early Perpendicular; or
whether to a third should be assigned a less general
date than the space of time between the beginning
of the fifteenth century, and the end of the reign of
Henry VI., &c.
The execution of a glass-painting according to any
particular mode, the first invention of which is capable
of being ascertained, raises a conclusive inference that
the work cannot be earlier than a certain time: but
seldom afifords any other criterion of its date. So the
representation in a glass-painting of different orna-
ments, costumes, armour, and architectural details ; the
symbols of the alliance of. families, or of individuals
holding particular offices, serve in like manner to limit
the antiquity of the work ; without, however, at least
in the generality of cases, setting any precise bounds
to its lateness. Thus, for instance, the existence of the
yellow stain in a glass-painting, is a proof that it is not
earlier than the fourteenth century. In like manner,
a glass-painting which exhibits stipple shading ^, or ruby
glass having some of its coloured surface purposely
abraded, may be pronounced not to be earlier than the
** This tenn is cxplaiued in note h at the end of this Introduction.
INTRODUCTION. 1 3
fifteenth. Again, the use of enamel colours marks a glass-
painting as having heen executed after the middle of
the sixteenth century, while the trifling circumstance
that the glass has been originally cut with a diamond,
will denote that another work is not earlier than the
seventeenth century. The representation in a glass-
painting of Decorated windows with flowing tracery,
is an evidence that the picture was not painted until
after the introduction of this feature in architecture.
And the appearance of a shield bearing the private
arms of a bishop impaled with those of his see, will
in general raise a presumption that the work was exe-
cuted during his prelacy.
The age of a glass-painting is thus sometimes capable
of being reduced to limits sufficiently exact for practical
purposes, by the existence of a single feature, such as
that last mentioned, or even by the character of the
letters used in an inscription : but in general, its more
precise date can be established only by the evidence
afforded by the concurrence in it of a variety of different
tests. It is indeed always safer to rely on such evi-
dence, when it can be obtained, than to infer a date
from a single circumstance.
Of the value of the testimony afforded by a coincidence
of minute particulars, in establishing the probable date
of a glass-painting, the following is an example.
It has before been noticed, that there is often no dis-
tinction between the general effect of an Early English,
and that of an early Decorated glass-painting. Becourse
must therefore be had to the character of the ornament,
which will in general at once decide the question of
style. Supposing this to be in favour of the Decorated,
14 INTRODUCTION.
the next point is, to what period of the style the paint-
ing belongs. This may sometimes be also determined
by the nature of the ornament; but the colour and
quality of the glass will always conclusively shew that
the specimen is early in the Decorated style. Another
instance may be added. It is easy to distinguish a glass-
painting of the latter part of the reign of Edw. IV. from
the earlier examples of the fifteenth century, by the
yellow hue of the white glass; although it may ex-
hibit precisely the same design and execution, and even
the same costumes, as a glass-painting of the time of
Henry VI. As however white glass of the same hue
continued in use until the end of the Cinquecento style,
glass-paintings not exhibiting any peculiarity of costume
which may mark them as being of the reign of Edw. IV.,
must be referred to the period indicated by the general
character of their drawing and execution.
I have endeavoured in the course of the first chapter
to facilitate enquiries into the date of glass-paintings,
and the styles to which they belong, by commencing
each section with some general remarks on the effect of
glass-paintings of a particular period, and by afterwards
describing their details as minutely as I could, at the
risk of being considered prolix and tedious. I should
however warn the reader against the supposition that
it is possible to acquire an accurate knowledge of a pic-
tonal art, from mere description, or the slight aids de-
rivable from plates in such a work as the present. A
book can do no more than direct his attention to certain
differences in glass-paintings affording sure indications
of style, and by a general explanation of the process of
painting upon glass, clear up some difficulties which
INTRODUCTION, 1 5
vould otherwise beset the subject. He must depend
upon his own exertions for a critical knowledge of the
different styles of glass-paintings, which can be acquired
only by minute, close, and repeated observation of ex-
isting specimens, and a habit of making careful and
detailed drawings of them, whenever the opportunity
presents itself. I may add that a certain acquaintance
with other branches of antiquities, such as architecture,
and painting in general, heraldry, &c., will considerably
facilitate his researches.
NOTES TO THE INTRODUCTION.
(a) The manufacture of the different kinds of white glass, and the
nature of their ingredients, are minutely described in a small but
clever popular work, ** A Treatise on the Origin, Progressive Improve-
ment, and Present State of the Manufacture of Porcelain and Glass."
Lond. 1832 : which forms part of Dr. Lardner's Cabinet Cyclopsedia.
Until the last few years, only the two sorts of white glass known
by the names of eroum fflass, and hroad, or spread glaas^ which last is
also called common window-glaas, were employed in glass-paintings.
The first kind was, until lately, clearer and more free from colour than
the last, which being coarser and cheaper, was more commonly used
for this purpose. The broad glass, however, never possessed any
other colour than that accidentally imparted to it by the impurity of
its materials. Owing to continued improvements in its manufacture,
broad glass has gradually become almost, if not quite, as colourless as
crown glass; a circumstance which renders it unfit for many glass-
paintings. A new description of white glass, sometimes called eathe*
dral glass J has been in consequence manufactured of late, expressly for
glass-painters, and has been extensively employed in lieu of broad
glass. Flint glass, into the composition of which lead enters, and which,
from being highly taxed, was formerly only used for decanters, drink-
ing-glasses, and other utensils, is beginning [1847] to be employed ill
painted windows. It is either white or coloured. The name fiint
glass was most probably derived from its having been first manufac-
1 6 NOTES TO THE INTRODUCTION.
tured in the town of Flint. See Journal of the Archseological Asso-
ciation, vol. V. p. 296.
{h) There are various modes of forming glass into sheets, but it
is only necessary for the purposes of this work to describe two of
them.
One process, called flashing , consists in making the glass into circular
tables, or sheets. It is at present appropriated to crown glass.
The workman is provided with a long straight iron tube or blow-
pipe, one end of which he dips into the melted metal in the pot, until
he has collected upon it a sufficient mass of glass. This he moulds
into a cylindrical form, by rolling it on a smooth plate of iron called
a marver ; and then applying his mouth to the other end of the tube,
blows down it into the soft mass of glass, which yields to his breath,
and gradually assumes a globular shape. When this has been sufficiently
expanded by blowing, another workman approaches with a solid round
iron bar in his hand, called a punt, having a small lump of melted glass
at one end of it. This on being applied to that side of the globe which
is opposite to the blow-pipe, and which has previously been somewhat
flattened, immediately adheres to it. The blow-pipe is now disengaged
from the glass, by wetting the part round it with water, and its re-
moval leaves a small circular hole in that part of the glass. The glass
thus attached to the punt, after having been sufficiently softened by
heat, is trundled round like a mop, *' slowly at flrst, and then more and
more quickly, when the glass yields to the centrifugal impulse; its
diameter becomes greater and greater, the hole just mentioned expands
proportionably ; and when in this continued progression the doubled
portion opposite the iron rod, and between the periphery of the glass
and the orifice, is diminished to an annulus or ring only a few inches
wide ; this in an unaccountable manner instantly flies completely open,
and the glass is converted into a plane disc of fifty to sixty inches
diameter, having an uniform thickness throughout the entire plate,
with the exception of" its rim or selvage, and ''the spot where it is
attached to the" punt, " and where there is a knot or lump which ia
called a hulVB eye^^ or centre. The punt is then detached from the
bull's eye, and the sheet of glass, after having been annealed in the
annealing oven or lewr^ is fit for use. This description will be rendered
perfectly intelligible by a reference to the plates in Dr. Lardner's
work before mentioned, from which (see p. 184) the above extract ia
taken.
The other method consists in making glass into %had6% or cylinders^
or muffi^ as they are sometimes called, which are afterwards opened
and flattened out into sheets.
NOTES TO THE INTRODUCTION. 1 7
This process differs but little from that of blowing plate glass, de-
scribed and illustrated by diagrams in Dr. Lardner's before-mentioned
work, p. 211 et seq.
A hollow globule of glass is formed as before mentioned, and brought
to the shape of a long bladder, by swinging the blow-pipe about. Its
end opposite to the blow-pipe is then perforated with a small circular
hole. The workman now seats himself in a chair, having two long
horizontal and parallel arms, on which he rolls the blow-pipe back-
wards and forwards with one hand, and with the other at the same
time gradually widens the hole, and fashions the glass with a pair of
shears until it assumes the form of a cylinder throughout its whole
lengthy except towards the end where it is connected with the blow-
pipe. A punt, having attached to its end a red-hot piece of glass,
either in the shape of a flat circular plate, rather wider than the mouth
of the cyUnder, or consisting of a straight piece crossing the end of
the punt like a T, is then applied to the already formed mouth of the
cylinder, and immediately adheres to it. The glass is then detached
from the blow-pipe, a rotary motion is given to it by trundling the
punt up and down the arms of the chair, and by a repetition of the
process already described the little hole left by the removal of the
blow-pipe is enlarged into a mouth, of the same diameter as the rest
of the cylind^. The cylinder is then disconnected from the glass at
the end of the punt> and after having had one side out or slit up, is
placed in the annealing oven, with its cut side uppermost, and be-
coming softened by the heat, is easily opened with an iron instrument^
and spread out into a flat sheet. Flint glass, both white and coloured,
is usually thus formed into sheets.
(e) One kind of pot-metal glass indeed is called plated glass, and
consists of two sheets or thicknesses of pot-metal glass, of different
colours, closely united together. By this means a tint is produced
differing from that which would bo obtained by the fdsion of the two
colours t4»gether in the melting-pot of the glass-house. I have not
thought it worth while to embarrass the text with this exception to
the general rule, that pot-metal glass is of the same colour throughout.
(if) Coated glass is formed by the workman first dipping his blow-
pipe into a pot containing white glass, and afterwards into a pot con-
taining coloured glass; or vice versa. The glass when formed into
a sheet is thus coated with coloured glass only on one side. Some-
times the blow*pipe is again dipped into the pot of white glass, in
which case the colour will be enclosed within two layers of white
glass.
Coated glass is sometimes called flashed glass, but this term seems
C
1 8 NOTES TO THE INTRODUCTION.
rather to point to the mode in which it is manufactured into sheets.
It is now, I helieve, more usually made into cylinders and opened out
into sheets.
{e) The colour produced hy a stain varies much according to the
texture of the glass, and the heat of the furnace : soft glass taking
a deeper stain than hard glass, 'and a high temperature greatly in-
creasing the colour. On this account, if the glass is unequally heated,
it will he stained of a deeper tint in some parts than in others. If
exposed to a too violent heat, the stain is apt to turn red, or to hecome
opaque. When over-fired, it leaves a peculiar mark on the surface of
the glass, varying from yellow to a sort of hlue. The composition of
the yellow stain is given, and its operation accounted for, in Fromherg's
Handhuch der Glasmalerei, part i. chap. 2 ; and in Dr. Lardner's " Por-
celain and Glass Manufacture," p. 273, 298.
One species of yellow stain is called " hrush yellow," from its being
thinly applied to the glass with a brush, instead of being floated on in
the usual way. It differs from the ordinary stain only in being stronger,
in consequence of a greater proportion of colouring matter being con-
tained in it. The yellow thus applied with the brush often has a
streaky appearance, occasioned by the manner of laying it on. An.
effect similar to that produced by brush yellow may sometimes bo
observed in Decorated as weU as in the later kinds of painted glass.
(/) An enamel colour is composed of some particular colouring
matter mixed with Jltix, i.e. soft glass which will melt at a lower tem-
perature than the glass intended to be painted with the enamel. la
proportion as the glass cools after having been burnt in the kiln, the
flux, which has been melted by the process, hardens, and together
with the colouring matter it embraces, adheres closely to the glass.
The imperfect transparency of glass coloured with an enamel, no
doubt arises from the absence of such a complete fusion and liquefac-
tion of the flux in the glass-painter* s kiln, as are effected of the silex,
in the manufacture of coloured glass, by the more intense and longer
sustained heat of the melting-pot of the glass-house.
The composition of various enamels is described in Fromberg's
Sandbuch der Glasmalerei; and in Dr. Lardner's work before men-
tioned, chap. 14. See also a translation of a work by Dr. Gessert^
" The Art of Painting on Glass, or Glass Staining," in Weale's Quar-
terly Papers, Part II. See also the " Art of Glass," translated from the
French of H. Blancourt. 12mo., London, 1699.
The enamel brown is made either from iron or copper. Iron pro-
duces a reddish brown pigment, copper a cold greenish black pigment.
(^) As the enamel brown is more or less an opaque colour, any
NOTES TO THE INTRODUCTION. 1 9
gradation of tint from brown to absolute blackness may be produced
with it, simply by increasing the thickness of the coat of paint.
(A) The following is a brief description of the course now generally
pursued of painting glass, according to the Mosaic method.
If the work is intended to be executed merely in outline, without
any shading, the design is copied on the glass, by simply laying the
glass upon the drawing, and tracing with enamel brown upon the glass
the {Mittem seen through it. When a piece of coloured glass is so
dark as to obscure the pattern, a tracing of the latter is first made on
a piece of white glass, and placed behind the coloured, through which
the pattern is rendered distinctly visible by holding both pieces of glass
to the light. A similar method of transferring the design to the glass
ifl sometimes adopted, even when the painting is intended to be more
elaborate ; but the preferable way is, to draw the outlines of the car-
toon on the hack of the pieces of glass with Indian ink, or other water
colours, leaving ihe front of the glass imencumbered for the free exer-
cise of the artist's pencil.
Becourse is then had to an easel, formed of large pieces of glass held
in a frame opposite to the light. The pieces of glass intended to be
painted, are attached, in their order, to the glass of the easel, some-
times by means of wax, but more properly by little bits of paper pasted
to their edges, and to the glass of the easel.
If the painting is intended to be smear shaded^ the artist, if the out-
lines have not been already drawn upon the glass with enamel brown,
proceeds to put them in: using for this purpose the enamel brown
mixed to a proper consistency either with a combination of spirits of
turpentine, and fat turpentine, i.e. spirits of turpentine thickened by
evaporation ; or with gum Senegal water, this gum possessing the pro-
perty of not blistering with heat. The next step is to execute the
shadows and diapers. The artist, having mixed some enamel brown
as before mentioned, but of thinner consistency, smears it with a brush
over the parts intended to be in shadow, softening it off towards the
extremities of the shadows by gradually raising the brush from off
the glass as he passes it along. He thickens the coat of colour in the
deepest parts of the shadows ; and when this is not strong enough, he
applies a similar coating to the back of the glass, which must of course
be removed from the easel for this purpose. Shadows thus formed
always have a streaky and uneven appearance, owing to the unequal
thickness of the coat of colour caused by the tracks left by the brush
in its course. It is impossible to produce deep shadows in this way
without at the same time rendering them opaque. In like manner
a coloured ground is smeared over so much of the glass as is intended
c2
20 NOTES TO THE INTRODUCTION.
to be diapered, part of which, when dry, is scraped off with a pointed
stick or needle, so as to leave the diaper itself clear and transparent.
When the picture is intended to be Btipple shaded^ the artist eitlier
puts in the outlines at first wilii enamel brown, or leaves them out until
the shading is finished. In either case he covers the whole of the glass
with a ground of enamel brown mixed with gum water, and dabbles
or stipples it all over, before it has time to dry, with a large soft long-
haired brush, held at right angles to the plane of the glass, so that the
tips of its hairs only are suffered to touch the glass. This process
entirely obliterates the smears left in the groimd on its first application,
and renders it soft, and granulated in appearance. Stipple shadows,
of whatever depth, are always more transparent than smear shadows ;
for the colour is drawn up into little lumps by the action of the hairs
of the brush, leaving the interstices oomparativdy free from colour.
When the ground is dry, the artist scrapes it away fr*om the lights of
the picture, and having previously moistened it with oil of spike
lavender, deepens the shadows, where necessary, by a fresh application
of colour, mixed, however, with turpentine, which he softens off as it
dries, by dotting it with a long-haired brush. He also sometimes
heightens the shadows, by laying a similar coat of colour on the back
of the glass opposite to them. Diaper patterns are executed exactly as
before described, a stippled ground having been laid all over the glass.
The stain, when used, is mixed with water, and floated on the back
of the glass, usually to the thickness of a sixteenth of an inch, just
before it is put into the kiln.
The/umaee, or kiln, in which the glass is burnt, consists of an iron
box furnished with sliding shelves, and enclosed within an oven of
brickwork*. The shelves are covered with powdered whiting, upon
which the glass is laid flat, the painted side upwards, and the side to
be stained downwards. The fire is maintained on a grating below the
box, which is enveloped by the flame, the vent of the surface being at the
top of the oven. When the glass has been sufficiently burnt, which is
ascertained by looking into the box, through a hole provided for that
purpose in the brickwork with which the mouth of the oven has been
closed up previously to kindling the fire, the fire is raked off the grat-
ing, and every aperture having been carefully stopped up, the glass
is suffered to cool gradually, and anneal itself. After the glass has
been burnt, and taken out of the kiln, it is necessary to wash or brush
off the residuum of the stain, and this having been removed, the glass
underneath, if the fire has been hot enough, will be found to be yellow.
' A reproBentation of a glaas-painter^s | verre, et de la vUrtrie, par feu M. le
kiln b given in L'Jrt de lapeinture sur I Vieil, plate ii.
NOTES TO THE INTRODUCTION. 2 1
The glazier finishea the prooeBs; he Uad« the glau together, i.e. ear-
ronndB each piece with a strip of lead, haring a groove on each aide to
hold the edge of the glass, according to the pattern marked on the
cartoon, joining the various pieces of lead with solder. The lead- work
is rendered less pervious to the wind and moisture, and much stronger,
hy being cemented, i.e. a kind of cement is nibbed in between the glass
and the lead, which fills up the intersticee, and hardens by exposure to
the weather. Every glass-painting of any magnitude, in order to avoid
breakage and tumecessary troahle in putting it up, is divided by the
glazier into convenient portions, each contuning several square super-
k. B. A panel oral:
- D. Dftlo. '■
f. ParlQfi
9. O. The 1
Z. D. DltU
" "" " iQfdilto.
._. puneli, pluBd
mdy to b« twilled rOBiiil the ud-
dle-ban.
flcial feet of glass, called glatiiy panelt. Each of these is surrounded
with a strong lead, and can be moved about by itself. The glazing
panels are set up in their order, and secured by being aitached to
the taddle-iars^ of the window, i.e. to an iron framework let into
the stonework.
* Then were in the middle of tbe I or "BOndeleU;" and the Dpright iron
foorteenUi century termed "eondlots," | ban wbicbpaued through them, "(toad.
22
NOTES TO THE INTRODUCTION.
Under the Enamel system the glass is painted with enamels much in
the same way as canvas or paper is painted with oil or water-colour,
and they are applied to the glass in general as in an ordinary miniature
painting, hy repeated hatchings with a small pencil. The colour which
requires the greatest heat is put on first, and hurnt ; and that which
requires the least heat, last, so that each colour is fixed at a tempera-
ture not sufficiently high to disturh the flux, or alter the tint of any of
its predecessors. The glass, when burnt, is either leaded together, or
secured with ^tty in a metallic framework moulded to the forms of
the panes.
In the Mosaic enamel system, coloured glass is often shaded and
diapered with an enamel colour of the same tint as itself. The colour
is sometimes floated on with water, but more commonly applied with
a pencil, as under the former method. The pointed stick or needle is
often used to scrape the colour off the glass, wherever an intense light
is required.
(t) The merit of admiring ancient painted glass, and first bringing it
into favourable notice, belongs to Horace Walpole; but the actual
revival of the ancient system of glass-painting was accomplished prin-
cipally by two distinguished glass-painters, — the late Mr. Miller, and
Mr. Willement. The latter was the first to observe in his works the
differences of style.
{h) The following particulars relate to the ancient method of making
and painting glass : —
White glass, according to the Treatise of Theophilus, chap. iv. [see
the translation, posty Appendix A] was composed of wood ashes and
sand, mixed together in certain proportions, and fritted, previously to
being placed in the melting-pot. Many kinds of coloured glass are
mentioned in that Treatise, chap, xii., as being made from the coloured
glass found in the antique mosaic works and ancient vessels. Theo-
philus calls the little lumps of blue glass used in the mosaics, sap-
phires *, and particularly says that they were fused with white glass,
in order to make blue glass for windows. This, I think, sufficiently
explains Abbot Suger's statement, that sapphires were used in the
painted glass of St. Denys.
The supply of colouring materials from the above source must soon
have been exhausted'. Eraclius^ gives various receipts for colouring
glass with different metallic substances. Lead is mentioned in the
title of one of the lost chapters of Theophilus, and in chapter
ardfl." Smith's Antiq. of Westminster,
p. 196, et seq.
• See note to Appendix A.
' In the Mappa davictda (post, 25) is
" confectio saphiri/' chap, cclvi.
V Vide note to Appendix A,
NOTES TO THE INTRODUCTION. 23
which describes the inaking of glass rings ; and also by Eraclius, as
an ingredient of glass, which, as it would seem, howeyer, was not used
for windows, but for the manufacture of utensils^ This glass would
therefore answer to flint glasa^ the softness and strong refractive power
of which, arising from the presence of lead in its composition, (see
Dr. Lardner's Treatise, p. 161,) have, for a long time past, caused it
to be appropriated to the formation of decanters, and other glass wares.
Drinking -glasses, &c. made of flint glass, like the modern, may be
found as early as the reign of Charles I. They are more brilliant in
appearance, but are much thicker, heavier, and more brittle, than the
old Venetian glasses, which are light as feathers, and composed of
a tough horn-like material.
Flint glass, as stated in a former note, has only lately been used for
windows.
It appears from the Treatise of Theophilus, chapters vi. and ix., poatj
Appendix A, that both white and coloured glass were formed into
cylinders, which were opened and flattened out into sheets, nearly as
at present : the introduction of the punt, in addition to the blow-pipe,
being the chief improvement upon the ancient system. The process of
annealing the sheets is identical with that now in use.
That the art oi flashing glass was known at least as early as the
beginning of the fifteenth century, is proved by the representations in
the pictures of John Yan Eyck and others, of round glass ^ each pane
of which is a miniature sheet of flashed glass, as is more fully de-
scribed in the course of my remarks on the Perpendicular style. I have
seen in a glass-painting at Mells Church, Somersetshire, of the latter
half of the fifteenth century, two hulVs eyes, in pieces of white glass,
each as large as the bull's eye of a modem sheet of crown glass ; and
I have often noticed in Early English and Decorated glass, stri€B, or
waves, of segmental shape, which I am strongly inclined to think
were formed by flashing the glass.
All ancient window glass was originally clear and transparent. It
perhaps was not, at least until the sixteenth century, so perfectly trans-
parent as modem glass, being, in general, less homogeneous than it,
owing to the imperfect state of the manufacture formerly ; but it was,
when new, sufficiently clear to admit of distant objects being easily
seen through it. Th^film, which usually subdues the brilliancy of old
glass, and imparts to it a fine harmonious tone, is but the eflt'ct of the
surface of the glass having become decomposed by the action of the
weather, or of extraneous substances, such as lichens, or the rust from
the saddle-bars, &c. adhering to it. Decomposition takes place in glass
in different ways and degrees, according to its texture, the manner in
24 NOTES TO THE INTRODUCTION.
which it is painted, and its position. The glass on the south side of
a building is in England always more corroded than that on the north
side ; that containing the least portion of alkaline matter seems most
effectually to resist the action of the* atmosphere ; and the painting
upon iiror even the staining/ sometimes preserres it from injury, some-
times hastens its decay. In some eases the corrosion on the back of the
glass is confined to those parts which are opposite to the shadows and
painted outlines, or at least is most active in these parts ; in other cases,
especially in Ecu'ly English and early Decorated examples, the original
thickness of the glass is preserved only in those parts which are oppo-
site the painted outlines, the course of which may therefore be traced
on the back of the sheet by corresponding lines a little raised above
the general surface. In some cases the surface of the glass has
been eaten away without reference to the painting on the other
side, leaving the course of the streaks formed in the manufacture of
the glass marked by small corresponding ridges which have escaped
corrosion.
Some glass is perforated to some little depth with small round holes ;
other glass has its whole surface eaten away : all old glass is more or
less covered with a slight film on both sides, but upon breaking it, the
interior of the sheet is always found to be clear and transparent, the
obscurity being confined to its surface.
The white glass varied much in hue, even in early times, being
sometimes nearly colourless, sometimes so blue or green as to seem
as if it had been purposely tinted. I am persuaded, however, that
its colour was accidental, and arose merely from the impurity of its
elements.
The use of manganese, to correct the yellowness of white glass,
does not appear to be earlier than the reign of Elizabeth. Its pre-
sence is easily detected, especially in Venetian and Erench glass, by
the inky purple tint it imparts to the material. The earliest white
glass, as well as coloured glass, often has a slaty texture, i. e. is apt
to chip off in layers like slate. This property may arise from an im-
perfect amalgamation of the glass, already on the blow-pipe, with that
taken up upon it by a subsequent dipping into the melting-pot, in
ordar to increase the mass at the end of the rod previously to blow-
ing it. The white glass of the seventeenth century resembles modem
broad glass.
Coloured glass previously to the middle of the fifteenth century, is
in general richer and less crude than modem coloured glass. This is
(supposing that we employ the same materials that the ancients did)
probably owing to our improvements in chemistry, by which the
NOTES TO THE INTRODUCTION.
25
modem colouring matter is more completely purified from extraneous
substances than the ancient*".
Of all coloured glasses, the mbj varies most in appearance, accord-
ing to its date. The streakines* of the colour of ruby glass, prior to
the beginning of the fifteenth century, has occasioned If. le Yi^il and
others to conjecture that it was applied like an enamel colour, with
a brush, and burnt in afterwards. The better opinion, however, is,
that the ancient ruby was made in the same way as modem ruby.
I have carefully examined a great many specimens of all dates, from
about the middle of the twelfth century, and have invariably found
l^e glass to be coloured only on one side of the sheet. The late
M. Gerente, the French artist, entirely corroborated my testimony.
M. le Yieil, however, mentions his having met with early specimens
coloured throughout the sheet, and Dr. Gessert thinks that the in-
vention of coating ruby glass took place in the fourteenth century,
and adds that Schmithals, a profound and trustworthy investigator of
ancient coloured glasses, found all those of the twelfth and thirteenth
ooituri^i coloured throughout the whole mass. The probability is,
that the coated method of making ruby was an improvement on its
original manufacture as an ordinary pot-metal. The chapter of Theo-
philus, which, judging from its title, treated of mby glass, and would
most likely have set the question at rest, is unfortunately lost. See
Boyle's ''Philosoph. Essays," vol. i. p. 458, as to some glass found at
St. Paul's after the fire.
The latest real ruby that I have yet met with is in the east window
of Lincoln Cathedral, which was executed by Peckitt in 1762. The
ingredients for making ruby (principally consisting of copper in a high
state of oxidation) are actually given in Blancourt's " Art of Glass,"
chap. Ixxv. : but the mode of using them is not described ; hence it may
be concluded that he copied the receipt from some older work, and
never witnessed the manufacture of ruby glass.
In the Mappa Clavietda, written in the twelfth century (See Archao-
lagia, xxui. p. 183), chaps, cclvii. cclviii., "confectio vitri rubri," the
ingredients are given, but nothing is said of the process of coating
white glass with red.
The manufacture of ruby glass, after having been dormant since
Peckitt's time, was revived in 1830, or thereabouts, at the manufactory
of Choissy le £oi. It is now (1848) common enough.
^ It has been ooi^eetuTecl, that the
fine bine coloor in old porcelain owes its
pecnliar depth and richness to the pre-
sence of anenic, which the Chinese, in
their own preparation of the pigment,
were unable to expel from the cobalt
ore. See Lardner's " Porcelain and
Glass Manufacture," p. 114.
26
NOTES TO THE INTRODUCTION.
Cut 2.
OOUPASLkTPn YIEW OF THB THICK-
VBS8 OF GOLOUK OH EUBT OLASS.
Twelfth! and
centuries.
Pourt*»onth
century.
n.le{>nth and
■izt^eutlx
ce&turies.
Nlnet<t«>nth
century.
c
17
3«
^9
The Romans were acquainted
with the manufacture of it. See
Archaeological Journal, No. xxviii.
p. 352.
Although doubts may still exist
as to the precise mode of manufac-
turing ancient ruby, there can be
none as to the great thickness of
its coloured coating in the twelfth,
thirteenth, and fourteenth centuries,
during which period it most plainly
exhibited the streaky appearance
before alluded to.
The accompanying diagram re-
presents full-sized sections of pieces
of ancient ruby, selected quite at
random, and arranged in centuries,
but not according to their order of
time in each century. The dark
lines at the upper part of each sheet
are intended to shew the depth of
its colouring matter. The various
sheets will be found to agree in
thickness with the ordinary white
and coloured glass of the corre-
sponding periods.
The coloured coating of ruby glass, \mtil the beginning of the
fifteenth century, when seen in section with the naked eye, seems to
be collected into several thin laminae, parallel to the surface of the
sheet, of unequal thickness, and imbedded in white glass, usually of
a more yellow hue than that of which the rest of the sheet is com-
posed. When examined, however, with a powerful microscope, the
portion of white glass appears to be almost filled with an infinite
number of the thinnest possible parallel laminae of colour, closer
together in some places than in others, which irregular condensation
produces the stratified appearance before mentioned. The multitude
of these laminae is so great as, I should say, to preclude the possibility
of their having been occasioned by successive dippings of the blow-
pipe alternately into white and coloured glass. Indeed the occasional
liability of the colouring matter to be chipped off like slate in layers,
not corresponding to the principal laminae of colour, would tend to
shew that the blow-pipo was repeatedly dipped into coloured gloss;
3to
3fl
NOTES TO THE INTRODUCTION.
27
while, in other specimens, the perfect coherence of the mass of colour-
ing matter, coupled with its imperfect adhesion to the white glass
forming the rest of the sheet, would seem to prove that the colouring
matter was, hy one act of the workman, conglomerated ahout the mass
of white glass, at the end of the rod, previously to blowing it.
Towards the end of the fourteenth and affcer the beginning of the
fifteenth century, the ruby colour appears like a thin dense stratum on
one side of the sheet, not thicker than a sheet of writing paper, which
is sometimes, as in No. 8 in the diagram, covered with a thin layer of
white glass. This stratum, however, when highly magnified, presents
the same appearance as the entire mass of colouring matter in the
earlier specimens, being composed of a vast number of minute laminsB
of colour imbedded in white glassy The colour on modem ruby is
equally thin, and bears similar marks of construction. It is also some-
times covered with a thin coat of white glass, by the workman dip-
ping the blow-pipe again into white glass, after he has sufficiently
coated with coloured glass the lump of white glass at the end of the
instrument. For these and other reasons I consider the modem ruby,
and that of the fifteenth and sixteenth centuries, to be identical.
The thinness of the coat of colouring matter on the later specimens
of ruby is owing to its greater power; for the ancient ruby, notwith-
standing the greater thickness of its coat, is not deeper in tint than
the modem, although its appearance is more varied and richer.
I must not leave this part of the subject without some mention of
a peculiar kind of glass, which seems to have been invented in the
early part of the sixteenth century, and which, for convenience sake,
may be called sprinkled ruby, i. e. white glass sprinkled with red spots.
The accompanying cut is intended to represent a piece of this glass ;
the form of the red spots being shewn by the light lines in the engrav-
ing. See woodcut on the top of the next pa^.
It appears to me that the spots were put on in manufacturing
the glass, probably by sprinkling a piece of white glass, whilst on
the blow-pipe, with melted ruby glass. The spots certainly bear the
* Some mby glass in the shields of
the Black Prince and of Lionel Dake
of Clarence in St. Alban's Abbey, has
for its backing a sheet, not of white
bnt of a rich yellow glass. This yellow,
which ranch resembles in tint the yellow
glass in which, as has been already oh-
■erred, the colouring matter of Early
English roby is sometimes embedded.
is paler in some places than in others.
The coat of ruby is not thicker than
that represented in No. 7 of the dia-
gram, and is worn off in some places.
All the ruby is rich in tint; that with
the yellow backing is not superior to
those pieces in the arms which have
a white backing.
28
NOTES TO THE INTRODUCTION.
CvT 3.
mark of intense heat; they are as
transparent as ordinary ruby, and
like it, form a thin coating on the
surface of the glass. Those on the
same piece of glass are always in
the same direction. The spots are
generally of a bright scarlet tint ;
sometimes they are more of a blood
colour. The colour is always deeper
in the middle than at the edges of
the spot. Glass of this kind was
extensively used by artists, espe-
cially of tiie flemish school, until
the middle of the sixteenth century,
in representing pieces of marble in
architectural subjects, and for other
purposes. The subject of the an-
nexed cut formed part of the arm
and wrist of our Sayiour on the
cross; the ruby spots representing
the blood stains proceeding from
the palm of the hand. BPEDfKLKD rubt.
I have not met with white glass coated with any other colour than
ruby earlier than the end of the fifteenth century, or the beginning of
the sixteenth^, about which time coated blue glass appears to have
been introduced. Coated pink, and coated green glass, seem to be of
still later invention.
Some kinds of ancient purple glass closely resemble what is now
termed plated glMB, but exhibit nearly the same peculiarities in tex-
turo as the ancient rubyt I allude to those tints of purple which are
produced by distinct layers, or strata, of light red glass, and light blue
glass, in the same sheet. I possess, through the kindness of Mr. Ward,
the eminent glass-painter, a few small fragments of glass of this de-
scription. Two of them are French glass of the early part of the thir-
teenth century, and correspond in thickness with the sheets of ruby
numbered 3 and 4 in the above-mentioned diagram. They are each
^ Anertions to the contrary are bow-
ever made : for instance, Langlois, Et-
sat 9ur la peinture mr verre, p. 142,
affirms that Soger's hlme glass at St.
Denys is coated glass, or, as he describes
it, '* white glass covered with a layer
of enamel." There seems to be very
little doubt that the famous Portland
vase is made of hlme gluss coated with
white glass. The art of coating glaas
may therefore be considered of high
antiquity.
NOTES TO THE INTRODUCTION. 29
composed of two strata, one of light blue glass, equal to about one
third of the entire thickness of the sheet ; the other of a mass of white
glass, full of thin horizontal lamineo of light red glass, exactly resem-
bling in form the coloured laminae which occur in a piece of ruby of
the thirteenth century. Two other fragments are, one of English, the
other of French glass, of the middle of the fifteenth century, and cor-
respond in thickness with the sheets of ruby numbered 8 and 9 in the
diagram. Each of these fragments is composed of three strata, two of
blue glass, each equal to about one fourth of the entire thickness of
the sheet, and which enclose between them a stratum, which in the
thinnest sheet appears to be an uniform layer of light red glass, but
in the thickest sheet is a layer of white glass, filled with a quantity
of horizontal laminae of light red glass, like those in the earliest speci-
mens, but more numerous, thinner in substance, and closer together.
It would seem firom existing documents, that in the infancy of glass-
painting, the glass was made by the same persons who painted it. It
is eyident, however, that the two processes were considered distinct as
early at least as the middle of the fourteenth century, and that the
gLass-painters purchased the glass they painted.
Theophilus describes the composition of the brown enamel used for
outlines and shading. [See post. Appendix A, chap, xix.] The mention
of ** amement,'' i.e. black, for the painting of the glass, is made in the
account rolls of the expenses of St. Stephen's chapel in the 2dth and
26th Ed. III. [see Smith's << Antiq. of Westminster," 4to. Lend. 1807,
p. 198;] it was probably used for the same purpose. The enamel
brown formerly used, fluxed better than the modem. It is usually
of a cool grey purple tint ; the modem enamel brown is too apt to
have a reddish foxy hue.
The yellow stain does not appear to have been known before the
beginning of the fourteenth century. The earliest example that I
have met with is certainly not earlier than the close of Edw. I.'s reign,
or the beginning of Edw. II. 's. Large quantities of silver filings are
mentioned as having been purchased for the painting of the glass at
various times, in the above-mentioned account rolls. The employ-
ment of the yellow stain, to change blue glass to green, &c., is as
early as the middle of the fourteenth century. The practice of
double staining glass does not seem to have arisen before the six-
teenth century.
The whole process of constructing a painted window is minutely
described in the treatise of Theophilus. [See Appendix A.]
The glass was then painted nearly as at present, supposing the
Mosaic method to be adopted, as well as the use of smear shadows.
30
NOTES TO THE INTRODUCTION.
Stipple shading was not introduced until towards the end of the four-
teenth century, or the beginning of the fifteenth.
It appears from the before-mentioned account rolls, that in the
middle of the fourteenth century, the designs for the windows were
made in general by the master glaziers, who, judging from the wages
they received, were deemed equal in skill to the chief practitioners in
other branches of art ; and that the glass was painted, and leaded to-
gether, by inferior workmen. It is owing perhaps to this circumstance
that ancient glass-paintings are almost always better designed than
executed. [For further particulars relating to the wages paid to glass-
painters, see Appendix B.] The principle of employing artists of the
highest celebrity to make designs for painted windows was adhered
to during the Middle Ages, and does not seem to have been utterly
abandoned until the present century. Holbein is said to haye fur-
nished the cartoons for the windows of King's Chapel, Cambridge, and
the names of several other distinguished artists are preserved, as the
designers of many coeval, and later works on the continents It is
reasonable to suppose, that many works of inferior, or of mere orna-
mental character, were formerly executed in the first instance upon
the glass, without any previous delineation on a cartoon. Indeed
inscriptions, heraldic bearings, scroll-works, &c., &c., often appear, on
minute examination, to have been sketched upon the glass, with a faint
line of enamel brown, preparatory to being carefrdly painted with
strong colour in the usual manner.
The power of the diamond to scratch glass, must have been known
at a comparatively early date, if credit is to be given to the stories of
Francis I. and Queen Elizabeth writing on glass with a diamond set
in a ring. It does not, however, seem to have been employed to cut
glass before the beginning of the seventeenth century, previously to
which time the practice of cutting glass described by Theophilus seems
to have prevailed with littie variation.
The pieces of glass were first roughly wrought out by means of a hot
iron held to the glass, which caused it to crack, and were then reduced
to the exact shape required, by chipping away their edges with an
iron hook, called in Theophilus '^ grosarium fernun," and at the pre-
^ I am not aware that the famous Van
Dyck, thoQgli the son of a glass-painter,
(see Le Vieil, ffist. de la peinture sur
foerre, &c., p. 64,) ever painted glass.
The Bev. H. H. Norris, of Hackney,
however, possesses a large eng^Ying of
the Cmcifixion, which appears well
adapted for a glass painting. It bears
the following inscription : —
" Anton. Van D jck invenit. Erasmoa
Qaellinusdelineavit. Mathens Borrckens
scalpsit, et exendit. Antwerpiae com
privilegio."
NOTES TO THE INTRODUCTION. 3 1
sent day a grazing iron. The term '^ groisour " or " croisour/' which
occurs in the before-mentioned account rolls, means the same thing.
It is easy to ascertain whether glass has been cut with a diamond, or
wrought into shape with the grozing iron, by the smoothness of its
edges in the one case, and their roughness and irregularity in the
other. This circumstance will, until the forgers of glass -paintings
become aware of it, continue to be a useful test of the genuineness
of a glass-painting, and serve to determine whether it indeed be an
original work, or only a compilation of fragments of the same date.
The use of the diamond must have effected a considerable saving of
the glazier's time ; but as extraordinary specimens of skilfiil glass-
catting may be observed in mediaeval as in modem works.
It appears that the glass was formerly arranged in the kiln several
layers deep, with only ashes or lime between them, instead of, as now,
being placed in single layers on iron plates covered with whiting.
This circumstance will serve to account both for the crooked and
undulating surface of many pieces of old glass, which may be pre-
sumed not to have been laid perfectly flat in the kiln, and also for the
frequent appearance of a faint yellow stain on old white glass, in places
where its presence can only be accounted for by an accident; the
stain having the property of penetrating through a thin stratum of
lime or whiting, and slightly tinging the glass immediately beneath.
The leads used imtil the middle of the seventeenth century, are
nearly of one uniform width, and are much narrower in the leaf than
the common modem leads. That this was the ease, can be proved not
only by the existence of the original leads themselves, but more satis-
iaetonlj perhaps by the black lines drawn upon the glass, with which
the glass • painters were accustomed some- ^^^ ^
times to produce the effect of leads, without
unnecessarily cutting the glass. Many in-
stances of this practice may be seen in
plate 19.
Fig. 1 in the annexed cut represents an
ancient lead of the usual width ; fig. 2 its
profile; fig. 3 the profile of a German lead ^^^^
of the early part of the fourteenth century ; xpfv
fig. 4 a piece of modem fret lead of the or- iT ^
dinary width, and which is now considered
as being verg narrow; and fig. 5 its pro-
file. It appears, on comparing the sections Diagram, shewing the width a&d pro-
of these leads, that the ancient lead (No. 1) Ale of ancient and modem leada.
contains as much material as the modem lead, and is therefore not
t
32 NOTES TO THE INTRODUCTION,
weaker than it; though it presents a narrower surface to the eye.
The Grerman lead is considerably stronger than the modem. Theo-
philus [potty Appendix A, chap, xzy.] describes the making of the
leads, which were then simply cast in a mould. Some leads of
the fifteenth century, which I have examined, appear as if they
had been first cast, and afterwards planed or cut to shape. The
modem leads are cast roughly, and compressed between two rollers
to the proper dimension. This process makes them more rigid than
the old leads. It is the practice of modem glaziers to surround each
glazing panel with a '' broad lead^^ — i.e. a lead three-quarters of an
inch, or an inch, broad in the leaf, — ^to strengthen the work.
The German glass from which fig. 3 was taken, and which is now
in the west window of St. Giles's Church, Camberwell, had each of its
glazing panels surrounded by two leads of the same dimensions as the
aboye specimen, soldered together at intervals, the little pipe formed
by their grooves being filled with a small twig with the bark on.
This lead-work was remarkably substantial, and as perfect as if it had
only just been executed. I never met with any old English glazing-
panels which were either thus defended with a double lead, or with
a lead of greater substance than that commonly employed to hold the
glass together.
The difficulty of introducing colour into glass-paintings, without the
use of lead- work, seems to have been always considered as a disadvan-
tage, and no doubt sensibly affected the designs of the middle ages.
Theophilus mentions a mode of introducing different colours into
a picture without leads, by laying small pieces of coloured glass upon
a larger piece, and causing them to adhere to it in the firing, [see pott.
Appendix A, chap, xxviii.,] but this seems to have been confined to
representations of jewellery, &c. I have met with an instance of this
practice, as late as the beginning of the fifteenth century, in a fragment
of a small mitre, the jewelled bands of which had been originally adorned
with bits of coloured glass, in imitation of precious stone. One coloured
piece only adhered to the white glass, the others had all dropped off,
leaving corresponding rough spots on the glass. Kough spots found in
similar situations may often serve to indicate this practice in other ex-
amples where no pieces of coloured glass remain.
The inconvenience of being obliged to lead in coloured glass, was
most sensibly felt in the execution of coats of arms. It was to a con-
siderable extent obviated by the method, introduced towards the end
of the fifteenth century, of abraiding or grinding away the coloured
surface of ruby glass, so as to leave at pleasure metal charges on
coloured fields, or coloured charges on metal fields ; and by the dis-
NOTES TO THE INTRODUCTION. 33
coTeiy of other kinds of coated glass, which were used in a similar
manner. The abrasion of the coloured surface of coated glass, must
necessarily have been a tedious and ezpensiye process, not to be re-
sorted to except in cases of absolute necessity, and of additional remu-
neration. Hence misrepresentations of heraldry occur nearly as fre-
quently in late as in early works ; the complexity of the bearings in
late shields counterbalancing the facilities of execution afforded by
the then recent discoveries. I subjoin, by way of illustration, a few
instances of false heraldry in glass paintings out of a vast multitude
which I have noticed. It will be observed that in every case the
seeming mistake may be readily accoimted for on glass -painting
principles.
In the east window of Fawkham Church, Kent, the Boyal arms of
England, temp, Edw. II», consist simply of a piece of pot-metal yellow
glass in the form of a heater shield, on which the three lions are
painted in outline. In LuUingstone Church, £ent, the arms of Brock-
bull — Gules, a cross argent between twelve cross croslets fitch^es or
— are represented on a heater shield of a single piece of white glass,
Ump. Edw. III., the field being white, and the cross croslets stained
yellow. In North Cray Church, Kent, the bearing of the Bowes family
— Argent, three bows in pale gules — is represented on a piece of white
glass, of the sixteenth century, the bows being stained yellow. And
at Wilton House, Wilts., the whole of the arms of Philip of Spain, the
husband of Queen Mary, is, with the exception of the bearing of
Austria, executed in white, yellow, and black. The last example is
the more striking on account of the care which has been taken to
represent a contemporary coat of the Herberts — hardly less compli-
cated than that of King Philip— in its proper colours, by means of
coated glass etched out in the usual manner.
CHAPTER I.
THE STYLE8.
T has already been stated, that a principal object
M\ \^ of the present work is to attempt a classification
of the different styles of glass-painting, which
have successively prevailed in this country. Such a
classification must necessarily be in some measure arbi-
trary, as well in the number of styles under which the
varieties are arranged, as in the limits which are assigned
to each. With regard to these points I have endeavoured
to consult simplicity and convenience, by avoiding too
numerous divisions, and by adopting for the earlier periods
an arrangement corresponding, as nearly as possible, with
the generally received classification of English Gothic
Architecture. To the styles prevalent in these periods
it has seemed most convenient to apply the same terms
as are commonly used to designate the contemporary
styles of architecture, viz. the Earli/ English^ the Deco-
ratedy and the Perpendicular^ as these terms, from the
currency which they have acquired, will at once suggest
well-defined periods of time. The style which succeeds
them has a very marked character, and may with great
propriety be termed the Cinque Cento. To the remain-
ing division of the subject it is, from the want of a pecu-
liar feature of universal occurrence, difficult to apply an
appropriate term; but, in the hope that this style will
hereafter be regarded merely as a link between the
EARLY ENGLISH STYLE. 35
ancient styles and an improved modern one, I have
tenned it the Intermediate.
Thus then the yarieties of glass-painting have been
arranged under five styles, or classes; viz.
The Early English, which extends from the date of
the earliest specimens extant, to the year 1280.
The Decorated, which prevailed from 1280 to 1380.
The Perpendicular, from 1380 to 1530.
The Cinque Cento, from 1500 to 1550.
And the Intermediate, comprehending the period
which has elapsed from the end of the Cinque Cento
style down to the present day.
These styles are treated of with much minuteness, and
according to a uniform method. The leading character-
istics of the style are first, described in general terms,
and they are afterwards examined in detail, under sepa-
rate heads. This mode of treating the subject may have
led to occasional repetitions, and may appear tedious to
some readers, but it is hoped that the examination of
details, besides being necessary to a full understanding
of the subject, will prove serviceable to the student who
is not content with a simple perusal of the work, but
may find occasion to consult it from time to time, for
information on particular points.
SECTION I.
THE EARLY ENGLISH STYLE.
Undee this head I propose to class the glass-paintings
prior to the year 1280. The present style will therefore
embrace some glass-paintings coeval with the later speci-
mens of Norman architecture. But on account of the
d2
36
EARLY ENGLISH STYLE.
paucity of these venerable relics, the small portion of
time over which they extend, and the general resem-
blance they bear to other glass-paintings, clearly within
the Early English architectural period, it appears more
convenient thus to classify them, than to attempt to
form them by themselves into a separate and distinct
style.
The oldest examples to which a date seems capable of
being assigned with any degree of certainty, appear to
be those remains in the abbey church of St. Denys in
France, which are supposed, on good grounds, to have
been the work of Abbot Suger, in the middle of the
twelfth century. I very much doubt whether any Eng-
lish glass-paintings exist of an earlier date than this.
The earliest that I have hitherto met with are, I believe,
of a somewhat subsequent period *.
Early English painted windows are in general almost
entirely composed either of coloured glass, or of white
glass. The coloured windows are nearly exclusively
appropriated to pictures, and the white ones to patterns.
Both are usually surrounded with a wide coloured
border, returning along the bottom of the window.
The coloured windows are perfect mosaics, of the most
vivid, intense, and gem-like tints. Their tone of colour-
ing is deep, harmonious, and rich, but not gay: they
* Du Caumont (AbicSdaire ou Ru-
dimenU d* ArchSologie, Paris, 1851),
says no painted glass earlier than the
twelfth century is known with certainty.
He observes that the development of the
art of glass-painting coincides with the
period of the Crusades, and that it has
been conjectured that the paintings,
mosaics, and perhaps the painted win-
dows of the East, may have inspired the
creators or renovators of glass-painting
in the West. But he adds, that too
much must not be inferred from this
conjecture, and quotes the opinion of
M. Emile Thibault, who, without deny-
ing entirely the influence of the East,
thinks that the art of painting on glass,
which is entirely French, has borrowed
from the East nothing but its orna-
mentation. — ^p. 333.
EARLY ENGLISH STYLE.
37
exclude more light than perhaps any other painted win-
dows, and their general effect is extremely solemn and
impressive. Some windows of this description, from the
smallness and number of the pieces of glass they con-
tain, present at a distance only a rich and confused
assemblage of various colours; their design being not
more defined than that of a Turkey carpet, to which they
have often been likened.
The white windows have a remarkably brilliant and
silvery, though cold appearance, owing to the greenish
blue tint of the glass. Their effect is grand and im-
posing, especially when the window is of considerable
magnitude.
There are three principal classes of coloured windows
in this style, which for the sake of convenient reference
may be termed. Medallion windows^ Figure and canopy
windows^ and Jesse windows.
The first-named class of these windows is undoubtedly
the most interesting. They are principally filled with
medallions, or panels, containing coloured pictures, ar-
ranged in a symmetrical manner, and embedded in a
mosaic ornamental ground formed of rich colours ^. The
^ Coloured representations of French
medallion windows, of the twelfth and
thirteenth centuries, are given in the
elaborate work of M. Lasteyrie, JZm-
Ufire de la Peinture sur verre, plates i.,
iii^ Y., xxiv., xxxiii.; and of similar win-
dows of the thirteenth century, (see
Lasteyrie, Si$t, de la PeitUure snr
verre, p. 92, et sqq.,) in the magnifi-
cent work on Bourges cathedral, by P^res
Hartin and Cahier, entitled. Mono-
graphie de la CaihSdrale de Sources,
plates i. to xvi. inclusive. There is also
an engraving in outline of a medallion,
window at Bonen Cathedral, of the thir-
teenth centary, in the Essai Historique
et descripiif sur la Peinture eur verre,
par E. H. Langlois, Rouen, 1832;
likewise of a similar window of the thir-
teenth century, entitled Vitrail de la
Passion, in the church of St. Germain
TAuxerrois, in the Annates Archeolo*
giques, by M. Didron, vol. i. p. 16, and of
another of the same date and character,
in the church of Notre Dame de la Cou-
ture, at Le Mans, in vol. iii. liv. 4. of
the last-mentioned publication.
This mode of arranging subjects in
panels was not confined to glass-paint-
ings; it was often resorted to iu the
38 EARLY ENGLISH STYLE.
pictures are usually related to each other, and represent
successive incidents in a history, or legend, depicted in
the windows : sometimes they are so selected that the
result of them, when taken in connexion with each
other, is to express, at least symbolically, some theo-
logical proposition or doctrine®. In the lowest panels
are sometimes represented the donors of the window
individually, or members of the guilds or fraternities to
which they belonged, engaged in their respective trades*.
The pictures are necessarily of small size ; and a great
many of them often enter into the composition of a single
window. In the best examples, attempts were made to
obviate, as far as possible, the confusion arising from
a multitude of small parts, and to produce distinctness,
by judiciously employing the darker colours principally
in the grounds, and the lighter colours in the objects
represented in the pictures — for the edgings of the
various panels and outer border of the window— and in
the foliage, and other ornaments. These efforts to pro-
duce distinctness were materially assisted by the texture
of the glass, and the opacity of the iron framework for
the support of the glass, which in these windows is
usually moulded to the shape of the principal panels.
sculpture of the twelfth and thirteenth
centuries. The wooden folding^ doors at
the north end of the transept of the
church of St. Mary of the Capitol, Co-
logne, which are figured in Boiaser^e's
Monuments cP Architecture du Rhin
Inferieur, plate ix., are decorated with
a series of rectangular panels, each con-
taining a Scriptural subject represented
in relief; and other instances might be
cited. It is possible that these panelled
arrangements were suggested by some
of the bas-reliefs of classical antiquity.
' This is particularly insisted upon by
the learned authors of the Monogra-
phie de la CathidrcUs de Bourges, and
in many cases admits of easy proof.
** Representations of the latter kind
are by the French antiquaries termed
the "signatures" of the windows. See
the plates of the Monographie de la
Caihidrale de Bourges, and especially
" usages civiles A." See also Langlois'
Essai, cited above, plate i., in which en-
•gravings of these subjects are given.
EARLY ENGLISH STYLE.
39
The ancient artists, however, seem to have been sensible
that such windows were most calculated for near inspec-
tion, and therefore commonly placed them in the lower
windows of a building. They also made the pictures
larger, and fewer in number, when they designed a me-
dallion window, as was sometimes the case, for a clear-
story light *•
Medallion windows, which certainly seem most fitted
to occupy wide single lights, continued to be employed
in this country from the earliest period at which painted
glass is found, until the introduction into architecture of
windows either composed of two or more narrow lancets,
or divided into several lights by mullions. After this
time white pattern windows seem generally to have
superseded the medallion windows. In France, the
medallion arrangement was adhered to long after the
single lancet had been exchanged for the mullioned
window: the lower lights, as well as the geometrical
tracery in the heads of the latter windows, being filled
with a series of panels, or pictures, arranged so as best
to accord with the architectural divisions of the window'.
The arrangement of a circular, or wheel window^ when
the space is free from mullions, does not materially differ
* This conjecture is supported by Mr.
Stotbard's description of the arrange-
ment of the paintings which formerly
adorned the walls of the painted cham-
ber, Westminster. "The paintings on
tbo side of this chamber are arranged
aronnd the interior in a succession of
subjects in six band«i, something similar
to the Bayeux tapestry; and it is not
improbable that these paintings were
designed in imitation of tapestry ; each
band or range of subjects increnscs in
breadth the further it is removed from
the eye, so that the uppermost bdnd
near the ceiling is thrice the breadth of
the lowest, which is on a line with the
sight. This was probably done in order
that the upper subjects might be as per<
ceptible as the lower, and to counteract
the reducing effect of distance." — llokc-
wood's Account of the Painted Cha'U-
ber, Westminster, 1842, p. 2.
' See instances, — Lasteyrie, Hist, de
la Peinture sur verre, plate xxix. ; Mo-
nographic de In Caihedrale de Bourges,
plate, ^tude xiii.
40
EARLY ENGLISH STYLE.
from that of a medallion window. The panels, and the
subjects they contain, are, however, in general larger in
size in proportion to the distance at which the window
is placed from the eye*.
When the circle is divided by muUions, the centre,
or eye of the window, is usually filled with a picture in
colours, and one or two small circular panels, containing
a head, or other picture in colours, are introduced into
each of the radiating. lights, and. embedded in a coloured
or white pattern. Sometimes the radiating lights are
simply filled with a mere pattern^. In France, after
the introduction of wheels into the tracery of windows,
a very starlike appearance was sometimes produced, by
carrying into the radiating lights of the wheel, straight
branches of foliage of a light tint, diverging from the
centre of the window and surrounded with a deep co-
loured ground*.
Figure and canopy windotosy strictly speaking, consist
of one large figure under a low-orowned canopy, together
occupying the whole of the window within the border ;
or of two or more such figures and canopies placed one
above the crf;her. The canopy, like those on the tombs
and seals of the twelfth and thirteenth centuries^ is rude
and simple, and bears but a small proportion to the
figure it covers. The different members of the canopy
t See a mde woedcut of the remains
of the glass in the -circalar window at
the north end of the east transept of
Canterbary Cathedral, in Qostling's
" Walk in and aboat the City of Ciin-
terbury." Canterbory, 1825, p. 327.
^ See engravings in outline of the
glass in two early wheel windows Mono-
graphie de la Cathedrale de Bourges,
dtude xz., figs. A. and C. ; and coloured
representations of two later examples in
Lasteyrie's Sutoire de la PeitUure iur
verre, plates xxi., xxv.
' See a coloured representation of this
arrangement, Lasteyrie's EUtoire de la
Peinture eur verre, plate x. In another
plate. No. zx., the whole of the wheel,
except the eye, is filled with a represen-
tation of the Day of Judgment.
EARLY ENGLISH STYLE.
41
are in general variously coloured. The figure is usually
executed in rieh colours, and put on a coloured ground ^.
Under the present division of the subject, may, how-
ever, though with less propriety, be included those win-
dows which are composed of merely a single figure, on
a coloured or white ground, without any canopy ; and
those windows whose design principally consists of one
large coloured panel, containing a single figure, and sur-
rounded with a coloured ground, or sometimes smaller
accessoiy figures ^
Windows of the above description, on account of the
size and fewness of their parts, possess a greater breadth
of colour, and are more distinct, when viewed from a
distance, than medallion windows ; for which reason,
I apprehend, they were generally assigned to the clear-
story of a building, the extremities of an aisle, &c.
They appear to have been employed at all periods of
the style; and in France, at least, in mullioned win-
dows, as well as in single lancet lights. When the
lower lights of a mullioned window are very long, small
^ See plate i., fig. 2, which represents
the matihited remaras of a French figure
and canopy window of the thirteenth
century. See also an Engraving in
Biown'a "Hist, of York Cathedral,"
plate cix.
* See a variety of figure and canopy
windows* and their variations, in plates
XX., xxi.y xxii., XXV., xxvi., xxvii., and
^tude xviii. of the Monographic de
la Cathedrale de Bourges. See also
plates xi. and xv. of Lasteyric's jB7«-
ioire de la Peinture sur verre. Amongst
the varieties of the figure and canopy
windows, may he classed the French and
German windows which represent gigan-
tic figares of St. Christopher. Of these
there is an example in the clearstory on
the east side of the south transept of
Strasburg Cathedral. The figure, which
is executed in colours, and placed on a
coloured ground, reaches almost to the
top of the window; it is, I think, up-
wards of thirty feet high. It is said to
have been brought from Dreux Cathe-
draL (Lasteyrie's Histoire de la Peinture
sur verre. Part XI.) An exterminating
war appears to have been waged in
France against these unfortunate St.
Christophers, between the years 1768
and 1784; see Monographie de la Cathe-
drale de Bourges, p. 142, note 1. M.
Lasteyrie, p. 116, remarks that the figure
of Christopher is rarely met with in the
windows of churches.
42 EARLY ENGLISH STYLE.
pictures are sometimes inserted above, below, or between
the iSgures.
Jesse windows consist of a representation of the tree of
Jesse, or illuminated chart of the genealogy of Christ".
The main stem, which is in general almost entirely hid-
den by the figures, shoots upwards, and branches spring
from it at intervals forming a series of oval panels, one
above the other, in which the principal figures are
placed. Smaller attendant figures are sometimes in-
troduced outside of the panels, resting their feet
upon the lateral scrolls of foliage which sprout from
the main branches. In some windows the design
is somewhat varied, being composed of a series of
pictures representing scenes from, or incident to, our
Saviour's life, and linked together by the branches
of a tree".
Jesse windows are in general appropriated to the win-
dows at the extremities of a building, and are usually
confined to a single lancet: the number of personages
or pictures, included in the design, varying with the
length of the light.
The coloured pattern windows of this style demand
a slight notice. They are by no means of common oc-
currence, but specimens may be met with at all periods
of the style.
The earliest example, perhaps, is the window at
"* For convenience in clasaification I
designate every design "a Jesse" which
consists of a nanobcr of subjects con-
nected by the branches of a tree or vine,
and having more immediate reference to
our Saviour's genealogy.
" See a representation of the remains
of a very early Jesse in York Minster,
Browne's " History of the Edifice of the
f«
Metropolitan Church of St. Peter, York.
Lond. 1845, plate cxxiii. See also an
engraving of another very curious exam-
ple, of the same subject, in the east win-
dow of St. Cunibert's Church, Cologne,
Boisserdie's Monumentt d? Architecture
du JRhin Inferieur. Munich and Stutt-
gard, 18i2, plate Ixxiii.
EARLY ENGLISH STYLE.
43
St, Denys, figured in the sixth plate of M. Lasteyrie's
elaborate work on the History of Glass-Painting, and
which resembles a Eoman tessellated pavement in de-
sign. Other early instances partake more of the cha-
racter of a medallion window, being principally com-
posed of panels, filled with foliaged ornaments instead
of pictures ^ The later specimens consist of a mixture
of white and coloured pattern- work. They occur in the
pierced triforiums of various continental buildings, and
resemble Decorated glass -paintings more than Early
English '^. I have not hitherto met with an English
example of a genuine coloured Early English pattern
window.
The white windows^ above alluded to, sometimes con-
sist exclusively of patterns, sometimes of an intermix-
ture of heraldry, or coloured pictures in panels, with
white patterns. They appear to have been of rather
a more late introduction than coloured windows. The
earliest specimen that I have as yet met with in Bug-
land, is perhaps a little older than the middle of the
thirteenth century.
Early English white patterns are composed of orna-
mented quarries**, or of a series of panels, furnished
with narrow borders, and filled with foliaged scroll-
work in outline, the panels themselves being (embedded
either in ornamented quarries, or in foliage, disposed
in scrolls, or other forms, and drawn in outline on
" See plates iii. and v. of Lasteyrie's
SUtoire de la Peiniure sur verre.
* See plate xxiL of Lasteyrie's Sis-
ioire de la PeitUure sur verre, in which
several instances of this kind of window
are given.
4 See an example, plate i. fig. 1,
taken from one of the east windows
of West well Church, Kent. Its date
is about the middle of the thirteenth
century.
44
EARLY ENGLISH STYLE.
white glass'. Little, pieces of coloured glass are of tea
introduced by way of enrichment amongst the -quarries,
or into the borders, and middles of the panels, &c. The
earlier white pattern windows were used in single lancet
lights. It is seldom that any other subject is introduced
into them than a small shield of arms, and even this is
by no means of frequent occurrence. Early English
windows, consisting of mere patterns, may be met with
at the latest period of the style; but as the style ad-
vanced, and lancet windows became longer and nar-
rower, and especially after the introduction of mul-
lioned windows, the white patterns were often enriched
by the insertion into them, at regular intervals, of
coloured panels, containing pictures. We may also re-
mark, in Early English muUioned windows, or even late
triplets of lancets, the first indication of a practice which
extensively prevailed in the succeeding style, that of
carrying a belt of low -topped canopies, with figures
under them, like a horizontal stripe of colour, right
across the lower lights, the remainder of which is filled
with a white pattern.
The head of an Early English mullioned window sel-
dom exhibits a greater amount of colour than do its
lower lights. Circular panels, containing coloured sub-
jects, or coats of arms, sometimes occupy the centres of
the tracery circles, their foils, when the circles are cus-
pidated, being filled with white glass bearing an outline
pattern. In French windows, however, the head of the
' See plates 4 and 5, both of wbicli
are taken from specimens belonging to
the close of the tliirteenth century. See
also a variety of patterns from Salisbury
Cathedral, Monographiede la CathMrale
de Bourges, Grisailles E. A compart-
ment of one of each of the five sisters at
York Minster, is represented in Browne's
history of that edifice (cited above) plates
Ixi., Ixiii., Ixv., Ixvii., and Ixix.
EARLY ENGLISH STYLE.
45
window is often richly coloured, while the lower lights
are nearly white ".
One may perceive, I think, to a certain extent, in the
general preference for coloured or white windows in
a building, the prevalent taste of the time, not only as
regards fondness for colour, but for gloomy or light
interiors. Thus in the twelfth, and early part of the
thirteenth century, when the window openings, how-
ever spacious, were at long intervals apart, the glass-
paintings used throughout the whole building were
generally dark with colour. Afterwards, in proportion
as the windows became more numerous, and were placed
closer together, the richer glass-paintings at first were
confined to the further extremities of the edifice, as for
instance the east and west windows of the nave, or even
to the central lancet of an eastern or western triplet;
the rest of the windows, both of the aisles and clear-
story, being filled with white patterns, and at length
they were dispensed with altogether. The effect of
these arrangements, coupled with the greatly increased
number of apertures, was materially to promote the
admission of light into the building.
The most interesting series of English picture windows
of this period that I have met with, is in Canterbury
Cathedral ^ Remains of painted glass, of an earlier cha-
racter than this glass, are scattered about the country,
but they are chiefly valuable as specimens of detail. Of
the Canterbury glass, however, notwithstanding the
severe injuries it has sustained at different times, by
■ See an example, Monographie de
la CcftkSdraU de Bourses, plate, Gri-
aaiUea F.
* Part of one of these windows is en-
graved, Le Motfen Age et la Renaissance,
torn. V.
46
EARLY ENGLISH STYLE.
actual yiolence, as well as neglect, and by being dis-
placed in the course of alterations and removals, enough
still remains, not only to afford abundant examples of
detail, but also, with the aid of the descriptions left
of it by Sumner'* and Gostling*, pretty clearly to
indicate the general nature and arrangement of the
windows, as they originally existed in the choir of
the building ^
It would seem on the whole, that the lower and upper
lights of the aisles, as well as those in the lower clear-
story, throughout that portion of Canterbury Cathedral
which lies eastward of the central tower, were occupied
with medallion windows ' ; that the lights in the upper
clearstory were filled with two large figures apiece, one
above the other • ; and that the design of the two cir-
cular windows at the ends of the east transept partook
of the nature of medallion windows, the subjects con-
tained in them however being more simple, and of larger
size, than those in the lower medallion windows. This
arrangement coincides generally with that of the win-
* Snmner'B "Antiqaities of CSanter-
bury." Lond. 1640, p. 385.
* Qostling'g " Walk in and abont the
City of Canterbury." Canterbury, 1777,
p. 329. (2nd ed.)
y The former choir of Canterbury Ca-
thedral was destroyed by fire in 1174.
The first celebration of divine .service
took place in the present choir in 1180,
the monks being separated by a wooden
partition, "having three glass windows
in it," firom the unfinished part of the
edifice. In 1184 the present choir was
completed. The translation of Becket's
body to the shrine in Trinity Cbftpel took
place in 1220. (Willis's " Architectural
History of Canterbury Cathedral," Lond.
1845.) No documents have hitherto been
found by which the date of the present
glass can be determined. It is, I think,
of the first half of the thirteenth cen-
tury ; the examples forming a series
extending over the whole of this period,
and perhaps a short time immediately
preceding and subsequent to it.
' Sumner's description of some of
these windows is transcribed in the Ap-
pendix (C).
* It is clear from Qostling's descrip-
tion, that the windows in the clearstory
represented the ancestors of Christ,
enumerated in St. Matthew's and St.
Luke's Qospels.
EARLY ENGLISH STYLE.
47
dows of Bourges, and other French cathedrals; and
must, when the glass was perfect, have produced an
equally gloomy and solemn effect.
Some magnificent white pattern windows, coeval with
the building, still exist in Salisbury CathedraP. And
if, as I conceive, nearly all the windows of that edifice
(with the exception at least of the three west windows
of the nave, which were always richly coloured "), were
similarly ornamented, the interior of the building must
originally have been almost as light as it now is, and
consequently must have presented a totally different
aspect from the choir of Canterbury ^. Other fine and
very perfect examples of white pattern windows, are
afforded by the five sisters at York ®. These are rather
later than the Salisbury windows, and there is a great
diminution of colour in their borders compared with
^ Viz. one at each end of both the
allies of the nave, and three at the south
end of the east transept. These win-
dows are, however, in a mutilated state.
Modem copies of some other glass have
been inserted in some of the other win-
dows of the cathedral. Salisbury Cathe-
dral was commenced in 1220, and com-
pleted and dedicated in 1258 : the first
celebration of divine service in the new
bnilding took place in 1225; and in
1226, William Longespee, Earlof Sarum,
was buried there; and the bodies of St.
Osmond, Bp. Roger, and Bp. Jooeline,
translated thither from Old Sarum. See
Britton's "History and Antiquities of
the Cathedral Church of Salisbury."
Lend. 1836.
* Some of the glass in these windows
ia said to have been brought from Nor-
mandy some years ago. There is, how-
ever, a good deal of English glass in
them, much mixed. Amongst other
subjects there are, if I mistake not.
the remains of a fine Early English
Jesse.
^ The wiudows of the chapter-house
of Salisbury appear to have been al>o
filled with white patterns. Some of the
glass is represented in one of the plates
of Britton's History of the Cathedral
(cited above).
It is a curious fact, coupled with the
restricted use of colour in the windows,
that the roofs of both the nave and
chapter-house of Salisbury Cathedral are
adorned with slight paintings, repre-
senting foliated ornaments, and executed
principally with a sort of brown colour.
The paintings on the roof of the nave
are unfortunately in g^eat measure ob-
scured by Mr. Wyatt's yellow wash, with
which they are covered.
' A general view of these windows
is given in plate xxviii. of Britton's
" History of York Cathedral." The five
small windows above the sisters are filled
with modern glass.
48
EARLY ENGLISH STYLE.
those at Salisbury. Their general effect is however ex-
ceedingly grand and striking.
An early example, but on a comparatively small scale,
of a richly coloured window placed between two white
pattern windows, is at Westwell Church, Kent. The
east end of this edifice is lighted by three independent
lancets, the centre one of which contains the remains of
a remarkably fine Jesse '. In one of the others are the
remains of a beautiful quarry pattern with a rich border,
a sketch of which is given in plate 1. The third lancet,
which in all probability was once ornamented like the
last, is now filled with modern white glass.
A fine instance of a composition consisting of an inter-
mixture of coloured panels with white patterns, is
afforded by the five lancet windows at the east end of
Chetwode Church, Bucks.* Specimens, in a more or
less perfect state, of small white pattern windows, with
or without panels inserted in them, are very common
towards the close of the style.
The following summary of the most prominent points
' In Hasted's " History of Kent," pub-
lished in 1797, vol. vii. p. 426, (second
edition,) it is stated tliat this window
consisted of four ovals, each containing
a figure sitting, crowned, and holding
a sceptre. The two lower ovals, however,
were blown in by the wind and destroyed
Bome years ago. The two upper ovals
would probably ere this have shared the
same fate, had they not been carefully
re-leaded a few years since by Mr. Wille-
ment, under the directions of William
Twopeny, Esq., of the Temple, the old
lead-work being then quite decayed.
The figure of the Virgin Mary occupies
the lowest oval, and that of the Father
Almighty the upper; al)ove which is
a representation of the Holy Ghost. In
a History of the Old and New Testament
(Mus. Brit., MSS. Cotton, Nero, c. iv.)
is a Jesse (p. 8) consisting of a recum-
bent figure of Jesse, above whom is
David, then the Virgin Mary, then
Christ, and the Holy Ghost above all.
Tlie MS. appears to be of the twelfth
century.
» A general view of these windows ia
given in Lysons' "Buckinghamshire,"
p. 540, and a more detailed drawing of
some of the glass at p. 488. The letter-
press should be consulted along with
these plates, since Mr. Lysons admits in
it that he has taken some liberties with
the design in the Inst plate.
EARLY ENGLISH STYLE. 49
connected with the details of this style, may prove
a useful introduction to the more minute, and necessarily
dry and tedious investigation of these matters, which
completes the present section.
Thefoliaged ornaments are very conventional and un-
natural, closely resembling the forms used in !Norman
and Early English sculpture.
Scrolls of foliage are not formed out of one continuous
tendril, but of a series of short stalks, *or leaves ; the
scroll therefore, whether executed in white or coloured
glass, appears as if it were divided into a number of
short lengths of foliage; this eflfeot is increased when
the scroll is coloured, as in that case each length of
foliage is frequently of a diflferent colour from the ad-
joining lengths *". Foliaged and other patterns, on white
glass, are usually boldly outlined, and rendered more
distinct by covering the surrounding ground with a
cross-hatching of thin dark lines. Early English white
pattern windows in England generally consist of pa-
nelled arrangements, the foliated scroll-works being
confined within the panels, and seldom extending from
one panel into another; when this is the case, it indi-
cates lateness of style.
The figures are tall, stiff, and disproportioned, like
those in the illuminations and sculpture of this period.
In the earlier examples, the draperies appear almost to
^ See for example the white scroll-
works la plate 5, and the white pattern
from Salisbarj Cathedral, in Shaw's
** Encyclopsedia of Ornament." See also
a ooloared scroll-work from Canterbuiy
Cathedral, In the last publication : and
other coloured scroll-works in some of
the plates of the Monographie de la
Caihedrale de Bxywrge^,
The general resemblance borne by
the Early English scroll-work to the
Antique, will at once appear by com-
paring a few specimens of the former
with the plates of any work treating on
classical ornament.
£
50 EARLY ENGLISH STYLE.
adhere to the limbs, admitting of au exaggerated de-
velopment of the joints. The earlier heads remind us of
the Byzantine school, the later are often well conceived,
and possess a certain character of the antique; all are
rudely executed. The features, and folds of the drapery,
are very strongly outlined K Pink coloured glass is gene-
rally employed in the naked parts of the figures.
The glass of this period usually is, and always appears
to be, very thick and substantial. The white is generally
of a bluish green tint. The ruby is very streaky, and
uneven in depth. The yellow is a pot-metal^ cold and
greenish, and generally light. The blue is of a pure
sapphire tint, one sort being very deep, the other quite
light. Blue and red are the predominating colours
in medallion windows, being extensively employed in
grounds.
I now proceed to a minute examination of the details
of Early English glass-paintings, under the following
separate heads.
1. Texture and colour of the glass.
The glass of this period, though sufficiently trans-
parent, when unobscured by decomposition, to enable
objects to be easily seen through it, is yet less homo-
geneous than modern glass, and consequently not so per-
fectly transparent. This peculiarity in the texture of the
material imparts to the lightest coloured pot-metals, and
even to the white glass itself, a remarkable degree of
richness and strength, admirably adapted to harmonize
with the stiff and hard execution of the paintings. It
* See plates 1, 2, 3, 5, 7, 8, 9, 10, and 11.
EARLY ENGLISH STYLE. 5 1
also causes the colours to preserve their distinctive tints,
when wrought in minute pieces into mosaics.
The blue glass of this period in general possesses
a peculiar tint, like that of a sapphire. There are two
kinds of it, the one very deep, the other light. The
darker kind is usually employed in the grounds of
panels or patterns, the lighter more commonly in dra-
peries and ornaments than in grounds.
The deep Early English blue is sui generis. The
colour may be best described as a deep purple grey. It
has not, or very rarely has, any of that red purple hue
which is constantly met with in modem glass, and none
of that heaviness of tone which may be remarked in the
later kinds of blue glass. This sort of Early English glass,
unlike any other glass that I have met with, is a cool,
though by no means cold, blue, of exceeding brilliancy
and great softness. Smalt is the nearest water-colour
that resembles it. The intensity of the colour is more
apparent when the glass i& seen at a distance than when
near. When held before a lighted candle some speci-
mens appear of a soft grey purple tint, others retain
their blueness.
Of the light blue glass there are many varieties of
tint. Some pieces are merely lighter shades of the deep
blue, and when held before a candle present the same
peculiarities as the deeper specimens, but some are of
a colder tint, and when held before a candle appear to
be a blue green colour.
The beauty of the deep Early English blue is, I think,
unrivalled. Such a combination of softness, purity, and
brilliancy as this glass presents I have observed in
flowers such as the hyacinth, in the sapphire stone, and
e2
52 EARLY ENGLISH STYLE.
in some other natural objects, but not in any manufac-
tured substance ^
The ruby is exceedingly rich, and generally of a crim-
son hue. It is in general very irregularly coloured,
some parts, even of a very small piece of glass, fre-
quently being of so deep a red as to appear black at
a little distance, whilst others, from the absence of
colouring matter, are almost white ; the colour is gene-
rally in streaks, and appears as if it had been laid on
with a brush. Occasionally pieces may be found, as in
the north rose of Lincoln Cathedral, and in the windows
at Canterbury, as smooth in colour as the early Perpen-
dicular ruby, which it also much resembles in tint.
Such pieces, however, seem to have been cut from sheets
which in other parts are streaky in colour. All the
ruby in the windows at Salisbury is streaky, though
not so streaky as some. Some very curious particulars
relating to the ruby of this, and the Decorated period,
have already been mentioned in one of the notes to
the Introduction; to which the reader is referred for
further information on the subject.
The white glass throughout this style varies much in
tint, and in its power of resisting the corroding action of
the atmosphere : two kinds of glass are not unfrequently
met with in the same painting. Some of the earliest,
when examined closely, is almost of a cobalt hue, though
when contrasted with other colours, and seen at a dis-
tance, it appears white: some is indeed almost quite
white. The sort most commonly met with, especially
^ After the Early English epoch there
18 no really good hlue till the cinque
cento. That at Lichfield and at York
ig R8 fine as the Early English in colour,
and even superior to it in tone. It is
the most artistically coloured hlae to be
found in the whole series of glass-punt-
ings that I have yet seen.
EARLY ENGLISH STYLE. 53
in the latter part of this period, is of a rich sea-green
tint; some specimens are much bluer than others. It
Taries much in thickness, and consequently in depth of
colour. This occasions varieties of tint in a window
wholly composed of white glass of the same manufac-
ture, especially when it is much corroded or weather-
stained : for the brown film which attaches itself to all
the glass without distinction, is more apparent in the
thin pieces, than in the thick, being to a certain extent
lost in the deeper local tint of the latter. The yellow
glass, which is a pot-metal, is in general light, and of
a cold tone: but sometimes it is very deep, rich, and
golden : it never partakes of an orange hue.
Green varies from a cold, though very rarely raw,
tint, to a fine rich olive. Many tints of it often occur
in the same glass-painting.
Purples and pinks may be met with of almost every
shade of colour and intensity. A curious fact in refer-
ence to the texture of a piece of Early English purple
glass which I have examined, has already been men-
tioned in one of the notes to the Introduction.
A kind of yellowish pink glass, resembling salmon
colour, is extensively employed as a flesh colour in Early
English glass-paintings. That used for the figures of
men is in general deeper, and redder, than that used for
the figures of women and children. In some specimens,
partaking more of a pink hue, the colour is streaky, as
in ruby glass.
2. Mode of execution.
The glass-paintings of this period, whether consisting
of pictures or patterns, are full of strong dark lines of
54 EARLY ENGLISH STYLE.
enamel brown, which are used not only to delineate the
forms of the objects represented, but also for the pur-
pose of heightening, if not wholly representing, the
deeper shadows. These lines are in general, I think,
thickest in works executed about the middle of the
thirteenth century, but at all times their breadth is re-
markable, as is also their fulness of colour, to which
their blackness is attributable. In large figures, and
their canopies, &c., the lines are, in their widest parts,
often twice or thrice the width of the leads. When
used to represent shadows, they taper off to a fine point.
They always seem to have been drawn with a bold firm
hand, and a stiff and elastic pencil full of colour. These
lines, by breaking and cutting up the work, have a ten-
dency to impart a mosaic appearance to it, even when
the largest pieces of glass enter into its composition.
They always however render the drawing distinct and
effective, notwithstanding the strong colouring of the
glass, which is naturally calculated to kill and obscure
the painting ^
Outline patterns on glass are frequently rendered more
distinct, by cross-hatching the ground around them with
thin black lines. These, although often as fine as a hair,
are as black and full of colour as the thick lines before
mentioned"*. When seen at a distance, the cross-hatch-
ing is apt to resemble a shaded ground. The cross-
hatching is in general much coarser in the upper win-
dows of a building, than in the lower windows; it is
sometimes omitted in the upper windows.
Smear shadows are extensively employed in the dra-
» See plates 3, 7, 11, 12, 13, 14,
and 15.
m
Sec plates 13, 13, 14, 15, 1, 4,
and 5.
EARLY ENGLISH STYLE. 55
penes of the figures^ in the architectural parts of the
composition, and in the foliage and other ornaments,
sometimes alone, sometimes in addition to the strong
shading lines above described. The shadows always
appear to have been put in broadly, and at once, with
a thin wash of brown paint, and when requisite, are
softened off towards the edges, by a few streaky strokes
of the brush ^ I have seldom noticed any attempt at
heightening a shadow by a second application of colour
on the same side of the glass, but a second coat, corre-
sponding with the deeper parts of the shadow, is often
to be found on the opposite side of the glass. In general
these washes are too faint to be distinguished at a dis-
tance. A thicker coat of brown was also used as a colour^
in certain cases. The hair and beards of the figures
are usually covered with it ®, as are occasionally horses,
and other animals. Diaper patterns are not uncommon
during this period, they are scraped out of a smear
ground.
3. FiGURBS.
The figures of this period are in general dispropor-
tionately tall and slender ; and their lower limbs are far
too long for the body and arms. The draperies are full
of small folds, like the antique, but are stiff, scanty, and
close. In the earlier specimens they are wrapped so
tightly about the body, as to appear as if they adhered
to it, the joints of the limbs being often shewn through
■ See pktm 9, 10, 11. See aim an
excellent representation of smear shad-
ing, Monographie de la Cathidrale de
Bowrffety ^tode iii. I should eantion
the student that in many of the ftill-
sized plates of the last-mentioned work,
the shading it very incorrectly given : '
this is particularly the case with Itnde
X., in which lighU are introduced, which
can have no exi>tence in the glass itself.
Even ^tude iii. is not quite free from
this defect,
o See pUtes 9, 10, 11.
56 EARLY ENGLISH STYLE.
the garments in an unnatural and extravagant manner.
The naked figures are attenuated and meagre, and the
details badly and inartificially drawn. The hands and
feet more nearly resemble combs or rakes, than the ex-
tremities of the human form. The joints and knuckles
are often marked by a couple of thin straight lines
drawn right across the hand or foot^. More skill is
however shewn in the treatment of the heads, which in
their general contour usually bear a certain resemblance
to the antique. The faces are in general oval, and
nearly of the classical proportion; the eyes large, the
mouth small and well formed, and the chin round-
In the earlier examples, the hair of the head is usually
arranged in flat curved plaits, (which have not been
inaptly compared to maccaroni^) or in crisp short well-
defined locks. The eye is apt to have a spectral or
staring expression, from the too great exposure of its
pupil. The beard is symmetrically smoothed down on
each side of the chin, and the parting of the masses of
hair in the middle of the chin is carefully marked ; in
small figures, by an oval dot, or stroke. The eye-brows,
outline of the nose, and opening of the mouth, are in
general strongly delineated.
In the later figures, the hair both of the head and
beard becomes more flowing; and a more natural ex-
' Plates 1, 2, 3, and 6, may suffice thirteenth centary figures, see MonO'
to shew the general character of £arly graphie de la Cathedrale de Bowrget,
English figares, of the middle and latter See also two plates of our Lord's temp-
part of the thirteenth century. A re- tation, and part of a Jesse and another
presentation of a figure of the early part ' subject, of the thirteenth century, from
of the thirteenth century, or perhups the glass in the Troyes Cathedral, In
close of the twelfth, is given in Browne's
•' History of the Edifice of the Metro-
poliUn Church of St. Peter, York,"
plate cxxiii. For other examples of
Arnaud's Voyage Areh^ologique et Pi/-
ioresque dant le Departement de VAuhe,
et dans Vanden Dioche de Troget, 4to.
Troyes, 1843.
EARLY ENGLISH STYLE. 57
pression is given to the eye, although it still continues
full, and ia, like the eye-brow and eye-lids, strongly
marked \
Notwithstanding their rudeness, and defective draw-
ing, the Early English figures in general possess great
merit. Simple and unaffected, they are often grandly
Eeadi from Bomgea Cathedral.
conceived, though they may be imperfectly executed,
through the artist's want of technical skill, A deep
and lively feeling often pervades the entire figure, and
its countenance, though frequently distorted and ex-
aggerated, is apt to exhibit both expression and cha-
* Eieellent repKieoUtioni of tbrm
brads from Abbot Sutcer'a glan at Si;.
Denyi, the full lize of Vbe originals, nre
^Ten xn the Monograp\ig ds la Cathi-
draU dt Bourga, ^ude vii. Copie* of
two of them are in the cut aboye. The
(■rliot head in the pretent work !■
given in plate 10, fig. 1. Though in
rcmlitj DOl; a little anterior to the mid-
dle of the thirteenth centnr;, it ha* tba
cbaracteristica of a much earlier exam-
ple. Fig. 2 in the game plate is of the
middle of the tliirtecnth century, aa
are those represented \a plates 7 and
II. The heads in plate 9 are of the
latter half oF the thirteenth century, and
that in plate 8 is of the close of the
Early English period.
58 EARLY ENGLISH STYLE.
racter, in a far more striking degree than is usually the
case with later works.
The Early English artists were particularly happy in
their representations of divine and sainted personages,
the peculiarity of the style, as shewn in the formality
and severity of the countenances, and the stiflf and un-
natural character of the draperies, contributing to pro-
duce a solemn effect well suited to the subject.
A similar style of drawing to that already noticed,
may be observed in the painting of other objects besides
the human figure. Some things however, such as ani-
mals, trees, water, and clouds, are frequently drawn and
coloured in a manner so conventional, and at variance
with nature, as to require some ingenuity to discover
their meaning.
The head and naked parts of the human figure are,
as before mentioned, most commonly composed of flesh-
coloured glass', which from the combined effect of
shading and age usually acquires a rich brown tint.
Sometimes however only white glass is used, instead of
flesh-coloured.
The heads of the figures are in general boldly and
strongly outlined, and smear shaded, as before men-
tioned. The smear shading is however never carried
over the eye-balls. In large figures, though the salmon
or flesh colour is used for the rest of the countenance,
the eyes are often made of white glass ; and the beard
and hair are frequently represented on pieces of blue,
green, yellow, or other coloured glass, leaded in.
The costume of the figures affords too some criterion
of date. Eobes, whether lay or ecclesiastical, are gene-
' This is represented in the coloured plates of this work.
EARLY ENGLISH STYLE.
59
rally short, in male figures hardly reaching to the ancles,
and in female scarcely more than touching the ground ■.
They are often ornamented with a jewelled band, some-
times expressed merely by black outlines, sometimes by
a strip of glass of a different colour to the robe, passing
horizontally right across the middle of the garment,
wholly irrespective of folds.
In the ecclesiastical dress, the other chief distinguish-
ing features are the triangular shape and flatness of the
mitre, and the simplicity of the staff, which last is seldom
more than a mere crook *•
The female dress usually consists of a close garment
with tight sleeves, and a loose robe or cope, and shoes.
The head is sometimes bare, but more commonly draped.
The male dress usually appropriated to prophets and
dignified persons, likewise consists of a close garment,
confined at the waist and furnished sometimes with
tight, sometimes with loose sleeves, a robe or cope, and
long hose, to which is often added a cap, greatly re-
sembling the Phrygian bonnet ". The costume of ordi-
nary persons is generally a short tunic confined at the
waist, and reaching nearly to the knees, and sometimes
a short cloak ; when this is used, the legs of the figure
are generally represented encased in hose, or a loose sort
of stocking setting in folds about the leg, and with or
without shoes : otherwise the legs are left bare.
Military figures are usually armed with the hauberk
and coiffe de mailles, and sometimes, in the later exam-
ples especially, with the chausses of mail. The sword
" See, for instance, plates 2 and 5.
* See plate 2.
^ This is particularly shewn in the
representations of Suger's glass at St.
Denys, Monographie de la C<Uhidr<Ue
de BourjeSj dtucles vii. and vi.
6o
EARLY ENGLISH STYLE.
has a large round pommel, and pointed tapering blade,
very broad towards the hilt, and having apparently
a channel or groove down the middle.
The malicious expression of the countenance of aa
executioner often reminds one of an antique mask.
4. Foliage, &c.
By far the greater part of Early English decorative
work is composed of foliage. The form of the leaves is,
as before mentioned, very conventional and unnatural.
