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GETHSEMANE

CRUCIFIXION

WAY OF THE CROSS

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PICTORIAL An Aid
By

ART to Appreciation
HENRY

IN
C.

GLASS

TILDEN

about art, but I know what I like." to know anything "I don't profess and yet how it is from people of intelligence, a common expression What in some things, but may be dangerous A little knowledge unnecessary. however information, the art of window making, in art, and particularly and assist in the forma to one's pleasure will surely contribute meagre, tion of a truer judgment. in the hope that its readers will find in it some This article is written exam the beautiful inforlmation that will enable them to better appreciate

PICTORIAL IN GLASS ART

ples in our country and to discriminate the good and the inferior. ject between to hanidle a very large sub WVe are venturing in a brief manner, and we must necessarily pass over mainy points which would prove of interest. We shal'l be obliged to pass over the llistorical side of the subject, save for a few im and eliminate consideration of portanlt points, of the that interesting period in the development art which is contemporaneous with Gothic archi shall be concerned with modern tecture. We wiindows, but as methods and styles are largely imitative we shall, in the study of the glass to day get a very clear idea of the method of earlier

years.
Let uis look at the subject on both its tech nical and artistic si(le, and to that enld we will familiarize at the ourselves with the materials liand of the arList, or craftsmain if you choose, outline of construction, the method and then out and emphasize bring the various points in mind whiclh must be borne in passing, judg ment on the finished work. as to the glass First, itself. We hear of

"Stained Glass," "Painted Glass," "Opalescent," "Drapery," "Brisi," "Favrile," etc., and perhaps
we will meet some who enthusiastically support

what they term "English" or "Antique"windows,

anid others who are equally over enthusiastic glass and methods. Amlerican All this is very to one who has no knowledge confusinig of the In the art we have to-day two schools, subject. whiclh may be compared to the "Realistic" and in painting, "Impressionistic" schools and all these names which have been mentioned, as well as others less known, may be classed tunder one or the other head. For the sake of convenience, we will call the one school "Antique" and the other "