The earlier foliage partakes cure,
much of the character of the
antique, and closely resem-
bles the imitations of the
ancient honeysuckle met
with in Norman carvings*.
The later foliage is more
like that exhibited in the
architectural details of Early English work, firom which
it appears to be taken: the bulbous projecting lobes of
the leaf are often attempted to be represented in the
glass by means of a fine outline^. It is frequently
formed into beautiftil concentric spiral scrolls, broken
into short lengths by the overlapping of the leaves.
i Bonlar, tram lott KlDfUr.
■ Cat G ii from a border in one of the
cleantorj windows of York Miaster.
A coionred repreflentnttan of the same
border, but on n mnch larger scale, is
giten in an instructive serie* of einm-
f\et, arranged nccording to their order
in point of age, in Browne's "Hiatorj
of the Metropolitan Cburch of St. Peter,
Torli," plate oxiriii. It appears co-
eral with the curious Jeue figured in
plate cixiii.of the last-mentioni'd work;
and is pcrhapi of the eloM of the
twelfth, or more probably of the earlf
part of the thirteenth century. Soma
foliage of the flnt half oF the thirtoenth
ceuturj ii represented in Boieser^a
Moimmtatt d' ArchUecturi du Xlu» In-
ferirur, plate lixii. Another eiampla
iveo in plate 16, fig. 1, of the pre-
Sco plates *, 6, 13, and 14.
EARLY ENGLISH STYLE. 6 1
Wten the scroll ifl executed in coloured glass, each
length is usually of a different colour to the adjoining
lengths. Bunches of grapes are frequently introduced
amongst tlie foliage '.
In all cases the fonn of the leaf is delineated with
great precision and force. The trefoil and cinquefoil
are the most common terminations. The leaves are
occasionally shaded with smear shading, hut their curves
and overlappings are most commonly expressed by mere
lines.
Foliage is likewise employed in a variety of ways to
ornament the straight or curved narrow fillets of glass,
so often used in E^Iy English decorations : but though
necessarily of different form, it is of the same character
as that already described *.
A very common ornament for a fillet, is a row of
beads the width of the fillet, on a black ground ''. And
another as common, appears to be taken from the Ionic
ovolo fillet. A representation of the last is here given.
HiB Bo>Uap«d OnuLmsnt, atuiton Bsmnin (HiiiKib, OxABflibln.
and having to refer to it again, I shall by way of dis-
tinction call it the scalloped ornament Various combi-
' fat aumpks, I mmt reftr to the 1 * See plate 12, fig. 2.
cDgnvingi mlrod; ueDtiODed in the '■See y\»te 16, flg. 2.
Hotel to the present atjle. I
62
EARLY ENGLISH STYLE.
nations of this ornament are to be met with in Early
English glass - paintings ^
5. Borders.
The ordinary border almost invariably has an edging
on each side, of one or more narrow strips of white or
coloured glass ; or a row of beads, in lieu of one of the
strips; and the interior space is usually filled with a
pattern composed of various combinations of foliage, or
of foliage and fillets ; and occasionally, of a series of
small medallions formed of foliage, and each containing
a figure, like the medallion moulding in architecture.
The pattern is usually variegated, and the general
ground of the border deep blue or red. Sometimes,
however, while the edging of the border retains its
colour, the interior space is chiefly filled with white
glass, with foUage or some other kind of ornament
painted on it.
Such borders, when the window is wide, and consists
of one light only, are generally carried quite round the
opening ; and the little square which is often formed at
each extremity of the bottom of the window, by the
intersection of the edgings to the border, is commonly
filled with a distinct pattern, or ornament. The width
of the border is generally one-sixth of the entire width
of the window. In very large windows it is about one-
eighth or one-ninth, varying however from one-fourth
to one- thirteenth, or thereabouts.
' < The rose in plate 15, and those in
the border of the light in plate 5, are
but combinations of the scalloped orna-
ment. See also the aureoles or glories
in plate 17, the coloured triangular or-
nament in plate 1, and the Decorated
flower in cut 17.
EARLY ENGLISH STYLE.
63
Sometimes however, whatever may be the date of the
window, a few plain strips of coloured or white glass,
or a row of beads, supplies the place of a more elaborate
border. In the latest examples, borders are to be met
with formed of quatrefoils, fleurs-de-lis, or other figures
placed at regular distances apart, on a coloured ground.
Their breadth sometimes does not exceed one-nineteenth
of the whole Mridth of the window *.
6. Paiterns.
The pattern on an Early English quarry, whether
formed of white or coloured glass, in general consists
of a flower, or some other figure, or bunch of foliage, of
the same conventional character as those which usually
occur in Early English ornamental work, and sometimes,
in the later examples, of a rudely shaped fleur-de-lis.
The quarry is generally banded on all, or two only of its
sides, in such a manner, as, when several quarries are
arranged together, to produce in concert with the lead
lines, an interlaced pattern independent of the ornament
on the quarry. The pattern is in general very strongly
outlined, and the ground of the quarry 'is commonly
covered with a cross-hatching of thin black lines *.
The coloured patterns which fill the interstices be-
tween the panels of a medallion window, are firequently
formed of concentric scrolls of foliage, variously coloured.
' See a yariety of borders, Browne*!
"History of the Metropolitan Church
of St. Peter, York," plates cxxviii., Ixi.,
UiiL, Ixv., Izvii., Ixix. : Lastcyrie, His-
ioire de la Peiniure 9ur verre, plates
xxxiY., i., iii., ▼., xi., xvi., xxiv., xxix.,
&c. : Monographie de la Cathidrale de
Bfmrgee, passim, and especially some on
a large scale, Motaiqve* bordaree, Sfc, D.
(Some examples of medallion borders
are given in ^tude vili.) See also plates
1 and 6 of the present work. I ought
perhaps to mention, that fig. 1, plate 16,
is part of a border. A coloured border
Arom Canterbury Cathedral is given in
Shaw's " £ncycIop»dia of Ornament."
* See plates 1 and 15.
64 • EARLY ENGLISH STYLE.
and embedded in a coloured ground. They are some-
times of a geometrical character, consisting of a reticu-
lated work of narrow strips of coloured glass, between
which coloured ornamented quarries are inserted, or, of
small circular ornamented pieces of glass of one colour
placed close together, on a plain or ornamented ground
of a diflferent colour. Sometimes the pattern has a tegu-
lated appearance, pieces of glass of one colour, edged
with pieces of glass of another colour, being so arranged
as to resemble the scales of a fish. The variety of these
patterns is however too great to be particularly enume-
rated. Eepresentations of several examples are given
in the Monographic de la Cathedrale de Bourges^ and in
M. Lasteyrie's * ' History of Glass Painting."
White patterns are composed sometimes merely of
white quarries, in which case the same ornament is re-
peated on each quarry in the same light, but more fre-
quently they consist of various panelled arrangements.
In these compositions, the whole or greater part of the
area of the window within the border is occupied with
panels of various shapes and sizes, each bordered with
ornamented fillets and rows of beads, narrow strips of
white glass, &c., and containing within itself a distinct
foliaged pattern drawn in outline on white glass. The
panels sometimes only touch one another, sometimes
they appear as if they were laid upon each other, the
larger panels being undermost, and the smaller ones
uppermost '. When the whole area is not covered with
the panels, the interstices between them are filled with
' The principle of forming patterns | is not peculiar to Early English glass-
by a combination of various figures in I painting^, but may be recognised in
such a manner as to suggest the idea of
works even as late as the seventeenth
their bring overlaid, one upon the other, century.
EARLY ENGLISH STYLE. • 65
white ornamented quarries, or with foliaged patterns,
drawn in outline on white glass ^
It is curious to trace the various modifications of the
panelled arrangement until it was merged in the running
patterns of the succeeding style. The first indication of
the change is in those examples in which the panels are
represented without broad and distinct borders, their out-
lines being marked with a single line of colour only ; still
later, the coloured lines will be found to have entirely
lost their character as borders, the foliaged pattern not
being confined within their limits, but spreading itself
over other parts of the window independently of them^.
Another species of pattern, of as eariy an introduction
as the panelled arrangement, is formed by dividing the
light into lozenge-shaped compartments, by straight lines
of colour interwoven with each other ; each compartment
being filled with a separate foliaged pattern on white glass.
It would however be tedious to enumerate all the
different varieties of white pattern windows. They all
partake more or less of the character of quarry patterns,
or of panelled arrangements.
Pictures, or shields of arms, when introduced into a
white pattern, sometimes occupy the place of one of the
panels, but are more frequently inserted without any re-
ference to the general groundwork of the window, a part
of which appears as if it had been cut out to admit them^
f- See plates 1, 4, and 5. See also
engniTings of Bom^ of the Salisbury pat-
terns, Monoffraphie de la CatASdrale de
Bourget, Qrisailles E. A pattern from
Salisbory, and another fVom Southwell
Church, are engraved in Shaw's " Ency-
clopfedia of Ornament."
^ Compare the patterns of the five
■isters at Tork, engraved in Browne's
«(
History of the Metropolitan Church of
Stv Peter, York/' plates Izi., Ixiit, Izv.,
Ixvii., Ixix.y with the Salisbury patterns,
mentioned in the last note.
* See an example, plate 5« Plate 18,
though taken from a Decorated speci-
men, may be referred to in illustration
of the text.
F
66 EARLY ENGLISH STYLE.
Clearstory windows are sometimes filled with plain
glass cut in various geometrical patterns, and leaded to-
gether, the lead-work thus defining the pattern. The
pattern is sometimes entirely formed of white glass, some-
times it is enriched by the insertion of a few small pieces
of coloured glass. Of these patterns there are examples
in Salisbury Cathedral ^.
7. Pictures.
These are in general contained within coloured panels,
of various shapes and sizes, having narrow edgings, or
borders, composed sometimes merely of ornamented fil-
lets, beads, and narrow strips of plain white and coloured
glass, and sometimes, in addition to these matters, of an
inscription explanatory of the subject represented in the
panel. The panels, when large, are sometimes divided
into two, or even five distinct compartments, each of
which contains a separate picture, and is separated from
the others by a narrow border of its own. The same
subject sometimes extends into two adjacent panels, but
in general it is confined to one, and with the occa-
sional exception of a protruding foot, or arm, &c., is
kept strictly within the limits of the panel.
In medallion windows, each subject forms in general,
as before mentioned, a separate incident of one entire
story, which is represented by the aggregate of the pic-
tures in the window. The subjects chosen are in general
simple in themselves, and are treated in a simple man-
ner. The meaning of the picture is expressed by the
^ There is also an example in a lancet window of Cholsey Church, Berks., ex
rel. R. W. Franks, Esq.
EARLY ENGLISH STYLE. 67
action of the group, with but little assistance derived
from accessory parts. Few persons only are introduced
into the picture, even where the representation of a
multitude would be sanctioned by the nature of the
subject. I have hardly ever seen a group consisting of
more than a dozen figures, and this number is more
than twice as great as the usual average. The figures
are in general completely insulated by the ground.
The character of the individual figures has been al-
ready described ; that of the groups is in general vigor-
ous and energetic.
When the incident requires to be represented within
or near a building, a few open arches, roofs, battlements,
&c. are usually introduced in the upper part of the panel,
and a little water, a tree, or even some grass at the feet
of the figures, generally serves to indicate a landscape.
Sometimes the figures appear simply to stand upon, or
move along, a narrow horizontal line of colour.
The whole picture is represented on a stiff ground of
colour, usually of deep blue or red glass. The ground,
when composed of the former colour, is occasionally
diapered. Sometimes little round pieces of glass, of a
different colour, are inserted to break the monotony of
the ground.
The lighter colours are in general employed in the
figures and other objects, more, as it would seem, with
the intention of rendering them distinct and visible from
a distance, than with any regard to the tints of nature.
Accordingly, red, light blue, purple, white, yellow, and
flesh-coloured trees, horses, houses, and cattle, are not
unfrequent. And as the more positive tints are bestowed
quite as freely on what are intended for the most distant,
f2
68
EARLY ENGLISH STYLE.
as on the nearest objects, and as the drawing and ar-
rangement of the design betoken an almost utter dis-
regard of the rules of perspective, the picture appears
like the representatioix of a plane surface, haying all its
parts equidistant from the eye *.
It is the smallness of the figures and ornaments in
medallion windows, and the consequent minuteness of the
various pieces of glass, that, coupled with the strength
of the outlines, give to these works that highly mosaic
appearance, which, as before remarked, has often oc-
casioned them to be likened to a rich Turkey carpet*
The figures in the panels are, however, always ren-
dered the most conspicuous objects in the design, partly
by their colouring, but principally by their being drawn
much larger than any of the surrounding ornaments.
The main divisions of the composition, the panels, and
border of the window, are distinctly marked by their
respective edgings, even when their ground colours are
alike : and the coloured grounds have the effect of giving
breadth and harmony to the design, and are useful in
counteracting the spotty appearance which would other-
^ Some of the earliest pictnres id ex-
istence, being copied from the venerable
remains of Suger's glass at St. Denys,
are carefully represented in the Mono-
graphic de la CathSdraU de le Bowrget,
etudes vi. and vii. Engravings of
other specimens of Suger's glass, the
originals of which no longer exist, are
given in Montfancon, Let Monuments
de la Monarchie FranqtUte, torn. i.
plittes 1., li., lii., liiLy and liv., hot
they are anfi>rtunately so incorrectly
drawn, as to be of no further nso to the
student of painted glass, thnn as giving
the general design of the subjects, which
represent incidents from the first Cru-
sade. See an interesting commentary
on these pieces of glass, in Meyrick's
"Critical Enquiry into Ancient Armonr,"
vol. i. p. 89 et seq. The objects which
are there (p. 44) conjectured to be ves-
sels of the Crusaders drawn upon the
shore, amounted, I suspect, in the origi-
nal glass, to nothing more than a con-
ventional representation of the tnrf or
ground benetith the combatants' feet.
A variety of other medallions of later
date are engraved in the ManograpkU
de la CaihSdrale de Bourgee, and in
Lasteyrie's Sistoire de la Peinittre emr
verre. See also the second plate of the
present work.
EARLY ENGLISH STYLE. 69
wise be occasioned by the variegated tints of the orna-
ments and figures.
I should here add, that though the ground colour of
the panels, border, and interstices between the panels is
often alike, red, or deep blue, it not unfrequently happens
that deep blue is the ground colour of the panels, and
light blue, or red, that of the rest of the window ; or
that red is the ground colour of the panels and border,
and deep blue that of the rest of the window.
8. Canopies.
These are simple in design, and small, compared with
the figures they cover. In form they closely resemble
those met with on the tombs and seals of this period.
A representation of a mutilated specimen is given in
the third plate of this work, and others are to be found
in the Monographie de la Cathedrah de Bourges^ and
M. Lasteyrie's " History of Glass Painting."
The crown of the canopy is low, and usually consists
of a pointed gable, either plain, or, as is often the case
in French examples, crocketed, surmounting a semicircu-
lar or trefoiled arch, which just clears the head of the
figure, and springs from the capital of a slender shaft
on each side of the canopy. The sides of the roofs of
two other gables placed at right angles to that in front,
are also very commonly represented, and the whole is
often surmounted with a number of little domes or tur-
rets, having apparently but little connection with the
rest of the design. Sometimes however the arch is dis-
pensed with, the opening being terminated simply by
the lines of the gable. Sometimes the gable is omitted,
70
EARLY ENGLISH STYLE.
small roofs, turrets, and domes, being heaped together
above the arch. The canopy appears like a flat surface ;
no attempt being made to represent the hoUowness of a
niche, either by the drawing or shading. The diflterent
parts of the canopy are variously coloured, and are fre-
quently shaded with smear shading.
The intervening space between the inside of the arch
and side shafts, and the figure, is filled with a plain
ground, almost always of colour, and of a different tint
to the ground which surrounds the head of the canopy.
The canopy generally terminates abruptly at bottom
in a horizontal line; upon which the feet of the figure
often appear to rest, though the toes sometimes project
a little below it. The figure however not unfrequently
stands upon a piece of turf or grass. The name of the
personage represented is generally written in large char-
acters in a straight line, beneath its feet, or within the
arch, level with the shoulders; but sometimes on a
flowing scroll held in the hand.
Plate 5 of this work represents what may be con-
sidered an early instance of the introduction of a small
canopy into the middle of a pattern window, (a practice
which so generally obtained in the succeeding style,)
though the ornament which surrounds the figure is per-
haps more strictly a trefoil-headed panel than a canopy ".
"■ The sabject of plate 5 was copied
about three y«an ago from the glass in
the westernmost light in the second trip-
let of lancetSy coaming from the cast,
on the north side of the chancel of Stan-
ton Harcoart Church, Oxnn. Below the
canopy was one panel more of the same
white pattern as is represented in the
plate, in a nearly perfect state. Frag-
ments of similar patterns were to be
seen in the windows of the first triplet
on the north side, and also of the triplet
on the south side, opposite the window
containing the canopy. The eastern
triplet contained no painted glass. I
have but litile doubt that all the glass
in this chancel was originally of the same
character, but I cannot say whether
there was a double, or only a single tier
of canopies crossing the light. [1847].
EARLY ENGLISH STYLE. 7 1
The figures in large figure and canopy windows,
occupying positions at a considerable distance above
the eye, as the windows of a clearstory, are often ex-
aggerated in height, in order to counteract the short-
ening effect of perspective.
9. Hebaldbt.
Heraldic achievements at this period were confined to
the shield of arms alone, without any other addition.
The shield is invariably of the heater form, and the more
elongated in proportion to its antiquity. The charges
on it are always very simple. Its field is not diapered,
but the glass composing it is left quite plain.
10. Mechanical constbuction.
Coloured Early English windows, owing to the mosaic
and broken nature of their colouring, and the employ-
ment of a separate piece of glass for each individual
colour, always contain a great quantity of lead- work. In
pictures^ and coloured ornaments, the leads are scarcely
perceptible, being in general thrown into the outlines.
In white pattern windows, the leads, when incapable
of being brought into the design, are made to take such
curves amongst the foliaged scroll-work, as to cause
their presence frequently to pass unnoticed ".
In all except medallion windows, the glass is formed
into rectangular glazing panels, of convenient length
and size, which are attached in the usual way to the
saddle-bars passing horizontally across the light.
In medallion windows, an iron frame- work, taking the
" The lead-work in plate 5 deseryefl attention.
72
EARLY ENGLISH STYLE.
fonn of the principal medallions, is firmly fixed in the
sides of the window, and is in some cases strengthened
by a second frame- work, of a similar shape, in like man-
ner inserted in the stone- work, and placed at the distance
of a foot or two from the first, with which it is connected
by a number of short bars, perpendicular to the plane
of each frame-work". The glazing panels of the window,
which coincide in form with the panels themselves, or
their principal divisions, are each often surrounded with
a flat iron rim. Straight iron bars attached to this rim
afibrd a support to the glass, which is fastened to them
by leaden bands, and the whole panel is secured in its
place by bolts passing through the rim to the iron frame-
work. Sometimes however the iron rim is dispensed
with, in which case the straight iron bars are attached
to the frame- work itself, and the glass is bound to them
with leaden bands, as before mentioned. The iron of
which the fixed frame-work is made, is often two inches
wide, and one inch thick, and sometimes of greater
substance. Its broadest surface being in the same plane
with the glass, serves by its opacity to render the pic-
torial divisions of the window more distinct.
The existence of a fixed iron frame- work in an Early
English window, is unfortunately too often the only
evidence of its having once been a medallion window ;
but the particular arrangement of the design should not
be too hastily inferred from the form of the iron- work,
which, in general, can be said to indicate only the main
divisions of the glass-painting ^.
* Some of tbese doable iVame-worka
still exUt at Canterbury Cathedral.
' The form of the Iron-work in some
of the principal windows of Canterbnry
Cathedral is given in the engravings to
Brit ton's history of that edifice.
THE DECORATED STYLE. 73
In the wheel windows at the south end of the transept
of Strasburg Cathedral, and in the west end of the nave
of St. Thomas's Church in that city, stone tracery, of the
Flamboyant period, has been substituted for the original
iron frame- work; the ancient medallion glass-paintings
still being retained in these windows.
II. Letters.
The letters used in Early English inscriptions are
those known by the name of "Lombardic capitals."
Instances are given in plates 2 and 5. An inscription
was generally formed by covering a piece of glass with
a coat of enamel brown, out of which the letters were
afterwards scraped. In inscriptions of large size, the
letters are sometimes cut out of white or yellow glass,
and leaded into a coloured ground.
•* *^V ^ ^'^'.
SECTION II.
THE DECORATED STYLE. ^
;w
This style appears to have prevailed about Due hun-
dred years, viz., from 1280 to 1380.
One of its most distinctive features is the natural
form of its foliaged ornaments : in these the leaves of
the ivy, maple, oak, and other trees and plants may be
easily recognised.
These more exact imitations of nature were rather
sparingly used at the commencement of the style, and
did not, at least in white patterns, wholly supersede the
older and more conventional forms until the end of the
reign of Edward I., or a little after.
74
THE DECORATED STYLE.
It is principally in works executed between 1280,
and the end of the reign of Edward I., that the test of
style afforded by the presence of the naturally formed
leaf is most valuable ; for they bear in general so close a
resemblance in other respects to the later Early English
glass-paintings, that without this mark it would be diflBl-
cult in many cases satisfactorily to distinguish them
from each other"*.
This resemblance principally arises from the early De-
corated glass-paintings being composed of glass of the
same texture as the later Early English glass-paintings.
Hence the general appearance of early Decorated colour-
ed windows, though extremely rich, is by no means gay ;
and that of the white windows is grey and cold. The
grandeur of each sort is enhanced by the great width
sometimes given to the lower lights of early Decorated
windows'.
Towards the end of the reign of Edward I., and after-
wards, many other points of difference between the two
styles are observable; amongst which should be par-
ticularly noticed the employment of the ffellow stain^
which seems to have been introduced soon after the com-
1 The glass represented in plate 18,
mast be classed as early Decorated, —
though taken by itself it presents none
but Early English features, — for the
Decorated foliage occurs in other parts
of the same window. The arms are
those of Margaret of France, the second
queen of Edward I. In plate 20, it will
be observed that the Decorated foliage
is introduced in the outermost border of
the light.
A naturally formed leaf may occasion-
ally be discovered in a late £arly Eng-
lish glass-painting intermixed with the
usual conventional foliage, but it occurs
so rarely that I have not noticed it in
the text. Leaves of this description
may be observed in one of the five sisters
of York, and in one or two of the win-
dows of Canterbury.
' The lower lights of the side windows
of the chancel of Norbury Church, Der-
byshire, are each thirty inches wide ; the
central light of the east window is forty-
four inches wide, the two a^acent lights
being each thirty -four, and the two outer
lights thirty-one inches wide.
For these measurements I am indebted
to my friend the Rev. H. T. EUacombe.
THE DECORATED STYLE. 75
mencement of the fourteenth century. The colour thus
produced is in general easily distinguishable by its
lemon-like tint, from the more intense and golden jt?o^-
metal yellows, to which it aflPords an agreeable contrast.
In many instances, however, especially during the latter
part of the reign of Edward III., the stained yellow is
almost as deep as the pot-metal yellow. Its facility of
application soon brought it into general use'. By its
means the former coldness of white pattern windows was
speedily corrected, and artists soon discovered in the
richness and power of the stain an efficient substitute
for many of the pot-metal colours. Thus a broader and
less mosaic style of colouring was gradually introduced,
white and yellow glass entering more largely into the
composition of coloured designs. The presence of so
much yellow had also the effect of imparting to the later
Decorated glass-paintings a gay and lively appearance.
The arrangements of this period are very various, in
regard both to individual windows, and their general
disposition in a building.
The most common windows are those which are either
wholly composed of white patterns, or of an intermixture
of white patterns and coloured pictures.
A. white pattern window generally has a coloured
border to each of its lower lights, which sometimes re-
turns along the bottom of the window. The patterns
until the end of the reign of Edward I., are in general
hardly distinguishable from the Early English; like
them they are principally composed of white glass, and
consist of scroll-works of foliage confined within panels,
■ The yellow stnin is represented in plates 24, 29, and 32.
76
THE DECORATED STYLE,
or of ornamented quarries, resembling the Early English
in form and character. The drawing, however, is gene-
rally slighter than the Early English, and the ground of
the pattern is rarely cross-hatched *. After this time,
and even a little before it, the patterns consist either
of ornamented quarries, or else of flowing tendril-like
scroUages, bearing natural leaves, and overlaid by a
geometrical network of bands and fillets, which however
does not confine the ramifications of the foliage''. The
earlier patterns are often enriched by the introduction of
some colour into the bands and fillets, and by a few
little coloured ornaments inserted in them at distant
intervals ; the later, principally by staininy certain por-
tions of the white glass yellow.
When the lower lights are much enriched with colour,
the tracery lights are sometimes filled with coloured
pictures, or ornaments; but they more commonly con-
tain a white pattern, enriched with colour to a similar
extent as that in the lower lights. In the earlier win-
dows it is not unusual to find the pattern in the tracery
lights Early English in character, while that in the
lower lights is of pure Decorated character \
A single shield of arms, near the top of each of the
lower lights, is often the only extraneous subject in-
troduced into pattern windows. The most usual mode
* See plates 18 and 20. See also
cat 12.
" See plate 21. See aUo Lysons'
"Derbyshire/' p. 221, where an engrav-
ing IB given of three Decorated patterns
from the chancel of Norbury Chnrcb,
Derbyshire. See also engravings of
some of the patterns from the chapter-
house, York, in Browne's "Hist, of the
Metropolitan Church of St. Peter, York,"
plates Izxiz., Izzxiii., Izzzv., Izxxviii.,
1., xdi. A pattern from the same place
is engraved in Shaw's "Encyclopiedia of
Ornament."
> See for instance, a plate (rather in-
correct in its details) of part of the south
window of the chancel of Trumpington
Church, in Lysons' "Cambridgeshire,"
p. 88.
THE DECORATED STYLE. 77
of introducing pictures into them, is by inserting, in *
the middle of each of the lower lights, a low-crowned
canopy, covering a figure, or a group of figures ; which
produces the general eflfect of a belt of colour running
across the window. Sometimes, when the length of the
lights admits of it, two such belts of canopies are intro-
duced, leaving considerable portions of the white pat-
terns displayed between, above, and below them. A
shield of arms enclosed in a panel, or small coloured
ornament, usually occupies the centre of each of these
intervals. The head of the window, when two or more
belts of canopies cross the lower lights, is in general
filled with coloured subjects, in order to preserve the
balance of colour ; but it is oftener filled with a white
pattern, when only one belt of canopies traverses the
lower lights.
Another, but by no means so common a mode of in-
troducing pictures, — ^the practice being mostly confined
to early examples, — consists in the insertion at regular
intervals in each of the lower lights, of panels contain-
ing coloured pictures ; the ground of the lights being
a white pattern.
There are numerous modifications and varieties of each
of tlie above-mentioned arrangements.
Some early Decorated windows have the whole of
their lower lights entirely filled with simple panels con-
taining pictures^; others, at all periods of the style,
with a series of small canopies with single figures, or
groups of figures beneath them, piled up closely one
above the other; coloured subjects in each case being
placed in the tracery lights. The specimens of the fibrst
7 See an example, Monogrofhie de la CathedraiU de Baur^ei, €tade xiy.
78
THE DECORATED STYLE.
arrangement, and the earlier examples of the last, closely
resemble the Early English medallion windows, in depth
of colour and general effect : but in the later instances
of the last arrangement, the masses of deep colour are
separated by the heads of the canopies, which being
principally composed of white and yellow glass, impart
a general lightness to the whole design.
Figure and canopy windows* are not in general met
with in this country before the middle of the style,
except in clearstories. In small windows the whole of
each of the lower lights is sometimes filled up with the
subject ; but the canopy usually does not reach down to
the bottom of the light, leaving a space beneath, which
is filled either by a small picture, a panel containing
a shield, or a pattern*. This is especially the case with
votive windows, the portraits of the donor and his family
occupying the space below the principal figure^. In
some instances, several panels containing coloured pic-
tures are placed one above the other and inserted be*
neath the base of the large canopy. Other windows
have each of their lower lights quite filled up with
alternate tiers of canopies containing large figures, and
panels containing small subjects, placed one above the
other. The tracery lights of the above-mentioned win-
dows are generally filled with coloured pictures.
The effect of a Decorated figure and canopy window,
though very rich, is on the whole lighter than that of an
Early English one. The canopy resembles in form those
* See an engraving of a figure and
canopy window, Lysons' '* Qloaoester-
shire," plate Ixyi.
* Some of the patterns at the bottom
of the lower lights of the east window,
York Minster, are engraved in Weale's
" Quarterly Papers," voL L plates 7, 8,
and 9.
** See a plate of some glass in the east
window of Beer Ferrers Church, Devon,
in Lysons' ** Devonshire."
THE DECORATED STYLE.
79
in the architecture and sculpture of the time''. It is
tall in proportion to the figure it covers. In general
many of its members are variously coloured, but white
and yellow glass, both stained and pot-metal, are chiefly
employed, especially in the spires and crockets.
The principle of extending the same design (not being a
Jesse) into all or several of the lower lights of a window,
which was so commonly done in the succeeding style,
was introduced on the continent very early in this style.
The usual mode of carrying it into execution, is by
placing at the bottom of the lower lights a grand archi-
tectural composition, consisting of a large canopy in the
centre, (often extending into two or three lights,) flanked
by smaller ones, in the manner of a triptic. The princi-
pal subject is represented under the central canopy, and
other subjects, in general accessory to it, under the side
canopies. The spires of the canopies, backed with a
coloured ground, reach some way up to the lower lights ;
a white pattern is usually shewn above them, and the
tracery head of the window is filled with coloured orna-
ments to balance the mass of colour below.
In some cases two tiers of canopies are thus intro-
duced, the upper ones only terminating in spires.
In this manner^ designs are represented on a superior
< See plate 22. See also Lyions*
" Gloncestenhire/' plate lz?i. A re-
pr eec ntation of one of these fig^ures, and
part of one of the canopies, is given in
Sbaw's " Dresses and Decorations of the
Middle Ages," vol. L See also Lasteyrie,
Sitt, de la JPeinture mtr verre, plates
xzzviii., xL, and zliiL
' A more decided instance of the
adoption of a design not conforming to
the architectural divisions of the window,
is furnished by those foreign windows
in whose lower lights are placed large
circular panels, extending into more
than one light, and containing one large
picture, which is cut most completely
by the muUions of the window. Exam-
ples of this arrangement may be seen
at St. Thomas's Church, Strasburg, and
in the south aisle of the nave of Munich
Cathedral, ice
8o
THE DECORATED STYLE.
scale to that permitted by the usual method. la Eng-
land the same design is often spread over the whole of
the tracery lights of a window ; and it is probable that
examples may be found of a similar arrangement in
respect of the lower lights.
Je9Be windows. In these windows are displayed some
of the most beautiful designs of this period. The lower
lights are usually surrounded with a border, and filled
with a series of oval panels, formed by the branches of a
vine. Each panel contains a figure on a coloured ground,
usually of a different colour from the ground outside the
panel, upon which outer ground the side leaves and
branches of the vine are spread. The same principle of
decoration usually extends to the tracery lights; the
most important of which contain figures, or heads,
within detached oval or circular panels, formed by a
vine-branch, the leaves of which are turned outwards*.
Wheel windows. The great defect of the wheel win-
dows in this style is a spottiness and want of breadth of
colour, arising from the practice of ornamenting each
tracery light with a separate pattern, in general sur-
rounded with a border which insulates it from the other
patterns. This defect is less observable in those foreign
windows in which the colour is chiefly disposed in and
about the centre and circumference of the circle, the
intermediate space being left nearly white. A small
picture sometimes occupies the centre or eye of the win-
dow, sometimes even this is filled with a pattern, or
heraldry ^ The eye of the wheel in the tracery of the
* See a general representation of a
Decorated Jesse, Lysons' "Gloocester-
shire/' plate xciii. Details on a larger
scale are given in plate xciv. of the
same work.
' See a small Decorated wheel window,
Lasteyrie Hiatoire de la Peinture sur
verre, plate xW.
THE DECORATED STYLE. 8 1
east window of Merton Chapel, Oxford, is filled with
coats of arms, and other ornaments, on a coloured
ground; and the radiating lights principally with di-
verging scrolls of foliage, also on a coloured ground.
This circle has somewhat the appearance of a star.
In the works of this period may be perceived, though
perhaps not so distinctly as in those of the last, a certain
selection of particular kinds of windows for particular
situations. Thus figure and canopy windows are more
frequently to be met with at the extremities of a build-
ing, and in lofty situations, than in other positions;
while pattern windows, with belts of canopies or panels
in them, are generally reserved for the side windows of
aisles, &c. But there is no positive rule on the subject ;
the former description of windows being often found in
the sides of a building, and the latter in the clearstory.
There appears to be no positive rule for the relative
disposition of coloured and white windows.
In some buildings, the whole of the windows are com-
posed of white patterns, enriched merely by the insertion
into them of shields of arms, or panels containing pic
tures ; in others, the east window alone presents a mass
of colour; in others, the east and west windows are
wholly filled with coloured designs, the colour in the side
windows being confined to their belts of canopies ; whilst
in others, all the windows are completely filled with
coloured pictures.
The abrupt alternation of masses of variegated colour-
ing, with masses of, comparatively speaking, white glass,
seems to have been a favourite practice throughout this
period. It is strongly exemplified in pattern windows
with belts of canopies crossing them; and in those
G
82 THE DECORATED STYLE.
foreign windows which have their heads of tracery full
of colour, and the bottom parts of all their lower lights
occupied with one general design richly coloured.
The remains of the glass of this period are perhaps
more numerous than those of any other. I have scarcely
ever entered a church without observing in it some frag-
ments, at least, of Decorated glass.
An excellent example of a general arrangement in this
style is afforded by the nave and its aisles of York
Minster.
The great west window, and the west windows of the
aisles, severally present to the eye one mass of colour, a
good deal qualified however with yellow and white glass.
Three tiers of figures and canopies placed closely to-
gether, one above the other, occupy all but a small
portion at the bottom of the lower lights of the west
window of the nave, which portion is filled with patterns
much enriched with colour. The tracery head of the
window is principally filled with coloured ornaments.
The lower lights of each of the west windows of the aisles
contain a figure and canopy apiece, — that in the central
light has a small panel beneath, (in each case a modem
restoration,) containing a picture executed in colours, —
and their tracery lights are filled with coloured pictures.
All the side windows of the aisles, with the exception of
two on the south side, viz. a Jesse window, and a
window exhibiting, amongst other designs, three large
figures and canopies, have their lower lights crossed
with two belts of richly coloured canopies and subjects,
an interval of white pattern being left between; and
their tracery lights filled with coloured pictures and
ornaments. The clearstory windows are of similar char-
THE DECORATED STYLE. 83
acter; coloured ornaments filling their heads, and two
belts of panels, containing coloured pictures, crossing
their lower lights, the remaining parts of which are
occupied with a white pattern. The glass in the nave
and aisles of Strasburg Cathedral, especially that in the
lower windows, resembles Early English work in eflpect ;
it is however very early Decorated. The colouring in
all the windows is stiff and mosaic, but the upper win-
dows are somewhat lighter in appearance than the lower,
more white and yellow glass being introduced into them .
The side* and west windows of the south aisle, and the
west and adjacent side window of the north aisle, have
their lower lights entirely filled with a series of canopies
or panels containing coloured pictures ; and their tracery
heads with coloured pictures and ornaments. These
windows are quite dark with colour, and as mosaic as an
Early English medallion window. The remaining side
windows of the north aisle ^, and also the windows of tho
entire clearstory, and those of the north side of the tri-
forium, ar^ figure and canopy windows. The clearstory
windows, with one exception, contain in each of their
lower lights two figures and canopies one above the other.
The triforium windows on the south side are filled with
coloured patterns. The great rose window is a beautiful
stai*, richly coloured, with a considerable interval of
white glass between its centre and circumference.
The windows of the choir of Cologne Cathedral are
altogether as light as those of the nave of Strasburg
are dark.
The choir is surrounded with seven chapels, each
> One of these windows is engraved
in the Monographie de la Caihidrale
de Bourges,** <^tude xiv.
^ A lower light of one of tliese win-
dows is represented in Lasteyrie's His-
iaire de la Peiniure sur verre, plate xl.
q2
84
THE DECORATED STYLE.
lighted by three lofty windows. The central window
of the eastern chapel is a mass of colour; its subject
being a very singular Jesse K The tracery lights, and
lower part of the lower lights of the two side windows
of this chapel, are respectively filled with richly coloured
patterns and pictures, the long intervening space being
filled with a white pattern. All the windows of the
other chapels are of similar character to the two last
described, except that the pattern of the central window
of each chapel is rather more enriched with colour than
that of the side windows.
The heads of the clearstory windows are full of colour,
and a row of canopies richly coloured occupies nearly
the whole of the lower half of their lower lights. The
intermediate space is filled with a white pattern, except
in the east window, where it is richly coloured. All
the windows of the triforium are filled with white pat-
terns, except those below the east window, which have
coloured patterns. Thus, in this instance, the chief
masses of colour are confined to the windows at the
extremities of the clearstory, and choir aisle.
The chancel of Merton Chapel, Oxford, affords an
early and good example of tiie general arrangement of
the glass in a small building.
The original glass still remains in the tracery of the
east window, and presents a mass of colouring as deep
and almost as mosaic as that of an early English medal-
lion window. In all probability its lower lights origi-
nally were equally replete with colour ^. White pattern
* A description of this window is given
in the Monographie de la Calhedrafe de
JSourges.
^ They are now filled with a glass-
p:iinting by Price, executed in 1702,
[DalUwny's "Observations on Engli^h
THE DECORATED STYLE.
85
windows, with a single belt of canopies running across
their lower lights, occupy the sides of- this building.
The chancel of Norbury Church, Derbyshire, is another
early specimen.
The side windows are all filled with white patterns,
with a shield of arms inserted near the top of each of
the lower lights \ and it may be presumed, from the
fragments that remain, that this was likewise the ar-
rangement of the east window.
The glass in the chapter-house, at York, is also of
early date, belonging to the reign of Edward II. All
the windows are filled with white patterns, in which
panels containing pictures are inserted.
Amongst other valuable examples may be mentioned
Stanford Church, Northamptonshire, of the time of Ed-
ward III. ; the chancel of Chartham Church, Kent, of
the close of the reign of Edward II. ; Merivale Church,
near Atherston, Warwickshire"*; Lincoln and Here-
ford Cathedrals; the clearstory windows of the apse
of Tewkesbury Abbey Church ; St. Ouen's Church at
Bouen; Freyburg Minster, in Germany, &c. The su-
Architectnre," p. 2S1]. This does not
harmonize with the ghiss in the tracery
lights, yet I should be sorry to see a
modem antique substitnted for it.
' All the side windows of Norbnry
chancel have been engraved in Nos. 1
and 2 of "The Ecclesiastical Architec-
ture of Great Britain from the Conqnest
to the Reformation, London, by Messrs.
Bowman and Hadfield, Architects." It
wonld be presumptuous in me to assign
a date to the chancel itself, bnt I am
quite certain that the glass in these
windows is of the first, or early in the
second quarter of the fourteenth cen-
tury. The only window which retains
more than the mere border of the ori-
ginal pattern-work of its tracery lights
is the second, counting from the west-
ward, on the north side of the chancel.
The pattern is of white gkss covered
with Decorated scrollworks. The tracery
patterns in the heads of the other win-
dows, (which have been engraved by
Messrs. Bowman and Hadfield,) are,
\\ith the exception of their bordern,
mere modern inventions.
"* This glass is in a Perpendicular
east window, which seems of later date,
the glass being of the same date as that
in the side windows.
86 THE DECORATED STYLE.
perb east window of the choir of Gloucester Cathedral,
though the architecture is itself Perpendicular, may be
cited as a pure Decorated example, late in the style
however. The arrangement of the glass in this window
is original, and deserves attention. The same principle,
—that of filling the upper part of the window with
white ornamented quarries, and the lower part with
figures and canopies, &c. — was likewise carried out in
the side clearstory windows of the choir ; as sufficiently
appears from the fragments which remain in the northern
windows.
The following are some of the most remarkable pecu-
liarities in detail which have not been noticed in the
course of the foregoing remarks. A more extensive and
minute examination of these matters will conclude this
section.
The figures exactly resemble those in the illuminations
and sculpture of this period : they are severe in draw-
ing, but more refined than the Early English, and their
draperies are likewise broader, more ample, and flowing.
The figures are often placed in very forced and extrava-
gant attitudes. A gradual but sensible diminution in
the thickness of the outline took place as the style
advanced.
White glass is quite as much used as flesh-coloured,
in the naked parts of the figures. The hair is often
stained yellow.
The canopies almost invariable have flat fronts, straight-
sided gables over the main archway, and in general high
spires and pinnacles. Their details correspond with those
of the canopies on the seals and tombs, and in the archi-
tecture of the time. Much pot-metal colour enters into
THE DECORATED STYLE. 87
their composition, to which the richness of their appear-
ance is owing. In many instances the smaller members,
as shafts, capitals, spires, &c., are capriciously coloured,
red, blue, green, &c. ; and when the canopy consists of
white and yellow glass only, a considerable portion of
the yellow used is pot-metal.
The white glass, in the earliest examples, is in general
of the same texture and rich tint as the Early English,
but it gradually became greener, fainter in colour, and
thinner in substance. The blue also became lighter,
and the red less streaky and uneven towards the close of
the style. The pot-metal yellow is rich, deep, and golden,
frequently inclining to a rich greenish brown hue.
The flesh-coloured glass is sometimes of a more de-
cided pink tint than the Early English, but it is in
general lighter, and more yellow.
Heraldic achievements were frequently introduced
into the borders of windows, as well as upon shields ;
the latter are always of the heater form °, and are un-
accompanied with mantlings, crests, &c.
I shall now proceed to a minute examination of the
details of Decorated glass paintings under the following
separate heads.
] . Texture and Colour of the Glass.
There is no apparent difference between the glass of
the latter part of the last, and the early part of the
present period, either in texture or colour. It pre-
served its richness of tone until the end of the style,
but in general, gradually became less substantial in its
appearance.
" See plates 18 and 23.
88
THE DECORATED STYLE.
The early Decorated ruby is as streaky and uneven
in tint as the Early English ""; but as the style ad-
vanced, the streakiness diminished, as well as the thick-
ness of the colouring matter on the sheet; a proof of
which last circumstance is afforded by the cut given in
a note to the Introduction '. At the end of the Deco-
rated period ruby glass is sometimes found almost quite
evenly coloured.
The deep blue glass gradually became lighter. It is,
I think I may say, universally colder in tint than the
Early English. It is more of a grey than a blue colour,
and not unfrequently appears of a green hue in the
window, a hue which it always assumes when held up
before a lighted candle. Sometimes, but rarely, speci-
mens are met with of a purple tint, but this glass is less
brilliant than the Early English. The green generally
used is warm and rich, but a cold green, like that of an
emerald, may be remarked in many works at all periods
of the style.
The white glass, in general, during this period, is of
a fine rich sea-green hue. It gradually became lighter
in tint towards the close of the style, at which time it
varied exceedingly in thickness. Some of the later
glass is strongly tinged with yellow ; but variations
from a yellow to a blue-green, and from a blue to
a yellow-green, may be remarked in the white glass
throughout the style. White glass of a cold blue tint,
by no means strong in colour, may even be met with in
some of the earliest Decorated glass-paintings ; but this
** I liaTe met with Oerman pictures
in glass, perhaps as early as Edward the
Second's reign, — at all events, having
no yellow stain in them, — in which all
the ruby is smooth in coloor, like early
Perpendicular glass, which it closely re-
sembled in tint.
•• p. 26.
THE DECORATED STYLE.
89
is an exception to the general rule that the earliest
white glass is more strongly tinted with green than the
later white glass.
Decorated white glass always appears to have been
very susceptible of the yellow stain, which when ex-
posed to a sufficient heat, acted with great power,
changing the white glass to a fine deep rich yellow,
varying from lemon to orange. This is particularly the
case when the white glass itself is of a yellow hue. In
some instances indeed, the yellow produced by staining
is of a cold greenish tint, arising sometimes from some
accidental variation in the quality of the glass, but more
frequently, as I presume, from the slackness of the
furnace. The glass-painters of this period in general
subjected their glass to a very considerable degree of
heat, as is evident from the frequent oxidation of the
metal composing the stain, and the consequent redness
of the colour. Towards the middle of the style the
yellow stain was occasionally applied to light blue pot-
metal glass, which it changed to a bluish yellow '^.
The pot-metal yellow glass is in general of a fine deep
golden hue, frequently approaching a rich greenish
brown. The lightest pot-metal yellow is less green in
its tint than the lightest stained yellow, and the deepest
pot-metal yellow is less orange than the deepest stained
yellow. Beautiful contrasts of colour are produced by
the employment of pot-metal and stained yellow, in the
same glass-painting.
Flesh-coloured glass continued to be used throughout
this style in heads, and naked figures : though by no
1 See instanoes taken from the glan
of St. Stephen's Cbapel, Smith's " An-
tiquities of Westminster," in the second
plate, facing p. 282.
90 THE DECORATED STYLE.
means so extensively as during the preceding style,
white glass being frequently substituted for it. It is
usually paler, and more yellow, than the Early English
flesh-colour; when stronger, it more nearly approaches
a direct pink.
2. Mode of Execution.
In the glass-paintings of this period, as in those of
the last, shadow is, to a considerable extent, as well as
form, expressed by dark outlines. These outlines are,
however, in general, not so thick, or so frequent, as in
Early English glass-paintings.
Most Decorated glass-paintings, especially the earlier
ones, exhibit a peculiar freedom of touch, and firmness
and precision of handling, which, together with the
ready flow of the colour, the transparency and fulness of
the outline, and the great expression conveyed by it,
cause them in some measure to resemble, in their exe-
cution, the paintings on an ancient Etruscan or Greek
vase.
The practice of putting a cross-hatched ground on
white glass, for the purpose of bringing out more pro-
minently a pattern delineated on it, so common during
the last period, was soon abandoned in this ; but cross-
hatching continued to be used in small ornaments until
the end of the style.
Shading, when resorted to, was always executed ac-
cording to the sinear method. The smear shadows in
the draperies of large figures, at all periods of the style,
often attained a very considerable depth, the colour
being laid on so thickly as almost to occasion opacity
in the darker parts of the shadows.
THE DECORATED STYLE. 9 1
The discovery of the art of stippling a coat of enamel
brown appears, however, to have been made during the
Decorated period. * Shadows having a stipple grain
may occasionally be detected in Decorated glass paint-
ings, of the latter half of the fourteenth century. The
proportion they bear to the smear shadows, in the same
work, is indeed always small; and they seem to diflter
from smear shadows only in their granulated texture.
Their ground, like that of smear shadow, was never
suflfered to extend over the lights of the picture, but
was, in the first instance, strictly confined to the parts
intended to be in shadow. In this respect therefore,
these shadows diflfer materially from stipple shadows
properly so called ; which, as before stated, are formed
by covering the whole surface of the glass with a granu-
lated ground, which is afterwards removed from such
parts as are intended to be light.
The method of shading in question seems most to re-
semble the mode by which, formerly, the deeper shadows
in a stipple-shaded glass-painting were heightened. For
convenience sake it may called smear shading stippled.
Diapers were profusely used for decorative purposes,
their smear ground being applied to either side of the
glass as convenience dictated *".
3. Figures.
A very considerable advance in the art of representing
the human figure took place during this period.
' See specimens of diapering, plates
22 and 23. See also Smith's "Auti-
qaities of Westminster/' plate facing
p. 232, in which are represented, with
praiseworthy accuracy, the little par-
ticles of ground which the glass-painter
omitted to remove, or clean off, when
scraping out the pattern.
92 THE DECORATED STYLE.
Its proportions are better preserved than in the former
style, the figures in general not being too tall, or
slender.
The draperies are likewise treated in a broader, more
easy, and natural manner.
The technical incompleteness of the drawing is much
more felt in the hands, feet, and other naked parts of
the body, than in the heads, many of which are very
finely treated.
An easy and graceful attitude is given to the stand-
ing figures, by sUghtly swaying the body backward.,
and resting its weight on one leg, somewhat after the
manner of the antique': but this position was often
exaggerated to such a degree, that the figures fre-
quently seem as if they were in motion, when, accord-
ing to the nature of the subject, they ought to appear
at rest.
The earlier heads of this period, though more delicate
and refined than those of the last, do not lose any of
their force, or vigour of character. The features still
continued to be strongly outlined, but in general a more
varied and natural expression was imparted to the eye
and eyebrow. The latter is sometimes, however, too apt
to resemble a pent-hotiae^ in the angularity of its form.
In the Decorated, as in the Early English heads, there
is seldom any attempt made to distinguish the iris of
the eye from the pupil, the whole being in general re-
presented by one black dot.
The mouth, which is small in the majority of instances,
closely resembles the Early English model; sometimes
** See platei 22 and 24.
THE DECORATED STYLE.
however, towards the middle of the style, the upper and
lower lips are represented.
LnllicgibMie dmroh. KsDt,
The hair and beard are generally drawn in flowing
locks, boldly expressed by the varying thickness of the
outline.
The general contour of the face is a well-proportioned
oval ; and the chin is smaller than in the Early English
examples.
Towards the close of this period, however, there is
often less character, and more conventionalism in the
heads. The eye-brows become more uniformly arched,
94 THE DECORATED STYLE.
and, together with the nose and mouth, less strongly
marked. The countenance also loses much of its agree-
able form, the forehead being flat, broad, and somewhat
projecting; too great prominence is likewise given to
the cheek bones, and a disproportionate width to the
face. The chin is also often represented too small and
pointed *.
The heads and naked parts of the figures are often
composed of the flesh-coloured glass before mentioned'*,
but white glass is as generally used for this purpose, in
which case the hair and beard are frequently stained
yellow ^. This is however seldom the case when flesh-
coloured glass is employed. In the larger figures, the
beards and hair are of a different colour to the counte-
nances, being made of blue, yellow, green glass, &c.,
leaded in.
In the earlier specimens, the hair is often entirely
covered with a thin wash of brown paint, and the face
and other parts of the figure are shaded exactly as in
the former style. A practice of taking out lights in the
ground covering the hair, to increase the prominency oi
some of the locks, was however soon introduced *. Many
figures at all periods of the style were executed in out-
line only, and not shaded at all ^.
*■ Cot 8 (see last page) is from an | the sobject of plnte 31 (which is ag^ain
early example of tlie fourteenth century. ; represented in plate 24) is of the close
In character it strongly resembles an
Early English head. The heads in plates
19, 26, 27, and 28, are all of the early
part of the fourteen th century, and are
thoroughly Decorated in character.
Pktes SO, 29, and 32, are taken from
specimens of the middle part of the four-
teenth century, the first example being i * See plate 30.
rather earlier than the two others. While ^ See plates 26, 28.
of the Decorated period. See some fVag-
ments of heads, the full size, from St.
Stephen's Chapel, Westminster, Smith's
"Antiquities of Westminster," in the
last of the three plates facing p. 232.
" See plates 26, 28, 30.
* See plates 24, 27.
THE DECORATED STYLE.
95
The draperies of this period are much more flowing
and ample than those of the last : and in ecclesiastical
and female figures the robe is generally long and en-
velopes the feet *.
Saints are usually habited in a long robe confined
round the waist with a girdle, and a loose cloak, the
broad elegant folds of which add greatly to the grace
and dignity of the figure. A jewelled band or stripe of
colour, diflfering in tint from that of the rest of the robe,
sometimes crosses it horizontally. The name of the in-
dividual represented is often written round the edge of
the nimbus. The hair of female saints is generally dis-
posed in long and smooth locks, and the hair and beards
of prophets and saints in fine wavy locks, while angels
are generally represented with their hair in short thick
curls. The heads of prophets are commonly covered
with a sort of bonnet or cap, and are not surrounded
with a nimbus. The figures frequently hold scrolls in
their hands bearing inscriptions.
The mitre still continues of a triangular form, and its
ornaments are simple, but the crook of the staff is often
of elaborate workmanship, and frequently composed of
a beautiful scroll of leaves.
The secular female costume usually consists of a gar-
ment fitting tightly to the arms and body, and having
a wide long skirt training on the ground. Upon it are
sometimes depicted the armorial bearings of the wearer.
A cloak or mantle is often loosely thrown over it. The
wimple is a frequent adjunct to the head-dress, and the
■ It has been suggested to me by a
learned friend of mine, that robes were,
for the sake of effect, represented in
sculpture and painting longer than they
were actually worn.
96
THE DECORATED STYLE.
hair is usually plaited down on each side of the face,
and enclosed in a net, or cauL
The ordinary costume of dignified laymen consists of
a long robe and loose cloak ; the hair and beard being
arranged in fine loose wavy locks. The heads of boys
are generally covered with short thick curls. The usual
secular dress is a close short jerkin, or tunic, reaching
about half way down the thighs, and tight hose and
shoes ; upon which model the armour of this period was
formed. The military dress, in the earlier examples,
consists of the hauberk and chausses of mail, or of gam-
boised armour ; in the later, of a mixture of plate and
mail ; and in the latest, of plate chiefly. Armorial bear-
ings are generally represented on the surcoat and shield,
and knights mounted and accoutred for the tournament,
wearing the heaume and its crest, were occasionally
depicted on glass during this period.
4. Foliage.
The general character of the foliage, properly belong-
ing to this style, is natural, and it is easy to recognise
amongst it the leaves of the maple, oak, ivy, hawthorn,
and of many wild plants*. The flower usually repre-
sented is the rose. The earliest specimens of it are
formed of the scalloped ornament^, but towards the
middle of this period it becomes flve-leaved, and when
single, almost exactly resembles a full-blown eglantine
or common dog-rose *" ; its leaves are very rarely lipped^
• See plates 21, 22, and 23. Cut 9
is taken from an example early in the
fourteenth century, as are plates 33,
34, 35, and 40; plates 37, and 39, and
cuts 10 and II, are from examples of the
middle of the fourteenth century.
^ See plate 42, and cut 17.
* Sec plate 24.
THE DECORATED STYLE.
or turned over at their extremities. It is however fre-
quently double-leaved, and occasionally treble, or quad-
Ghunb, Oilbrtibln-
BmtMsM Chnnb, Kent.
ruple. When only double, and painted on white glass,
the seeds and outer row of leaves are usually stained
yellow ^.
The more conventional ornaments composing the archi-
98
THE DECORATED STYLE.
teotural details, the finials and crockets of canopies, &c.,
are likewise taken from foliage, and drawn in a spirited,
lively manner ^
ClT 11.
Stanford Ghoroh, VorUiamptoiifihire.
Scrollworks are formed of the twining tendrils of
plants, from which spring, it must be admitted, without
^CQ plaU-s 22 Rnd 41.
THE DECORATED STYLE.
99
much regard to nature, the leaves of either plants or
trees, as the case may be'. When represented on a
coloured ground, the tendril preserves a uniform colour ^^
though its leaves are sometimes variegated.
The new method
Cut 12.
of drawing foliage did
not at once supersede
the old, and accord-
ingly the Early Eng-
lish character of or-
nament is frequently
preserved, especially
in scrollworks, and
ornaments represent-
ed on white glass,
until the end of the
first, and during the
early part of the se-
cond quarter of the
fourteenth century.
The old ornament is
however, in general,
drawn slighter than
during the preced-
ing style**, and the
ground on which it is J
delineated is seldom
cross-hatched. It is
moreover almost al-
ways found in con-
' See plate 21.
» Sei' an engraving in Fowler's " Mosaic Pavements and Stained Glass,*' from
au example at Oh. Ch. Oxford. '' See cut 12.
II 2
Chartham Glmrch, Kent.
lOO
THE DECORATED STYLE.
junction with Decorated ornaments ^ In some of the
earlier specimens may be seen the very change from
the conventionality of the early English foliage to the
more natural character of the Decorated^.
Throughout this period the leaves are always drawn
with great firmness and precision. The thickness of
the line in outlined patterns on white glass diminished
considerably towards the close of the styled
The beaded ornament of the former period is to be
met with in the early works of this style, in general,
however, accompanied with a narrow border or edging
on each side. A practice was, however, soon introduced
of placing the beads further apart, and inserting a couple
of small dots between each pair". Two little rings often
Cut 13.
Chftrtham Ghoich, Kent.
supply the place of the dots, and sometimes a larger
ring is substituted for the large bead. The scalloped
ornament, and its combinations, seem to have gradually
gone out of fashion towards the middle of this period,
about which time a singular kind of decoration was
* See plate 20. A part of the inner
border of this window is represented
the full size in cat 12. This glass is,
I think, of the early part of the second
quarter of the fourteenth century. Plate
40 represents, at the full sise, part of
a scrollwork in another of the chancel
windows of Chartham, which is of the
same date as that represented in plate 20.
^ See plate 17. Another tracery light of
the same date, and in the same church,
has its foils ornamented with an ordi-
nary maple-leaf.
' See for instance plate 40.
^ The subject of cut 13 is of the
latter part of the fourteenth century.
THE DECORATED STYLE.
lOl
Cut 14.
introduced which may be called the
cross ornament: ar representation of it
is given in the margin. It was formed
by cross-hatching a piece of glass with
thick lines, and afterwards cutting
them asunder with a stick, or other
pointed instrument, capable of remov-
ing the brown enamel colour from the
glass before it was burnt. This orna-
ment continued in use to the end of
the style.
5. Bobbers.
Borders, both to lower and tracery
lights, are throughout this period sel-
dom dispensed with.
The ordinary border of a lower light
is formed of a stalk running up the
sides of the light, either in a serpen-
tine direction or straight, from which
spring leaves, acorns, &c., at regular
distances. The stalk, which is some-
times ornamented with a pattern, is
frequently of one colour, and its leaves
of another : and the border generally
has a coloured ground".
Sometimes the border consists of a series of grotesque
animals, either placed at short distances apart, with a
piece of coloured glass between them", or else they are
GROSS ORNAMMT.
Tample Rothley Church,
Leicestonhlre.
" See plates 20, 21, and 22.
^ See plate 44. In this example the
iish is white, and the border round it
stained yellow. It is of the latter part
of the Decorated period. The nonde-
script engraved in cut 15, forms part of
THE DECOKATEl) STYLE.
introduced climbing up a stem of foliage, or sitting
amongst its leaves ; the entire border in this case being
represented on a coloured ground.
Slnntjra Church, NortlinnipWn shire.
There is a window in the nave of York Minster which
has, in its lower lights, a scries of small figures and
canopies, by way of border.
Heraldic borders are very common at all periods of
the style. They consist either of coats of arms properly
emblazoned, and arranged in rectangular patches one
ahoTe tho other''; or of badges, merchants' marks, or
of other devices, separated from each other with pieces
of coloured glass. All these borders are often edged on
one or both sides with a narrow atrip of coloured glass,
or with the beaded ornament, &C.''
Some borders, in general late in the style, are com-
posed of white and yellow ornaments, of rectangular
null B border u is deicribed iu tbe tcit. pinte 38, which U taken from two mural
Itisarihemiddlepirtof tUu fourteentli piiiiitingi on the south uila of the
ceutury. chamber.
» See n (food i-iainplc of Uiis mode of I ' See a Bpetiroeo of an heraldic hor-
nrniiigemBiit in liokewooJ'J account of d.r, Lastcyrie, SUtoire de la Pemtura
lUe Fuinted Cbniiiber, Weitmiiuter {pub- | wr verre, pUtc iiiv.
liaUed by tlic Rirlcly ot ,\iiti<iiiftrii's).
THE DECORATED STYLE. 103
shape, placed, like the grotesque aaimals first men-
tioned, at intervals up the sides of the window, with
coloured glass hetween them ; sometimes two or three
of the upper foils of the cuspidated head of the light are
filled with lions' heads, or roses'.
The border is almost universally separated from the
stonework by a margin of plain white glass, which in
many of the earlier examples is an inch broad.
The width of the border, including the white margin,
is usually one-sixth of the entire width of the light : but
there are a few rare instances of small narrow windows
whose only border consists of a strip of white glass.
A border is sometimes carried along the bottom of
the light; in which case its pattern frequently difiers
from that of the border at the sides'.
loutMeet Chorclt, Kent.
The ordinary border of a tracery light, ia either
a plain margin of white glass, or the beaded ornament,
which is usually stained yellow, and always separated
from the stonework by a white edging. When the
light is large, a broader kind of border is often used,
' As in plntc 2S, Nn. 1. Tliii spoi-Liinn ia qiiile •■( IW close of tlie DecoraUd
I04 THE DECORATED STYLE.
formed of roses, quatrefoils, or other ornaments, in little
squares, and separated from each other by pieces of plain
coloured glass. This border has a narrow edge of white
glass between it and the stonework.
6. Pattebns.
These are composed sometimes of ornamented quarries
of white glass, upon each of which is repeated the same
leaf or pattern, represented in the earlier examples
merely in outline', but in the later, often wholly or
BbUIhv Chuoh, Xmtp
partially stained yellow. Sometimes a running foliaged
scrollwork is carried over the quarries. The quarries
are frequently banded on their two upper sides, and the
bands are occasionally smear-shaded. A quarry pattern
' Cat 17 repreieiiti a qaury of tbe foDrteentb century. None of tbese quar-
etrlj part of the fburteonth centor; ; it riei ar« itaiucd. Flatei 24 and Z5 reprc-
ii rrom the lame window as the subject mat epecioieus of qaarriei of the latUr
of plate 16. The qasrries in plates 34 part^ «Qd close of the style.
and 86 are also of tlie enrlj part of the
THE DECORATED STYLE. IO5
is frequently enlivened by the insertion at regular in-
tervals in the centre of the light, of small circular
panels containing heads, small coats of arms, or other
ornaments executed in colours, or in white and yellow
stained glass. Coloured stars with wavy rays are some-
times, in like manner, leaded in amongst the quarries :
especially in late Decorated work.
The more common Decorated pattern, however, con-
sists of a number of narrow fillets and bands, some
coloured, some ornamented, but for the most part plain
and white, disposed in the form of lozenges, ovals,
quatrefoils, and other geometrical figures; or even
simply reticulated, and curiously interwoven with each
other. Behind this network, and occasionally entwined
with it, are spread running scrolls of foliage, outlined
on white glass, and usually branching off from a main
stalk which runs straight up the centre of the window.
The leads follow the course of the bands, and form an
essential part of the pattern, which is generally further
enriched by the insertion, at regular distances, of little
coloured panels, containing heads, small shields of arms,
patterns composed of leaves, and other devices, or occa-
sionally a sacred emblem, as the double triangle ^ In
the later examples the yellow stain is often applied
to the leaves and acorns of the scrollwork, &c. : some-
times the foliaged scrollwork is rendered more conspi-
cuous by being smear-shaded.
The patterns in clearstory windows, when the height
would prevent more minute work being seen, are some-
" See plate 21. See also the other
plates referred to in a former note (u,
p. 76.) The lion's head represented in
plate 42 originally formed the ccntml
ornament of a pattern. It is of dark
green glass, and is of the middle of the
fourteenth century.
I06 THE DECORATED STYLE.
times formed of plain pieces of white and coloured glass
leaded together. These patterns resemble in their general
effect those which have been already described. The
groundwork of the lower lights is composed of plain
white glass, cut into various geometrical forms, the com-
plicated character of which serves as an equivalent for
a painted pattern. The tracery lights of windows of
this description, are often surrounded with a narrow
strip of plain coloured glass by way of border, and are
enriched in the same way as tracery lights commonly
are, by the insertion of small coloured circular panels ;
the only difference being that the glass of which these
circles are constructed is not painted with any pattern.
A shield, bearing a red cross on a white field, and
formed simply of plain pieces of white and coloured
glass, is inserted in the centre of one of the tracery
lights of a clearstory window on the north side of the
nave of York Minster. The tracery lights of two win-
dows in the north side of Ash Church, near Wrotham,
Kejitj are ftlled with patterns composed of plain pieces
of white and red glass. These patterns are coeval with
the ornamental patterns which exist in the lower lights
of the window.
The Early English patterns are, as before stated,
often introduced in the earlier works in this style, with
however, in general, a certain admixture of Decorated
details *.
Cross-hatched grounds, to bring out an outlined pat-
tern on white glass more distinctly, are by no means of
common occurrence in English work during this period.
Richly coloured ground patterns also are seldom to bo
* See plate 20.
THE DECORATED STYLE.
107
met with in English work, except in the backgrounds
of panels: the interstices between the pictures, when
closely placed, being in general filled with architectural
details, or scrollworks of foliage on coloured grounds.
They usually consist of pieces of glass of various colours,
cut into roundels, or other geometrical shapes, haying
patterns painted on them, and embedded in some general
ground colour.
The ordinary German Decorated patterns are gene-
rally far more highly enriched with colour than the
English ; they are also bolder in design, and abound in
cross-hatched grounds on the white glass ^. The French
patterns more commonly bear a closer resemblance to
our own; but the running scrollwork is in general
more entwined with the bands, than is usual in English
work. Many minute differences in the drawing of the
leaves, &c., may also be remarked in English, ^GjSkmn,
and French patterns. i?^ *^ -^{.. ^ * '^t\
These are represented either on panels, or under cano-
pies; or, when placed in tracery lights, on plain or
ornamented grounds, either white or coloured. The
general treatment of the subject is similar to that de-
scribed under the former style. The design is simple
in its composition, and not overcrowded with figures,
and is generally represented on a stiff coloured ground,
7. Pictures.
\/^^..
^ Several Qer man pattemB from Stras-
barg are represented in the Monogra-
phie de la CathSdrale de B<mrge9 ; and
a pattern from Attenberg, near Cologne,
in Shaw's " Encyclopiedia of Ornament."
See a Fi-ench Decorated pattern in Laa-
teyrie, Hitt, de la Peiniure awr verre,
plate xxxi. Two patterns from Chartres
Cathedral are given in Shaw's " Eucy-
clopnediii of Ornament."
I08 THE DECORATED STYLE.
which is usually diapered. Clouds are occasionally intro-
duced, as in representations of the Ascension, for in-
stance, not as a pictorial embellishment, but as mere
stiff accessories to the subject. Their form and colour
are very conventional, as are also the representations
of animals, trees, architectural details, and other like
objects.
The panels are of various shapes, and contain, in
general, but one subject apiece. They are usually edged
with a narrow strip of white, or coloured glass, usually
left plain, but sometimes ornamented with beads, &c.
8. Canopies.
The canopy forms a very important feature in Deco-
rated glass-paintings. It is extensively used to cover
groups, as well as single figures. Its form and propor-
tions vary exceedingly.
Some canopies, as for instance those used in tracery
lights, or those which are carried like a belt across
a window, are seldom more than twice or thrice the
height of the figure under them; whilst others, as in
figure and canopy windows, when the lower lights are
long and narrow, are surmounted with very lofty spires,
carried occasionally to a great height above the figure,
the effect of which is sometimes quite overpowered by
the superstructure.
The details of the canopies resemble those on the
seals, the sepulchral brasses, and in the architecture
of the time. The crockets and finials of the later ex-
amples in general possess a graceful, leaf-like character '.
« See plates 22 «nd 41.
THE DECORATED STYLE.
109
In the earlier specimens they are stiff, and more re-
semble the Early English.
The low-crowned canopy, so commonly used in form-
ing belts of colour across a window, is very simple in
its arrangement. It consists of an arch, either plain or
cuspidated, (beneath which the figure is placed,) sur-
mounted with a flat-faced gable, which is sometimes
straight-pointed, sometimes ogee-pointed, and almost
always crocketed, and crowned with a large finial. The
side pilasters from which the arch springs, in general
run up on either side into pinnacles *. The spire of the
canopy, if it has one, generally springs from a low flat-
faced tower rising from behind the gable. The tower is
usually pierced with windows, and furnished with pin-
nacles, from which flying buttresses are thrown to the
spire, and the side pinnacles. The canopy. in general
terminates abruptly at bottom without a pedestal, and
the feet of the figure rest on a piece of turf or grass, or
sometimes on a pavement, or even on a straight line
of colour, or a straight inscription. The space beneath
the main arch of the canopy does not appear like a recess.
So much of it as is not occupied by the figure, is simply
* The canopy represented in plate
22, is one of a belt of canopies which
crosses the lower lights of a three-lighted
window; the border of the light may be
seen on each side of the canopy. The
canopy itself is executed principally in
white and yellow pot-metal glass, and
is backed by a diapered red ground.
Its finials mn into the next glazing
panel, and are there embedded in a white
pattern ground. There is likewise a
large space of white pattern gronnd be-
low the canopy. See some more com-
plicated examples, Lasteyrie, Hist, de la
Peinture sur verre, plates xxxviii. and
xliii. In the second vol. of the " Trans-
actions of the Exeter Diocesan Archi-
tectural Society" are coloured lithograph
engravings of three of the early Deco-
rated figures and canopies now inserted
in the east window of that cathedral, as
well as of two of the figpires and cano-
pies on a portion of the white pattern
in one of the north windows of the clear-
story of the choir.
I I O THE DECORATED STYLE.
filled Tip with a flat coloured ground, in general richly
diapered, and no attempt is made by shading, or other-
wise, to produce the eflfect of its being a hollow niche.
Indeed these representations exactly resemble geometri-
cal drawings of architecture, especially those of the
medieeval period, in which an incorrect sort of per-
spective is not unfrequently shewn. Although white
and yellow pot-metal glass usually predominate in the
canopy, many of its architectural members frequently
are otherwise coloured, pot-metal glass being much used
for the purpose, and diapers are profusely employed on
the pilasters and other flat surfaces; a practice which
imparts to Decorated canopies a peculiarly rich and
variegated appearance.
It is not unusual to meet with spires and pinnacles
formed of green or red, or pot-metal yellow glass ; or to
find the tympanum of the principal gable, or the chief
window in the tower above it, coloured blue, green, &c.
Those parts of the canopy which are executed on white
glass, are often much enriched with the yellow stain.
The head of the canopy is generally backed with a
coloured panel, sometimes flat-topped, sometimes trefoil -
headed. The spires, however, occasionally run into the
white pattern-work above them, without any backing
of colour.
The ordinary canopies in figure and canopy windows,
differ from the canopy described only in their superior
height, and greater complication of parts, occasioned by
piling up tabernacle- work on the tower above the gable.
When a figure and canopy window consists of three
lower lights, the central canopy is often shorter than
THE DECORATED STYLE. I I 1
the side ones, and elevated by being placed above a
panel containing a separate subject.
In many continental examples, the interior and groin-
ing of the canopy are carefully represented, especially
when the canopy is of considerable size, extending into
more than one lower light. Of these, instances may be
seen in the windows of the choir of St. Sebald's Church,
Nuremberg, some of which are dated 1379.
It would be a tedious and unprofitable task to enu-
merate the varieties of which Decorated canopies are
susceptible. Some very excellent and early arrange-
ments of canopies, extending into more than one light,
may be seen in some of the aisle windows of the choir,
Cologne Cathedral; in St. Thomas' Church, Strasburg;
and in a large south window of the transept of Augs-
burg Cathedral, restored after the original design, in
1837. The panels of colour which back some of these
continental canopies, are of excellent and varied design.
9. Tracery Lights.
The variety of designs for tracery lights in this style,
is equalled only by the variety of the shapes given to
the openings themselves.
The most common design is formed by inserting one
or more small coloured circles, or round pieces of co-
loured glass, having a rose or other pattern painted on
them, in the principal tracery lights, like insulated dots
of colour, the remainder of the lights being filled with
white glass, either plain or ornamented. The general
colouring of the tracery lights is, as before stated, regu-
lated by that of the rest of the window. When the
112 THE DECORATED STYLE.
lower lights are richly coloured, the tracery lights, in
general, abound with colour likewise, and vice versa.
The east window of the choir, Gloucester Cathedral,
seems to afford a striking exception to this rule ; but as
the lowest tiers of lights of this window are likewise
filled with white patterns, the whole arrangement may
perhaps be referred to a partiality of the glass-painters
of the Decorated period for abrupt contrasts of masses
of white and coloured glass. A desire to admit light
into the choirs may also have operated to the exclusion
of coloured glass from the tracery lights of the east
window; and this conjecture is strengthened by the
fact that the side windows of the clearstory, which are
divided by a transom into two parts, originally had only
their lower tiers of lights filled with figures and canopies,
the upper tier of lights, as well as the tracery lights of
each window, being filled, like the upper part of the
east window, with white patterns sparingly enriched
with coloured ornaments.
At the earlier periods of the style, when large cus-
pidated circles were common in architecture, it was not
unusual to occupy the central space, to the points of the
cuspidations, (and which is generally defined by a strong
iron ring, connecting the cuspidations together,) with
a circular panel, having an ornamental border, and con-
taining either a coloured picture or heraldry, or even
a coloured ornamental pattern of leaves, &c., drawn on
it in outline, or with scrolls of foliage on a coloured
ground; a narrow strip of white glass in either case
separating the pattern from the stonework ®.
The centre of the smaller cuspidated openings of
•^ See plate 17.
THE DECORATED STYLE.
113
the same period, and subsequently, is often filled with
a round panel, containing a head, or coloured leaves;
or is even sometimes composed of plain pieces of coloured
glass formed into a geometrical pattern; and the sur-
rounding foils are either wholly occupied with an out-
lined pattern on white glass, separated from the stone-
work by a narrow strip of white glass, or are enriched
by the insertion of a small circular coloured panel in the
centre of each opening \
, Occasionally the Early English scrollwork on white
glass, may be found inserted into the head of a geo-
metrical tracery window, the pattern being adapted to
the form of the openings.
Other tracery lights, partaking more or less of the
character of the quatrefoil, are in the earlier examples
frequently filled in part with a panel, or niche, contain-
ing a figure, or even with a figure by itself, executed in
colours, the residue of the opening being covered with
a white, or variegated scroll of foliage on a coloured
ground, and furnished with a narrow edging, or border,
of white glass next the stonework *. In the later ex-
amples, however, such scrollworks on coloured grounds
appear to have been discontinued, and the ground of
the opening, when a figure was introduced, was merely
diapered, or quarried with ornamented quarries ' ; or, in
' In the eighth No. of the Archieo-
logical Joarnal^ p. 863, is a representa-
tion of a curious piece of panelling, in
imitation of a window of three lights,
with three cuspidated circles in the
head, of the early part of the reig^ of
Edward I., which ornaments one side
of the chapter-house of Thornton Ahbey,
Lincolnshire. The centre of each of the
lowest circles, up to the points of the
cnspidations, is filled with a circle, in
relief, on which is carved an ornament
like a star: the fbils are left plain.
This affords a curious instance of the
manner in which a decoration usually
supplied by the glazing, is introduced
in stonework.
* See an example, '^Weale's Quar-
terly Papers," part i. plate 5.
' See phite 24.
114
THE DECORATED STYLE.
case a shield of arms was inserted, the rest of the space
between it and the border of the light, was occupied
with leaves, &c., represented by filling in round them
with black paint «. At all periods of the style, however,
the centre of the quatrefoil is often found to be filled
with a circular panel containing a coloured picture, or
pattern, and surrounded with white glass with leaves,
&c., in outline upon it ^.
The smaller triangular-shaped, and other openings,
were, in the earlier windows, generally flUed with a piece
of plain coloured glass, separated from the stonework
by a strip of white. In the centre was often introduced
a rose, or other circular ornament, on a piece of glass of
a different colour to that forming the ground of the
light. In the late windows, such openings were more
commonly ornamented with a leaf, shewn by filling up
the space round it with black paint, or a diaper pattern' ;
or an animal, bird, or fish, ingeniously contrived to fill
up the space, and separated from the stonework by
a narrow edge or margin of white glass ; or with a little
coloured rose, or other round object, surrounded either
with white or yellow leaves, represented in the manner
before mentioned ; or, with a diaper pattern.
In their selection of designs for the head of a window
the artists seem often to have been guided by a some-
what capricious taste: and it is frequently difficult to
discover any connexion between the subjects repre-
sented in the different lights; or between them and
those in the lower lights.
Sometimes, however, one general design occupies the
K See plate 23.
*» See an instance, "Weale'a Quar-
terly Papers," part ix. plate 2 ; nnd sec
Lasteyrie, HUtoire de la PeitUure sur
verre, plate xlii.
^ See plate 39.
THE DECORATED STYLE.
115
whole of the tracery lights of a window, portions of it
being represented in each. The Day of Judgment is
a rather favourite subject for this situation. Christ,
seated on a throne, usually occupies the principal top-
most light, and angels and saints those in its im-
mediate vicinity. Below are represented the dead rising
from their tombs, &c. Each light generally embraces
a distinct portion of the subject, and is always bordered
with a narrow strip of white glass, which produces a
very brilliant and sparkling appearance. The unity of
the design is sometimes assisted by an uniformity of
ground colour in certain groups of tracery lights.
Sacred emblems are far more frequently to be met
with in the tracery, than in any other part of a window :
but they do not appear to have been very favourite sub-
jects during the Decorated period. When the principal
tracery light is of moderate size, it is sometimes appro-
priated to an emblem, but when large, a smaller tracery
light is usually assigned for this purpose.
10. Heraldet.
The simple shield, unaccompanied with either helmet.
or mantling, was in use
throughout this period :
it was always of the
heater form, becoming,
however, somewhat longer
and narrower, its sides
being more nearly par-
allel to each other in their
upper parts, towards the
Cut 18.
o Hn
Fawkham Ghttrch, Kent.
Il6 THE DECORATED STYLE.
end of the style ''. The earlier shields are often of con-
siderable size, and are, in general, not ornamented with
diaper patterns.
They are usually inserted by themselves in the upper
part of a lower light', or sometimes on a circular coloured
panel in the midst of a geometrical tracery light. In
some of the windows of the chapter-house at York, two
shields are thus placed in, a circle, the one above the
other ".
The later shields are very richly "^ "■
diapered, and are generally of
smaller size, to allow of their in-
sertion into panels in the lower
lights and into the tracery lights
of the later Decorated windows,
where they are often represented
as if suspended by a strap from
a stem of foliage.
Four quarterings are not un-
usual even in very early shields, on«»»''=i"'<anioi.,B*«.
but the charges are always very simple.
The introduction of heraldic devices, merchants* marks,
&o., into the borders of windows, has been already no-
ticed'.
la ibitld in pl>t« 18, whieli
it of the earl; part of the fourteenth
oentarj, with thkt in plate 23, which ii
of the elate of the Qecanted period.
' See LjwHU' "Drrbyihire," p. ccxii.
■" See a fiunt oatiine of thii arrange-
ment, Britton'a " Hiit. of ¥ork Ctithe-
drsl," plate ixili.
• The caatle reprennted in cat 18,
originally fanned part of a coat of armi.
Argent, a crow galea charged with five
caitlcB or. Tbi* ii evident trma an cn-
gnting of the Bane window, in which it
now it, in Thorpe'* CtuimnaU Soffme,
facing p. 114, in which two eiamplei of
tbii coKt are given. The eastlea are now
inieited in the border of the window,
and being separated fWim each other,
bj pieces of plain red gUu, fonn a verj
genuine- looking heraldic border. The
caitle is of the eorlj part of the four-
teenth centnty. An heraldic lion, of the
middle of the fourteenth century, ia re-
premnted in plate 13. The fleucKle-liB
THE DECORATED STYLE.
117
II. Lettebs.
The letter generally used, was the Lombardio capital °,
but towards the middle of the style the black letter was
introduced, and employed concurrently with the Lom-
bardic.
12. Mechanical Consteuction.
Glass-paintings of this period present hardly any pecu-
liarities in this respect. The lower lights being furnished
with horizontal saddle-bars, the work is leaded together
in rectangular glazing panels, which are bound to the
saddle-bars with leaden bands. The glazing panels gene-
rally coincide in length with the principal divisions of
the subject represented ; and the leads, when not thrown
into the outline, with the course of the saddle-bars. In
German leadwork of this period, each glazing panel is
often surrounded with a double lead, which greatly adds
to the stability of the work, but this precaution does not
appear to have been taken by the English glaziers.
The glass of the tracery lights is likewise attached to
horizontal, or perpendicular saddle-bars, sometimes to
both, or to the circular iron rings before mentioned,
when they exist, in the cuspidated circles of geometrical
tracery.
^^
SECTION III.
THE PERPENDICULAR STYLE.
Although Perpendicular glass-paintings, taken collec-
tively, are easily distinguishable from Decorated glass-
paintings, by the form of their details, the greater
in cat 19 is from an example of the
latter half of the fourteenth centuiy; it
should be compared with the fleurs-de-lis
in plate 18, which are of the commence-
ment of the century.
« See plate 22.
Il8 THE PERPENDICULAR STYLE.
breadth and delicacy of their colouring, and their more
refined and finished execution, these changes were in-
troduced so gradually as to render it diflScult, if not im-
possible, to determine exactly when the Decorated style
ended, and the Perpendicular style commenced. I have
made an arbitrary selection of the year 1380 as the
period about which the change of style may be con-
sidered to have taken place ; but the Perpendicular style
can hardly be said to have become thoroughly esta-
blished until the beginning of the fifteenth century.
During this interval, therefore, glass-paintings may be
classed as Decorated, or Perpendicular, accordingly as
Decorated or Perpendicular features prevail in them.
I think that the Perpendicular style may be deemed to
have terminated with the use of Gothic ornamental de-
tails, about the year 1530 ; consequently, one hundred
and fifty years, or thereabouts, may be assigned as the
period of its duration.
The substitution of ornaments of a peculiarly flat, deli-
cate, and conventional character, for the more decided,
and naturally-shaped leaves, of which so much of the
detail of Decorated glass-paintings is composed, con-
stitutes a striking feature of the Perpendicular style,
though one which was by no means fully developed
until the fifteenth century. The increasing use of the
yellow stain, and of white glass, in lieu of pot-metal
colours, and the gradual adoption of a less mosaic, and
broader style of colouring, may be traced throughout
the interval between 1380 and 1400, but the pre-
dominance of white and yellow stained glass, over the
other colours, is perhaps more strikingly manifested
after the beginning of the fifteenth century.
THE PERPENDICULAR STYLE. II9
The stipple method of shading, which so materially
increased the pictorial resources of the art of glass-
painting, appears to have been introduced about the
commencement of the fifteenth century. It is true that
glass-paintings did not display the full powers of stipple
shading until upwards of a hundred years afterwards,
but it was immediately discovered that this system of
shading afforded remarkable facilities for imparting a
highly finished appearance to glass-paintings. The intro*
duction of stipple-shading may also be regarded as
haying sensibly affected the colouring of glass-paintings ;
for the ancient artists appear to have soon perceived
that mosaic arrangements of stiff and powerful colours,
were unfavourable to a display of the more minute
gradations of light and shade in pictorial compositions ;
and that the very shadows themselves tended to correct
the coldness of white glass, and to increase the richness
of the lighter kinds of coloured glass.
These considerations may serve to account both for
the introduction of large masses of white glass, relieved
with the yellow stain, into the richest picture windows
even of the commencement of the fifteenth century,
a practice which involved the general adoption of a
broader style of colouring ; and also for the diminished
intensity of tint in the different kinds of white and
coloured glass, as well as the greater harmony, liveli-
ness, and gaiety of their hues, and evenness of colour,
in proportion as the style advanced, and the new prin-
ciple of colouring was carried out.
The taste for broad and soft colouring, and delicacy of
execution, manifested in Perpendicular picture windows,
naturally, or rather necessarily, extended itself to Per-
I20 THE PERPENDICULAR STYLE.
.pendicular pattern windows also, which display these
qualities in as remarkable a manner as the former class
of windows. Owing to these circumstances, Perpen-
dicular glass-paintings in general, when contrasted with
Decorated glass-paintings, are apt to appear paler, and
less rich in colour; in their general effect, however,
they are more brilliant, softer, more silvery and deli-
cate; and what they seem to lose in power they gain
in refinement
The earlier Perpendicular picture glass-paintings are
more bright and sparkling than the later examples, in
which the powers of stipple-shading are more perfectly
developed; but the deeper shadows, which detract in
a certain degree from the lustre of the glass-paintings
of the sixteenth century, sensibly add to their warmth
and richness ; and besides, render them less flat in ap-
pearance, and more effective and distinct when seen
from a distance.
The arrangements of this style are more numerous
and varied than those of any other, and seem to have
been adopted without reference to any fixed principle.
I shall confine myself to a short notice of some of the
most common and striking.
The figure and canopy window, probably owing to
the grandeur of effect produced by the simplicity of its
design, and the facilities it afforded for a display of
broad colouring, was the favourite arrangement of this
period. It was most extensively employed ; and is to
be found in all situations, whether at the sides, or the
extreme ends of a building, below, or aloft.
In form, the canopies resemble those in the taber-
nacle-work of the time ; they generally have projecting
THE PERPENDICULAR STYLE. 121
fronts, and are large in proportion to the figures they
cover, but not so large as to overpower them, as is
sometimes the case in Decorated work.
The canopy, in general, fills up the whole of the light
in which it is placed ; when however the light is suffi-
ciently long, one or more small panels, containing pic-
tures, symbolical devices, or armorial bearings, are not
unfrequently introduced beneath the base of the canopy,
A Perpendicular figure and canopy window greatly
differs from a Decorated example, not only in the archi-
tectural details of the tabernacle-work, but also in the
disposition of its colours. It has before been stated that
every pot-metal colour used in the glass-paintings of the
time, may generally be found in the architecture of
a Decorated canopy. But all the architectural members
of a Perpendicular canopy, with the exception some-
times of the little windows in its head, or the groining
of the principal niche, are composed of white glass ; the
crockets, finials, and other details, being stained yellow.
The strong pot-metal colours are principally confined to
the ground with which the head of the canopy is backed,
to the figure under it, and the background of the niche.
This practice of surrounding, as it were, the colouring
of the picture with masses of white and yellow stained
glass, is not confined to figure and canopy windows, but
may be observed in almost all Perpendicular designs.
It may indeed be considered as an essential feature of
the style.
Each lower light of a Perpendicular figure and canopy
window is occupied with a figure and canopy, and the
repetition of the subject produces a very striking effect
in all cases, and especially when the window itself is
122
THE PERPENDICULAR STYLE.
divided into several tiers of lights by transoms. The
principal tracery lights are filled either with small
figures and canopies, or with heraldry, or foliaged orna-
ments ; in all of which white glass prevails, more or less
enriched with the yellow stain : and the smaller tracery-
lights with white and yellow stained ornaments, or plain
pieces of coloured glass ^,
Another arrangement of this style, of more common
occurrence however during the first half of the fifteenth
century than afterwards, and which for convenience sake
may be termed th^ panelled arrangement; consists in
filling each of the lower lights, with the exception some-
times of a small space near the bottom, with a series of
flat-topped canopies or panels, of the same width as the
light itself, placed closely together; each canopy or
panel containing a picture executed in white and pot-
metal glass.
The tracery lights of such a window are usually oc-
cupied with small figures and canopies, or ornaments,
and the vacant space, if any, below the subjects in the
lower lights, is in general mled with ornamented quar-
ries, or heraldic decorations, &c.*^
The various panels are usually of the same size, and
p See representations of fignre and
canopy windows, Lasteyrie, Sistoire de
la Peinture sur verre, plate Ixix.; Ly-
Bons' "Gloucestershire," p. 109. See
also Hedgeland's "Description of the
Windows of St. Neot's Church, Corn-
wall," 4to. Lond. 1830, plates ii., iii.,
iv., v., vi., X., xi., xii. As these last
plates represent the windows after their
"restoration" in 1829, they are, I fear,
not very trustworthy.
<i See representations of panelled ar-
rangements, Lasteyrie, Histoire de la
Peinture ntr verre, plate liv.; Hedge-
land's "Description of the Windows of
St. Neot's Church, Cornwall," plates i.,
viii., ix., xvi. See also a plate of the
east window of York Minster, from a
drawing by J. Haynes in 1736, pub-
lished at York, 1832 ; a faint outline of
the glass in this window is likewise
given in Britten's "Hist, of York Ca-
thedral," plate XXV.
THE PERPENDICULAR STYLE.
123
their subjects commonly bear some relation to each
other; but instances may be met with where a subject
much longer than the others is represented in the centre
light of the window, occupying as much space as two
or more of the smaller panels in the side lights, with
which it is made to range.
In other windows may be noticed a belt of low-
crowned canopies, each covering a figure, or a group of
figures, executed in coloiirs; which crosses the lower
lights, as in a Decorated window ; the space above and
below the canopies being filled with ornamented quar-
ries, or in German examples, with round glass.
In other windows such a canopy or panel is placed in
the middle of the central lower light only, the rest of
the window being filled with ornamented quarries, &c.
In other examples a figure standing on a bracket,
occupies the central portion of one, or each of the lower
lights of a window, without any canopy or background,
the space above and below the figure being filled with
ornamented quarries *", and occasionally enriched by the
insertion into it, above or below the figure, of a small
panel, or wreath, containing either a picture or a coat of
arms, or a badge, a sacred emblem, monogram, or the
like *. A modification of this arrangement may be seen
in small three-lighted windows in the fifteenth century,
where a representation of the Crucifixion occupies the
central portion of the middle light ; and figures of the
' See Lysons* "Gloucestershire/' p.
ziii.; see also the window of West
Wickham Church, Kent, Lysons, vol. iv.
p. 353. The figures in this window
have likewise heen engraved in Weale's
" Quarterly Papers," vol. ii.
* Three examples of figures standing
on brackets and on quarry grounds are
given in the second vol. of the Exeter
Diocesan Architectural Society. In one
of the engravings, a wreath enclosing
the instruments of the Passion, is intro-
duced, as above described, below the
bracket.
124 'THE PERPENDICULAR STYLE.
Virgin Mary and St. John, standing on brackets, take
up the central portions of the outer lights, each subject
being surrounded with ornamented quarries ; and some-
times having beneath it the portraits or arms of the
donors of the window.
Pattern windows in this style are by no means un-
common. They are almost always made up of quarries
of white glass, ornamented with stained yellow devices
and borders. Badges, shields of arms, or emblems,
painted on small panels of glass, usually of circular
form, are often introduced into either their lower or tra-
cery lights, or into both. German pattern windows are
generally composed of round glass.
I have hitherto been speaking of arrangements con-
sisting of separate' subjects, not extending beyond the
limits of a single lower light. It was, however, by no
means an uncommon practice, in this style, to extend
the same design into two or more adjacent lights, or
even over the whole window. This practice, though of
considerable antiquity on the continent, does not appear,
from existing examples, to have been very freely adopted
in England until towards the close of the fifteenth cen-
tury ; when it was often resorted to with the happiest
effect, as a means of representing, on a scale as large as
the figures in figure and canopy windows, groups of
figures and other subjects, which, if confined within the
narrow limits of a single light, must have been reduced
to dimensions so insignificant as to prevent their being
distinctly seen from a distance : a defect which is strik-
ingly exemplified in the earlier panelled arrangements.
Subjects, when extending over the whole of a window,
are seldom surrounded with any kind of ornament, the
THE PERPENDICULAR STYLE.
125
picture reaching quite up to the outside limits of the
window : so, canopies, or other architectural ornaments,
are frequently dispensed with, late in the style, even
when the design itself does not extend beyond the limits
of a single light. In general, however, when the same
picture occupies some of the lower lights of a window,
it is included within a canopy, or a bower of foliaged
work. These canopies being principally composed of
white, and yellow stained glass, are of great use in keep-
ing the different subjects distinct, when, as is often the
case, several pictures of different dimensions are in-
cluded in the same window. The effect of such an
arrangement, when properly managed, is extremely
satisfactory, and may be likened to that of a number of
great and small pictures framed, and hung up close to-
gether. In some instances an architectural design, in
the form of one general canopy, traverses all, or several
of the lower lights of a window, but includes beneath its
arch several distinct figures or subjects, each confined
within the limits of a single light ^
The earlier wheel windows of this period have a star-
like appearance, like those of the last; the later ex-
amples, however, more nearly resemble a rainbow. The
first are composed of variegated patterns, while in the
last the colours are collected together towards the cir-
cumference, and in the eye of the window, in concentric
circles of different widths, and sometimes nearly in the
prismatic order. A broad space of white glass, some-
times enriched with yellow ornaments, separates the
* Parts of a canopy of this description
are represented in some of the plates
taken from the glass in the east window
of the choir, Winchester Cathedral, in
the second toI. of Weale's "Quarterly
Papers.'
$9
126
THE PERPENDICULAR STYLE.
colour in the eye of the window, from that in its cir-
cumference.
The earlier Jesse windows consist of a vine springing
from a recunabent figure of Jesse ; and which forms, by
the crossing of its branches, a regular series, sometimes
of oval, but more frequently of hexagonal openings, in
each of which a figure is placed. The ramifications of
the vine, which in general extend over the whole or
greater part of the window, independently of the mul-
lions, are usually white, and the leaves which spring
from them are either white or variegated. The ground
of the whole window is often of the same tint, but
sometimes the insides of the openings appropriated to
the figures are of a different colour to that of the general
ground of the window : in other instances, when this is
not the case, an alternation of colour throughout the
whole design is produced by making the entire ground
of each light alternately, red and blue^
In the later Jesse windows, the vine assumes a more
playful and varied form. It is generally placed on a co-
loured ground, and the figures of kings and patriarchs,
&c. stand upon its branches, or sit upon foliaged stools
growing out of them. The branches of the vine, as well
as its principal leaves, are generally coloured white or
yellow; many of its leaves, however, are formed of
various pot-metals. The Jesse often occupies only two
or three lights of a window, the remaining lights being
filled with other subjects.
* This is the case with the east win-
dow of the chapel of Winchester Col-
lege. The cast window of Oloacester
Cathedral, a figure and canopy window
late in the Decorated style, exhibits
a similar alternation of oolonr. The like
principle may be recognised in the east
window of the north aisle of Levington
Church, Cambridgeshire, a Jesse of the
first quarter of the fifteenth century.
THE PERPENDICULAR STYLE. 1 27
I shall conclude my remarks on Perpendicular ar-
rangements, which I fear have been already drawn out
to a wearisome length, by observing that they comprise
not only a great variety of new combinations, but also
almost every old one which has before been noticed, and
every variation of which it is susceptible. Owing to
this circumstance the Perpendicular style is greatly
superior to the Decorated and Early English, in re-
sources and general applicability.
The ante-chapel of New College, Oxford, contains
some of the best examples extant of early Perpendicular
glass. All its windows, except the west, retain their
original glazing, which is generally in a very perfect
state. They are all figure and canopy windows; and
may be said to be all of the same date, though some
differences of style are observable in them, marking in
a very satisfactory manner the transition almost from
Decorated to Perpendicular work. The figures and
canopies which most partake of the Decorated character,
are in the east windows of the ante-chapel : but even in
these may be observed the principle of excluding all
colours except white and stained yellow from the archi-
tectural members of the canopy. The windows of the
body of the chapel retain their original glazing only in
their tracery lights. I have little doubt but that these
windows originally were likewise figure and canopy
windows. New College Chapel, as is well known, has
no east window; but the general arrangement of the
glass in a contemporary building of like character, and
furnished with an east window, has fortunately been
preserved at Winchester College. The original glass of
the chapel of Winchester College, with the exception
128
THE PERPENDICULAR STYLE.
of a few trifling fragments, does not exist, but its design
has been faithfully copied in modem glass. From this
it appears that all the side windows of the chapel were
originally figure and canopy windows, the canopies, like
those at New College, Oxon., being always confined
within the limits of a single light ; and that the east
window was filled, as to its tracery lights, with a re-
presentation of the Day of Judgment, and as to its
lower lights, with a magnificent Jesse. The great west
window of Winchester Cathedral, is a figure and canopy
window, of very early date. From the fragments which
remain I have ground for believing, that all the side
windows of the nave, and aisles, and clearstory, of the
nave of Winchester Cathedral, were figure and canopy
windows.
In the choir of York Minster, the glass of which is of
different dates, varying from the end of the fourteenth
century to the middle of the fifteenth % figure and canopy
windows, panelled arrangements, and combinations of the
two. are rather promiscuously employed. The original
clearstory windows are indeed figure and canopy win-
dows, but the great east window, of which a very distant
view is obtained, is but a panelled arrangement, its lower
lights being filled with a series of panels representing
many of the occurrences recorded in the Bible, each in-
cident forming a separate picture. Its tracery lights are
adorned with single figures and ornaments ^. The great
* The foregoing examples are cited
principally with the object of directing
the student's personal attention to them.
The dates of many of these windows
have been ascertained with considerable
exactness, in " Brown's History of York
Minster/' to which valuable work the
reader is referred for farther informa-
tion.
^ This window has been engraved, see
the former note (q, p. 122). The contract
for glazing it is dated 10th Aug. 1405,
THE PERPENDICULAR STYLE. 1 29
north and south windows of that curious projection,
which may be called the eastern transepts, are likewise
panelled arrangements. The lower windows of the aisles,
with the exception of a fine Jesse, of similar character
to that in the chapel of Winchester College, are either
figure and canopy windows, or have their lower lights
occupied with large figures and canopies, and a series of
panels beneath them.
I may refer to the ante-chapel of All Souls' College,
Oxford, as aflbrding an example of a general arrange-
ment of the reign of Henry VI. All the windows of the
ante-chapel are figure and canopy windows, their details
are of pure Perpendicular character.
Nettlestead Church, Kent, a small building consisting
merely of a tower, nave, and chancel, retains most of its
original glazing. The south windows of the nave were
almost totally destroyed by a storm many years ago, but
enough of the glass still remains, I think, to shew that
like the windows on the north side, they were originally
figure and canopy windows. All the glass in the nave
is of the latter part of the reign of Henry VI. That in
the chancel appears from an inscription to have been
put up in 1465, and affords a rather striking contrast to
that in the nave, being more simple in its design, and
much less richly coloured. The tracery lights of the
chancel windows are filled with heraldry, emblems, &c.,
and stipalates for the completion of the
work in three years from that time. John
Thornton of Coventry, the glazier, in
case he performed the work to the satis-
faction of his employers, was to receive
the sam of £10 in silver, over and ahove
the stipulated price. Whether or not he
was influenced by this consideration, it
must be admitted that he has succeeded
in producing not only one of the highest
fiuished, but also one of the most artistic
works of the time. The details and exe-
cution of this window are of the purest
Perpendicular character. He was bound
by the contract to perform the painting
with his own hand.
130 THE PERPENDICULAR STYLE.
and judging from the remains in the north and east
windows, their lower lights each contained a single
figure, or other subject, supported by a bracket, and
placed on a ground of ornamented quarries. A separate
subject appears to have been inserted at the bottom of
the light. In the east window, portraits of its donors
are thus introduced.
Many of the churches in York afford examples of
general arrangements. I may mention All Saints'
Church, North-street, in which figure and canopy win-
dows, and panelled arrangements, appear to be used
promiscuously : and also St. Martin's-le-Grand Church.
The west window of this church has five lower lights,
each of the four outer of which contains three tiers of
square-headed panels, including separate subjects, the
upper panel being surmounted with a fine canopy. In
the centre light a large figure of St. Martin, under
a canopy, is introduced, which ranges with the two
upper tiers of subjects and canopy above them, in the
outer lights ; a separate subject ranging with the lowest
tier of pictures in the outer lights, being placed below
the feet of the figure.
The great north window of the western transept of
Canterbury Cathedral appears to have been originally
a figure and canopy window. It contains portraits of
Edward the Fourth's family, and like some of the rather
later windows of Great Malvern Church, and the east
window of Little Malvern Church, Worcestershire, has
a remarkably soft and silvery appearance.
The seven east windows of the choir of St. Lawrence's
Church, Nuremberg, which are mostly of the close of
the fifteenth century, are excellent specimens of panelled
THE PERPENDICULAR STYLE.
131
arrangements, consisting of an intermixture of small
panels confined to a single lower light, with larger
panels extending into two or more such lights, and
varying in length and shape as much as in breadth.
Similar arrangements are likewise aflfbrded by the five
windows in the north aisle of the nave of Cologne
Cathedral, which are of the early part of the sixteenth
century. In all these windows may be observed the pro-
gressive development of the powers of stipple shading,
and the more pictorial character assumed by glass-paint-
ings in consequence. The white glass employed is sil-
very, and almost colourless, its tint inclining to yellow.
Fairford Church, Gloucestershire, contains perhaps
the best and most extensive specimens existing in this
country of painted glass of the early part of the six-
teenth century *. Nearly all of its twenty-eight windows
■ The peculiar character of the Fair-
ford gbiisB-paintings induces me to class
them as a work of the sixteenth century.
The tradition (for it amounts to no-
thing more) that Fairford Church was
founded by John Tame in 1493, /or the
reception of this glcue which he hcidjust
then taken in a valuable prize, is impro-
bable; for it can hardly be supposed
that this costly edifice was built for the
sake of such a drug as these windows
must then have been considered, however
highly we may now esteem them. The
facts indeed seem to point to a different
oonclnsion. The windows of the church
are late Perpendicular, of thoroughly
English character ; yet the glass-paint-
ings exactly fit the stonework, which
they would hardly have done had they
been originally designed for the windows
of a foreign building. Moreover, Eng-
lish royal cognizances are introduced in
some of the tracery lights, on the south
side of the church, the glass of which
does not differ in character and effect
from that in the other windows. The
story, however, seems to admit of an ex-
planation reconcilable with the date I
have ventured to assign to the glass.
Mr. Tame may have taken a rich prize,
and applied t^ proceed* to the building
of the church, and adorning of its win-
dows with painted glass. He died in
1500. The church was completed by
his Fon, Sir Edmund Tame, who died in
1534. [Byland's " Hist, of Gloucester-
shire," Lond. 1721, p. 668.] In all pro-
bability the windows Were not painted
until the edifice was ready, or nearly
ready for their reception. In one of
the windows occur the Prince of Wales'
feathers, which clearly alludes either
to Arthur, who was created Prince of
Wales 1489 and died 1502, or to Henry
(afterwards Henry VIII.) created Prince
Feb. 1503, or Edward the son of the
latter, bom 1537. The style of the
glass, however, forbids the supposition
that the Prince alluded to was other
than Prince Henry.
2
132 THE PERPENDICULAR STYLE.
retain their original glazing, which is generally in a very
perfect state ; and they afford not only valuable examples
of particular arrangements, but also of the general dis-
position of subjects throughout an entire building. All
the clearstory windows of this church are figure and
canopy windows, but with the exception of four figure
and canopy windows in the north side of the north
aisle, and four more in the south side of the south aisle,
towards the western end of the edifice *, the other win-
dows are all filled as to their lower lights with one or
more pictures illustrative of Holy Writ, The great west
window, for instance, is entirely occupied with a repre-
sentation of the Day of Judgment : the east window has
its upper tier of lower lights filled with a painting of
the Crucifixion, while in each of the five lights of the
lower tier, is represented some incident of our Saviour's
life, &c. These glass-paintings exhibit in a striking de-
gree the great progress which the art had made in the
early part of the sixteenth century. The shadows are bold
and deep, but perfectly transparent, the drawing of the
draperies is excellent, and that of the figures themselves
tolerably correct : and a general richness and warmth is
imparted to the picture by using a fine brown enamel
for shading, the colour of which is assisted by the yellow
tone of the white glass. As a glass-painting the great
east window of Winchester Cathedral is not inferior to
any work at Fairford, but it has sustained such damage
at different times that its general effect can scarcely be
judged of \
*■ Two of the Fairford figures are en-
graved in ** Fowler's Mosaic Pavements
and Painted Glass."
I* Bishop Fox, whose armorial bear-
ings and motto are introduced into this
window, held the see of Winchester
from 1509 to 1528.
I THE PERPENDICULAR STYLE. 1 33
The windows of the church of St. Mary of the Capital
at Cologne, are valuable examples of late German Per-
pendicular glass, and of the mode in which round glass
may be combined with painted glass in the same win-
dow. The windows themselves consist of three lower
lights and a head of tracery. In some, only the central
lower light is adorned with a painting, the outer lights,
as well as the tracery lights, and such part of the central
light as is not occupied with the painting, being fur-
nished with ornamented borders, and glazed with round
glass. Stars of colour, which will be more particularly
described hereafter, are employed to enrich the round
glass in the outer lights. In other windows all the
lower lights are, in equal degree, partially filled with
painted glass, which sometimes consists of one general
design, sometimes of several distinct subjects, the rest
of the window being glazed as before mentioned with
round glass, &c. In one window a square-headed canopy
with a picture under it, occupies the middle part of the
central lower light only : an arrangement which though
resembling a Decorated arrangement in character, is not
unfrequent in late German Perpendicular glass.
The round glass in the windows of St. Mary's of the
Capitol, has been at some not very distant time in-
judiciously smeared over with what appears to be blue
varnish colour. This of course will in time peel off, and
leave the glass uninjured. For the present, however,
in order to judge fairly of the effeot of round glazing
in combination with painted glass, recourse must be had
to other examples where the round glass has been left
untouched ; as for instance the windows of St. Peter's
Church, Cologne, which I shall more particularly nojioe
134 THE PERPENDICULAR STYLE.
in the course of my remarks on the Cinque Cento
style.
I now propose to give a summary of the most re-
markable Perpendicular details before I enter upon their
more minute examination.
The grand characteristic of all Perpendicular glass-
paintings is delicacy, sometimes even bordering on
timidity, and general breadth of effect. It displays
itself not merely in the highly-finished execution of
the figures, and the general style and tone of colour-
ing, but in the form of the most trifiing and subor-
dinate ornaments.
Perpendicular figures are in general superior to the
Decorated in grandeur and dignity, their attitudes are
less fantastic, and their draperies possess a simpler and
still broader character. The elaborate execution of the
work is however apt to occasion the countenances of
the figures to be less distinct and striking when viewed
from a distance; but this defect is more observable in
glass-paintings prior to the sixteenth century than after-
wards, when a bolder style of shading in great measure
supplied the loss of the strong Decorated outlines.
Perpendicular figures are more commonly too squat
than too tall in their proportions. A light pink glass
was frequently used, early in the style, for the faces and
naked parts of the figures ; in England, however, it was
soon discontinued almost entirely, and white glass sub-
stituted, but fiesh-coloured glass is occasionally to be
met with both here and on the continent, at all periods
of the style. In the sixteenth century the flesh is
coloured by slightly tinting the white glass with a red
enamel, resembling china red. The hair and beards of
THE PERPENDICULAR STYLE. 1 35
the figures are frequently stained yellow, sometimes
however they are merely coloured brown. Stipple
shading was almost universally employed after the close
of the fourteenth century, but smear shading is likewise
occasionally to be met with throughout the style.
The canopies are sometimes flat-fronted, like the
Decorated, in general however the front of the canopy
is three-sided, and projects beyond the figure. Until
towards the close of the fifteenth century, the space
beneath the canopy not occupied by the figure, was
usually filled up with a stiff ground, reaching to the
groining of the canopy, and terminating at bottom in
a fringe, like a piece of tapestry. In the latter examples,
the plan of the niche is in general distinctly shewn.
A piece of tapestry is suspended behind the figure, from
a rod on a level with its shoulders ; above it, the back
of the niphe is often represented as if pierced with win-
dows. The figure generally stands on a pavement, ex-
hibited in very sharp perspective; when the space al-
lows, the canopy is commonly furnished with a regular
pedestal. As I have before stated, the architectural
members of the canopy, with the exception of the groin-
ing of the principal niche, and the little windows in the
head of the canopy, are all composed of white and yellow
stained glass. The smaller crockets from almost the be-
ginning of the fifteenth century, are usually represented
like rounded knobs of stone ^, and the larger crockets
and finials assumed, as the style advanced, a variety of
fantastic shapes. In the earlier canopies, the later De-
corated details prevail \
Xhe ornamental work on the draperies, on the quarries,
« See plate 59. <* See plate 25, fig. 2.
136
THE PERPENDICULAR STYLE.
in the borders of the windows, in the architecture of the
canopies, in diapers, &c., after struggling with the Deco-
rated until the beginning of the fifteenth century, as-
sumed an entirely new character, wonderfully har-
monizing with the general breadth and delicacy of Per-
pendicular glass-paintings. In form it is highly con-
ventional and feathery ; its outline is tender and varied,
and on the whole it more resembles embroidery work, in
its flatness and irregularity, than anything else *.
The early Perpendicular white glass closely resembles
the late Decorated in tint and in richness of tone; it
however gradually became colder, until towards the
beginning of the fifteenth century, when it assumed
a cold blue green tint, which it preserved, with but
little change, until the end of the reign of Henry VI.,
varying, however, very considerably in depth in different
parts of the country. It then became rather yellower,
and uniformly paler, but did not wholly lose its blueness
until perhaps the end of the reign of Edward IV. ; the
glass then wholly assumed a yellow tint, not the rich
yellow tint which is sometimes observable in Decorated
glass, but a very much lighter and colder tinge of
yellow; indeed, this glass would appear to an unprac-
tised eye quite white. It continued of the same general
yellow tint, in some instances, of course, inclining a little
* Compare plate 58, wbich is taken
from an example of the latter part of
the fourteenth centary, with the later
Perpendicnlar ornaments represented
in plates 48, 56, 57, 61, 62, and
64, &c. The Decorated lion's head in
plate 42, should also be compared with
the Perpendicular example in plate 65,
and the early Perpendicular rose in
cut 21 with the late one in cut 22.
I should add, that the contrast between
Decorated and Perpendicular details is
in reality greater in the original glass
than in these engravings, for the ont-
lines used in Perpendicular work, though
sometimes as broad, are not in general
so dark as those used in Decorated work,
a distinction which could not have been
easily preserved in the plates.
THE PERPENDICULAR STYLE. 1 37
more to blue, in others a little more to yellow, during
the remainder of this style, and also throughout the
whole of the succeeding style.
The red glass, towards the end of the reign of
Henry VI., is far more scarlet and brilliant, though
paler in tint than that of the early part of the fifteenth
century. The streakiness and irregularity of the Early
English and Decorated ruby, are not observable in the
Perpendicular ruby, though a considerable, but gradual
yariation in depth of colour from one side to the other
of a large sheet of glass, may often be remarked.
It was during the Perpendicular period that the prac-
tice arose of grinding off the coloured surface of ruby
glass, so as to produce white or yellow objects on a red
ground. Blue glass in Perpendicular glass-paintings
is almost invariably light, and of a soft purplish hue.
It took the yellow stain remarkably well, and is ex-
tensively used in the later glass-paintings, broken and
varied with the stain, in pictorial backgrounds. Some
of the most harmonious and exquisite tints to be found
in coloured glass are afforded by the purples and pinks
of this period ; they are at once light and brilliant, and
rich and soft in tone. The same remark applies to green
glass likewise.
The yellow stain varies much in colour according to
that of the white glass. When the latter is cold and
green, the yellow stain is cold and green also. The
yellow stain, however, does not appear to have affected
the Perpendicular white glass with the same degree of
intensity as it did the Decorated, until the reign of
Edward IV., and afterwards, when the white glass it-
self generally assumed a yellow tinge. The stain then
'38
THE PERPENDICULAR STYLE.
became deep and golden, and the glass- paintings lost
in consequence much pf that coldness which is so re-
markable a feature in the earlier Perpendicular works.
*' Double staining" was occasionally resorted to towards
the close of the style.
Heraldry aflfords one of the most splendid sources of
ornament of this period. The shield, with numerous
and complicated quarterings, is often introduced, with
all the accompaniments of helmet, mantling, crest, &c.
Sometimes the shield is used alone, and sometimes it is
enclosed within a very beautiful wreath. The earlier
shields are in form simple escutcheons, straight at top,
the sides parallel for a little distance, and then brought
together like a reversed Gothic arch. Towards the six-
teenth century the same shaped shield became squarer
in form, and less pointed at bottom. Almost every
variety of shield may be met with from the latter part
of the reign of Henry VI. Some of the forms are ex-
tremely fanciful and elegant '.
I shall now endeavour to describe these matters more
at large under the following heads.
1. Texture and Colour of the Glass.
The glass at the beginning of this style of course did
not dijffer from that used at the close of the last ; like it, it
was rich and brilliant. A considerable change, however,
seems to have taken place during the first twenty years
' See plates 49 and 60. Large coloarcd
engravings of fonr of the windows in the
hall of Ock weirs House, Berks., are given
in Lysons' « Berks," p. 247.
In this hall are also the arms of
Richard Beauchamp, who became Bi-
shop of Salisbury (in which diocese Ock-
well's House was formerly situate) in
1450. As Henry VL, whose arms are
in one of the windows, was deposed in
1461, these two dates seem to define the
period to some part of which the Ock-
well's glass should be assigned.
THE PERPENDICULAR STYLE. 1 39
of the Perpendicular period, involving a diminution in
the depth of some colours, and a loss of richness in
others. The white glass appears to have sustained more
variation than any other glass, and the changes in its
texture aflford, on the whole, tests of date.
The white glass used in the earlier Perpendicular
glass-paintings, was like the late Decorated white glass,
of a rich sea-green tint, and of great thickness in the
sheet. It gradually lost its richness, becoming towards
the commencement of the fifteenth century, of a cold
greenish blue hue, but preserving its sparkling bril-
liancy, as well as its general thickness in the sheet. It
continued of this cold tone; and its colour in the
southern and western parts of England was scarcely
diminished in depth until the close of the reign of
Henry VI. In the north, however, the white glass
even of the early part of the fifteenth century is in
general much less strongly tinged than that in other
parts of the country.
During the reign of Edward IV. the white glass, which
had before in general varied much in thickness, became
thinner, and of a more uniform substance throughout the
sheet ; and its tint gradually changed from a cold blue
green to a cold yellow green, which last tint it had uni-
versally assumed by the end of the reign of Edward IV.
It preserved the same yellow hue until the close of the
style. This change in the complexion of the glass will
be found, I believe, to be generally true, in England at
least; and I have noticed similar variations in foreign
glass. It is of course subject to many exceptions and
qualifications, arising no doubt firom accidental circum-
stances connected with its manufacture. Thus, for in-
140 THE PERPENDICULAR STYLE.
stance, in the reign of Henry VII. pieces of white glass
may occasionally be found of as rich a yellow hue as the
late Decorated. On minute examination, however, con-
siderable diJBferences in texture will be discovered, the
later glass being fuller of air-bubbles than the earlier
glass; its colour also approaches the dusky tint of
common bottle-green glass. The yellow stain was
materially influenced by the colour of the white glass.
It operated more strongly on the yellow than on the
green tinted white glass. When applied to the former
species, and over-fired, it is apt to assume a deep orange
tint, whilst in some pieces of the cold green white glass
of the time of Henry VL, which have been over-fired,
the stain has been changed in places to a light pink, or
faint scarlet colour.
The ruby also underwent a very considerable change.
It had quite lost its streakiness as early as the beginning
of the fifteenth century, at which time the coat of colour-
ing matter was reduced to the thickness of a sheet of
writing-paper. This is exhibited in cut 2, given in
a note to the Introduction. Specimens are, however,
to be found as deep in colour as at any former period,
though in general the ruby became lighter, and more of
a bright scarlet, or crimson tint, as the style advanced.
The colour was always subject to considerable, though
gradual variations in depth in the course of the sheet.
The ancient artists often availed themselves (as is now
done) of these accidents in the manufacture, and cut the
glass with reference to the general effect of the paint-
ing ; bringing the light parts of the sheet into the light
parts of the picture, and vice versa. Euby glass, damaged
or imperfect in its manufacture, was often introduced
THE PERPENDICULAR STYLE,
141
with great effect into architectural designs late in the
style, to represent variegated marble. Such, for in-
stance, is the glass in which the ruby colour appears to
have vanished in certain parts of the sheet, leaving
a sort of copper-green colour in its place *. ^* Sprinkled
ruby" was also used for these and similar purposes.
The practice of abrading the coloured surface of ruby
glass in certain places, so as to leave white spots on a red
ground, appears to have been introduced during the latter
half of the fifteenth century. It greatly facilitated the
representation of complicated coats of arms.
The blue glass lost much of its richness and depth
during this period. It is generally of a soft purple
hue, heavy and not brilliant, but sometimes of a cold
grey tint. The Perpendicular blue is a much less pure
blue than the Early English. It is invariably of a neu-
tral tint, and almost invariably of a purple hue. It may
be imitated in water-colour by mixing together French
blue, purple lake, and indigo, and occasionally a little
neutral tint. The most purple pieces when held to a
candle are not so purple in effect as the Early English
generally is. But it is rarely found that pieces held to
the candle appear of a green tint,* they are commonly
of a light purple grey tint. Coated blue was introduced
i Ruby glass, exhibiting similar pe-
culiarities, was occasionally used in De-
corated glass-paintings also. Some very
large pieces of glass of this description,
having a pale green colour, with here
and there slight streaks of red, have
been employed to represent the water,
through which wades a gigantic figure
of St. Christopher, that occupies a por-
tion of the central lower light of the
second window, counting from the west,
of the south aisle of the nave of York
Minster. Some pieces of white glass ex-
hibiting, here and there, a streak of ruby
have been used as white glass in some of
the scrolls and drapery in the early Per-
pendicular Jesse which occupies the east
window of the north aisle of Leverington
Church, Cambridgeshire. Such an in-
stance of economy deserves notice. This
glass, of imperfect manufacture, is, ex-
cepting these red streaks, as white as
the other white gloss employed in the
painting.
142
THE PERPENDICULAR STYLE.
towards the sixteenth century, and was occasionally
subjected to the same process of removing parts of its
coloured surface by abrasion, as was practised on ruby
glass.
The pot-metal yellow glass is generally of a fine
golden colour ; it is, however, sometimes with difficulty
distinguished from the stained yellow. Towards the
close of the style the yellow stain was sometimes used
to heighten, in places, the colour of the yellow pot-metal
glass, a practice which produces the same effect exactly
as double staining.
The tints of purple, pink, and green glass, throughout
this period are very pleasing and harmonious. Much of
the purple is formed, as mentioned in a note to the
Introduction, by enclosing a layer of light red glass
within two layers of blue glass. The sheets thus con-
stituted are not thicker than the glass ordinarily em-
ployed, A light pink pot-metal glass was much used
for flesh-colour early in the style ; and on the continent,
occasionally at all periods of the style. It much resem-
bles the later Decorated flesh-colour in tint. A much
lighter and yellower sort of flesh-coloured glass was
sometimes used in the sixteenth century; but towards
the close of the style a slight wash of an enamel colour,
resembling china red, was frequently applied as a flesh-
colour to the white glass used for the naked parts of
the figures, which white glass seems in general to have
been selected for this purpose, with reference to the
yellowness of its tint*".
*^ Nothing can be more tatisfactoiy
than the fine rich warm colour of the
hands and faces, &c,, which, in late P^r-
pendicular and Cinqne Cento work are
often gimply painted with brown enamel,
on yellow-tinted white glau; whilst
nothing is more disagreeable than the
sickly jaundiced appearance so often
THE PERPENDICULAR STYLE.
H3
2. Mode op Execution.
Perpendicular glass-paintings are in general easily
distinguishable from Early English, and Decorated, by
their handling, whether they are executed in outline
only, or with shadows combined with outlines.
It is true that throughout the Perpendicular style
outlines as firm and black as those of any other period,
were repeatedly used to define the eye or nose — ^the
contour of a face — the crockets of a canopy — to mark
the division between two quarries painted on the same
piece of glass, and not separated by a lead line — or the
like: but the outline employed after the beginning of
the fifteenth century for ordinary purposes, and with
which the painting is principally executed, is almost
invariably not only narrower than the Decorated outline,
but is also very much fainter, and less full of colour, be-
sides being, in general, less firm and decided. Towards
the end of the fifteenth century the stroke often appears
ragged and uneven, as if made with an almost dry brush.
The outline is generally more juicy and flowing during
the sixteenth century, though it still continues pale and
transparent. In inscriptions, the letters were very fre-
quently slightly marked out with a faint outline, and
afterwards filled in with a thick, and consequently black
coat of paint.
Stipple shading appears to have been introduced about
exhibited by modem flgnrefl punted in
imitation of the ancient. Assnming that
the tint of the white gUiss is in both
cawe alike, the difference of effect mnst
be occasioned by the different tint of the
ancient and modem enamel brown. The
former is a rich Vandyke brown tint,
which harmonizes with the yellowness
of the white glass ; the latter is of a cold
sepia tint, which is rendered colder by
the colour of the glass.
144 THE PERPENDICULAR STYLE.
the beginning of the fifteenth century*, and soon almost
entirely superseded the smear method. Smear shadows
are, however, occasionally to be met with throughout
the style, principally in ornamental work, and, as it
would seem, their employment arose rather from the
painter's negligence in omitting to stipple the enamel
ground after laying it on, than from any deliberate
design.
The full power of stipple shading in producing sha-
dows at once deep and transparent, was unknown till
nearly the close of the Perpendicular style. In the
earliest examples the stipple shadows, even in their
darkest parts, hardly exceed the lightest smear shadows
in strength. Indeed until the latter half of the fifteenth
century the shadows are so light and faint as to be hardly
perceptible even at a short distance ; and although their
ground is more spread over the glass than the ground
of a smear shadow, it by reason of its thinness scarcely
subdues the brilliancy of the glass. On this account,
coupled also with the cold green hue of the white glass,
which a light shadow was unable to correct, and the
comparative thinness of all kinds of glass in the sheet,
the earlier Perpendicular glass-paintings are even more
lustrous and gemlike than the late Decorated. Thus
for a long period stipple shadows were more remarkable
for their delicacy and finish, than their depth and effec-
tiveness. Many attempts were made to strengthen the
shadows with a hatching of thin lines, sometimes as thin
and fine as a hair, and in representations of architec-
ture with a flourishing of thin lines^. In the reigns of
* See a late Bpedmen of stipple shading, plate 71. ^ See plate 63.
THE PERPENDICULAR STYLE. 1 45
Edward IV. and Henry VII. dots of black paint were
often used to deepen the shadows in the architecture of
the canopies. The stipple ground, whether employed in
diapers or shadows, was very fine in its grain until
towards the end of the fifteenth century, when it be-
came coarser. The deeper shadows had always been
coarser in grain than the general gro.und.
The bolder and more effective shading of the sixteenth
century gave greater rotundity and distinctness to the
figures, whilst the shadows, being more spread over the
glass, and increasing in thickness, imparted their own
fine brown tint to it, and greatly increased the richness
of the painting. They were however too thoroughly
stippled to occasion any opacity to arise from their
depth. The latest shadows are often strengthened with
a hatching of dark lines\
At all times of the style, the shadows were applied to
both Bides of the glass, whenever it was necessary to in-
crease their strength beyond a certain limit. I think it
appears from a careful examination of a stipple shadow,
that an uniform coat of colour was first applied to the
glass, out of which the lights were taken, and that the
depth of the shadow was produced by another coat of
colour — increasing in thickness in the darker parts of
the shadow — the moisture of which dissolved the ground
beneath it, so that the brush in stippling it, penetrated
through both coats to the surface of the glass. It is
only in this way that I can account for the transparency
of ancient stipple shadows in their darkest parts. If
great depth was required, a fresh application of a single
coat of enamel was made to the back of the glass, oppo-
I See plate 72.
L
146 THE PERPENDICULAR STYLE.
site the deepest part of the shadow, and in stippling
was softened off as it approached the light parts of
the subject.
The colour of the enamel brown used for shadows and
outlines was, until the early part of the sixteenth cen-
tury, in general of a cool purple tint; it afterwards
more approached the warmth, and richness, of Vandyke
brown.
Diaper patterns are profusely used throughout this
style to embellish draperies, shields of arms, back-
grounds"*, &c.
3. Figures.
The mode of representing the human figure became
better understood, and more refined during this period ;
but it is not until the close of the style, that the union
of correct drawing and just proportion with grandeur
of conception and severity of outline is to be met with,
even in draped figures.
Even in the early part of the sixteenth century the
figures, though in other respects drawn with tolerable
accuracy, and exhibiting a very high degree of finish,
are yet in general too slight, and too narrow across the
shoulders for their height : a peculiarity which probably
arose from the artist's desire to introduce large figures
under canopies, leaving at the same time a sufficient
space between them and the pillars of the canopy to
render the figure distinct. For this practice of assimi-
lating the proportions of the figure to that of the space
allotted to it, was very common throughout the fifteenth
" See plates 46, and 50, and '* Wealo's Quartarly Papero," part i. plates 1, 3,
and 4.
THE PERPENDICULAR STYLE. 1 47
century; and accordingly we find, both early and late
in this period, a squat, thickset figure, sometimes even
less than four heads high, occupying a tracery light, or
a panel of a Jesse formed by the branches of the tree,
or even placed under a canopy where sufficient head-
room was not left for a taller figure. Towards the close
of the fifteenth century however, kneeling, or even
demi-figures, were often introduced into the shorter
tracery lights, by which means their proportions were
better preserved.
Greater repose was given to the figures in this than
in either of the former styles ; and they do not, even
when in action, appear in such strained or forced atti-
tudes, as the Decorated figures.
The draperies are generally disposed in very broad
and grand folds ; they sometimes hang down in a rather
heavy manner, so as to impart to the whole figure a
somewhat column-like appearance ".
The German figures, especially of the time of Albert
Durer, are easily distinguished from the English by
the multitude of little angular crumples into which
the surfaces of the greater folds of the draperies are
broken up.
The heads, even of the early part of this period, will
be found on a close examination to present many dif-
ferences in drawing as compared with the Decorated.
In the first place, the. outlines generally are more tender
and refined; and the features are more carefully and
delicately shaded, stipple shadows being used, which,
» See plates 46» 46, 47. Other Per-
pendicular figures are engraved in the
plates referred to in the former notes
(p and q, p. 122). See also Weale's
''Quarterly Papers," port i. plates 1
and 2, 3 and 4; and part ii. plate 10.
l2
148 THE PERPENDICULAR STYLE.
though light, materially assist the outlines in giving
expression to the countenance. The form of the eye-
StovUiic Cbnroh. East.
brow, especially in ideal figures, is still more arched ; as
the style advanced, it became almost semicircular, and
after the beginning of the fifteenth century was in
general defined only by a few lines, so thin and faint as
in many oases to be barely perceptible ; the opening of
the mouth is differently shaped, and the upper lip is
usually represented, as well as the lower. The iria of
the eye is almost always distinguished, and shaded
dart, while the pupil itself is marked by a black dot.
The nose is but faintly delineated, except at the tip,
which as well as the nostril is generally expressed by
a dark stroke. The upper eyelid, and opening of the
mouth, as well as the general outline of the &ce, are in
general strongly defined; but all the other lines, espe-
cially those used to denote the lower eyelid, lips, and
lineaments of the face, are light and faint. The general
THE PERPENDICULAR STYLE. 1 49
contour of the face is oval, terminating in a small and
pointed chin. These distinctive marks of course be-
come more apparent with the progress of the style.
At the end of the fifteenth century, the use of out-
lines was almost altogether superseded by the skilful
and bold manner in which the shadows were applied ;
and more completely so at the close of the style, at
which period the heads were in general very correctly
and naturally drawn.
White glass was usually employed for the heads and
naked parts of the figures* The hair of the head was
often stained yellow, and in portraits especially was
sometimes made brown, by a strong application of the
enamel ground ^.
Light pink glass, as before mentioned, was however
occasionally used as a flesh-colour, and on the continent
until late in the style. It is not uncommon to find the
faces of the larger early figures in this country composed
of pink glass, with white hair and beards leaded in.
A practice, which has been mentioned, of tinting the
naked parts of the figures with a thin wash of an
enamel colour, resembling China red, applied to the
back of the white glass, was also introduced here early
in the sixteenth century.
The costumes appropriated to saints and ecclesiastics
differ from those of the last period rather in their dis-
position and arrangement than in their form.
^ The beads represented in plates
62 and 63 are of the reign of Henry
VI.; and those in plate 61 are of
the commencement of the reign of Ed-
ward IV. These heads arc all executed
in white glass; the hair of some is
stained yellow. Plate 64 and cut 20
represent heads of the latter part of
the reign of Edward lY. Id Weale's
"Quarterly Papers," part ii. plate 2,
is an engraving of a head, which I
should say, judging merely from the
drawing, was of the commencement of
the fifteenth century. As a specimen
of a sixteenth-century head, I may refer
to plate 71 of the present work.
150 THE PERPENDICULAR STYLE.
The mantle is in particular much more ample, and
covers the greater part of the body of the wearer ; and
the sacred vestments are still longer, and more orna-
mented with embroidered borders and diapers.
The mitre is more elongated and more highly en-
riched ; in the later examples it a good deal resembles
in form the flat side of a bellows. The head of the staff
is also more elaborated, and often springs from a cluster
of Uttle canopies and pinnacles.
The secular female dress in general consists either of
a close-bodied dress, with long skirts and tight sleeves,
or of a looser dress with sleeves wide at the shoulders
and tight at the wrists. A cloak is often added, upon
which armorial bearings (when used) are emblazoned
more frequently than on the other garment. The earlier
head-dresses resemble the wimple ; their variety how-
ever was great, especially towards and during the reign
of Edward IV.
The secular male costume, until almost the end of
Edward the Fourth's reign, appears to have usually
consisted of a furred gown of tunic-like form, reaching
rather below the knees, slit nearly half way up the
middle, and confined round the waist with a girdle. It
had either wide sleeves narrowing towards the wrist,
or small at the shoulder and wide at the wrist, like
those of a surplice. The legs were enclosed in pointed-
toed boots. The hair, until the latter part of the reign
of Edward IV., appears to have been cropped closely all
round, and after this time to have been cut straight
across the forehead, but allowed to grow long behind,
and at the sides of the face, and to have been there
smoothed down like a club. In the reign of Henry VII.,
THE PERPENDICULAR STYLE. 15I
long furred gowns reaching to the feet, and broad-toed
shoes or boots were used. They continued in fashion
during the next reign also.
Military figures are represented in plate armour, in
general painted on white glass, and more or less orna-
mented with the yellow stain. The character of the
armour is occasionally of an earlier date than that of
the painting itself.
4. FOLIAGED AND OTHER ORNAMENTS.
The foliaged ornaments of this period, though pro-
bably suggested by the forms of nature, bear in general
but little resemblance to their originals. They are
accommodated with great skill to the particular posi-
tions they occupy, but their outline is so irregular,
varied, and conventional, that, as before remarked, they
have more the character of embroidery work than of
anything else. It would seem that the chief object
of their designers was to produce a decoration possess-
ing breadth and flatness of effect K
A very common pattern, the use of which may be
traced from the beginning of the style until late in the
reign of Henry VI., is a sort of narrow leaf, or rather
stalk, with numbers of irregular foliations jutting out
from its sides. It is employed for a variety of orna-
mental purposes : and when used as a ground pattern
on white glass, is generally strongly outlined, and the
space not covered by it cross-hatched, with broad faint
lines ^. The extremities of the side leaves are often
turned over^ and frequently stained yellow, a practice
' See plates 56» 60, 61, 62, and cut 24. 4 See plates 47, 60, 61, and 62.
152 THE PERPENDICULAR STYLE.
which is peculiar to this period, and is often to be
met with in the representations of other leaves and
foliaged ornaments.
Leaves are, however, to be seen in this style, strictly
speaking, quite as true to nature as any of those of the
last period, especially in the vine of a Jesse. But even
here the same flatness of effect is perceptible. The eyes
of the leaf are indeed strongly marked, but the indenta-
tions of its serrated edges are faint compared with those
of a Decorated vine-leaf, as well as less vigorously
drawn.
The foliaged details of architectural work also ex-
hibit the same peculiarity. Their flatness and breadth
of effect, and variety of outline, in general distinguish
them from those of the last period.
A peculiar kind of ornament is common in German
work late in the style, consisting of knotted sticks, and
a species of leaf entwined and intermixed together. It
is employed in the formation of canopies and bowers,
frequently in conjunction with architectural details ;
and a similar species of ornament may be met with
in English wood-carvings of the early part of the six-
teenth century.
Scroll-works are of rare occurrence during this period,
except in the design of a Jesse. This is generally exe-
cuted on a coloured ground, the principal branches and
leaves of the vine being white or yellow; when on
a blue ground, some of the leaves are often drawn on
the blue glass, and stained to a green colour.
A great variety of flowers were represented during
this style, especially towards its close, when punning
allusions to the bearer's name were common in rebusses
THE PERPENDICULAR STYLE. 153
and heraldic devicM. They are in general very ac-
curately drawn. The lily, as a symbol of the "Virgin
Mary, is often to be met with in borders and other
In tlu poMMrimi at Xr.nstohtr. I«m1)eth PbIh*.
decorations. The rose is also a very common orna-
ment, and is more usually represented double than
single. The leaves are almost universally lipped, or
turned over ■■. After the accession of Henry VII. the
inner row of leaves is often white, and the outer red.
And at all periods of the style double roses, executed
on white glass, often had their outer row of leaves
stained yellow.
Shading was very generally employed to heighten the
effect of foliaged ornaments.
Many of the Decorated ornaments, such as the beaded
ornament, the cross ornament, &o., are to be found early
in this style. They were, however, soon exchanged in
draperies for jewelled bands, often having a hatched
ground ; and in narrow borders, for a broader and
' See cut 22 ; this apecImeD U taken 1 tnr; ; it cIomIj reBsmbla the rom in
from B border anrronndiDg the arms of pUte 25, and poueesea, almoat cam-
Henry VII. Cot 21 ia Trom &n example pletdlj, the Decorated character,
of the latter part of the foarteentb cen- |
THE PERPENDICULAR STYLE.
lighter omament, composed of a row of small irregu-
larly-drawn circles in outline, having a smaller circle at
their centre, and enclosed within a narrow edging on
each side, which, as well as the circles, was generally
stained yellow '.
The same flatness of effect and irregularity of outline,
which have already been noticed, extend to the represen-
tations of lions' heads *, and, in fact, to all the other orna-
mente of this period", including the patterns on qnarries'.
The variety of these last devices is immense ; and their
form is not always a sure indication of their date, since
• See eaU 23 ind 25, knd pUte 64. I eren ■□ early i lorder ai that giveD in
< See plate 66. plate 2G.
■ Tbii flatDCM ma;, to ■ certain ei- 'See plate* 48, K5, 56, and 67.
teot, be noticed in the onuuneute of '
THE PERPENDICULAR STYLE.
155
the same pattern often occurs both on late and early
quarries. In general, however, a strong-outlined pattern
is the badge of an early quarry, but early patterns are
often likewise slightly outlined. Some of the most ex-
traordinary are those bearing a caricatured drawing of
a bird or animal, which is sometimes represented in
armour, sometimes harnessed to a plough, or holding
a drinking-cup, &c. The most beautiful are those orna-
mented with a simple pattern, confined to the central
part of the quarry, producing the efltect of a star ^ The
ornament on the quarry is generally enriched by the
application of the yellow stain.
Circidar wreaths were often used during the latter
part of this style to enclose arms, monograms, or other
devices. They are composed sometimes of foliage, some-
times of a scroll twisted round and round a stick, some-
times of pure ornaments, and occasionally of an entwined
branch with leaves sprouting from it, at regular inter-
vals, and extending considerably beyond the limits of
the wreath itself. They are in general represented on
white glass, ornamented with the yellow stain.
y The tme office of an intulcUed orna-
ment on a quarry, — ^merely to enrich
the reticokted pattern formed hy the
lead lines, — is, I think, snfficiently in-
dicated in those simple representations
of windows which, in Early English
glass-paintings, the effigies of the donors
are so commonly made to hold in their
hands; and of which an example is
given in Lasteyrie* HisUAre de la Fein-
iure 9ur verre, plate zxix. The objects
in qnestion are generally composed of
a piece of white glass, which is orna-
mented with a coarse cross-batchiDg of
black lines, and with black dots, placed
one in the centre of each of the lozenges
or squares, formed by the intersection
of the lines. For this reason I greatly
prefer an ornament which, like a spot,
occupies only the centre of a qnarry, as
in plates 65 and 57, to one which is
more spread over the surface of the
quarry, as in plate 56. In no glass-
paintings is narrowness in the width of
the lead more essential to goodness
of effect than in quarry lights. In
plate 67 there is a certain proportion
between the thickness of the lines which
form the pattern, and the ancient lead-
work which surrounds the quarry, while
in plates 66 and 56, the pattern on the
quarry is in each case completely over-
powered by the breadth of the leads.
156 THE PERPENDICULAR SJYLE.
All ornaments, except in general quarries and narrow
borders, are usually shaded.
5. BOBDEBS.
Some borders, early in this style, closely resemble
those late Decorated examples which consist of a run-
ning stalk, with leaves and flowers sprouting from it,
executed in white and yellow stained glass, on a coloured
ground. In these borders, however, the Perpendicular
character is indicated by the c^t m.
greater breadth and flatness of
the leaves.
The most ordinary Perpen-
dicular border, which also had
its type in the Decorated style,
is formed by placing ornaments,
executed on oblong pieces of
white glass, at regular distances
apart, with a plain bit of coloured
glass between each. A crown,
oftentimes surmounting a mono-
gram, or a knot of foliage, en-
riched with the yellow stain, is
a very common ornament; but
the design often varies. Two waniip tamroh, Laiooewniiii*.
ornaments of different design are generally used alter-
nately. Glass of the same colour is occasionally em-
ployed to separate the ornaments throughout the entire
light; in general, however, the pieces are alternately
blue and red, and sometimes blue, purple, and red. In
the latter case the pieces of blue glass on either side of
the light are usually made to range with each other ;
THE PERPENDICULAR STYLE. 1 57
while the purple on the one side ranges with the red on
the other. A similar law of colour prevails in those
windows where the border is composed of a series of
ostrich feathers, each with its pen stuck through a scroll ;
though its mode of application is different. The feathers
alternately are represented on pieces of red and blue
glass, which are kept separate by the square pieces of
white glass, on which the pens and scrolls are painted.
Such borders are sometimes carried uninterruptedly
round the head of the light, the ornaments being ac-
commodated to the curvature of the stone-work. In
general, however,- when as is usually the case, the
head of the light is cinquefoiled, a circular piece of
glass with a sun, a star, a lion's head, or rose, &c.,
painted on it, is inserted into each of the two upper
foils, or into the top foil likewise, the top foil in the
former case being filled with one of the ornaments of
the border. The size and relative position of the cir-
cles, are regulated by the shape of the arch, and form
of its cuspidations. When three circles are used, they
often closely approximate; sometimes a little piece of
glass, — one of the colours of the border, — is used to
connect them together. The circles are usually com-
posed of white glass stained yellow, but they are oc-
casionally blue, or of some other colour. Sometimes
all these circles are of the same pattern, sometimes that
in the upper foliation differs from the other two". A
crowned letter is sometimes used as a border. A tomb
at Folsham, Norfolk, engraved in the Vetusta Monu-
* See plates 25 and 48. See also
Lysons' "Oloacestenhire/' p.ciz. : and
Hedgeland's ** St. Neot's," plates x., xi.,
xii., and xiv.; (in the tracery lights).
See also " Guide to Architectnral Anti
qaities in the Neighboarhood of Oxford
p. 168.
158 THE PERPENDICULAR STYLE.
menta, p. X7., has an inscription round the sides ; each
letter is a Iiombardio capital crowned.
8ome few instances of heraldic borders may be met
with in this style, consisting of coats of arms, formed
into reotangular patches, as in the Decorated style.
In many windows, especially late in the style, the
border of the lower light is entirely represented on
white and yellow stained glass, and oonsists of a raffle-
leaf wound round a straight stick ; of a running stem
with leaves springing from it ; or of some conventional
ornamental pattern. These borders are generally fur-
nished with a narrow edging of yellow stained glass on
THE PERPENDICULAR STYLK
159
each side, the interval between which and the pattern
is sometimes filled in with black paint, or left white.
The earlier Perpendicular borders bear generally the
same proportion to the width of the light as the Deco-
rated, but the later ones are often much narrower. The
strip of plain white glass which serves to separate the
border from the side of the light, is frequently omitted
in Perpendicular windows. Some Perpendicular pattern
windows have no borders at all, in others a mere strip
of white glass is used as a border. The border seldom
extends along the bottom of the light. In tracery lights,
borders similar to those in the lower lights are occa-
sionally employed; in general, however, they consist
of circles or round flowers irregularly drawn in outline
on white glass stained yellow, and enclosed within two
yellow narrow edgings*. More frequently a narrow
strip of white glass constitutes the only border to the
light.
6. Patterns.
In some very early Perpendicular works, patterns are
used, which are composed of white patterns with a run-
ning foliaged scroll carried over them in outline, and
enriched with the yellow stain, as in late Decorated
examples. With these exceptions, however. Perpen-
dicular patterns are, in England, universally formed of
quarries of white glass, each bearing some independent
* The border represented in cot 25 is
that of a tracery light ; the centres of the
little drdee are yeUow as well as the
outer edges of the border, all the rest is
white glass.
Another border of the same kind is
g^Yen in cut 23, and in plate 64
l6o THE PERPENDICULAR STYLE.
ornament^ which is generally enriched by staining it
yellow^.
Quarries banded on their two upper sides are not
uncommon, especially in early work. In late work
sometimes a narrow edging is carried all round the
quarry. In some examples the quarry, besides bear-
ing an ornament in its centre, has its sides indented
like a leaf.
The quarries in the lower lights of the same window
are all of the same size, and in general bear the same
pattern; the exceptions seem to be where quarries on
which birds are represented, are intermixed with quar-
ries having a stiflP ornament painted on them, or where
letters or mottoes are used to adorn the quarries. The
quarries in the tracery lights are sometimes smaller, and
bear a diflferent pattern to those in the lower. The
lights, both upper and lower, are as before mentioned,
often furnished with borders. In some windows occu-
pying very lofty situations, the lower lights are fur-
nished with ornamented borders, but are glazed with
plain unornamented quarries of white glass.
It was a common practice towards the latter part of
the fifteenth century to insert into the lower lights of a
pattern window, mottoes painted on strips of white glass
extending diagonally across the window in a downward
direction parallel to the quarry lines. These strips of
glass are sometimes simply edged with yellow, some-
times scroll-like terminations are given to them. They
are usually placed at an interval of one or two quarries
apart, and the same motto or text is generally repeated
on each scroll, throughout the same light, and sometimes
^ See platoa 25 and 48.
THE PERPENDICULAR STYLE. l6l
on each scroll throughout the window®. Ornamented
quarry lights are not unfrequently enlivened by the
insertion, quite independently of the arrangement of
the quarries, of small circles of white glass, enriched
with the yellow stain ; and enclosing within a plain or
ornamented border, monograms, badges, emblems^, or
other devices. The border of the circle is often com-
posed of two sticks, or bands, the one white, the other
yellow, entwined together. Until the end of the reign
of Henry VI., the formality of the design was very
commonly corrected by leaves of trees or plants, which
sprouting outwards from the wreath at regular distances,
were delineated upon some of the adjacent quarries.
Panels having a coloured ground, and containing a
shield of arms, a badge, a human head, a demi-figure,
or the like, were in the same manner, but more rarely,
inserted in quarry lights. The form of the panel subse-
quently to the reign of Henry VI., was in general that
of a circle, or other regular geometrical figure. Pre-
viously to this time, however, the panel was often placed
in the centre of a beautiful foliaged ornament of white
and yellow stained glass, of star-like shape, the leaves of
which frequently extended themselves into some of the
adjacent quarries.
In Germany, and adjacent countries, .the material
which for convenience sake I have termed Round GlasSj
was very generally used instead of quarries. This kind
of glass seems hitherto to have attracted but little atten-
tion, but I trust that a brief notice of it in this place,
« See Lysona' "Berks," p. 247.
^ See an instance from a window of
Doddiscomb Church in the second vol.
of the "Transactions of the Exeter Dio-
cesan Architectural Society."
l62
THE PERPENDICULAR STYLE.
will not be deemed improper or useless, considering its
intrinsic beauty, and its importance, either as a substi-
tute for painted glass, or as an accompaniment to it**.
* The following mention of Round
glaas occurs in Le Vieil, If Art Ae la
Peinture tur Verre, p. 200.
"F^ibien [Principes d'Arehiiectmre,
chap. zxi. de la Vitrerie] ^tablit pour ex-
emple den vitrea blanches les plna anden-
ues, ce qn'il appelle des civet, telles qn'il
e'en voit en Allemagne, c'est 2k dire de
petites pieces rondes de verre qu'on y
assembloit avec des moroeaux de plomb
refendus des deux c6t^ pour emp6cher
que le vent et I'eau ne pussent passer;
mais sans indiquer le temps oil Ton usoit
de cette sorte de vitres." To this the
following extract from M. F^ibien'swork,
(Paris, 1690,) is appended in a note.
"C'est de ces cives on cibles dont
Jean Marie Catan^, dans ses Commen-
taires snr Pline le Jeune, dit que de son
temps, c'est k dire, vers la fin dn quin-
zi^me si^e, ou se servit pour ohasser
des maisons, en Italic, I'ftpret^ des vents
ft-oids par un assemblage de plateaux de
verre, ronds, r^uuis et joints ensemble
avec une eep^e de mastic Sicui nostrd
tempeatate vitreit orhibut conglntinaiia
JHgus et ventos arcemus/* See also Ba-
tissier, Siet, de VArt Mon., p. 643.
M. Le Yieil in another part of his
work, p. 17, n. (a) adds, that the round
pieces of glass are called by the German
glaziers cibles. But cible is a French,
and not a German word, signifying a
target having a bull's eye in the centre.
Round glass was used in the windows
of the monastery of Hirschau in Ger-
many. Tritheim, an historian of the
monastery, says, under the year 1491,
of Abbot Blasius, 'Fenestras cum rotun-
dis, id est eehyhen, et picturis ad tria
latera ambitus monasterii fieri jussit;
pro quibus plus quam trecentos auri
florenos exposuit. In quarto vero latere
picturas sine rotundis fecit duntaxat.'
The above-cited passage shews that
anciently echeibe when applied to glass
denoted a round pane.
The idea of roundness fbrms part of
the original signification of the word, and
of most of its meanings, though in many,
as in Fenterecheihe, or GlateeJkeibe, it is
lost. See 'scheibe' in Adelung's Wdr-
terbueh.
That panes of glass in general should
be designated by a word originally im-
plying roundness, affords an inference,
that in early German glazing, t^iis ibrm
was universal, or nearly so. A contrary
inference with regard to French glazing
may be drawn from the word carreau,
and perhaps with regard to English
glazing, from the word ' quarry.'
A window glazed with round glass ia
represented in a Van Eyck, in the Na-
tional Gallery, (na 186,) which punting
bears date 1434. Two other Van Eycks
in the king's palace at the Hague (nos. b.
1870, d. 1441) exhibit windows glazed
with round glass. And abundance of
similar examples may be found in most
collections of early paintings. Round
glass is represented in a painting by
John Schoreel, a.d. 1620, of which there
is an engraving in the second voL of
Shaw's " Dresses and Decorations of the
Middle Ages." The little windows in
the tabernacle-work of German glass-
paintings, are sometimes depicted as if
glazed with round glass; instances of
this may be seen in the windows of the
north aisle of the nave of Cologne Cathe-
dral. A cinque cento glass-painting,
engraved in Lasteyrie's Hietoire de la
Peinture eur Verre, plate Ixxiii., also
exhibits in its background a circular
window glazed with round glass.
The only example of round glass I
have met with in England is that which
was removed, a few years ago, from a
window of the Bishop's Chapel, Chester
THE PERPENDICULAR STYLE.
163
Eepresentations of round glass frequently occur in
the paintings of John Van Eyck, and other early artists,
from which we may infer that it was used at least as
early as the commencement of the fifteenth century.
It is now very commonly to be met with in Germany
from Cologne eastward, throughout the Tyrol and Swit-
zerland, and, as I have been informed, in Eome also.
Venice, and the north of Italy, are full of it. The
close resemblance which the panes bear to Venetian
glass, both in texture and colour, and the countries in
which they are found, have induced me to conclude that
the round glass was a Venetian manufacture.
Each pane of round glass is a miniature sheet, or
table, of white flashed glass. The mark of the punt or
bulPs eye is in general distinctly visible in the centre of
the sheet, the surface of the sheet is more or less undu-
lated in concentric rings, and its outer edge, like that of
the foot of a Venetian drinking- glass, is strengthened by
a narrow lip, or rim, formed by turning down a small
portion of the sheet upon itself, and which is in general
hidden by the lead- work. The panes used towards the
end of the fifteenth century, and early part of the six-
Cathedraly wbieh look» into the cloister.
Two pftnee of this were given to me by
my friend B. C. Hossey, Esq. The ar-
chitecture of the window itself is late
Perpendicular. An exterior view of the
window, in which the ronnd glass is in-
dicated, is given in Front's " Antiquities
of Chester." It would seem from the
following extract from Leland's Itinerary,
vol. yiii. p. 82, ed. 1760, that this was not
a solitary instance of the use of round
glass: "The Hawle of Sudley Castle
glased with round Beralls." In the wood-
cut representing Cranmer's Confession of
M
Faith, in St. Mary's Church, Oxford,
March, 1556, in Fox's " Acts and Monu-
ments," foL Lond. 1576, p. 1781, the
windows are clearly filled with round
glass. The architecture is however evi-
dently not taken from St. Mary's; it is
precisely similar to that in another cut,
p. 571, representing a scene at Bouen,
in which round glazing likewise occurs.
No inference can therefore be drawn
from this cut, that the windows of St.
Mary's, Oxford, were ever glazed with
round glass. Thes* woodcuts are per-
haps the work of German artists.
2
164
THE PERPENDICULAR STYLE.
teenth, in general average four inches in diameter, and
this seems to have been the size of the older specimens.
They afterwards gradually increased to upwards of six
inches in diameter, and as they increased in size they
became smoother and smoother, until the bull's eye and
concentric undulations were almost invisible. It is in-
deed, owing to their smoothness, extremely difficult to
distinguish the later specimens from the circular pieces
of plain white glass which appear to have superseded
the use of the round glass about the close of the seven-
teenth century '.
The earliest mode of arranging the panes of round
glass, was to place them, touching each other, in con-
tinuous rows ; in such wise that the rows, if regarded
as vertical rows, would be parallel to the sides of the
rectangular glazing panel ; or to its ends, if considered
as horizontal rows. The little four-cornered interstices
thus left between the panes, were filled either with plain
pieces of white, or coloured glass, or sometimes orna-
mented with quatrefoils, painted on coloured glass. The
later, more common, and most pleasing arrangement of
the panes, is that represented in plate 75. The small
three-cornered interstices between the circles, are some-
times filled with plain coloured glass, but much more
frequently with plain white glass. It was also a com-
mon practice to introduce at intervals, up the centre of a
light thus arranged, little coloured stars ; by filling the
six interstices immediately around one of the central
panes, with plain pieces of coloured glass ; all the other
' Some of the windows of the Doge'B
palace at Venice, have been repaired, by
inserting circular piAes of ordinary white
glass in place of such of the round panes
as have been broken. I have ground for
believing that the manufacture of round
glass was discontinued about a hundred
and fifty years ago.
THE PERPENDICULAR STYLE. 1 65
interstices throughout the light being filled with plain
white glass. The number of stars differs according to the
length of the light. In some instances every sixth cen-
tral pane, counting from the bottom of the light, is thus
surrounded with colour, but the stars are often further
apart. Each star alternately is in general red, light blue,
or purple. The dots of colour thus introduced produce
an extremely beautiful effect; they enrich the round
glazing, without diminishing the breadth or harmony
of its appearance.
A third mode of arranging the round panes may be
seen by looking sideways at plate 75; and treating
what are in fact the sides, as the ends of the glazing
panel. This arrangement of the round glass is however
neither very pleasing, nor very common. The inter-
stices between the panes when thus arranged, are gene-
rally filled with white glass.
Some few examples exist, where the round panes have
been cut into hexagons and leaded together, which how-
ever does not produce a good effect.
Lights glazed with round glass are in general sur-
rounded with a border, consisting, in the earlier exam-
ples, of coloured as well as white glass, but in the later,
almost always of white glass ornamented with a pattern
and enriched with the yellow stain. Of these, an in-
stance is given in plate 75. In many cases round glass
is employed to fill up a light partly occupied with a
coloured picture, as for example in the windows of St.
Peter's Church, Cologne, &c. In all those instances in
which it is thus used, the picture is terminated as much
as possible with right lines ; in order not unnecessarily
to embarrass the glazier in cutting the round glass to it.
1 66 THE PERPENDICULAR STYLE.
Bound glass in its general effeot resembles mother-of-
pearl, being at once soft, silvery, and brilliant. Many
continental buildings are entirely glazed with it, and its
appearance is so delicate and ornamental, that the ab-
sence of painted glass is not felt. The most brilliant
specimens are the oldest ; the deeper undulations of the
old panes, caused by the comparative rudeness of the
manufacture, occasioning a greater play of light than
is exhibited by the smoother and later glass.
The round glass of the close of the fifteenth century
and afterwards has a yellow tinge ; the earlier examples
are of a greener tint.
7. Pictures.
In Perpendicular glass-paintings the pictures are in
general simple in their arrangement and composition.
The design, unless it extends over the whole of a window
consisting of many lower lights, seldom embraces many
figures. The action of the piece is usually expressed by
the figures in the foreground, there being but little
attempt to carry it into the background of the picture.
The earlier pictures are in general of small size, being
confined to the limits of a single light. They are some-
times individually enclosed within a sort of architectu-
ral framework, or panel ; or placed under a low-crowned
canopy : all executed in white and yellow stained glass.
Sometimes, however, the subjects are separated from each
other only by a saddle-bar. The figures are generally
executed in white and coloured glass. When the scene
is not laid within a building, a landscape is introduced
behind the figures, di'awn in veiy sharp perspective, and
THE PERPENDICULAR STYLE.
167
principally composed of white glass; on which grass,
rocks, trees, houses, and other objects are represented,
either simply with the brown enamel and the yellow
stain, or on pieces of coloured glass leaded in. The
former is however the commonest method. The sky
above is treated as a coloured ground, being often in
alternate panels, red or stiff blue, and frequently dia-
pered. An inscription explanatory of the subject is
often introduced on a scroll into the picture, or along
its base'.
Towards the end of the fifteenth century the pic-
tures often extend into two or more of the lower lights
of a window, or even occupy its whole area, becoming
more complicated in design according to the space they
cover.
They are sometimes included under canopies, or an
architectural framework, of white and yellow stained
glass, but as frequently reach quite up to the stonework
of the window, without any intervening ornament^. ITie
figures are generally so disposed as not to be cut by the
mullions. It is wonderful indeed how little the frame-
work of the window interferes with the effect of the pic-
ture, even when it extends over the whole window : the
mullions are really not more observed than the saddle-
bars, the whole attention being attracted to the picture.
Considerable pains were in general taken towards the
close of the fifteenth century, and during the remainder
of the style, to render the landscapes more pictorial.
i See for ioBtance Hedgland's "St.
Neot'8," plates i., ix., xvi. Lasteyrie,
Hittoire de la Peinture mr Verre,
plate liv. See alao a representation
of one of the compartments of the east
window, York Minster> in Fowler's
"Mosaic Pavements, and Stained Glass."
^ See Lasteyrie, Histoire de la Pein^
ture 9wr Verre, plate Ixiv. This glass
is, however, rather cinque conto, than
Gothic: but it may be cited as illas-
trative of the text.
1 68 THE PERPENDICULAR STYLE.
Thus the extreme distance was often represented by
light blue glass varied in tint by the shading and the
yellow stain ; whilst the sky above was likewise coloured
light blue, and shaded so as to appear cloudy in places.
As the style advanced, the sky at the top of the picture
was made of a deeper blue than the sky just above the
horizon, the horizon itself being kept distinct, and of a
darker colour than the sky, by shading the blue glass,
and applying the yellow stain to it. Sometimes the
horizon is defined with a lead line. In other examples
a piece of white glass is inserted between the horizon
and the blue clouds, and shaded so as to appear like an
interval of clear sky. The sky is however occasionally
converted into a plain white background, which produces
a brilliant and clear effect when the picture itself is
richly coloured, and coloured portions of the design are
carried high above the horizon. This practice seems to
have been most resorted to, when from the absence of a
canopy above the picture, tbe want of white glass to
relieve the other colours would otherwise have been felt.
In the more pictorial landscapes the effect of distance
in the background was increased by introducing the most
powerful and vivid colours chiefly into the foreground :
but this rule was often transgressed, very vivid and
strongly contrasted colours being frequently used in the
draperies of the most distant figures, and in other objects
the furthest removed from the spectator. In the colour-
ing of a Perpendicular glass-painting, harmony of effect
seems to have been the principal object aimed at.
The colouring of the picture is generally varied as
much as possible by employing, whenever the same
colour is repeated, glass of a different tint. This is
THE PERPENDICULAR STYLE. 1 69
particularly observable in the later Perpendicular glass-
paintings. In the windows of the north aisle of Cologne
Cathedral, which, as before mentioned, are of the early
part of the sixteenth century, white glass of two dif-
ferent hues, the one yellow, the other blue, as well as
various tints of ruby, blue, purple, green, lilac, and
other colours, are employed in the same picture.
Scriptural and other subjects executed in brown and
yellow on small circles of white glass, were very com-
monly used towards the close of this style, especially
during the sixteenth century. Their composition is
often extremely good, and they are in general as admi-
rably painted. They are frequently surrounded with
beautiful borders of scrollwork or foliage, sometimes
composed of coloured glass, but more usually of. white
glass enriched with the yellow stain K ^^^> tV '^
8. Canopies.
The eai'liest Perpendicular canopies possess
corated features, both in their general form and details ;
the tabernacle- work, however, instead of being formed
of coloured pot-metals, as in the Decorated examples, is
composed of white and yellow stained glass, pot-metal
glass being used only for the interior of the windows
of the canopies, and sometimes for the groining of the
niches.
Some canopies early in the fifteenth century are repre-
sented, like the Decorated, flat-fronted, with a straight-
sided gable over a large pointed or circular arch, which
covers the figure : the tower of the canopy rising from
^ See a cinqao cento example, plate 67.
170
THE PERPENDICULAR STYLE.
behind the gable. The crockets and finials are of Deco-
rated character^, but the canopy itself more frequently
terminates in a sort of pepper-box, or polygonal roof,
than in a spire. The side jambs of the canopy are gene-
rally flat-faced, and ornamented with long rectangular
shallow sunk panels : the sides of the pepper-box being
often panelled in a similar manner. The head of the
canopy reposes on a coloured ground ; the canopy some-
times has a pedestal, of open work, quite unlike the heavy
stone pedestal which occurs in the architecture of the
time ; being formed of detached pillars and arches, be-
hind which a scroll bearing an inscription, or the name
of the personage intended to be represented, is intro-
ducedJ The top of the pedestal, which forms the floor
of the canopy, is generally paved, and represented in
very sharp perspective. In the majority of cases, how-
ever, the pedestal is omitted, and the figure rests its
feet on a piece of turf, or apparently on a floor seen
edgewise; the canopy terminating abruptly at bottom
with the line of the saddle-bar, and another canopy,
or a panel containing another subject, being placed im-
mediately beneath it. No attempt is made to represent
the hoUowness of the niche. The groining of the canopy
is not shewn, and the whole space between the figure
and the architecture is filled up with a flat-coloured
diapered ground.
In other examples of the same date as the last, the
head or hood of the canopy is three-sided, and projects
over the flgure. Each front is gabled, and crocketed,
^ Finiiacles like that represented iD
plate 41, are common in early Perpen-
dicular work. See also plate 25, fig. 2.
This last example is however purely
Decorated, though very late in the
style.
THE PERPENDICULAR STYLE. 171
and furnished with pinnacles at the angles. The tower
of the canopy has likewise three projecting fronts, and
terminates in a lofty spire. The coloured ground on
which the head of the canopy is placed, shews itself in
all the interstices between the little spires and pinnacles
and body of the canopy; and the little windows in the
tower being in general coloured red or blue, it appears
at first sight as if a good deal of colour was introduced
into the head of the canopy itself, though in reality its
architectural parts are only composed of white and yel-
low stained glass. The canopy sometimes has a pedestal,
similar to that last described, but whether this be the
case or not, its floor is shewn in sharp perspective. The
groining of the niche is sometimes indicated' but in such
a manner that the ribs, &c., appear almost as an appen-
dage to the front face of the hood. The hoUowness of
the niche is not shewn, the space between the architec-
ture and the figure being filled up with a stiff diapered
ground of colour.
The Decorated architectural details were entirely
superseded by the Perpendicular, early in the fifteenth
century, but the last-mentioned form of canopy continued
in general use, without any material alteration, until the
end of the Perpendicular style. The head of the canopy
was always more or less elongated according to the cir-
cumstances, but soon after the commencement of the fif-
teenth century, it became more massed and compacted
together, and its architecture more confused ; arches, but-
tresses, cornices and pinnacles being multiplied, with,
as it would seem, the sole object of filling up an al-
lotted space, without reference to the means of support.
Owing to these circumstances, the head of a later canopy
172 THE PERPENDICULAR STYLE.
represents a greater and a broader mass of white and
yellow stained glass than an earlier example, fewer inter-
stices being left amongst its spires and pinnacles, &c., for
the occupation of the coloured background. Through-
out the style the daylight appears to proceed from the
middle parts of the canopy, each of its side fronts being
in shadow, as well as all but the front faces of the pinna-
cles at the angles, &c. Scarcely any attempt was made
until the end of the reign of Henry VI. to represent
the hollo wness of the niche : although the stiff coloured
ground which surrounded the figure, was latterly often
fringed at bottom like a curtain of tapestry. In the
reign of Edward IV., however, the groining- shafts were
often exhibited at the back of the niche, the intervening
spaces up to the spring of the groining, which is itself but
slightly indicated, being filled with a coloured ground
diapered. Towards the close of the fifteenth century
the groining of the niche was frequently represented
in a conspicuous manner, and formed of coloured glass.
The back of the niche down to the shoulders of the
figure was often pierced with windows, through which
a landscape, executed in brown and yellow, is sometimes
visible. A piece of tapestry suspended from a rod by
means of rings, and terminating in a fringe at bottom,
conceals the rest of the back of the niche. Even in the
latest examples, however, the back of the canopy down
to the tapestry rod, is frequently covered with a stiff
ground of colour richly diapered. The pedestal of the
canopy is in very late examples sometimes solid, but in
general is formed of open-work, behind which a scroll
bearing an inscription is often inserted, as before de-
scribed. When the light is occupied with only one
THE PERPENDICULAR STYLE. 1 73
figure and canopy, the pedestal of the canopy is often
represented as if it was resting upon the earth, the space
at its foot being covered with flowers and herbage. The
pavement on which the figure stands, is in late examples
often formed of coloured glass. It is however at all
times composed of white or yellow glass, chequered with
black ; and is shewn in such sharp perspective that the
point where it meets the back of the niche, is often
as high as the middle of the body of the figure.
Scrolls bearing passages of Scripture, &c., are to be
found at all times of the style, inserted above the head
of the figure, when a long space intervenes between it
and the groining of the niched
It now remains to notice some of the minuter features
of canopies subsequently to the commencement of the
fifteenth century. Soon after this period the larger
finials and crockets assumed a flatter character, and
greater irregularity in their outline than the Decorated.
The smaller crockets became in general mere rounded
knobs; and the smaller finials, simple prolongations of
the sides of the pinnacle, having three trefoils arranged
round their base ^. It was usually the practice to shade
the pinnacles, and to take out a narrow bright light up
the centre of each pinnacle, with other narrow lights
' Plate 46 represents a traoery-light
canopy of the time of Henry VI. See
a very beaatifol canopy from the Chnrch
of All Saints', York, Weale's "Quarterly
Papers," part i. plate 1. See also ib.
plates 3 and 4. See also Lasteyrie,
Histoire de la JPeiniure atr Verre,
plates L and Iviii. See also a late
Perpendicular canopy, Lysons' "Glou-
cestershire," p. cix. A portrait of
Prince Arthur, son of Henry VII.,
kneeling under a canopy, in one of
the windows of Great Malvern Chnrch,
Worcestershire, is represented in Car-
ter's "Ancient Sculpture in England,"
plate xcii., and more correctly in the
2nd voL of Shaw's " Dresses and Deco-
rations of the Middle Ages." See also
several late canopies from the east win-
dow of Winchester Cathedral, Weale's
" Quarterly Papers," vol. ii. : and some
others from St. Neot's Church, Corn*
wall, in Hedgeland's " St. Neot's."
" See plate 59.
174 THE PERPENDICULAR STYLE.
diverging £rom it into the middle of each of the knob-
shaped crockets, and there to terminate each light in a
round ball-shaped spot. The lights of the smaller win-
dows, and openings of the arches, are generally cross-
hatched, and stained yellow. Saddle-bars are some-
times represented across the windows. The shadows in
the smaller recesses of the tabernacle-work are usually
strengthened with fine lines, flourished irregularly about
in a spiral form \
In the latter part of the reign of Edward IV., and sub-
sequently, the Tudor flower was often introduced as
a stringcourse in the head of the canopy, the crocket-
knobs of the smaller pinnacles were greatly reduced in
size, and the shadows in the smaller recesses of the
canopy were often heightened with a number of black
dots, instead of the spiral flourishes before mentioned.
Towards the close of the fifteenth century, the crockets,
finials, and other ornaments of the canopy, assumed in
general a bolder appearance, both in their drawing and
shading. The finials are more like bunches of leaves,
and the crockets more closely resemble those in the
architecture of the time.
When a picture, and not merely a single figure, is
placed under a canopy, the back part of the niche is
generally omitted, and the background of the subject
represented in its stead.
The above remarks apply also to the short canopies
which do not occupy the whole of a light. They differ
from the longer ones only in the shape of their heads,
which are less lofty, and flatter in their termination.
The canopies in tracery lights exhibit the same pro-
" See plate 63.
THE PERPENDICULAR STYLE. 1 75
gressive changes in form and arrangement, as those in
the lower lights. Their heads, however, generally con-
sist of a simple arch, with a flat-faced crocketed canopy,
or gable, above : though when the tracery light is spa-
cious, the head of the canopy is often three-sided, and
projects forward as in the larger canopies, which have
been already described. The canopy is painted on white
glass, and ornamented with the yellow stain, and the
whole space beneath the arch up to the figure is gene-
rally filled with a flat-coloured diapered ground ^. Some-
times in the later examples this space is also left white,
and is merely shaded dark brown.
The above descriptions apply in particular to canopies
confined to the limits of a single light; the canopies,
however, which spread themselves over several lower
lights differ from these principally in their increased
size and arrangement. The heads of the larger canopies
are usually flat-faced, and terminate in an ogee-crocketed
top ; beneath is a large wide arch. Sometimes, however,
the head is three-sided, like that of a smaller canopy.
White and stained yellow are the prevailing colours of
the architecture. In the later examples pot-metals are
often introduced into the groining, and sometimes into
the bases and capitals of the side pillars, whose shafts
are occasionally composed of sprinkled ruby.
The most beautiful canopies of the kind that I have
hitherto met with, are in Munich Cathedral, and I
cannot better illustrate the subject than by a descrip-
tion of them.
Three canopies, one above the other, are in one of the
windows of the choir, — ^the second on the south side
« See pUte 45.
176 THE PERPENDICULAR STYLE.
from the east window, — which consists of five very lofty
lower lights, and a short head filled with tracery. Each
canopy extends across the whole five lights. The head
of the lowest canopy is three-sided, and entirely com-
posed of yellow stained glass, as are also the jambs of
the canopy. It is terminated at the top with a flat
stringcourse, between which, and the bottom of the
next canopy, is a broad interval, having a red ground,
panelled with green, into which the yellow spires and
pinnacles of the canopy run. The picture beneath the
canopy represents an episcopal saint seated in a Gothic
apartment, and surrounded with a crowd of ecclesiastics,
nobles, and soldiers, and is brilliantly coloured. The
group is brought prominently forward, by keeping the
interior of the canopy in shadow, — the shadow being
deepest immediately under the hood, — ^and by using
a retiring colour — purple — for the walls of the room.
The windows of the room are seen in the background,
and the vaulting-shafts of the canopy run between them.
The roof of the canopy forms the ceiling of the apart-
ment. The ribs of the roof are coloured yellow, and the
interstices between them purple. The next canopy has
a two-sided projecting front, which as well as the jambs,
is entirely coloured white. Its head is terminated with
a stringcourse, between which and the bottom of the
next canopy is an interval of the same width as that
above the lower canopy, having a plain red ground, into
which the white spires, and pinnacles, and interwoven
branches of foliage, which proceed from the front of the
canopy, run. The subject of the picture beneath this
canopy is the Circumcision, executed in rich colours.
The group is brought forward, and disengaged from the
THE PERPENDICULAR STYLE. I 77
architecture in the same way as the last. The back-
ground represents the interior of a building, the roof of
which is formed, as in the other example, by. the vault-
ing of the canopy. The ribs of the roof ajp purple, and
the ceiling green. The next canopy, like the lowest,
has a three-sided front, which as well as its jambs is
composed of yellow stained glass. The head is ter-
minated with a string-course, as in the former canopy,
above which are the remains of a blue ground on which
the yellow pinnacles, &c., of the canopy are represented.
The picture beneath is the Birth of Christ, with a land-
scape background ; the rafters of the stable, which are
coloured, are very ingeniously contrived to connect the
picture with the architecture of the canopy. This group,
like the others, stands as prominently forward as the
front of the canopy. The effect in this instance is pro-
duced by gradually deepening the colour of the blue
sky from the horizon upwards to the groined roof of
the canopy ; and by keeping the roof of the canopy, the
rafters of the stable, &c., in deep shadow. It is evident
that this last canopy is not in its original position, since
the heads of the lights immediately above it are filled
with a red ground, on which are represented the white
pinnacles and branches of a canopy like that secondly
mentioned. In the tracery lights are represented the
arms of the donors of the window, and other ornaments,
on a blue ground p. A considerable interval remains
between the bottom of the lowest canopy, and the sill
of the window, sufficiently spacious to have contained
another canopy and subject of the same dimensions as
V The anDB are those of the family of
Lewen, one of whose members gave the
window in 1503. Gessert, Oeschichte
der Olasmalerei, p. 119.
N
178 THE PERPENDICULAR STYLE.
those described, besides leaving room for an additional
subject underneath it, rather more than half the height
of the canopy, and which we may conjecture to have
been supplied by the portraits of the donors of the
window. The singular character of this window consists
in the alternation of the white and yellow canopies, and
the mode in which their masses of white and yellow
glass separate the different pictures from each other.
I ought to mention that the general rich colouring of
the pictures is, to a certain extent, carried into the
fronts of the canopies by means of a few large coloured
figures placed in niches formed in the side jambs of the
canopy, and in the tabernacle- work of its projecting
front.
The other canopy is in the lower part of a four-lighted
window in the north aisle, — the fourth window from the
west. It has a flat-faced front, with a low gable, all
composed of white glass ; above is a broad space, covered
with a red ground, on which are represented the upper
parts of four pair of white twisted branches and leaves,
the lower ends of which are brought down low in front
of the gable, forming as it were a leafy screen, through
the interstices of whichj the gable itself, and the yellow
groining, and blue ceiling beneath it, are shewn. Under
this bower is a painting of the Annunciation. The
figures are represented as within a Gothic apartment,
the architecture of which is coloured purple, and as in
the other window, forms the basis of the groining and
ceiling of the canopy. Through the windows of this
apartment a landscape is seen executed in colours, and
with a blue sky. The group is brought into strong
relief, by the mass of shadow which is thrown behind
THE PERPENDICULAR STYLE. I 79
the figures immediately under the hood of the canopy.
This canopy is evidently of the same date as the others,
though of smaller size. It would appear from the blue
ground beneath it, on which the yellow pinnacles of
another canopy are represented, that the general ar-
rangement of this window once resembled that of the
other windows.
9. Tracery Lights.
The general form of tracery lights in this style being
elongated, figures became the most ordinary subjects
for them.
In the earliest examples the figure is usually placed
on a coloured ground, which is diapered, and often sur-
rounded with an ornamented yellow border, which im-
part somewhat of a Decorated character to the design.
The earliest figures are sometimes chiefly formed of pot-
metals, but are more commonly executed in white and
yellow stained glass.
The canopy was, however, very soon introduced into
tracery lights. The figure is sometimes partially coloured,
especially in the earlier examples, but is more fi-equently
of white glass, enriched with the yellow stain, and is
separated by a coloured ground from the head, jambs,
and pavement of the canopy, which serve as a border to
the light, the coloured background to the figure thus
being surrounded with a broad belt of white and yellow
glass. This effect is not destroyed even when the head
of the canopy is itself on a coloured ground ''. The white
figure and canopy, with the intermediate space of colour,
*> See plate 45,
n2
K
l8o THE PERPENDICULAR STYLE.
continued in almost general use until the end of the
style.
At all periods of the style, however, figures in tracery
lights are to be found represented on a white, or on
a quarry ground, or on a coloured ground usually (ex-
cept in the latest examples) separated from the stone-
work by a margin of white glass.
The figures are in general those of saints, cherubim,
or angels, the latter often hold shields bearing arms or
the emblems of the Passion. In the later examples,
kneeling or demi-figures are common, where the light
itself is short ^.
The triangular and other shaped openings in the tra-
cery, of Perpendicular figure and canopy windows, are
often occupied with foliaged patterns'. These in the
larger openings are sometimes executed in coloured
glass, but more frequently in white and yellow stained
glass, the patterns in nearly all cases being rendered
conspicuous by filling round them with black paint,
leaving a narrow edging of white glass around the light
next the stone- work *.
A rose, a lion's head, or a shield of arms, is often
introduced in the centre of a quatrefoil, nearly as in
a Decorated window. Groups of figures in colours are
often to be found in the larger tracery lights of early
windows. Sometimes the donors of the window are
represented in this position.
Tracery lights are often filled with quarry patterns.
' See some examples of tracery lights, earlier character than the canopies in
Lasteyrie, Histoire de la Peinture the lower lights. Hedgeland's "St
9ur Verre, plates Ixix., Ixiv., Ixvi. ; ' Neot's," plates Tii., viii., x., xi., &c.
Lysons' " Gloucestershire/' p. cix. ; the
tracery lights are in this plate of an
• See pktes 47, 58, 61, and 62.
t See plate 58.
THE PERPENDICULAR STYLE.
l8l
with or without borders to the light ; sometimes a circle
with an emblem, or other subject represented on it in
white and yellow, — and with or without leaves sprout-
ing outwards from the border of the circle, and painted
on the surrounding glass, — is inserted amongst the quar-
ries in the centre of the light. The borders to tracery
lights in this style are almost invariably composed of
white glass, ornamented with the yellow stain. A co-
loured border is of very rare occurrence.
In addition to these subjects, white and yellow scrolls
bearing inscriptions on coloured grounds, as well as
almost every variety of heraldic device, often occupy
narrow tracery lights.
The smaller openings are usually filled with plain
pieces of white or coloured glass.
When a general design pervades the lower lights of
a window, portions of it often extend into the tracery
lights also, to the exclusion of other subjects.
10. Heraldry.
The heraldry at the commencement of this period
preserved its former simplicity, the simple shield only
being employed ; but it would seem that the use of the
helmet, crest and mantling, the crown, the mitre, and
the coronet, together with supporters and the motto, is
of rather early introduction''. The earliest complete
" The indent of a flhield of arms, snr-
moanted with a helmet, crest, and mant-
ling, remains on the grave-stoue of Sir
Thomas Welsh, or Walsh, who founded
Wanlip Charch, Leicestershire, in 1393.
It is supposed that the earliest instance
of the arms within the Qarter is in the
stall-plate of Charles, Doke of Burgundy,
who was invested 1469, and died 1477.
A collection of tracings, formed under
the direction of Anstis, to illustrate his
history of the order, and purchased in
1757 hy Leake, Qarter King at Arms, is
preserved in the Library of the Heralds'
College. Communicated by T. M. King,
Esq., Kouge Dragon, 1844.
l82
THE PERPENDICULAR STYLE.
atchievements that I have met with in this country are
late in the reign of Henry VI., after which time they
are frequent "".
The shield alone, however, continued in use at all
times of the style, and its form affords a good indication
of date. The earliest shields are similar to those at the
end of the former period, but the sides are more upright,
and the shield gradually becomes squarer in its propor-
tions, until at the close of the style it is almost square.
A great variety of shapes was introduced in the reign of
Henry VI., and during the latter part of the style ; but
it would be impossible to describe them without the aid
of numerous plates.
The simple shield is employed in all ways, sometimes in
a quatrefoil light surrounded with leaves ^, or suspended
from a branch by a strap ; sometimes in a panel at the
foot of a canopy, or above or below it, or in the midst of
a lower light of a pattern window, and sometimes by
itself, in a tracery light, held by an angel, &c. At the
close of the fifteenth century a practice arose of enclosing
a shield within a wreath of flowers &c., containing some-
times rebuses or punning allusions to the bearer's name ;
the whole being inserted in the midst of a quarry light.
Sometimes the shield by itself is introduced into the
midst of a quarry light, with or without the addition
of a motto on a scroll, and frequently when in this
position it is surmounted with a crown, or a mitre, and
supported by angels or heraldic beasts.
The more elaborate atchievements are sometimes in-
* See plate 50. I saw in 1844, some
earlier examples than this, in the west
window of St. Leonard's Churchy Frank-
fort.
y See plate 28, which though copied
from a late Decorated example, bears
a close resemblance to many early Per-
pendicular arrangements.
THE PERPENDICULAR STYLE. 1 83
trodnced into a quarry light, with the motto written on
the scroll beneath, or on the quarries themselves ', or on
a piece of glass placed diagonally across the window'.
Sometimes they are inserted in hollow panels, or covered
with a canopy, and introduced into windows in conjunc-
tion with pictures. When the outer lights of a window
are thus filled, the opposite helmets are usually disposed
so aa to face each other.
Heraldry is also occasionally represented on the gar-
ments of the figures, &c. Instances may sometimes be
met with of heraldic borders like the Decorated, to win-
dows in this style. Late in the fifteenth century, and sub-
sequently, badges and initial letters, outlined and stained
yellow, are to be constantly found on quarries or on
small circles of glass, as well as introduced in proper
colours in various parts of windows.
Pulliam I'lilBcs.
The charges in the shield became more complicated in
the later examples, and every means was resorted to in
order to represent them in their proper colours : whether
by leading-in pieces of glass, or by destroying by abra-
• See pUU 49. ■ See Lysona' " Berka.," p. 217.
t84
THE PERPENDICULAR STYLE,
sion the coloured surface of coated glass. In the more
ordinary specimens, stained yellow and white glass were
often for convenience sake substituted for the proper
heraldic colours *.
11. Letters.
Inscriptions in this style are composed of Black letters,
the capital letters being sometimes Lombardic. The
capital letter, however, whether Lombardic or Black, is,
like the small letters, painted black, and the only ap-
proach to illumination that I have seen, consists in either
applying a patch of yellow to it, or painting a small leaf
within the compass of the letter, and staining it yellow ®.
Open characters, stained yellow, are commonly used as
initial letters on quarries, &c., but not as capitals to in-
scriptions. The scrolls on which inscriptions are written
are more flowing in this than in the former style. They
often have a yellow edging, and the letters are frequently
applied to the back, as well as the front of the scroll, so
as to avoid breaks in the inscription.
12. Mechanical Construction.
The glass is formed into rectangular glazing panels,
and attached to the horizontal saddle-bars as in the
former style. Great pains were taken to conceal the
lead lines as much as possible; the vertical leads are
generally thrown into the outlines of the picture, and
^ See ante, p. 33, note to the iDtro-
daction. Cut 26 is taken from an exam-
ple at the dose of the reign of Henry
VI.; it affords a comparison with the
Decorated fish in plate 44. Cut 27 is
taken from a specimen of the reign of
Henry VII., and affords a comparison
with the Decorated flenr-de-lis in cnt 19.
^ Open letters, stained yellow, appear
however as capitals to Black letter in-
scriptions, in some of the engpravings of
the glass from the east window, Win-
chester Cathedral; Weale's "Quarterly
Papers," voL ii.
THE PERPENDICULAR STYLE.
185
horizontal leads are almost invariably carried across the
work in front of the saddle-bars, by which they are en-
tirely hidden. Thus the necessity of using very large
pieces of glass was entirely obviated. I have met with
instances of late foreign canopy- work leaded together in
squares, the vertical divisions not coinciding with the
outlines of the design, but this is of rare occurrence.
%* It has been observed in a former part of this work, that painted
glass, when found in situ, is sometimes useful in helping to determine
the date of the architecture of a window, &c. In Perpendicular win-
dows possessing features not peculiar to any particular period of the
style, the existence of this test is of especial value, since they are at
once proved to be early specimens of the style, if they contain Deco-
rated, or early Perpendicular painted glass, in such positions as will
lead to the inference that they were originally glazed with it. Of this
an instance is afforded by the great east window of Gloucester Cathe-
dral, which though of Perpendicular architecture, is filled with late
but pure Decorated glass ^. It is easy to multiply examples. I shall
content myself with mentioning the following. A small two-lighted
Perpendicular window on the south side of the chancel of Tredington
Church, Gloucestershire, contains some good late Decorated glass in its
principal tracery light. The Perpendicular east window of the south
aisle of Southfleet Church, and a Perpendicular window on the south
side of the chancel of Eynesford Church, Kent, respectively contain
fragments of late Decorated, or early Perpendicular painted glass. And
to the best of my recollection, there are some small pieces of early
Perpendicular, if not of late Decorated glass, in the spandrels of the
lower tier of lights of the west window of Tewkesbury Abbey Church.
An opinion seems to be gaining ground amongst students of architec-
ture, that some of the most distinguishing features of the Perpendicular
style were introduced at an earlier period than was at one time sup-
posed : and certainly the existence of Decorated glass in Perpendicular
windows, tends to a similar conclusion.
' [The date of this glass-painting has
been ascertained by an examination of
the heraldry. Its conception is referred
to 1847, and it was probably completed
not later than 1350. See "Archaeolo-
gical Journal/' No. 80, p. 327, and
Winston's "Memoirs Illnstratiye of
Glass-painting." — E.]
1 86 THE CINQUE CENTO STYLE.
SECTION IV.
THE CINQUE CENTO STYLE.
The Cinque Cento style may be said to have lasted
about fifty years, viz. from the beginning of the six-
teenth century, until the introduction of the " mosaic
enamel mode" of glass-painting; about the middle of
the sixteenth century. For a short time, therefore, the
Perpendicular and Cinque Cento styles were concurrent.
And if it were not for the peculiar character of the
Cinque Cento ornamental details it would be a matter of
considerable difficulty to distinguish the Perpendicular
glass-paintings of the first thirty years of the sixteenth
century, from the contemporaneous Cinque Cento glass-
paintings. These examples of the two styles, especially
those of the early part of the sixteenth century, often
bear a considerable resemblance to each other, not only
in their general arrangements, but sometimes even in the
drawing of the figures : there may also be remarked in
these paintings the same gradual change from compara-
tive poverty, to richness of colour; and from hardness
and fiatness, to softness and roundness of effect. The
Cinque Cento style reached its perfection between the
years 1525 and 1535, a period which may be termed
the golden age of glass-painting. During this time.
Cinque Cento glass-paintings display in general the
most gorgeous effects of colour, and the greatest con-
trasts of light and sh&de that have hitherto been at-
tained in painted glass without sacrificing the trans-
parency of the material, whilst they often possess at the
same time considerable merit both in their drawing and
composition. Cinque Cento glass-paintings executed soon
THE CINQUE CENTO STYLE. 1 87
after 1535, begin to lose their transparency and bril-
liancy, and to become black and opaque in their deeper
shadows, an evil which increased as the style advanced,
and was doubtless occasioned by the anxiety of the art-
ists to give greater force and effect to their pictures,
by imitating the deep shadows of oil paintings. In point
of richness of colour, design, and composition, the latest
Cinque Cento glass-paintings are however not inferior to
the earlier specimens.
We may perceive in the superior pictorial qualities of
the glass-paintings of the first half of the sixteenth cen-
tury, as compared with the more ancient examples, the
influence which a progress in one branch of art usually
exerts on others. The close of the fifteenth, and begin-
ning of the sixteenth century, is almost universally ad-
mitted to have been the period of the highest develop-
ment of modern fresco, and oil-colour painting. Glass-
painting did not then indeed attain perfection, but it
reached a degree of excellence during the first thirty or
forty years of the sixteenth century, which has not only
never since been equalled, but also affords a satisfactory
ground for the belief, that if glass-painting cannot boast
of possessing examples as full of artistic merit as the
works of the great masters, this deficiency is attributable
not to any inherent incapacity in this species of painting
for a display of high art, but simply to the want of skill
in those who have hitherto practised it.
Cinque Cento glass-paintings partake less of the cha-
racter of mosaics, and more of the nature of finished
pictures than Gothic glass-paintings. This picturesque-
ness was produced without resorting to any other expe-
dients than those afforded by the mosaic system of glass-
l88 THE CINQUE CENTO STYLE.
painting. The limited scale of colour common to that
system, was considerably extended early in the six-
teenth century, by the introduction of a great many
new tints of coloured glass, as well as by the single
and double application of the yellow stain to them, and
white glass. The varied and harmonious colouring of a
Cinque Cento glass-painting is however the result not
merely of a skilful disposition of individual tints, but of
taking advantage of the accidental variations of colour
in the same sheet of glass, so as to make the light parts
of the glass coincide, as far as possible, with the lights
of the picture, and its dark parts with the shadows.
None, I am persuaded, ever understood the principles of
colouring as applied to glass-paintings, more thoroughly
than the Cinque Cento artists ; their works, even if re-
garded as mere "maps" of colour, would still be pic-
turesque. Some great principle of colouring may gene-
rally be remarked in them, tending to counteract the
natural spottiness of a glass-painting. The eye is not
distracted by capricious contrasts, but by means of well-
arranged leading tints is quietly conducted over the
whole design. In point of execution, the stipple mode
of shading was that principally employed throughout
the Cinque Cento style ; smear shading being however
a good deal used in architectural ornamental work. The
stipple shading became much coarser in its grain as the
style advanced, which enabled the artists by this means
considerably to increase the depth of the shadows with-
out destroying the transparency of the painting. Soon
after the year 1530, a practice was introduced of
heightening the deeper shadows with broad smear
hatches of paint, left unstippled, the cause of that
THE CINQUE CENTO STYLE. 1 89
opacity in the later Cinque Cento glass-paintings, which
has before been alluded to. The enamel brown used in
the earlier paintings, is of a cold tone; towards 1520,
however, it acquired a fine warm tint, by which a con-
siderable degree of richness is imparted to the work.
The chief superiority, however, of the Cinque Cento
glass-paintings over the Gothic, consists in the extra-
ordinary distinctness and relief of the picture; partly
caused, it is true, by well-defined outlines, and contrast
of colour, but more eflfectually by powerful and skilful
contrasts of light and shade. The artifice resorted to may
be most easily detected in those Cinque Cento glass-paint-
ings in which the picture is represented as seen beneath
an archway. The front face of the arch and its abut-
ments, &c., forms a mass of strong light, and is conse-
quently brought prominently forward. The soffit and
sides of the archway are however kept in deep shadow.
The group of figures stands just within the threshold of
the archway, and is a very prominent object, on account
of its forward position, its vivid colouring, and strong
lights and shadows. In the distance is represented
a landscape, delicately painted on light blue glass, and
the space between the horizon and the archway is filled
with a very clear light blue or grey sky. This sky serves
as a background to the heads and upper portion of the
bodies of the figures of the group, and by its tint and
transparency, throws forward the darkly-shaded arch-
way, and the group in a most surprising manner, and at
the same time gives great apparent distance to the back-
ground. In this way are produced the greatest effects
of atmosphere that the art of glass-painting is capable
of. The same method of ensuring distinctness may be
I go THE CINQUE CENTO STYLE.
traced in all Cinque Cento work. It may be observed
in figure and canopy windows, and in glass-paintings
where the whole of the window is covered by the pic-
ture. The effect produced is, however, never so striking
as when the picture is represented as seen through, or
under, an archway.
The principle of keeping the picture separate and dis-
tinct from the mere ornamental part of the design, is
fully carried out in the Cinque Cento style. The archi-
tectural work, which is principally composed of white
and yellow stained glass, is in general made to form
a frame-work, or setting to the picture, with which it
neither interferes, nor intermingles. In some composi-
tions indeed, the pictorial part is closely interwoven
with the ornamental part, but when this occurs, it may
usually be accounted for by the peculiar nature of the
subject, as a Jesse for instance.
The ornaments of the Cinque Cento style of glass-
painting resemble those of the Italian architecture of the
sixteenth century, to which the term " Cinque Cento "
is ordinarily applied. These are principally derived from
the ancient Boman architectural details, such as friezes,
arabesques, and the like. Some Boman ornaments are
directly copied in Cinque Cento work ; in general, how-
ever, there is a playfulness in Cinque Cento decorations
which of itself sufficiently distinguishes them fr6m the
classical. They likewise frequently exhibit the costumes
and armour of the sixteenth century. The drawing of
the principal figures and draperies in Cinque Cento glass-
paintings is in general more nearly allied to the Italian
than to the German manner. Some figures are extremely
grand and severe ; and they are almost all far more cor-
THE CINQUE CENTO STYLE.
191
rectly designed and executed than the Gothic, On the
whole, however, the Cinque Cento style must be con-
sidered more ornamental, and less severe in its cha-
racter, than the Perpendicular style: I am of course
speaking of it as it appears in existing specimens, for
there is nothing in the style itself that is opposed to
severity or grandeur.
In their general arrangements Cinque Cento glass-
paintings usually exhibit a remarkable unity of design,
which is accomplished sometimes by means of the archi-
tectural work which environs the different pictures;
sometimes by the manner in which the colouring of
several distinct pictures brought into juxtaposition, is
managed, so as to produce the effect of one connected
work.
The figure and canopy window is a common Cinque
Cento arrangement. Sometimes each figure is placed
under a separate canopy ; but more commonly they are
all covered by one large canopy, extending across the
window. In either case a panel containing a coat of
arms, or a picture, is often inserted beneath, or even
above the canopy, the tracery lights being filled with
angels, emblems, heraldry, or other devices ®.
In picture windows the arrangement sometimes con-
sists in entirely filling the lower lights, and occasionally
the tracery lights also, with one subject, unaccompanied
with any canopy or ornamental work. Sometimes in
occupying the lower lights with one general canopy, or
open screen-work, which includes one or more distinct
* See representations of figure and
canopy windows, Lasteyrie, Hist, de la
PeifUwre wwr Verre, plate Ixxzii. ; and
Lettn, Description de VEglise MHro-
politaine du Dioc4»e d^Auch, Nos. 7, S,
21, 22.
192
THE CINQUE CENTO STYLE.
pictures : the tracery lights being filled with inde-
pendent subjects. Sometimes the central part of the
window is occupied with one large picture with or
without an architectural framework, the two outer lower
lights being each filled with a figure and canopy. In
other windows, especially those consisting of five or
more lower lights, the centre light is filled with a figure
and canopy, and the outer lights on either side with
a large picture. The tracery lights being in all these
instances adorned with other pictures'. Sometimes when
a window consists of three lower lights, a figure and
canopy is placed in the centre light, and all the rest of
the window is filled with heraldry, or with plain white
glass leaded together in geometrical patterns, or, in
Germany, with round glazing. Sometimes an arrange-
ment like the Decorated is resorted to, one general
canopy, or several canopies, including either a large
picture, or single figures, being carried like a belt
across the middle of the lower lights, the space above
or below the belt being occupied with white, or round
glass, as before mentioned. The variety of arrange-
ments in works of this period is however very great,
since amongst them may be reckoned, in addition to
many original arrangements, almost every combination
which has hitherto been noticed in the examination
of the former styles : it is therefore impossible to do
more than just glance at some of the most ordinary,
leaving the rest to be ascertained by actual obser-
vation"^.
' See plate 66. See bIso Lasteyrie,
HUtoire de la PeirUure sur Verre, plates
Ixiv., Ixvi., Ixxvi., Ixxvii., and Ixxxi.
' See the engravings of the windows
of St. Jacqnes Church, Li%e, in Weale's
"Divers Works of Early Masters in
Christian Decoration."
THE CINQUE CENTO STYLE. 1 93
In the Wheel windows of this period, the colours are
in general arranged so as to produce the effect of a star,
or rainbow, as the case may be. In the centre opening
there generally is a demi-figure or other picture ; the
openings immediately round the centre are filled with
yellow rays; and the larger outer lights with demi-
angels, or cherubs, all executed in colours and placed
with their heads towards the circumference of the circle ;
the smaller openings being filled with patterns, or plain
pieces of glass. In some instances all the openings
except the central one are filled with ornamental pat-
terns \
The Jesse windows of this period are in general
extremely rich and fanciful. The vine generally ex-
tends itself in graceful curves over the whole of a win-
dow, it is seldom confined within the limits of a sin-
gle light. The figures stand upon, or sit on foliaged
stools growing out of its branches. The whole design
is sometimes represented on a coloured, sometimes on
a white ground. In the former case the principal
branches are generally white, the leaves and stools
being variously coloured, in the latter the vine is usually
stained yellow K
The painted glass in the windows of the apsidal choir
of St. Jacques Church, Liege, though inferior both in
extent and subject to many other examples, may safely
be pronounced to be one of the most splendid specimens
of the Cinque Cento style, and merits particular atten-
tion on account of the excellence of its execution, and
^ See Lasteyrie, MiHoire de la Pein-
tmre tur Verre, plate IxxiL; see also
Letto, Description de VEglise MHrO'
poUkume du Diocke d^Auch, Nos. 6,
and 24.
^ See a spedmen of a Cinque Cento
Jesse, Lasteyrie, Sitt, de la Feinture
swr Verre, plate liziv.
194 THE CINQUE CENTO STYLE.
brilliancy of its effect. Its goodness as a specimen of
glass-painting will be the more readily appreciated by
the student since it has lately been repaired, and restored
to its original lustre by a careful and judicious cleaning.
Its principal subject is the family alliances of the Counts
of Horn.
There are five lofty windows in the apse of St. Jacques
Church, each having its lower lights divided by a tran-
som into two tiers of three lights apiece. The three
lights in the upper tier of the centre window are occu-
pied with a large picture, (the Crucifixion,) and the
canopy under which it is placed : the lower tier of lights
is filled with another large picture, comprising two sub-
jects, (Abraham offering Isaac, and the lifting up of the
brazen serpent in the wilderness,) and its canopy.
Both thTse pictures exhibit good drawing and group-g
in the figures, brilliant and harmonious colouring, and
a depth of shadow which could scarcely have been in-
creased without sacrificing the transparency of the glass.
Each is furnished with a landscape background, and
a light blue sky above, reaching to the arch of the
canopy, through which the picture appears to be seen.
A most luminous effect is produced by this sky, con-
trasted as it is with the dark soffit of the archway, and
the powerful execution of the group of figures beneath.
The sky in the lower picture is represented clear and
serene, gradually deepening a little from the horizon
upwards; that in the upper picture is slightly clouded
towards the top, doubtless to indicate the supernatural
darkness of the Crucifixion.
The canopies, which are thoroughly Cinque Cento in
design and details, are principally composed of white
THE CINQUE CENTO STYLE. 1 95
and yellow stained glass, and by their mass eflfeetually
serve as a setting to the pictures. Their ornamental
character is increased by the stiif coloured grounds on
which their heads are placed ; that of the upper canopy
being deep blue, and that of the lower bright red.
In the tracery lights of this window are two heads,
the one intended for God the Father, the other for
Christ, as well as representations of the Holy Ghost, and
two cherubs; these subjects are all executed in white
and yellow stained glass, and placed on bright red
grounds.
Each of the remaining four windows has, like the
centre window, its lower tier of lights occupied with
a large picture and canopy, the subjects however being
portraits of members of the Horn family, kneeling and
attended by their patron saints, and angels holding their
armorial bearings. The glass in the upper tiers of lights
differs much in its arrangement from that in the centre
window. A single figure and canopy partly occupies the
central light, and a small portion of each of the side
lights, in the upper tier of each of these windows, the
remainder of the lights being filled with shields of arms
backed with plain white glass : a more perfect and beau-
tiful display of heraldry than this can hardly be con-
ceived. Many of the arms are furnished with helmets
and mantlings, and the white glass not being leaded
together in any particular pattern, but principally in
horizontal lines, hidden by the saddle-bars, offers nothing
to distract the eye from a contemplation of the bright
bearings, and the varied and elegant forms of the lam-
brequins and crests. The single figures in the central
light of the upper tier, serve to keep up the interest of
o2
196 THE CINQUE CENTO STYLE.
the general composition; while the small amount of
colour presented by them and the heraldry together,
when compared with that of the painting of the Cruci-
fixion, serves to preserve the predominance of the cen-
tral window. The tracery lights of the four side win-
dows contain angels and scrolls, in white and stained
yellow glass on coloured grounds. One of the scrolls
bears date 1525.
I must not omit to mention two other windows, of
singular shape, one on each side of the choir next the
nave of St. Jacques. In the autumns of 1843 and 1844,
the north window alone contained painted glass, the con-
tents of the south window being, as I was informed, in
the cleaner's hands. The north window is divided into
two grand compartments by an immense muUion, which
runs up the mLle of the window and branche; off at
the top like a Y. Each compartment has four lower
lights, and a head of Flamboyant tracery. The three
lower lights of each compartment next to the large mid-
dle mullion, are, with the exception of a space at bottom,
equal in width to the breadth of the outer light, occu-
pied with paintings representing members of the Horn
family, — kneeling and attended by their patron saints, —
under canopies of the same character as those in the
apsidal windows. The heads of these canopies are on
coloured grounds. The picture is painted on precisely
the same principle, in respect of contrasts of colour, and
of light and shade, as the pictures in the east window.
The tracery lights which form the central portion of the
head of each compartment, and, though not exactly over
the tops of the three lower lights, immediately adjoin
them, are filled with angels, scrolls, and other subjects,
THE CINQUE CENTO STYLE.
197
principally executed in white and yellow stained glass,
and placed on coloured grounds. White glass, however,
forms the ground not only of the exterior lower lights of
each compartment, and of the space beneath the pictures
in the other lights, but also of all the exterior tracery
lights in the head of the compartment. These tracery
lights are occupied with angels, letters, &c., executed in
colours; and the exterior lower lights, as well as the
space below the pictures, with heraldry, richly coloured,
principally consisting of shields of arms with helmets
and mantlings. The eflfect of this arrangement is com-
pletely to cut out, and surround with white, the coloured
central portion of the window, and to make it harmonize
with the general appearance of the windows in the apse.
The space above the fork of the large middle muUion is
occupied with a representation of the coronation of the
Virgin, in colours, surrounded by a coloured rainbow,
composed of pink, red, and blue rows of cherubim \
A remarkably fine Cinque Cento general arrangement
is afforded by the four windows of the chapel of the
Miraculous Sacrament, on the north side of the choir of
Brussels Cathedral. Each of these windows has five
long lower lights and a head of tracery. The lower
lights of each window are filled with a grand Cinque
Cento architectural design, terminating at the top like
a triumphal arch, but comprising a double tier of open
arches separated by a broad frieze, and principally com-
posed of white and yellow stained glass. In these glass-
^ The windowB of St. Jacques Church
have been engraved in a recent publica-
tion by Weale, entitled " Divers Works
of Early Masters in Christian Deco-
ration;" these plates are exceedingly
Qsefnl as giving the arrangement, the
colouring, and general design of the
glass ; they however by no means convey
an adequate idea of the effiBct of the
glass, [1847].
1 98
THE CINQUE CENTO STYLE.
paintings the principle of producing distinctness, and
atmospheric eflfect, by strong contrasts of colour and
of light and shade, is carried out in the boldest
and most complete manner. Under, and sometimes
partly in front of, the upper tier of arches in each
window is depicted in rich colours a group of figures
forming a portion of the legend of the miracle; the
space below the lower tier of arches being occupied
with the kneeling portraits of the donors of the window
and their attendant patron saints. The front of the
whole screen presents a mass of light; but the soffits
and sides of all the archways are kept in deep shadow.
A bright grey or azure-coloured sky is, in every case I
believe, introduced in the distance; filling up the re-
mainder of the space beneath the archway, and serving
as a background to some of the figures of the group.
The ornamental architectural work serves not only (as
at Liege) as a setting and relief to the pictures, but
by means of its connected design, to produce a general
unity of effect. The space above the architectural ele-
vation, and also the tracery head of each window, is
filled with plain white glass in quarries, but this is
not original. In point of mere execution, these glass-
paintings are to a certain extent inferior to those at
Liege, since there is a certain degree of opacity in their
deeper shadows, and a consequent diminution of trans-
parency in this portion of the picture ^
The windows of Auch Cathedral, in the south of
France, are not only extremely valuable as collectively
1 For the dates and Airther particulars
of these windows, and remarks on them,
see L^vy, Mistoire de la Peinture sur
Verre, p. 101, Broxelles, 1860, [" Arch»-
ological Journal," vol. xxi. p. 206 ; and
"Memoirs on GUss-painting/' by the
kte C. .Winston, p. 322.]
THE CINQUE CENTO STYLE.
199
shewing the general arrangement of the glass, through-
out an entire building, but as affording a satisfactory
proof of the ease with which in the Cinque Cento style,
unity of design in any particular window may be accom-
plished by a judicious employment of architectural and
ornamental details, although no visible connection exists
between the principal subjects of the composition them-
selves. The richly coloured glass-paintings are confined
to the windows of the chapels eastward of the transept,
and to the circular windows at the west end of the
nave, and the northern and southern extremities of the
transept, the rest of the edifice being glazed with mere
pattern windows, possessing but little colour. Some
of the pattern windows are of the seventeenth century,
but others are of the same date as the picture windows
in the chapels, which appear, from an inscription on one
of them, to have been finished in 1513.
The general character of the latter windows may be
gathered from plate 66, which is a reduced copy of the
window numbered 23, in M. Lettu's excellent work on
Auch Cathedral, from which I have principally derived
my information on the subject"*.
In all except the three windows of the easternmost
apsidal chapel, the principal subject has a smaller
Bubject beneath it, by which means an uniformity of
level is preserved throughout the whole of these com-
positions ; the three windows of the easternmost chapel
being somewhat shorter than the others. The principal
subjects of the window represented in plate 66, the
incredulity of St. Thomas, and Christ appearing to
" A representatioii of this same win-
dow is given in Lasteyrie, HisL de la
Peinture sur Verre, plate Ixxxi. Its
coloaring is extremely rich and brilliant.
200 THE CINQUE CENTO STYLE.
Mary Magdalene, form together one connected picture.
In the great majority of the other windows, however,
the principal subject consists of a row of three or four
independent figures, according to the number of the
lower lights, each light containing a single figure.
These figures are of prophets, patriarchs, sybils and
apostles, and their relative positions can for the most
part be accounted for only by reference to the legends
and doctrines of the Church. In some windows these
figures are treated as independent, each being covered
with a separate canopy; in general, however, they
either stand in front of a grand architectural elevation
extending across the window, or in a connected row of
niches. In some windows the unity of the composition
is further assisted by the introduction of a curtain be-
hind the figures, supported by angels, as in plate 66.
The Crucifixion in the east window, and the Fall of
Adam in one of the side windows, are treated as at
Liege and Brussels, as pictures seen through an arch-
way. The tracery lights in all these windows are filled,
as in plate 66, with figures, heraldry, ornaments, &c.
The circular window at the west end of the nave has
its eye, or centre light, filled with a half-figure of the
Virgin Mary ; the lights which immediately diverge from
the centre are filled with flames of fire, and the outer
lights principally with angels and cherubs. The two
other circular windows are nearly alike. One contains
a demi-figure of St. Peter, and the other a demi-figure
of St. Paul in its centre light, all the radiating lights
being occupied solely with foliaged ornaments.
The pattern windows have their tracery heads full
of ornaments and heraldry, and their lower lights are
THE CINQUE CENTO STYLE. 20I
enriched with a border, and filled with plain quarries.
As all the picture windows and some of the pattern
windows have been engraved by M. Lattu, I must refer
the reader to his work for further particulars on the
subject.
King's Chapel, Cambridge, affords another example
of a general arrangement .of windows throughout an
entire building. With the exception of the west win-
dow, all the principal windows of this edifice are adorned
with pictures on glass, which from the original contracts
with the glaziers, still in existence, appear to have been
finished about 1531.
The east window contains in its lower lights six
distinct subjects, viz. three in the upper tier, and
three in the lower tier of lights, each picture entirely
filling three lights, and not being enclosed within any
ornamental framework, but simply separated from the
others by the muUions and transom of the window.
These pictures are very fully and richly coloured. The
tracery head of the window is entirely occupied with
royal cognizances and initial letters, &c., executed in
white and coloured glass, and placed on a blue ground
of much deeper tint than the blue used in other parts
of the window \
The side windows each consist of ten lower lights,
disposed in two tiers, and an obtuse head of tracery.
* A print of the east window of King's
Chapel, by the late J. K. Baldry, was
published in 1809 ; it is a faithfnl repre-
sentation of the drawing of the glass,
bat conveys but little idea of its colour-
ing or general effect. It is to be re-
gretted that Mr. Baldry did not fulfil
his original intention of engraving all
the side windows in a similar manner.
I have a sort of suspicion that the glass
in the tracery lights of these windows is
a little e:trlier than that in the lower
lights. The initials H. £. in the tracery
lights of the east window seem to have
reference to Henry VII. and his qucen»
Elizabeth of York. See notices of these
windows, " ArchsBological Journal/' voL
xii. pp. 162, 366; and voL ziii. p. 462.
202 THE CINQUE CENTO STYLE.
The central light of each tier contains two figures
richly coloured, placed one above the other, and each
covered with a Cinque Cento canopy principally com-
posed of white and yellow stained glass. On either
side of the centre light is a distinct suT^ject, occupying
the two outer lights of each tier. These pictures are
all richly coloured, and except in one window are not
surrounded with any architectural framework. The
tracery lights are filled with heraldic bearings and
cognizances placed on coloured grounds, deep blue
being the prevailing ground colour. In point of exe-
cution, these windows appear weak in comparison with
those at Liege ; there is a want of depth in the shadows,
and consequent want of relief in the picture; and the
grain of the shading is too fine, which makes the
shadows rather hard. The mass of deep blue in the
tracery lights produces a rather heavy effect. Still
these windows will always rank deservedly high as
glass-paintings; taken collectively they form indeed
the most important specimen of the Cinque Cento style
in this country. Some of the windows have been
lately cleaned, and are in my opinion greatly improved
by the operation ®. A few of the windows which sepa-
rate the little side chapels from the main building,
preserve portions of their original glazing. Some of
it is in the same style as that in the large windows,
the rest is rather more Gothic in character. These
windows do not appear to have been richly coloured.
<* A description of the BnbjectB repre- I eighteen windowo^to be completed within
Rented in these windows is given in the
"Cambridge Guide,'* Cambridge, 1831.
It appears from this authority, that in
April, 1527, a contract was made for
fonr years: and that another contract
for four other windows, to be finished in
three years, was made in May, 1628.
THE CINQUE CENTO STYLE. 203
Many of the figures in the tracery lights are executed
in colours, and placed on ornamented quarry grounds.
The windows of St. Peter's Church, Cologne, demand
attention, since they afford combinations of very beauti-
ful Cinque Cento picture glass-paintings, and patterns
principally composed of round glass. The central por-
tion of the three lower lights of each of the three eastern
windows, is occupied with a very considerable mass of
painted glass, consisting of one general subject above,
and several smaller subjects beneath. Thus in the
centre windows, the upper subject is the Crucifixion,
below which the portraits and arms of the donors are
represented. The remaining portions of the lower
lights are filled with round glass, in which stars of
colour are introduced, as before described. The tracery
lights either contain arms, or are surrounded with an
ornamented border, executed in white and yellow glass,
and filled up with round glass.
A similar arrangement prevails in most of the other
windows of this edifice ; in some only part of the central
lower light, in others the middle portion of all the lower
lights is filled with painted glass, the rest of the open-
ings as well as the tracery-head of the window being
glazed with round glass. Some of these windows bear
date 1528, 1530. The pictures they contain, considered
as glass-paintings, are of the highest excellence, being
exceedingly brilliant, without displaying any timidity in
their shading, which is at once clear and effective. The
effectiveness of round glass as an adjunct to painted
glass is here fully developed; it appears to harmonize
with it both in colour and form, far better than orna-
mented quarries.
204
THE CINQUE CENTO STYLE.
Want of room prevents my noticing in detail many
other valuable examples of Cinque Cento glass-painting.
I must not however forbear to mention the churches of
St. Patrice, and St. Yincent, at Eouen, both of which
contain many beautiful specimens p; the church of St.
Martin, at Liege, whose seven easternmost windows
(some of which bear date 1527) exhibit a remarkable
combination of the most splendid heraldic compositions
and sacred subjects; and especially the choir of Lich-
field Cathedral, the windows of which are filled with
glass brought from the diocese of Liege, and strongly
resembling that of St. Jacques Church in its general
character and execution \ The Lichfield glass is dated
1534, 1535, 1538, and 1539, and though the relative
arrangement of the different pictures has not been
preserved, by which the general effect of the work is
lessened, they are individually worthy of close attention
by every true admirer of painted glass. As glass-paint-
ings they are indeed finer than those at St. Jacques
Church, Liege. They are most effective specimens of
the art; the principle of contrasting colour and light
and shade, and using the architectural framework as
relief to the picture, being fully displayed in them.
The clearstory windows of the choir of Brussels Cathe-
dral are also very fine specimens of the Cinque Cento
' EngraviDg^ of some of the glass in
these churches, and also in that of St.
Oodard at Rouen, are given in Langlois,
JEtMai Historique et descriptif sur la
Peinture tur Verre, 8vo. Rouen, 1832,
plates 8, 4^ 5, 6 and 7.
4 A description of the Lichfield glass
is given in a little work entitled "A
Short Account of Lichfield Cathedral,''
Lichfield, 1843, 6th ed. The portrait of
Cardinal de la Marck in one of the north
windows of the choir, is really a wonder-
ful performance as regards colouring and
execution, and sufficiently proves the
pictorial excellence to which a glass-
painting may attain. The glass belonged
to the dissolved abbey of Herkeurode, in
the diocese of Li€ge. [See " Arch solc^i-
cal Journal," vol. xxi., and " Memoirs on
Qlass-painting," p. 321, note.]
THE CINQUE CENTO STYLE.
205
period; they appear to be coeval with the great west
window of that edifice dated 1528, and which with the
exception of its tracery lights is entirely filled with
a representation of the Day of Judgment, a work which
displays the capability of glass-painting for such sub-
jects ^ Some good Cinque Cento glass-paintings, portions
of larger works, and as I think, of the Flemish school,
may be seen in the windows of Ashtead and Gatton
Churches, Surrey. I cannot conclude these remarks
without a reference to the east window of St. Margaret's
Church, Westminster, which though at present much
begrimed with London smoke and soot, may be cited as
an example of the pictorial excellence attainable in
a glass-painting without any violation of the funda-
mental rules and couditions of the art, and as affording
a practical refutation of the notion that glass-paintings
must necessarily be confined to mere mosaics possessing
hardly any other merit than that which results, from an
assemblage of splendid and dazzling colours \
' Aooordiog to M. le Vieil, the west
window of Brnssek Cathedral was
painted by James Floris, otherwise
Jacques de Vriendt, brother of the well-
known Francis Floris, "the Flemish
Raphael." 1/art de la FeitUure tur
Verre, p. 42.
' A very indifferent print of this
window was published in the Vetusta
Monumentci, in 1768. The Society of
Antiquaries there state, that this window
was originally intended as a present by
the magistrates of Dort, in Holland,
to King Henry VJI.; that it remained
at Waltham Abbey till the dissolution,
when it was removed to Kew Hall, Es-
sex; that it afterwards passed by sale to
Mr. Conyers, of Copt Hall, £ssex, fVom
whence the inhabitants of St. Marga*
ret's, Westminster, purchased it in 175S,
for 400 guineas.
That the window was howeyer painted
for Henry VIII., and not for his father,
appears I think pretty clearly from the in-
troduction of the pomegranate, the badge
of Henry the Eighth's first wife Catha-
rine of Arragon, in the upper part of the
window, and also from the figure of
St. Catharine which is placed over the
kneeling effigy of the queen. The style
of the work itself is of the time of Henry
VIII. It is not likely that it should
have been painted after the king's
scruples respecting the validity of his
marriage had arisen, but I thmk, judg-
ing by the analogy of other examples,
that it is as late as 1526 or thereabouts.
In its general character it closely re*
206 THE CINQUE CENTO STYLE.
I now proceed to examine Cinque Cento glass-paintings
in detail, conducting the investigation in the following
order.
1. Texture and Colour of the Glass.
The glass used in Cinque Cento glass-paintings is iden-
tical in texture with that employed in the Perpendi-
cular glass-paintings of the sixteenth century, and it
also resembles it in the general lightness and gaiety
of its colours.
Generally speaking, the colours of the Cinque Cento
are fuller of tone and more harmonious than those of
the Perpendicular period. ITiis is particularly the case
with the blue, in comparison with which that of the
Perpendicular looks quite raw and crude. It is cool,
but warmer than that of any other period, not excepting
the twelfth century. It is a warm grey blue full of tone.
The same superiority is observable in all kinds of green,
which are never raw, and always much modified with red.
The yellows also are never violent or crude.
Many new tints, especially of pink and purple, were
introduced during this period, as well as a deep blue
of a purple tint, which last was much used in the dra-
sembles a window containing the por-
traits of John Draeck (who died 2Sth
"Nov., 1528) and Barbara Colibraat, bis
wife, (wbo died 28th Sept., 1538,) in the
north aisle of the nave of St. Jacques
Charch, Antwerp. Mr. Rickman was of
opinion that the kneeling personages
represented Prince Arthur and the Prin-
cess Catherine; arguing that the man
wore only a coronet round his bonnet,
and that the lady's face was that of a
very young woman. Walcott's " History
of St. Margaret's Church, Westminster,"
p. 17. The male figure, however, has
a crown and not a coronet on his head,
which disproves Mr. Bickman's opinion;
and indeed there is strong ground for
suspecting that the head itself is not
original, but a modern restoration. The
queen's head is modem. But query if
these heads are not original, though re-
touched when the glass was put up in
St. Margaret's.
The harmonious arrangement of the
colouring of the Westminster window is
worthy of attention. It is the most
beautiful work in this respect that I am
acquainted with.
THE CINQUE CENTO STYLE. 207
peries, &c., of late works. A very light blue or rather
grey glass, was constantly employed to represent the azure
of the firmament, and also very extensively in land-
scapes, and ornamental work, where it is often changed
to a light green, or even a deep yellow, by staining.
" Sprinkled ruby" and many kinds of irregularly colour-
ed ruby may be frequently observed in Cinque Cento
glass-paintings. The white glass is apparently colour-
less, but on close inspection it will be found to retain
the light yellow tinge which has been already remarked
in reference to the late Perpendicular white glass.
Flesh-coloured glass is uncommon, white glass tinted
with a red enamel like China red being generally used
instead of it. Those specimens of flesh-coloured glass
that I have met with are very light in colour.
As a general rule, the Cinque Cento artists worked
with secondary and tertiary colours, and the primary
colours are with them so modified as to be primary
only in name. Whether it was that they were unable
in an equal degree to modify the ruby, or for some other
cause, it is certain that ruby glass is more sparingly
employed in Cinque Cento glass-paintings, than in any
other. Sometimes, even in large pictures, it appears in
little bits only.
Many kinds of coated glass besides ruby, were used
during this style, and the abrading process was fre-
quently exercised on them.
It is to the profuse employment of the yellow stain,
and the rich and varied hues it assumes under diiferent
degrees of heat, that the gorgeous effect of Cinque Cento
glass-paintings is in great measure attributable. The
yellow thus produced is usually of a fine deep golden
208 THE CINQUE CENTO STYLE.
colour, it very often inclines to a deep orange, it is
seldom of a pale lemon tint.
A practice was often resorted to of double staining the
glass, that is, applying the stain twice over, whenever
increased depth or variety of colour was required. By
this means yellow grounds were often ornamented with
a pattern executed on them in a still deeper shade of
yellow. The stain was sometimes applied to yellow
pot-metal glass, and frequently to blue and also to ruby
and purple glass. Blue glass was often subjected to the
process of double staining.
2. Mode op Execution.
Dark outlines were constantly employed in the figures
of this period, and great eflfects were often produced by
them, but being in general used to assist .deep shadows,
their presence is seldom remarked. In ornamental work
the chief expression is given by outlines. They are
always full and juicy, and vary much in depth.
The shadows were generally produced by the stipple
method, but smear shading was much employed in
ornamental work, especially late in the style.
In depth and texture the stipple shadows exactly
resemble those used in Perpendicular glass-paintings
of the sixteenth century, and which have been already
described. In the earlier Cinque Cento paintings the
shadows often are weak and fine in their grain, but as
the style advanced they became gradually darker, and
much more coarsely and boldly stippled. It was the
common practice during the first thirty years of the
sixteenth century to heighten the shadows with a hatch-
THE CINQUE CENTO STYLE. 209
ing of thin dark lines, which increased their depth with-
out diminishing their transparency ; but soon afterwards
broad dabs of unstippled paint were used instead of the
thin lines to strengthen the shadows.
It is to this circumstance that the dulness and opacity
of the later Cinque Cento glass-paintings are attributable,
for the stippled ground of the shadow itself always pre-
served its transparency, the coarseness of its grain in
general increasing with the thickness of the coat of
colour employed. The introduction of the warm brown
enamel instead of the colder tint formerly used for
shading, seems to have taken place contemporaneously
both in this and the Perpendicular style. It greatly
tended to increase the richness of the painting *.
A light red enamel colour resembling China red was
as before-mentioned frequently employed as a flesh-
colour on the naked parts of figures when executed on
white glass. It was usually applied like a wash to the
back of the sheet, and was not suffered to extend over
the drapery or hair. In some cases it was used as
a stipple shadow on flesh-coloured glass, and sometimes
as a colour for the lips and cheeks. It is the only
enamel colour used in Cinque Cento glass-paintings be-
sides enamel brown.
Diaper patterns were very commonly used throughout
the style, they are often of very bold design, especially
in tapestry grounds.
3. Figures.
The glass-painters of this period certainly surpassed
their predecessors, and their successors likewise, in their
* See plate 71.
V
2IO THE CINQUE CENTO STYLE.
technical knowledge of the human figure. Its form and
proportions are in general well preserved in their works,
and their pictures are often as well executed as designed,
a matter of very rare occurrence in glass-painting.
There are however many degrees of merit in the
works of even the best time of the Cinque Cento style.
In some, the figures, besides being exquisitely finished,
are simple, dignified, and full of character: in others,
the figures, though by no means badly drawn, are
placed in whimsical and extravagant attitudes, with
their draperies fluttering about in a capricious and un-
natural manner, and are totally devoid of all dignity,
or propriety of expression. Such figures sometimes
affectedly gather up their outer garments with their
hands, in order more completely to exhibit the rich
dresses which are underneath. In technical complete-
ness, however, the Cinque Cento figures are always
superior to the Perpendicular, though they may some-
times be inferior to them in dignity. Ifaked figures
of cupids, genii, &c., are very commonly introduced
into Cinque Cento ornamental work, a practice borrowed
from the antique ^
The heads of the larger figures, from their high finish,
and fiatness of effect, bear a considerable resemblance to
those in the oil-paintings of the close of the fifteenth and
early part of the sixteenth century. Some of the por-
traits possess much of the character of Holbein's pictures.
" See plates 66 and 69. See also | Verre, plates Ixiv., Ixvi., Ixvii., Ixix., Izx.*
a variety to Cinque Cento figures,
in the plates of Lettu's Description de
VEglite MetropoUlaine du Diochte
d'Auch; also in Langlois, JEssai Hit"
torique et Descriptif aur la Feinture
aw Verre, plates 3, 4» 5, 6 and 7. In
Lasteyrie, Sitt, de la Feinture sur
Ixxi., Ixxiii., Ixxvi., Ixxzii., &c. Also in
Wenle's "Divers Works of Early Masters
in Christian Decoration," plates of the
windows of St. Jacques Church, LiC'ge,
and In Baldry's engraving of the east
window of King's Chapel, Cambridge.
THE CINQUE CENTO STYLE. 211
The features are represented more by well-defined
lights and shadows than by actual outlines, though these
were much used for the sake of giving distinctness and
force of expression. The faces and other naked parts
are executed as before mentioned, either on light pink
pot-metal glass, or, more commonly, on white glass
tinted with a red enamel: this colour is often used to
heighten the colour of the lips, and sometimes that of
the cheeks, particularly in portraits*.
The hair and beards of ideal personages, saints, or
angels, are most commonly stained yellow, but in por-
traits are generally coloured a rich brown, independently
of the shading. Distant figures in a picture are often
entirely composed, faces and all, of light blue glass,
shaded with warm brown, or the red enamel before
mentioned : their hair and parts of their dress being in
general stained yellow.
The costumes of this period are, in general', exceed-
ingly rich and splendid from their colouring, and from
the profusion of diapers, borders, and other ornaments
which are lavished upon them. The garments are mostly
lined with a difierent colour, and are disposed so as to
shew it oflF as much as possible.
The ecclesiastical dress diff'ers from that of the close
of the former style only in its ornaments, which are of
Cinque Cento character.
In portraits, the female head-dress is in shape like
that in the pictures of Anne Boleyn, and of the other
queens of Henry VIII., being richly ornamented with
gold and pearls, and confining the hair beneath it. In
the pictures of female saints, sybils, and ideal person-
' The head in plate 70 belongs to the period between 1620 and 1530. That
in plate 71 is perhaps a little later.
p2
212 THE CINQUE CENTO STYLE.
ages, the hair, even when this head-dress is adopted,
is in general allowed to descend in long curls upon the
shoulders. The most peculiar dress of this period, and
which is appropriated both to saints, holy and ideal per-
sonages, and private individuals, consists of a garment
fitting tight to the body, and having a short skirt reach-
ing rather below the knees split up at the sides, some-
times as high as the hips, and fringed like a tunic.
The whole dress, and especially its body and sleeves, is
usually richly ornamented, and embroidered. Beneath
it is a long garment descending to the feet.
To this costume a cloak is often added, upon which
the armorial bearings of the wearer are sometimes re-
presented.
Another very commoa dres, consUt, of . tight g«ment
like that before mentioned, but with long skirts reaching
down to the ground, to which a cloak is sometimes added.
The military dress in portraits consists of plate-ar-
mour highly gilt and embossed, like that actually worn
at this period, with arms depicted on the tabard : a
more fanciful costume, consisting of a mixture of the
dress of a Eoman soldier and of a sixteenth century
pikeman, being often appropriated to ideal personages.
The civil costume consists usually of a long robe and
cloak, but the utmost variety prevails in those of ideal
characters, saints, prophets, and angels. In the repre-
sentations of the latter the neck is usually exposed, the
amice, of such universal occurrence in medieval paint-
ings, being wholly omitted. Indeed in the drapery in
which saints and angels are apparelled, there is often
a close approach to the classical^.
7 See the engravings above referred to in note (a). See also plate 66.
THE CINQUE CENTO STYLE. 213
4. Ornaments.
The Cinque Cento ornaments are identical with those
employed by Eaphael and other great Italian masters of
the sixteenth century in the decoration of their works.
They are borrowed from the Eoman arabesques, which
they almost surpass in richness and varied fancy, and
like them impart a peculiar liveliness and freedom of
effect to whatever subject they are applied.
A complete knowledge of their forms can only be
obtained by the eye; it is impossible fully to describe
them.
They consist in general of foliages and flowers en-
twined together, and intermixed with little genii, cupids,
or angels, which sometimes sprout from the centre of
a flower ; of vases richly fluted or embossed, candelabra,
fruit, wreaths, festoons, cords, tassels, and the like. The
foliage is principally derived from the classical Eoman
acanthus, and is frequently used in detached scroll-like
portions, terminating in the heads of birds, beasts, or
fish'.
A highly characteristic ornament and of very frequent
occurrence in Cinque Cento work, consists of a row of
small rectangular indents, placed at rather more than
their own width apart. It is employed to decorate any
narrow flat surface.
The greater portion of the Cinque Cento ornamental
work is executed on white glass, profusely enriched
with the yellow stain. . Many of the smaller ornaments
« See pules 69 and 72. See also the engravings refeir^ to in note (u).
214 ^^^ CINQUE CENTO STYLE.
are, however, very frequently executed in white, on
ruby glass, by the removal by abrasion of so much
of its coloured surface as is required for the orna-
ment.
Medallions with heads or figures on them, executed
in the last-mentioned manner, and surrounded with
coloured wreaths, are also common, as are also coloured
festoons and garlands, bound together with coloured
ribands.
A considerable admixture of Gothic details may often
be found in the ornaments of the earlier Cinque Cento
glass-paintings.
5. Borders.
Borders are hardly ever used in this style, except in
mere pattern windows. They are generally composed
of foliage and other ornaments executed on white glass,
and enriched by staining. The ornamental pattern of
the border is usually enclosed within a plain narrow
white or yellow edging on either side, the space between
it and the edging being very commonly filled up with
black paint, or shaded dark to represent a hollow, or
sometimes left white. The border is usually separated
from the stonework by a narrow strip of white glass.
Its width in lower lights is frequently much less than
one-sixth of the entire opening. In tracery lights the
borders are sometimes formed merely of a narrow strip
of white glass. Both in lower and tracery lights, the
border often extends round the whole opening *.
• See plates 69 and 75.
THE CINQUE CENTO STYLE. 215
6. Patterns.
Pattern windows early in the style usually have their
lower lights, and larger tracery lights, filled with orna-
mented quarries**, and surrounded in general with an
ornamented border of white and yellow glass ; the
smaller tracery lights being filled with little devices,
such as sacred monograms, suns, moons, &c., in white
and yellow glass, surrounded with Cinque Cento orna-
ments, likewise executed in white and yellow. Later
in the style, however, plain quarries superseded the
ornamented, the painted borders being still retained.
Frequently, however, even these were omitted, and the
whole window was filled with plain white glass, cut
into squares, or various geometrical patterns, defined
solely by the leads. In Germany, &c., round glass was
almost always employed instead of quarries or orna-
mental glazing "".
There are many instances of windows in this style
whose lower lights are partly occupied with pictures or
heraldry, and partly with patterns; or whose tracery
lights are filled with coloured patterns, heraldry, or
other subjects, and lower lights with white ornamental
glazing only.
One of the most curious pattern windows that I have
met with, is in^the choir of St. Lawrence's Church,
Nuremberg. The window consists of six lights. An
ornamented pillar coloured with yellow and other tints,
and on a red ground, occupies each of the two outermost
lights, and a space in the upper part of the window
*» See plate 73. « See plate 76.
2l6 THE CINQUE CENTO STYLE.
about equal to the width of one of the outer lights, is
covered with heraldry and other ornaments. A large
coloured festoon suspended from the pillars stretches
across the central lights, which are filled with round
glass.
7. Pictures.
It was not until almost the end of the first thirty years
of the sixteenth century that the great powers of the art
of glass-painting began to be developed, or that glass-
paintings attained a picturesque beauty sufficient to en-
title them to rank above mere ornamental decorations.
These results were produced not by the introduction of
any novelties into the art of glass-painting as practised
in the fifteenth century, but by a more skilful employ-
ment on the part of the Cinque Cento artists of the
means equally possessed by their predecessors.
The pictures vary much in size, being sometimes
confined within the limits of a single lower light, and
sometimes extended over the whole, or a great part of
a window, as was usually the case in all large works.
Each picture is most commonly surrounded with a mass
of ornamental work, which being executed chiefly in
white and yellow stained glass, serves as a frame to it,
and by its breadth completely insulates it from sur-
rounding objects. The effect of the slfeded soffit of the
frame in throwing back the picture has been already
noticed. In many cases, however, the pictures are
separated from each other only by a muUion or saddle-
bar. The pictures are in general simple in their com-
position, and seldom contain more figures than is abso-
THE CINQUE CENTO STYLE. 217
lutely necessary. The groups are usually well formed,
and so arranged as to avoid as much as possible the
necessity of cutting the figures and draperies by the
muUions, when the design is on an extended scale,
without at the same time betraying by any awkward-
ness of position the artist's anxiety to achieve this object.
Colours as positive as those used at any former period,
are freely admitted into Cinque Cento glass-paintings;
but instead of the picture being almost entirely executed
with them, as was often the case even in the Perpen-
dicular style, the strong colours are generally qualified
and supported by the introduction of a great many other
tints of less power and vivacity, so as to produce a gene-
ral harmony of colouring throughout the entire work.
Much attention was paid by the Cinque Cento glass-
painters to atmospheric effect, and though perhaps they
did not succeed in representing it as completely as
they might have done, they developed the power of
the mosaic system of glass-painting in this respect, in
a very remarkable degree. In the larger pictures, the
more striking and positive colours are in general most
employed in the draperies of the figures in the imme-
diate foreground; while the landscape in the back-
ground, and even the more distant figures, are executed
in light blue or grey glass, qualified and enriched with
the brown shading and the yellow stain. The sky is
almost always composed of the same blue sort of glass,
so light in tint as almost at first sight to be mistaken
for the natural colour of the firmament, seen through
the window. This glass is generally left quite clear
for some distance above the horizon, and is gradually
deepened by shading, or the introduction of blue glass
2l8 THE CINQUE CENTO STYLE.
of a darker hue, towards the top of the picture. Owing
to these circumstances, and to the somewhat restricted
use of white glass in the pictures themselves, — ^that
colour being chiefly confined to the ornamental archi-
tectural work in which they are set, — Cinque Cento
glass-paintings possess but little of the flat mosaic
appearance which is the grand characteristic of the me-
dieval glass-paintings \
I have already alluded to the practice of indicating
the supernatural darkness of the Crucifixion by a slightly
clouded sky, which was no doubt suggested by a desire*
to preserve a memorial of so remarkable an incident in
such a manner as should least aflect the transparency
of the picture. The clouds are sometimes represented
merely by shading with the enamel brown on blue glass
of an uniform tint, sometimes by using pieces of a darker
kind of blue glass, cut to the shape of clouds, and shaded
and leaded in amongst the light blue of the firmament.
In some works great liberties were taken with the colour
of the clouds ; purple and pink glass being freely em-
ployed to represent them. In paintings of the Day of
Judgment, the glory of heaven, and the flames of hell,
are generally indicated by yellow glass.
Great prominence was given during this period to the
groups representing the donors of windows, or benefac-
tors to the church. The figures, which are often nearly
as large as life, are evidently portraits ; they are usually
placed in a kneeling posture before an altar, and behind
each figure stands its patron saint. The latter is some-
times placed under a canopy of state, the whole subject
being included within a room or apartment formed by
' See the plates referred to in note u.
THE CINQUE CENTO STYLE.
219
a larger canopy, through the further arches of which
a distant landscape is not unfrequently shewn ®.
In some cases the ancient Gothic arrangement is still
adhered to, the kneeling figure of the donor being repre-
sented in a small compartment immediately below the
foot of a large canopy which covers his patron saint.
Pictures painted on small circles of glass similar to
those which have been already described under the
Perpendicular style, but better executed, are very com-
mon throughout this period. The designs of some of
them are extremely good, and they are in general
exquisitely finished. The landscape, &o. is executed
only in brown and yellow, on white glass, but the
naked parts of the figures are usually coloured with
light red '.
8. Canopies.
The canopies of this period are generally confined to
the lower lights of a window, and vary in size, from the
canopy which occupies only one light, to that which
extends across an entire window. The general charac-
ter of their architecture is Italian, with an occasional
admixture of Gothic details; and they are usually
drawn in very correct perspective.
The niche commonly appropriated to a single figure
consists of a semicircular recess, finished at top in
a semi-dome, which is usually wrought like a shell, and
darkly shaded. The face of the canopy is flat, the
* See Lasteyrie, Histoire de la Fein-
ture stir Verre, plates Ixxz. and Ixxi.;
see also the engravings of the Liege
windows in Weale's "Divers Works of
Early Masters on Christian Decoration."
' See plate 68.
2 20 THE CINQUE CENTO STYLE.
opening being formed by a semicircular arch springing
from a flat pilaster, or ornamented shaft, on each side.
A festoon of flowers, in general richly coloured, is often
hung across the archway, and by the vividness of its
lights serves to relieve the mass of shadow in the upper
part of the niche, and to throw the recess back. The
architecture above the arch sometimes terminates ab-
ruptly in a horizontal frieze, iipon which foliaged orna-
ments, urns, genii, heraldry, &c., are placed. Some-
times a pediment is raised above the arch, &c. Other
canopies are more Gothic in character, consisting of
a recess with a projecting hood of tabernacle- work
above, or terminating in an ogee arch with a finial
and crockets. Others have, strictly speaking, hardly
any architectural features, the hollow allotted to the
figure being closed in at top merely with arabesque
scrollworks. In all these cases the head of the canopy
is generally backed with a coloured ground, its archi-
tecture being principally executed on white and yel-
low stained glass. The side pillars are often made of
sprinkled ruby, and furnished with light blue, purple,
or green capitals and bases. The interior of the niche
is sometimes entirely lined with coloured tapestry. In
general, however, the tapestry does not ascend above
the head or shoulders of the figure, where it is sus-
pended from a rod. In this case the back of the niche
above the tapestry is sometimes pierced with windows,
which occasionally exhibit Gothic tracery. The hoUow-
ness of the recess is very commonly represented by
a shadow. When the light is narrow, and the pilasters
of the canopy broad, the figure often appears to be too
wide for the niche, and to stand in front of it, rather
THE CINQUE CENTO STYLE. 221
than within it, the pilasters being partly concealed by
the drapery of the figure. The canopy sometimes has
a projecting pedestal ; in general, however, it rests upon
a flat horizontal frieze *.
The larger canopies, which extend over several lights
when enclosing a single subject, as a group of benefac-
tors, &c., often convey the idea of a room, the exterior
of one of whose sides is represented by the front of the
canopy. This in general consists of an architectural
elevation resembling a triumphal arch, highly enriched
with bas-reliefs, &c., and terminating in a kind of
pediment. The interior of the room is seen through
the arch, and in it is represented the principal subject.
A landscape background is often shewn through the
arches or windows of the further sides of the room,
the architecture of which is executed in some retiring
colour, as purple for instance ^.
Canopies, in the true sense of the word, are not how-
ever of common occurrence in Cinque Cento work, when
the design is of an extended nature. An architectural
screen, or elevation stretching over the whole of the
lower lights of the window, and furnished with spacious
archways for the reception of pictures, is constantly
employed, when it is intended to represent in the same
window either several distinct subjects, a row of insu-
lated figures, or one principal design, with its accom-
panying incidents.
This screen, though often of considerable depth, is
flat-faced, and usually consists of an assemblage of great
' See examples, Lettn's Description
de VJEglite MHropolitaine du Dioche
d*A«ch, No8. 7, 8, 21, 22.
^ See a good instauce of this in one of
the engrayings of the Liege windows
in Weale's "Divers Works of Early
Masters in Christian Decoration."
222 THE CINQUE CENTO STYLE.
and small arches placed in tiers and supporting one
another. It terminates in general in a pediment, the
top of which is sometimes decorated with genii, cupids,
&c., holding flags and banners, and is commonly backed
with a stiff coloured ground. Sometimes however the
head of the screen is backed with plain white glass,
leaded together in rectangular pieces; the horizontal
leads being in general concealed by the saddle-bars.
The architecture of the screen is almost wholly com-
posed of white and yellow stained glass, and appears
like sculptured white marble, decorated with gilding,
when contrasted with the gay colours of the pictures
which occupy the spaces enclosed by its arches, &c.
The soffit and sides of each archway are kept in deep
shadow, and being brought into immediate contrast with
the bright sky of the picture, materially help to produce
that effect of distance and atmosphere which is so re-
markable a feature of a Cinque Cento glass-painting.
The soffit of the arch is that part which is most deeply
shaded : but the mass of shadow is in general relieved
by lights reflected against the ornaments sculptured
on its face ; and sometimes by a festoon of flowers and
fruit, usually richly coloured, which is hung across the
front of the arch. A similar festoon is sometimes
suspended across the other side of the arch, and is
represented in deep shadow against the bright sky of
the picture.
Thus in a Cinque Cento painted window, the deep
shadows of the architectural screen increase the effect
of the pictures, whilst the front of the screen forms
a mass of ornamented white glass which serves to sepa-
rate the pictures from each other. At the same time
THE CINQUE CENTO STYLE.
223
the connected character of the architectural composition
gives unity and grandeur to the whole design *.
9. Tracery Lights.
In many early Cinque Cento examples single figures
executed either in white or coloured glass are placed in
tracery lights, being surrounded with an ornamented
quarry ground. Borders of any kind are seldom used
in these lights. The most common subjects for tracery
lights throughout the style are saints, angels, cherubs,
&c., either richly coloured, or executed only in white and
yellow stained glass ; riband-like scrolls bearing inscrip-
tions, heraldry, emblems, initials, &c., executed in white,
yellow stained, or coloured glass, and placed on plain
white or coloured grounds ^.
When the tracery lights are spacious, they occasionally
contain coloured figures on plain white grounds sur-
rounded with a broad border of coloured clouds. A
general design is sometimes introduced, extending over
the whole tracery head of the window. Arms, when
the lights are small and narrow, are frequently split into
two portions, and represented in two adjacent lights.
Sometimes the shield is in one light, and the supporters
in two other lights.
In pattern windows the tracery lights are often filled
with foliaged ornaments, usually executed in white and
yellow stained glass, cyphers, &c. : sometimes with or-
' See plate 66. See also Lettu's De-
scription de VEglise Mctropolitaine du
Dioche d'Auch, Nos. 6, 8, 9, 10, 11, 12,
14, 16, 16, 17, 18, 19, 20, and 21. See
also Lasteyrie, Mittoire de la Peinture
sur Verre, plates Ivii., Ixix., and lxx?ii.
^ A variety of tracery lights may be
seen in most of the plates already re-
ferred to, especially in those belonging
to M. Lettu's work.
224 THE CINQUE CENTO STYLE.
namentcd, or even plain quarries, geometrical glazing,
or round glass. In these cases the light, when wide,
is generally enriched with an ornamented border of
white and yellow stained glass.
10. Heraldry.
Heraldic devices constituted a very extensive and
prominent branch of the decoration of this period. The
shield, with its various accompaniments of helmet, crest,
mantUng, collars of orders, motto, &c., frequently forms
an important part of the general design of a window,
being supported by an angel and placed beneath a canopy.
It is however more commonly represented with its accom-
paniments, on a ground of plain white glass, sometimes
leaded together in a geometrical pattern, and sometimes
in horizontal lines parallel to the saddle-bars, in which
case the whole design, on account of the clearness of the
white glass, and the apparent absence of lead-work, is
apt to appear as if suspended in the air. An heraldic
design of this nature is not always confined to the limits
of a single lower light, but occasionally extends itself
beyond, the shield and helmet being in one light, and
its mantling, &c., carried into the two adjacent lights.
The shields exhibit almost every variety of shape ; they
are often charged with numerous and complicated quar-
terings: lozenges are frequently used for the bearings
of females.
The mantlings and scrolls are very spirited and grace-
ful, and the helmets, crowns, coronets, &c., are very
delicately and vigorously designed. The gorgeous na-
ture of Cinque Cento decoration is strongly exempli-
THE CINQUE CENTO STYLE. 22$
fied in the latter objects, which are highly enriched
with pearls and jewellery, and the single and double
application of the yellow stain ^ Very beautifal fo-
liaged wreaths, sometimes bound about with a riband,
and executed either in colours, or in white and yellow
only, are frequently employed to surround the simple
escutcheon ^.
Initial letters of considerable size, formed of yellow or
other coloured glass, and sometimes tied together with
a cord, are often represented both in tracery, and lower
lights, on a plain white or coloured ground. Heraldic
banners are sometimes displayed from the upper parts of
canopies or screens, and white scrolls bearing mottoes are
frequently introduced into tracery lights. The figures
of benefactors often bear the insignia of their family on
their mantles and surcoats, &c. Crests, badges, mottoes,
rebusses, initials, &c., executed with the enamel brown
and y.ellow stain, are amongst the commonest subjects
which occur on the ornamented quarries of this period ''.
11. Letters.
The Roman characters do not appear to have gene-
rally superseded the Black letters before the year 1530,
until which time both kinds were used indiscriminately.
Both Roman and Arabic numerals were employed
throughout this style.
When Black letters are used the capitals are gene-
rally Lombardic, and illuminated with yellow precisely
as in the former style.
^ Some excellent examples of heraldry
are ^ven in the eng^vings of the win-
dows of St. Jacqnes Church, Li%e, in
Weale's '< Divers Works of Early Mas-
ters in Christian Decoration."
» See pi. 67. " See pi. 67, No. 2.
a
226
THE CINQUE CENTO STYLE.
Many of the initial letters of this period are very-
beautiful in form, and highly decorated with leaves and
other ornaments.
12. Mechanical CoNsxRucnoN.
The utmost attention throughout this period was paid
to the glazing of the paintings so as best to conceal the
leads : without thereby incurring any unnecessary dif-
ficulties in point of execution, or diminishing the sta-
bility of the work.
The horizontal divisions of the glass are almost in-
variably parallel to the saddle-bars, which conceal many
of the leads : and the vertical divisions generally follow
the course of the outlines of the design. In some
instances, however, especially in skies, and canopy -work
of late date, the glass is leaded in lines perpendicular
to the saddle-bars. The saddle-bars themselves, in late
work, are sometimes bent a little out of their course so
as to avoid passing across the head of a figure.
The original leads of this period are not wider in the
leaf than those previously used: and from the pains
taken to conceal them, and the great use of plain clear
white glass for grounds, armorial bearings, as has before
been remarked, as well as many other objects, often
appear as if suspended in the air.
The ornamental glazing is sometimes very complicated,
but always designed with a view to stability, and facility
of execution. Some of the patterns are very beautiful \
<> A variety of geometrical patterns
are given in Le Vicil's Z*Art de l^
Peiwture iur Verre, plates z., jL, zii., and
Zlll.
It 18 always easy to distinguish
Cinque Cento geometrical glazing from
Decorated by the colour of the glass.
THE INTERMEDIATE STYLE. 227
SECTION V.
The Intermediate Style.
The period I have assigned to the Intermediate style
extends from the middle of the sixteenth century to the
present time. From its long duration it of necessity
includes many varieties. These may be classed under
two heads; the first comprising the glass-paintings
executed between 1550 and the revival of the Mosaic
system, which took place some twenty or thirty years
ago P ; the second, those which have been executed since
that period.
Of these two classes, the first in a series of original
works, exhibits the gradual decline of the art of glass-
painting from the excellence it had attained in the first
half of the sixteenth century; the second, though it
cannot claim much originality of design, most of the
English examples at least, being but servile copies of
ancient glass, is yet interesting as shewing the progress
abeady made towards the resuscitation of the true art.
I have endeavoured in a subsequent part of this book
to point out what are the true principles of glass-paint-
ing, and the reasons why I prefer the Mosaic system to
either the Enamel, or Mosaic enamel^. I therefore do
not now intend to enter upon any discussion on the
subject. Assuming however the correctness of my views
on this point, it follows that glass-painting deteriorated
not in consequence of any want of encouragement, for
1^ Twenty or thirty years before 1847» ^ See chap. ii. § 2, On the trae prin-
the date of the first edition of this work.
ciples of glass-painting, &G.
q2
228
THE INTERMEDIATE STYLE.
the causes of its decline were in full operation at the
period of its greatest prosperity, but from confounding
its principles with those of other systems of painting,
from a disregard of its peculiar conditions and distinctive
character. The Eeformation and its troubles did not
corrupt the art of glass-painting, though combined with
the prevailing fashion of the times, it may have dis-
couraged its practice. The Mosaic system of glass-
painting would equally have been forgotten had the
Eeformation never taken place, and the religious habits
and feelings of the people remained unchanged.
The characteristic which in general serves to distin-
guish glass-paintings of the Intermediate style from
those of the Cinque Cento, is the employment of enamel
colours. The nature of these colours, which appear to
have been discovered about the middle of the sixteenth
century^, has been already explained, as well as the
' There is no sufficient ground for
attributing the invention of enamels to
John Van Eyck, as has been done by Le
Vieil, L*Art de la Peinture mir Verre
et rf«? la VUrerie, pp. 30 and 36. He
also states that the art of painting on
glass with enamels was perfected in
France by Pinaigricr, and that he was
even regarded in France as their in-
ventor, ib., pp. 63, 43. This, if correct,
would place the introduction of enamels
in the first half of the sixteenth century.
I should add, however, that I have found
Le Vieil not altogether trustworthy in
his account of the different methods of
glass-painting.
From some of Mrs. Merrifield's re-
marks on the work of GuUelmo di
Marcilkt (William of Marseilles) it
might be inferred that Enamel paint-
ing on glass was known as early as
1519, if not 1500; but it is evident
from Vasari's account of the method
practised by this artist that he painted
glass according to the Mosaic system
only.
In Mrs. Merrifield's "preliminary
observations" on the Bologna MS.,
which is of the fifteenth century, she
says, " It will also be observed that the
art of painting on glass with enamels of
various colours is distinctly described in
No. 270, and smalti or enamels are also
mentioned in No. 1. It is usually con-
sidered that these were not in use until
after the middle of the sixteenth cen-
tury: the chapter in the text will, I
think, disprove this fact. The same
' smalti' are also mentioned in the MS.
of the Marciana (No. 325, which is of the
sixteenth ceotuxy,) with the additional
information that they were brought
from Germany. It is probable that
they were in general use for painting
on glass in Italy during the fifboenth
and sixteenth centuries. Gaye has
THE INTERMEDIATE STYLE.
229
facilities they aflPord for producing a great variety and
gradation of tints.
Enamels were at first very sparingly used, being
employed merely to heighten the tint of the coloured
glasses, or for the purpose of introducing colour into
places where it would have been difficult if not impos-
sible to lead in a piece of coloured glass: by degrees,
however, their easy application, and the increasing dis-
position to assimilate glass-paintings to oil-paintings,
led to their substitution in a great degree for coloured
glass.
The presence of enamel colours in a glass-painting is,
in general, easy of detection. The partial colouring of
a piece of white glass, especially when the coloured part
bears but a small proportion to the white part, will
almost always excite a suspicion that the effect has been
produced by enamelling". On a closer inspection, the
ihewn, {Carteggio inedito cTArtitH, vol.
2, p. 4i6,) that the windows in the
Duomo d'Arezzo, painted in 1477 by
Frati Cristoforo and Hemardo, were to be
executed with coloars, ("cotti al fnoco
e non mesfli a olio"). The colours ' cotti
al fuoco' were probably these smalti
or enamel colours," (vol. ii. p. 333). A
little further, however, (p. 338,) she says
" It is singular that although the author
treats of making artificial gems of glass,
of mosaics, and of glass pottery, he should
have omitted to treat of painting on
glass for windows (unless windows may
be included under the head of any other
works in glass in No. 270), which was
certainly known long previous to the
date of this MS."
On turning to the Marciana MS., (No.
325, vol. ii. pp. 614—616,) it will be seen
that when the writer speaks of smalti
applied to glass, he is describing the
mode of painting on glass with non-
vitrified colours, varnish colours, — the
" messi a olio" above mentioned ; for he
also describes very clearly the enamel
brown for painting on glass, and the
yellow stain, both of which are to be
heated in a furnace, — the "cotti al
fuooo" above mentioned. The extract
from Gaye proves nothing, for Vasari, in
describing Gulielmo di Marcillat's me*
thod, speaks (loosely enough it roust be
admitted) of the colours being fused and
fixed into the glass. Introduction, lxxxvi«
Levy, Hittoire de la Peinture »ur
Verre, mentions as the earliest enamel
glass which he knows of, a coat of arms
in the cloisters of a church of Maestricht
with the date 1548, adding that enamels
were first used for small pieces, and not
for large painting^ till the following
century.
■ A specimen of enamel painting is
given in plate 74 from a Swiss example
of the early part of the seventeenth cen*
230
THE INTERMEDIATE STYLE.
diflterence between the effect of an enamel colour, and
that produced by a piece of coloured glass, will usually
be at once perceived in the comparative dulness of the
former. "With regard to the general appearance of the
work, it will be found that the employment of enamels
to heighten the tint of the coloured glass, increases the
richness of the glass-painting, whilst poverty of colour
is the result of their substitution for pot-metals, &c. In
either case they tend to dimmish the transparency and
consequent brilliancy of the picture.
Windows painted even as late as the early part of the
eighteenth century usually bear a considerable resem-
blance to those of the Cinque Cento style in their general
arrangements. The most common design consists of one
large picture which occupies the lower lights of the
window, the picture being in general surrounded with
architectural work, as a triumphal arch or screen ; or of
one large picture with portraits of its donors beneath,
or of two or more pictures, each enclosed within a frame-
work of architecture, and which together cover the whole
of the lower lights. The tracery lights are usually filled
up with a continuation of the principal design, or with
tary. In addition to the enamel brown,
with which the shading and oatlines are
executed, four different enamel colours,
viz. blue, green, red, and purple are here
represented; the green, in this particu-
lar instance, being of itself an enamel
colour, and not produced, as is often the
case, by staining the glass yellow on one
side, and enamelling it with blue on the
other. The yellow represented In the
plate is of course stained yellow.
Other specimens of enamel painting
are given in Fowler's "Mosaic Pave-
ments and Painted Glass," vis. Robert
King, last Abbot of Osney, and first
Bishop of Oxford, from a painting at
Christ Church, Oxford, (supposed by
Dallaway to be by Bernard Van Linge ;
see Dallaway's "Observations on Eng-
lish Architecture," p. 279, note,) and
the portraits of the Saxon earls, from
Aston Hall, near Birmingham, a co-
loured engraving of which is also g^ven
in "Old England," vol. i., where they
are said to be at Brereton Hall, Cheshire.
See also Lasteyrie, Hittoire de la
Peinture iur Verre, plate Ixxv., where
enamels are introduced in a garland
of flowers, at the bottom of a picture
dated 1551.
THE INTERMEDIATE STYLE. 23 1
smaller subjects accessory to it. The architectural de-
tails are rather Palladian than Cinque Cento in character.
In the course of the seventeenth century the architecture
was more embodied with the picture than was the case
in the Cinque Cento style. The same contrasts of light
and shade were not kept up, and the designs became less
striking in their eflfect*. After the beginning of the
eighteenth century, architectural frameworks to sur-
round the designs were generally abandoned.
Figure and canopy windows are not uncommon, their
architecture is either Palladian, or debased Gothic. The
interior of the niche frequently is so darkly shaded as to
appear black, and parts of the canopy-work are often
enriched with enamel colours. In their general arrange-
ment, however, the figure and canopy windows of this
style, previously to the revival of the Mosaic system,
closely resemble the Cinque Cento examples "*.
The Wheel windows are sometimes like the Cinque
Cento; more commonly, however, the radiating lights
are each filled with an entire figure, having its feet
turned towards the centre of the circle.
Pattern windows are composed simply of white glass
cut into quarries, or various other geometrical patterns,
and leaded together. Ornamented borders to the lights
are seldom to be met with after the middle of the seven-
teenth century, and never were very common. In
Germany, &c., round glass was in general used instead
of plain white glass. Coats of arms, and even small
* See Lasteyrie, llisioire de la Pein- " Diverg Works of Early Masters in
ture sur Verre, plates Ivii., Ixx. See Christian Decoration."
also the representations of the windows | ^ See Lasteyrie, Histoire de la JPein*
of Qonda Church, Holland, in Weale's ture tur Verre, plate Ixxt.
232
THE INTERMEDIATE STYLE.
scriptural or historical subjects, were sometimes inserted
in pattern windows.
The revival of the Mosaic system in this country, has
been attended with the revival of most medieval arrange-
ments, and has produced but few new, or original de-
signs. In Germany, however, greater freedom has been
displayed, the artists availing themselves of the ancient
designs as guides, rather than as models to be servilely
copied.
Some of the earliest examples of the Intermediate
style are to be found in the church of Gouda, in Hol-
land '. With the exception of a few Cinque Cento
specimens in the clearstory of the choir, all the win-
dows of this edifice were erected between 1555 and
1603. Two of them were indeed repaired as late as
1651 and 1655. The names of the artists who exe-
cuted these works have been preserved, a circumstance
which gives additional value to the Gouda windows,
since it enables many little differences in style to be
referred not to progressive changes in the art, but to
the practice of particular masters. The influence of
particular schools may always be more plainly perceived
in the Intermediate style, when artists acted more in-
dependently of each other, than in the Middle Ages,
* An aooount of the sobjecto repre-
sented in these windows, and the names
of the artists employed, are gfiven in
a little book entitled "Explanation of
the famous and renowned Glass-work or
painted windows, in the fine and emi-
nent Chnrch at Qouda. For the nse
and commodity of both Inhabitans and
Foreigners that oome to see this artificial
Work." Qonda, printed by J. Van Ben-
turn, no date: my copy was purchased
in the autumn of 1843.
Le Vieil's description of these win-
dows, {L'Art de la Feinture tur Verre,
p. 44 et seq.) is taken from a former
edition of the abore-named work. The
English edition is reprinted, without
acknowledgment, in the first vol. of
Weale's "Quarterly Papers," consti-
tuting "the account" there given "of
the painted-glass windows of the Church
at Qouda, in Holland."
THE INTERMEDIATE STYLE. 233
during which a certain general uniformity of style was
preserved by a widely extended observance of conven-
tional rules.
The Cinque Cento arrangements are in general pre-
served in the Gouda windows ^ In the majority of
instances the window contains two designs, the lowest
representing the donors of the window, or their heraldic
insignia, and the upper some religious, historical, or
allegorical subject. Each picture extends across the
window irrespective of muUions, and is usually enclosed
within a framework of architecture. The principal sub-
ject sometimes has only a landscape background.
The execution of the painting, however, diflfers much
from that of a Cinque Cento example. The chief mass
of colouring is, as in that style, confined to the picture,
whenever this is surrounded with architectural orna-
ments ; but the colours are produced as much by means
of enamels as of coloured glass. In some windows, espe-
cially those erected in the latter part of the sixteenth
century, enamel colours are almost wholly substituted
for coloured glass. The character of the shading also
differs much from that of the Cinque Cento style. The
enamel ground used for this purpose is not worked up
into dots by bold stippling, but is watery and dabbled,
without having any decided grain, while the darker
shadows are, with a few exceptions, produced by un-
stippled smears of paint. The white glass in those
parts of the painting which are not in shadow is seldom
left clear, but is covered with a white enamel. Owing
to these circumstances, the Gouda windows are less
y See the engravings of the Qouda windows in Weale's "Divers Works of
Early Masters in Christian Decoration."
234 THE INTERMEDIATE STYLE.
effective than many Cinque Cento or late Gothic exam-
ples, inferior to them in grandeur of design. Taken
collectively they are poor in colour, and dull in ap-
pearance, and it is worthy of remark that this poverty
and dulness are not more perceptible in those windows
erected to commemorate the triumph of the Protestant
Faith, and the Independence of the United Provinces,
than in those inscribed as the gift of the most Catholic
princes of Christendom, Indeed the very earliest exam-
ples exhibit precisely the same defects as the latest.
In England during the latter half of the sixteenth
century, the Reformation appears to have stopped all
great works. In the reign of Elizabeth little else was
attempted than coats of arms, which were usually en-
closed within panels of that species of ornament known
by the name of Elizabethan, and in the execution of
which pot-metal and enamel colours were nearly equally
employed, or small subjects taken from Scripture, such
as the "Wisdom of Solomon, &c., executed in white and
yellow stained glass.
Glass-painting, however, considerably revived in the
reigns of James I.' and Charles I. One of the best
specimens of the former reign, is in the chapel of Arch-
bishop Abbot's hospital at Guildford, Surrey. It is de-
fective in transparency, but is much richer in effect than
the Putch and Flemish glass-paintings of the same
period. In its general appearance it resembles the
works of the Van Linges, who were extensively em-
ployed in England in this and the next reign. Of
these artists many undoubted productions exist at Ox-
" Bacon, in describing the model of a palace, places, in the stately galleries on
the banquet side, " fine coloured windows of several works." — Essay on Building.
THE INTERMEDIATE STYLE.
235
ford and elsewhere *. Their paintings at Oxford gene-
rally consist of large pictures extending over the whole
or greater part of a window, irrespective of the mullions,
and usually furnished with landscape backgrounds, ex-
hibiting a great preponderance of green and blue. They
are deficient in brilliancy, but are in general exceedingly
rich in colour, the enamels in most cases being used
rather to heighten the tint of the coloured glass, than
by way of substitution for it. This last remark equally
applies to the windows of Lincoln's Inn Chapel ^, which,
if not actually painted by the Yan Linges, are at least
of their school. In point of colour they are as rich as
the richest Decorated glass that I have ever seen. The
majority of the windows of this chapel are figure and
canopy windows, having the arms of their donors placed
beneath the feet of the figures. The east window is
now filled with glass of a much later date, and there
is no proof that it ever was adorned with glass of the
same date as that in the side windows. The west win-
dow evidently was an heraldic window, and much of the
original glass remains in its upper part. Amongst the
* A list of artists who practised glass-
painting in England in the seventeenth
and following century, and references to
some of their most remarkable works, is
given in Dallaway's "Observations on
English Architecture," Lond. 1806, p.
277 et seq. Le Vieil has collected the
names and g^ven short notices of most of
the French and Flemish artists from the
fifteenth century to the middle of the
eighteenth. L'Art de la Peiniure aur
Verve et de la Vitrerie, p. 33 et seq. It
appears that many of the artists of the
sixteenth and following centuries prac-
tised oil-punting as well as glass-paint-
ing, and that many more forsook glass-
painting for oil-painting.
The most complete list is in Dr. Ges-
sert's Oeschichte der Olasmalerei, p.
78 et seq., which includes German,
Flemish, French, English, Swiss, Italian
and Spanish artists, from the eleventh
century to the year 1800.
^ The Hon. Society of Lincoln's Inn
possesses no authentic information re-
specting these windows. In aU pro-
l»bility they were erected at the cost
of the individuals whose arms are in-
serted in them.
2 36
THE INTERMEDIATE STYLE.
arms still existing may be noticed those of Noy, attor-
ney-general to Charles I., and of Henry Sherfield, Esq.,
Eecorder of Salisbury, who was so severely fined by the
Star Chamber for breaking what he considered an idola-
trous painted window in a church at Salisbury ®.
After the reign of Charles I, the further progress of
glass-painting was for a while retarded by the Kebellion,
and the gloomy prejudices of those unhappy times, when
men were led rather to deface and despoil churches and
places of worship of their ornaments, than to render
them the receptacles of works of art \
The taste for painted glass had so universally declined
both at home and abroad towards the latter half of the
seventeenth century, that it is not surprising that so
few works of interest should have been executed in this
country after the Restoration • Of heraldic achievements
in glass there is indeed no lack; the glass-painters, even
in the times of the greatest depression, seem to have
been continually employed on such subjects.
The earliest example of a picture glass-painting since
the Restoration that I am aware of, is the east window
of University College Chapel, Oxford, the subject of
which is the Birth of Christ, painted by Giles of York
in 1687. Time has already severely injured this work.
The colours of the stains and pot-metal glass remain,
but the enamel painting has almost wholly perished,
a proof how much the art had deteriorated at that time
« See "State Trials," vol. i. p. 399,
fol. ed. The "images of the apostles"
in the Lincoln's Inn Chapel windows,
are referred to by Archbishop Laud in
his account of his own trial. "State
Trials," vol. i. p. 884, fol. ed.
* There can be little doubt, I think.
that we owe the preservation of many
glass-paintings to their timely removal
from the windows at the Rebellion.
Some were respected through conven-
tions entered into with the parliament-
ary generals, or from scrupulous mo-
tives.
THE INTERMEDIATE STYLE.
237
even in its most mechanical department, the composition
of the fluxes.
William Price, in 1702, painted the lower lights of
the east window of Merton College Chapel, Oxford, the
subjects being taken from the life of Christ. This is, as
the last-mentioned work must have been, a weak per-
formance as regards colour, enamels being used almost
to the exclusion of coloured glass. His brother Joshua,
however, in the east window of St. Andrew's Church,
Holborn, (which is dated 1718, and represents two
subjects, the Eesurrection, and the Last Supper,) has
really rivalled the rich colouring of the Van Linges.
In this window coloured glass is abundantly used,
together with enamels, in the draperies of the figures.
The painting is deficient in brilliancy, and some of the
shadows are nearly opaque, yet these defects may al-
most be overlooked in the excellency of its composi-
tion, and in its immense superiority as a glass-painting
over all other works executed between the commence-
ment of the eighteenth century, and the revival of the
Mosaic system. A like richness of colouring is observ-
able in most of the other works of Joshua Price. He,
however, seems to have imitated not only the tints, but
also the heavy though effective execution of the Van
Linge school. This is, I think, particularly observable in
such of the side windows of Magdalene College Chapel,
Oxford, as were painted by him ®.
Coloured glass continued to be extensively used in
England, together vrith enamels, until the beginning of
' Viz., the easternmost, one on each
side. The remaining eight were painted
in 1636. << Oxford Quide," 1832, p. 32 ;
Ingram's "Memorials of Oxford," vol.
il. pp. 20, 22.
238
THE INTERMEDIATE STYLE.
the present century, to which circumstance many of the
works of William Price the younger, and Peckitt of
York, owe their principal effect and value. The latter,
it is true, in the allegorical painting in the library of
Trinity College, Cambridge ', has in great measure dis-
pensed with the use of coloured glass. He has, however,
applied the enamels to the glass in little hatches, as in
an oil-painting, by which means much of the dulness so
observable in earlier works has been avoided.
The practice of painting even large works entirely
with enamels and stains, was introduced here in the
latter half of the last century. Of this, one of the most
remarkable examples is afforded by the west window of
New College Chapel, Oxford *.
The enamels are applied in little hatches, and the
painting has in consequence a very pearly effect, but
the inferiority of this work in point of colour to those
in which coloured glass has been employed, must be ap-
parent to the most casual observer. The windows of
Arundel Castle, Sussex, are inferior instances of the
' It was desigpied by Cypriani, and
was put up towards the end of the
eighteenth century.
' This window, which consists of two
designs, the upper being the Nativity,
and the lower the four cardinal and
three Christian virtues, placed in a row,
was "painted by Jervais, from finished
cartoons by Sir Joshua Reynolds, and
begun in the year 1777." [Ingram's
"Memorials of Oxford," vol. i.] It
must have been put up between that
time and 6th Oct 1785, when Horace
Walpole thus writes to the Hon. H. T.
Conway. "I don't wonder you was
disappointed with Jarvis's windows at
New College : I had foretold their mis-
carriage:" (in a letter to the Rev. Mr.
Cole, 12th July, 1779) "the old and the
new are as mismatched as an orange and
a lemon, and destroy each other, nor is
there room enough to retire back and see
half of the new ; and Sir Joshua's washy
virtues make the Nativity a dark spot
from the darkness of the shepherds, which
happened, as I knew it would, from most
of Jarvis's colours not being transparent."
These remarks appear just. Tlie radical
defect of the work, however, consists in
the general unfitness of the design for
a glass-painting. Had it been executed
in coloured glass, it would have still been
unsatisfactory, though it would have
more nearly approached the splendour
of Sir Joshua's original sketch.
THE INTERMEDIATE STYLE.
239
same system. In their washy appearance they rather
resemble a painted canvas window-blind, than a painted
window.
The decline and fall of glass-painting may be as
distinctly traced on the continent as in England. The
cause of its corruption has been already alluded to, that
of its gradual disuse may be ascribed rather to the
fashion of the times, and a preference for works of art
executed in other materials than glass, than to the
wars consequent on the Reformation, though these to
a certain extent must have checked its practice ^.
Lanzi, speaking of the art in Italy, says, "The art
afterwards declined when custom, the arbiter of arts,
^ An illustration of the rapidity of the
decline of glass-painting in France, and
a striking contrast between the universal
taste for this art in one age, and the dis-
credit into which it had fallen in that
which immediately followed, may be seen
in Le Vieil's L'Art de la PeiiUure gur
Verre etdela Vitrerie. In the sixteenth
century, he observes, the quantity of
works is astonishing ; not only churches
and palaces and the mansions of the great,
btK town halls, the saloons of the rich,
and the apartments of private individuals,
and even carriages were ornamented with
glass^palntings from the designs and car-
toons of the best masters. (lb., p. 38.)
By the end of the century, on the other
hand, we find Bernard de Palissy, a glass-
painter, complaining of the difficulty
which the too numerous glass-painters
had of procuring subsistence, and the
imperfect manner in which many works
were, in consequence, executed. Palissy
adds that at the end of the sixteenth cen-
tury, the art of making and colouring
glass began to decline, especially in Pe-
rigord, Limousin, Xaintonge, Angou-
mois, Gascony, Bearn, and Bigorre. The
glass- paintings from these provinces were
hawked about by the sellers of old clothes
and old iron. " L'etat de Verrier," he
continues, "est noble, mais plusieors
sont Gentilshommes pour exercer le dit
art, qui vondrolent dtre ronturiers et
avoir de quoi payer les subsides des
Princes, et vivent plus mechaniquemcnt
que les crocheteura de Paris." (B. de
Palissy as quoted by Le Vieil, ib., p. 62.)
In a subsequent chapter (ib., p. 81,) Le
Vieil, after noticing the almost total ex-
tinction of his art at the time he was
writing, enumerates the reasons which
were usually alleged to account for and
justify the continuance of its disuse.
These were the fragility of the material,
and the liability of glass-paintings to
perish, — the obscurity they occasioned in
churches, an inconvenience which had
caused many of them to be taken down,
— the unbecoming character of many an-
cient glass-paintings, — and the difficulty
of repairing those which had fallen into
decay, on account of the art of colouring
glass being lost. Le Vieil combats these
reasons, most of which are sufficiently
frivolous, but they serve to illustrate the
light in which glass-painting was held
at that time.
240
THE INTERMEDIATE STYLE.
by excluding it from palaces and churches caused it to
be forgotten '."
In France, even towards the end of the sixteenth
century, the substitution of enamels for coloured glass
does not appear to have taken place to the same extent
as in Holland and Belgium; and the French glass-
paintings are proportionably richer and more effective.
A proof of this is afforded by the beautiful representa-
tion of the Visitation of the Blessed Virgin, which was
brought from the Church of St. Nicholas at Eouen, and
now, through the munificence of the late Lord Carlisle,
adorns one of the choir windows of York CathedraP.
This work, which, judging from its style, is of the
middle of the sixteenth century, is one of the best
specimens of glass-painting in existence ^ There is
perhaps rather a want of transparency in the shadows,
owing to their ground not being sufficiently stippled, —
a symptom of the decline of the art, — but enamel co-
lours are very sparingly introduced, being employed
merely in the border of a drapery, and in the sandals,
and there not to such an extent as to diminish the
transparency of the picture.
I Lanzi, *< History of Painting," trans-
lated by Rowoe, book i., end of epoch 2,
where he gives some interesting notices
of the rise and progress of glass-punting
in Italy, referring to many existing spe-
cimens and giving the names of several
artists.
^ Viz., the easternmost window in the
ude of the south aisle. This beantifnl
work, which was presented to the cathe-
dral in 1804, appears to have been taken
from a design of Baroccio. Le Vieil
however states, Miatoire de la Peinture
9ur Verre et de la Vitrerie, p. 57, that
it was said to have been painted after
a cartoon by Raphael Sadeler. The an-
nual register for the year 1804, in record-
ing the gift to the cathedral, says, that
"the figures were always considered to
have been designed either by Sebastian
del Piorobo, or Michael Angelo," p. 432.
It is evident that it was originally de*
signed for a window of four lights.
^ Le Vieil seems to allnde to this pic-
ture as a work of the end of the nxteenth
century, but I am sure that it b of the
middle of the century.
THE INTERMEDIATE STYLE.
241
The windows of the traDsept and north aisle of the
nave of St. Jacques Church, Antwerp, which are con-
temporary works, (some are dated 1620, 1621, 1629,
and 1640,) have precisely the same defects as the Gouda
windows; viz. a washiness and want of brilliancy, the
consequence of employing enamels in a great degree in
lieu of coloured glass, and of omitting to confine the
shadows to their proper limits, and to sufficiently stip-
ple their ground. Windows of an earlier date, quite as
dark and dingy as these, may be seen in Amsterdam
Cathedral ""; they were erected in 1555.
The four eastern clearstory windows of the transept,
Antwerp Cathedral, dated 1613, are as defective in
transparency as those last mentioned, although but little
enamel colour is used in them.
In their general arrangement all the foregoing win-
dows resemble the picture windows of the Cinque
Cento style.
Some of the best examples of glass-painting of the
middle of the seventeenth century, remain in the four
windows of the Chapel of the Virgin, Brussels Cathedral.
They are dated 1649, 1650, 1658, 1663".
■ Viz., three in the north aisle repre-
senting the Visitation, the Nativity of
Christ, and the death of the Virgin.
* The principal snhjects of these win-
dows are enumerated in the text in the
order in which they are, counting from
the eastward. The first window from the
cast is inscribed as the gift of the Em-
peror Ferdinand, 1650; the second, that
of the Emperor Leopold, 1658; the third,
that of the Archduke and Archdachess
Albert and Isabella, 1663; and the fourth,
that of the Emperor Leopold, 1649. Le
Vieil, L*Art de la Peiniwe tur Verre
et de la Viirerie, p. 71, ascribes these
windows to Abraham Van-Di^penbeke,
a pupil of Rubens, and a skilful painter
in oils as well as on glass. He was
nominated director of the Academy of
Antwerp in 1641. It is not impiobable
that this artist merely furoished the de-
signs for these windows, which may ex-
plain the report that they were painted
by Van Tilden after designs hy Uubens.
The fourth window from the east, which,
as above stated, is inscribed as the gift of
the Emperor Leopold, 1649, bean also
the following inscription, " I de Laharre
i et Fa 1654/' from which it would seem
that he both designed and executed it.
R
242 THE INTERMEDIATE STYLE.
The Cinque Cento arrangement is preserved in these
Mrindows ; two tiers of archways, or rather architectural
screens, fill their lower lights, the lower containing
portraits of the donors kneeling and attended by their
patron saints, the upper, one of the following subjects,
the Presentation in the Temple, the Marriage of the
Virgin, the Annunciation, and the Salutation. In these
works, coloured glass is used only in some of the dra-
peries, the picture being almost entirely painted with
enamels and stains. The shading is also not sufficiently
stippled and open, and the general effect of the windows,
when contrasted with the Cinque Cento examples in the
opposite chapel of the Miraculous Sacrament % is dull
and dirty. The most brilliant window of the four is
of the Annunciation, owing to the flood of light which
is admitted through the clear yellow glass with which
the angel Gabriel is surrounded. With all their faults,
however, these windows are, from the nature of their
design, grand and imposing objects, and when viewed
from the nave of the cathedral, whence their want of
transparency is less 6bservable, and their colouring from
being seen sideways is ^ apparently increased in depth,
they constitute very splendid ornaments. It must be
admitted, however, that their merit is greater as works
of art than as glass-paintings.
After the middle of the seventeenth century, glass-
painting appears to have gone more rapidly and com-
pletely out of fashion on the continent than in England.
Few works of greater interest than coats of arms, and
little borders and ornaments, were executed during the
remainder of the century, and these were but of small
• Theie have been already noticed in the coune of the Cinqne Cento style.
THE INTERMEDIATE STYLE.
243
importance. In the eighteenth century little else was
done than repairs; and Le Yieil mentions that at the
time he wrote (1768) there was but one glass-painter in
Paris, and he had so little employment in his art, that
he would not have had the means of subsistence if he
had not joined to it the business of a glazier p. Pre-
viously to this time enamels had so entirely superseded
the use of coloured glass in France, as to have caused its
manufacture in that country to be discontinued \
The revival of the Mosaic system of glass-painting
has been more complete in this country than abroad.
Some of our modem specimens are indeed not inferior
to the best ancient examples in the mere strength and
vividness of their colouring, but such is the tendency
of opinions on matters of taste to run into opposite ex-
tremes, that, whilst celebrating the exchange of a vicious
for a purer practice of glass-painting, by the abandon-
ment of the enamels of the last and early part of the
present century, we have to deplore the loss in general
of that originality of design and treatment of subjects,
which constituted the redeeming quality of the works of
' L'Art de la PeinUtre 9ur Verre et
de la Vitrerie, p. 81. The artist alluded
to eeemg to have been a brother of Le
Vieil.
4 It is clear from Le Vieirs state-
ment in I/Art de la Peinture sur Verre
et de la Vitrerie, that in his time, glass
WHS no longer coloured in France at the
manufactories, either as a pot-metal, or
as coated glass. Coloured glass of the
former kind, and probably of the latter
also, was procured from Bohemia and
Alsace. Of coated glass, however, be
seems to hare had no knowledge what-
ever. The process of colouring glass on
one side, described by him, is enamel
colouring, and even this he speaks of as
being disused in France, adding that such
disuse had given rise to the prevalent
opinion that the art of painting on glass
was lost. It is to be observed that in
describing the last-mentioned process, he
does not speak from personal experience,
but takes his account from Kunckel;
and on the whole, his want of practical
knowledge has caused some obscurity
in the terms he applies to the different
kinds of coloured glass, and renders' his
authority in relation to them of little
value.
244 THE INTERMEDIATE STYLE.
that period. Indeed the erroneous notion that nothing
besides brilliancy of colour is required in a glass-
painting, has engendered the cultivation of a low species
of art, and the seryile imitation of the grotesque and
extravagant drawing of the Middle Ages.
The great majority of the English glass-paintings of
the revived Mosaic style, are either direct copies of an
original work, or mere* compilations, in which each
individual part is taken from some ancient example.
They are in general easily distinguishable from ancient
glass even when the closeness of the copy precludes any
mixture or confusion of style; the imitations of the
earlier patterns being betrayed by the flimsy quality
of their material, and by the attempts made to impart
depth of colour, and tone to them, as well as to disguise
their real date, by dirtying or dulling over the glass
with enamel brown or other pigments : and the imita-
tions of the later specimens, by a peculiar heaviness of
execution and a display of the imperfect drawing of the
ancient artists without any of their feeling or inspiration.
To this may be added the imperfect fluxing of the
enamel brown, the ruddiness of its hue, and the occa-
sional use of other enamel colours. There are of course
some examples to which the above strictures do not
apply, but these works ' partake rather of the character
of a new and original, than of mere imitative style,
which sufficiently serves to distinguish them from an-
cient glass '. The French, in their imitations of ancient
' As, for instance, the artistical prodac- I century, withoat their defective draw- i
tions of the late Mr. Miller, in whose | ing; and the subseqaont performances ,
figures are displayed all the delicacy of Mr. Ward, and Mr. Nixon. [1847.]
and grace which belong to original works ' Of all modern works the most diffi*
of the oommenoement of the sixteenth i cult to be distinguished from ancient^
THE INTERMEDIATE STYLE.
245
glass-paintings^ have been jnore successful than ourselves
in catching the spirit of their models, a circumstance
which is no doubt attributable to the higher artistic
talent generally employed in the practice of glass-paint-
ing in France. The different texture of the modem
material from the old, will in the generality of cases
serve to detect the copy.
In Germany, instead of the revival of the Mosaic
system, we see the adoption of the Mosaic enamel,
purified of such of its defects as are not absolutely
inherent; and instead of mere imitations of ancient
authorities, the bold and undisguised development of
a new and original style, apparently having for its
object an union of the severe and excellent drawing
of the early Florentine oil-paintings, with the arrange-
ment of the glass-paintings of the former half, and the
colouring of those of the latter half, of the sixteenth
century. There is therefore no danger of confounding
the productions of the Munich school with those of the
Middle Ages. With a full persuasion that the adoption
in Germany of the Mosaic system would be attended
with beneficial results, I am compelled to admit that
the artistical character of the Munich glass-paintings in
general, renders that school at the present moment on
the whole superior to all those which have arisen since
the beginning of the seventeenth century.
I now proceed to a more detailed description of some of
the most remarkable features of the Intermediate style.
are Mr. Willement's heraldic glats-paint-*
ings, whether in respect of their design,
or their execation. So thoroughly haa
he imbihed the spirit of the ancient
draughtsmen, that the quaintness he
imparts to his works has a truly ori-
ginal air. [1847.]
246
THE INTERMEDIATE STYLE.
1. The Texture and Colour op the Glass.
The white glass throughout all but the last few years
of the Intermediate style, is in general of a pale dusky
yellow tint; sometimes however it is colourless, or of
a light bluish green hue. The different kinds vary but
little in substance, but the colourless glass is usually of
a harder texture than the yellow, and takes the yellow
stain less easily*. One kind of colourless glass, however,
which was much used in glass-paintings, is often stained
to the deepest tint of orange. During the reigns of
Elizabeth and James I. there were in this country other
varieties of white glass besides those which have been
mentioned, one sort without the thickness of the sheet
being increased, is of a deep dirty olive colour, like
modern common bottle glass: another is of an indigo
blue, or purplish green tint, as deep and powerful as
Early English or Decorated white glass, for which it
may by an unpractised eye be easily mistaken; the
inky purple colour of a third kind seems to indicate the
presence of manganese in its composition. With the
exception of the last sort but one, which is apt to be-
come perforated with holes as large as the head of a pin,
all this glass is but little affected by the action of the
atmosphere. The yellow sort, in particular, is sometimes
covered with minute black dots, but is seldom much
' Le Vieil notices the difference in
coloor and teztare between various kinds
of white glass in his day. He states
that Venetian glass is softer and less
resists the fire than that made in Ger-
many, Hesse, and at St. Quirin in
Vosges: and that the French glass is
harder than any of these, being much
less charged with salts. He also cites
«n observation of Konckel, that the
yellow stain takes best on Bohemian
and Venetian glass. VArt de la Fein-
ture 9ur Verre et de la VUrerie, pp.
109, 110, 111.
THE INTERMEDIATE STYLE. 247
obscured. The surface of the sheet is generally uneveu
and crumpled, so that objects seen through the glass
appear greatly distorted.
In the early part of the last century, crown glass
began to be used instead of broad glass, (to which alone
the above remarks apply,) in glass-paintings. Indeed
all the more elaborate enamel glass-paintings are com-
posed of it. Crown glass is in general easily distin-
guished from broad glass, by its flimsy appearance, and
its want of tone.
Within the last few years the demand for imitations
of ancient painted glass has occasioned the manufacture
of white glass purposely tinted in imitation of the old,
from which however it is easily distinguishable by its
texture, its hue, and even the levelness of its surface.
Euby glass was certainly used in this country as late
as the first quarter of the eighteenth century. That
found in the glass-paintiDgs of this time exhibits all the
peculiarities of ordinary ruby. Its tint, however, changed
from scarlet to a deep crimson, or rather claret colour,
as early as the reign of Elizabeth, during which period
it began to be superseded i^ small works by enamel red.
This colour is generally produced by covering stained
yellow glass with a coat of enamel, resembling China
red, sometimes by covering both sides of the glass with
a coat of red enamel. It is always of a strong orange
tint, and may on this account as well as by its want of
depth and transparency be immediately distinguished
from ruby. The facility of its application caused it to
be always much employed. It is durable, for though
the enamel colour may, in general, be easily scratched
off the glass with a pin, or even a pointed stick, it is
248 THE INTERMEDIATE STYLE.
not much affected by the action of the atmosphere. The
art of making ruby lay dormant from, it would seem, the
beginning of the eighteenth century until within the
last twenty years, during which time many expedients
were resorted to, in order to produce red glass**. The
most common was that of deeply staining crown glass on
both sides of the sheet, but the result was seldom satis-
factory, the colour in general being dull, and inclining
to orange. I have indeed seen in some modem works,
especially in those of Mr. Willement, small pieces of
stained red not to be distinguished from real ruby.
Mr. Ward has also produced a red, by combining an
enamel with a stain, which except on a close inspection
might easily be mistaken for ruby. Happily, however,
for glass-painting, a stop has been put to these inven-
tions by the revival in France of the manufacture of
ruby glass, identical in texture and colour with that of
the first half of the sixteenth century.
The use of pot-metal yellow seems to have been aban-
doned soon after the middle of the seventeenth century,
and to have been superseded by the yellow stain, which
is generally of a deep colour, and frequently of an
orange tint. Light blue pot-metal glass was much
employed throughout the style, in representations of
" It would aeem fh>iii a puBsage in
Evelyn's "Diary" that difficulty was ex-
perienced in obtaining a good red stain,
and that as late as the year 1682, the
glass-painters had not overcome it.
This may perhaps account for the nse
of ruby glass nntil the period mentioned
in the text
"At y* meeting of R. Society were
exibited some pieces of amber sent by
very intire. There was a discourse of
y* tingeing of glass, especially with red,
and J* difficulty of finding any red co-
lour effectual to penetrate glass, among
y* glass-painters; that y* most dia-
phonouB, as blue, yellow, &c., did not
enter into the substance of what was or-
dinarily painted, more than very shallow,
unless incorporated in the mettal itsplfe,
other reds and whites not at all beyond
y* Duke of Brandenburg, in one of w*^^ y* superficies." — Evehfn't Memoirs, voL
was a spider, in another a gnat> both iii. p. 65, 8vo. ed.
k
THE INTERMEDIATE STYLE.
249
armour, and landscapes, ornamental work, &c. ; but
the blue glass commonly used in draperies, &c., was of
a deep purple tint, until the revival of the Mosaic sys-
tem within the last few years, when a recurrence to
ancient colours took place ^.
The green of the Van Linge school is often a fine
rich olive colour, but that which was generally employed
until lately is of a cold raw tint.
Of the various enamel colours, blue, besides being in
general the dullest, is that which is the most perishable,
being liable to chip or scale off, leaving the surface of
the glass which was beneath it quite rough. The enamel
blue used in the Swiss glass-paintings of the sixteenth
and seventeenth centuries, however, is not open to this
objection, being completely fluxed, and nearly as trans-
parent as pot-metal blue. The Swiss enamels are indeed
the only ones which seem perfectly to resist the action
of the atmosphere.
In enamel paintings many compound colours are pro-
duced by applying two enamels of different tints, to
opposite sides of the glass ; or by staining one side, and
enamelling the other.
A perfectly black enamel was much employed, even
as early as the reign of Elizabeth, to represent sable in
heraldry, or black draperies, &c.
2. Mode of Execution "".
The coarse stipple shading of the Cinque Cento style
was retained in many instances, as late as the middle of
^ See ante, p. 227, note p.
* The different modes of glatt-paint-
ing are considered with reference to their
effect on the transparency of the material,
in the second section of the second chap-
ter of this book.
250 THE INTERMEDIATE STYLE.
the seventeenth century : the deeper shadows, however,
being formed of unstippled hatches of brown paint, or
with thick smear shading. Sometimes, indeed, they are
slightly stippled, but not sufficiently so as to produce
a grain. In general, however, the brown ground ap-
pears as if it had been simply washed in, and allowed
to dry without being stippled, or else it is so slightly
stippled as to have no decided grain; the deeper sha-
dows in this case being formed as before mentioned, or
with dense black dabs of brown paint. Lights are taken
out in the usual way by scraping off the brown ground.
The Dutch and Flemish artists seem to have always had
a prejudice against perfectly clear lights, especially
where white glass is used, except it is of small ex-
tent. They generally spread a coat of white enamel
on the back of the glass ^, which produces a dulness
resembling that of a piece of ground glass.
In the eighteenth century, and subsequently, the
glass was painted with enamels, very much as canvas
is with oil colours, viz., in little hatches, and the sha-
dows were not produced merely with enamel brown,
but with deeper tints of the various local colours. In
this way the shadows are almost imperceptibly blended
with the lights, scarcely any parts of the glass being left
perfectly free of colour, or the marks of the brush.
The practice of abrading the surface of ruby glass for
the sake of representing white or yellow objects on it.
y This practice is defended by Le Vieil,
JjAri de la Peinlure sur Verre et de la
Vitrerie, pp. 110 and 133, who in the
former place controverts Dom Pemetti's
opinion tbat it is improper to paint glass
white, both because this would render it
left clear appears to the spectator as if it
were white. Le Vieil himself, in draw-
ing a comparison between the two
brothers, Dirk and Walter Crabcth,
however, admits the effect of clenr lights
in a glat^s-painting as producing bril-
opaque, and itlso because the glits when liancy. — lb., p. 44.
THE INTERMEDIATE STYLE.
251
continued to be occasionally used as long as the ruby
itself was employed. The same object was, however,
more frequently achieyed by means of the enamel red.
3. FiGUKES.
The Italian maimer of drawing, much corrupted, had
entirely superseded the medieval at the commencement
of the Intermediate style, though medieval costumes
were occasionally represented'. The figures are in
general well proportioned, but the draperies, though
ample, are seldom natural, but have a vague and un-
satisfactory appearance. They seem to be taken from
draperies made of some thin fabric, not from cloth
draperies, which appear to have been studied by the
Medieval and Cinque Cento artists. The folds are too
much broken up and diversified, and in general do not
express the action of the figure beneath with sufficient
precision. It is principally to this want of crispness,
and decision in the draperies, that the heaviness of the
figures of the seventeenth and eighteenth centuries is
owing : for where there are no strongly marked projec-
tions, there can be no vivid lights ; and a glass-painting
without a sufficient proportion of vivid lights must ne-
cessarily be dull in effect.
The figures are generally far better designed than exe-
cuted. In English glass-paintings of the seventeenth and
* If the engraving of the morrice
dancers formerly in a window of the
house of George Toilet, E^q., Betley,
Staffordshire, which forms the frontis-
piece to the first vol. of" Old Engbind/'
be correctly coloured, this glass must
have been painted subsequently to the
middle of the sixteenth century, what-
ever may be the date of the costumes of
the dancers. The presence of enamel
colours in the window would set this
question at rest.
252 THE INTERMEDIATE STYLE.
eighteenth centuries the execution of the heads and hands
is frequently very coarse, vulgar, and inartificial.
White glass is generally used for the naked parts of
the figures, which are tinted and shaded with a red
enamel, the hair of the head being left white, stained
yellow, or coloured brown. The white of the eye is
also in general coloured pale blue, or left white. The
iris is not unfrequently painted blue. The lips and
cheeks were tinted with a brickdust-coloured red, until
the latter part of the last century, when this colour
was superseded by a light carnation.
4. Ornaments.
The ornaments introduced into the glass-paintings of
the Intermediate style, always resemble those found in
other decorations of the same period. At the com-
mencement of the style, the Cinque Cento character of
ornament was preserved. This gradually gave way to
the curious style known as Elizabethan, which was in
its turn superseded by that of Louis XIV., &o.
The Elizabethan form of ornament offered in its little
scrolls, its incrustations of jewellery, &c., many oppor-
tunities of introducing various enamel colours*. The
general body of the ornament was usually stained yellow.
Yellow was the colour principally employed in the later
ornaments.
5 and 6. Borders and Patterns.
The pattern windows of the latter half of the six-
teenth and during the following century are in general
* See examples of this si^le of ornaineut, plates 73 and 74.
THE INTERMEDIATE STYLE.
253
composed of plain white glass in quarries, or so cut as to
form with the leads various geometrical patterns^. In
some rare instances of the time of Elizabeth, or James I.,
a few plain pieces of coloured glass are inserted amongst
the white glass ®. Ornamental glazing, however, became
to be greatly discontinued in the course of the eighteenth
century, and the windows were usually filled with uni-
form rectangular panes of white glass \
In Germany, round glass was in general substituted
for plain white glass. The panes seem to have reached
their greatest diameter * about the middle of the last cen-
tury, at which time, from the level smoothness of their
surfaces, it is difficult to distinguish them at first sight
from circular pieces of plain white glass.
^ A geometrical pattern very com-
monly nsed in the reign of Elizabeth
and James I., is represented in plate 73.
In ordinary cases, the square occupied
with the coat of arms is of course filled
with a piece of plain white glass. The
geometrical patterns of this, as well as of
the Cinque Cento style, are not only
distinguishable from the Decorated and
Early English^ by the colour of the
glass, but in the generality of instances,
by the form of the pattern itself. The
earlier patterns usually consist of a kind
of interlaced work formed of narrow
strips of glass: the Cinque Cento, and
Intermediate, are principally composed
of square, octagonal, and hexagonal
pieces of glass of different sizes, with
short narrow bits interspersed. These
last patterns on the whole very much re-
semble the design of an inlaid oak floor.
* A window of this kind may be seen
in Bisham Church, Berks.
' This uninteresting kind of glazing
was by no means uncommon even in the
reign of Charles I., and was of still ear-
lier invention; a representation of it
occurs in a painting of the Seven Sacra-
ments, by John Van Eyck, in the
museum at Antwerp. [John Van Eyck
was bom in 1370, and died in 1465.] Its
employment probably originated in a
desire to conceal the leads as completely
as possible without regard to ornaments;
for, in windows thus glazed, the hori;
zontal lines coincide with those of the
saddle-bars, and the perpendicular lines
with those of the standards, or upright
bars. The perpendicular leads, however,
arrest the e^e more forcibly than the
standards, which being placed outside
the window, at a little distance from the
glass, — the transparency of which is in
general somewhat diminished by age, —
are on this account seldom distinctly seen
through the window.
* i.e. about six inches.
The smoothness of the round glass
alluded to in the text, may be noticed in
earlier examples, as in the windows of
the post inn at Oberlauchringen, a vil-
lage between Schaffhausen and Wallshut^
where this kind of gliizing is employed
to surround some Swiss heraldic glass-
paintings, bearing date 1578, 1579, 1580,
and 1587.
254
THE INTERMEDIATE STYLE.
* Borders to the lights were not commonly used. The
latest that I have met with are of the middle of the
seventeenth century, and are, like the earlier examples,
composed of foliage and other ornaments executed in
white and yellow glass, on a black or white ground,
resembling in eflfect a Cinque Cento border '.
Coats of arms, and other devices, were often inserted
in pattern windows.
In churches, &c., the tracery lights of pattern win-
dows, when not glazed with mere patterns of white glass,
are often filled with coarsely designed masses of foliage,
&c., executed in white and yellow, or coloured glass.
7 and 8. Pictures and Canopies.
The pictures for the most part resemble those of the
Cinque Cento style in their general composition, and
arrangement. Greater importance was however given
to the landscape backgrounds, and proportional efforts
were made to produce atmospheric effect. Some of the
paintings, those of the Van Linges in particular, have
a cold appearance, from the great quantity of green
foliage introduced in the background.
Large pictures having for their subjects a landscape,
or the interior of a building, and executed entirely in
brown and yellow, were not uncommon even so early as
the latter half of the sixteenth century «. Their effect
is generally dull and heavy, and always unsatisfactory.
' Some late borders are engpraved in
the French work on Auch Cathedral,
plate 4. This window ia dated 1649.
r See Lasteyrie, JERttoire de la Pein-
ture iur Verre, plate Ixxiii.
See also engpravings of some of the
windows of Gonda Chorch, Holland, in
Weale's "Divers Works of Early Mas-
ters in Christian Decoration."
THE INTERMEDIATE STYLE.
255
Designs executed in the same manner, but painted on
round or oval pieces of glass of but a few inches in
diameter^, were very common in the middle of the
seventeenth century.
The canopies in figure and canopy windows in general
bear a smaller proportion to the size of the figure be-
neath, than was usual in the Cinque Cento style. Their
details are either bad Gothic, or a mixture of Cinque
Cento and Falladian. The hoUowness of the niche is
generally marked with a deep shadow. A curtain of
coloured tapestry is usually hung behind the figure.
The back of the niche above the curtain is often pierced
with windows, through which a landscape is seen. A
coat of arms is frequently inserted beneath the feet of
the figure.
In Holland, and England, after the Beformation, re-
presentations of sybils, and female saints, gave way to
personifications of the Christian virtues; and subjects
taken from Scripture supplied the place of those founded
on mere legendary authority.
9. Tracery Lights.
The tracery lights of pattern windows have been
already described ^ Those of picture windows are
^ I have met with two instances of
small subjects, each painted on a pane of
round glass seven inches in diameter,
the turnover edge of which has been
grazed off. The subject of one picture
was Abraham offering up Isaac, 1698.
The other represented Jacob wrestling
with the angel: this was dated 1700.
The panes were remarkably thick and
smooth. Mr. Miller had them to repair,
July, 184S. The pant head was not
Urger than a pin's head. There ii
another specimen in the British Mu-
seum. .
* See an example in Lettu's Detcrip^
iion de VEgUse MitropoUtitine du Dio'
cise d^Auch, plate 4. The windows re-
presented ib., plates 1 and 2, seem to
be Cinque Centa But plate 3 may be
referred to as affording another example
of the Intermediate style.
256 THE INTERMEDIATE STYLE.
sometimes filled with angels or saints, executed in
colours, and placed on coloured or white grounds, or
even with small pictures, or heraldry. The design in
the lower lights, however, frequently extends into the
tracery lights, which are in that case filled wi%j^^e-
sentations of clouds, foliage, or the like. i: ,^ j^ - 4 •
10. Heraldry. V/ ;*^^
Armorial bearings, consisting sometimes of the sim-
ple shield, but more commonly of the additional accom-
paniments of helmet, crest, and mantling, &c., are most
usually found enclosed within little ornamented panels
of a square or oval form, and inserted in pattern win-
dows. The helmets, mantlings, &c., scarcely differ in
form from those used in modern heraldry. Shields of
arms, or crests painted on quarries, are not uncommon ^.
In some windows large achievements were introduced,
extending into three or more Ughts without regard to
the mullions. The colouring of the arms is produced
principally by enamels, but until the beginning of the
present century pot-metals were introduced as oppor-
tunities offered.
11. Letters.
The ordinary Roman letters were generally used
throughout the style, until the revival of the Mosaic
system, and the imitatj^ns of the Gothic glass within
the last few years.
^ See an eiampls plate 73.
THE INTERMEDIATE STYLE. 257
12. Mechanical Constetjction.
In the want of harmony between the picture and its
leadwork, we perceive one of the false principles on
which glass-painting was conducted after the middle of
the sixteenth century. Instead of availing themselves
of the lead lines as giving force and precision to the
painting, the artists of the Intermediate style appear to
have regarded them as unsightly objects, which ne-
cessity alone compelled them to retain. The practice
continued nearly as late as the middle of the seven-
teenth century of leading figures across, in horizontal
lines, corresponding with the saddle-bars, and making
the vertical leads take the course of the outlines ; but
as early as the commencement of the style, the glass of
which the background and architectural framework of
the picture was composed, was generally cut into uni-
form rectangular pieces, and so leaded together. The
principle thus introduced of treating this part of the
painting as if it were an object seen through a net- work
of straight black lines crossing each other at right angles,
was at length extended to the figures also, which were
cut in pieces, and leaded together in perpendicular as
well as horizontal lines like the rest of the window;
a piece of glass equal in size to four of the ordinary
rectangles being used when the face of the figure would
otherwise have been crossed by the leadwork.
Coats of arms, for convenience sake, were generally
leaded together in the direction of their principal divi-
sion lines.
The narrow lead continued in use during the reign
s
258
THE INTERMEDIATE STYLE.
of Elizabeth, and does not appear to have materially
increased in width even in the reign of Charles I. ^
The broad lead seems to have been introduced in
pattern work towards the latter part of the seventeenth
century, and was employed in glass-paintings, together
with several sorts of narrower leads, until within the
last few years. It is still used in ordinary glazing
m
^ I have noticed in a glass-painting in
Lydiart Tregoz Chnrcb, Wilts, — which
I shoald ascribe to the Van Linge
school, — some portions of the original
Icadwork, which from beiftg in a rather
complicated coat of arms» were on that
account perhaps left undisturbed, the
rest of the window having been re-leaded.
The leads are here scarcely a quarter of
an inch broad in the leaf, and closely
resemble modem fret lead.
"* Leads of different widths, are re-
presented in Le Vieil's L'Art de la
Peinture sur Verre et de la Vitrerie,
plate viii.
CHAPTEE 11.
SECTION I.
EMFLOTHEirr OF PAINTEI) GLISS AS A MEANS OF
DECORATION.
The art of glass- painting was in all probabiUty first
employed in the embellishment of churches; and this,
which still continues to be its most extensive and im-
portant application, is naturally that to which the atten-
tion is at first directed '.
The kind of decoration furnished by this art has been
approved during many centuries, and possesses con-
siderable advantages. Besides its beauty, it is capable
of being made subservient to edification and instruction ;
and, whether these objects are aim«d at or not, it seems
to be more universally applicable than any other mode
of decoration. The only instances in which even the
richest and most splendid painted window can be inap-
plicable, are those in which it would darken the building
too much ; or, where the walls of the edifice are adorned
with paintings. The grounds of the first objection are
too obvious to require comment: with regard to the
last, it should be remarked, that an equally advantage-
ous display of rich glass-paintings and mural paintings
* Though a really religionB person
will neither be attracted to a place of
worship by its splendour, nor repelled
from it by its poverty : I think that the
proper embellishment of churches is not
a trivial matter. An inordinate expen-
diture for this purpose is unjustifiable
when 10 many other important works
remain to be done; but money thus
applied, with discretion, affords an evi-
dence of the earnestness of the rich for
the cause of religion, and of their will-
Ingness to bestow a part of their wealth
in such a way, as may render the poorest
partakers of its benefits in common with
themselves.
s2
26o
EMPLOYMENT OF PAINTED GLASS
in the same building is impossible. A mural painting,
however gorgeous, cannot vie with a glass-painting in
brilliancy, but must materially suffer by the contrast.
The colours of a translucent painting will always over-
power those of a picture which only reflects light. If
therefore full effect is to be insured to the mural paint-
ing, the means of a disadvantageous comparison should
be removed, by rendering the paintings in the windows
as little obtrusive as possible, both in design and colour.
They should, in fact, be reduced to mere patterns, prin-
cipally composed of white glass ; even yellow should be
sparingly introduced into them, and no other colours
admitted more positive than pinks, and purples, &c.
Thus the full power of painted glass cannot be deve-
loped consistently with the effective display of mural
paintings^; but inasmuch as the latter kind of decora-
tion seldom extensively exists in a church, a painted
window, however rich, is hardly ever out of place there,
and it can be introduced when grandeur in the struc-
ture, and architectural beauty of any kind, are quite
impossible.
^ The Munich artiflts leem quite aware
of this palpable fact. The Maria HUf
Charch, in the suburb An of Munich,
whoae windows are adorned with rich
painted glass, has no fresco paintings on
its walls, while the St. Ludwig's Kirche
and the Hof Capelle, which are adorned
with beautifnl frescoes, have their win-
dows almost entirely filled with white
patterns ; the little colour that is intro-
duced into them being confined to the
narrow border which surrounds the de-
sign. These windows in their general
effect resemble plates of silver, and con-
trast harmoniously with the rich gilding
and painting which decorate the interior
of the building. It is clear that figures
executed in white and yellow glass,
would not produce an effect as satisfac-
tory as that of a mere pattern, owing to
their greater tendeucy to distract the
spectator's attention firom the mural
paintings.
I of course do not mean to say that
glass-paintings should be banished from
a building whose walls are adorned, how*
ever elaborately, with ornamental pat-
terns executed in paint, or gilding, or
both. These patterns are not ii\jured
by the splendour of the glass, and they
rather tend to increase its effect.
AS A MEANS OF DECORATION. 26 1
The application of this mode of decoration, however,
requires a good deal of consideration, and I therefore
propose to offer a few remarks respecting it.
The first requisite in a painted window for a church
is, of course, that it should be appropriate ; that is to
say, that it should be of a character suitable to a church,
and not to a dwelling-house, or secular building. I think
also that it must be conceded, that in a Protestant
church, it should be of a Protestant character, and ac-
cordingly free from those legends and symbols for which
Protestants have neither reverence nor belief; and a
third requisite is, that if possible it should be rendered
subservient to edification or instruction. A good pat-
tern window is no doubt always preferable to a bad
picture window, and in large buildings an inteimixture
of both pattern and picture windows is generally desira*
ble, but I think as a general rule that patterns should
not be used to the total exclusion of pictures, unless
this is rendered expedient by economy, or such other
circumstances as have already been adverted to \
I do not suppose that there can be any prejudice at
the present day, against the representation in churches
of Scriptural subjects, or the portraits of saints. The
established and recognised use of altar-pieces is of itself
a sanction for the introduction of pictures into windows ;
and to portraits of saints there seems to be as little
' Pattern windows in the Perpendicn- • downward direction, although the hitter
htr style, may often he made the vehicle
of tome appropriate expreanon of prayer
or praise, hy inscrihing short passages
on diagonal strips of glass inserted be-
tween every two or more rows of qoarries.
It is a matter of indifference whether the
inscriptions be written in an upward or
is most usual in ancient examples: the
best is that which enables the inscription
to be most easily read. The puerile con-
ceit that the former should be adopted,
because "praise should ascend," is not
wortliy of attention.
262 EMPLOYMENT OF PAINTED GLASS
objection. They are merely the representations of per-
sons distinguished in Church history, who by their
virtues, or services to religion, have earned a title to
respect. No one can suppose that either portraits of
saints or other Scriptural subjects are introduced into
a church with any other view than for the purpose of
ornament, or possibly of example and instruction. But
against the representation of unscriptural subjects, there
is in Protestant minds a general and well-founded ob-
jection. And here an imitation of some of the older
glass-paintings may lead into mischievous error. In
these, legends of saints which are wholly or in part
fabulous, and incidents in ecclesiastical history which
rest merely on uncertain tradition, are frequently found.
To adopt these subjects is to give a sanction and cur-
rency to fiction; they should therefore be rigidly ex-
•
eluded, and cannot be justified by the authority of
ancient examples. A strict adherence to the principle
of giving no sanction to fiction, might possibly exclude
some worthies whose claim to veneration rests on no
certain ground, bat patron . saints, though their history
may be apocryphal, have a claim which it would be
hard to dispute.
As a general rule, however, it is evidently better
to select for representation, prophets and apostles, or
persons who have really deserved well of mankind;
a rule, which by no means confines us to those who
have chanced to gain the distinction of canonization,
but gives free admission to the Protestant martyrs, and
the Fathers of the Anglican Church. There are some
objects which though not legendary, are hardly of a Pro-
testant character. The Romish veneration for relics
AS A MEANS OF DECORATION.
263
gives to the instruments of the Crucifixion, such as the
nails, the hammer, the ladder, the scourge, the crown
of thorns, &c,, an importance which Protestants do not
commonly allow them, and therefore we should not affect
it by giving them a prominent place in our designs.
Eepresentations of God the Father *, the Trinity, and
* It appears from the report of the
proceedings in the Star Chamber, Feb. 6»
1632, ("State Trials," vol. i. p. 399,)
against Henry Sherfield, Esq., Recorder
of Salisbury, for breaking a painted
window in a church of that city, repre-
senting the Creation, that he was moved
to do so, principally by a representation
of Grod the Father, which he considered
profane and idolatrous. His answer to
the information contains so lively a de-
scription of the window that it is worth
giving an extract from it. "He saith
that this window and the painting there-
on was not a true representation of the
Creation, for that it contained divers
forms of little old men in blue and red
coats, and naked in the hands and feet,
for the picture of Ood the Father : and
in one place He is set forth with a pair
of compasses in His hands laying them
upon the sun and moon : and the painter
bath set Him forth creating the birds on
the third day, and hath placed the pic-
tures of beasts, man and woman, the
man a naked man, and the woman naked
in some part, as much as from the knees
upwards, rising out of the man; and the
seventh day he therein hath represented
the like image of God sitting down and
taking His rest : whereas the defendant
conceiveth this to be false, for there is
but one God, and this representeth seven
Gods, and the sun and moon were not
made on the third but on the fourth
day, nor did the Lord God so
create woman as rising out of man, bat
He took a rib of the man when he was
in a deep sleep, and thereof made He the
woman, in all which the workman was
mistaken/* &c.
Representations of God the Father
are condemned by most of the members
of the Star Chamber in giving their
judgments; the only one who defends
them is Neale, Archbishop of York.
"The question," he says, "is whether
it is unlawful to express God the Father
by any representation, I think it is not
unlawful in itself. The eternity of
Alpha and Omega doth appear in Christ,
and Christ is the image of His Father."
Laud disapproves of such a represen-
tation. "As touching the matter iu
question I do not think it lawful to make
the picture of God the Father : but it is
lawful to make the picture of Christ, and
Christ is called the express image of His
Father. I do not mean to say that the
picture of Christ as God the Son, may be
made, for the Deity cannot be pourtrayed
or pictured though the humanity may.
I do not think but the representation
of God the Father, (as in the Prophet
Daniel He is called the ancient of days)
hath been allowed (though erroneously)
to be made like an ancient old man: and
this the Lutheran party hold too: but
whether it be idolatrous or superstitious
or no, this I hold not to be the question,
and I shall crave liberty not to declare
mine opinion at this time, whether it
ought to be removed."
Notwithstanding the opinion expressed
by Laud in Sherfield's case, a similar
representation of God the Father was
among the subjects in the windows re-
stored by him at Lambeth. The alleged
setting up, or restoration of those win-
dows, which took place the year after
his translation to Canterbury, gave great
offence, and was urged against him on
264
EMPLOYMENT OF PAINTED GLASS
the Holy Ghost, are much better avoided. They cannot
by any possibility convey to us an adequate . idea of
these awful mysteries of the Christian religion, and
may excite very false notions in the minds of the igno-
rant, as well as supply materials for many a vulgar or
profane jest. The same objection of course does not
apply to the ordinary representations of our Saviour.
his impeachment^ though as he Bud,
" the repairing and setting np of the pic-
tares was no high treason by any law."
In his defence he alleges, among other
things, that he had only restored the
windows.
"The first thing the commons have in
their evidence charged against me, is the
setting up and repairing Popish images
and pictures in the glass windows of my
chappel at Lambeth, and amongst others,
the picture of Christ hanging on the cross
between the two thieves in the east win-
dow; of Qod the Father in the form qf
a Utile old man with a glory striking
Miriam with a leprosie; of the Holy
Ghost descending in the form of a dove ;
and of Christ's nativity, last supper, re-
surrection, ascension, and others; the
pattern whereof Mr. Prynn attested I
took out of the very mass-book, wherein
he shewed their portraitures. To which
I answer, first, that I did not set these
images up, but found them there before.
Secondly, that I did only repair the
windows which were so broken, and the
chappel which lay so nastily before, that
I was ashamed to behold, and could not
resort unto it but with some disdain,
which caused me to repair it to my great
cost. Thirdly, that I made up the his-
tory of these old broken pictures, not by
any pattern in the mass-book, but only
by help of the fragments and remainders
of them, which I compared with the
story."
His adversaries retorted upon him that
*'he might have new glazed the windows
with unpainted glass, for the tenth part
of that his painted windows cost him."
(Rushworth, " Hist. Collections^" voL iii.
p. 273, ed. 1680.)
From the report in the " State Trials"
the Lincoln's Inn windows seem to have
had a narrowr escape. Laud in arguing
that images in glass windows were not
within the statute of Edward VI. as had
been asserted, observes, '*! could not but
wonder that Mr. Browne should be so
earnest in this point, considering ho is of
Lincoln's Inn, where Mr. Piynn's seal
hath not yet beaten down the images of
the apostles in the fair windows of that
chapel : which windows were set up new
long since that statute of Edward VI.
And it is well known that I was once
resolved to have returned this upon Mr.
Browne in the House of Commons, but
changed my mind, lest thereby I might
have set some furious spirit on work to
destroy those harmless goodly windows,
to the just dislike of that worthy society."
" State Trials," voL iv. p. 456. Laud, in
oiie part of his defence, (" State Trials,"
vol. i. p. 884, foL ed.,) refers to Calvin
[1 Inst. c. 11, § 12.] as approving the
use of pictures which contain a his-
tory, although condemning "images in
churches." It is worthy of remark
that the painted windows in the cathe-
dral of Geneva were suffered to remain
and were existing as late as 1646. "The
church," says Evelyn, "is very decent
within ; nor have they at all defaced y*
painted windows, which are full of pic-
tures of saints; nor the stalls, which are
all carv'd with y* history of our B.
Saviour."— Evelyn's "Memoirs," vol. i.
p. 384^ edit. 1827.
AS A MEANS OF DECORATION. 265
With regard to symbols, there may be much difference
of opinion. My own is decidedly hostile to them. To
some persons they are offensive, to most they are unin-
telligible, and in very few perhaps of those who do un-
derstand their meaning, are they capable of awakening
any sentiments of piety or veneration. If any interest
attaches to ancient symbols, it is an antiquarian interest ;
they are valued because they are old, and because they
are witnesses to the religious feeling and modes of
thinking of the age of which they are relics, and to
which they carry back the imagination. But we know
that the modern copies are an unreal mockery, the pro-
duction not of a congenial mind, but a mere mechanical
hand, and we turn from them with indifference or con-
tempt. Unless we could revive the modes of thinking
which rendered them interesting and impressive, symbols
cannot be better than frigid and idle ornaments ; and it
may be questionable how far the employment of somS
symbols as mete ornaments, considering the peculiarity
of their forms, can be justified on any principle of good
taste.
If it should be thought that the objections which I
have urged against symbols are without weight, I should
still suggest that it is injudicious at the present day,
when hostility to every thing savouring of popery has
been awakened, to run the risk of raising a prejudice
against so useful and appropriate a style of ornament as
painted windows, by wounding this sensitiveness, even
though we should think it excessive : no pretext should
be afforded for a repetition of the quaint puritanical
remark, that popery can creep in at a glass window as
well as at a door. There surely remains a sufficiently
266 EMPLOYMENT OF PAINTED GLASS
wide field for the exercise of the art, and for the choice
of subjects, the representations of which can shock no
man's opinions, — subjects which belong to all time,
being founded on incidents universally admitted as true
by the whole Christian world, and whose importance is
irrespective of the adventitious circumstances of fashion
or opinion. Abundance of these, rich in instruction and
interest, and aflfording full scope for the skill and inge-
nuity of the artist, may be found in the parallelism
between the Old and New Testaments®, — ^the history
of our Saviour's life, — His miracles, — most of the para-
bles, — the Acts of the Apostles, &c. — ^Eepresentations of
such subjects cannot, I think, be without advantage.
A picture is to the eye what language is to the ear ; —
or rather it seems to convey an idea in a more lively
manner, and will excite more attention than a mere
narration. Hence besides constituting splendid orna-
ments, painted windows representing Scriptural subjects,
may serve to refresh the memory, — to fix wandering
thoughts, — to place a familiar idea in a new light, —
to suggest some sentiment, — or awaken a spirit of en-
quiry. To produce such beneficial results, however,
it is obvious that the painting should not be a mere
conventionalism, or something incomprehensible except
to the initiated ; but that it should, as far as possible,
be a faithful representation of truth and nature'.
* The relation of type and antitype is
pushed to a great extent by the old artists.
It is often extremely fancifxil and far-
fetched : many instances of this may be
seen in the Appendix (C). The modern
artist will of course treat as typical those
events and circnmstances only which
there is sufficient authority for consider-
ing to be so.
' It was for instruction that pictures
were anciently placed in churches.
"Picturse ecclesiarum sunt quasi libri
laicorum," an observation of which a
striking illustration occurs in the fol-
lowing passage from the introduction to
the third book of the treatise of Theo-
philus: — "Quod si forte DominiciB pus-
feionis effigiem liucameutis ex^ressam
AS A MEANS OF DECORATION.
267
Whatever subject is chosen, it should be treated by
the glass-painter in the same spirit as it would be by
any other artist : that is to say, according to the best of
his skill and information, and as if he were addressing
himself to intelligent spectators, and not to the uncritical
population of the Middle Ages, or to their immediate
successors ^. As I shall recur to this topic, I shall only
further remark, that what would be condemned on can*
yas, ought not to be admitted on glass. It is as unne-
cessary and foolish to continue in modem glass-paintings
the extravagant drawing, anachronisms, and absurdities,
of the medieval glass-painters, as it would be to imitate
in a modem fresco the imperfect and rude execution of
the Byzantine artists.
With regard to the introduction of armorial bearings
into church windows, I think that the practice cannot
be objected to on any stronger ground than that which
has sometimes been made to the insertion of the donor's
conspicatur fidelis anima, compungitar ;
si quanta sancti pertnlerint in suis cor-
poribus cruciamina, quantaqne viteo »-
terns perceperint premia conspicit, vitas
melioria obsenrantiam accipit ; si qaauta
sint in coelis g^adia, qaantaqne in tar-
tareis flammiB crnciamentnr intuetnr, spe
de rais bonis actibns animatur, et de
peccatomm suomm consideratione for-
midine concntitur."
t Tbe impropriety of reproducing at
the present day representations only fitted
for tbe coarser minds and less cultivated
taste of tbe Middle Ages, has not escaped
the author of the following remarks,
which will perhaps have the greater
weight as they are made by a zealous
admirer of the arts and virtues of those
times: — "Le moyen fige introduit vo-
lontiers le grotesque dans les scenes
d'enfer. Mais c'est le grotesque terrible
d'une ^poque qui croit, et pour laquelle
le rire dans cette mati^re n'est qu'un as-
saisonnement effrayant de la cruaut^.
Cest done bien moins du rire que du
sarcasme. II ne faut pas s'y m^prendre
et imaginer que les mdmes moyens puis-
sent dtre encore de saison aujourd'hui
que ce grotesque, au lieu de faire frison-
ner prdterait k uue sorte de divertisse-
ment. 0» doit s*apercei>oir que cette re-
marque pourrait Hrefort etendue, 1\ est
telle repr^ntation que j'ai d^veloppee
avec quelqae complaisance dans les vi-
traux de Bourges on de Lyon, et que
je d^pprouverais tr^-formellement
dans une oeuvre du xix*. si^le. Car il
ne faut pas imiter servilement : c'est 1'
esprit surtout que nous devons chercher
k saisir dans les monuments des &ges
de foi." — MonograpMe de la CathSdrale
de Bourges, p. 236, note.
268 EMPLOYMENT OF PAINTED GLASS
name, or any allusion to it. The objection is an over-
refined one, though of very old standing*". It appears
to be founded on a morbid humility, which is not acted
upon in other cases, and if followed up, would exclude
monuments from our churches altogether. Armorial
bearings only supply an additional memorial of the
person who caused the work to be constructed, and in
after times may be useful in establishing a date. In
many ancient windows the existence of a shield of arms
has contributed to determine the period of its construc-
tion. If armorial bearings are admitted at all, I see no
greater impropriety in placing them in an east window
than in any other ; even granting, for argument's sake,
that we are bound to regard the eastern part of an
ecclesiastical edifice with peculiar reverence. Our Eo-
man Catholic ancestors certainly had no scruples of this
kind; for the insertion of coats of arms in the east
windows of cathedrals and churches is of far too fre-
quent occurrence to be regarded as an exception to any
general rule of exclusion : nor can the practice be con-
sidered as an innovation, and a departure from ancient
propriety, since examples of it are quite as frequent
during the fourteenth century as at any other period,
and possibly may be met with of a still earlier date.
The importance of church decoration has drawn out
my remarks on this application of glass-painting to
^ See Appendix (D).
That armorial bearings were some-
times placed in churches in an humble
spirit is apparent from the will of Vis-
countess L'Isle (dated 1500), by which
she directs the arms of her husbands
and herself to be set up in the high rood-
loft of the church of St. Michael, "to the
intent that our souls by reason thereof |
may the rather be there remembered
and prayed for." — Sir H. Nicolas's Tet'
tamento VeiuHa, p. 466. It is unjust,
therefore, in the absence of any proof,
to assume that armorial bearings are
necessarily marks of ostentation and
vanity, and to exclude them accord-
ingly from churches.
AS A MEANS OF DECORATION.
269
a considerable extent. Its employment in secular
buildings calls for fewer observations. It evidently
forms an ornament which may occasionally be intro-
duced into them with great advantage. Painted win-
dows, and especially pattern windows, composed merely
of round fflass with a painted border, would in many
domestic buildings be found as effectually to exclude
the sight of some disagreeable object, as panes of com-
mon ground^ or corrugated glass, besides being infinitely
more ornamental. Painted glass is always appropriate
in the windows of the halls of colleges, corporations, and
other public edifices; its richness and colour being of
course regulated by the general character of the build-
iug, and the number of paintings which adorn its walls,
&c. And here, when it is wished to go beyond a dis-
play of mere heraldry or ornamental patterns, there
exists a wide choice of subjects. Abundance will
suggest themselves in historical incidents, and in such
as are of local, or family interest; portraits, if they
can be represented, are not out of place, and in short
any subject proper for a picture may be adopted, pro-
vided it is capable of being treated within the limits
imposed by the true principles of glass-painting ^ Here,
* "There is besides NottiDgbam, an
anncient house called Chilwell, in which
house remayneth yet, as an anncient
monument, in a great windowe of glasae,
the whole order of plantyng, pmyning,
stamping and pressing of vines." — Bar-
nabie Qooge's "Foure Bookes of Hus-
bandry/' Lond. 1578, quoted in the
notes to Warton's "English Poetry/'
ed. 1824, vol. ii. p. 265.
Morrice dancers have been mentioned
p. 261, note. Curious scenes from do-
mestic life, as well as subjects from
classical hbtory, often occur in the little
circles and ovals of glass which were
introduced into the windows of secular
buildings in the sixteenth century. The
story of Cupid and Psyche frt>m Raphael's
designs, was represented in the windows
of the chAteau d'Econen. They were
executed by Bernard Palissy. The
designs are given in outline in Lenoir,
Muiie des moimmen* Fran^aU. Stat,
de la FniUur^ iw Verre, Bsris, 1803.
270
EMPLOYMENT OF PAINTED GLASS
too^ is the most appropriate field for the introduction of
heraldic achievements of whatever description, cogni-
zances, and mottoes. Mere armorial bearings, with their
accompaniments of mantlings, &c., are capable of being
rendered highly ornamental, as may be seen at Ockwell's
House, Berks. It is scarcely necessary to observe, that
the remarks which have previously been made on the
treatment of subjects, with regard to the improved taste
and knowledge of the present day, are in their essential
principles not less applicable to historical than to Scrip-
tural glass-paintings.
Painted windows have of late years been frequently
erected as memorials of the dead. This is by no means
an innovation, but merely a revival of an ancient cus-
tom ^ : and it is an application of the art of glass-paint-
ing which has many claims to be generally adopted.
The sum which will procure a handsome painted
window, would produce a very plain or indifferent
tomb; and the window will form an ornament to the
church, which, if it is a building of any architectural
pretensions, is not un frequently disfigured by the in-
troduction of stone monuments. Few things are more
misplaced than tablets, urns, or the like on the columns
One of them is alao eDgraved in Lastey-
rie'8 Sitt. de la Feintwre tur Verre,
plate Ixxiii.
The windows described by Chancer,
in the following passage, can be looked
npon as imaginary only, as it occurs in
the relation of a dream ; but it is not
too much to infer from it, that subjects
of this kind were represented in the
glass-paintings of his times.
"And sooth to sayn, my chamber was
Full well depainted, and with glass
Were all the windows well y-gUzed
Full clear, and not an hole y-crazed.
That to behold it was g^reat joy :
For wholly all the story of Troy
Was in the glazing y-wronght thus,
Of Hector, and of King Priamus;
Of Achilles, and of King Laomedon^
And eke of Medea, and of Jason ;
Of Paris, Helen, and of Lavine."
The "Dreme" of Chaucer.
^ This is sufficiently proved by nume-
rous inscriptions either still remaining
in windows, or preserved in antiquarian
books.
AS A MEANS OF DECORATION. 27 1
of a building, and even when they occupy merely the
walls, they are very frequently out of character both
with the building and with each other, and present
ill-arranged groups of statues and carving,, like those
in a sculptor^s workshop. Further, if the object of
a monument is to attract attention, and thus preserve
the memory of the person to whom it is erected, this
end can be hardly more, effectually obtained than by
a painted window, which even a careless spectator is
not likely to overlook ; whereas even well-executed mar-
ble monuments are often of necessity placed out of sight.
It may naturally be objected that glass is too frail
a material for a monument. Experience, however,
sufficiently refutes this objection. The quantity of an-
cient glass which has been preserved in this country,
in spite of its having been exposed at two different
times to the violence of religious zeal, as well as treated
with intentional neglect \ hardly less injurious in its
consequences, shews that it is not necessarily of a perish-
able nature. Much has perished, but so have innumera-
ble monuments in brass and marble: and perhaps it
may be a question whether the work of the glass-painter
has, after all, fared so very much worse than that of the
sculptor: however this may be, the simple fact that
there are in existence windows five or six centuries old.
> " As for churches themselves, belles,
and times of morning and evening praier
remain as in tiroes past, saviDg that all
images, shrines, tabernacles, rood-loftes,
and monuments of idolatrie are removed
taken down and defaced: onlie the
stories in glasse windowes excepted,
which for want of sufficient store of
new stuffe, and by reason of extreame
charge that should grow by the altera-
tion of the same into white panes
throughout the realme, are not altoge-
ther abolished in most places at once,
but hy little and little suffered to decaie,
that white glasse may be provided and
set up in their roomes.*' — Harrison's
"Description of England," {temp, Q.
Elizabeth,) prefixed to Hollingshed's
"Chronicle," book ii. ch. 1, p. 233.
272 EMPLOYMENT OF PAINTED GLASS
Bufficiently proves that there is no objection to painted
glass on the ground of its want of durability.
In conclusion I must state that a monumental win-
dow is not confined to any particular design or subject.
Pattern windows, or windows containing portraits of
saints, or other Scriptural pictures, are equally appro-
priate. The addition of a short inscription shewing the
intention with which the window is erected, is all that
is required to render it monumental. Ancient windows
commonly introduce a portrait of the deceased, or of the
donor of the window, and it has been made a question
whether this practice should be adhered to. As to the
propriety, strictly speaking, of a portrait, there is evi-
dently no difference between a painted representation of
an individual, and a sculptured one. But considering
the limited power possessed by the glass-painter of
imitating nature, if a portrait is desired, this object
will be better attained by means of marble, or of
a fresco painting. But indeed no further allusion to
the deceased is required than the mention of his name
in an inscription, or the insertion into the window of his
armorial bearings.
"M-
SECTION II.
ON THE TRUE PRINCIPLES OF GLASS PAINTING.
Every method of painting, from the nature of the
material employed in it, is more or less fit than others
for the production of certain effects. The capabilities
of some kinds of painting are greater than those of
others, but whichever an artist has occasion to adopt, it
r
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 273
is evident that his efforts should be confined to a skilful
application of the means which it places at his disposal.
He should endeavour to develope its resources to the
fullest extent; but he ought not to seek excellences
which are incompatible with its inherent properties.
Failure must necessarily result from an attempt to pro-
duce in one mode, effects which are only attainable in
another. Hence a great part of the artist's skill consists
in the invention of a design, and mode of execution,
calculated under the circumstances to display to the
best advantage the excellences, and conceal the imper-
fections, peculiar to that method of painting which he is
called upon to employ.
Obvious as the preceding remarks may appear, they
will be by no means superfluous if they serve to call the
attention of the glass-painter to the consequences which
result from the nature of the material on which he
paints; since it is to a disregard or defiance of these
consequences that the erroneous system which long pre-
vailed in the practice of the art, and possibly its decline,
are mainly to be ascribed. The artist who undertakes
to practise glass-painting should bear in mind that he is
dealing with a material essentially different from any
with which he has hitherto been familiar, and his first
object should of course be to obtain a thorough know-
ledge of the peculiarities and of the extent of the avail-
able means of his art ; of the excellences which ought
to be developed, and the defects which should be con-
cealed. TLe nature of these excellences and defects, *
and the best modes of displaying the former and reme-
dying the latter as far as circumstances will allow, will
form the subjects of the following enquiry.
The chief excellence of a glass-painting is its trans-
T
2 74 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
lucency. A glass-painting by possessing the power of
transmitting light in a far greater degree than any other
species of painting, is able to display effects of light and
colour with a brilliancy and vividness quite unapproach-
able by any other means.
On the other hand this same diaphonous quality is
the source of certain defects, such as the limited scale of
colour, and of transparent shadow, observable in a glass-
painting, of which its inherent flatness is a necessary
result.
These peculiarities will be found to restrict the suc-
cessful application of glass-painting to a particular class
of subjects.
Another peculiarity of a glass-painting, which has the
same tendency, is its mechanical construction. Lead-
work and saddle-bars, or some other mechanical con-
trivance, have been shewn to be essentially necessary
for the support of the glass, and to enable the painting
to discharge one of its most useful functions, the exclu-
sion of the weather. But metal- work, on account of its
opacity, cannot be concealed ; and in whatever manner
it may be arranged, it causes the picture to be traversed
by a number of black lines.
These remarkable features of a glass-painting, then,
render it unfit for the representation of certain subjects.
Such as essentially demand a picturesque treatment, are
better suited to an oil, or water-colour painting, than
to a glass-painting, the pictorial resources of which are
"^ more limited. A glass-painting is incapable of those
nice gradations of colour, and of light and shade, which
are indispensable for close imitations of nature, and for
producing the full effect of atmosphere and distance.
And even if this defect could be overcome, the lead or
ON THE TRUE PRINCIPLES OF GLASS- PAINTING. 2/5
other metal-work would infallibly ruin the picture. For
these reasons it would be improper to select a landscape,
for instance, as the principal subject of a glass-painting.
A subject of this description, though it might form a valu-
able auxiliary as a background to a design, would, if exe-
cuted by itself, only betray the defectiveness of the art in
its flatness and want of atmosphere. The same objection
equally applies to long perspective views of interiors, and
the like. To these may be added groups of figures, or
even single figures requiring a great display of fore-
shortening ; and compositions which do not simply con-
sist of figures confined to the foreground, but comprise
distant groups carried far into the background of the
picture.
The subjects which appear best suited to glass-paint-
ings, are those which, when executed, are of themselves
pleasing objects, and are favourable to a display of the
translucent qualities of glass. Of this kind are oma-
mental patterns, and a variety of other designs capable
of being properly represented in a simple, hard, and
somewhat flat manner, by broad masses of stiff colour-
ing, hard outlines, and vivid contrasts of light and shade.
A group sculptured in bas-relief would, for example,
afford an excellent model for a glass-painter, on account
of its want of apparent depth, and the means taken to
counteract as far as possible this cause of indistinctness,
— the simplicity of the composition namely, and the
sharp lights, and broad shadows of the figures. Its
landscape background might indeed be almost directly
copied in a glass-painting "*.
™ The raising of Lazarus, by Sebas- would forna, with a little modification,
tian del Piombo in the National Gallery, n good design for a glass-painting ; as
t2
276 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
I will therefore assume that subjects of the kind just
indicated as best suited to glass-paintings, should alone
be selected by the glass-painter. In his treatment of
these subjects, moreover, he is, I conceive, bound to adopt
such a course as will exhibit the translucency of the
glass as much as circumstances will reasonably allow.
In a pattern this object is of easy accomplishment :
but in a picture glass-painting the union of transpa-
rency with effect of atmosphere, and apparent depth,
so far as these latter qualities are attainable, is often
attended with diflBiculty. I by no means entertain the
opinion that a glass-painting is to be estimated merely
in proportion to its sparkling brilliancy, and the beauty
of its colours, without regard to its pictorial quaKties.
If this were so, pattern glass-paintings should always
be preferred to picture glass-paintings ; and geometrical
patterns formed of plain pieces of glass, to patterns
enriched with painting. I only assert that the best
picture glass-painting is that which most fully com-
bines the qualities of a good picture, with a display of
the diaphonous property of glass. It ought, no doubt,
to be a translucent picture ; but it should, amongst other
things, exhibit the greatest effect of atmosphere and
distance that can reasonably be imparted to a glass-
painting, and which so materially promotes the distinct-
ness of the design. The accomplishment of this end
must necessarily involve a diminution of the brilliancy of
would also Baphaers cartoons. My < gestions most valuable to the glass-
attention has been directed to these last painter, and is worthy of an attentive
works by the Appendix, No. 2, to the ! perusal. Had I fortunately met with
Fifth Report of the Commissioners of , this work before I commenced the pre-
Fine Arts/' Lond. 1816, pp. 13, 14. This sent section, it would have saved me
Appendix contains a number of sug- some time and trouble.
tt
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 277
the glass in some parts of the picture. The extent of this
obscuration, and the mode by which it may be effected
with the least sacrifice of the brilliancy of the work, will
form a principal part of the present enquiry.
In order to render available the translucent quality of
glass to the utmost extent under every conjuncture, the
artist should, I think, adopt the Mosaic system of glass-
painting; because under this system the most brilliant
and powerful effects of light and colour may be produced.
This will at once appear on examining the glass which
forms the raw material of a Mosaic glass-painting.
Whether it is white or coloured it is equally trans-
parent; but this is not the case in general with the
glass either of an Enamel, or a Mosaic Enamel glass-
painting. In these paintings such portions of the pic-
ture as are coloured either wholly or in part with ena-
mels, are not so transparent as the white parts. Hence,
cceteris paribus^ a Mosaic glass-painting, the whole of
whose basis is equally transparent, must be more diapho-
nous than an Enamel, or Mosaic Enamel glass-painting ;
the groundwork of which is of different degrees of
transparency, varying from that of white glass, to that
of the dullest kind of enamel coloured glass.
It may be said that the Mosaic system does not possess
so extended a scale of colour as the Enamel system ; and
that it is not capable of producing such rich colouring
as the Mosaic Enamel: but its inferiority in these
respects to the other systems is but trifling, and is
more than counterbalanced by its superiority over the
Enamel in strength of colour, and over the Mosaic Ena-
mel, as well as the Enamel, in point of brilliancy. The
truth of this will, I think, be established by comparing
278 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
together a Cinque Cento picture glass-painting, and
any ancient or modern example of the Enamel, or Mo-
saic Enamel systems. It will be found that the Cinque
Cento glass-painting is on the whole hardly if at all
inferior to the other works in pictorial effect ^ : and that
although its colouring may possibly not be quite as rich
or so varied as, for instance, that of a Mosaic Enamel
glass-painting executed by the Van Linges, it is infi-
nitely more vivid and powerful than that of an Enamel
glass-painting ; whilst at the same time the whole pic-
ture is far more brilliant and transparent than either of
the others.
It may also be urged as an objection against the
Mosaic system of glass-painting, that the employment
of a separate piece of glass for almost every colour of the
design, renders the use of harsh outlines throughout the
picture unavoidable, and consequently that it is less
favourable than the Enamel system for pictures. But
this objection does not appear to be well founded.
It has already been stated that no glass-painting, un-
less it be of very small dimensions, can be constructed
without the aid of metal- work; and that wherever
metal -work is used there will be the appearance of
black lines. To this law an Enamel glass-painting
affords no exception: if of large dimensions it must
be composed of many pieces of glass, and these must
" It would, I apprehend, be impossi-
ble to meet with afiy Enamel or Mosaic
Enamel- glass-paintings, not excepting
those of the modern French scliool, which
are the best of their kind, more effective
as pictures than, for instance, the four
Cinque Cento windows of the chapel of
the Miraculous Sacrament, Brussrls Ca-
thedral; the Flemish glass in the apsa
of Lichfield Cathedral ; or the choir win-
dows of St. Jacques Church, Li^e : all
which works are pure specimens of the
Mosaic system, and are far more bril-
liant and translucent than any Enamel
or Mosaic Enamel glaas-puutings that I
can mention.
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 279
be secured in their places either simply by means of
leads, or in a metal framework. The construction of
the work does not indeed require that the leads or
metal framework should follow the course of the out-
lines of the picture, but this is practically the only
difference between an Enamel, and a Mosaic glass-
painting. The black lines cannot be got rid of. In
some Enamel glass-paintings an attempt is made to
avoid the effect of the metal- work; either by using
pieces of glass of the largest possible dimensions, and
moulding the lead or other framework to a few of the
principal outlines of the picture, or else by making it
take a course altogether independent of the design, and
cut the glass into a number of uniform rectangular
panes'. But neither of these expedients appears to con-
stitute any improvement upon the method necessarily
adopted in a Mosaic glass-painting, of throwing the
leadwork into all the principal outlines of the picture,
and strengthening it with saddle-bars. For besides the
inconvenience resulting from the use of very large piece3
of glass, the first-mentioned mode is objectionable on
account of the inharmonious prominency which the opa-
city of the metal- work imparts to the particular outlines
it follows : a prominency the more striking on account
of the weak colouring of an Enamel glass-painting.
And the second mode, though perhaps less objection-
able than the first, is attended with this disagreeable
effect; that the close network of black lines, through
which the picture appears to be seen, distracts the at-
tention from the painting itself.
The construction of a Mosaic glass-painting appears
indeed to be on the whole more favourable to the effect
28o ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
of the picture than that of an Enamel glass-painting.
For the leadwork being generally and pretty equally
distributed over the whole design, is on that account
less noticed than if its course were confined only to
a few particular outlines. I may also add that the
colouring and execution of a Mosaic glass-painting
greatly tend to disguise the leadwork. The saddle-
bars must however be admitted to be very prominent
objects, though, from the style of the painting, they
are perhaps less prominent than the lead or metal-work
of an Enamel painting. The eye soon becomes recon-
ciled to them. They are indeed so essential to the
stability of the leadwork that their absence would only
suggest a disagreeable feeling of weakness and inse-
curity. In some respects they assist the effect of the
picture, diminishing by contrast the apparent width of
the leads, and throwing back the picture, with the de-
sign of which they in nowise interfere. It has been
already remarked in a former part of this book, that the
metallic framework of an Early English medallion win-
dow decidedly improves the effect of the glass, by ren-
dering the main divisions of the design more distinct.
From these considerations, I think I am justified in
concluding that the Mosaic system of glass-painting is,
on the whole, the best system to be adopted. I shall
now proceed to enquire into the proper application of
this system, particularly with reference to the develop-
ment of the resources of the art of glass-painting, con-
sistent with a due preservation of its translucent powers.
An attention merely to form, contrast of colour, and
magnitude of parts, will suffice to ensure to some sub-
jects of the glass-painter's art, proper distinctness and
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 28 1
effect, — a&y for instance, patterns, either simply com-
posed of yarions pieces of plain glass, or enriched with
ornaments added with the pencil. And in these sub-
jects there is no difficulty in exhibiting the transparency
of the material to its greatest extent. But in a picture
glass-painting, — especially one consisting not of a single
figure, but of a group, — though the nature and treat-
ment of the subject itself, the size of the different ob-
jects represented, and the arrangement of its colouring,
may all powerfully contribute to produce distinctness,
full effect cannot be given to the work without having
recourse to strong shadows, contrasted with brilliant
lights.
A proof of this is afforded by all the picture glass-
paintings which were executed previously to the be-
ginning of the sixteenth century. They are but bril-
liant Mosaics. Their universal defect is, that, like
patterns, they are as flat in appearance as the glass
actually is on which they are painted. A single figure
placed under a canopy, owing to the simplicity of the
design, the breadth and contrasts of its colouring, and
the magnitude of its parts, usually preserves a certain
degree of distinctness : but a group even of large figures
is but a mass of confusion when seen from a little dis-
tance °. This defect arises in general not from any vice
<* Some persons for whose opinions I
entertain great respect, regard this very
indistinctness as a beauty rather than as
a defect in a glass-paiuting. I readily ad-
mit that the imagination may be power-
fully excited by the contemplation of a
mere assemblage of brilliant and harmo-
nions tints, snch for instance as the east
window of York Minster presents, when
yiewed from the choir : yet I cannot bot
reg^ard as defective a picture glass-paint-
ing which creates only such indefinite
impressions. A pattern glass-piunting
which produces this result is admirable,
for it does not profess to do more when
seen from a distance; but surely the
fundamental principles of art must ap-
ply to glass pictures equally as to all
others; and in these last it is always
an essential condition that they should
282 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
in the composition, — for the design of most, medieval
groups is admirably suited to the nature of a glass-
painting, — nor from a bad disposition of colours, for the
effect is the same in a late picture, where the more
positive tints are confined to the foreground, and the
retiring colours to the background ; as in an early one,
in which no such rule is followed; — nor yet from the
want of powerful outlines, for an Early English group is
almost as indistinct as a Perpendicular one ; — but from
a too timid application of shading. It is to the power of
the shadows that the superior distinctness and effect of
a Cinque Cento glass-painting are chiefly attributable.
Since, then, powerful shadows are the principal means
of producing distinctness in a glass-painting, and as it is
essential that the work should also be both brilliant and
transparent, it becomes important to ascertain, if possible,
the mode by which a union of these requisites may be
best effected.
The greater the depth of the shadow, the greater no
doubt will be the force given to the picture; but the
brilliancy and general transparency of the picture are
in proportion to the brilliancy of its lights, the trans-
parency of its shadows, and the relative quantities of
light and shade. The picture will be dull, if its lights
appear distinct from the fhrthest point
whence they are intended to he viewed.
On this account the east windows of
Qloacester and Winchester Cathedrals,
and the west window of St. Gndule at
Brussels, are better adapted in design to
the situations they occupy than the east
window of York Minster.
Michael Angelo, in painting the ceil-
ing of the Sistine chapel, increased the
size of the figures in the compartments
he executed last, having observed — as is
suggested by Sir C. Eastlake in a note
to Kugler's "Handbook of Painting,"
vol. ]. p. 206; and more pointedly in
the second Appendix to the " Fifth Re-
port of the Commissioners of Fine Arts,"
p. 12 — that the figures in the former
compartments were too diminutive to
produce the desired effect from the floor
of the chapel. See ante, p. 89, note.
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 283
be not kept clear and bright, whether its shadows be
strong or weak; opaque if its shadows be not trans-
parent, notwithstanding the brilliancy of its lights;
and heavy if the aggregate volume of the shadows
greatly exceeds that of the lights.
The dulness and opacity arising from a want of clear
lights and transparent shadows, are exemplified in most
of the glass-paintings which were executed after the
middle of the sixteenth century, including the produc-
tions of the modem Munich school. And the heavi-
ness occasioned by a disproportionate preponderance of
shadow may likewise be remarked in many favourite
subjects of the above period, such for instance as large
perspective views of the interiors of buildings, and in
landscapes and other pictures in which large masses of
dark clouds are introduced ; of these the Nativity, at
New College Chapel, and the Last Judgment, at Mag-
dalene Chapel, Oxford, may be cited as examples.
From these defects the glass-paintings of the first
half of the sixteenth century are in general free, al-
though they exhibit shadows as deep and powerful as
those of any subsequent works. I therefore cannot
better illustrate the present subject than by examining
the execution of the glass-paintings of this period.
The shadows of every glass-painting executed accord-
ing to the Mosaic system, are principally .produced by
the application to the glass of a coat of enamel brown ;
varying in thickness according to the required depth of
the shadow. And it is on the superficial extent and
texture of this ground, that the brilliancy and general
transparency of the picture depend. For the biilliancy
of any piece of glass may be as effectually destroyed by
284 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
spreading over it a thin coat of enamel brown, as a coat
of any other enamel colour : and since the enamel brown
partakes of an opaque nature, a very trifling increase in
the thickness of the coat will, if the colour be smoothly
applied, reduce the glass to a state of dulness, or even
deprive it of all transparency whatever. It is therefore
essential to the brilliancy of the glass-painting, that
certain portions of the glass should be left for the
free transmission of light, quite unencumbered with any
enamel brown. These portions, being the brightest,
may be generally assigned to the strongest lights of the
picture : and in these lights the brown ground must be
entirely removed from off the glass. It is also essential
to the complete transparency of the shadows, — especially
when the painting is intended to occupy a distant posi-
tion, — that the enamel ground of which they are com-
posed should be very coarsely granulated or stippled.
A coat of enamel brown smeared smoothly and evenly
on the glass, will exclude the light more completely in
this state than after it has been rendered irregular in
its texture by the process of stippling. For this pro-
cess collects the colour into little lumps or dots, leaving
interstices between them less loaded with colour, and
consequently more pervious to the rays of light than
any part of the ground was before it was stippled.
A stipple shadow is therefore always more transparent
than a smear shadow of equal depth; and glass-paint-
ings entirely executed with stipple shading, are con-
sequently on the whole more transparent than those
which are entirely executed with smear shading. Some
analogy may in this respect be perceived between glass-
paintings executed with stipple, or with smear shadows.
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 285
and line and mezzotint engravings ; in whicli a perfectly
opaque matter — sprinting ink — is employed. The de-
gree of transparency exhibited by the print as essen-
tially depends on the light which is reflected back from
the white paper forming the interstices between the
black particles of the ink, as that of the glass-painting
depends on the light which is suffered to pass through
the less dense interstices of the brown ground. These
interstices are more regular and better defined in a line
engraving than in a mezzotint, and to this the former
owes its superior clearness and transparency.
It will be found on examination that in all glass-
paintings of the first half of the sixteenth century,
equally as in the earlier Perpendicular examples, the
shadows in half-tint are abruptly terminated, and the
vivid lights of the picture formed by entirely scraping
off portions, sometimes considerable ones, of the brown
enamel ground. The shadows, especially in the later
examples, are always very coarsely granulated by stip-
pling; and it will be observed, as might be expected,
that in proportion to the coarseness of the grain of the
enamel ground are the apparent clearness and juiciness
of the shadow. The mode in which the shadow was
applied had also a very favourable effect on its trans-
parency. The ancient artists appear never to have ap-
plied more than two coats of enamel to the same side
of the glass. They seem to have first spread a thin
stipple ground of enamel brown all over the glass, and
after having cleared the bright lights out of it, to have
heightened the depth of the shadow by a thicker coat
of colour, decreasing in depth as it approached the
lighter parts of the picture, where it became insensibly
286 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
blended with the shadow in half-tint, formed by the
first ground of colour. This second coat was very
coarsely stippled, and it would seem as if its moisture
softened the first coat, and caused it also to be dis-
turbed by the stippling ; for the stippling of the second
coat appears, in all the specimens I hare examined,
to have gone right through to the glass. This causes
the stipple shadows of an ancient glass-painting to
be in general clearer and more transparent than those
of a modern glass-painting, which are usually com-
posed of several distinct coats of paint, some not un-
frequently being applied after the others have been
actually burnt in; a practice which has a tendency to
fill up the lighter interstices of the ground, and to coun-
teract the effect of the stippling. The ancient artists
were often accustomed to increase the depth of the
shadows in the darkest parts, by a coat of well stippled
enamel brown applied to the opposite side of the glass,
and which was made gradually to diminish in strength
as it approached the lighter parts of the shadow ; but
this proceeding for some reason or other does not pro-
duce dulness like that occasioned by a third coat of
colour on the same side of the glass. They were also
in the habit of further strengthening the deeper shadows
with a hatching of black lines; a mode by which the
transparency of the shadow was preserved while its
depth was increased, the interstices between the lines
allowing a passage for the light.
But whilst the artists of the first half of the sixteenth
century thus successfully combined the use of brilliant
lights, and of powerful and yet transparent shadows,
they were careful to avoid the effect of heaviness by
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 287
duly proportioning to each other the aggregate quanti-
ties of light and shade in the picture. It is difficult to
determine the relative amount of these quantities, which
varies in almost every case ; nor do I take upon myself
to define it. It will be enough if I succeed in pointing
out, however imperfectly, the method by which the
ancient artists contrived to produce in their works,
principally by means of light and shade, sufficient dis-
tinctness without heaviness.
I have already described in the course of my remarks
on the Cinque Cento style, the method usually adopted
by them to confine within certain limits the masses of
deep shadow, to the use of which their works owe their
striking effect. I allude to the favourite practice of
placing the picture, or scene to be represented, under
a canopy or bower, or beneath an archway.
When the first-mentioned arrangement is adopted,
a gi'eat mass of light is produced by keeping the front
of the head of the canopy, or bower, clear and bright,
no more shadow being there employed than is sufficient
to give effect to the mouldings and other ornaments
represented on it. The side jambs or pillars of the
canopy, and the front of its base, if it have a base, are
likewise but slightly shaded. This mass of light is
strongly contrasted with the deep shadow which is
spread all over the interior of the niche or recess, and
which serves both to give projection to the figures,
and to throw back the bright landscape which is shewn
through the open-work, or windows of the recess, behind
the figures. The same principle of alternately employ-
ing masses of light and shade, is shewn in the treatment
of the figures themselves, which commonly have one
288 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
side strongly illuminated, and the other in deep shadow ;
the shaded side of one figure being relieved against the
bright side of another, or the bright background dis-
played in the distance. It will be observed that the
mass of shadow which covers the interior of the recess,
and constitutes so important an element of the composi-
tion, is prevented from spreading itself too far in any
direction, by the figures, the side pillars, and front of
the canopy. The shadow is generally relieved in its
darkest part, which is immediately under the hood of
the canopy, by reflected lights cast on the groining
of the recess. Examples of this arrangement are too
common in Cinque Cento work to require particular
notice. I may however mention as good Perpendicular
examples of the sixteenth century, the canopies in
Munich cathedral, which have been already described
in the Perpendicular style ; and the windows of Fairford
Church, Gloucestershire, which contain the figures of
the twelve Apostles. In the windows last mentioned
it is worthy of observation how skilfully the artist has
availed himself of the white scroll inscribed with a por-
tion of the Creed, which is disposed about the head of
each figure^ as an additional contrast to the shaded
interior of the niche ; and possibly as a means of break-
ing up what otherwise might have proved a too exten-
sive mass of shadow.
The other arrangement, — that of placing the group
or picture in front of, or underneath an archway,— does
P The portion of the Creed written
on each Bcroll is given in the " History
of Fairford Church/' Cirencester, 1841,
p. 9, as well as the name of the Apostle
around whose head the scroll is placed.
The majority of the sentences are di-
vided and appropriated, in a manner dif-
ferent from that set forth in the chapter
"De symbolo Apostolorum," Gavanti
Thesaurus, Cologne, 1705, p. 49.
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 289
not diflfer in principle from that which has just been
described, though it admits of stronger contrasts of light
and shade, and consequently of more vivid effects. The
whole front face of the arch presents a mass of strong
light. This is contrasted with the dark shade of the
soflBt and inside of the arch ; and this in its turn is con-
trasted with the bright light, which streaming through
the aperture of the archway, is displayed behind the
group, and serves as a contrast to some of the dark
shadows of the figures. The figures have their bright
sides and their dark sides, and these alternate masses
of light and shade are contrasted with each other, with
the light and shaded parts of the archway, and with the
light passing through it. Thus the dark interior of
the archway — forming a mass of shadow the extent
of which is limited — separates the mass of light on the
front of the arch, from the light which apparently passes
through the arch, and most effectually throws back the
distant landscape represented as seen beyond the arch.
I should add that the deep mass of shade in the soffit
of the archway, is relieved by strong reflected lights
cast against the ornaments sculptured on its surface,
and sometimes more effectually by a festoon of fruit or
flowers, hung across the front of the arch, and of course
equally exposed to the influence of a powerful light.
A similar festoon, but in deep shadow, is not unfre-
quently suspended across the further side of the arch,
and affords an additional contrast to the mass of light
under the arch. The effect of both these arrangements
is materially promoted by the disposition of the colour-
ing ; but this has already been sufficiently described in
the course of the Perpendicular and Cinque Cento styles,
V
290 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
and more than a reference to it now would only em-
barrass the subject \ One of the best and most simple
examples of the last arrangement is aflPbrded by the
windows of the chapel of the Miraculous Sacrament,
Brussels Cathedral, which have already been noticed.
These windows, and the remark equally applies to many
others of the same class, are indeed true glass-paintings.
They exhibit the fullest atmospheric effect that perhaps
can be produced by the art; and they differ from all
other paintings not only in brilliancy, but in their
general nature and arrangement. The statuesque cha-
racter of the figures perfectly accords with the architec-
ture which surrounds them, and serving as an orna-
mental setting to the picture, is in some instances inti-
mately connected with its design. At the same time
the broad stiff colouring of the picture, its decided out-
lines, and its sharp contrasts of light and shade, per-
fectly harmonize with the natural stiffness of a glass-
painting, arising from its mechanical construction.
1 The colouring of a glass-painting is
no doubt a point which mast be care-
ftilly studied by the artist; but it is one
stained yellow, is more apt to diffuse
itself than any other tint. A very slight
apparent variation in the tint of parti-
upon which little light can be thrown , cular colours will prevent their harmo-
by a written essay. The proper selec- ' nizing. Hence the difficulty of repra<
tion and arrangement of colours can
only be learnt by studying ancient spe-
ducing the same design in the siune
colours ; for differences in tint may often
cimens of glass-painting, and by prac- be observed in glass made of the same
tice. The colours of a glass-painting materiuls, at the same manufactory, and
differ in many respects irom those of 1 on the same day. This difficulty in ob-
an oil-painting. They have the property ' taining the same tint of colour in glass
of intermingling their tints with each ! may perhaps have prevented the ancient
other, so that raw colours, if placed side I glass-painters from appropriating parti-
by side, will often produce a very bar- ' cular colours to particular subjects, — as
moiiious effect without the assistance of ecclesiastical dresses, &c. In copying an
the glass-painter. Ruby, and a light ' oil-painting in glass, the artist will in
pink glass, preserve their distinctive ! general be obliged entirely to recast its
tints at a greater distance than any
other colours. Yellow, and especially
colouring.
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 29 1
The principle of confining the principal masses of
shade within proper limits, may also be observed in
those Cinque Cento picture glass-paintings which are
not relieved by being set in an ornamental frame- work
of architecture. An excellent instance of this is aflPorded
by the east window of St. Margaret's church, West-
minster. The painting of the Crucifixion, which occu-
pies the three central lower lights of a five-light window
is relieved and framed as it were by the figures and
canopies which occupy the outer lights, and the angels
and badges with which the tracery lights are filled.
The principal subject is thus sufficiently supported,
without the intervention of great masses of clouds, or
an extended landscape, which has been shewn to have
been resorted to in later times for this purpose. I might
also refer to many similar examples '.
I have thus endeavoured, however imperfectly, to
point out the great principle adopted in the first half
of the sixteenth century, of preserving the brilliancy
and general transparency of the glass, and of promoting
' The light which falls upon the side
figares and canopies in the St. Marga-
ret's window, in either case proceeds
from one side of the picture, so that the
bright side of ench figure is contrasted
with the dark side of the niche, and vice
verad. The painting of the Visitation,
in one of the windows of the sonth aisle
of the choir of York minster, — to which
reference has already been made {ante,
p. 240), though inferior as a glass-paint-
in the possession of Mr. Ward, the glass-
painter), abounds in deep masses of sha-
dow, which do not appear in the glass-
painting. Their exclusion no doubt arose
from the conviction that though a source
of beauty in an oil-painting, such exten-
sive masses would only have rendered
the glass-painting heavy. The colouring
of the oil-painting has also been departed
from in the glass ; a step probably ren-
dered necessary by the altered character
ing to many Cinque Cento examples, | given to the design by the exclusion of
fliews that the principles of glass-paint- > the deep masses of shadow. The glass-
ing were not forgotten even in the latter ' painting, I think, must originally have
part of the sixteenth century. The ori- , been enclosed within an ornamental
ginal painting from which the glass was frame-work of architecture,
designed (of which I have seen a copy I
u2
292 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
the distinctness of the design by the use of clear lights,
transparent shadows, and strong contrasts of light and
shade. But in order that we may appreciate the supe-
rior execution of the glass-paintings of that period, I
propose to make a few observations on the execution of
those which were painted subsequently to the middle
of the sixteenth century.
The dulness and opacity of all these works may be
ascribed less to an increased use of enamel colours, than
to the mode of their application. Some enamel colours
are naturally more transparent than enamel brown;
none are less transparent than it.
The commonest defect in glass-paintings after the
middle of the sixteenth century, is the absence of clear
lights. This is in some cases caused by not sufficiently
removing the enamel brown ground from the glass in
the lights of the picture; in others by purposely spread-
ing a thin coat of a white enamel colour on the back of
the glass, over the lights and shadows alike. The result
in either case is to destroy the brilliancy of the material,
producing the same effect as if the painting had been
executed on ground glass. In no glass-paintings is this
defect more conspicuous than in the works of the modern
Munich school. The German artists have adopted the
Mosaic Enamel system; and with the object probably
of reducing the brilliancy of the manufactured coloured
glass, to a level with the dulness of the glass coloured
with enamel colours, their practice is to spread a very
heavy coat of white enamel all over the back of the
glass. No rays of light are therefore permitted any
where to pass directly through the glass as in a Cinque
Cento glass-painting, and the work in consequence as-
r
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 293
Bumes a dull, heavy, and substantial appearance, quite
opposed to the translucent and unsubstantial character
of a true glass-painting'. The eye seeks in vain for
a few clear spots through virhich it may be carried
a little beyond the actual plane surface of the painting.
The shadows also soon after the middle of the six-
teenth century became, in general, opaque and heavy.
This arose partly from omitting to stipple their ground
sufficiently, partly from a practice, which may be de-
tected even in some of the later Cinque Cento works,
of heightening the deeper shadows with broad, smear,
unstippled patches, or dabs of Enamel brown.
This defect is particularly observable in the Dutch
glass-paintings of the latter half of the sixteenth cen-
tury, and the works of the Van Linge school ; coupled
with the absence of clear lights, it transformed glass-
paintings from translucent pictures, to objects scarcely
exceeding in actual transparency, fresco, or oil-paint-
ings. In general transparency of tone, an oil-painting
is very superior to one of these glass-pamtings ; which
are often disfigured by shadows having a certain degree
of transparency when closely examined, but which ap-
pear perfectly black when seen at a distance.
The shadows and general tone of the glass-paintings
of the eighteenth century, from the colour being applied
* Some of tbe smaller works of the
Manich school rather resemble in their
opacity and high finish paintings on
porcelain than glass-paintings. The dnU
ness noticed in the text is very apparent
in the windows of tbe Maria Hilf charch
at Munich, and also in the windows of
Kildown charch near Tunbridge Wells.
These may be cited as fine specimens
of the practice of the modem Manich
school of glass-painting. The general
arrangement and design of the Maria
Hilf charch are founded on an unexcep-
tionable principle. [The Manich artists
have since altered their method. The
Glasgow windows are executed accord-
ing to the Mosaic method. See "Archie-
ological Journal/' vol. xxi., p. 202, and
"Memoirs on Glass-painting," pp. M,
320.]
294 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
in little hatches with a brush, as in an oil-painting, are
upon the whole more transparent than those of the
paintings which have just been noticed. Such shadows
are however not so clear, and are by no means so
effective, as shadows produced by a coarsely stippled
ground *.
It would admit of easy demonstration that the excel-
lent system of glass-painting which grew up in the
middle ages, had an accidental origin, and continued
to be so long practised, rather because it presented the
sufficient means of competing with the hard and dry pro-
ductions of the medieval oil and water-colour painters,
than from any philosophical consideration of its intrinsic
merit as a method of art : and that the development of
its powers in the first half of the sixteenth century, was
the consequence not of the adoption of any fixed prin-
ciple of execution, but the mere desire on the part of
glass-painters to emulate, as far as they could, the won-
derful effects which had then been attained in oil-paint-
ing. This consideration, whilst it may serve to account
for the rapid deterioration of the art of glass-painting
in the latter half of the sixteenth century, should ope-
rate as a warning to modem artists not ignorantly to
confoimd the principles which belong to essentially dis-
tinct systems of painting ; the one having for its object
the production of effect by the transmission of light
through the picture; the other, by the reflection of
light from its surface. The glass-painters of the latter
half of the sixteenth century, and subsequently, in
a vain endeavour to compass the beauties which essen-
* I have collected in a note at the end
of this section, some remarks illostrating
the execution of several glass-paintings
which I have particularly examined.
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 295
tially belong to the art of oil-painting, lost sight of the
excellences of their own art. The result is, that after
nearly three hundred years of misconception of its prin-
ciples, and mistaken practice, the art of glass-painting
has not yet regained the point of excellence it had at-
tained in the middle of the sixteenth century. Whether
it will ever surpass that point is a question on which I
offer no opinion ; of one thing I am certain, it will not
reach that point unless the principles of the art, what-
ever they may be, are adhered to and carried out \
In conclusion I must call attention to some practical
questions important in their bearing on glass-painting,
— the proper width of the leads, and the distance at
which the saddle-bars should be placed apart.
The ancient artists though they never shrank from
the employment of leadwork, never unnecessarily used
it. On the contrary their efforts were constantly di-
rected to its disguise, by making it constitute as much
as po ssible an integral part of the design.
In geometrical patterns formed of plain pieces of
glass, (and which are the more interesting since they
undoubtedly exhibit the germ of the Mosaic system of
glass-painting,) the outlines of the pattern are entirely
represented by the leadwork; and in patterns enriched
* I am not so presamptuous as to
BuppoM that some of the rules I have
attempted to establish are not soBcepti-
ble of modification and improvement.
For instance, I think that enamel co-
lours, the use of which would be ex-
cluded by a rigid adherence to the Mo-
saic system of glass-painting, may be
introduced for particular purposes, as
to tint the flesh-colour of the figures.
But I am decidedly opposed, for the
reasons already given, to their more
extensive employment.
The colouring of the flesh by means
of enamels to a greater extent than it
was carried in the Cinque Cento period,
has long been with me an open question.
But I have now come to the conclusion,
that the flesh, if coloured at all, ought
to be fully coloured. The new win-
dow for Christ Church, Bloomsbury, haa
principally deterujined me. [1847.]
296 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
with painting, and in pictures themselves, the leads
constitute most of the principal outlines, and are in
general not distinguishable from the outlines painted
on the glass.
But it is ievident that to ensure the disguise of the
leadwork the width of the leads must be proportionate
to that of the lines usually painted on the glass ; for the
leaden outlines will easily be detected if they are much
stronger than the painted outlines \ In other words,
the leads should be as narrow in the leaf as they can
be made with safety.
The lead anciently used is not wider than (and some-
times is not quite so wide as) three sixteenths of an
inch in the leaf ^, and this will be generally found to
* In proof of this I need only refer to
cut 8, p. 93 ; and plates 60, and 56 ; in
which broad lead is represented; and
plate 18, in which the effect of modem
fret lead is shewn.
y The profile and face of some ancient
leads of the ordinary width, have already
been shewn (p. 81) in cut 4^ figs. 1, 2,
and 3. But leads somewhat narrower
in the leaf than these, were very exten-
sively employed. An entire window at
Stowting Church, Kent, probably of the
early part of the reign of Edward IV.,
was leaded together with leads, the pro-
file of one of which is given in the mar-
gin ; fig. 2. The other lead, fig. 1, is of
the early part of the reign of Henry VI.,
and is from Melb Church, Somersetshire,
where similar lead is commonly used.
Its profile is here given in order to prove
that the mode of strengthening the
lead, without increasing its width in the
leaf, so remarkably displayed in cut 4,
fig. 8, was not confined to the Decorated
period.
Both the specimens from which the
cut in the margin was taken, had all
the appearance of having been east in
a mould. It will be observed that one
of the faces of the leaf is in each lead
narrower than the other. This inequal-
ity was doubtless caused by decomposi-
Cut 28.
tion of the metal; the narrowest face in
both cases being outside the window,
and therefore more exposed to the ac-
tion of the atmosphere. The broadest
face of the leaf is that represented in
fig. 3.
A somewhat still narrower lead than
those in the margin mny occasionally be
met with in heraldry, and other minute
Mosaic works of the fifteenth and six*
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 297
harmonize in width with the painted outlines. In Early
English, and sometimes in Decorated glass-paintings,
lead of this width is not iinfrequently narrower than
the painted outlines ; and in Perpendicular and Cinque
Cento glass-paintings, it is barely wider than them.
Experience has also abundantly proved its capability
of retaining the glass securely in its place. The perfect
state of repair of many specimens of Early English and
Decorated glazing, the leadwork of which is coeval with
the glass, sufficiently attests this fact.
There seems to be no reason why lead of the ancient
width should not again be used. That ordinarily em-
ployed in glass-paintings at the present day is a quarter
of an inch wide in the leaf. Yet this increased width,
though so trifling, is very perceptible. The reason
assigned for the increase, is the impossibility of com-
pletely excluding the wind and rain by means of leads
less than a quarter of an inch wide in the leaf. Consider-
ing however that glass-paintings are chiefly employed in
large public edifices, used mostly on particular occasions,
and for particular purposes, I hardly think that a per-
fectly weather-tight window is of such paramount im-
portance as to override all considerations of taste. The
windage of an ancient piece of glazing cannot be per-
ceived at a little distance, and its leakage is very trifling.
The water it may occasionally admit can easily be con-
veyed outside the building, together with the moisture
condensed on the glass from within, by a simple mecha-
nical contrivance at the bottom of the window.
teenth centuries; and sometimes in re-
pairs, but a knowledge of its weakness
seems to have prevented its more ex-
tensive use.
It is hardly necessary to observe that
the greater the number of leads em*
ployed, the weaker individually may
they be made.
298 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
In ancient windows it will be found that the saddle-
bars are usually placed from eight to nine inches apart ;
and this seems to be the most agreeable distance in most
cases, though in some, an interval between the bars not
exceeding six inches does not appear too little. The
great object is to avoid as much as possible causing the
light to appear as if it were divided into a number of
square compartments — which is so often the case in
modem work — ^by making the distance between each
pair of saddle-bars too nearly equal the width of the
light. It is always better to place the saddle-bars too
closely together than too far apart, not only for the sake
of the stability of the work, but because they are ren-
dered less obtrusive by their very repetition. Amongst
the advantages resulting from the use of saddle-bars at
short intervals, is the opportunity it affords the glazier
of carrying a horizontal lead across the light, immedi-
ately in front of each saddle-bar ; the opacity of which
hides the lead. The workman is thus enabled, without
deviating from the principle of cutting the glass to the
outlines of the design, to avoid the employment of in-
conveniently long and weak pieces of glass, by dividing
them unseen into lengths in no case exceeding the
distance between two saddle-bars. This method of
concealing leadwork has been noticed before. It was
carried to such perfection during the first half of the
sixteenth century, that a person ignorant of it, would
find it difficult to conceive how some of the works of
that period were constructed.
Before quitting the subject of saddle-bars, I should
express my opinion in favour of retaining, at all events
in pattern windows, the upright standards, or stanoheons
r.
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 299
as they are sometimes called, which in ancient windows
are usually put through the saddle-bars. The standards
do not appear to be out of place even in picture windows
also, whenever they do not happen to pass immediately
behind the head of the principal figure. They seem on
the whole to improve the eflfect of the architecture from
without, and certainly they do not, in the instances just
put, injure the appearance of the glass from within. To
pattern windows they are an improvement. The stand-
ards from being somewhat set back from the glass, and
therefore only indistinctly seen through it, are not open
to the objection which applies to vertical leads, which
on account of their tendency to arrest the eye, should
in general be avoided as much as possible in a glass-
painting.
The following notices of various glass-paintings are given solely with the
view of directing attention to their mode of execution^ and without any
reference to their qualities as compositions.
The Gothic glass in the five "windows of the north aisle of the nave
of Cologne Cathedral, some of which bears date 1508, 1509 ■, when
compared with earlier specimens, as, for instance, that in the windows
of Great and Little Malvern churches, Worcestei-shire, of the close of
the third quarter of the fifteenth century, or that in the ante-chapel of
All Souls* College, Oxford, of the time of Henry VI., or that in the
ante -chapel of Kew College, Oxford, of the time of William of Wyke-
ham, aflTords a satisfactory proof of the progress already made in the
art, and of the more powerful effects produced by employing stipple
shadows, deeper, and coarser in grain, than those used in the fifteenth
century. But this Cologne glass exhibits the resources of the art only
in a limited degree. The general appearance of paintings is too flat
* An enumeration of the subjects re-
preseuted in these windows, and the
method of their arrangement, are given
in a little book entitled, Ber Dom zu
Koln von M, J, de Noel, Cologne, 1837,
2nd od. The glass in the tracery lights
of these windows is early Cinqne Cento.
As to the glass in Great Malvern, see
" Archeological Journal," vol. ii. p. 48.
300 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
and hard, arising from the shadows not being sufficiently deep. It is
impossible, however, to overrate the granulated texture of the shadows,
or the manner in which the bright lights are taken out The glass is
in excellent condition, having been cleaned within the last few years.
The windows of Fairford Church, Gloucestershire, and the remains
of the original glass in the east window of Winchester Cathedral, both
works of the sixteenth century, but probably not later than 1520%
shew a still further progress in the art. Their shadows are deep, juicy,
and effective, without exhibiting the least appearance of opacity. The
grain of the shadow is very coarse, and the enamel brown of which it
is formed is of a rich brown tint, which renders the paintings wanner
and more mellow in their tone than the Cologne glass; the enamel
brown of which is, like the medieval, of a cold tint. Some of the
shadows, not only of the figures, but also of the architectural work,
are heightened with a warm enamel, resembling China red. The
lights are invariably left clear and transparent.
The shading used in the two last examples is, on the whole, superior
to that of the greater number of the earlier Cinque Cento specimens :
in which works the grain of the shadow is often too fine ; a defect
which produces a certain degree of dulness in the lighter shadows, and
renders the deeper ones somewhat opaque. This may be observed in
the west window of Brussels Cathedral, dated 1528, a work by no
means remarkable for the goodness of its effect ; and in the windows
of King's Chapel, Cambridge, painted between 1527 and 1531 ^. And
also in the fine Flemish glass which now occupies the east windows of
St. George's Church, Hanover-square, London, a work apparently not
later than 1520 «.
■ I have already stated my reasons for
sapposing that the Fairford glass is of
the sixteenth century (anUt p. 181, note
z.) A description of the subjects repre-
sented in the windows, is given in a
little work, "The History of Fairford
Church/* Cirencester, 1841.
Bishop Fox, whose arms and motto
are introduced into the east window of
Winchester Cathedral, held the see from
1509 to 1628.
^ Some particulars relating to these
works have already been given ante,
p. 202, note o ; and p. 205, note r.
* It appears iVom a modem inscrip-
tion in one of these windows that the
glass formerly adorned a church at
Mechlin, in Belgium. Its original ar-
rangement has been preserved in a
drawing made of it by Bridgens, for
the Marquis of Ely, who once po»seased
the glass. Its subject, the Stem of Jesse,
was adapted for three long lights; the
centre one being rather taller than
the others. All the figures, but one, are
inserted in the windows of St. George's,
though their situations have unavoid-
ably been changed in some instances.
The omitted figure was a grand repre-
sentation of God the Father, which
originally occupied the highest place in
the centre light. It exists, but only
in an altered state, in one of the win-
dows of St. Nicholas' Church, Wilton,
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 3OI
To these may be added a window containing portraits of John
Draecky and his wife Barbara Golibrant, with a representation of the
Last Supper above, in the north aisle of St. Jacques Church, Antwerp,
which does not seem to be later than 1530. The shadows used in this
work are more powerful* than those of the others, and their opacity
arising from the fineness of their grain, is therefore the more re-
markable.
The east window of St. Margaret's Church, Westminster, which
seems coeval with the last example**, is so dirty and obscured with
London smoke, that it is impossible to see clearly the grain of the
shadows without closely inspecting the glass, when they appear to be
most admirably executed. The colour is laid on thick, and is very
coarsely and effectively stippled. Indeed it is impossible to refer to
a better specimen of glass-painting.
Very good specimens of execution may be seen in the three
east windows of St. Peter's Church, Cologne, which represent Christ
beariug the Cross, the Crucifixion, and the Descent from the Cross,
(one of these pictures is dated 1528,) as well as other paintings in
the same church, some dated 1528, 1530. In all these paintings the
shadows are deep and transparent, the enamel ground being very
coarsely stippled; and the lights are clear and brilliant. I hardly
know of more perfect specimens of glass-painting than these windows.
The painting of the Annunciation, in Munich Cathedral, (which
has already been mentioned p. 178,) rather wants transparency in
its deeper shadows, owing to their ground not being sufficiently coarse
in its grain.
Of all glass-paintings, however, those in the apse of Lichfield Cathe-
dral are perhaps the most worthy of study ; on account of the bril-
liancy of their lights, the power, and general transparency of their
shadows. Some of the deeper shadows have, indeed, been rendered
rather opaque by being heightened with a hatching of broad patches,
or smears of unstippled paint ; but the shadows are, with this excep-
tion, exceedingly coarsely stippled. It is almost impossible to speak
too highly of the dexterity with which this glass has been handled.
Wilts. The late Mr. Nixon fortanately
made me an excellent drawing of it
btifore it waa iigored.
* Some particalan relating to this
window and the last, are given ante, p.
205, note s. It bas been said that the
portrait of the king in the east window
of St. Margaret's, resembles Henry VII.
rather than Henry Vni. It may be
that the window was originally intended,
as the story g^oes, for Henry YII., and
that hiB portrait was obtained for the
purpose ; but that on bis death the win-
dow was executed as it now is, as a pre-
sent to his son, bat without obtaining
A fresh cartoon for the King's likeness.
\
302 ON THE TRUE PRINCIPLES OF GLASS-PAINTING.
A good deal of the shading is calculated to produce effect only when
seen from a distance, so coarse is it in its texture. If the Lichfield
glass were to be carefully washed with soap and water and cleansed
from the dirt which covers it, the transparency and brilliancy of the
execution would be more apparent than at present. Some of the Lich-
field glass- paintings are dated 1534, 1535, 1538, 1539. -They arc all
equally fine specimens of execution •.
The painted glass in the choir of St. Jacques Church, Li^ge, though
on the whole inferior to that at Lichfield, may also be very advan-
tageously studied. Its lights are clear and brilliant, and its shadows
powerful, and very coarsely stippled, and transparent. The Li^ge
glass is in beautiful order, having been lately cleaned.
The examples which I shall next cite are the four windows of the
Chapel of the Miraculous Sacrament, Brussels Cathedral, two of which
are dated 1546, and two others 1547. Their shadows are deep and
powerful, but in general, transparent. Their grain is very coarsely
stippled, and the deeper parts of the shadow are, in most instances,
strengthened with a hatching of black lines; but in some cases, I
think, with unstippled hatches of paint. The complexions of the figures
are, as is common in works of this period, heightened with a red
enamel, like China red, and the brown with which they are shaded
is of a fine rich tint ',
The next specimens are the north and south windows of the tran-
sept, Brussels Cathedral, which are both dated 1557; but these,
though most effective pictures, betray in the increased opacity and
heaviness of their darker shadows, and diminution of clear lights,
symptoms of the decline of glass-painting which so soon afterwards
took place. These last windows are doubtless inferior as glass-paint-
ings to those in the Chapel of the Miraculous Sacrament, but are very
superior to most contemporary works.
The three windows in the north aisle of Amsterdam Cathedral,
which are dated 1555, are very heavy and dingy objects in comparison
with those which have been mentioned. Their subjects are the Salu-
tation, the Nativity of Christ, and the Death of the Virgin, with por-
traits of the donors beneath. Enamel colours are used to the exclusion
■ Borne fiirther notices of the Lich-
field glass will be found anie, p. 204.
' Dr. Qessert, Oesehichte der Qlcu-
malerei, p. 143, ascribes these windows
to Roger Van der Weyden, whom he
supposes to be identical with Roger de
Brussels, (ib. 142.) This Roger appears
to be the same artist as Rogiers, men-
tioned by Le Vieil (L'Art de la Pein-
ture sur Verre et de la Vitrerie, p. 42),
as having painted not only these win-
dows, hot also the north window of the
transept, Brussels Cathedral.
1
ON THE TRUE PRINCIPLES OF GLASS-PAINTING. 303
of coloared glass in many parts of the pictures ; the shading, though
coarsely stippled, is too dense, and is too much heightened with smear
hatching. The lights are also not sufficiently preserved. Much ex-
aggerated praise has been bestowed on the painting representing the
Death of the Virgin, principally, I believe, on account of the natural
appearance of the flame of the candle which she holds in her hand.
I need hardly say that the brilliancy of this flame is materially en-
hanced by the dulness of the rest of the picture.
The windows of Gouda Church, Holland, form a nearly complete
series of glass-paintings from 1555 to 1603. Two of the windows
were repaired in 1655, 1657. As glass-paintings they possess various
degrees of merit, but all sadly want brilliancy and transparency.
Some, and these not always the latest ones, are also very defective
in richness of colour, arising from a substitution of enamel colours
for coloured glass. Their dull heavy appearance is principally owing
to a want of clear lights and transparent shadows. A brown enamel
ground dabbled on, and possessing no decided grain, is used for the
shadow in half-tint, and is generally not sufficiently removed from
the lights. In some instances the bright lights are subdued with
a thin coat of enamel paint. The darker shadows are formed some-
times of coarse stipple shading, heightened with smear hatching ; but
more commonly of smear hatching only. They are also spread too ex-
tensively over the glass.
These works are very inferior in point of execution to the Visita-
tion, in the south aisle of the choir of York Minster, but the shadows
here have not a sufficiently decided grain, and are therefore not per-
fectly transparent.
The side windows of Lincoln's Inn Chapel, which are dated 1623,
1624, and 1626, are generally supposed to have been painted by the
Van Linges, but from their coarse and inartificial execution, I am in-
clined to attribute them rather to some inferior workmen employed as
painters under the Van Linges. In their general style, however, they
evidently belong to the Van Linge school. In the Lincoln*s Inn win-
dows, as in the works of the Van Linges at Oxford and elsewhere,
enamel colours applied as in an oil-painting, are much used in the
heads and naked parts of the figures, and in the backgrounds of
the designs. Coloured glass is very generally employed in the dra-
peries, and is occasionally diapered with an enamel colour of the same
tint as itself. In some of the Oxford glass, the basis of the shading
is stippled; in general, however, in the works of the Van Linges, it
possesses no decided grain, but appears to have been suffered to dry
304 ON THE TRUE PRINCIPLES OF GLASS-PAINTING,
without being stippled at all. The darkest shadows are universally
formed by smear hatching, and smear shading. The shadows are in
general opaque and heavy, and too much extended over the glass, to
the exclusion of clear lights.
In point of colour the works of the Yan linges, chiefly on account
of the strength of the pot-metal colours employed, are often as rich
as the richest Decorated examples, the colouring of which these artists
appear to have imitated : but as glass-paintings they are aver-pm'nted^
and heavy. I have remarked in the draperies of large figures belong-
ing to the Decorated style, smear shadows as deep, and nearly of the
same texture as those used by the Van linges, but these are confined
to proper limits, and are always accompanied with bright lights, and
therefore whilst they increase the richness, and materially promote
the distinctness of the painting, the deep colours of which would
overpower and extinguish more delicate shadows, they do not destroy
the brilliancy or general transparency of the work.
The dulness and heaviness of the works of the Van Linge school,
are nowhere more conspicuous than in the side windows (all but the
two easternmost) of Magdalen College Chapel, Oxford, in which there
is no coloured glass to withdraw the attention from the style of the
execution. These windows indeed rather resemble sepia drawings
than glass paintings.
The four painted windows of the Chapel of the Virgin, Brussels
Cathedral, which are dated 1649, 1650, 1658, and 1663, are much
poorer in colour than the paintings of the Van Linges, though they
are nearly as dull in appearance ; the result of substituting enamel
colours in a great degree for coloured glass, and of omitting to pre-
serve the lights clear.
This heavy style of glass-painting was exchanged for a lighter, but
weaker one both as regards colour, and general effect, in the latter
part of the last century and early part of the present. As instances I
may mention the allegorical painting in Trinity College Library, Cam-
bridge, painted by Peckitt, from a design by Cipriani ; the west win-
dow of New College Chapel, Oxford, by Jervais, after a design by
Sir Joshua Reynolds; and the windows of Arundel Castle, Sussex.
Coloured glass is sparingly introduced into the first example, the two
last are wholly coloured with enamels. All are executed by smear
hatching, exactly like oil-paintings. It must be admitted that the
windows at Trinity College, and New College, possess a more pearly
and silvery tone than the preceding works; but their want of rich
colouring constitutes a futal objection to them. The windows at
ON THE SELECTION OF A STYLE. 305
Arundel Castle are as deficient in brilliancy as they are in colour,
indeed these last works have more the appearance and effect of a
painted canvas window-blind, than of painted glass.
In the modem Munich school of glass-painting, coloured glass is
used to a considerable extent in the draperies of figures, &o., but the
painting is chiefly executed with various kinds of enamel colours, ap-
plied to the glass like the paint in an oil-painting. The lights are
subdued with a white enamel colour, spread over the back of the
glass. Thus these works, though their shadows are sufficiently trans-
parent, are uninteresting from their want of brilliancy s.
-♦♦-
SECTION III.
ON THE SELECTION OP A STYLE.
If the remarks in the preceding section are well
founded, it is evident that the Mosaic is the only true
system of glass-painting; and consequently, that all
future works — restorations and repairs of Enamel and
Mosaic Enamel glass-paintings excepted — should be
conducted on this system exclusively. This being as-
sumed, it remains to enquire how far the four styles
into which ancient glass-painting has been divided,
are capable of being employed in modem works ; and
to consider whether it is not possible and desirable to
practise the art, free from the restrictions which these
styles impose. The examination of these points will,
I think, lead to the conclusion that the Early English
and Decorated styles must, for the present at least, be
discontinued; and that though the two more recent
styles — the Perpendicular, and Cinque Cento — may
still be followed with more or less success, the adop-
tion, on all occasions, of a new and independent stylo
> See note, p. 293.
X
306 ON THE SELECTION OF A STYLE.
will be found at once fully to satisfy the conditions,
according to which any particular style must be selected
for practice, and to contribute most effectually to the
cultivation and advancement of the art.
The comparative merits of the several styles, as a
question of speculation, must be left to the decision of
individual tastes and sentiments; but, in the selection
of a style for practical application, a compliance with
two conditions appears to 'be necessary. These condi-
tions are, first, the possibility of successfully executing
a modem work in strict conformity with the proposed
style ; and secondly, the appropriateness of the style to
the building for which the glass-painting is designed.
An exact conformity with style demands, of course,
an exact resemblance between the imitative work and
ancient examples, not only in the conventional manner
of its execution, but also in its general effect. And
since the general effect of a glass-painting depends quite
as much on the quality of its materials as on the mode
of working them, it is evident that in order success-
fully to imitate the effect of ancient glass-paintings, re-
course must be had to materials identical in all respects
with those used in them.
But the modem material is identical, or nearly so,
only with the glass of the first half of the sixteenth
century, and is essentially different in texture, and
quality, from the glass used in the thirteenth, four-
teenth, and indeed until almost the close of the fifteenth
century; the dissimilarity increasing according to the
antiquity of the example.
The progressive changes in the manufacture of ruby
glass are, to a certain extent, actually exhibited in a
ON THE SELECTION OF A STYLE. 307
diagram given in a former part of this work ^. Those
in other kinds of glass, although incapable of such an
illustration as this, have already been repeatedly pointed
out as affording some of the most valuable tests of the
age of a glass-painting. I am not aware that any at-
tempt has hitherto been successfally made to revive
the manufacture of the earlier kinds of ruby glass.
The ruby glass now used is identical, both in the thin-
ness of its coloured coating, and in its general effect,
only with the ruby of the fifteenth and sixteenth cen-
turies; not excepting even the streaky inxhj which has
recently been made, as it is said, in imitation of that of
the thirteenth and fourteenth centuries, but from which
it entirely differs in appearance.
A like difference may be observed between other
kinds of ancient glass, and their modern imitations.
The ancient tints have in many instances been repro-
duced, but not the texture of the more ancient material.
Consequently there is a difference of effect between the
modem and the ancient glass. The former is more
homogeneous, and therefore clearer, and more perfectly
transparent than the latter, especially than that be-
longing to the twelfth, and two following centuries:
and I feel persuaded that it is to this circumstance that
we must refer the poor and thin appearance, which
almost every modem glass-painting, executed in a style
much earlier than the sixteenth century, presents in
comparison with an original specimen ; notwithstanding
the utmost pains have been taken to render the imita-
tion of the particular style complete, by a strict ad-
herence to its conventionalities in regard to drawing,
*> See cut 8, ante, p. 27. .
x2
3o8
ON THE SELECTION OF A STYLE.
and execution K It has often been boldly asserted, that
the superior richness of the glass of the thirteenth and
fourteenth centuries, to that now made in imitation of
it, altogether depends on the effects produced by age,
and dirt. But most assuredly this is not correct. Glass
of the thirteenth century, especially blue French glass,
may not unfrequently be met with in a clean state, and
scarcely, if at all, affected by the corroding action of
the atmosphere ; and yet this glass, whether seen near,
or at a distance, is invariably much richer than any
modern glass. Again, glass of the thirteenth and four-
teenth centuries, which has been cleaned, is always
richer than modem glass, even than that "which has
been purposely dirtied to give it a rich tone. No
cleaning is able to deprive ancient glass of the above
date, of its tone, richness, and gem-like appearance ^,
qualities which impart to it such a charm, and so ad-
mirably harmonize with the general character of the
execution adopted concurrently with its use ^ ; cleaning
* I might mention amongst other in-
stances, a large Decorated design in one
of the windows of Augshurg Cathedral,
which has recently been re-executed in
modem glass.
^ The g^m-like appearance of early
glass is chiefly produced by the irregular
depth of its colour. This is strikingly
exemplified by the ancient ruby glass,
the black parts of which answer in ef-
fect to the shaded parts of a real ruby,
and the light parts to the play of light
seen in the gem. Modern glass-painters
often try to prodnce the effect of the
earliest kinds of ruby, by leading toge-
ther a number of small pieces of mo-
dem mby, of different tints; instead of
employing large pieces of glass as the
ancient artists did. But this is but an
imperfect expedient. The leads may
serve for thd dark parts of the old mby,
but there is nothing to answef to its
light parts.
' A proof of this is afforded by one or
two of the windows of the south aisle
of Strasburg Cathedra], which have been
lately cleaned. Tliese works are of the
early part of the fourteenth century;
their present richness, and brilliancy,
are surprising.
In repairing many of the earlier win-
dows of Cologne Cathedral, modem glass
has been substituted for the old, where-
by their general effect is much impover-
ished. Many early glass-paintings en-
tirely owe the goodness of their effect
to the texture of the glass of which
they are composed. The experiment
may easily be tried by copying the rose
represented in plate 3S, in modem white
ON THE SELECTION OF A STYLE.
309
only increases the brilliancy of this glass. Indeed the
difference of effect between modem and early glass, is
too great to be accounted for in the manner supposed.
Glass of the latter half of the fifteenth century is often
as much, and sometimes more corroded and weather-
stained than that of the thirteenth century ; but none
can deny that there is a very perceptible difference in
appearance between all the glass of these two periods.
The difference above alluded to between modem and
ancient glass, is, I believe, occasioned by our using
purer materials than the ancients did, in glass-making ;
and furnaces of greatly improved construction, which
insures a more perfect fusion and amalgamation of the
vitreous particles than perhaps could have been effected
in the older furnaces. If this supposition be correct, I
apprehend, that glass of the same quality as that for-
merly used, will not be reproduced, until there is a re-
currence not only to the substances formerly employed
in its formation, but also to the ancient mode of fusing
them together ™
glass, embedding it in a triangnlar-
shaped mass of modem niby, aboab fif-
teen inches in length, and then com-
paring it with the original example.
"* Since the present work was sent to
the press, I have met with a pamphlet,
entitled, Teiniwe iwr Verre au xix*
iQele, far Q-. Bontemps, Chevalier de
la LSgion (T Honnevr, Directeur de la
Fctbrique de Verres et VUraux de
Choisy-U'Roi, Paris, 1846. M. Bon-
temps must possess great experience;
I am therefore glad to find in his re-
marks a confirmation of what I have
said respecting the difference which
exists between the texture of early and
modem glass; and of my opinion that
the peculiarity of the early material
arises from the imperfection of the ma-
nofactnre, and cannot be obtained by
the present process.
M. Bontemps would perhaps ascribe
less of the effect of ancient glass-paint-
ings to the inflaenoe of their texture,
than I have done; bat he folly admits
that a part of this effect is the result of
the textxure, and he endeavours to ac-
count for it. I shall give M. Bontemps*
own words on this subject. It is as well
to premise that the drift of his argu-
ment, and indeed of the pamphlet, is
to shew that it is erroneous to suppose
that the art of glass-painting is a lost
art, that the modems have, or might
have, the same materials as the an-
cients, and that nothing is wanting but
3IO
ON THE SELECTION OF A STYLE.
But however this may be, it is impossible to deny
the unfitness of glass, as at present manufactured, for
an artist capable of unng them. He
is, it should be added, a decided ad-
mirer of early Christian art, and prefers
the glass-paintings of the twelfth and
thirteenth oentnries, to those of any
subsequent period.
In the first of the passages to which
I have alluded, after having enumerated
the few colours used in the twelfth and
thirteenth centuries, he goes on to add
to them the peculiar white glass of that
time.
"II ne faut pas oublier dans cette
nomenclature le verre blanc que Ton
fabriquait alors tr^s-verd&tre k cause de
Timpuret^ des mati^res premieres qu'on
employait, ce qui ^tait du reste un m^-
rite pour son usage dans les vitraux,
car un verre trop blanc ^teint les au-
tres couleurs, les obscurcit et fait trou
dans les vitrauz. Tons ces verres sont
g^n^ralement in^gaux d'^paisseur et de
teinte, car Tart de la verrerie n'est pas
tr^s-perfectionn^ sous le rapport dn souf-
flage," p. 19.
"Qne nous manque-t'-il mat^rielle-
ment pour faire les vitrauz des xii* et
xiii* si^es P Nous avons des verres
rouges ausd beaux que ceux qui nous
restent de ces ^poques : nous avons des
verres verts> jaunes, violets, et bleus des
tons les plus vari^. Nous fabriquons
g^n^ralement ces verres plus minces que
les anciens ; mais k coup e^ oe n'est pas
une difficult^ de faire des verres plus
^pais. Des personnes d'une autorit^ re-
spectable pensent qu'une partie de I'effet
produit par les anciens vitraux r^sulte
de r^paisseur des verres, des irr^ula-
rit^ de fabrication et des bulles nom-
breuses multipli^es dont ces verres sont
cribles : jusqu' k un certain point ce r^-
Bultat ne pent 6tre r^voqu^ en doute;
les bulles surtout empdchent le passage
direct des rayons de la lumi^re, et pro-
duisent un effet analogue k oelui qui r^-
suite de Talt^ration de la surface ext^
rieure du verre par le temps; toutefois
il ne faudndt pas chercher Ik le secret
de la perfection des vitraux des xii* et
xili* sidles, car on trouverait bien des
panneaux de verri^res de oette ^poque
oii le verre 6tait d'une fabrication asses
r^guli^re et presque exempt de bulles."
p.2L
" QuoL qu'il en soit, 8*11 est bien re-
connu n^cessaire pour prodaire I'effet
des anciens vitraux d'avoir des verres
irr^uliers d'^paissour et de teinte, des
verres remplis de bulles, oe sera bien
plus coiiteux que de foumir des verres
r^guliers et purs, car la fabrication est
organist de mani^re k produire dn beau
verre; mais enfin le verrier en fabri-
quera ; et oe n'est certes pas Ik qu'il faut
chercher les secrets perdus du grand art
des vitraux." p. 22.
M. Bontemps agrees with me in the
opinion that the effect of a thirteenth
century glass-painting has not yet been
attained in any modem work; and in
condemning the practice of seeking to
produce this effect by dirtying and ob-
scuring the glass. He speaks with
marked contempt of the process of
making up windows, by means of copies
from various ancient examples ; and of
servilely imitating the defective draw-
ing of the old masters. Finally he
agrees with me in thinking that glass-
painting should be executed in accord-
ance with the improved taste, and in-
telligence of the present age; and in
the opinion, that in order to succeed,
glass-painting must be studied and cul-
tivated by arHsU: this last point in-
deed he regards as the one thing needful
for the perfect restoration of the art.
M. Bontemps' remarks on imitation,
and the following of ancient models, are
so pertinent that I cannot refndn from
transcribing them.
" II en est d'antres qui ont era qn'en
copiant le desun de la bordure d'nn an-
ON THE SELECTION OF A STYLE.
311
the execution of many of the ancient designs. I allude
in particular to those compositions which are most
thoroughly Mosaic in character, as the medallion win-
dows of the Early English style, and many of the
coloured borders and ornaments of that and the Deco-
rated style. The various colours of the works, when
composed of the ancient material, continue distinct from
whatever point they may be viewed; yet if modem
glass is substituted for it, the different colours appear
to the distant spectator as if they were confused and
blended together ; the intermixture of a number of small
pieces of glass of two primitive tints, as red, and blue,
often producing at a distance the effect of a colour com-
pounded of both ^ It is indeed surprising that modem
glass-painters continue to attempt impossibilities, in try-
ing to imitate designs of this nature, without possessing
the requisite materials ; and the more so, as a very little
attention to the subject will suffice to shew, that the
ancient glass-paintings became generally less broken
cien yitrail et la moaalqae d'un autre
pour entourer des m^daiUons 2k Bajets
d'un desrin raide et grima^ant, on ad-
mirerait ces fAcheux pastiches h I'^gal
des anciens vitraox ; ils ont vonla ^riger
en principe ce qm n'^tait chez enx qa'im-
pnisBance de mienx faire; le penple et
les hommes de godt les ont reni^ et
ont dit : ce ne sont pas ]k les anciennes
yerri^res de noe pires.
" D'aatres, mettant ansa k oontriba-
tion la riche ornamentation des anciens,
ont pens^ qne lenrs mMaillons devaient
6tre d'un dessin correct ; nous ne dirons
pas qn'ils aient r^nssi, lenr dessin man-
qnait de fermet^ Vaction n'^tait pas
soffisamment indiqn^; mais ils ont agi
dans nne bonne direction, car, nous le
r^p^tons, on pent fidre de beaux vitraox
sans que les stgets soient choqnants et
on objet de ridicole pour le people;
c'est poor tons que les vitraox sont
fiiits; quand ils d^plairont aox classes
les plos nombreoses, le bat ne sera pas
atteint ; les vrais arch^lognes ne seront
pas non plos satisfidts car ils compren-
nent que les vitraox, an xix* si^le, doi-
vent sans doote dtre fkits poor la com-
prehension et r^dification des fiddles, et
non poor la satisfaction particolidre de
qoelqoes personnes qoi ne veolent re-
oonnaitre le pass^ qoe qoahd on leor en
rappelle les d^faots." — pp. 40, 41.
* The confarion of coloors above al-
loded to, is greatly increased when an
ancient design of Mosaic character is
imitated on a reditced 9eale,
312 ON THE SELECTION OF A STYLE.
and Mosaic in their oolouring, in proportion as suoces-
sive improvements in the manufacture graduaUy pro-
duced a more perfectly homogeneous and translucent
kind of glass. It is indeed hardly necessary to insist
further on a fact so obvious as that an essential dif-
ference in the material must produce a sensible difference
in the effect of a glass-painting. An instance of it
may be found in Perpendicular glass-paintings of late
and early date. The similarity of execution and cha-
racter which exists between works of the early part of
the fifteenth century, and of the close of the reign of
Edward IV., or commencement of that of Henry VII .,
has already been noticed; yet in their general effect ,
these paintings often present a striking contrast; the
earlier being commonly colder and greener in their ap-
pearance than the later examples, which are softer, and
more silvery. This is principally owing to the texture
and quality of the white glass, which enters so largely
into the composition of a Perpendicular glass-painting ;
that used in the earlier specimens, being in general of
a cold strong green hue, while that subsequently em-
ployed is nearly colourless, and of a yellow tint.
It appears then from the foregoing remarks, that the
peculiar nature of modem glass presents an obstacle to
the complete imitation of any of the ancient styles of
glass-painting, except the Perpendicular of the sixteenth
century^, and the Cinque Cento. The Early English
and Decorated styles are therefore excluded from em-
^ I have in the ooune of the following
remarki, uaed the term, " Perpendicular
of the Bixteenth century/' as if it denoted
a style different firom the "Perpendi-
cular/' This has heen done, howerer,
principally for the sake of more conve-
nient reference. All late Perpendicular
glass, including that of the last twenty
years of the fifteenth century, is as easy
of imitation now, as that of the nx-
teenth century.
ON THE SELECTION OF A STYLE.
313
ployment in modem work, by the first of the conditions
which have been above laid down for the selection of
a style.
The second of these conditions it may be remembered ,
required that the style of the glass should be appropriate
to ,that of the building for which the painting is in-
tended. It is true that in the practice of former ages,
no such condition as this was attended to in the erection
of painted windows p; the style of glass-painting pre-
valent at the time being indiscriminately employed in
all works, whether destined for the windows of build-
ings of contemporary, or earlier date. At the present
day, however, the better opinion is in favour of ob-
serving a general harmony between the architecture and
decorations of a building, so that the whole work may,
as far as possible, appear consistent with itself^. With
regard to glass-painting considered as a decoration, this
harmony may be obtained, either by executing the work
in a style which was contemporaneous with the archi-
tectural style ; or by modifying the style of a different
P My Mend, the Rev. J. L. Petit, has
repeatedly called my attention to the
adaptation in medieval architecture, of
late styles to early styles, when they
come in contact in the same bnilding;
but I have not observed similar adapta-
tions of styles in glass-paintings. In
repairs even, the style of the day was
adopted without modification. A simi-
larity in general arrangement between
early and late windows in close proxi-
mity, may be however sometimes noticed,
as for instance between Bishop Fox's
and some earlier glass in the side win-
dows of the clearstory of the choir of
Winchester Cathedral.
4 That is to say, provided the building
itself be Gbthic Falladian architecture
is not in fashion just now [1847] ; con*
seqaently no impropriety appears to
have been felt by the promoters of that
curious mSkmge, the east window of St.
James's Church, Piccadilly, in selecting
a nineteenth-century design, with orna-
mental details, more resembling the
Romanesque in character, than anything
else ; although one would have thought
that a knowledge of the Cinque Cento
style, might have led them to adopt
a design wholly in that style, as best
suited to the general character of the
church, which is certainly not " Roman-
esque," according to the technical sig-
nification of the word, but is parely,
and exclusively, " Palladian."
314 ON THE SELECTION OF A STYLE.
period BO as to render it in some measure accordant
with the architecture; or, thirdly, by the employment
of a new style of glass-painting, of a character so com-
prehensive and flexible as to admit of adaptation to the
style of the architecture of any building. In Perpen-
dicular, and Cinque Cento buildings, the first of these
methods may be adopted ; and even in earlier buildings
the desired harmony may literally be preserved, by imi-
tating the glass-paintings of the corresponding period.
But the employment of these styles of glass-painting
has already been forbidden by the first of the conditions
for the selection of style, and they can hardly be said
to comply with the spirit of the second. The imitations
of these ancient styles are necessarily so imperfect that
it is immediately perceived that the architecture and
decoration are not really of the same period ; and this
circumstance, joined to the disgust which is felt at
a gross and clumsy imposture, produces an effect at
least as disagreeable as that which can be occasioned
by mere discordancy of styles.
The Early English, and Decorated styles of glass-
painting being thus excluded, it would be necessary to
confine ourselves to the Perpendicular of the sixteenth
century, and the Cinque Cento, if we forbid glass-paint-
ing to be practised except in conformity with ancient
examples. But in this case the harmony between arohi-
tecture and decoration, which has been made a necessary
condition in the practice of the art, cannot be observed
in buildings of the earlier Gothic styles. For neither
of the styles of glass-painting just mentioned, though
of course admitting many varieties in execution, is
sufficiently plastic to enable the character of indivi-
ON THE SELECTION OF A STYLE.
315
dual works designed in conformity with its rules, to
be always moulded into conformity with the character
of the buildings chosen for their reception. Indeed the
rigid rules of conventionality would prevent our fiirther
adapting the style of the glass-painting to that of the
architecture, than by simply confining the Cinque Cento
style to the buildings in which the round arch pre-
vailed, and the Perpendicular to Gothic '. It would be
impossible consistently with the rules of style, to impart
a Korman character to a Cinque Cento glass-painting
intended for a Iforman building, or an Early English,
or Decorated character to a Perpendicular glass-painting
designed for an Early English, or Decorated building.
Hence it follows, that neither of the two first methods
above indicated for obtaining the desired harmony be-
tween the style of the architecture, and that of the
glass-paintings which decorate it, being capable of gene-
ral application, recourse must be had to the third, viz.,
to the introduction of a new style of glass-painting more
comprehensive and flexible than the late Perpendicular,
and Cinque Cento.
The introduction of a new style of glass-painting,
suitable to the exigencies of the present age, may be
objected to as a startling novelty. That it is founded
on the analogy of ancient precedents, sufficiently ap-
pears by the fact that formerly each century, and
almost every year, was productive of some fresh change
in the practice of this art, dictated by a desire to render
' I was onoe myself in ftiToar of an
exdosive application of the Perpen-
dicular style of glass-painting to the
windows of all Gothic buildings; and
of the Cinqne Cento to Palladian; but
a more carefnl consideration of the sub-
ject has indaoed me to relinquish this
opinion in favour of that set forth in
the text.
3l6 ON THE SELECTION OF A STYLE.
it conformable with the spirit of the age, and to keep
it in a state of concnrrent advancement with the other
arts of design.
It should also be borne in mind, that the modern
imitations of the two earlier styles of glass-painting,
do themselves in ejffect constitute collectively, a new,
though unsatisfactory style of glass-paintings. For they
bear the manifest stamp of the nineteenth century in the
material of which they are composed, notwithstanding
their design and details belong to an earlier period.
The hands may be the hands of Esau; but the voice
is still the undisguised voice of Jacob.
On the formation of the new style, I shall in a sub-
sequent page offer a few suggestions ; but I think that
they may be advantageously preceded by some general
remarks on imitation, and on the means of raising the
character of glass-painting as an art ; for a consideration
of these points can hardly fail of shewing the necessity
of the new style, independently of the ground which has
abeady been urged for it.
The most successful of the modem imitations are
those of the later examples of ancient glass-painting.
Such as are executed in the Perpendicular style, are
in general far more satisfactory, than those executed
after Decorated and Early English models. This cir-
cumstance is easily accounted for by what has already
been stated concerning the texture of modem glass and
the practice of the ancient glass-painters. I am strongly
inclined to think that the greater transparency and
evenness in tint of the glass of the fifteenth century,
tended, amongst other causes, to the general adoption
at that time of larger pieces of glass than had been
ON THE SELECTION OF A STYLE. 317
usually employed in the Early English and Decorated
glass-paintingSy and in particular, of a. more tender and
delicate mode of execution. The ancient artists had no
doubt observed that the glass of the fifteenth century
was not so. well suited for mere Mosaics, and works
principally expressed by strong outlines, as the denser
and less homogeneous material of the earlier periods.
Whilst therefore I greatly object, under the present
circumstances, tp imitations of Early English, and De*
corated glass-paintings, from a persuasion that much of
the beauty of the originals depends on the peculiar
adaptation of their design and execution to the texture
of their material, which is so essentially different from
that of njodern glass ; I admit that very pleasing, though
imperfect imitations may be produced of Perpendicu-
lar glass-paintings, earlier than those of the sixteenth
century; for the delicate execution and hEuidling, the
breadth of colour, and character of ornament used in
these works, are not unsuited to the nature of modern
glass.
Without therefore expressly advocating the employ-
ment of these imperfect imitations of Perpendicular
glass, I am far from condemning their use, if carried
out in a true and artist-like spirit; in such case they
may furnish the means of embellishing the Mrindows
of Perpendicular buildings, earlier than the sixteenth
century, in an appropriate manner ". But I must enter
my protest against those vile imitations of ancient Per-
• The beet imitation of the kind that
I have yet seen, is in one of the north
windows of the naye of Famingham
Churchy Kent. This work, connsting of
two figores with canopies over them, in '
the style of the latter half of the fifteenth
centary, possesses the brilUaney, as well
as the silvery effect of old glass. It was
painted by Mr. Clatterbnck. [1847.]
3l8 ON THE SELECTION OF A STYLE.
pendicular glass, the disfigurement rather than the or-
nament of so many buildings, which whilst exhibiting in
an exaggerated degree all the defects of their originals,
possess little of their merit, and none of their interest.
A taste for these, amongst other gross caricatures of
ancient painted glass, sprung up in this country on the
revival of the Mosaic system of glass-painting, and al-
though considerably modified of late, is by no means
extinct \ That designs of a character so execrable as
would ensure their speedy condemnation if represented
on canvas, should yet become the theme of extravagant
praise, if executed in glass, would be unaccountable,
did not experience teach that on a change of fashion,
the good and bad qualities of the old one are commonly
rejected together. The defect of the glass-paintings
between the close of the Cinque Cento style, and the
revival of the Mosaic system, chiefiy arose fi-om a
misapplication of art. Hence both the amateurs and
painters of this century appear to have thought that
they could not more completely rectify the error of their
predecessors, than by falling into the opposite extreme
of disregarding the claims of art altogether. But how-
* The general character of these
works, and the usual mode of their com-
position, being made up of " authorities"
raked together from all parts of this
country, and even of the continent, is
thus ridiculed in "Punch," Nov. 29th,
1845. "A card, worthies made up
from any number of authorities, as per
specimen annexed, viz., an unknown
saint, which has been faithfully copied
from various originals, viz., head from
a piece of broken window found under
A brick-kiln by the Archseological Insti-
tute at Winchester; missal from a tomb-
stone in Dublin Cathedral; right hand
from half a bishop picked up after the
fire at York Minster; left ditto from the
nineteenth figure (counting firom the
right) in the oriel window of St. Peter's
at Rome ; feet from part of a broken
window (which has never been mended)
in St. Stephen's, Walbrook; drapery
from the deal boards in Westminster
Abbey." Ludicrous as this is, those
who are acquainted with the practicea
of the authority-mongers, know that it
is hardly an exaggeration.
ON THE SELECTION OF A STYLE.
319
ever this may be, it is impossible to defend the practice
of extolling glass-paintings of very inferior merit be-
cause they exhibit the imperfect drawing, or quaint
expression, of the middle ages, or because being pur-
posely obscured with dirt"*, they may in some degree
remind the spectator of what is termed the "myste-
rious effect" of ancient glass.
It cannot be imagined for a moment, that the me-
dieval glass-painters ever intentionally drew ill, — the
evidence is entirely the other way; — and it is indeed
a great mistake to suppose that any object is gained by
imitating the bad drawing of the earlier figures. Their
charm consists not in their distortion, but in the real
artistic feeling, and thorough conception of the subject,
which are expressed in them, as completely as the artist's
imperfect knowledge of drawing would admit*. And
* I do not go to the length of con-
demning all dirtying or "antiqnating"
of glass whatever, my objection is to the
abuse of the practice. A slight obscura-
tion, snch as that produced by age, is on
the whole beneficial, because it increases,
though it cannot of itself produce an
harmonious tone in the work. This' is
particularly observable in the white pat-
tern windows of the fifbeenth and six-
teenth centuries. In picture windows
it is of less consequence, because the
shadows themselves give a tone to the
glass.
I believe that nothing is more difficult
to imitate in practice than the mellowing
effect of age upon a glass-painting. The
film produced on the glass by a slight
decomposition, affecting both surfaces of
the sheet, and the adhesion of ferruginous
particles derived from the saddle-bars,
and of various kinds of minute lichens
and mosses invisible to the naked eye;
is, through the superior delicacy of
Nature's operations, more transparent
than any yet produced by artificial
means. [See in "Memoirs on Glass-
painting," mention of an improved mode
of "antiquating" glass. Letter xxxii.
p. 44,]
* The practice of imitating the imper-
fect drawing of the human figure which
so often occurs in Gothic glass-paintings,
derives no support, as is sometimes sup-
posed, from the legitimate practice of
adopting in modem buildings the gro-
tesque sculpture which constitutes so
important a feature in ancient Gothic
architecture. These details, sometimes
so g^oes and extravagant as to call down
the censure of the Church, [see "ArchsB-
ological Album," vol. i. p. 92 ; and the
extracts there g^ven (in notia) from the
"Apology of St. Bernard, in the twelfth
century," and the decrees of the second
Nicene council, a.d. 787,] were however
designed as mere ornaments, and, as or-
naments, are always most effective, and
320
ON THE SELECTION OF A STYLE.
as to the *^ mysterious eflfect" above alluded to, that is
a matter rather to be deprecated than sought for, since
it is principally occasioned by the injury which the
ancient work has sustained by time or accident, and is
really a defect, and not a beauty; though imaginative
persons may derive a pleasure from contemplating the
confused fragments similar to that produced by the sight
of an unfinished sketch of some great master.
When the sacredness of some of the subjects repre-
sented in glass-paintings is considered, we surely ought
to be cautious not to suffer them to be degraded into
caricatures. And if such representations are useful in
churches, as .serving to recall the wandering thoughts,
and awaken feelings of piety and veneration, they should
be such as can be easily understood. In short, if we
wish glass-paintings to be a means of instruction, or
even to be looked upon without contempt, they must
not be permitted to fall below the level of the under-
standings of those to whom they are addressed ; at a time
when the gradual diffusion of knowledge and the en-
gravings with which every class of books, and even
many kinds of newspapers are accompanied, insensibly
create a familiarity with good, or at least respectable
models ^
complete. The Hatues which abonnd in
Gothic buildings Are not grotesqae, and
no architect would think of making them
go in a modem building. Grotesque
ornaments may and do often occur in
ancient glass-paintings, but the g^ro-
tesqueness of the principal figures is but
the result of imperfect drawing, and not
of design. I certainly thiuk that in
heraldic glass-paintings groteequeness
is a decided merit.
f The folly of admiring ancient art for
the sake of its bad drawing, and of imi*
tating its bad drawing, is amusingly
quizzed in the following extract from
"Punch," Oct. 4th, 1846.— "PoB par-
XJAMBiTT. (A Cartoon.) The decorations
of the Kew Houses of Fwliament will be
incomplete, unless they include a repre-
sentation of JUBTICB, who is supposed to
preside over parliamcDtary proceedings.
That the jib of JuBTio^ to use a nautical
term, should have a medieval cut, is
highly necessary, for two considerationiL
ON THE SELECTION OF A STYLE.
321
The extensive employment of glass-paintings suggests
the propriety of rendering these works conducive to the
advancement and encouragement of art ".
Glass-paintings are, to a certain extent, a species of
In the first place. Justice, cbeek by jowl
as she will be with Chitalby, and other
Gothic company, will otherwise resemble
a denizen of the waters oat of its element.
In the second, the Justice of Parliament,
for an obvious reason, should be de-
lineated in a style approaching cari-
cature or burlesque, which is precisely
that of the art of the middle ages. For
these good reasons, it is essential that
Justice > should grasp her scales and
sword by a mode of prehension practic-
able by no mortal ; and that those pro-
perties should be cumbersome and awk-
ward-loeking in the extreme. There
is a profundity in representing ber as
a supernatural being, taking hold of
things in an impossible manner. On the
same deep principle she should be drawn
standing in an attitude which the human
mechanism does not admit of.
"The tardig^de character of Justice
ought further to be made visible in her
feet, which should be quaintly clumsy,
and contorted to a degree involving lame-
ness. The anatomical difficulties which
oppose these requisites are to be veiled
with a profusion of drapery, which, as
our sagacious ancestors well knew, will
cover outrageous drawing. The face of
Justice should be that of a monumental
brass, both on account of the lesthetical
character of the material, and the oorpse-
like attributes proper to Qothic sanctity.
The cause of right and nature versus
humbug, which Justice is ever trying,
ought to be manifested by scrolls stuck
into her scales, inscribed of course with
Old English characters. Altogether, the
person of Justice should be deformed,
and her look old-maidish; so that she
may be devoid of the Paganism of sym-
metry and beauty."
The figure of "Justice" which accom-
panies the above extract in the original,
is excellent, and really not a whit more
absurd than many grave imitations of
medieval art.
* A very unfounded prejudice exists
in the minds of some persons against the
claims of glass-painting to be considered
one of the fine arts, because some of its
processes are necessarily conducted by
artisans, as burning the glass, leading it
together, and setting it up in its place,
&c. Tet the scnlptor is not thought
less worthy the title of cnrtist, because
he employs a number of assistant work-
men to hew the marble roughly into
shape, to prepare it for his own chisel,
and to erect the statue when finished.
Equally incorrect is it at the present
day, to designate an artist who paints
glass a glasier. No one thinks of apply-
ing any other term than architect to
the artist who designs beautifal build-
ings; yet in the simplicity of ancient
times the word architect was unknown.
He was but a chief of the fraternity of
masons, and was called a master mason ;
so indeed the glass-painter was a chief
of the fraternity of glasiers, and was
called a master glasier; but we are not
therefore bound to retain his ancient
appellation. The master glasier appears
to have been formerly a person of equal
consideration with the master mason;
each received the same amount of wages.
Many modem painters are indeed de-
servedly classed with glasiers; such as
those purely mechanical persons who
paint glass pictures at so much the
square foot; and in order to undersell
their competitors, set the enormous pro-
fits arising from the sale of their pattern
windows, against the losses sustained by
the cheapness of their picture windows.
322 ON THE SELECTION OF A STYLE.
architectural decoration; but not more so than fresco-
paintings, yet the greatest authorities have not con-
sidered a display of high art in a fresco incompatible
with its decorative character. I am quite sure that
a glass-painting is in its way, as capable of high artistic
development as a fresco-painting ; and am only anxious
to see the same attention paid to the one branch of art,
as has already been paid to the other. It should be
borne in mind that a display of high art depends, not on
the nature of the materials employed, but on the mode
of employing them. The glass-painter must indeed
adapt his subject and the manner of executing it to
the means which glass-painting places at his disposal ;
but the artistic character of the work is wholly •inde-
pendent of these circumstances, and is secured by the
skill of the artist alone.
It requires, however, far greater knowledge to produce
a work of art, than is possessed by a mere draughtsman,
however rapid or expeditious he may be in his execu-
tion*. If, therefore, we are anxious to cultivate glass-
painting as an art^ we must encourage artists to practise
it, by ceasing to countenance those mere artisans who at
* Sir Joshua Reynolds' observation
on great rapidity of execution, is ex-
tremely just : he says, —
"It is undoubtedly a splendid and
desirable accomplishment to be able to
design instantaneously any given sub-
ject. It is an excellence that I believe
every artist would wish to possess ; but
unluckily the manner in which the dex-
terity is acquired, habituates the nUnd
to be content toith first thoughts without
choice or selection. The judgment after
it has been long passive, by degrees
loses its power of becoming active when
exertion is necessary. Great works which
are to live and stand the criticism of
posterity, are not performed in a heat^
A proportionable time is required for
deliberation and circumspection. I re-
member when I was at Rome looking at
the fighting gladiator, in company with
an eminent sculptor, and when I ex*
preyed my admiration of the skill with
which the whole is composed, and the
minute attention of the artist to the
change of every muscle in that momen-
tary exertion of strength, he was of
opinion that a work so perfect required
nearly the whole life of man to perform."
— Discourse xii.
ON THE SELECTION OF A STYLE. 323
present make it their trade, and confine it to the lowest
depth of degradation ^.
It is evident that the first step towards elevating glass-
painting to the rank it once held amongst the arts, is to
estimate its productions by those sound rules of criticism,
which are alike applicable to all works of art ; and not
by the sole standard of antiquarian conformity. But
I fear that this principle cannot be carried into eflFect
whilst glass-painting is confined to mere imitations.
In estimating the merit of an imitative work two
points are really presented for consideration ; its quality
as a work of art, and its conformity with the conven-
tionalities of style. But inasmuch as a knowledge of
the conventionalities of style is more commonly possessed
than a knowledge of the principles of art — ^because
the former is incomparably easier of acquirement than
the latter — amateurs, who exert a very powerful infiu-
ence on the state and condition of glass-painting, are apt
in their criticisms, to fall into the error of regarding
a conformity with a style, not as an accessory to the glass-
painting, but as constituting the sole end and essential
object of the work. Hence a copy, or mere compilation,
scarcely rising in merit above a copy of some ancient
glass, or other painting, is so often preferred to a design,
which attempts, however artistically, to carry out an
ancient style in spirit^ rather than in conventionality
only; because the mere copy will naturally exhibit
a closer and more literal compliance with the petty
details of style, than the latter more intrinsically meri-
torious work : a course which cannot fail to retard mate-
^ See note, p. 309 ante,
t2.
324
ON THE SELECTION OF A STYLE.
rially the real advancement of glass-painting as an art^
and the full development of its powers.
Being clearly of opinion that the art of glass -painting
has not hitherto attained that perfection of which it is
susceptible, — for the peculiar circumstances of the six-
teenth century caused its decline before it arrived at
complete development, — ^I trust I may be excused if
I go counter to the generally received opinions of the
age, in advocating as the surest means of effecting the
true advancement of the art, the total relinquishment
of all copies or imitations of ancient glass whatsoever,
whether perfect or imperfect in themselves; and the
substitution of a new and original style of glass-paint-
ing, founded on the most perfect practice of the Mosaic
system^ and sufficiently comprehensive to include within
itself designs of the most varied character; some for
instance bearing a resemblance to Early English glass-
paintings, some to Decorated glass-paintings, and so
forth, without however ceasing to belong to the nine-
teenth century, or degenerating into imitations.
It has already been shewn that a measure of this kind
would at all events be necessary to enable the modem
glass-painter to adorn the windows of a Norman, Early
English, or Decorated building with painted-glass in an
appropriate manner. It is also necessary in order to
enable him to represent without inconsistency and con-
tradiction subjects belonging to a period later than the
termination of the last of the four styles ^. But I con-
^ It appears from the ** Fifth Report
of the Commissionen of Fine Arts/'
that they approve of the introduction of
such subjects into glass-paintings; and
that they have in particular recom-
mended that certain windows of the
New Houses of Parliament should con-
tain a series of portraits from the Con-
quest, to the reign of William IV.
ON THE SELECTION OF A STYLE, 325
ceive that its more extended adoption would be bene-
ficial by unfettering the artist from the trammels of
conventionality, and leaving him free to pursue such
a course as a deep and philosophical consideration of the
whole subject would lead him to embrace, as best calcu-
lated to ensure a successful carrying out of the art of
pure glass-painting from the point at which the ancient
artists left it.
I shall now attempt to define my idea of a new style
more distinctly by offering a few suggestions as to its
application.
I will first imagine the treatment of a glass-painting
intended for a li^orman, or Early English building.
The nature of the modem material of course precludes
any attempt at adopting as models the ^^ medallion win-
dows" of the Early English style, which partake so
highly of the character of Mosaics; nor do I consider
the abandonment of these designs at all to be regretted,
since, amongst other objections, the pictures contained
in them are, owing to their minuteness, in general quite
indistinct when viewed from even a moderate distance.
But other designs are afforded by this style, capable of
suggesting many valuable hints to the modem glass-
painter. I allude in particular to the large figures
which often occupy the whole, or the greater part ol
a single light. These are usually composed of pieces
of glass nearly if not quite as large as those which occur
in the glass-paintings of the sixteenth century ; and I
am certain that an effect might be produced in modem
glass, sufficiently resembling that of these works for all
practical purposes, though of course not identical with
it. I should say that the artist might either adopt the
326 ON THE SELECTION OF A STYLE.
ancient design, and place a single figure in each light ;
or divide the window, if too large for this arrangement,
into as many parts as might be necessary for the reduc-
tion of the figures to a scale proportionable to the build-
ing ; filling it with two or more figures placed one above
the other, or with rows of figures placed under arcades :
or else occupy the whole, or some part of the window
with a group of large figures. The last arrangement,
though it may be unsupported by any ancient authority,
would in skilful hands, be unobjectionable in a glass-
painting avowedly of the nineteenth century, and which,
according to my view of the case, the artist would be
bound only to render conformable to the general character
of the building. I presume that the artist would con-
sider it proper to impart to his figures, whether single
or in groups, that grand, severe, and classical character,
borrowed from the antique, which belongs to the figures
in the glass-paintings of the Early English style ; with-
out however imitating their rudeness, or imperfect draw-
ing; and that he would select for their execution the
deepest and most powerful colours, and those which
most resemble the ancient in tint ; employing them, as
far as circumstances would admit, as they are employed
in Early English figures, pink glass for instance being
used for the faces and hands, &c.
I also think that he might in painting the glass, unite
the bold and strong outlines of the Early English style,
with the stipple and transparent shading of the Per-
pendicular ; for the use of deeply coloured glass would
render the adoption of the first almost a matter of neces-
sity, in order to ensure expression ; and in a nineteenth
century style would not be an objectionable innovation
ON THE SELECTION OF A STYLE.
327
to impart a greater degree of roundness to the figures
than is usual in Early English glass-paintings. I am at
a loss to understand how the flatness of ancient Early
English glass- paintings is to be defended. It cannot be
on any fancied harmony between the glass and the archi-
tecture, for Early English carved work is in general re-
markable for its high relief. Indeed it is evident from
the strength of the outlines, that the glass-painters of
the twelfth and thirteenth centuries strove to imitate
this eflfect in their own works. I beUeve we are led to
admire the flatness of Early English glass-paintings
simply by having associated it with the beauties of Early
English architecture ; without considering that it is but
the result of an imperfect degree of execution. The
use of deep colouring is undoubtedly opposed to extreme
contrasts of light and shade, and therefore a modem
glass-painting founded as suggested on the model of the
Early English style, must necessarily be more flat than
one founded on the model of the Perpendicular style ;
still I think the artist should endeavour to impart to the
work the greatest degree of roundness which the means
at his disposal will effect. In order, however, to keep up
the character of the style, I apprehend that a greater
quantity of clear and vivid lights should be left than
would be the case in a Perpendicular glass-painting*.
In the majority of instances, a coloured or white back-
ground diapered, such as indeed is recommended by
* I hardlj tliink that any objection
can be raised against the substitution in
these works of stipple shading for smear
shading. It is not the teztnre of the
shadows, but their form, which may or
may not be an element of simplicity. A
stipple shadow at a distance cannot be
distinguished from a smear shadow, ex-
cept indeed by its superior transparency;
a circumstance, which, of itself, seems
to afford a sufficient reason for the gene-
ral adoption of stipple shading in all
glass-paintings.
328 ON THE SELECTION OF A STYLE.
Theophilus, and of which examples may be seen in
Augsburg Cathedral, and elsewhere, would probably
render the introduction of ornaments round the figures
wholly unnecessary; but if such necessity existed, I
should say that the character and form of the ornament
were matters entirely for the decision of the artist. It
might perhaps be found that leaves of a simple form,
such as those of the ivy or maple, are better adapted to
the nature of modern glass than the conventional foliage
of the Early English style, and their adoption might be
preferable on another ground, the avoidance as much as
possible of anachronisms ^
The whole of the foregoing remarks have been made
with reference to pictorial glass-paintings only, but they
are applicable, though in a less degree, to pattern glass-
paintings also.
Some patterns in the Early English style are, for want
of the requisite material, at present utterly incapable of
imitation ; but there are others, — those for instance in
which but little colour is introduced, — not liable to the
same objection ; especially if imitated in ^^ pressed glass,"
* An example of a nineteenth-century
window adapted to an Early English
building, is afforded by the great end
window of the south transept, We^t-
minster Abbey, the greater part of which
has already been painted by Mr. Nixon,
the artist, who undoubtedly stands at
the head of English glass -painters.
Without pretending to give any opinion
on its merits or demerits, either as
a work of art, or as a glass-painting, I
cannot help regarding it with much
satisfaction, as the commencement of
a new and oriUt-like style of true
glass-painting, the first introduction
of w^ich may be fairly ascribed to
Mr. Nixon, and his coadjutor, Mr.
Ward.
Since the above-mentioned work was
commenced, Mr. Nixon has in the east
window of Snodland Church, Kent, snc-
cessfhlly adapted a nineteenth-oeutury
design to a late Qothic windpw; this
work, considering that the new style is
yet in its infoncy, is of great merit.
Another window is now completing on
the same principles by Mr. Nixon for
Christ Church, Bloomsbury. A few
more such glass-paintings as these will,
I think, place the success of the new
style beyond doabt. " Magna est Veritas,
et pr€tvaMnt." [1847.]
ON THE SELECTION OF A STYLE.
329
according to Mr. Powell's invention'. Patterns thus
produced will be found in general more satisfactory than
those painted by hand, and it seems probable that they
would harmonize if placed in juxtaposition, though not
in the same window, with the pictorial works above men-
tioned. But this again is a question more properly left
to the decision of the artist.
In like mamier I would suggest that a due resem-
blance should be preserved between modern pictorial
glass-paintings designed for a Decorated building, and
ancient Decorated glass-paintings. Those subjects only
should be selected as models, which are least Mosaic in
character; and I would allow the same latitude to the
artist in following them as I have recommended in
regard to Early English models. He might, according
to ancient authority, introduce a large single figure
into each of the lower lights of a window, or carry
' ThiB invention is itill quite in its
infancy, and susceptible of material im-
provement and of yery extended appli-
cation as a means of ornament. The
superiority of the pressed or stamped
glass for patterns over that painted by
hand consists in the roughness of its
surface, occasioned by the contact of
the surface with the mould, which
imparts to the glass, when seen at
a little distance, a richness and bril-
liancy of effect more closely resembling
that of old glass than has, in general,
been hitherto produced by any other
modem expedient. Some glass, such as
the ornamented quarries of the fifteenth
century — whose charm consists in their
silvery appearance — can, I think, only
be properly imitated in pressed glass.
And for a long time I thought Mr.
Powell would have no rival in his imita-
tion of the earlier white patterns. Such
a rival however appeared, shortly after
these sheets were sent to the press, in
Mr. W. Miller, of 82, Brewer-street»
Qolden-square, who has painted the
wheel window, at the east end of Bar-
freston Church, Kent, in exact imitation
of Early English glass. It is true that
this work principally consists of a white
scroll pattern on a cross-hatched ground;
but the material used has all the appa-
rent substantiality, richness, and bril-
liancy of ancient glass, without any of
the inherent defects of pressed glass;
the pattern here, having been drawn by
hand, being as sharp and clear as in an
original example. This window is, on
the whole, the most perfect imitation of
Early English glass that I have ever
seen, and reflects the greatest credit on
its author, who has encountered and
overcome no ordinary difficulties, which
the numerous fiulures in imitating early
glass by hand painting abundantly tes>
tify. [1847.]
330
ON THE SELECTION OF A STYLE.
a general desiga across it independent of the mullions ^.
But I think he would not be bound in any case to put
his figures under canopies of architectural design, (which
would lead to the adoption of Decorated details), but.
might place them on coloured grounds, and surround
them with a sort of framework of foliage, a preference
being given to the ivy or maple leaf, somewhat like that
which occurs in the Decorated Jesse windows. Thus
a window might be entirely filled in an appropriate
manner, without resorting to the use of any Decorated
architectural ornaments whatever, in case this should be
considered objectionable. The artist, I apprehend, would
take care to infuse the Decorated character of drapery
> There are plenty of authorities for
thii arrangement in ancient German
Decorated glass; and in French mnl-
lioned windows of the Early English
period, the same snhject sometimes
e winces a disposition to extend into more
than one lower light. Both German
and French, as well as English glass,
shonld be carefdlly stndied by the glass-
painter, with a view to increase his
knowledge of the general arrangements
of each particular style. There can be
no impropriety in borrowing an arrange-
ment from foreign painted glass, even if
no English example of it existed, pro-
vided it be translated into English (if I
may be allowed the expression) by the
adoption of English details ; for nothing
can, in general, be more objectionable
than the employment in the windows
of English bnildings, of designs copied
from French and German models, the
details of which seldom harmonize with
those of oor own architecture.
I should perhaps declare once for all,
that in recommending the adoption of de-
signs extending into more than one light
of a window, I am by no means insen-
sible to the necessity, when teveral dis-
tinct subjects are intended to be intro-
duced, of accommodating them as much
as possible to the principal architectural
divisions rf the windows. For instance,
though in some five-light windows it
might under the circumstances be ad-
visable to fill the three central lights
with one subject, and each of the outer
lights with different ones; in others,
consisting (so to speak) of two pain of
windows, divided by a central lights it
might be better to fill the centre light
with one subject, and occupy each pair
of lights on its flanks, with another and
larger design; as for instance, in the
side windows of King's Chapel, Cam-
bridge. So a transom ranning acroes
a window, might render it necessary to
fill each tier of lights with a separate
subject. Again, tracery lights are some-
times so divided into groups by the
principal mullions, as to make a corre-
sponding division of the design advisable.
The thickness of the mullion in some
Early English windows would render it
impossible to extend a design into acya-
cent lights more completely than was
done by the ancient artists themselves.
ON THE SELECTION OF A STYLE, 33 1
and attitude into his figures, without however imitating
either the bad drawing, or forced attitudes of the origi-
nals; and I should consider the enjoyment of stipple
shading, and a greater roundness of effect than an an-
cient Decorated figure displays, quite unobjectionable.
A similar difficulty to that before adverted to, might
be felt in composing pattern windows to suit Decorated
buildings. I should be sorry to object to the use of
running patterns on white glass, designed on the same
principle as the beautiful ancient Decorated running
patterns, or to the employment of ornamented quarry
patterns, or, in clearstory windows, of patterns simply
composed of plain pieces of glass, provided a good ma-
terial could be found in which to execute them. But
this, as I have already stated, must be a question for
the decision of the artist. I would not, however, ad-
vise the introduction into pattern windows of belts of
canopies running across them, from a belief that some
of the finest ancient Decorated windows are those which
are wholly composed of white patterns, with or without
the addition of a single shield of arms in each of the
lower lights ; and that an alternation of abruptly de-
fined masses of white and coloured glass crossing a
window like belts, is hardly to be justified on sound
principles of taste; or at least would not produce a
pleasing effect, unless the ancient materials were used.
I should say, though of course I only throw this out
as a suggestion, that in filling the windows either of
a Decorated or of an Early English building with ap-
propriate modem glass, an intermixture of pictures with
white patterns is unadvisable ; that each window should
be either entirely a picture window, or else a pattern
332 ON THE SELECTION OF A STYLE.
window; that either kind might, in aooordanoe with
ancient authority, be employed throughout the entire
building to the exclusion of the other : or if a mix^
ture of the two should be considered necessary, that it
might be carried into effect, by confining the picture
windows to the ends of the building, and the pattern
windows to its sides; but this last would require the
building to be of such a length as fairly to admit of
apparent curtailment : the inevitable result of employing
dark windows at its extremities with light windows at
its sides.
The ancient models might be followed more closely
than has hitherto been recommended in adapting glass-
paintings to Perpendicular buildings. Such a general
similarity of character exists between edifices in the Per-
pendicular style, that late Perpendicular glass-paintings
seem equally to harmonize with them all. Indeed, as
has before been remarked, there is scarcely any other
diffei'ence between glass-paintings of the early and lat-
ter parts of the fifteenth century than that occasioned
by the tint of the glass. The same breadth and de-
licacy, both in figures and decorations, is observable in
all works of this period, after the style had become
thoroughly developed. I therefore see no impropriety
whatever in introducing glass, painted after the models
of the close of the fifteenth century, or even later, into
any Perpen«Ucular building. The painted windows of
Fairford Church, Gloucestershire, would harmonize in all
respects, except their architectural details, with build-
ings of the time of William of Wykeham. The figures
introduced into the glass at Fairford possess the same
Germanic character as the sculptured figures of the
K
ON THE SELECTION OF A STYLE. 333
early part of the fifteenth century, which, unlike the
glass-paintings of that time, they equal in merit, owing
to improvements in the art of drawing, by which at the
beginning of the sixteenth century, artists were* enabled
to represent on a plane surface, the forms and inequali-
ties actually produced in sculpture.
I am far from supposing that the drawing of the
Fairford figures might not be improved upon, but their
architectural character, especially as developed in the
single figures, is so admirably suited to the position
they occupy, as to appear worthy of imitation at the
present day.
Whether or not it would be advisable to imitate the
architectural details of these canopies, or of others of
earlier date, is a question which I do not feel myself
competent to decide. I hardly think that it would be
possible without taking very great liberties with the
rules of perspective, and of light and shade, — ^pardon-
able I should say under the particular circumstances, — >
to produce the effect of the ancient canopies. Their
value, however, consists not so much in their archi-
tectural excellence, as in the opportunity they afford
the artist of introducing large masses of white glass
into the picture, and of producing strong contrasts of
light and shade. These objects might perhaps be equally
secured by placing the pictures whether consisting of
single figures or groups, in elegant bowers formed of
the foliage of the vine, the sofiits or ceilings of which
might be shewn in perspective, and darkly shaded, so
as to produce apparent depth, by bringing forward the
front of the bower, and the figures beneath it, and
throwing back the distant landscape behind them; on
334 ON THE SELECTION OF A STYLE.
the principle partly of the Cinque Cento canopies at
Brussels and Lichfield, and of the Gothic foliaged
canopies in Munich Cathedral, which are described in
a former part of this work. Canopies or bowers of this
description might, from their unsubstantial and light ap-
pearance, prove perhaps better suited to glass-paintings
than representations of solid stonework.
There is perhaps no ancient Perpendicular arrange-
ment which could not be successfully adopted at the
present day. The figure and canopy window, or some-
thing resembling it, might be employed in the majority
of instances with the best efiect, especially in the win-
dows at the sides of buildings; but the artist should,
in my opinion at least, never scruple to use a design
extending into more than one light of a window, when-
ever a complicated subject would render this arrange-
ment necessary, in order to give sufficient size to the
figures. Designs extending over the whole of a win-
dow are common enough in the Perpendicular style ;
nor is practically any ill effect produced, as might be
anticipated, by their being cut by the muUions. In-
deed it is surprising how little in reality the muUions
interfere with the design. The eye traverses the pic-
ture without being caught by them; nor do I think
that the appearance of the building itself suffers by
reason of the design of the glass-painting not strictly
coinciding with the architectural divisions of the win-
dow. Such pictures are, no doubt, best suited, for the
extreme ends of a building, where they are calculated
to produce an agreeable variety when contrasted with
the somewhat monotonous design of the figure and
canopy windows at its sides. This circumstance, and
ON THE SELECTION OF A STYLE. 335
the distinctness of their parts, owing to their size, are,
I apprehend, sufficient grounds of themselves to justify
the use of designs extended over the whole or a great
part of a window.
The only improvement perhaps of which the technical
mode of execution as practised at the close of the fif-
teenth century and early part of the sixteenth, seems
susceptible, is an increase in the thickness of the out-
line in those works intended to occupy distant positions.
The ancient glass-painters, although they often elon-
gated their figures to counteract the shortening effi^ct
of perspective upon them when placed much above the
eye, do not appear at any time to have varied the
thickness of the outlines irrespectively of the size of
the figures. This was unimportant until the introduc-
tion of the Perpendicular style of glass-painting and
its delicate mode of execution, which is not calculated
to insure distinctness in the more distant figures. An
instance of this may be seen in the portraits of Ed-
ward IV. and his family in the north window of the
western transept of Canterbury Cathedral. The fea-
tures of these figures are quite lost to the eye when
viewed from the steps leading to the choir. The re-
medy, an increased boldness of outline or shadow —
for in glass-painting this comes pretty nearly to the
same thing — is suggested by some Early English
figures of about the same size as the last , which, having
been removed from the clearstory of the choir into the
south window of the western transept, have been curi-
ously enough placed at about the same distance from
the steps in question, as the Perpendicular glass in the
opposite window.
36
ON THE SELECTION OF A STYLE-
The same facility of adoption extends also to the an-
cient Perpendicular patterns, and to combinations of
pictures and patterns in the same window. I hardly
think that patterns more appropriate to the modern
material than the Perpendicular could be devised, or
that any great improvement in their form could be
eflfected. Purely pattern windows would probably be
more satisfactorily executed by Mr. Powell's machinery,
than by hand; but, if figures were to be placed on
white quarry grounds, I certainly think that the orna-
ment should be painted by hand on the quarries. The
German "round glass," from the curvature of its sides,
certainly harmonizes better with the flowing lines of
pictures placed in juxtaposition with it, than the rigid
cutting lines produced by quarries. Bound glazing
therefore appears to be more appropriate than quarry
glazing, where part only of a light is occupied with
a picture. Both quarry and round glazing are thus
employed in the windows of St. Peter's Church, C!o-
logne; the relative merits of the two systems may
therefore be determined by actual inspection. Eoimd
glass is a manufacture easy of revival; it affords of
itself a very valuable means of ornament \ I shall
k The round glass in the windows of
the new library at Lincoln's Inn, was
copied by Mr. Powell from some ronnd
glass of the dose of the fifteenth cen-
tury, which I bought at Nuremberg, in
the autumn of 1844. It has been imi-
tated with tolerable exactness, except in
the size of the hulTs-eye: which in the
original glass is very smalL As a first
attempt the modem glass must be con-
sidered a very creditable performance,
and much praise is due to Mr. Hardwick
for his boldness in introducing a com-
parative novelty from a conviction of
its beauty. Round glass, if employed
in the windows of Palladian churches,
would be found to harmonize with the
architecture ikr better than the square
or rectangular panes now in use. -The
design for the church of St. John Bap-
tist, at Florence, by Michael Angelo, re*
presents the window with round glan.
See Ingiffnium Roma Templorum pro-
speduM by Jacobus de Rubeis, 1684»
folio, plate 48.
ON THE SELECTION OF A STYLE. 337
however conclude by reiterating my opinion that the
decorative, as well as the pictorial part of the work, are
matters equally to be decided upon by the artist.
Hardly any variations from the ancient models would
be necessary in following the latest Perpendicular, and
Cinque Cento styles, further than correcting in the
latter the generally too ornamental character of its
figures, and their draperies, and substituting for it
a severer mode of treatment. No ornaments perhaps
could be devised which would harmonize better with
Palladian buildings, than those of the Cinque Cento
style ; and they, as well as those of the late Perpen-
dicular, are quite adapted to the nature of the modem
material. Care should be taken not to imitate the too
opaque execution of the later Cinque Cento glass-
paintings. The finest specimens of handling are to bo
found scarcely later than 1535, — certainly not later
than 1540. After this the blackness of the shadows
betokens the deterioration of the art.
Eound glass, or geometrical glazing with appropriate
borders, would still, as formerly, afford the means of
producing Cinque Cento pattern windows. I tliink that
a preference should be given to round glass on account
of its richness, the beautiful play of light it occasions,
and its pleasing silvery tone.
The above suggestions have been thrown out, simply
for the sake of rendering my recommdndation of a new
style of glass-painting more intelligible : it is therefore
unnecessary for me to apologize for their incomplete-
ness, or to disclaim any presumptuous intention of lay-
ing down rules on the subject.
It sufficiently appears, I hope, that in advocating
z
338
ON THE SELECTION OF A STYLE.
a new style, I by no means advise any unnecessary dis-
regard of the rules of the old styles. Indeed I should
consider an infringement of the rules of style in some
cases as objectionable in an original modern glass-
painting as in a copy of an old one. For instance,
the introduction of a coat of arms charged with com-
plicated bearings, or surmounted with a helmet and
mantling, into a modem glass-painting, designed for
an Early English building, would seem to me as in-
appropriate as its insertion would be into a copy of
a thirteenth-century pattern window; not indeed upon
the narrow ground that the thirteenth century affords
no precedent of the kind; but because the crowded
shield, the fluttering mantling, and its accompaniments,
would be unsuited to the simplicity of the rest of the
work. For the same reason it might in many cases
be desirable to attend to the minutisD of costume, of
armour, &c., and even to the selection of the Blaok, or
Eoman letter for inscriptions*. Indeed any breach of
style would be reprehensible, which tended to impair
the general harmony of the design; the security and
maintenance of which ought to be the principal object
of all rules of style whatever.
The adoption of a new style of glass-painting is a pro-
ject, which it is to be expected will encounter much
opposition, especially from all parties interested in up-
holding the present corrupt system : for if carried into
effect, it will inevitably render not only the invention
and execution, but also the selection of designs for
painted windows, matters of far greater difficulty than
^ I mean the common Black, or coiD'
mon Roman letter, for I see no ose in in-
scriptions, which none but the initiated
can read. For a like reason I should
say that an inscription in English is
preferable to one in Latin, or French.
ON THE SELECTION OF A STYLE. 339
at present. The mere imitator will no longer be able
to shelter his ignorance of the higher principles and
rules of art, under a scrupulous and literal conformity
with the petty details of conventionality; nor can he
any longer be upheld with impunity by his patrons, the
soi'disant connoisseurs, who sneer at real works of art
from sheer incapacity to appreciate their merit, and flip-
pantly bring forward their own miserable conceits as un-
questionable authorities. Both the artist and the critic,
in order that their opinions may be generally respected,
must learn to estimate a pictorial glass-painting, not by
its conventional character, but in proportion as it ex-
hibits those essential qualities which will entitle it to
be considered a work of art, as well as a perfect glass-
painting.
A degree of knowledge will therefore be required of
both these parties far beyond that obtained by a little
industry in tracing ancient painted glass. They must
acquire a thorough acquaintance with the deep princi-
ples of each style of ancient glass-painting, and of the
defects and excellences of the ancient glass-painters, to
which must be added a competent knowledge of art,
derived from an acute, refined, and unprejudiced obser-
vation, not only of the works of the middle ages, but
of the great masters of the sixteenth century, and of
the invaluable relics of classical antiquity.
There will, we may be sure, be no lack of excellent
glass-painters in this country, so soon as artists find it
their interest to direct their talents and skill to this
hitherto neglected art. Every branch of the fine arts
is so overcrowded with practitioners, that many artists,
if properly encouraged, would be glad to adopt glass-
z2
340 ON THE SELECTION OF A STYLE.
painting, and would rejoice at the new field of enter-
prise thus opened out to them.
The chief difficulty is, in what way to evince to the
artistic world, a sincere desire for good glass-paintings.
The only mode seems to be, by throwing open all im-
portant works to public competition; and appointing
artists of known reputation, and who have themselves
devoted some attention to glass-painting, as judges, both
of the rival designs, and of the specimens of glass-paint-
ing submitted to them.
Public competitions in oil-painting, architecture, or
sculpture, are in general to be deprecated; because
artists of established fame will not condescend to enter
the lists. But it is a diflferent matter, when either
a branch of the fine arts is newly taken up, or an eflfort
made to establish it on a new footing. In this case
a public competition aflEbrds perhaps the surest means
of enabling those most worthy of patronage to become
known. The experiment has been, successfully I be-
lieve, tried with regard to fresco-painting; and I trust
it may ere long be tried with regard to glass-painting.
I have already intimated my dislike to modem glass-
paintings exhibiting the exaggerations and deformities
which are so common in ancient glass-paintings. I should
further caution the glass-painter who seeks to attain real
eminence in his profession, against being betrayed into
the imitation of models, which though free from absolute
bad drawing, are defective in character and expression.
Such models are afforded in abundance by the modem
German school of painting, and by its English imitators.
The German School, some artists of deserved reputation
being excepted, has committed the fundamental error of
ON THE SELECTION OF A STYLE. 34 1
neglecting the study of nature, and taking for its models
the masters of an age when art was still imperfectly
developed. It is therefore less likely to advance art,
than to cause it to recede from the high point which
it had attained in the sixteenth century; and it does
not appear that its most successful followers can bo
ranked higher than able and ingenious cultivators of
a vicious style. Amongst the most striking defects in
the productions of this school, and of its imitators, are
an insipidity of expression, and a want of individuality
in the figures. In some works the distinction of sex is
scarcely distinguishable except by the size and dress,
and can rarely be guessed at from the features, or the
form of the figure. Martyrs are apparently devoid of
sensation, and angels are reduced to mere automata;
our Saviour Himself is not unfrequently represented
like a spectre. This seeming apathy is doubtless in-
tended to denote in the first case, a sublime and perfect
resignation to the Divine will ; in the second, the exer-
cise of an irresistible power, which requires no effort
in the person who displays it ; in the last, the profound
and awful majesty of a Divine Being: but in their
treatment of these subjects the German artists, and
their English disciples more especially, seem obnoxious
to the criticism, that although they most successfully
denude holy personages of all earthly expression, they
fail to clothe them with a spiritual one \
Notwithstanding its defects however, the modem Ger-
man school appears to meet with many admirers, because
it is supposed to be deeply imbued with the spirit of
what is termed "Catholic art." But this alone is no
I' See " Quarterly Review/' No. 154^ p. 330.
342
ON THE SELECTION OF A STYLE.
recommendation of its artistical character ; many of the
rudest medieval figures being admitted to possess a "Ca-
tholic feeling " as deep as that which pervades the pro-
ductions of the modern German school. The merits attri-
buted to Catholic art, are an earnestness and depth in
the expression of religious feeling, which (according to
its advocates) the great masters of the sixteenth century,
and their followers, the cultivators of "Pagan art V are
incapable of attaining, or at least never have attained,
and in comparison with which grace and correctness of
design, ought to be regarded as " beggarly elements."
This view of Catholic art seems to be chiefly, if not
entirely, founded on narrow and exclusive religious
grounds "*; and subjects art rather to the uncertain
standard of devotional susceptibility, than to any defi-
nite principles of taste and criticism. Indeed it might
be supposed from much of the language employed on
the subject, that there was a necessary repugnancy
between the expression of Christian sentiment, and the
employment of technical skill; an inference which,
^ The phrase "Pagan art," is here
Tued to indicate the art of representa-
tion as refined and improved in the six-
teenth century by the study of classical
models. It is rather amusing that the
same charge of "inanimate insipidity"
which has been brought, and with truth,
against many antique statues, (see
Reynolds, Discourse viii.,) applies with
greater force to the works of those
moderns who regard with distaste the
remains of heathen antiquity, and the
subsequent improvements in art.
"* It is sometimes carried so far as to
regard Protestantism as incompatible
with religious art, a prejudice which is
somewhat inconsistt-nt u ith the fact that
the great model of German Catholic
art, Albert Dilrer, produced his noblest
work, "The Four Apostles," after his
adoption of the Protestant faith. See
Kugler, " Handbook of Painting," part
ii. p. 149, edited by Head.
I should add that by "Catholic art"
is meant exclusively and distinctively
" Roman Catholic art." This is pointedly
and clearly put by the Count de Monta-
lembert in his letter to the late Cam-
bridge Camden Society, quoted in Weale's
" Quarterly Papers," part vi. p. 36. In
another work entitled Du Vandalisms
et du Catholicisme dans VArt, Paris,
1839, by Count Montalembert, it will be
found that "Christian" and "Catholic"
are used as synonymous terms.
ON THE SELECTION OF A STYLE.
343
though to a certain extent contradicted by the Count
de Montalembert in his remarks on the works of Over-
beck ^j is supported by the same author's condemnation
of Anthony PoUajuolo, for introducing into painting
the element of anatomical study, and of Baphael, and
Michael Angelo, for pursuing it in their works ^. An
objection to the study of nature seems to come with
■ "— tons ceux qui ont vu et
oompris des tableaux oa dee deagins
d'Oyerbeck, ne pourront a'empdcher de
reconnoitre qu'il n'y a U aucunement
oopie des anciens maltres, maia bien nne
originality puiasante et libre, qui a au
mettre au service de I'id^e catbolique
tous lea perfectionnemens modemes du
deasin et de la perspective ignor^ des
anciena. L'Ame la mieux dispose k la
po^ie mystique n'en est pas moius com-
pl6tement satisfaite, comme devant le
cbef-d'-oeuvre le plus suave des anciens
jours, et rintelligence la plus revdche est
forc^e de convenir qu'il y a m^me de
notre temps la possibility de renouer le
fil des traditions saintes, et de fonder
nne ^le vraiment religieuse, sans re-
monter le cours des &ges et sans cesser
d'dtre de ce si^le." — Du VandalUme et
du CathoUci$me dans VArt*' p. 178.
Tbese remarks are satisfactory inasmuch
as they prohibit the artist who adopts
the barbarisms of Gothic art, from
pleading the necessity of adhering to
" Catholic examples/' and defending the
badneas of his drawing by the sacred-
ness of his subject.
• *<Antoine PoUajuolo, qui eut la
triste gloire d'introduire dans la pein-
ture I'^l^ment des Etudes anatomiques,
et qui s'en servit le premier pour pro-
faner oe noble sojet du martyre de Saint
S^bastien, qui 1' a ^t^ tant de fois de-
puis." — "11 pr^parait ainsi les voies h
Michel-Ange, qui ne trouva rien de
mieux qui de printer les saints et
mdme lea saintes dans nn ^tat de nudity
cm l^te, dans ce fameux Jugement der-
nier," — Du Vandalisme et du Catholu
cisme dans PArt, p. 93.
" Aussi ^ la fin du xv si^de, apr^ la
mort du Beato et de Benozzo, la supr^-
matie de Tart chr^tien est d^volue k
r^le ombrienne dans la personne de
Perugin, de Hnturicchio, et de Raphael
avant sa chute, glorieuse trinity qui n'a
jamais ^t^ et ne sera jamais surpassee."
—lb,, p. 104.
"Nous admettrions volontiers avec
M. Rio qu'il (Raphael) a port^ I'art
Chretien k son plus haut degr^ de per-
fection, a. nous n'^tions attrist^ et r^-
volt^ mdme en prince de ses chefs-
d'-(Buvre les plus pars, par la pens^ de
sa deplorable defection." " Le rapproche-
ment entre la Dispute du Saint Sacre-
ment et le po^me du Dante, est naturel
et juste: cette fresque est en effet un
veritable po&me en peinture. Pourquoi
faut-il qu' aussit^t apr^s I'avoir termini,
Raphael ait c^^ aux suggestions du
serpent ? Comme dit notre auteur [M.
Rio] ' le contraste est si frappant entre
le style de ses premiers ouvrages et celni
qu'il adopta dans les dix derni&rs ann^es
de sa vie, qu'il est impossible de regarder
I'un comme une Evaluation ou un d6-
veloppement de I'autre. Evidemment il
y a eu solution de continuity, abjuration
d'une foi antique eu mati^re d'art, pour
embrasser une foi nouvelle.' Cette foi
nouvelle n'est autre qui la foi au pagan-
isme et an mat^rialisme, qui a eu pour
r^vElation les fresques de Thistoire de
Psyche, et la Transfiguration." — Ih,, pp.
112, 114.
344
ON THE SELECTION OF A STYLE.
a singular bad grace from so ardent and enthusiastic an
admirer of ancient Christian art as the Count de Monta-
lembert, when we consider what close and servile copy-
ists of nature the medieval artists really endeavoured
to become.
It is sufficient to refer to the Chinese-like exact-
ness P with which in the paintings of the early masters,
jewellery, and the texture of the stuflfs composing the
draperies, are imitated, the latter in many instances
even to the very stitches : to the scrupulous delineations
of each single hair of the eyelashes and eyebrows, &c.,
the stiff map-like delineation of the meagre bodies and
attenuated limbs of saints, and ideal personages, &c.
Hence we may conclude that it was from mere igno-
rance of the true method of representation, that the
medieval artists failed of arriving at that truthful sim-
plicity with which nature was more faithfully rendered
in the periods of more advanced art. They laboured
like children to attain a minute imitation of unimportant
detail because they knew no better **. Had the early
artists possessed the same degree of skill and knowledge
as the painters of the sixteenth century, they would
likewise have imparted to their delineations of the
human figure, that perfection of beauty which affords
the best proof of the soundness of the judgment exer-
p The parallel between ChineBe art
and Middle Age art is mach closer than
would at first be supposed. Many a por-
trait of a Chinese lady might be trans-
formed into a highly Catholic saint, by
simply substituting a book for the fan,
and slightly altering the form of the or-
naments on the robe. The face with its
long eyelids and scarcely marked eye-
brows and couTentlonal expression, — the
carefVil exactness with which the orna-
ments on the drapery, and the little
flowers and sprigs at the feet of the
figure are drawn — all have their counter-
parts in the European paintings of the
flfbeenth century. The extent to which
an artist may avail himself of such
imperfect models, is well defined in
Reynolds' sixth Discourse.
4 See Barry's sixth Lecture.
ON THE SELECTION OF A STYLE.
345
cised by the artist of a more cultivated mind, in select-
ing, through his accurate knowledge of nature, the
most perfect form as worthy of imitation': and they
would have expressed the truest Christian emotions, with
that fulness and completeness of meaning, which cause
some at least of the religious works of the great masters
so powerfully to excite the sympathy of the spectator.
It has been often observed that the later paintings of
Baphael are inferior in depth of religious feeling, or
holiness of expression, to his earlier works, in which
he has more closely followed the established types.
Admitting this to be true, it affords no reason for pre-
ferring an imperfect, to a more perfect method of repre-
sentation; which must, of course, be capable of more
perfectly expressing a sentiment, whether devout, or
otherwise, reedly felt by the artist. In the religious
works of Leonardo da Yinci, for instance, both excel-
lences are combined.
It seems therefore absurd to suppose that Scriptural
subjects cannot be adequately represented without retro-
grading to an imperfect style of art. Such a notion can
I think only be attributed to the fashionable, and there-
fore exclusive and indiscriminating admiration of Middle
Age art, and customs. Such admiration will most pro-
bably, like other fashions, soon pass away. The best
established opinions are, it is true, liable to be reversed
by the progress of enquiry and knowledge, but it is not
probable that standards of excellence, like the works of
the great masters, which have been recognised during
' The distinction between servilely
copying Nature, and adopting her as
a guide, is repeatedly pointed out in
Reynolds' Discourses, especially in the
third, fourth, and fifth Discourses.
346 ON THE SELECTION OF A STYLE.
three centuries, will either be subverted, or long neg-
lected. Judgments which have been examined and con-
firmed by successive generations, and in various coun-
tries, must be supposed to rest on deep-seated principles;
and hence the artist who desires to please long and
generally, and to obtain a permanent reputation, will
do better to adhere to these, than to be guided by opi-
nions which may fairly be attributed to partial views,
or to the favour with which startling novelties are apt
for a time to be entertained.
I cannot conclude the present work without some en-
deavour to promote the preservation of such specimens
of ancient painted glass as we still possess. The value
of these remains to the student and artist sufficiently
appears when it is recollected that they constitute the
sole evidence of the state and progress of the English
school of glass-painting. We cannot repair the injuries
which have reduced the original specimens of the art
to such scanty numbei's, and rendered them, in the
majority of instances, little better than a mere collection
of fragments; but we may testify our regret at what
has been lost, — a loss that so materially retards and
embarrasses our investigations, — and our appreciation of
what remains, by attempting as far as possible to arrest
the further progress of destruction.
The ordinary effect of time in decomposing the sur-
face of the glass, is a cause of decay which we cannot,
and indeed should not, attempt to counteract; for the
remedy would in all probability prove worse than the
disease. But glass-paintings are subject to other and
more serious injuries, which a little care and judgment
may prevent. From wilful and wanton destruction, it
ON THE SELECTION OF A STYLE. 347
is true there is little to be apprehended. The icono-
clastic mania has happily passed away ; the most zealous
reformer sees in an ancient picture only a specimen of
ancient art, though its subject abstractedly considered
may be one to which he entertains the most profound
antipathy; and as for the mischievous attacks of the
childish and ignorant, they may be eflfectually resisted
by an external wire guard. The great danger to which
a glass-painting is exposed arises not from these sources,
but either from neglect, or from well-intentioned but
mistaken zeal for its preservation and restoration.
It is difficult to say which of these evils is the more
to be deprecated. There can be no doubt that innu-
merable glass-paintings have already perished or become
mutilated through the neglect to keep their leadwork
and saddle-bars in repair, or to defend them against
injuries from without by a wire guard ; and that many
others are at present in jeopardy for want of similar
precautions : but I am sorry to add that an almost equal
amount of damage has accrued to these works, in many
cases, either through restorations conducted on false
principles, or their unnecessary removal from their ori-
ginal situations into other windows.
Fainted glass loses so much of its interest and value
in every respect, when torn from its original position,
that this measure should never be resorted to unless for
the purpose of better preservation. It may sometimes
be advisable to collect into one window all the little
fragments of painted glass scattered about a building,
with the view of protecting them there with a wire
guard; but the removal of ancient painted glass from
one window into another merely for the sake of im-
348 ON THE SELECTION OF A STYLE.
proving the general appearance of the building, appears
to me wholly unjustifiable.
The injury thus committed is however trifling in
comparison with that arising from such ^^ restorations^^
as are founded on the desire of converting a ragged-
looking and mutilated glass-painting into a sightly orna-
ment. The restoration (as it is termed) of an ancient
glass-painting to its pristine beauty, would in the ma-
jority of cases be more truly designated the premeditated
destruction of an original work. It is generally incom-
patible with that conscientious preservation and reten-
tion in its original place of every portion of ancient
glass, which ought to be the essential and paramount ob-
ject of all real restorations. By far the greater number of
ancient glass-paintings are valuable, rather as specimens
of the art at particular periods, than on account of their
intrinsic merit. In this point of view, every fragment
possesses a degree of interest quite independent of its
size, its effect, or the subject it represents, and there-
fore though apparently insignificant, should by no means
be cast aside, nor should a modem copy, however accu-
rately executed, be suffered to usurp its place. With
such restorations as scrupulously preserve the original
glass, and admit of no more modem painted glass than
is requisite to supply the deficient parts of a design,
clearly indicated by the portion of it which remains,
little or no fault can be found. But when they are
carried beyond this point, and modem glass is inserted,
not on the direct . authority of the dilapidated work
itself, but merely according to the analogy afforded by
other ancient speciniens, they are open to serious objec-
tions. They diminish or altogether destroy the value
ON THE SELECTION OF A STYLE. 349
of the work as a specimen of ancient art, and not only
mislead the unpractised student, who is incapable of
discriminating between ancient and modem glass, but,
if engravings or written descriptions of the window are
given, may impose on the most experienced antiquary,
who has not an opportunity of examining the glass per-
sonally. In such restorations also great inconsistencies
occur. As a general rule therefore, it is prudent, and
for the sake of corrupting as little as possible the
sources of antiquarian knowledge, very desirable, to
abstain altogether from restoring the deficient parts
of a glass-painting, except where the original work
affords a model and guide according to which such
deficiencies can be supplied.
Attention to the state of the lead and ironwork of
painted windows, is one of the simplest and least objec-
tionable modes of ensuring their preservation. The
ironwork may generally be expected to be found in
good condition, but many glass-paintings still retain
their original leadwork, which through age is in a very
decayed state, as is indeed manifested by the work
bagging^ or bulging out in places. In many windows
the glazing panels, though their leadwork is in sound
condition, are very insecurely attached to the saddle-bars,
and may be observed in consequence to rock backwards
and forwards with the wind, causing the glass to rattle
violently, and loosening it in the leadwork.
The destruction of an entire glazing panel is the
almost inevitable result of its breaking loose from the
saddle-bars ; while defective leadwork not only occasions
the glass to be blown in and lost piecemeal, but is often
apt to induce theft ; persons not possessing high princi-
I
k
350 ON THE SELECTION OF A STYLE.
pies of honesty being too often tempted to appropriate
that which seems to be neglected and abandoned by its
owners.
Simple as it appears to be, there is no operation
perhaps which requires greater care and patience than
the reloading of an ancient painted window; and not
every workman is competent to undertake the task.
Not only should the relative positions of the pieces of
glass be accurately preserved, but the course of the
original leads should be adhered to, even where the
painted glass has dropped from them, and been lost,
since this may often afford a clue to the original design.
Narrow leads should always be used in repairs, and it
would be well perhaps if in all cases of reloading, the
old original leadwork was deposited in a place of safety,
as besides being a curiosity of itself, its form might
serve to correct any mistake that might have arisen in
the reloading.
APPENDIX (A).
A Translation of the Seoond Book of the " DiyerBarom Artinm
Sohednla, Theophili, FresbTteii, et Honaohi'j" with Hotes.
CHAPTER I.
ON THE OONSTRUCnON OF A FURNACE FOR WORKING GLASS.
If it please you to make glass, first cut up much beech wood
and dry it well. Then bum it equally in a clean spot, and dili-
gently collecting the ashes, be careful not to mix any dust or
stones with them.
• This translation of Theophilos has
been made from the edition published at
Paris in 1843 by le Comte Charles de
I'Escalopier with a French translation,
and with an introduction by I. Marie
Guichard. The entire treatise consists
of three books. The first treats of punt-
ing, the second of the manufacture of
glass, and the third of the working of
metals, particularly with reference to
the fabrication of sacred utensils. It
was brought into notice by Lessing about
seventy years ago. Having discovered
a MS. of it in the Ducal library of Wol-
fenbiittel, of which he was librarian,
he printed some extracts from the first
book in an essay which it induced him
to write on the antiquity of oil-painting;
the treatise of Theophilus affording con-
siderable evidence that the invention of
this practice is not due to John Van
£yck. In 1781 Raspe in his critical essay
on oil-painting printed the whole of the
first book from a MS. in the library of
Trinity CoUege, Cambridge. In the same
year the entire treatise was pablished
with an introduction by Leiste'. The
text of thb edition had been prepared
by Lessing from the Wolfenbiittel MS.,
collated, as it seems, with another in
the Pauline library at Leipsig, and was
printed in his lifetime, though he did
not live to publish it. From this edi-
tion the seoond book, in that of 1843, is
printed. Dr. Qesscrt, in speaking of
Lessing's edition, observes that it must
be used with caution, as it occasionally
destroys the sense of the original K He
does not expressly say that he has com-
pared it with the MS., and in the second
book, the only one with which we are
concerned, or to which perhaps his re-
marks are intended to apply, the obsca-
rities are so few, that it is not probable
that serious inaccuracies can exist in it.
Perhaps therefore he merely alludes to
errors of the press, of which undoubtedly
there were several; most of these are
corrected in the French edition.
In Lessing's edition an index of the
1 In tbe Beytrage nwr Oeuhiehie und Litteratmr au» den SehUizen der henogliehtn Bibliothek
zu Wb{fenhUttel Brautuehweiff, 1781, a work previoosly oondacted by Leseing. It is printed
in tbe Seehater Beytrag,
t " Den originaltext sinnstorend entstellt" OeachiehU der Giasmahrei, p. 29, note.
352
APPENDIX (A).
Afterwards form a furnace Poatmodum compone fumum
of stones and clay, fifteen feet ex lapidibus et argilla, longi-
chapten ib printed. This index enume-
rates (between the eleventh and six-
teenth chapters of the Paris edition and
of the present translation) four chapters,
which are wanting in the MS. and have
the following titles : —
Cap. XII. de coloribus qui flunt ex
cupro et plumbo et sale '.
Cap. XIII. de viridi vitro.
Cap. XIV. de vitro saphireo.
Cap. XV. de vitro quod vocator
Gallien \
In the Leipsig MS. the deficiency is
thus noticed in a hand-writing more re-
cent than that of the MS. : " Hie defecit
Bubtilior pars et melior et utilior totius
libri pro qua, si quidam haberent, darent
mille florenos^ It is remarkable that
in a MS. which wss in the Nani library
at Venice, and is described by Morelli^
these chapters are agun deficient, though
enumerated in the index, llie MS. de-
scribed by Morelli is of the seventeenth
century, copied from one in the Imperial
library at Vienna. Morelli was informed
that there were two MSS. in this library,
one of them of the twelfth century and
imperfect, from which that which he
describes was probably taken, the other
of the seventeenth century. When this
note was written it seemed but too pro-
bable that th^ four chapters were totally
lost ; the recent announcement of a new
edition of Theophilus fh>m a < eompUte '
MS. justifies a hope that this is not the
case, and that they will soon be made
public. [This hope was not fulfilled.
The edition announced was that by Mr.
Hendrie, which was soon afterwards
published: "An Essay upon Various
Arts, by Theophilus, called also Rugerus,
Priest and Monk, translated with Notes
by Robert Hendrie. Murray, 1847."
In the MS. from which this edition is
printed the titles of the four chapters
are given in the index, but the chapters
themselves are wanting, and seem to
have been also wanting in the MS.
from which it was copied. Notes to
Book li., p. 163. The completeness of
the MS. has reference to the third book
of the Schedula, The text of the se-
cond does not differ from that which
has been here used.]
After the publication of Lessing's
essay in 1774, those passages of Theo-
philus, which seem to prove the early
practice of oil-punting, attracted much
notice, hut the other parts of the treatise
do not seem to have been equally at-
tended to. Dr. Qessert however has re-
cently [1847] given several extracts
from the second book, in his " History
of Glass-painting."
Of Theophilus himself nothing what-
ever is known except that he was a
priest and monk, "humilis presbyter,
servus servorum Dei, indignus nomine
et professione monachi," as he qualifies
himself in the introduction to the first
book. His coimtry and, what it would
be far more important to ascertain, the
age in which he lived are alike uncer-
tain. With regard to the former it has
been disputed whether he was a Ger-
man or an Italian. M. Guichard thinks
that he was a German : Lessing is also
of this opinion, and conjectures that he
may have been the same with Tutilo,
a monk of St. Gall who lived in the
tenth century, and who besides other
accomplishments was "celator elegans
et pictune artifex." This conjecture,
which has no stronger support than a
supposed identity of the names Tntilo
and Theophilus — ^an identity of which
3 Vide post note. * Vide post note (h).
» Lciwing, Vom Alter der Oelmnhrey H&mmt. Werke 8, p. 361, Berlin, 1792. Dr. Gesaert says
in a hand probably of the seventeenth century.
• Codices MS. Latini Bib. Manians Venet., 1776.
APPENDIX (A;.
353
in lengthy and ten in breathy
in this manner.
Letting himself seems subsequently to
have become less confident — is evidently
entitled to very little weight in deter-
mining the age of Theophilns. Morelli
places him in the twelfth century, but
without any sufficient reason. The gene-
ral opinion, however, is that he wrote
in the tenth or eleventh century. From
this opinion M. Guichard dissents. He
thinks that the treatise was written in
the twelfth or thirteenth century. This
belief he founds on the accordance of
the character and declared objects of the
work with the features by which he
conceives those ages to be distinguished
in the history of art, its revival namely,
its exclusive application to ecclesiastical
purposes, and the increased taste for
splendour in everything connected with
divine worship. Whatever weight there
might otherwise be in this species of in-
ternal evidence, the date of the Wolfen-
bfittel manuscript is a decisive authority
in favour of those who place Theophilus
In the earlier period. This manuscript
is said by both Lessing and Leiste to be
of the tenth or eleventh century, and in
the absence of any better-founded doubts
than those which are cast on their testi-
mony by M. Guichard, we are not justi-
fied in rejecting it.
It is of course essential to M. Gui-
chard's opinion that the antiquity of
the Wolfenbuttel MS. should be dis-
proved, and for this purpose he makes
the following objections to the authority
of Lessing and Leiste. *<£u 1774 le
manuscrit de Wolfenbuttel 6udt selon
Letting du xi* si^e; en 1781 Leiste le
faisait remonter jusqu' an x*
Lessing et Leiste ne desiguent pas les
particularit^t k I'aide desquelles ils ont
fix4 I'Age du manuscrit : il faut que ces
particularites aient 6t6 tr^-l%er^ment
observe puisque pour celui>ci elles in-
diqueut le xi* si&cle, et pour oelui-la le
tudini pedum xv et latitudine
x^ in hunc modum.
X*; enfin Leiste a laiss^ ^happer une
phrase qui inflrme tout k la fois et sa
propre opinion et oelle de Letting. Voici
cette phrase, qu'on nous permettra de
citer textuellement 'Beyde (les manu-
Bcrits de Leipsick et de Wolfenbuttel)
sind in grott Quart auf Pergament ges-
chrieben und gleichen sich sehr in dea
Schriftzugen, so dau man sie wahrsche-
iulich in ein Jahrhundert versetzen
mutt ' or, comme Letting et Leiste da-
tent le manuscrit de Leipsick du xiii*
ou du xiv* si^cle, il resulte de tout ceci
une singularity impossible, c'est a dire,
un livre (le manuscrit de Wolfenbuttel)
^rit au X* si^le aveo I'^criture du
ziv*." A reference to Letting and Leiste
will shew that these remarks are per-
fectly unfounded. Not only is there no
discrepancy between them with regard
to the date of the Wolfenbuttel MS.,
for Leiste speaks of it as of the tenth ot
eleventh century, and Lessing in treat-
ing of its age exprettly says that it has
all the marks which the most rigid con-
noisseur of MSS. of the tenth or the
eleventh century can ever require ^ but,
what is very important, Leiste, in the
passage which is cited as destructive of
the value of his and Letting's opinion,
is not speaking at all of the Leipsig
MS., but is comparing the Wolfenbuttel
MS. with one of Yitruvius in the same
library. This is evident from the sen-
tences which immediately precede and
foUow the above-cited passage. They
are literally as follows, and contain the
first reference which Leiste makes to
the Leipsig MS. «FeUer adds that a
manuscript of it (the treatise of Theo-
philus) exists in the Pauline library at
Leipsig, and it is probably the same
author who (in the Acta Erud. Mem,
Aug. 1690, p. 420) indicates its con-
tents somewhat more exactly though
imperfectly. Thus much, however, may
7 Vom Alter der Oeimalertjf,
A a
354
APPENDIX (A).
First lay foundations on both
sides of the length, one foot
be known from this notice, that this is
the same work which is foand in the
library here (viz. Wolfenbuttel) among
the Qudian MSS. after the Vitmvius.
Both are written in large qoarto, npon
parchment, and resemble each other
very much in the writing, so that they
must probably be placed in the same
centary. Both MSS. indisputably be-
long to the rarest articles in the library
here** Nothing can be clearer than this,
and it perfectly accords with. Lcssing's
account of the MS., who says that it is
among the MSS. of Marquardus Gadius,
and does not form a separate volume,
but is bound up with the MS. of Vi-
truvius.
[Mr. Hendrie places Theophilns in the
early part of the eleventh century, and
looks upon the Vienna MS. of the twelfth
century as the oldest that is known.
For though the date, "the tenth or
eleventh century," assigned by Lessing
and Leiste to the Wolfenbtlttel MS. is
not inconsistent with that which from
internal evidence he gives to the trea-
tise, yet he rejects their testimony to its
Bg^, making the same objections as those
raised by M. Quichard. The MS. from
which Mr. Hendrie's edition is taken is
of the very commencement of the thir-
teenth century. It is among the Harl.
MSS. in the British Museum. £.]
This notice of Theophilus and his work
ought not to terminate without giving
the concluding sentences of the intro-
duction to the first book. Besides shew-
ing the spirit in which the work was
composed, they are remarkable for the
enumeration of the arts for which va-
rious countries were then most cele-
Primum pone fundamenta
in utroque longitudinis latere^
brated, and for the testimony which
they bear to the early excellence of
France, in that art with which we are
at present most concerned. In &ct it
is probable that Limoges, though it can-
not claim the merit of having invented
glass-painting, was the cradle of the art
in the West ^
The passage I have just alluded to is
as follows. " Wherefore, my dearest son,
whom God has herein so highly blessed
that those things are offered to yoa
without price, which many acquire with
intolerable labour, crossing the ocean at
the extreme peril of their lives, suffering
the hardships of hunger and cold, en-
during a long slavery to the learned, and
wearing themselves out with the desire
of knowledge, long for this treatise with
eager eyes, study it with a tenadons
memory, embrace it with ardent affection,
and if you diligently examine it you will
find in it all the knowledge that Greece
possesses in the kinds and mixtures of
colours; Tuscany in inlaid-works, and
the various kinds of niello; Arabia in
malleable, fusible, or chased works ; Italy
in the various kinds of vases, and the
carving, enriched with gold and rilver,
of gems and ivory ; France in the pre-
cious variety of windows; and the skil-
ful Germany in the delicate workman-
ship of gold, nlver, copper, iron, wood,
and stones*; and when you have
repeattdly read all these things, and
have committed them to your tenadons
memory, recompense me for my instruc-
tion, by praying to God, as often as yoa
make a good use of my labours, for His
mercy towards me. He knows that it is
neither from the love of man's applause.
> See Memoirs lUastratiye of Glass-pidnting, p. 217.
* " Qaidquid in dlTersorum oolorum generibos et mixtaiis habet Greda, quidqnid in electro*
rum operositate sen nigelli yarietate novit Tuseia, quidqnid dnctili vel fuaill vel Interrasili opere
distingait Arabia, quidqnid in vasonun diversitate sea gemmarum oaaiumye aenlptura anro et
argcnto inclyta decorat Italia, quidqnid in fenestrarum pretiosa yarietate diligit Franda, quid->
quid in anri, argenti enpri et ferri lignorum lapidnmqne snbtilitate aollen landat Germania.'*— >
Instead of Tuscia—Ruasia, Ruaaeia, Rn«ea, and Rntigia oeonr in the different MSS.
!k
APPENDIX (A).
355
thick, making a firm and level
hearth of stones and clay in
the midst, dividing it into
three equal parts, so that two
thirds be together, and one
third by itself, divided by a
wall placed breadth- wise.
Then make a hole in both
fronts of the breadth, through
which wood and fire may be
put in ; and building a wall all
round, to the height of nearly
four feet, make again a firm
and level hearth throughout
and let the dividing wall rise
a very little [above it.] After
which, make in the larger
chamber four holes in one side
of its length, and four in the
other side through the middle
of the hearth, in which the
working-pots may be placed,
and two holes in the middle^
through which the flame may
ascend; and building up the
wall all round, make two
square windows, one hand in
length and breadth, one in
each of the two sides which
are opposite to the holes,
through which windows the
pots may be put in and with-
drawn with whatever is put
into them. Make also in the
smaller chamber a hole through
nor the desire of earthly reward that I
have written what is herein contained,
and that I have kept hack nothing vain-
able ont of jealousy or envy, but that for
the increase of the honour and glory of
spissitudine pedis unius, faciens
larem in medio firmum et SDqua-
lem lapidibusetargilla, dividens
eum inter tres partes aequales
ita ut du89 partes sint per se,
et tertia per se, divisa muro in
latitudine posito.
Deinde fao foramen in
utraque fronte latitudinis per
quod possint ligna et ignis
imponi, et sedificans murum
in circuitu usque ad latitu-
dinem^ pene quatuor pedum,
fac iterum larem firmum et
eoqualem per omnia, et sine
murum divisionis aliquantulum
ascendere. Post qusB fac in
majori spatio quatuor foramina
in uno latere longitudinis et
quatuor in altero per medium
laris, in quibus ponantur vasa
operis duoque foramina in
medio per qu» flamma possit
ascendere, et sedificans murum
in circuitu, fac duas fenestras
quadras, longitudine et latitu-
dine imius palmi, in utroque
latere contra foramina unam,
per quas vasa imponantur et
ejiciantur cum lus, quae in ilUs
mittuntur. Fao etiam in minori
spatio foramen per medium
laris juxta parietem medium,
et fenestram ad mensuram
palmi juxta parietem frontiB
His name, I have endeavoured to supply
the wants, and have consulted the ad-
vantage of many/'
^ I have translated this word as if it
were a misprint for "altitudinem."
AaS
356
APPENDIX (a).
the middle of the hearth, close
by the middle wall, and a win-
dow of the size of a hand's-
breadth near the outer wall of
the front, through which what
is needed for the work may be
put in and taken out. After
you have thus ordered these
matters, make the inner part
with the outer wall into the
likeness of an arched vault,
internally barely more than
the height of half a foot, so as
to make a hearth at top level
all over, with a ledge placed
round it thr€% fingers in
height, so that whatever is put
upon it belonging to the work
or utensils may not fall.
l^is furnace is called the
working-furnace *.
<^ I have translated this word as if it
were a misprint for "fornicis." [It is
" fornicis" in Hendrie's edition. K.]
' I have endeavoured in vain to form
a satisfactory idea of a working-fdniace
from the above description, the obscurity
of which is so contrary to the usual style
of Tbeophilus, who generally writes like
an eye-witness, and not as a mere com-
piler, that I am inclined to suspect some
alteration or corruption of the text in this
place. 1 have therefore contented myself
with giving above a literal translation of
the original Latin, which is printed in a
parallel column for the satisfaction of
those who may consider farther investi-
gation desirable. No reference is made to
the working-furnace except in the fourth
and last chapters of the second book of
the treatise, and these throw but little
additional light on the subject. [The
description of the furnace in Hendrie's
edition does not differ from the above.
exteriorem, per quam possit
imponi et asaumi quod neces-
sarium est operi. Postquam
EsBC ita ordinaveris, fac partem
interiorem cum muro exteriori
in similitudinem fornacis® ar-
cuarii interius altitudine modice
amplius pedis dimidii, ita ut
superius larem facias sequalem
per omnia, cum labro altitudine
trium digitorum in circuitu
posito, ut quicquid operis vel
utensiliorum superponitur non
possit cadere.
Iste fumus dicitur dibanus
operis.
The fiirnaoe described by Eradios*
"de coloribus et artibus Bomanoram,"
a compilation made apparently about
the middle of the tenth century, [see
Hendrie's Tbeophilus, preface, xiii.], and
printed from a MS. of the thirteenth
century at the end of Baspe's " Essay
on Oil-painting," consisted of three com-
partments [areas] of unequal site. In
the centre, which was the largest com-
partment, the glass was made in two
small pots [mortariola] placed, as it
would appear, on the floor of the fur-
nace, on which also the fire was kindled.
The glass was put into and taken out of
the pots, through an aperture left for
that purpose in each of the outer walls
of the compartment. One of the other
compartments was used for making the
frii; and the other for baking the pots
before they were put into the working-
furnace.
The process of making glass is at tha
APPENDIX (a).
357
CHAPTER II.
OF THB ANNEALING-FURNACE.
Make also another furnace, ten feet long, eight wide, and
four high. Make in one front an opening for putting in wood
and fire ; and in one side a window of the size of one foot, for
putting in and taking out what may be necessary ; and within
a firm and even hearth. This furnace is called the annealing*
furnace J [clibanus refrigerii].
CHAPTER m.
OF THE FURNACE FOB SFREADINQ ; AND THB IMPLEMENTS
FOR THB WORK.
Make yet a third furnace six feet long, four wide, and three
high, and an opening, a window, and a hearth as above [men-
present day conducted on the same prin-
ciple as in the times of TheophiluB and
Eraclina, bnt in much larger and differ-
ently-oonstmcted furnaces. The most
improved form of a modern working-
fnmace, is a circle of about sixteen feet
in diameter, covered by a dome, the
crown of which is raised about five feet
from the floor of the furnace on which
the pots stand. Ten pots, each capable
of containing from eighteen cwt. to a
ton of glass, are placed round the inside
of the furnace, dose to the wall, through
which are holes communicatiug with the
pots. In the middle of the floor of the
furnace is a large grating, which sup-
ports the fire, and admits a current of
air to pass through its bars. Draft holes
opening into flues, are made through the
sides of the furnace near the pots, by
wluch the heat and flames are brought
to act more intensely on the pots and
their contents, and through which the
smoke Ac is carried off*. In general all
these flues open into a huge conical
chimney, bnilt over the fhmace to the
height of eighty or ninety feet; the
chief use of which is to prevent annoy-
ance to the neighbourhood from the
smoke. See a more detailed account of
a modem working-furnace in Dr. Lard-
ner's Cabinet Cyclopaedia, "Porcelain
and Glass Manufacture," p. 155 et seq.
In the JSncyclopcBd, Brit., sixth ed.,
art. " Qlass," a furnace is described nine
feet in diameter, the chief peculiarity of
which is, that the flre is made in a
vaulted chamber, and ascends through
holes in the roof into a vaulted chamber
above, in which the pots for the glass are
placed. The flame and smoke escape
through a hole in the vault of the upper
chamber. This kind of working-furnace,
which appears to bear some similarity to
that mentioned above by Theopbilus, is
I believe now disused. It is almost iden-
tical with one originally described in
Agricola, De JRe MetaUica, a work of
the first half of the sixteenth century.
See Holbach, Art. de la Verrerie, 4to.
Paris, 1752. See also engravings of
glass-furnaces. "Art of Qlass," trans-
lated from the French of H. Blancourt,
12mo. Lond. 1699, pp. 19, 21, 27.
358
APPENDIX (a).
tioned]. This furnace is called the furnace for spreading and
flattening, [clibanus dilatandi et eequandi].
The implements necessary for this work are, an iron tube
two ells long, and of the thickness of an inch ; two pair of tongs
of wrought iron at one end : two iron ladles ; and such other
wooden and iron tools as you please.
CHAPTER IV.
OF THE MIXTURE OF ASHES AND SAND.
These things being thus arranged, take logs of beech-wood
thoroughly dried in smoke, and light a large fire in each part of
the larger furnace [in majori fumo ex utraque parte]. Then
taking two parts of the ashes of which we have spoken above,
and a third of sand, carefully purified from earth and stones,
which sand you shall have taken out of water, mix them to-
gether in a clean place. And when they have been for a long
time and well mixed together, taking them up with an iron
trowel, put them in the smaller part of the furnace, upon the
upper hearth [in minori parte fumi, super larem superiorem],
that they may be roasted [ut coquantur] : and when they have
begun to grow hot, immediately stir them, lest they chance to
melt by the heat of the fire, aud run into balls. Do this for the
space of a day and a night *•
* Contrary to the direction contained
in this chapter the frit is now formed
into a mass; and inch was the more
ancient practice, as appears from Pliny's
account of the mannfactore of ghias —
"Continuis fomacibos, nt r», liquator
masseque fiunt colore pingni nigricantes
. ... Ex massis rursos fonditnr in offi-
dnis ting^itorque. Et aliud ilatn fign-
ratur, aliud tomo teritnr, aliud argenti
modo celatur." And subsequently —
" Arena alba qusD molissima est,
pila molaque teritnr. Dein miscetur tri-
bus partibus nitri pondere vel mensura.
ac liquata in alias fomaoes transfunditnr.
Ibi fit massa, quse vocatur ammonitrum' :
atque hiec recoquitur et fit Titrum pa-
rum, ac massa vitri candidi." — Lib.
xxxyi. oh. 66. It might be inferred from
Eraclius that the same practice obtained
in his time, but on this point his autho-
rity is of no value. This part of his
treatise is copied ahnost verbatim from
Isidore of Seville, and the account of
glass in Isidore is again taken with very
slight variations from Pliny. — Isid. Stjf-
fnolog^ lib. rvi. ch. 16.
1 Ammonitnun ab StmLOi amia, et i^rpov nitrum. Hodie opiflocs Fritta nunoupaat teste
Cn8alpino.~Note to Dolphin Ed. See the neoenity of firittlDg the materials explained in
Merret'i tranalation of Neri, p. 273, and more clearly in Lardner'a "Porcelain and Glaaa
Manufactare."
APPENDIX (A).
359
CHAPTER V.
OF THE WORKING-POTS, AND THE MODE OF FUSING [bT DE
COQUANDO] WHITE GLASS.
Take white clay of which earthen pots are made, dry it, and
pound it carefully, and having poured water upon it, macerate
it strongly with a piece of wood, and make your pots. Let
these be wide at the upper part, and narrow at the lower ; and
have round the mouth, a small lip bent inwards. When they
are dry, take them up with the tongs, and put them into the
openings of the heated furnace adapted for this purpose [in
foramina fumi candentis ad hoc aptata.] Take up with the
ladle the mixed roasted 'ashes and sand, and fill all the pots in
the evening ; adding dry wood during the whole night, in order
that the glass produced by the Aision of the ashes and sand may
be completely fluxed [ut vitrum ex cineribus et sabulo lique-
factum, pleniter coquatur] '•
CHAPTER VI.
HOW TABLES OF GLASS [viTREJB TABUKfi] ARE MADE.
In the morning at the first hour, take an iron tube, and if
you wish to make tables of glass, put the extremity of it into a
pot filled with glass : when the glass adheres to it, turn the tube
in your hand until there is conglomerated round it as much as
you want. Then draw it out, put it to your mouth and blow
gently. Presently remove it from your mouth, and hold it near
your cheek, lest in drawing in your breath you should draw
flame into your mouth. You should have a flat stone before
the window [of the furnace], on which you will gently beat the
hot glass, that it may hang equally on every side ; and imme-
diately and with speed blow frequently, and as often remove
[the tube] from your mouth. When you perceive that the
' The pots generally used at the pre-
sent day are not open, but covered at top,
having only a small ori6ce on one side
through which the glass is pnt in and
taken ont. By this means the contents
of the pots are completely defended from
the dust and dirt of the furnace. A repre-
sentation of a pot is given in Dr. Lard-
ner's Cabinet Cyclopedia, "Porcelain
and Glass Manufacture," p. 159.
36o
APPENDIX (a).
glass hangs like a long bladder, hold its extremity to the flame,
and the end immediately becoming melted a hole will be yisible
in it. Take a piece of wood formed for this purpose, and make
the hole as large as [the bladder of glass] is in the middle, then
join its lips together, viz., the upper part to the lower, so that
on either side of the juncture an opening may be visible. Im-
mediately touch the glass near the tube with a piece of moist
wood, shake it a little, and it will separate [from the tube].
Then heat the tube in the flame of the furnace, until the glass
which adheres to it melts, and quickly put it to the two lips of
the glass which have been joined, and it will adhere to them.
Immediately lift it, and put it in the flame of the furnace imtil
the hole from which you first separated the tube melts. Take
a round piece of wood, and widen this hole as you did the other.
And wrapping the edges of the glass together in the middle
separate the glass from the tube with a piece of moist wood,
and give it to an attendant, who haying inserted a piece of
wood into the opening [inducto Ugno per foramen ejus] will
carry it to the annealing-furnace, which should be moderately
heated.
This kind of glass is pure and white. Work off like portions
of glass in the same manner, and in the same course, until you
have emptied the pots ^.
f The word "table" is applied at the
preeeDt day to any flat sheet of glass.
It ocean in this sense in many of the
statutes which imposed duties on glass,
as for instance, the 2nd and 3rd Wil-
liam lY. c 102, § 16; and the 8rd and
4th Victoria, c. 22, § 3.
The process mentioned in this and the
ninth chapter is very like the modem
method of making glass into cylinders
and opening and flattening it out into
sheets, which has been already briefly
described in a note to the Introduction.
The only part of Theophilus* descrip-
tion which could not easily be reduced
to practice, is that which relates to
pinching the lips of the cylinder to-
gether in the centre of the mouth, in
order as it would appear to ensure a firmer
adhesion of the cylinder to the blow-
pipe, by bringing both its edges in con-
tact with the hot glass at the end of
the rod. If one could without doing
violence to the words, translate the fol-
lowing passages, — "Conjunge oram ip-
sius, superiorem videlicet partem ad infe-
riorem, ita ut ex utraque parte coi\junc-
tionis foramen appareat," — and again«
" et complicans oram ejus in medio * *
as if the lips of the cylinder were merely
approximated, without being actually
brought in contact with each other, the
difficulty would be obviated; but in the
opinion of practical men it would be
almost impossible to separate the edges
of the glass, after they had once been
allowed to adhere together, without
serious injury to the sheet of glass.
The flat stone, "lajndem equalem/*
mentioned by Theophilus upon which
the lump of glass at the end of the blow-
pipe was moulded to proper shape before
APPENDIX (a).
361
CHAPTER VII.
OP YELLOW GLASS.
But if you see [the glass in] any pot change to a yellow
colour, let it continue in fusion [sine illud coqui] until the
third hour, and you will have a light yellow. Work off as
much of this as you want, in the course above mentioned. If
you like, let it continue in fusion [permitte coqui] till the sixth
hour, and you will have a reddish yellow. Make also from this
as much as you please.
CHAPTER VIII.
OP PURPLE GLASS [dB PURPUEEO VITRO].
If indeed you observe that [the glass in] any pot happens to
change to a tan-colour [in fulvum colorem] which is like flesh,
keep this glass for flesh-colour; and taking as much of it as
you want, fuse [coque] the residue for two hours, viz., from the
first to the third hour, and you will have a light purple, [pur-
puream levem]. And again fuse it [coque] from the third to
the sixth hour, and it will be a red and perfect purple [pur-
purea rufa et perfecta] \
it was blown, appears to hare been tn-
peneded by a plate of iron, as early aa
the time of Eraclins. The name he
gives it, "marmor ferri/' clearly indi-
cates the material originally used for
the purpose, of which the modem word,
" marror" is evidently a corruption.
*^ The following receipts for colouring
glass are taken from the treatise of
Eradius before referred to.
If yon wish that the glass may be red
make it thus from ashes which have not
been well roasted. Tbke filings of copper,
bum them till they become powder, and
throw them into the little pot (morta-
riolum), and there will be produced the
red glass which we call galienum.
Oreen gUut you will make thus. Put
into the little pot as much of the same
powder as you think fit, and stir it, and
it will be gpreen.
Yellow (croceum) glass is thus made.
Take raw ashes (dnerem cmdum) and
fuse them, and throw in a little sand
with them, and if I mistake not, a little
powder of copper, and stir them to-
gether, and the yellow glass is produced
which we call cerasin.
Purple and flesh-colour (membrana-
ceum) are made from the ashes of the
beech-tree, which are roasted as the
white ashes, and thrown into the pot,
and fused by boiling (buUiendo) till (the
glass) is turned to a purple colour.
When you see it turn a purple colour
take as much as yon want, and make
the work which you desire, till you see
it turn to paleness. From this pale
362
APPENDIX (A).
CHAPTER IX.
OF SPREADING OUT TABLES OF GLASS.
When you have worked off as much as you can of these
colours, and the glass has been annealed in the furnace [in
eolonr it tarns to another, which is
called membnin.
In this last receipt Eraclins agrees
with Theophilos in representing the
pnrple and flesh-colonrs as being ob-
tained without the addition of any
oolooring matter. For procuring red,
green, and yellow, it will be observed
that he directs the same colouring in-
gredient to be employed.
The analysis of some ancient Soman
coloured glass, given in Lardner's Cy-
dopadia, shews that this is not so
absurd as it may at first appear. The
same ingredients (oxide of copper being
one) were obtained from a piece of red
and a piece of green glass. *' It is re-
markable," observes the author, "that
the constituent ingredients of both these
specimens should prove to be the same.
The difference between them exists only
in their relative proportions; and the
colours depend upon the different degprees
of the oxidation of the copper. Sub-
oxide of copper, that is, copper which
has combined with only half the quan-
tity of oxygen required for the pro-
duction of tiie perfect oxide, produces
a red enamel; while that which has
received its full proportion of oxygen
yields a green enamel colour." — " Trea-
tise on Porcelain and Glass," p. 270.
According to the analyses which have
been made of ancient coloured glass, the
colouring material in red glass was cop-
per, and more rarely iron ^ ; in blue, iron
or cobalt; in yellow, charcoal; and in
green, copper; though some have as-
serted that all the g^dations of red,
blue, and yellow, were obtained from
iron ' . . . This assertion as fSv as middle-
age glass is concerned, is contradicted by
the receipts just given. It seems that
the analyses of ancient glass have not
been made in sufficient number or very
sealously, and this perhaps is the reason
that no satisfiu:tory result has been ob-
tained. But even if an analysis should
succeed in detecting the ingredients
which have been employed, these are
not of themselves sufficient to account
fbr the colours of the glass. A great
deal, especially in variations of tint,
depends on the temperature at which
fusion takes place, the length of time
during which it is continued, and the
thickness and quality of the glass. From
the receipts of Theophilus and Eraclius
1 M. Bomtempii, in the pamphlet to which I have hefore rafeired, Peinture ntr Verrt au xix
tUcle, p. 23, note, relates that daring the French Bevolation, when it waa propoaed to melt all
the ruhy glaaa in the ohorohea, for the sake of obtaining the gold which it was anppoeed to con-
tain, the ohemiat who waa charged to aaoertain by experiment the probable quantity of gold
derivable ftom thia source, on analysing some ruby glaaa, found that the principal colouring
matter waa composed only of a weak proportion of copper and iron. Thus the intended deatme-
tion of the glaaa waa arrested. This fact M. Bontempa girea on the authority of M. d'Aroet.
I should add that to M. Bontempa belongs the honour of having, in 1886, revired the ancient
manufacture of ruby glasa. He noticea In the above-mentioned pamphlet, the streakiness of the
colouring matter of the earlier kinds of ancient ruby ; and ridicules Le Yieil's notion that it waa
eauaed by applying the colour with a brush. M. Bontemps aacribes it to a defect in the manufac-
ture, adding however, that it would be far more difficult to reproduce this streaky ruby, than to
make ruby glasa of an even tint.
* Gessert, OnehiehU der (7to«ma/er«t, p. 66. He adds that yellow had often been produced
merely by stirring the melted glasa oontfaiually with a wooden polo.
APPENDIX (a).
363
fumo refrigeratam], set out your whole work, and light a large
fire in the furnace in which it is to be spread out and flattened.
When this is heated, take a hot iron, and having split [findens]
one side of the glass [cylinder] , lay it [the cylinder] on the
hearth of the heated furnace, and when it begins to soften, take
the iron tongs and a smooth piece of wood, and opening it in
that part in which it is split, spread it out, and flatten it at
it is erident how mnch the old artiBts
relied on the effects produced by the
longer or shorter duration of the fosion.
Not so mnch practical benefit therefore
is to be expected from the employment
of chemical science in the analysis of
old glass, and firom its application to the
production of colours which may rival
the old ones.
Modem blue glass is always coloured
with oxide of cobalt.
The preparation of cobalt is conjec-
tured by Beckman (Hist, of Inventions,
voL ii. p. 353) to have been invented at
the end of the fifteenth century, and its
application to colouring glass to have
taken place about 1540 or 1560, though
he admits that the use of cobalt might
have been known to the ancients, and
the knowledge of it afterwards lost.
The analysis of ancient glass mentioned
by htm produced iron. Dr. Qessert
however mentions that ancient blue glass
from Thebes, from Pompeii, and the
baths of Titus, has yielded ferrugtneous
(eissenschussig) oxide of cobalt. This
would be the same as zafii'e, which is
also termed impure oxide of cobalt, and
contuns both iron and arsenic, and is
the cobalt of commerce.
The fine deep blue on the little porce-
lain fig^ures found with Bgyptian mum-
mies appears from the application of
various chemical tests to have been pro-
duced by oxide of cobalt (Lardner's
Treatise, p. 8), and possibly the imita-
tive glass gems mentioned by Theophi-
lus, chap, xii., were also coloured with
cobalt. The strong colouring power of
this material, one grain giving a fhU
blue to 240 grains of glass ', may have
caused its presence in the latter to
escape detection by the ancient chemists.
The word zaffre is perhaps merely a cor-
ruption of sapphire, and may have ori-
ginated in the use to which the above-
mentioned glass gems called sapphires
were applied.
It seems that the blue with which the
little Egyptian figures in the Museum
of Economic Geology are coated, whether
it be light and of a green hue^ or deep
and of a full blue tint, is composed of
copper. Ex. rel. Prof. Forbes, 1850.
It seems firom Eraclins, § xx., Bfrs.
Merrifield, vol. i. 202, that cobalt was
used to colour glaas blue. See also
" ArchsBological Journal," vol. viii. p. 56,
vol. vii. p. 351.
My friend Mr. C. H. Clarke analysed
in 1853 two pieces of Early English
blue, or rather French grey, glass, and
found one piece to contain protoxide of
iron, tin, and manganese; the other
protonde of iron, tin, and cobalt. Dr.
Medlock in 1851 analysed quantitively,
some deep blue glass of the twelfth cen-
tury, and found it to contain cobalt and
a little copper, and only a trace of iron,
which doubtless was contained in the
sand or other materials of the glass.
See fhrther as to the ancient means of
procuring blue glass, the Mappa Clavi"
cula Arehmologia, voL xxxii., pp. 183,
244. Mr. Hendrie's Translation of Theo.
philus, note to book ii., and Mrs. Merri
field's "Ancient Practice of Painting,
Ixviii.
»
s Aikin't Diet, of Chemistrr and Mineralogy, Art. " Cobalt."
364 APPENDIX (A).
pleasure with the tongs. When it is quite flat, take it out and
BO place it in the annealing-iiimace, which has been moderately
heated, that the table [of glass] do not lie down, but may stand
against the wall of the furnace. Place next to it another table
flattened in the same manner, then a third, and so all the rest.
When they are cold, use them in the composition of windows,
dividing [findendo] them in pieces as you wish*
CHAPTER X.
HOW GLASS VESSELS ARE MADE.
When you are going to make glass vessels, make glass in the
order above mentioned, and when you have blown it to the size
you wish, do not make a hole in the bottom as above directed,
but separate it entire from the tube, with a stick dipped in
water, and immediately, having heated the tube, make it adhere
to the bottonL Raise the vessel, heat it in the flame, and with
a round piece of wood enlarge the opening from which you have
separated the tube. Form and widen its mouth at pleasure,
and enlarge the bottom of the vessel round the tube, that it
may be hollow at its lower extremity. If you wish to make
handles to it, by which it may be suspended, take a thin iron,
plunge it up to the end in a pot of glass, and when a little
adheres to it, take it out, and put it on the vessel in whatever
place you please, and when it adheres, heat it in order that it
may stick firmly. Make thus as many handles as you please,
holding the vessel in the meantime near the flame so that it
may be hot, without however being melted. Take also a little
glass from the furnace, so as that it may draw a thread after it,
and laying it upon the vessel where you wish, wind it round it,
[holding it] near the flame so that it may adhere. This done
you will remove the tube according to custom and put the
vessel into the annealing-furnace. In this manner you can
work off as much as you want.
APPENDIX (a).
365
CHAPTER XI.
OF BOTTLES WITH LONG NECKS.
If you wish to make bottles with long necks, thus do. When
you have blown the hot glass in form of a large bladder, stop
the hole of the tube with your thumb in order that the wind
may not escape, swing the tube with the glass that is appended
to it beyond your head, as if you intended to throw it, and the
neck haying been stretched out in length by this action, raise
your hand high, and let the tube with the vessel hang down-
wards in order to straighten the neck. Then separate it with
a wet stick, and put it into the annealing-furnace.
CHAPTER XII.
OF THE DIFFERENT COLOUBS OF GLASS.
There are found in the ancient buildings of the pagans, in
mosaic work, different kinds of glass ; yiz., white, black, green,
yellow, sapphire [saphireum], red, purple, and the glass is not
transparent, but dense like marble. They are as it were small
square stones, from which are made works inlaid (electra) in
gold, silver, and copper ; concerning which we shall speak suf-
ficiently in their place. There are also found various little ves-
sels of the same colours, which the French, who are very skilful
in this manufacture, collect : they fuse the sapphire [saphireum]
in their furnaces, adding to it a little [modicum] clear and
white glass, and they make tables of sapphire, which are pre-
cious, and useful enough in windows, [tabulas saphiri pretiosas
ac satis utiles in fenestris]. They make tables of purple and
green in like manner K
^ The manufacture of thefe imitation
glass gems is mentioned in the following
passage in Pliny, — " Fit et tinctune ge-
nere obsidiannm ad escaria vasa, et totum
ruhens vitrum, atque non transluccnsy
hfematinon appellatum. Fit et alhum, et
murrhinum, aat hyacinthos, sapphiros-
que imitatum, et omnibus aliis coloribus."
— Lib. xzxvi. c. 67. See further as to
these ooloun, aiUe, note to chap. viii.
The signification of the word " elec-
trum" is adopted from the French trans-
lation. The word occurs in other parts
of the treatise, and Theophilus appears
to have used it to signify the stones, or
enamels, which are found in the reli-
quaries, crosses, &c., of the Middle Ages.
In one place he seems to mean amber
The French translator justifies his inter-
pretation by a note, which is too long to
be inserted here.
366 APPENDIX (A).
CHAPTER XIII.
OF GLASS DRINKINO-BOWIJS, WHICH THB GREEKS DECORATE
WITH GOLD AND SILVER.
The Greeks indeed make of the same sapphire stones [ex
eisdem saphireis lapidibus] precious bowls for drinking out of,
decorating them with gold after this manner. They take gold-
leaf^ of which we have spoken above ''^ and form out of it figures
of men or birds, beasts or leaves, and lay them with water on
the cup in whatever place they please. This gold-leaf ought to
be rather thick. Then they take very clear glass, like crystal,
which they themselves make, and which melts as soon as it feels
the heat of the fire. They pound it carefully with water on a
porphyry stone, and lay it with a brush very thinly all over the
gold-leaf. When it is dry they put it into the furnace in which
the painted glass for windows is burned, — of which we shall
speak hereafter \ — putting under it [supponentes] fire and logs
of beech- wood, thoroughly dried in smoke. When they perceive
that the fire so far penetrates the bowl that it acquires a mode-
rate degree of redness, they immediately take out the wood, and
stop up the furnace till it cools of itself, and the gold will never
separate.
CHAPTER XIV.
THE SAME BY ANOTHER METHOD.
They do it also in another way. Taking gold, ground in
a mill, such as is used in books ™, they mix it with water, —
they do the same with silver, — and make with it circles, and
within these, figures, or beasts, or birds, in varied workmanship,
coating them with the very transparent glass of which we have
spoken above.
They then take white glass, and red, and green, which is
used in inlaid works [electra], and pound each by itself on
a porphyry stone carefully with water, and paint with it little
^ In the first book of the treatise. ^ PoH, chapter xxiii.
"* Chapter xxzi. book i., of the treatise.
APPENDIX (a). 367
flowers, and knotSi and other minute objects as they please in
varied workmanship between the circles and knots, and a border
roand the lip of the vessel. This painting is laid on of a mo-
derate thickness, and is burnt in the furnace in the way above
mentioned.
They make also bowls of purple, or light sapphire [levi sap-
phire], and phials with moderately long necks, surrounding
them with threads made of white glass, and giving them handles
of the same material. They vary also their different works with
the same colours at pleasure.
CHAPTER XV.
OF GREEK GLA.SS, WHICH ORNAMENTS MOSAIC WORK.
They make also in the same manner as window glass, tables
of clear white glass, a finger thick, and divide them with a hot
iron into minute square morsels. They cover them on one side
with gold-leaf, and spread over it the very clear glass, pounded
as above mentioned. They place the pieces of glass together on
an iron plate, — of which we shall speak a little lower down ^ —
which is covered with lime or ashes, and bum them in the fur-
nace for window-glass as above mentioned. Mosaic work is
very much embellished by the intermixture of glass of this
kind.
CHAPTER XVI.
OF EARTHEN VESSELS FAINTED WITH DIFFERENTLY COLOURED
GLASS.
They make also open dishes [scutellas], incense-boxes [navi-
cula], and other useful vessels of earthenware, which they paint
in this manner. They take colours of every kind, and pound
each separately with water, and with each colour they mix a
fifth part of glass of the same colour, pounded by itself exceed-
ingly fine with water. With this they paint circles or arches,
or squares, and within them beasts, or birds, or leaves or any-
° Pott, chapter zxiii.
368 APPENDIX (a).
thing else they please. After these vessels have been thus
painted, they put them into the furnace for window-glass, ap-
plying below [adhibentes inferius] fire, and logs of dry beech-
wood, until the vessels being surrounded with flame acquire a
white heat. Then taking out the wood, they close up the fur-
nace as before mentioned. They can also, if they wish, decorate
the same vessels in places with gold leaf, or with ground gold
and silver, as above mentioned.
CHAPTER XVII.
OP THB MAKING OF WINDOWS.
When you desire to construct glass windows, first make your-
self a smooth wooden board of such length and breadth that
you can work on it two panels [partes] of each window ^. Then
take chalky and scraping it with a knife over the whole table,
sprinkle water thereon in every part, and rub the table entirely
over with a cloth. When it is dry, take measure of the length
and breadth of one panel [unius partis] of the window, describe
it on the table by rule and compass, with lead, or tin. If you
wish to have a border in it, draw it of such a breadth as pleases
you, and with such workmanship as you wish. This done,
draw as many figures as you like, first with lead, or tin, then
in the same manner with a red, or black colour, making all the
strokes carefully, because it will be necessary when you shall
have painted the glass to join the shadows and lights [on the
different pieces of glass] according to [the plan of] the board.
Then arrange the various draperies, and mark down the colour
of each in its place, and whatever else you wish to paint ; mark
the colour by a letter. After this take a small leaden vessel^
and put in it chalk pounded with water ; make yourself two
or three hair pencils, viz., of the tail of a martin, or ermine, or
squirrel, or cat, or of an ass's mane. Take a piece of glass of
whatever kind you please, which must be every way larger
than the place it is to occupy, and lay it flat on this place.
When you have seen the strokes on the board through the
^ Theophiliu^ reason for making the board twice the size of the picture is giTea
Bubseqnently in chap, xzvii.
APPENDIX (A).
369
glass, draw with chalk upon the glass the outer strokes only,
and if the glass should be so dense that you cannot see the
strokes on the board through it, take a piece of white glass and
draw on that, and when it is dry lay the opaque glass upon the
white, raise it against the light, and draw on it what you see
through it. In the same manner you will mark all kinds of
glass, whether for the face, or the drapery, hands, feet, or
border, or wherever you wish to place colours.
CHAPTER XVIII.
OF DIVIDING GLASS.
Afterwards heat in the fire the dividing-iron, which should
be thin in every part, but thicker at the extremity. When it is
red-hot in the thicker part apply it to the glass which you
wish to divide, and soon the beginning of a crack will appear.
If the glass should be hard, moisten it with saliva with your
finger in the place where you had applied the iron. As soon
as it is cracked, draw the iron in the direction in which you
wish to divide the glass, and the crack will follow the iron.
All the pieces having been thus divided, take the growing iron p
[grosarium ferrum] which should be a palm long, and bent
back at each end, with which you can smoothen and fit to-
gether [conjunges] all the pieces, each in its place. These
things having been thus arranged, take the colour with which
you are to paint the glass, which you are to compose in this
manner.
CHAPTER XIX.
OF THB CX)LOUR ViriTH V^^HICH GLASS IS PAINTED.
Take copper, beaten small, and bum it in a small iron pipkin
imtil it is entirely pulverized. Then take pieces of green glass
p In the before-mentioned account
rollfl given in Smith's "Antiquities of
Westminster," the tool used by the
glaziers for breaking the glass and work-
ing it to shape is called "croisour,"
croysour," or "gioysour." The mo-
te
dern term is ** grosing iron." In French
it is called "gresoir." A representa-
tion of one is given in Le Vieil, plate 7,
fig. 8, and grosing irons are borne as
a charge in the arms of the Glaziers'
Company.
Bb
370
APPENDIX (a).
[viridis vitri] and Greek sapphire [saphiri GreciJ, and poand
them separately between two porphyry stones. Mix the three
ingredients together in the proportion of one third powder, one
third green glass, and one third sapphire. Pound them to-
gether on the same stone with wine or urine very carefully, put
them into an iron, or leaden vessel, and paint the glass with
the utmost care, according to the strokes which are upon the
board. If you wish to make letters on the glass, you will cover
those parts of the glass entirely with the same colour, and
write the letters with the handle of the brush.
CHAPTER XX.
OF THE THREE OOLOURS FOR THE LIGHTS IN GLASS [D£ COLORI^US
TRIBUS AD LUMINA IN VITRO],
If you are diligent in this work, you can make the lights and
shadows of the draperies in the same manner as in a coloured
painting [sicut in pictura colorum]. When you have made
the strokes in the drapery with the aforesaid colour, spread it
with a brush in such a manner that the glass may be clear in
that part in which you are accustomed to make a light in
a picture, and let the same stroke be dark [densus] in one part,
lighter in another, and again yet lighter, and distinguished
with such care that it may appear as if three shades of colour
had been applied [to the glass] ^. This order you should
observe, below the eyebrows, and round the eyes, and nostrils,
and chin, and round the faces of young men, round the naked
feet and hands, and other members of the naked body. And
4 The process of smear shading is
here very accurately descrihed. I sp-
prehend that Theophilns, in speaking of
three gradations of tint in the shadow,
only thereby means that the wash of
colour should not be left of equal denrity
throughout, but shonld be softened off
towards the edges of the shadow with
the brush. His directions in this re-
spect, however, did not continue to be
complied with, for nearly all the shadows
that I have examined in Early English
glass-paintings are of uniform depth in
their whole extent Experience pro-
bably shewed that the effect produced
by a more finely finished shadow, was
not commensurate with the labour of its
execution. In lar^e figures belonging
to the Decorated, as well as the Early
English style, shadows executed accord-
ing to Theophilus' method, may occa-
sionally be met with.
APPENDIX (a). 371
thus let the gla,ss-painting have the appearance of a painting
composed of a variety of colours.
CHAPTER XXI.
OF THE ORNAMENTINa OV A PICTURE IN GLASS.
Let there be also some ornament on the glass, viz., in the
draperies, in the seats [sedibus], and in the grounds [iu cam-
pis]; on the sapphire [saphiro], on the green and white, and
the bright purple coloured glass. When you have made the
first shadows in draperies of this kind, and they are dry, cover
the rest of the glass with a light colour, which should not be so
deep as the second tint of the shadow, nor so light as the third,
but a medium between the two. This being dry, make with
the handle of the brush near the shadows which you first made,
fine strokes in every part, so as to leave between these strokes
and the first shadows fine strokes of that light colour. On the
remainder of the glass make circles and branches, and in these,
flowers and leaves in the same manner in which they are made
in illuminated letters [in litteris pictis] : but the grounds,
which in the letters are filled with colours, you ought in glass
to fill with the most delicate little branches. You can also in
the circles sometimes insert small animals, and little birds and
insects, and naked figures. In the same manner you can make
grounds on the clearest white glass. You should clothe such
figures as you place on this [white] ground with sapphire [sa-
phiro], green, purple, and red; but on grounds of sapphire
[saphiri] and green colour painted in the same manner [as
before mentioned], and on red grounds not painted, make
the draperies of clear white, than which kind of drapery
none is more beautifuL In the borders, paint with the three
before-mentioned colours, branches and leaves, flowers and
knots, according to the process above described ; and use the
same colours in the faces of the figures, and in the hands and
feet and naked limbs throughout, instead of that colour which
in the preceding book is called Pose. You should not make
Bb2
372
APPENDIX (A).
much use of yellow glass in the draperies, except in the crowns,
and in those places where gold is to be placed in a picture ^
These things having been all arranged and painted, the glass
is to be burnt [coquendum], and the colour fixed [confirm-
andus] in a furnace, which you will thus construct.
CHAPTER XXII.
OF THE FURNACE IN WHICH GLASS IS BURNT.
Take flexible twigs, fix them in the earth, in a corner of
the house, by each end, equally, in the form of arches ; which
arches ought to be a foot and a half high, and of like width,
but a little more than two feet long. Then strongly knead
clay with water and horse-dung, in the proportion of three
parts of clay and one of dung. This mixture having been
very well kneaded, mix with it dry hay. Make the composi-
tion into cylindrical lumps, and cover [with it] the arch of the
twigs, both within and without, to the thickness of your fist ;
and in the middle of the top leave a round hole through which
you can put your hand. Make yourself also three iron bars,
a finger thick, and long enough to run across the width of
the furnace. Tou can make three holes in each end of these
bars, in order that you may, when you please, put them in
' In the first part of this chapter the
process of ornamenting glass with diaper
patterns is descrihed.
It is worthy of ohsenration that the
recommendation not to diaper red glass,
which seems to be conveyed in the text,
is to a certain extent in accordance
with the practice of the medieval glass-
painters ; red glass, especially when nsed
in draperies, at no time being so com-
monly diapered as glass of other co-
lours.
Some excellent hints relating to the
arrangement and disposition of colours
are also given above. One of the most
valuable is that which regards the re-
stricted employment of yellow glass, the
lavish use of which is one of the vices of
modern glass-paintings.
The following account of the colour
called "Pose," is taken from the third
chapter of the first book of Theophilus*
treatise, entitled, De Poseh primo,
" When you have mixed flesh-colour,
and covered the faces and naked bodies
with it, mix dark green and red, — which
is obtained by burning ocre, — and a little
cinnabar, and make ' posch,' with which
you will mark the eyebrows and eyet»
the nostrils and mouth, the chin, the
little hollows about the nostrils and tem-
ples, the wrinkles on the forehead and
neck, and the roundness of the face, the
beards of young men, and the joints of
the hands and feet, and all the limbs
which are distinguished in a naked
body.'
»
APPENDIX (A).
373
and withdraw them [from the furnace]. Then pat fire and
logs of wood into the furnace until it is dried.
CHAPTER XXIII.
HOW GLASS IS BURNT [cOQUATUr].
In the mean time make yourself an iron plate [tabulam] less
both in length and breadth by two fingers than the measure of
the interior of the furnace. On this sift dry quick-lime, or
ashes, to the thickness of a straw, and press them down [com-
pones] with a smooth piece of wood, that they may lie firmly.
The plate should have an iron handle, by which it can be car-
ried, and put in and drawn out [of the furnace] . Lay upon
it the painted glass carefully, and together [conjunctum], so
that the green and sapphire glass [saphirum] may be placed
on the outer part [of the plate], near the handle; and on the
inner part of the white, yellow, and purple, which are harder
and resist the fire [longer]. Then haying inserted the bars,
place the plate upon them. Then take logs of beech-wood
well dried in smoke, and light a moderate fire in the furnace,
and afterwards increase it with the utmost caution until you
see the flames ascend on every side between the plate and the
furnace, and turn back, and cover the glass by passing over
it, and as it were licking it, until it becomes a little white
with heat. Then immediately take out the wood, stop the
mouth of the furnace carefully, as well as the hole at top, by
which the smoke used to escape, until it cools of itself. The
lime and the ashes on the plate serve to preserve the glass
from being broken to pieces on the bare iron by the heat.
Having withdrawn the glass, try whether you can scrape off
the colour with your nail, if you cannot, it is sufficient : but
if you can, put the glass into the furnace again*. All the
■ I have never met with any ancient
glam-painting tbe enamel brown of which
might not be wratched off in places,
either with the point of a penknife, or
the sharp angle of a broken piece of
glass. But this softness of the enamel
I am inclined to ascribe rather to the
effect of decomposition, than of insaffi-
cient baming. In some Early English
glass-puntings, the whole surfoce of tbe
glass is so decomposed, that the enamel
brown will readily chip off, along with
portions of the glass, on being scratched
with the finger nail.
374 APPENDIX (a).
pieces of glass having been burned in this manner^ replace
them on the board each in its own place. Then cast rods of
pure lead in this manner.
CHAPTER XXIV.
OF THE IRON MOULDS.
Make yourself two irons two fingers broad, one finger thick,
and an ell long. Join them at one extremity like a hinge, in
order that they may keep together, being fastened by a nail, so
as to be able to open and shut. At the other extremity make
them a little broader and thinner, so that when they are shut
together, there may be, as it were, the beginning of a hollow
within. Let the outer sides be parallel, and you should so fit
the irons to each other, with a plane and a file, that [when
closed] no light shall appear between them. After this sepa-
rate them from each other, and taking a rule, make in the
middle of one of them two lines, and opposite, two lines in
the middle of the other from top to bottom, of little width.
Hollow these [lines] out with the tool used for hollowing
candlesticks and other cast metal works, as deeply as you wish.
In each iron scrape a little between the lines made with the
ruler, in order that when you pour the lead into them, it may
form only one piece. You must form the mouth into which
you pour the lead in such a manner that one part of the iron
may fit into the other, so that during the pouring it may not
be unsteady.
CHAPTER XXV.
OF CASTING THE RODS [D£ FUNDENDIS CALAMIS].
After this make yourself a hearth on which to cast lead, and
in the hearths a pit, in which you can place a large earthen-
ware pot, which you should line within and without with clay,
kneaded with dung, in order that it may be stronger. Light
a large fire upon it. When the pot is dry, put lead upon the
fire in such wise within the pot that when it is melted it may
run into the pot. Then opening the iron mould [in which
APPENDIX (A).
375
the rods are to be cast], place it on the coals^ that it may be-
come hot. You should have a piece of wood an ell long, which
at one end where it will be held by the hand, should be round,
but at the other flat, and four fingers broad. In this end there
should be a hole cut across to the middle, according to the
breadth of the iron ; in which incision you will place the hot
iron closed. You should hold the iron by the upper part,
your hand being slightly bent, in such a manner that with
its lower end it may rest on the ground. Having taken a
small iron pipkin, heated, take up in it some of the melted
lead, and pour it into the iron, and immediately replace the
pipkin on the fire that it may continue hot. Throw the iron
on the ground disengaged from the wood ; open it with a knife,
and having taken out the [leaden] rod, shut the iron again,
and replace it in the wood. If the lead will not flow to the
bottom of the iron, pour it again into the iron, having pre-
viously heated the iron better. And thus continue to heat the
iron imtil it will allow itself to be quite filled with lead : be-
cause if the iron is of an equal temperature you can cast with
one heating more than forty rods \
CHAPTEE XXVI.
OF WOODEN MOULDS [dB LIGKEO INFUSORIO].
But if you have no iron, take a piece of fir or other wood
which can be evenly split, of the same length, breadth, and
thickness, as above [mentioned]. Having split it make it
round on the outside ; then make two small marks on the
outside at each end of each face of the wood, according to the
breadth vou wish the rod to be in the middle. Take a line,
[made of] a thin twisted thread, soak it in some red colour,
and having separated the pieces of wood, apply the thread on
the inside from the mark which you have cut in the upper
* The process described in this and
the preceding chapter is almost identical
with tiie casting of the leaden rods at
the present day, which are reduced to
proper dimensions by being passed be-
tween two rollers. Kepreseiitations of
the instmments nsed for these purposes
are given in Le Vieil, plates 7, 8, and 9.
See further remarks on the form and
width of leadsy Introduction, p. 31,
note (k).
376
APPENDIX (a).
part, down to the lower mark, so that it may be stretched
tight. Then apply the other piece of wood^ and press both
strongly together, so that when they are separated, the colour
may shew itself on both pieces [of the wood]. Take out the
thread, and having again wetted it in the colour, fix it in the
other mark, and again lay the other piece of wood on it, and
press. When the colour appears on both sides, cut a hollow
[calamum] with a knife, as wide and as deep as you wish,
but so that the groove go not to the extremity of the wood,
but only have an aperture at top, where you are to pour in
[the lead]. "Which having been done, join the pieces of wood
together, binding them with a thong of leather from top to
bottom. Hold them with another piece of wood, and pour
the lead in, and having untied the thong take out the [leaden]
rod. Bind it again and pour lead again into the wood, and
this do until the charring extend to the end of the groove.
So afterwards you may pour in [lead] lightly, as often and
as much as you want. When you see that you have rods
enough, cut a piece of wood, two fingers broad, and as thick
as the rod is broad within: divide it in the midst, so that
on one side it may be whole, and in the other there may be
an incision in which a rod may be laid. Having placed the
rod in the cleft, cut it on both sides with a knife, and plane
and scrape it as you think fit.
CHAPTER XXVII.
OP PUTIING TOGETHER AND SOLDERING WINDOWS.
•
These things having been thus completed, take pure tin and
mix with it a fifth part of lead, and cast in the above-mentioned
iron or wood, as many rods of it as you want ; with which you
will solder your work. You should have also forty nails, one
finger long, which should be at one end slender and round, and
at the other, square and perfectly curved, so that an opening
may appear in the middled Then take the glass which has
" These nails seem from the above de-
scription to have been formed like a com-
mon wire skewer. In the account roll.
25 Edward III. (see Smith's <' Antiq. of
Westminster," p. 197,) is a charge of
Is. 6d. for " 200 of cloiryng nails, bought
APPENDIX (A).
377
been painted and burnt, and place it according to its order on
the other part of the board on which there is no drawing.
After this take the head of one figure, and surrounding it with
lead, put it back carefully in its place^ and fix round it three
nails with a hammer adapted to this purpose. Join to it the
breast and arms^ and the rest of the drapery ; and whatever
part you join, fix it on the outside with nails that it may not
be moved from its place. You should then have a soldering
iron, which ought to be long and thin, but at the end thick
and round, and at the extreme end of the roundness, tapering
and thin, filed smooth, and tinned. Place this in the fire. In
the meanwhile take the pewter rods which you have cast, cover
them with wax on all sides, and scrape the surface of the lead in
all those places which are to be soldered. Having taken the hot
iron, apply the pewter to it wherever two pieces of lead come
together: and rub with the iron until they adhere to each
other. The figures having been fastened^ arrange in like man-
ner the grounds of whatever colour you wish, and thus piece by
piece put the window together. The window having been
completed and soldered on one side, turn it over on the other,
and in the same manner by scraping and soldering, make it
firm throughout^.
to keep the glass together till it was
joined." Nails are still used by glaziers
for this purpose.
▼ In Smith's *' Antiquities of West-
minster/' Lond. 1807, p. 191, et seq.
many entries are given from the account
rolls, chiefly of the 25th Edward III.,
relating to the expenses incurred in
glazing the windows of St Stephen's
Chapel, Westminster. These entries,
especially when read in connexion with
Theophilus* treatise, throw so consider-
able a light on the process of glass-paint-
ing, and glazing in general, as practised
in the reign of Edward III., that I have
been induced to give here some extracts
from them.
Amongst these entries occur the prices
paid for divers quantities " of white, red,
blue, and azure-coloured glass ; for small
bars called sondlets to hold the glass in
the windows ; for a long bar for a stan-
dard in a window ; for a cord to draw up
the panels of glass; for nails to fasten in
the glass ; for cervis [qu. cerevisia, ale
or wort] bought as well for the washing
of the tables of glass, as for the cooling
of the glass;" or, as it is elsewhere ex-
pressed, " for the washing of the tables
for drawing on the glass ; for croysours,
bought to break and work the glass; for
cloryng nails to keep the glass together
till it was joined ; for suet for the solder-
iug of the glass windows ; for filings to
make solder; for tin for leading the
glass; for wax for the glaziers; fornlver
filings for painting the glass for the
windows of the chapel; for amement,
rosyn, and geet for the painting of the
glass."
It will be observed that "wax" and
"tin" are mentioned by Theophilus,
378
APPENDIX (a).
CHAPTER XXVIII.
OF PLACING GEMS ON PAINTED GLASS.
In the figures of windows, if indeed you wish to make on the
painted glass, in the crosses, in the books, or in the ornaments
of the draperies, gems of another colour, without lead, viz., hya-
chapters xxvii. and xyiii., as used in
soldering the glass ; and " nails'* to hold
it in its place till soldered : and a "gros-
ing iron" to work the glass into shape.
Other entries relate to wages paid,
^for grinding colours for the painting
of the glass; for grinding geet, and ar-
nement, for the painting of glass; for
new washing and whitening the glaziers'
tahles anew ; for washing the tahies for
drawing on the glass; for drawing and
painting on white tahles several draw-
ings for the glass windows of the chapel ;
for working on the catting and joining
the glass for the windows ; working on
the glazing of the windows ; joining and
cooling the glass for the windows; hreak-
ing and joining the glass upon the painted
tables; to two glaziers' boys, working
with the glaziers on the breaking of the
glass ; to the glaziers joining and hying
the glass for the window; laying glass
for the quarrels^ of the windows; laying
glass on the tables and painting it."
To the smith, '* for mending the croy-
sours for the glaziers;" to the " scaffold-
maker, making a scaffold for raimng the
glass of the panels of glass in the win-
dows of the chapel ;" to " a glazier going
with the king's commission into Kent
and Essex, to procure glaziers for the
works of the chapel." To another man
"for going on the business of procuring
glass;" and to another, " for being em-
ployed on the providing of glass for the
chapel."
It appears then, that as recommended
by Theophilus, chap, xvii., the designs
for the glass were made on white table*,
and that these designs were afterwards
washed off the tables to make way for
fresh designs. The practice of destroy-
ing old designs to make room for new
ones, seems to have been followed by the
masons also, see "Archaeological Jour-
nal," No. 13, p. 14, which, as is there
suggested, may account for the few ori-
ginal designs which have been preserved.
Dr. Henry conjectures, see Henry's
"Hist, of England," vol. x. p. 112, that
the fifly-three deUneations illustrating
the history of the Earl of Warwick, by
John Rouse, who then resided at War-
wick, contained in a MS. in the British
Museum, (MSS. Cotton, Julius £. IV.,}
which have been published by Mr. Strutt,
are the very patterns which were de-
livered to John Prudd to be painted on
the windows of the Beauchamp Chapel,
or that these delineations were copied
from the windows after they were
painted. I have had no opportunity of
comparing these delineations with the
remains of the glass in the chapel win-
dows, but there is nothing in their de-
sign which would render them unfit
subjects for a painted window.
The meaning of the phrase " breaking
and joining the glass," cited above, may
be gathered from chapter xviii. of Theo-
philus' treatise. And from the mention
of "cervis to cool the glass," it seems
that it was used to wet the glass, and
make it crack, after it had been heated
with the hot iron, called by Theophilus,
the "dividing -iron.'
*>
1 Quarry, or quarel, bb applied to glara, Bigniflefi properly a pane cut in tbe shape of, or placed
as a lozenge. The word is most prohably derived from the old French, quarel, quareau, quariau,
Iko., [low Latin qnarellus, qnadrellaa, fjrom quadrum,] a word applied to seTeral square or four-
sided objects, and having many of the signiflcatioiis of the modem French, carreau.
APPENDIX (a). 379
cintlis [iacinctos]^ and emeralds, do thus. When you shall have
made in their places crosses in the glories, or on a book, or
ornaments in the borders of draperies, which in a picture are
made of gold or orpiment, let these in windows be made of clear
yellow glass. When you have painted these in the way prac-
tised [opere fabrili], select the places in which you wish to put
stones, and having taken pieces of clear sapphire, make of them
hyacinths, according to the number of the places they are to
occupy ; and make of green glass, emeralds ; and so arrange
them that there may always be an emerald between two hya-
cinths. These being carefully brought together and fixed in
their places, draw with a brush a thick colour round them, in
such a manner that none shall flow between the two pieces of
glass. Then bum them with the other pieces in the furnace
and they will adhere to each other so as never to fall off ^.
CHAPTER XXIX.
OP SIMPLE WINDOWS [dB SIMPLICIBUS FKNKSTRls].
If indeed you wish to compose simple windows, first make on
a wooden board the measure of the length and breadth. Then
draw knots, or anything else you please, and having determined
the colours to be inserted, cut glass and fit it with the grosing
iron [grosa conjunge], and having applied the nails, surround it
with lead and solder it on both sides. Place around it pieces of
wood strengthened with nails, and fix it where you wish \
CHAPTER XXX.
HOW A BROKEN GLASS VESSEL HAT BE MENDED.
If by chance a glass vessel of any kind faU, or is struck, so as
to be broken or cracked, let it be repaired as foUows. Take
ashes and sift them carefully, macerating them with water, and
fill therewith the broken vessel, and place it in the sun to dry.
When the ashes are entirely dry, join the broken part of the
vessel, taking care that no ashes or dirt remain in the joining.
^ See Introdoction, p. 32, note (k). l to the formation of geometrical patterna
* It is dear that this chapter relates I of plain white and coloared glass.
380 APPENDIX (A).
Take sapphire and green glass, which should be made to liquefy
Tery slightly by the heat of the fire. Pound it carefully with
water on a porphyry stone, and with a pencil draw a thin stroke
of it over the fracture. Then place the vessel on the iron plate,
raise a little that part of the vessel in which the fracture is, so
that the flame may equally pass over it. Place it in the furnace
for windows, putting under it logs of beech-wood and fire, by
degrees, until the vessel becomes hot, as well as the ashes in it :
then immediately augment the fire that the flame may increase.
When you perceive that it is almost red hot, take out the wood,
and carefully stop up the mouth of the furnace, and the hole
above, until it is cool within. Then withdraw the vessel, re-
move the ashes without [using] water, and then wash it and
put it to such uses as you wish.
CHAPTER XXXI.
OF RINGS.
Rings are also made of glass, in this manner. Construct
a small furnace in the way before described, then take ashes,
salt, powder of copper, and lead. These things having been
prepared, choose such colours of glass as you wish, and having
placed underneath fire and wood, fuse them. In the mean-
while provide yourself a piece of wood a palm long, and a finger
thick : on one third part of the wood place a wooden roller
a palm long, in such a manner that you may be able to hold
the other two parts of the wood in your hand. The roller also
should remain above your head, firmly attached to the wood,
and a third part of the wood should shew itself above the roller.
The wood [of the roller] should be cut thin at the top, and so
joined with a piece of iron as a spear is joined with its point.
The iron should be a foot long, and the wood [of the roller]
should be so inserted in it, that at the juncture the iron should
be equal [in size] to the wood, and from that place shoidd be
drawn out thinner even to the end, where it should be quite
sharp. Near the window of the furnace, on the right, — that is,
on your left, — let there stand a piece of wood of the thickness
of a man's arm, stuck in the ground, and reaching as high as
the top of the window : but on the left of the furnace, — that is.
APPENDIX (A).
38t
on your right, — near the same window, let there stand a little
trough made in a piece of clay. Then the glass having been
fused, take the wood with the roller and the iron, which is
called a spit [veru], and plunge the end of the iron into a pot
of glass ; and drawing out [of the pot] the little glass that
adheres to the iron, thrust the iron strongly into the wood
[which is stuck into the ground], that the glass may be pierced
through. Immediately heat the glass in the fire, and strike
the iron against the wood twice, that the glass may be opened
wide, and with quickness turn your hand with the iron that the
ring may be enlarged into a round ; and thus turning it, make
the ring descend even to the roller, that it may become of
equal shape. Immediately drop the ring into the little trough,
and work off in the same manner as much as you want.
If you wish to vary the rings with other colours, when you
have taken the glass and pierced it through with the thin iron,
take from another pot, glass of another colour, surrounding
the glass of the ring with it, as with a thread. Then having
heated the ring in the flame as above [mentioned], complete
it in the same manner. You can also place on the ring glass
of another kind, as a gem, and heat it in the fire, so that it
may adhere y.
Theopliilus does not describe tbe making of sheets of glass otherwise than
in cylinders. The chapter however which appears to have treated of the
manufacture of ruby glass is lost. That the art of flashing glass is of con-
f The instrnment called veru above
described, appears to have connBted of
a short piece of wood with a handle at
each end, and in the' centre an upright
shaft or roller of the same material, of
the diameter of the intended ring, sar-
monnted with a tapering iron head.
The lead seems to have been used in
order to render the glass easier to work.
It is mentioned as an ingredient of glass
in the title of one of the lost chapters of
Theophilus' treatise. The following re-
ceipt for making glass with lead is given
in £raclius.
" How glass is made from lead. Take
lead very good and clean, and put it in
a new pot, and bum it on the fire till it
becomes powder. Then take it from the
fire that it may cool : afterwards take
sandj and mix it with that powder, but
so that there may be two parts of lead
and the third of sand, and place it in
an earthen vessel. Do as is before di-
rected for making glass, and place tbe
earthen vessel in the furnace, and con-
tinue sti^Dg it, till glass is produced.
But if you wish it to be green, take
filings of copper (aurichalcum), and put
as much as you think fit to the glass
made from lead.'' Thb glass was used
either to make vessels or as a flux mixed
with sapphire to paint on glass. See
Eradius in Mrs. Merrifield, vol. i. p.
216.
382 APPENDIX (a).
siderable antiquity appears from a piece of French mby glass of the middle
of the thirteenth century, in the possession of Mr. Ward the gkss-painter.
This fragment is about five inches square, and it exhibits what according to
the opinion of a veiy competent judge,— Mr. James Green of the Whitefriars
glass-works, — is the mark- of a punt, or a bull's eye. In Mr. Green's opinion
this piece of glass was made by "flashing," and that in a very workmanlike
manner. The colouring matter, as is often the case with glass of thb date,
constitutes about one-third of the entire thickness of the sheet; and when
seen in section, exhibits the ruby collected into little laminae precisely as in
the specimens of the twelfth and thirteenth centuries referred to and repre-
sented ante, p. 26, cut 2. The rough face of the bull's eye is on the white, or
unooloured side of the sheet. It is barely an inch in diameter ; some of the
white glass which covered the end of the punt still adheres to the sheet. The
glass in, and immediately about the bull's eye, is a quarter of an inch thick :
the rest of the sheet being, on an average, about half that thickness. It would
appear from what has been stated, that in making this sheet of glass the work-
man collected on the blow-pipe the colouring matter first, and the white
glass last.
APPENDIX (B).
The rolls of account relating to the works carried on at
Westminster in the reign of Edward III., contain a great deal
of valuable and interesting information on the state of art, and
on the prices of materials and the rates of wages at that time.
Extracts from these rolls are printed in Smith's '' Antiquities of
Westminster/' and in Britten's and Brayley's " History of the
Ancient Palace and late Houses of Parliament at Westminster."
From these two works, but principally from the former, the
following particulars have been selected, which may serve to
throw some light on the state of glass- painting in ancient times.
The windows to which the accounts relate were those of St.
Stephen's Chapel, the late House of Commons.
It appears that there was expended on these windows be-
tween the 20th of June and the 28th of Nov., 1351, about
£145 ; equal to about £1,170 of the present day 7.
The workmen who are said to " work on the drawing of the
images'' and '' draw and paint on white tables several drawings
for the windows," that is to say, those who make the designs,
are six in number. Master John de Chester, John Athelard,
John Lincoln, Simon Lenne, John Lenton, and Hugh de
Lichesfeld : of these John de Chester is paid sometimes seven
shillings (equal to five guineas at present) per week, but in
f According to the estimate of the
yalae of money made by Mr. Hallam,
" Middle Ages," vol. iii. p. 449, the pro-
per moltiples for converting into its
modem equivalent, any sum mentioned
in this note, the modern value of which
is not given, would be, for sums previ-
ously to the reign of Henry VI., twenty ;
for sums during that reign, sixteen ; and
for the reign of Henry VIII., twelve;
but in consequence of the changes which
have taken place since that estimate was
made, lower multiples must be taken,
and fifteen, twelve, and eight respec-
tively will probably give a near ap-
proximation to the truth. [1847. Hal-
lam's estimate was made in 1816.]
Many instances of the prices paid for
works of art, and of wages and re-
munerations to servants and officers,
will be found in Devon's " Issues of the
Exchequer," but there is nothing in
that book immediately relating to painted
glass.
384
APPENDIX (b).
general he receives the same wages as the other five, who are
styled master glaziers, namely, one shilling a-day. When these
men work on " the glazing of the windoves," or " paint the
glass," they receive the same wages. There is another set of
workmen, fifteen in number, who are paid seven- pence a-day :
a third, three and twenty in number, who are paid sixpence
a-day ; and three, who receive only four-pence, or four-pence
halfpenny a-day : two of these last are termed " glaziers' boys,'*
and they are generally specified as grinding colours. The
second class, viz., those at seven-pence a-day, are generally de-
scribed as '^ drawing on the glass," or painting on the glass,
while the third class, the men of sixpence a-day, are almost
always mentioned as '^ cutting and joining the glass, joining
and cooling, joining and laying the glass, breaking and joining
the glass on the painted- tables." Frequently however no par-
ticular kind of work is specified. These wages seem much the
same as those given to workmen in other branches of art : thus,
in the instance of painters. Master Hugh de St. Albans, and
John de Cotton, who were employed in painting the walls, &c.
of the chapel, receive " for working on the drawing of seve-
ral images," and for "drawing images," as well as for the
other occasions on which they are employed, one shilling a-day.
Two other painters receive the same. Of the rest, four are
paid ten-pence, thirteen nine-pence, three eight-pence, three
seven-pence, nine sixpence, and six five-pence and five-pence
half-penny a-day: a colour grinder receives, as with the
glass-painters, four-pence halfpenny a- day. One painter, John
Bameby, is paid as high as two shillings a-day. The par-
ticular nature of his work is not mentioned, he is merely said
" to work on the chapel ''." Edmund Canon, master stone-
cutter, for working on the stalls is paid one shilling and six-
pence a-day for 364 days. The sculpture seems generally to
have been done by task-work; this therefore is the only in-
stance which we have in these accounts, to enable us to judge
of the sculptor's wages. A master mason is paid one shilling,
masons in general five-pence halfpenny a-day. Carpenters are
paid four-pence, five-pence, and sixpence a-day ; but one of
■ A case occtirs in the yenr-book
14 Heiiry VI., 19, b., in which an artist
is retained for a year for limning books
at the rate of ten marks a-year.
APPENDIX (B). 385
them^ William Hurle, a master carpenter^ receives seven shil-
lings a-week " for working on the stalls.''
On these wages it may be remarked that those of the inferior
workmen seem higher than they would be at the present day^
the lowest being equal to five shillings ; while the master work-
men^ on the other hand^ seem to be remunerated at a lower
rate than a leading artist of modem times would expect. But
in making this comparison it is necessary to take into con-
sideration the greater frugality and simplicity of living in
ancient times ; and on examination it would probably be found
that the gains of the ancient artist bore at least as high a pro-
portion to the incomes of the gentry, and to the salaries at-
tached to o£Sces of trust and dignity, as those of his modern
successor. Thus in the reign of Edward I., according to Mr.
Hallam % *' an income of £10 or £20 was reckoned a competent
estate for a gentleman: at least the lord of a single manor
woidd seldom have enjoyed more. A knight who possessed
£150 per annum passed for extremely rich : yet this was not
equal in command over commodities to £4,000 at present."
With regard to official salaries we find that William of Wyke«
ham was appointed on the 30th of Oct., 1356, surveyor of the
king's works at the castle, and in the park of Windsor, with
a salary of one shilling a-day when he stayed at Windsor, and
two shillings when he went elsewhere on his employment, and
three and sixpence a-week for his clerk. The following year
he received an additional salary of one shilling a day^» In
1389 Chaucer was appointed by Richard II. clerk of the works
at the palace of Westminster, the castle of Berkhampstead, and
several other royal residences, with a salary of two shillings
• Hallam, « Middle Age^," voL ui. £873 68. 8d., aboat £13,000. Bat thia
p. 451, fourth edition.
^ Bishop Lowth's "Life of WilUam
of Wykeham/' p. 20. He subBequeutlj
inde^ received ecdeaiaatical prefer-
ments to a great amount. "Dominus
rezy" it is said, " mnltis bonis et pingui-
bus beneficiis ipeum Wilhelmum dita-
vit." The annual value of these fat
benefices amounted in the year 1366,
before he was Bishop of Winchester, to
C c
is to be attributed to the high place he
occupied in the councils and favour of
the king. "There was at that time,"
says Froissart, " a priest in England of
the name of William of Wykeham : this
William was so high in the king's grace
that nothing was done in any respect
whatever without his advice." — Johnes'
Froissart^ voL iii. p. 384^ third edition.
386
APPENDIX (b).
a-day «. The salaries of the judges in Edward the Third's time
varied from 40 to 80 marks a-year. The chief and puisne
Barons of the Exchequer in the 36 Edward III. had £40 : in
39 Edward III. the justices of the Bench had £40, and the
chief justice of the King's Bench 100 marks ^. It seems un-
necessary to seek for other instances of this kind. Enough
has been stated to shew that the ancient workman was very
liberally rewarded. From the modes of thinking prevalent
in the Middle Ages he, no doubt, held a less honourable place
in society than the modem artist : yet there was ample induce-
ment for men of genius to devote themselves to the cultivation
of art, and, if we could free ourselves from the prejudice that
attaches to names and terms, we might conclude, even with-
out appealing to the testimony afforded by his productions,
that the ancient icorkman was much more than a mere me-
chanic, and that in intelligence and education, according to
the measure of his age, he was in no respect inferior to the
modem artist.
Among the materials enumerated, in the before-mentioned
accoimts, for the construction of the windows, are " small bars
of iron called sondlets, to hold the glass in the windows,'^ which
cost twopence a pound. *^Two hundred of daring nails to
hold the glass together till it was joined, one shilling and six-
pence :" 160 pounds of tin for leading the glass, at threepence
a pound : six pounds and a half of wax, and three pounds of
resin for the masons and glaziers, each pound of wax costing
sevenpence - halfpenny, and each pound of resin twopence.
Croysors or Groisors to break and work the glass, costing a
penny-farthing each. Cepo arietino (mutton suet), and filings
to make solder for the glass windows: servicia (qu. cervisia,
ale or wort®) for the washing of the tables for drawing the
glass : cervis, as well for the washing of the tables as for
the cooling of the glass : silver filings : geet (jet, or black) :
e Turaer'g "History of England."
from Goodwin's " Life of Chancer." The
salary is fW)m Britton and Brayley.
^ Beeve's *' History of English Law,"
voL iii. p. 154.
* Servicia, ale or wort. This is the
coi^ecture of both Smith and Brittoii.
From some old receipts it would seem
that ale was a favonrite ingredient.
It is prescribed for making glue and
vanush. See MeU^^ma JMiq^ voL L
p. 163.
APPENDIX (B). 387
arnement and resin: all mentioned to be for the painting
of the glass.
The greater paii; of the glass for the chapel is purchased
between the 15th of August, 1351^ and the 12th of December,
1362, white glass at the rate, some of sixpence, some of
eightpence, some of ninepence per ponder, the ponder con*
taining five pounds. The mean rate therefore at which the
white glass is purchased is nearly sevenpence three-farthings
per ponder, or about one and elevenpence of present money
per pound.
The following curious entry occurs 13th Aug., 1352 : " John
Lightfoot for 300 leaves of silver for the painting of a certain
window to counterfeit glass." This of course must have been
a blank window.
Blue glass is purchased, some at the rate of one shilling,
the rest^ and by far the largest quantity, at the rate of three
shillings and sevenpence-farthing per ponder, azure glass at
three shillings, and red glass at two shillings and twopence per
ponder. Besides the glass just mentioned, "three windows of
white glass, each containing seven feet," are purchased 13th
Nov., 1331 ', at fourpence per foot. In 1357 one mndow of
glass bought for the window over the chancel, forty feet, costs
one shilling and twopence a foot. In 1365, ninety-seven feet
of white glass, wrought with flowers and bordered with the
king^s arms, cost one shilling and a penny per foot. And in
the same year forty-two feet of white glass are purchased at
the rate of one shilling per foot. No charges for wages or
materials are found in the printed accounts corresponding with
the dates of these four last purchases : from this circumstance,
as well as from the terms in which the first three of them are
described, it seems probable that the workmanship was in-
eluded in the price.
The following instances of the price of glass, and of the
expense of constructing painted windows, have been collected
from various sources.
The cost of the glass of the north window in St. Anselm's
' The pound at thiB time oontiuned
the same quantity of nlver as in Ed-
ward the First's reign. Fourpence may
cc2
therefore be taken as equal perhaps to
six shillings.
388
APPENDIX (B).
Chapel in Canterbury Cathedral, constructed in 1336, including
materials and workmanship, was £6 13s. 4d., equal to about
£100 present moneys. The presumption is that this was a
painted window.
By the contract entered into in 1338 for glazing the great
west window of York Cathedral, the glazier was to find the
glass, and to be paid at the rate of sixpence^ equal to about
nine shillings, per foot for plain, and twice as much for co-
loured glass ^,
In 1405, John Thornton of Coventry contracted for the exe-
cution of the great east window of the same cathedral. It was
to be finished in three years, and he was to receive four shil-
lings a-week, and one hundred shillings at the end of each
year : and if he performed his work to the satisfaction of his
employers he was to receive the further sum of ten pounds in
silver ^ Including the ten pounds, the cost of this vdndow
would be equal to above nine hundred pounds of our money ;
at the present day such a window would probably cost not less
than £2,000. It is remarkable that the sum agreed to be paid
to John Thornton, exclusive of the contingent ten pounds, is
a trifle less than the wages paid to the master glaziers em-
ployed on St. Stephen's Chapel for workmanship only.
f The whole cost of this window is
contained in Somner's "Antiq. of Can-
terbury Cathedral," 2nd ed., Lond. 1703,
Appendix to 2nd part. No. I. b. It is
as follows : —
" De noy& fenestrA in capellA Aposto-
lorum Petri et Paali. Mem. qnod ann.
1836 facta fuit nna fenestra nova in
eccl. Xpi Cant. viz. in Cap. S.S. Petri
et Pauli Apost. pro qao expens. faernnt
minUtnitiB.
Imp. pro solo artificio sea labore cementariorum
item pro muri fractione ubi est fenestra .
item pro sabulo et calce ....
item pro MM ferri empti ad dictam fenestram
item pro artificio fabrorum
item pro lapidibas Cani^ emptis ad eandem
item pro vitro et labore vitrarii
lb.
s.
d.
xxi
xvii
•
IX
xvi
XX
Ixxxiv
•
IX
Ixv
iv
VI
xm
IV
xlii
xvu
11
Summa viii25 xiiif \yd data fiiit k qai-
bnsdam amicis ad dictam fenestram,
reliqua pecunia ministrata fuit h Priore."
»• Britton's "Hist, of York Cathe.
dral," Appendix viii.
' Britton, ubi supra.
> Caen stone.
APPENDIX (b).
389
In 1447 the windows of the Beauchamp Chapel, at War-
wick, were contracted for at the rate of two shillings, equal
to £1. 48. present money, per foot. They were to be glazed
with "glass from beyond seas and with no English glass,"
according to patterns to be delivered and approved by the
executors of the Earl of Warwick, and afterwards to be newly
traced and painted by another painter in rich colours at the
cost of the contractor. Foreign glass was probably much used
at about this time, for "painted glasses" occur among a num-
ber of articles, the importation of which was prohibited by an
Act passed in 1483 on the petition of the manufacturers of
London and other towns ^.
In 1526 the windows of King's College Chapel, Cambridge,
were contracted for, some at the rate of sixteen, some at that of
k Henry's " Hist, of Great BritaiD,"
vol. X. p. 251. [2 Rich. III. ch. 12.] The
contract for the windows of the Beaa-
champ Chapel entered into with the
Earl's executors, is given hy Dngdale,
as follows: — "John Prudde of West-
minster glasier 23 Juxlii 25 Hen. 6.
oovenanteth &c. to glase all the win-
dows in the new chappell in Warwick
with glasse heyond the seas, and with
no glasse of England ; and that in the
finest wise, with the best, cleanest, and
strongest glasse of beyond the seas that
may be had in England, and of the
finest colours ; of blew, yellow, red, pur-
pare, sanguine, and violet, and of all
other colours that shall be most neces-
sary to make rich and embellish the
matters, images, and stories, that shall
be delivered and appoynted by the said
executors by patterns in paper, after-
wards to be newly traced and pictured
by another .painter in rich colour, at
the charges of the said glasier. All
which proportions the said John Prudde
must make perfectly to fine glase, eney-
lin it, and finely and strongly set it in
lead and solder it as well as any glasse
is in England. Of white glasse, green
glasse, black glasse, he shall use put in
ns little as shall be needful for the
shewing and setting forth of the mat-
ters, images and storyes. And the said
glasier shall take charge of the same
glasse wrought and to be brought to
Warwick and set it up there, in the
windows of the said chapell : the exe-
cutors paying to the said glasier for
every foot of glasse ii shillings and so
for the whole £xci. Is. lOd."
"It appeareth," Dugdale continues,
"that after these windows were so
finished, the executors devised some
alterations, as to the adde ... for our
Lady; and scripture of the marriage
of the Earle, and procured the same
to be set forth in glasse in most fine
and curious colours; and for the same
they payd the sum of xiii/t. y'ls. i\d.
Also it appeareth, that they caused the
windows in the vestry to be curiously
glased with glasse of iis. a foot, for
which they payd Ls. The sum totall
for the glasse of the said Vestry and
Chappell xviZt. xviiif. y'ld. which in all
contain by measure ; The east windows
cxlix foot, 1 quarter and two inches.
The south windows ccccclx foot, xi
inches.
The north windows cccv foot.
The totall dccccx foot iii quarters of
a foot and two inches."
(Dugdale's " Antiquities of Warwick-
shire," 2nd edition, p. 446.)
390
APPENDIX (B).
eighteenpence per foot for the glasSi and twopence per
for the lead^
foot
^ The following is the contract re
ferred to in the text : —
" Indenture made the laste day of the
moneth of Aprelle in the yere of the
reigne of Henry the 8th. by the gnce
of God, &c. the eightene, betwene the
Right worshcpfulle maeters Robert Ha-
cotnbleyn Doctor of Divinitie and Pro-
vost of the Kynge's College in the nni-
versitie of Cambridge, master William
Holgylle clerke master of the Hospitalle
of Seint John Baptiste called the Savoy
besydes London, and master Thomas
Larke clerke Archdeacon of Norwyche
on that oon partie, and Qalyon Hoone
of the parysshe of Seint Mary Mag-
delen next Seint Mary Overey in Suth-
werke in the countie of Surrey glasyer,
Richard Bownde of the parysshe of
Seint Clement Danes without the barres
of the newe Temple of London in the
countie of Middlesex glasyer, Thomas
Reve of the parysshe of Seint Sepulcre
without Newgate of London glasyer,
and James Nycholson of Seint Thomas
Spyttell or Hospitalle in Suthwerke in
the countie of Surrey glasyer on that
other partie witnesseth, that it is cove-
naunted condescended and aggreed be-
tween the seid parties by this Indenture
in manner and forme folowing, that is
to wete, that the said Galyon Hoone,
Richard Bownde, Thomas Reve and
James Nicholson covenaunte gnmnte
and them bynde by these presents that
they shalle at their owne propre coetes
and charges well, suerlyj clenely, work-
manly, substantyally, curyously and suf-
ficiently glase and sotte up, or cause to
be glased and set up cigbtene wyndowes
of the upper story of the great churche
within the Kynge's college of Cam-
bridge, whereof the wyndowe in the
este ende of the seid churche to be
oon, and the wyndowe in the weste
ende of the same churche to be an-
other ; and so seryatly the resydue with
good, clene, sure and perfyte glasse and
oryent colors and imagery of the story
of the olde lawe and of the newe lawe
after the forme, maner, goodeness, cary-
onsytie, and clenelynes in every poynt
of the glasse wyndowes of the Kynge's
newe chapell at Westraynster ; and also
accordyngly and after such maner as
oon Bamiurd Pflower glasyer late de-
ceased by Indenture stode bounde to
doo, that is to sey, six of the seid wyn-
dowes to be clearly sett up and fynyshed
after the forme aforeseid within twelve
moneths next ensnyng after the date
of these presentes ; and the twelve wyn-
dowes residue to be derely sett np
and fully lynysshed within foure yerea
next ensuyng after the date of these
presentes; and that the seid Galyon,
Richard, Thomas Reve and James Ny-
choUon shalle snerly bynde all the seid
wyndowes with double bands of leade
for defence of great wyndes and out-
rageous wetheringes; Furdermore the
seid Galyon, Richard, Thomas Reve
and James Nycholson covenaunte and
grannte by these presents that they
shall well and suffycyently sett up at
their own propre costes and charges
all the glasse that now is there redy
wrought for the seid wyndowes at suche
tyme and when as the seid Qalyon,
Richard, Thomas Reve and John Ny-
cholson shal be assigned and appoynted
by the seid masters Robert Haoombleya
William Holgylle and Thomas Larke or
by any of them j and well and snfly-
ciently shall bynde all the same with
double bandee of lede for defence of
wyndes and wetheringes, as is aforeseid
after the rate of two-pence every fbote ;
and the seid masters Robert Hacombleyn
William Holgylle and Thomas Larke co-
venaunte and graunte by these pre-
sentes, that the fbrseid Galyon, Richard
Bownde, Thomas Reve and James Ny-
cholson shall have for the glasse work-
matjship and setting up twenttf foot of
the seid glasse by them to be provided.
APPENDIX (b).
391
It would appear from these instances^ notwithstanding the
high price of the Beauchamp windows, that the expense of
wrought, and sett up after the forme
ahoveseid eightene pence sterlinges;
Also the seid Galyon Hoone, Richard
Bownde, Thomafl Reve and James Ny-
cholson, covenaunte and graante by
these that they shalle deliver or cause
to be delyvered to Ffraunces William-
son of the parysshe of Seint Olyff in
Snthwerk in the countie of Sarrey
glasyer, and to Symond Symondes of
the parysshe of Seinte Margarete of
Westmynster in the countie of Middle-
sex glasyer, or to either of them good
and true patrons, otherwyse called a
vidimus, for to fourme glasse and make
by other four wyndowes of the seid
cburche, that is to sey, two on the oon
syde and two on the other syde, where-
unto the seid Ffraunces and Symond be
bounde, the seid Ffraunces and Symond
paying to the seid Qalyon, Richard
Bownde, Thomas Reve, and James Ny-
cholson for the seid patrons otherwyse
called a vidimus as mocbe redy money
as shal be thought resonable by the
foreseid masters William Holgylle and
Thomas Larke ;"
A clause follows for making void a
bond of 500 marks entered into by the
contractors, on due performance of their
covenant.
The next contract is dated the 8rd of
Majf in the same year as the preceding ;
it is made between the same persons of
the one part and Ffraunces Wylliamson
and Symond Symonds above-mentioned
of the other part, and wituesseth " that
the seid Ffraunces Wylliamson and Sy-
mond Symondes covenaunte graunte
and them bynde by these presentes that
they shalle at their owne propre costes
and charges well, suerly, clenely, work-
manly substantyally curyously and suffi-
ciently glase and sett up or cause to be
glased and sett up foure wyndowes of
the upper story of the great churche
within the Eynge's college of Cam-
bridge, that is to wete two wyndowes
on the oon syde of the seid churche,
and the other two wyndowes on the
other syde of the seid churche with
good dene perfyte glasse," &c. verbatim
as in the preceding contract. "And
also acoordyngly to suche patrons other-
wyse called vidimus, as by the seid Ro-
bert Hacombleyn, William Holgylle and
Thomas Larke or by any of them to the
seid Ffraunces Wylliamson and Symond
Symonds or to either of them shal be
delyvered, for to forme glasse and make
by the foreseid four wyndowes of the
seid churche; and the seid Ffraunces
Wylliamson and Symond Symonds co-
venaunte and gpraunte by these pre-
sentes that two of the seid wyndowes
shall be clerely sett up and fully fynyshed
after the fourme aboveseid within two
yeres next ensuyng after the date of
these presentes, and that the two other
wyndowes, residue of the seid foure wyn-
dowes, shal be clerely sett up and fully
fynyshed within three yeres next en-
suyng after that . . . without any furder
or longer delay; Furdermore the seid
Fraunces Wylliamson and Symond Sy-
monds covenaunte and graunte by these
presentes that they shalle strongely and
suerly bynde aU the seid four wyndowes
with double bands of lende for defence
of great wyndes and other outragious
wethers; and the seid masters Robert
Haccombleyn, William Holgylle and
Thomas Larke covenaunte and graunte
by these presentes that the seid Fraunces
Wylliamson, and Symond Symonds shall
have for the glasse workmanship and set-
tyng up of every foot of the seid glasse
by them to be provided, wrought, and
6ett upp after the forme aboveseid six-
tene pence sterlynges :"
Proviso for making void a bond of
£200.— Walpole's "Anecdotes of Punt-
392
APPENDIX (B).
constructing painted windows gradually diminished from the
time of Edward III., a result which might be expected, as
the improvements that in the course of time would be intro-
duced into the manufacture, would naturally have the effect
of rendering the articles cheaper.
ing in England," 2nd ed., vol. i. Ap-
pendix.
The east window of the chapel of
Wadham College was contracted for by
Bernard Van Linge for £100 in 1621.
Ingram's " Memorials of Oxford," vol. ii.
t:^-
APPENDIX (C).
As there has been frequent occasion, in the course of the
preceding work, to speak of the nature of the subjects which
are usually met with in painted windows, it has appeared con-
venient to bring together a few descriptions of some ancient
ones, which are either still in existence, or of which accounts
have come down to us. The first of the following descriptions
is taken from Somner's "Antiquities of Canterbury," (2nd
edition, by Nicholas Battely, M.A., London, 1703,) and con-
tains an account of the subjects represented in the windows of
the cathedral of that city. Portions of these windows still
exist, though principally in a confused and fragmentary state,
and they offer a very ancient specimen of painted glass in this
country. The window described in Gostling's " Walk round
Canterbury," as the windoto next the organ-lofty \& at present
made up of portions of the second and third windows in Somner's
description, two*thirds belonging to the former and one-third
to the latter. The window next to this is made up from the
third, fourth, and sixth windows in Somner's description. As
might be expected from the age in which they were executed,
the subjects will be found to represent chiefly such occurrences
in the Old and New Testament as bear, or were supposed to
bear to each other the relation of type and antitype. They
were evidently a good deal dilapidated even in Somner's time,
and4t is not always easy to discover, from his description, even
as ^rrected by Battely, (who says he compared it with " a fair
MS. roll in parchment,") in what order the medallions contain-
ing the subjects were arranged. They most probably were
placed three in a row ; this is the way in which those in the
first of the existing windows above-mentioned are arranged,
and it is accordant with the arrangement which prevails in the
Biblia Pauperum. There, as here, two types from the Old
Testament are joined to each antitype, the former being placed
on each side of the latter. The subjects of the Biblia Pauperum
frequently bear a considerable resemblance to those enumerated
394
APPENDIX (C).
by Somner°^. Thus the first woodcut contains, Eve and the
serpent, the Annunciation, and Gideon and the fleece. Moses
with Ood in the bush^ is however associated with Christ lying
in the manger. The verse relating to the flourishing of Aaron's
(by Somner called Moses') rod is nearly the same as at Can-
terbury, *' Hie contra morem produxit virgula florem." David's
escape from Saul is associated with the flight into Egypt : and
the ofiering of Samuel with the presentation of Christ in the
Temple : but there is rarely an agreement between the Biblia
Pauperum and the windows in both the types which are joined
to an antit3rpe. As Somner is not a book of very common
occurrence, I have inserted the whole of his description. The
subject of the painting is first briefly mentioned, and then the
verses written in the medallion are given.
"■ Lening wrote an essay to shew that
the woodcats of the Biblia Pauperum
were taken from painted windows. His
principal endeavour is to prove that the
forty prints, which form the most an-
cient series, were taken from the forty
windows of the cloisters of the monastery
of Hirschan on the borders of the Black
Forest. The monastery was destroyed
by the French in 1692, but a minute
account of the windows, drawn up by
Abbot Parsimonius, or Karg, in 1574, is
still extant, with plans of their arrange-
ment. Nothing according to Lessing
can be more exact than the corre-
spondence between the woodcuts of the
Biblia Pauperum, and these windows;
and the two specimens which he gives
from the description by Parsimonins,
confirm his statements. There are the
same subjects, the same arrangement,
the same texts from Scripture, and the
same verses, with only one very trifling
variation. Unfortunately an investiga-
tion into the date of the windows shewed
him that they were more recent than
the woodcuts, as the cloisters or at least
three sides of them were built about
1491, and there arc two editions of the
Biblia Pauperum, with a German text,
bearing the respective dates 1470 and
1475, while the oldest with a Latin text
is supposed to be still more ancient:
Mr. Young Ottley thinks it not later
than 1420. Lessing, however, will not
entirely give up his opinion, but his
attempts to get over the difficulty are
very unsatisfactory. He relies much on
the resemblance which the woodcuts
bear to Gothic windows, but this re-
semblance will hardly strike others so
forcibly as it did Lessing. On the whole
it seems most probable, notwithstanding
the reasons he urges to the contrary,
that the window- paintings were taken
from the woodcuts. It is evident that
one of the works must have been taken
from the other, or both iVom a common
source. Subjects from the Biblia Pom-
perum are of no unfrequent occurrence
in glass-paintings. Some of them, for
instance, are found in one of the windows
of Munich Cathedral. (Gessert, (?e#-
chichte der Glasmalerei, p. 118.) The
title Biblia Pauperum is often sup-
posed to mean '* The Poor Man*s Bible.**
It seems rather to mean, " Bible of
the Poor Clergy." See ** ArchsBological
Journal," vol. xx. p. 409, and notice there
of a MS. of the fourteenth century, con*
tiining thirty-four of the representa-
tions.
APPENDIX (C). 395
FENESTRA IN SUPERIORI PARTE ECCLESIiS CHRIST I
CANT. INCIPIENTES A PARTE SEPTENTRIONALI.
FENESTRA PRIMA.
«
1. Moses cum Bubo. In Medio. Angelas cum Maria.
Kubus non consumitur, tua nee comburitur in came yirginitas.
2. Gedeon cum vellere et conca. Tellus coelesd rore maduit, dum
puellffi venter intumuit^
3. Misericordia et Veritas. In medio Maria et Elizabeth.
Plaude puer puero, virgo vetube, quia vero
Obviat hie pietas : veteri dat lex nova metas«
4. Justitia et Pax.
Applaudit Itegi previsor gratia legi.
Oscula JustitisB dat pax ; cognata MarisB.
5. Nabugodonosor et lapis cum statua. Puer in prsBsepio.
lit Kegi visus lapis est de monte recisus
Sic gravis absque viro virgo parit ordine miro,
6. In medio Maria.
7. Moses cum virga. In medio. Angelus et Pastores.
lit contra morcm dedit arida virgula florem
Sic virgo puerum, verso parit ordine rerum.
8. David. Gaudebunt campi et omnia quae in eis sunt.
9. Abacuc. Operuit c<b1os gloria ejus, &c.
FENESTRA SECUNDA.
1. In medio tres Reges equitantes. Balaam. Orietur stella ex Jacob,
et exui^t homo de Israel. Isaia et Jeremia. Ambulabunt gentes
in lumine tuo, &c.
2. In medio. Herodes et Magi. Christus et Gentes.
Qui sequuntur me non ambulabunt in tenebris.
Stella Magos duxit, et eos ab Herode reduxit
Sic Sathanam gentes fugiunt, te Ghriste sequentes.
396 APPENDIX (C).
3. Pharaoh et Moses, cum popnlo exiens ab Egipto.
Exit ab erumpna populus duccnte columpna.
Stella Magos dnxit. Lux Christus utrisque reluxit.
4. In medio. Maria cum puero. Magi ct Pastores. Joseph et fratres
sui cum Egiptiis.
Ad te longinquos Joseph trahis atque propinquos.
Sic Deus in cunis Judeeos gentibus unis.
5. Bex Solomon, ct Rcgina Saba.
Hiis donis donat Bcgina domum Solomonis.
Sic Beges Domino dant munera tres, tria, trino.
6. Admoniti sunt Magi ne Herodem adeant : Propheta et Bex Jero-
boam immolans.
Ut via mutetur redeundo Propheta monetur,
Sic tres egerunt qui Cbristo doDa tulerunt.
7. Subversio Sodomo) et Loth fugiens.
Ut Loth salvetur ne respiciat prohibetur,
Sic vitant revehi per Heiodis regna Sabei.
8. Oblatio pueri in templo, et Simeon. Melchisedech offerens panem
et vinum pro Abraham.
Sacrum quod cemis sacris fuit umbra modem is.
Umbra fugit. Quare ? quia Christus sistitur ane.
9. Oblatio Samuel.
Natura geminum triplex oblatio trinum
Significat Dominum Samuel pucr, amphora vinum.
10. Fuga Domini in Egiptum. Fuga David et Doech.
Hunc Saul infestat : Saul Herodis typus extat.
Istc typus Christi, cujus ^ga consonat isti.
11. Elias Jesabel et Achab.
Ut trucis insidias Jesabel declinat Elias,
Sic Deus Herodem, terrore remotus eodcm.
12. Occisio Innoccntum. Occisio sacerdotum Domini sub Saul.
Non cecidit David, pro quo Saul hos jugulavit
Sic non est escsus cum cassis trans^ga Jesus.
13. Occisio Tiibus Benjamin in Gabaon.
Ecce Bachel nati fratrum gladiis jugulati,
His sunt signati pueri sub Herode necati.
APPENDIX (C). 397
FENESTRA TERTIA.
1. Jesus sedet in medio Doctorum. Moses et Jethro cum populo.
Sic Moses audit Jethro yir sanctus obaudit
Gentiles verbis humiles sunt forma superbis.
2. Daniel in medio seniorum.
Mirantur pucri seniores voce doceri
Sic responsa Dei sensum stupent Pharisei.
3. Baptizatur Dominus. Noah in archa.
Fluxu cuncta vago submergens prima vorago
Omnia purgavit : Baptisma significayit.
4. Submersio Pharaonis et transitus populi.
Unda maris rubri spatio divisa salubri
Que mentem mundam facit a vitio notat undam.
5. Temptatio gulee et yansB glorisB. Eva capiens fructum.
Qui temptat Jesum movet Evam mortis ad esum,
Eva gulee cedit, sed non ita Jesus obedit.
6. Eva comddit.
Victor es hie Sathana : movet. Evam gloria vana,
Sed quo vicisti te vicit gratia Christi.
7. Tenta^o cupiditatis. Adam et Eva comedunt. David et Goliah.
Quo Sathan hos subicit Sathanam sapientia vicit,
Ut Goliam David, Sathanam Christus superavit.
FENESTRA. QUARTA.
1. Vocatio Nathanael •>
jacentis sub ficu.
Adam et Eva cum foliis.
Populus sub lege.
Yidit in hiis Christus sub ficu N'athanaelem.
> Lex tegit hanc plebem, quasi ficus Natha-
naelem.
2. Christusmutavitaquam
in vinum. Sex hydrise.
Sex eetates mundi.
Sex aetates hominum.
Kydria metretas capiens est quselibet aetas,
PrimumsignorumDeus hie prodendo suorum,
Ljmpha dat historiam, vinum notat allego-
riam,
In vinum morum convertit aquam vitiorum.
398 APPENDIX (C).
8. Fisoatores Apostolomm.'
S. Petms cum ecdes. de
Verbum rete, ratis Petri domushsec pietatis,
Pisces Judaei, qui rete ferant Pbarisei.
Jud. Villa secunda ratis, domus bffic est plena
Paulus cum eoolesia de gen-
tibuB.
beatis
Ketia scismaticuSyetquivisscinditiniquns.
4. In medio Jesus legit in \ Quod promulgavit Moses, legem reparavit
Synagoga. Esdras legit I Esdrasamissam; Ghristusrenoyayitomissam.
legem populo. S*" Gre- i Quod Christus legit, quasi pro lectoribus ^t.
gor. ordinans lectores. / Exemplooujussaoerestgradusordinisbujus.
5. Bermo Domini in \ Hii montem scandunt Scripturse dum sacra pandont
monte. Doctores I Gbristus sublimis docet bos sed vulgus in imis,
Eoclesiae. Moses ( Ex bine inde datur in monte quod inde notatur,
Buscepit legem. * Gbristum novisse debemus utramque dedisse.
6. Gbristus descendensde
monte mundat leprosum.
Paulus baptizat popu-^
lum. Heliseus. Naaman
et Jordanis.
fCarne Deus tectus quasi vallis ad ima pro-
vectus
Mundat leprosum genus bumanum Titiosum :
Quem lavat ecce Deus, quem mundat et hie
Heliseus
Est genus bumanumGbristibaptismate sanuxn.
FENESTRA QTJINTA.
1 . JesusejioitDemonium. \ Imperat immundis Deus bic equis Airibundis
AngeluB ligavit Demo-VHiis virtus Gbristi dominatur ut AngeluB
nium. j isti.
2. Maria unxit pedes *) Guram languenti, victum qui prsBbet egenti
Ghr. Diusiana yes- I Scque reum plangit, Gbristi vestigia tangit.
tit et pascit ege- fllla quod ungendo facit bsec sua distribuendo
nos. J Dum quod de pleno superest largitur egeno.
3. MartaetMariacumJesu.'j Equoris unda ferit bunc; ille silentia
Petrus in navi. Jobannes > quserit ;
legit. ) Sic requies orat dum mundi cura laborat.
4. Leab et Bacbel ) Lyab gent curam camis ; Baobelque figuram
cum Jacob. j Mentis, cura gravis est bffiC| est altera suavis.
APPENDIX (C).
399
5. JesuB et Apostoli
coUigantspicas. Mo-
la fumus et Apostoli
facientes panes.
Quod terit altema Mola lex vetus atque modema
Passio, crux Christe tua sermo tuus iste.
Fetrus et Faulns cum ^ Argait iste reos, humiles alit hie Phariseos
populis. j Sic apioe tritse panis sunt verbaque yitae.
6. Jesus cum Samaritana
Synagoga et Moses cum
quinquelibris. Ecclesia
de gentibuB ad Jesum.
Potum queesisti fidei cum Christe sitisti
^qua yiri oui sex Synagoga librique sui sex.
delicta notat, hydria fonte relicta
Ad te de gente Deus Ecclesia veniente.
7. Samaritana adduxit^
populum ad Jesum.
Bebecca dat potum
servo Abraham. Ja-
cob obviat Bachaeli.
Pons servus minans pecus hydria yirgo propinans
Lex Christo gentes mulierque fide redolentes
Jacob lassatus Bachel obvia grex adaquatus
Sunt Deus et turbse mulier quas duxit ab urbe.
1. Jesus loquens cum
Apostolis. Gentes
audiunt. Phaxisei
contemnunt.
2. Seminator et yolu-
cres. Pharisei rece-
dentesaJesu. Phari-
sei tentantes Jesum.
FENESTRA SEXTA.
SoUicitse gentes stant verba Dei sitientes,
Haec simt verba Dei qu89 contemnant Pharisei.
Semen rore carens expers rationis et arens
fiii sunt qui credunt, temptantes sicque rccedunt.
Semen sermo Dei, via lex, secus banc Pharisei,
Et tu Christi sator, verbum Patris insidiator.
3. Semen cecidit inter \ Isti spinosi locupletes deliciosi
spinas. Divites hujus > Nil fructus referunt quoniam terrestria que-
mundi cum pecunia. J runt.
4. Semen cecidit in terram \ Yerba Patris seruit Deus his fiructus sibi
bonam. Job. Daniel. > crevit
Noah. / In tellure bona, triplex sua cuique corona.
5. Jesus et mulier commis-
censsatatria. TresfiliiNosB
cum Ecclesia. Yirgines
Continentes. Conjugati.
Parte,No8e nati,mihi quisque sua dominati.
Una fides natis ex his tribus est Deitatis.
FersonsB trinsB tria sunt sata mista farinse
Fermentata sata tria tres fructus operata.
400 APPENDIX (C).
6. Piscatores. Hinc \ Hii qui jactantur in levam qui reprobantur
Pisces boni, inde I Pars est a Domino maledicta oremanda camino,
mali. Isti in vitam i Yase reservantur pisces qnibus assimulantur
cctemam. / Hii quos addixit vitse Deus et benedixLt.
7. Messores. Seges reponi- \ Cum sudore sata messoris in horrca lata
tur in horreum. Zizania in f Sunt hie vexati sed Christo glorificati.
ignem. Justiinyitam eeter- k Hie crem at exmcsse quod inutile judical esse
nam. Keprobi in ignem edtcr. J Sic pravos digne punit judex Deus igne.
8. De quinque panibus et \
duob. piscibus satiavit I Hii panes legem, pisces dantem sacra Kegem
multa millia hominum. ( Signant quassatos a plebe nee adnibilatos.
D^ Sacerdos, et Rex, /
Synagoga cum Mose et -v Quae populos saturant panes piscesque figu-
libris. Ecolesia cum > rant
Johanne. } Quod Testamenta duo nobis dant alimenta.
Bex fecit nuptias filio \ Bex Pater ad natum regem sponsse sociatum :
et misit servos. ) Prsecipit adciri populum renuuntque venire.
Excusant se qui- "i Quos vexat cura caro. Quinque boum juga tuta,
dem per villam. ) Nuncius excusans : hie ortans, ille recusans.
Petrus docens sed se- \ Sunt ascire volens Deus hunc, hie credere
quuntur Moyen et > nolens
Synagogam. J Petrus docens istumque studens Judaea fuisti.
Johannes predicat ^ Vox invitantis causa tres dissimulantis.
intenteaudientibus. j SponsamSponsusamat: vox horum previa clamat.
Ysaias praedicat audi- | Ecclesiam Christi junotam tibi praedicat iste
entibus tribus. ) His invitata gens est ad edenda parata.
Quidam sequuntur Be- ^ Hie Begis factum confirmat apostolus actum,
gem quidam fugiunt. ) Credit et accedit, cito Gens Judaea recedit.
Contemplatur Bex come- \ Ad mensam tandem cito plebs sedet omnia
denies. Besurgant mor- > eandem.
tui. ) Sic omnis eadem vox bora cogit eadenu
Dominus dicit electis \ Bex plebem pavit spretis quos ante Tocavit.
Tenite Benedicti. ) Christus se dignos reficit, rejicitque malignos.
Invenitur et ejicitur non ) Dives etextrususservustenebrisquerecluBoa,
vestitus vesto nuptiali. ) Quern condemnavit rex ejecit cruciavit.
Ananias et Saphiras moriuntur a Petro. Dominus ejecit vendentes
a templo.
APPENDIX (C).
401
FENESTRA SEPTIMA.
1. Curavit Jesus filiam^ Natam cum curat matrisprece; matre figurat
yiduae. Ecclesia de Christo credentes primos, nataque scqucntes.
gentibus cum Jesu. Fe- >
trus orat et animalia
dimittuntur in linthea. -^
2. Curavit Jesus hominem'
adpiscinam. Moses cum
quinque libris. Baptizat
Dominus.
3. Transfiguratio Domini.'
Angeli vestiunt mortuos
resurgentes. Angeli ad-
ducunt justos ad Deum..
Fide viventes signant animalia gentes ;
Quos mundat sacri submersio trina lavacri.
Lex tibi piscina concordat sunt quia quina
Ostia piscinsB, seu partes lex tibi quince.
Sanat ut eegrotum piscinae motio lotum
Sic cruce signatos mundat baptisma renatos.
Spes transformati capitis, spes vivificati
Claret in indutis membris a morte solutis.
Cum transformares te Christe, quid insinuares
Veste decorati declarant clarificati.
4. Fetrus piscatur et in-^ Hunc ascendentem mox mortis adesse yi-
yenit staterem. Domi. I dentem
nus ascendit in Hier. Tempora; te Christe piscis prsenunciat iste.
Dominus onicifigitur. J Ludibrium turbae Deus est ejectus ab urbe.
5. Statuit Jesus paryulumin'
medio Discipulomm. Mo-
nacbi layant pedes paupe-
rum. Beges inclinantur
doctrinae Fetri et Pauli.
Hoc informantur exemplo qui monachantur
Ne dedignentur peregrinis si famulentur.
Sic incurvati pueris sunt assimulati
Beges cum gente Faulo Fetroque docente.
6. Pastor reportat oyem."^
Cbristus pendet in cruce. > sine versu.
Cbristus spoliat infemum. J
FENESTRA OCTAVA.
!• DominuB remittit de- ) Tit prece submissa sunt huic commissa remissa
bita seryo poscenti. j Farcet poscenti seu parcit Deus egenti.
Dd
402
APPENDIX (C).
Petrus et Fanlus absol-^
Yunt poenitentem, et
Dominus sibicredentes.
Servus percntit conser-
yam. Pauluslapidatur.
StephanuB lapidatur.
J
Cur plus ignoscit Dominus xninus ille poposcit
Conservum seryus populus te Paule protervus
Begi conserve repeteati debita servo
jssimulare Deus Martyr nequam Pharisseus.
Tradidit eum tortoribus. ^
Mittuntur impii in ig-
nem. Judaei penmun-
tur.
Cseditur affiigens, captivatur crucifigens
' Hunc punit Dominus flagris, hos igne caminus.
FENESTRA NONA.
Homo quidam descende-"^
bat de Hier. in Jerico et I Perforat hasta latus, occidit ad mala natus.
incidit in latrones. J
Creatur Adam. For-
matur Eva, comedunt
fructum, ejiciuntur^
de Paradiso.
nSx Adse costa prodiit formata virago.
Ex Ckristi latere processit sancta propago.
Fruetum decerpens mulier suadens mala serpens
Immemor authoris vir perdit culmen honoris
Virgultum. fructus. mulier. vir. vipera. luctus
Plantatur. rapitur. dat. gustat. fallit. initur.
Poena reos tangit, vir sudat, foemina plangit.
LPectore portatur serpens, tellure cibatur.
SacerdoB et Levita*^
vident vulneratum
et peitranseunt.
If OSes et Aaron cum
Pharaone. Scribitur
tau. Educiturpopu-
lus. Adoratvitulum.
Daturlez. Elevatur
Serpens.
YulneribuB plenum neuter miseratus egenum.
Tro populo Moyses coram Pharaone laborat :
Exaugetque preces, signorum luce coronat.
Gui color est rubeus siccum mare transit fiebreeus
Angelico ductu patet in medio via fluctu.
In ligno serpens positum notat in cruoe Christoxa
Qui videt hunc vivit, vivet qui credit in istum.
Cemens quod speciem DeitatLs dum teret auram
^Frangit scripta tenens Moyses in pulvere taunun.
APPENDIX (C).
403
Samaritanus ducit vul-'
neratum in stabulum
cumjumento. Ancilla
accusat Petrum. Do-
minus crucifigitur.
Sepelitur. Resurgit.
Loquitur Angelus ad
Marias.
Qui caput est nostrum capitur: qui rcgibus ostrum
Prebet, nudatur : qui solvit vine! a ligatur.
In signo pendens. In ligno brachia tendens.
In signo lignum superasti Christe malignum,
Christum lege rei livor condemnat Hebraei
Came flagellatum, rapit, attrahit ante Pilatum.
Solem justitisB tres, orto sole, Marise
Quaerunt lugentes, ez ejus morte trementes.
Suscitat Jesus puel-
1am in Domo. Abi-
gaeloccunit Dayid
et mutat proposi-
tum. Constantinus
jacens et matres
cum pueris.
^
FENESTRA DECIMA.
Qu£B jacet in cella surgens de morte puella
Signat peccatum meditantis corde creatum,
Rex David arma gerit, dum Nabal perdere quserit
Obviat Abigael mulier David, arma refrenat,
Et nebulam vultus hilori sermone serenat.
Rex soboles Helens, Romanse rector habense
Yult mundare cutem quserendo cruce salutem.
^Nec sceluB exercet, flet, humet, dictata coercet.
Dominus suscitat pue-
rum extra portam.
Rex Solomon adorat
Idola et deflet pec-'
catum. Pcenitentia
Theophili-.
Qui jacet in morte puer extra limina portae
De foris abstractum peccati denotat actum.
Errat foemineo Solomon deceptus amore :
Errorum redimit mens sancto tacta dolore.
Dum lacrimando gemit Theophilus acta redemit,
Llnvenies veniam dulcem rogando Mariam.
Dominus suscitat Laza-^
rum. Angelus alloqui-
tur Jonam sub hedera
anteNinevem. Pceni-
tentia Marise Egip-
tiacss.
Mens mala mors intus ; mains actus mors foris :
usus
>Tumba, puella, puer, Lazarus ista notant.
Pingitur hie Nimve jam pene peracta perire
Yeste fidus Zosimas nudam tegit Mariam.
" Tbeophilos, in order to obtain hk
restoration to an office from which he
had been removed, entered into a com-
pact with the devil on the nsoal terms,
giving a bond signed with his blood. In
consequence of his snhseqnent bitter re-
pentance the Virgin compelled the bond
to be delivered op and cancelled. The
D
legend seems to have been a favonrite
one. It is said to be twice represented
in the sculptures of Notre Dame, Paris,
and in glass-puntings of the Cathedral
of Laon, St. Rerre at Troyes, and else-
where. There are several French ver-
sions of it, and Mr. Dasent in 1846 pub-
lished some in old German and Icelandic
d2
404
APPENDIX (C).
Imperat adduci puUum cum matro Magister
Faruit huic operas euccinctus uterque minis-
Mittit Dominus duos Dis-^
cipul. propter asinam et
Pullum. Sp. sanctus in
specie columbad inter
Deum et hominum.
ter.
Signacius simplex quod sit dilectio duplex
Ala Deum doxtra ^trem docet ala siniatra.
Jesus stans inter Petrum \ Genti quae servit petris Petrum, petra mittit.
et Paulum. ) Escas divinas Judeis Paule propinas.
Adducunt discipuli
Asinum et Pullum.
Petrus adducit eccle-
siam de Judeis. Pau-
lus adducit ecclesiam
dc gentib.
^
^Qu8B duo solvuntur duo sunt animalia bnita,
Ducitur ad Christum puUus materque soluta.
De populo fusco Petri scrmone corusco
Extrahit ecclesiam yeram reserando Sopbiam^
Sic radio fidei cseci radiantur Hebraei
Per Pauli verba fructum sterilis dedit herba,
Dum plebs gentilis per eum fit mente fidelis
^Gentilis populus venit ad Christum quasi puUus.
Occurrunt pueri Do-"^ Vestibus omari patitur Salvator asellam
mine sedenti super |- Qui super astra sedet, nee habet frenum neque
Asinam.
sellam.
Isaiaa dicit. Ecce Rex tuus | q^ ^^^ ^ ^^^ ^^^ ^^^^^^ ^^^^
sedens super asinam ;
David ex ore infantum, &c. Sancti sanctorum laus ore sonat pucrorum.
FENESTRA UNDECIMA.
In medio ccena Domini'
David gestans se in
manibus suis. Manna
fluit populo de cqbIo. .
Lavat Jesus pedes Apo-
stolorum.
Abraham Angelorum.
Laban camelorum.
Quid manibus David se gestans significavit
Te manibus gestans das Christetuis manifestona,
" Manna fluit saturans populum de plebe figurans
De mensa Jesu dare se coenantibus esum.
Obsequio lavacri notat liospes in hospite sacri
Quos mundas sacro mundasti Christe lavacro.
Cum Laban hos curat, typice te Christe figurat^
Cura camelorum mandatum Discipulorum.
Proditio Jesu.
Yenditio Joseph.
Joab oBculatur.
Abneretoccidit.^
Eraus Judse Christum, fraus fratrum vendidit istum,
Hii Judsc, Christi Joseph tu forma fiiisti.
Foedera dum fingit Joab in funera stringit
Ferrum, Judaicum prsssignans foedus iniquum.
APPENDIX (C).
405
-\
Vapulatio Jesu. Job per-
CUSSU8 ulcere. Heli- I Christi testatur plagas Job dam cruciatur
zeus et pueri irriden- | Ut sum Judese, jocus pueris Helisee.
tea.
FENESTRA DUODECIMA.
Christus portat cnicem.^ Ligna puer gestat, crucis typum manifestat.
Isaac ligna. Mulier }• Fert crucis in signum duplex muliercula lig-
colligit duo ligna. J num.
Christus suspenditur'
de ligno. Serpens
BBueus elevatur in co-
lumna : Vacca rufa
comburitur.
Mors est exanguis dum cemitur aureus anguis,
Sic DeuB in ligno nos salvat ab hoste maligno.
Ut Moyscs jussit vitulam rufam rogus ussit,
Sic tua Christc caro crucis igne crematur amaro.
Dominusdeponiturde ligno. ^ Nos a morte Deus revocavit et hunc
Abel occiditur. Heliseus ex- ^ Heliseus.
pandit se super puerum. J Signa Abel Christi pia funera ftinere tristi.
Frontibus infixum Thau praBcinuit cruci-
fixum
Ut Samson tjpice causa dormiyit amicsB,
Ecclesise causa Christi caro marmore clausa.
Dum jacet absorptus Jonas Sol triplicat ortus
Sic Deus arctatur tumulo triduoque moratur.
Salvat ovem David; sic Christum significavit.
Est Samson fortis qui rupit vincula mortis.
vid eripuit Oves, et Sam- ] ^"^^ Samsonis, frangit Deus ossa Leonis.
Moses scribitThau in fron-"
tibus in porta de sanguine
agni®. Dominusinsepul-
cro. Samson dormit cum
amicasua. Jonas in ventre
ceti.
Dominus ligansDiabolum.
Spoliavit infernum. Da-
son tulit portas.
pulcro. Jonas ejicitur
de pisce. David omis-
sus per fenestram.
Dum Sathanam stravit, Chr*" Regulum
jugulavit.
Surgit Dominus de se-*^ Rcdditur ut salvus, quem ceti clauserat alvus:
Sic redit illesus, a mortis carcere Jesus.
Hinc abit illesus David : sic invida Jesus
Agmina conturbat, ut victa morte resuigat.
•» This subject, as well as that of the
lion vivificating its cub, and the woman
(of Zarephath) gathering two sticks, are
explained in the Monographie de la Ca-
thedrals de Bourses. See the review of
this work in vol. i. of the "ArcbsBolog^cal
Journal," p. 169 et seq.
4o6
APPENDIX (C).
Angelus al loquitur Mariam
ad Scpulcram. Joseph ex-
trahitur e carcere. Et Leo
suscitat filium.
"^
Ad vitam Christum Deus ut leo suscitat
istum.
Te signat Christe Joseph ; tc, mors, locus
iste.
Sanctus Gregorius dat^
aquam manibus pau-
penim, et apparuit
ei DominuB.
Hospes abest : ubi sit stupet hie, cur, quove
resistet.
Membra prius quasi me suscepisti sed heri
me..
Gregorius dictat. Pe- \ _ _ ...
trus scribitP Soli- J catum, quam Presul Pontificatum.
tarius cum cato % ) ^^® ^'^"^ '^''^''^'^ ""'^^^ ^^^'^^^^^ ^^^^*-
Hostia mutatur in ^ Id panis velat, digiti quod forma revelat.
formam digiti '. ) Velans forma redit, cum plebs absoondita credit.
Gregorius trahitur \ Quem nomen, vultus, lux, vita, scientia, cultus
et papa efficitur. ) Approbat extractus latebris fit papa coactus.
The windows of King;'8 College Chapel^ Cambridge^ exhibit for
the most part the same principle of parallelism as the Canter-
bury windows, but instead of two types, one only is joined to an
antitype. As descriptions, of these windows are very common,
a few instances will here be sufficient. 1. Joseph cast into the
pit : Christ laid in the tomb. 2. Joseph meeting his father and
brethren in Egypt : Christ appearing to the eleven. 3, Elijah
ascending to heaven: the ascension of Christ. 4. The delivery
of the law to Moses : the descent of the Holy Ohost on the'
Apostles. 5. Jacob flying from the wrath of Esau : the flight
into Egypt. 6. Esau tempted to sell his birthright: Christ
tempted in the wilderness.
9 Peter, a deacon, and disciple of St.
Qregory, saw, as it is said, on one occa-
sion when the saint was dictating to him,
the Holy Spirit in the likeness of a dove
seated on his head, and conveying words
into his ears.
4 This alludes to the following legend.
A hermit who had no possessions except
one cat, — unam cattam quam blandiens
crebro quasi cohabitatricem in suis gre-
miis fovebat, — having, in thought, com-
pared his poverty with the riches of the
saint, was admonished in a vision, and
instructed that the pope who gave away
all his wealth to others was poorer than
the hermit who retained to himself ex-
clusive enjoyment of his cat.
' This was a miracle wrought by St.
Qregory. A woman having, during the
Holy Communion, smiled firom incre-
dulity on hearing the bread which ihe
herself had made termed the body of our
Lord, St. Qregory put aside the morsel
he had offered her, and afterwards shewed
it to her changed into part of a little
finger covered with blood.
APPENDIX (C).
407
All these parallelisms occur in the Biblia Pauperum; they
are examples (among many others) of how much the Middle Age
artists con&ied themselves to a certain established set of sub-
jects^ a practice however which is not peculiar to them, but is
observable in the works of the great masters. The types and
antitypes represented in the Sistine Chapel are described in
Kugler's *' Handbook of Painting/' vol. i. Many valuable and
instructive remarks on the typical treatment of Scriptural sub-
jects by artists, will be found in the first book, and in the pre-
face and notes of the English editor : see preface, p. 19, and
notes, pp. 14, 53, 127, 216 »,
■ The following notice of the painted
gbi88 formerly in the windows of the
chapel of Lamheth Palace, is taken from
" The History of the Troubles and Tryal
of W. Laud, Abp. of Canterbury, by him-
self." London, 1695, p. 311. It should
be stiErted that the chapel is lighted by
triplets of lancets on each side, and by
an east window consisting of five lancets.
** The windows contain the whole story
from the Creation to the Day of Judg-
ment : three lights in a window ; the two
side lights contain the types in the Old
Testament, andthe middle light the anti*
type, and Verity of Christ in the New."
In a subsequent page he says, " Abp.
Morton did that work, as appears by his
device in the windows," p. 317. Cardinal
Morton, who held the see of Canterbury
&om 1487 to 1500; may however have
only repaired the windows, as Laud him-
self did.
These painted windows were destroyed
during the Rebellion. See State Trials,
voL i. p. 886, (note,) foL ed.
APPENDIX (D).
Ix this Appendix are inserted two extracts, one from what is
commonly called the " Vision of Piers Plowman :" the other
from " Piers Plowman's Creed/' which may serve to illustrate
the history of glass-painting. The satirical picture they pre-
sent furnishes an amusing specimen of the dexterity with which
the ecclesiastics rendered the weaknesses of the faithful sub-
servient to the decoration of their buildings, and shews that^
notwithstanding the romantic view which is sometimes taken
of the virtues of the Middle Ages, the simple piety of our an-
cestors was not unalloyed by vanity and ostentation, not to
speak of grosser admixtures. The principal use of the extracts,
however, is to illustrate the practice of introducing armorial
bearings, and to shew how generally the figures in ancient
glass-paintings may be looked upon as portraits. Portraits
were certainly introduced at a very early period ; there is one,
for instance, of Suger in the glass at St. Denis, a representation
of which is given in M. Lasteyrie's work. In monumental
windows they were very common, and it is probably by means
of such a portrait that the likeness of Littleton has been
preserved \
The censure of inscriptions recording the donor's name, which,
occurs in the first extract, may call to mind Pope's lines,
'* Who builds a church to God, and not to Fame,
Will never mark the marble with his name,*'
and shews the antiquity of the scruples which are enter-
tained on this head, and which are noticed in a former part
of this work.
* "It appears from county records tbat
in the east window of the chancel in the
chapel of St. Leonard at Frank ley, there
was a figure of a man in scarlet with a
coif on his head, in the position of prayer,
probably the original of the print pre-
fixed to the old editions of Lord Coke's
commentaries. Cornelias Jansen painted
from this likeness a full-length pictore of
the judge (Littleton), which is now in
the Inner Temple hall." — Phillimore's
"Memoirs of Lord Lyttleton/' vol. i.p. 4.
APPENDIX (D). 409
EXTRAOr FROM "THE VISION AND THE CREED OF PIERS
PLOUGHMAN."
'* Thanue cam ther a confessour,
Coped as a frere ;
To Mede ** the mayde
He meved ^ thise wordes,
And seide ful softely.
In shrift as it were,
* Tbeigh lewed men and lered men
Hadde leyen by thee bothe
And Falsnesse hadde y>folvired thee
Alle thise fifty wynter,
I shal assoille thee myself
For a seem * of whete,
And also be thi bedeman,
And here well thi message
Amonges knyghtes and clerkes,
Conscience to torne^.'
• Thanne Mede for hire mysdedes
To that man kneled,
And shrof her of her sherewednesse
Shamlees I trowe ;
Told hym a tale
And took ' him a noble
For to ben hire bedeman
And hire brocur als ''.
Thanne he assoiled hire soone,
And sithen he seide,
' "We have a wyndow in werchynge
" Mede, Reward. Dr. Whittaker calla ' sought by all those who set their hopes
her Bribery, but Mr. Wright in his in- | on the present." — " The Vision and the
Creed of Piers Ploughman, with Notes,
and a Glossary, by Thomas Wright, M. A.,
F.S.A." &c London, 1842.
' moved.
troduction to the edition firom which the
present extracts are taken, says, Mede
" is the personification of that mistaken
object at which so large a portion of
mankind direct their aim — the origin of 1 *■ seam, the measure so called.
most of the corruption and evil deeds in ' t turn.
this world ; not the just remuneration of ' gave.
our actions which we look forward to in J * also.
a future life, but the reward which is
410 APPENDIX (d).
Wole Bitten us ful bye,
Woldestow ^ glaze that gable
And grave tberinue thj name
Sjker^ sholde tbi soule be
Hevene to bave.'
' Wiste I that' quod that woman
' I wolde nogbt spare
For to be your frend, frere,
And faile you nevere.
While ye love lordes
That lecberie baunten,
And lakketb nogbt ladies
That loven wel the same.
It is freletee of flessbe,
Ye fiuden it in bokes.
And a cours of kynde *^
Wberof we comen alle.
Who may scape sclaundre,
The scathe is soone amended ;
It is the synne of the sevene
Sonnest relessed.'
* Have mercy' quod Mede
' Of men that it baunteth,
And I shal covre your kirke,
Youre cloistre do makeu ',
Wowes ' do whiten
And wyndowes glazen,
Do peynten and portray e
And paie for the makynge.
That every segge ' shal seye
I am suster of youre bouse.'
Ac God to alle good folk
Swich gravynge defendeth,
To writen in wyndowes
Of bir wel dedes,
An aventure ^ pride be peynted there,
And pomp of the world ;
Eor Crist kuowetb tbi conscience,
^ woaldest thou.
* certain.
* nature.
* do maken, do wbiten, &c., cause
to be made, &c.
' walls.
' man.
'' by adventure, by chancfi*
^
APPENDIX (D).
411
And thi kyude wille.
And thi cost and thi coveteise
And who the catel' oughte^.
For thi* I lere™ you, lordes,
Leveth swiche werkes ;
To writen in wyndowes
Of youre wel dedes.
Or to-greden*^ after G-oddes men
Whan ye dele doles,
On aventure ye have youre hire here.
And youre hevene also.
Nesciat sinistra quod faciat dextra.
Latnoght thi left half ^
Late ne rathe p
"Wite what thow werchest
With thi right syde ;
Tor thus hy the gospel
Goode men doon hir almesse."
In the ** Creed/' from which the next extracts are taken,
*' the author,, in the character of a plain uninformed person^
pretends to be ignorant of his creed; to be instructed in the
articles of which, he applies by turns to the four orders of
mendicant friars. This circumstance affords an obvious occa-
sion of exposing in lively colours the tricks of these societies^/'
The first of the following passages contains part of the answer
of the Minorite, or Franciscan friar.
" Certeyn, felawe' quath the frere
* Withouten any fayle
Of al men upon mold ',
We Minorites most sheweth
The pure aposteles liif,
With peuance on erthe,
And suen him in sanctity,
* goods, property.
^ owned.
\ therefore.
" teach.
■ cry out.
<> ride.
' h&te nor soon.
4 Warton's "Hist, of English Poetry,
f>
section ix. The "Creed" was written
subsequently to the "Vision," and by
a different author. The " Vision," Mr.
Wright thinks, was written in the latter
part of 1362. The "Creed" was written
after the death of Widif, who died in
1384.
' earth.
412 APPENDIX (D).
And sufferen wel harde.
We haunten no tavernes,
Ne hobelen abouten ;
At marketes and miracles
We medeleth us never ;
We hondelen no moneye
But monelich* faren,
And hayen hunger at the mete,
At ich a mel ones.
We haven forsaken the worlds
And in wo libbeth,
In penaunce and poverte,
And prechethe the puple
By ensample of our liif
Soules to helpen ;
And in poverte preien
For al our parteneres,
That gyveth us any good
God to honouren,
Other* bel other book,
Or bred to our food,
Other catel, other cloth
To coveren with our bones.
For we buldeth a burwgh",
A brod and a large,
A chirch and a chapitle*,
With chaumbers alofte ;
With wide wyndowes y-wrought.
And walles wel heve.
That mote ben portreid and paint,
And pulched ' ful dene,
With gay glitering glas
Glowyng as the sunne.
And mightestou* amen den us
With moneye of thyn owen,
Thou shouldest knely bifore Christ
In compas of gold.
In the wide window west- ward
' meanly. , « a chapter-honse.
* either. y polished.
■ a caatle, or large edifice. ' mightest thou.
APPENDIX (D). 413
"Wei neigh in the myddel
And Saint Fraunceis himselfe
Shal folden the in his cope,
And present the to the Trinity
And praye for thy synnes.
Thy name shal noblich ben wryten
And wrought for the nones,
And in remembraunce of the
Y-rad there for evere.
And, brother, be thou nought a-ferd ;
Bythink in thyne herte,
Though thou conne noughte thy crede,
Care thou no more ;
I shal asoilen the, Syr,
And setten it on my soule ;
And thou maken this good
Think thou non other."
He afterwards goes on to make enquiry of the Dominicans,
or Friars-preachers.
"Than thought I to frayne' the first
Of this foure ordres ;
And presed to the Prechours
To proven her wille.
Ich highed to her house,
To herken of more ;
I gaped aboute,
Swich a bild^ bold
T-buld upon erthe heighte
Say I nought in certeyn
Siththe a long tyme.
I seemed' open that hous,
And yeme* thereon loked,
Whou the pileres were y-paint.
And pulched ful clene
And queyntly y-corven
With curious knottes;
"With wyndowes wel-wrought
Wyde up a-lofte.
And thenne I entred in,
■ inquire of. »» bmlding. * looked. ** eagerly.
414 APPENDIX (D).
And even forth wente ;
And al was walled that woae*,
Through it wiid were,
With pestemes in privity
To pa sen when hem liste ;
Orchejardes and erberes'
EvesedK wel clene,
And a curious cros
Craftly entajled,
With tabernacles y-tight
To loken*" al abouten,
The pris of a plough-land
Of penies so rounde
To aparaile that pjler
Were pure litel.
Than I munte me forth
The mjnstre to knowen,
And awaited^ a woon^
Wonderly wei y-bild,
With arches on everich half,
And bellyche y-corven,
With crochetes on corneres.
With knottes of gold,
Wyde wyndowes y-wrought,
Y-wryten ful thikke,
Bhynen with shapen sheldes,
To shewen aboute,
With merkes of merchauntea
Y-medeled betwene
Mo than twentie and two
Twyse ynoumbbred."
* dwelling.
' arbours.
f Aimished with eavm.
^ look.
' saw — awayte^ to see or
by watching.
I* dwelling.
APPENDIX (E).
EXAMPLES OF MONUMENTAL INSCRIPTIONS ON PAINTED
WINDOWS.
In a window of St. Michael's Bashishaw^ under the portraits
of a man and his wife kneeling, (an engraving of them is
given,) is the following inscription : —
Adrianus D'Ewes ex illustri .familiU des Ewes olim dynasta-
rum ditionis de Kessel in Ducatu Oelriae prognatus, intesti-
narum patrise su» discordiarum pe.rtcesus in Angliam aliege-
narum asylum sceptrum tenente rege Hen. YIII. recessit:
foDminamque Anglicam nomine Aliciam ex perantiquft Ravens-
croftorum famili& oriundam in uxorem duxit, et quatuor de
e& genuit filios Geerardt, Jacobum, Petrum et Andream. Obiit
iste Adrianus de sudore Anglico mense Julii ann. 5 Edward YI.
ann. dom. 1551, et infra limites sacratsB terrse hujus ecclesiss
inhumatur. Dicta autem Alicia maritum supervixit annis
XXVIII. et ultimum naturae debitum persolvit mense Julii
ann. dom. GIqDLXXIX. et tumulatur in h&c ecclesi& non
procul ab ietd fenestr&^ postquam viderat quatuor reges Anglise
viz., Hen. VII. Hen. VIII. Edw. VI. et Philippum, et ix.
reginas regni ejusdem, viz., matrem vi. uxores et duas filias
regis Hen. VIII.i— Weever, p, 698.
KEDITON OR KEDINOTON (iN DIOCESE OF NORWICH).
In the south window of this church is to be a seen a Bama-
diston^ kneeling, in his compleat armor, his coat armor on his
breast, and behind him his seven sons. In the next pane of the
glass is Elizabeth the daughter of Newport, kneeling, with her
coat armor likewise on her breast, and seven daughters behind
her : and under it is thus written, now much defaced : —
Orate pro animabus Thomse Bamadiston, militis, et Eliza-
^ This window with its "large iiiBcrip-
lion" was set up by Sir Simon IVEwes
the antiquary, great-grandson of Adrian,
as he himself records. ( Life of D'Ewes,
▼ol. i. p. 10.)
^
4l6 APPENDIX (E).
beth« uxoris ejus, qui istam fenestram fieri fecenmt, anno
domini MOCCC anima Deus amen.— Ibid., p. 471.
CHART MAGNA (dIOCESE OF CANTERBURY).*
In the east window is thus to be read in glass: —
Memoriali reuerendi patris domini Jacobi Goldwell epiflcopi
Norwicen.
In the midst of the east window in the south chapel of this
church, is the picture of the aforesaid Bishop Goldwell, kneel-
ing, and in every quarry a golden well or fountain, (his rebus
or name-device,) and across the window inscribed,
.... Jacobo Goldwelle, episcopo Norwicien, qui ... . opus
fundavit ann. Christi MCCCCLXXVII.— Ibid., p. 92.
WILLSBOROXJGH.
In the east window of the south ile of this church you may
find by an inscription that one Thomas Elys Esquire and
Thomazin his wife were here buried. — ^Ibid., p. 87.
TUNBRIDOE.
In the north window are depicted the portraitures of the
Lord Hugh Stafford kneeling in his coat armor and his bow
bearer Thomas Bradlaine by him, with this inscription : —
Orate pro animabus domini Hugonis Stafford et Thomse
Bradlaine arcuar Ibid., p. 126.
THE PRIORY OF HOLYWELL.
In most of the glass windows these two verses following (not
long since to be read) were curiously painted,
** Al the nunnes in Holy wel.
Pray for the soul of Sir Thomas Lovel."
He died 25 May, ann. 1524. — Ibid., p. 211.
GREAT THORNDON.
In the glass of the east window,
Tyrrell knyth and dame and for all the BOtiles
Bchuld be preyd for. — Ibid., p. 410.
APPENDIX (e).
4^7
COTES CHURCH, GLOUCESTERSHIRE.
The following inscription is carved on the architrave of one
of the chancel windows.
Me fecit fieri Wyat noie (nomine) Johns.
DUNTHROP CHURCH, OXFORDSHIRE.
Orate pro animabj Johannis Asshefeld armiger et Elionore
uxori {sic) eius^ qui istam fenestram fieri fecerunt anno doraini
MCCCCCXXII, de quibus animabu^ propriciet deus, amen.
BARLEY.
Orate pro salubri statu™ domini Willelmi Warhara, legum
doctoris, et Pauli London, canonici, magistri rotulorum, can-
cellarii regis, ac rectoris de Barley.
Thifi Warham (remembered here in the glass window) was
sometime archbishop of Canterbury. — Weaver's " Funeral
Monuments/' p. 314.
GREAT MALVERN, WORCESTERSHIRE.
There were here many inscriptions in the windows. Under
two figures —
Yos qui inspicitis animabus rememoretis P. Dene nee non
fratris masculini.
** There i8 reason for believing that in
general, anch an expression as "orate
pro salubri statu/' or " pro bono statu,"
indicated thnt the person mentioned was
living at the time. Thus in the instance
given in the text, it may be inferred
from the absence of any allusion to the
title, that the glass was executed before
Warham became Archbishop of Canter-
bury. So the inscription, "Orate pro
bono statu religiosi viri Johannifi, Spis'
copi Wi/ffom" now lost, but preserved
by Habringdon, shews that the work
was done in the Bishop's lifetime, for
he was translated from Worcester to
Ely in 1486.
The following inscription may also be
cited in support of this opinion.
In St. Peter*s Church, Canterbury.
Orate pro bono statu Johannis Bigg
E
armiserif ac Aldcrmanni civitatis Cant,
et ConstantiflB consortis snse, qui mo
vitrari fecerunt. Anno Domini 1473,
et speciHliter pro bono statu Willclmi
Bugg civitatis Cant, et Johaunte
consortis susb, et pro animabus parentum
ac benefactorum eorum qui hoc laraen
Anno Dom. 1468.
(Appendix to Somner's "Antiq. of
Canterbury," p. 69, 2nd ed.)
In Great Malvern Church, in the win-
dow containing the portrait of Prince
Arthur (referred to page 173) was
"Orate pro bono statu Henrici
septimi et Elizibethss regino) et domini
Arthuri principis necnon .... consortis
sue et suorum trium militum," portraits
of all these as well as of the Prince being
in the window. (Nash's "Worcester-
shire," voL ii. p. 131.)
4l8 APPENDIX (E).
UFFORD.
Orate pro bono statu Christopheri Willoughby, armigeri, et
Margerie uxoris ejus.
This is in a glass window of the church. — Weaver, p. 490.
The following extract is from Burton's "History of Leicester-
shire," Znd edition, p. 279.
"In the east window of the chancel [of Wanlip Church].
The portrait of a knight, armed, kneeling; on whose surcoat,
Gules, two bars gem els a bend argent: against whom is bis lady
in a kneeling posture, on whose under garment are the same
arms, and under whom is written : —
Orate pro anima Thomse Welsh Militis qui hoc templum fieri
fecit MCCCLXXXXIII et pro anima Catharinse uxoris ejus."
Other inscriptions are given in Somner's "Antiq. of Can-
terbury," pp. 328, 330, 333, 335, 336, and 337,
INDEX.
ABBADiNa coated glass, 5, 32, 137, 142,
184, 250.
Amsterdam Cathedral, windows in, 241,
302.
Annealinpf glass, 3, 357.
Antiquating glass, 319.
Antwerp, painted windows at, 241, 301.
Arabesqaes, 213.
Architectural skreen, 221.
Amement, 29, 377, note.
Arundel Castle, window in, 238, 305.
Auch Cathedral, windows in, 198, 255,
note.
Augsbui^ Cathedral, window in. 111,
308, note.
Banded quarry, 63.
Barfreston Church, windows in, 329,
note.
Beaded ornament, 61, 100.
Beauchamp Chapel, contract for glazing,
389.
Belt of canopies, 44, 77, 123, 192.
Biblia Pauper urn, 394, note.
Black-letter, 117, 184, 225.
Blow-pipe, 16, note (b) ; 358.
Blue glass, peculiar colour of old, 25,
note.
coated glass, 141.
Bontemps, M., remarks on ancient glass,
309, note.
• on injudicious imi-
tation, 315, note.
revived the nncient manu-
facture of ruby glass, 362, note.
Bower canopy, 178, 334.
Brackets, figures on, 123.
Brodd glass, 15, note (a), 247.
Brush yellow, 18.
Brussehi Cathedral, windows in, 241,
302.
Bull's eye, 16.
Canopies t'oliaged, 334.
Canopies in Munich Cathedral, 175,
288, 334.
Canterbury Cathedral, windows in, 45.
Cartoons, 30.
Cathedral gliss, 15, note (a).
Cement, 21.
Chaucer's dream, description of painted
windows in, 270, note.
Chetwode Church, windows in, 48.
China red, 149, 207, 247, 300.
Chinese art, resemblance to medieval
art, 344, note.
Clffintchurch, Bloomsbnry, windows in,
328, note.
Circular window, see Wheel window.
Clear lights, 284.
Clearstory windows, 66, 71.
figures in, 71.
Cologne Cathedral, canopies in choii*
windows of, 84.
windows in aisle,
111, 299, 308, note.
— in nave, 12l.
St. Mary of the Capital,
133.
St. Peter's Church, 203, 301,
336.
Cloryng nails, 376, note (u) ; 377.
Coated glass, 3, 17, note (d).
Coloured windows, 37, 81.
glttss, 3, 22, note (k).
pattern window, 42, 83.
Colouring of glass-painting, remarks on>
2iJ0, note.
Common window glass, 15, note (a).
Contrast of colour, 280.
of light and shade, ib.
Corrosion of glass, 23.
Covered glass, 3.
Cross-hatching, 39, 76, 151. '
Cross ornament, 101.
Crown glass, 15, note (a), 247.
Crowned letters used us borders, 157.
Cylinder of glass, 17, 360.
420
INDEX.
Dates, evidence of, 9.
Decomposition of glass, 24.
Decorated style, examples of, 85.
Designs extending over the whole of
a window, 33 k
Diaper pattern, 19, 91.
Doable staining, 29, 138, 208.
Durer, Albert, German fignrea in time
of, 147.
Enamel brown, 4, 18, note (f) ; 29.
probable decomposition
of the ancient, 373, note.
colour, 4, 18, (note f) ; 228.
method of glass- painting, 6, 22.
Glass, cost of ancient, 387.
furnace, 357, note.
painting, how soon practiaed, 2,
Enamels, invention of, 228, note.
Kraclius, 356, note.
Fairford Church, windows in, 131, 288,
300.
remarks on the
figures in them, 332.
Fat turp. ntine, 19.
Festoon, 220.
Figure and canopy window, 40, 78, 120,
191, 231.
Flashed gbiss, 17, note (d) ; 23, note (k).
Flat-fronted canopy, 110, 169.
Flatness of Early English glass-painting,
327.
Flesh, colouring of, 295, note, 326.
Flint glass, 16, note (b) ; 23, note (k).
Flourished lines, 144.
Fluoric acid, 5.
Flux, 18, note (f).
Framework, double, 72.
France, rapid decline of glass-painting
in, 239, note.
Fritting, 2, 21, note (k) ; 358.
Garland, 214.
Garter, earliest instance of arms within,
181, note.
Geet, 386.
Geometrical glazing in times of Eliza-
beth and James I., 253, note.
George's, St., Hanover-squire, windows
in, 800. '
Giles, 236. '
Glass, ancient, gem-like appearance of,
308.
blowing, 1 note (a) ; 14, note (b).
and note.
of, 227.
decline and deterioration
of in France, 239,
note, 2-13.
in time of Charles and
James I., 234.
and wall paintings in the same
building, 260.
shade, 16.
Glaziers' diamond, 30.
Glazing panel, 21, 71, 117.
Gloucester Cathedral, east window in,
86, 112, 126, note, 185, note.
Gond.1, windows in chorch at, 232, 303.
Grisaille, 3.
G rosing iron, 31.
Grotesque representations, impropriety
of, 267.
Guilford, Abbot's Hospital, window in,
234.
Gum Senegal, 19.
Heater shield, 71, 87, 115, plates 18, 23.
Heraldic borders, 102, 116, note (n).
colours misrepresented, 29, 83.
Heraldry in churches not improper, 268,
note.
Honeysuckle ornament, 60.
Illuminated letters, 184, 226.
James, St., Church, Piccadilly, windows
in, 313, note.
Jesse window, 42, 80, 126, 193.
Kiln, 6, 20.
King's Collie, Cambridge, windows in,
201, 300.
Lambeth, restoration of painted win-
dows at by Laud, 264, note, 405, note.
Lead-work, 21, 81, 295.
Leaf of lead, 31.
Lear, 16.
Lever ington Church, windo^vs in, 141,
note.
Lichfield Cathedral, windows in, 204,
802.
INDEX.
421
Li^e, St. Jacques, windows in, 193.
St. Martin's, windows in, 204.
Lincoln's Inn Chapel, windows in, 235,
236, 26^, note, 303.
Library, round glass in,
336, note.
Littleton, portrait of, 406, note.
Lombardic capitals, 73, 117, 184. 226.
Malvern Cliurch, 130, 299.
Mangnnese, 24.
Margaret, St., Westminster, windows
in, 205. 291, 301.
Marver, 16, note (b) ; 361, note.
Medallion, 214.
— ^ window, 87.
Memorial window's, 270.
Merton College, Oxford, windows in, 84.
Metallic frame-work, 22, note (b) ; 71,
278.
Morrice-dancers represented in glass-
painting, 251, 269, note.
Mosaic Enamel method of glass* painting,
6, 22, note (h).
method of glass-painting, 4, 18,
note (h).
Muff of glass, 16.
MuUious may be disregarded, 334.
Munich Cathedral, canopies in, 175, 288;
334.
Ludwig Kirche and Hof Capelle,
260, note.
Maria Hilf Church, 260, note.
Nettlestead Church, Kent, 129.
New College windows, 127, 239, S^i.
Norbury Church, windows in, 85, note.
Nuremberg, St. Lawrence's Church, 180,
215.
Palissy, Bernard de, 239, note.
Panel, 37, 107.
Panelled arrangement, 65, 122.
Pattern window, 63, 120.
Perpendicular style, imitation of, 818.
^— ^— — picture glass-puinting, 120.
window, 119.
Plain geometrical glazing, 66, 106, 160,
215, 226, note ; 253.
Plate glass, 17.
Plated glass, 17, note (c) ; 28.
Portland Vase, 28, note.
Portraits in ancient glass-paintingD, 406.
Pot-metal glass, 3.
Pressed glass, 329, 336.
Price, William, 237.
Joshua, ib.
Projecting fronted canopy, 170.
Proportionate quantities of light and
shade, 287.
Punt, 16, 23, note (k); 163.
Quarry or Quarrel, 337^ note (1).
insulated ornament on, 155, note.
Representations of God the Father, 263,
note.
Restorations, 348.
Repairs, 850.
Reticulated pattern, 64, 105.
Robes represented longer than actually
worn, 95, note.
Roman letter, 225, 256.
Rose window, see Wheel window.
Round glass, 23, 162, 253, 336.
Ruby glass, 3, 25, 306.
why coated, 8, note.
strtaked, 140, 307.
smooth, early occurrence of
in Qerman glass, 88, note.
in Leverington Church,
141, note.
247.
ih.
in Queen Elizabeth's time,
in the eighteenth century.
Running patterui 65, 76, 104> 331.
Saddle-bars, 21, 71, 117, 298.
Salisbury Cathedral, windows in, 47.
Sapphire, 22, note (k).
Scalloped ornament, 61.
Scroll-work, 49, 61, 28, 152.
*8elvage, 16.
Setting to a picture glass-painting, 190,
195.
Shell dome, 219.
Shi rfield fined for breaking an idolatrous
window, 236, 263, note.
SigncUure of a window, 38, note (b).
Skrten-work, 191, 221.
Smear shi'iing stippled, 91.
422
INDEX.
Smear shadow, 19, note (h); 250, 284.
Sondelet, 21, note.
Spike lavender, oil of, 20.
Spread glass, 15, note (a) ; 360.
Sprinkled ruby, 27, 141.
Stain. 3, 29, 74. 137, 247.
Standard, 22, note (c) ; 298.
Stan of colour, 164.
Stick ornament, 152, 333.
Stipple shadow, 20, 144, 284, 327, note.
Strasburg Cathedral, wheel window in,
73.
-^-^— painted glass in aisle
of, 83.
Strasburg, St, Thomas' Church, 111.
Stria), 23.
Styles, definition of, 35<
Swisd enamel, 249.
Symbols, 265.
Table of glass, 360.
Tapestry background, 135.
Tegulated pattern, 64.
Texture of ancient and modem glass,
307, 309, note.
Theophilus on tlie sentiments awakened
by the subjects in u painted window,
266, note.
« account of, 352, note.
notice of the MSS. of his
treatise, ib.
The objections of Quiehard
and Hendric to the date ass'gncd to
the Wolfenbtittel MS. nnfqundled, 353,
note.
Transparent shadows, 281.
Trinity College, Cambridge, window in,
304.
IViumphal arch, 230.
Turn over of leaf, 151, 153.
University College Chapel, east window
in, 236.
Van Linge, 234, 235, 249, 254^ 303.
Varnish colour, note to preface, 133.
Venetian glass, 23.
Wadham College, cost of the window in
by Van Linge, 391, note.
Wages of ancient glass-painters, 384.
Westminster Abbey, windows in, 328,
note.
Westwell Church, window in, 47.
Wheel window, 39, 80, 125, 193, 231.
White glass, note to preface, 2, 22^ note
(k)j 247.
patterns, 47, 64.
windows, 37, 43, 47, 81.
Winchester Cathedral and College, wiu-
dows in, 128, 129, 313, note.
Windows painted, intentional neglect
of, 271, note.
memorial, 271.
Wreath, 155, 214.
Yellow stain, 29, 74, 89, 137.
York Minster, windows in, 82, 128.
window in, from Rouen,
240.
WOODCUTS IX THE TEXT.
1. Saddle-bare and^laxing-panels, p. 21.
2. ComparmtiTe view of die thiclcneM at colour on nilij glass, 26.
3. Siirinkled rnby, 27.
4. Diagrani, shewing tho width and profile of ancient and modern leads, SI.
5. Heads from Bonrges Cathedral, 67.
It Church. Oxfordshire, 61.
, Leiceatenhin, 101.
422
INDLX.
Smear shadow, 19, note (h); 250, 284.
Sondelet, 21, note.
Spike lavender, oil of, 20.
Spread glass, 15, note (a) ; 360.
Sprinkled ruby, 27, 141.
Stain. 3, 29, 74. 137, 247.
Standard, 22, note (c) ; 298.
Stan of colour, 164.
Stick ornament, 152, 333.
Stipple shadow, 20, 144, 284, 327, note.
Strasbarg Cathedral, wheel window in, i
73.
painted glass in aisle
of, 83.
Strasburg, St. Thomas' Church, 111.
Stria), 23.
Styles, definition of, 35«
Swiss enamel, 249.
Symbols, 265.
Table of glass, 360.
Tapestry background, 135.
Tegulated pattern, 64.
Texture of ancient and modern glass,
307, 809, note.
Theophilus on the sentiments awakened
by the subjects in u painted window,
266, note.
■ account of, 352, note.
notice of the MSS. of his
treatise, ib.
The objections of Quichard
and Hendric to the date ass'gned to
the Wolfenbuttel MS. unfquutjicd, 353,
note.
Transparent shadows, 281.
Trinity College, Cambridge, window in,
804.
IViumphal arch, 230.
Turn over of le^, 151, 153.
University College Chapel, east window
in, 236.
Van Linge, 234, 235, 249, 254^ 303.
Varnish colour, note to preface, 133.
Venetian ghiss, 23.
Wadham College, cost of the window in
by Van Linge, 391, note.
Wages of ancient glass-painters, 384.
Westminster Abbey, windows in, 32S»
note.
Westwell Church, window in, 47.
Wheel window, 39, 80, 125, 193, 231.
White glass, note to pre&ee, 2, 22, note
(k); 247.
patterns, 47, 64.
windows, 37, 43, 47, 81.
Winchester Cathedral and College, win-
dows in, 128, 129, 313, note.
Windows painted, intenliouul neglect
of, 271, note.
memorial, 271.
Wreath, 155, 214.
Yellow stain, 29, 74, 89, 137.
York Minster, windows in, 82, 128.
window in, from Rouen,
240.
WOODCUTS IN THE TEXT.
1. Saddle-ban and glazing-panels, p. 21.
2. Comparative view of the thickness of colour on niby glass, 26.
3. Sprinkled ruby, 27.
4. Diagram, shewing the width and profile of ancient and modem leads, 81.
5. Heads from Bourges Cathedral, 57.
6. A border, from York Minster, 59.
7. The scalloped ornament. Stanton Harconrt Church, Oxfordshire, 61.
8. LuUingstone Church, Kent, 93.
9. D .rchester Church, Oxfordshire, 96.
10. Southfleet Church, Kent, ib.
11. Stanford Church, Northamptonshire, ib.
12. Chartham Church, Kent, 100.
13. Westonbirt Church, Qloucestershire, ib.
14. Cross ornament. Temple Rothley Church, Leicestershire, 101.
15. Stanford Church, Northamptonshire, ib.
16. Southfieet Cliurch, Kent, 103.
17. Selling Church, Kent, 104.
18. Fawkham Church, Kent, 115.
19. Great Dunmow Church, Essex, 116.
20. Stowting Church, Kent, 148.
21. In the possession of Mr. Fletcher, 153.
22. Lambeth Palace, ib.
23. Mells Church, Somersetshire, 154.
24. Wanlip Church, Leicestershire, 156.
25. Mells Church, Somersetshire, 158.
26. Ock well's house, Berks., 183.
27. Fulham Palace, ib.
^28. Profile of lead-work, 297.
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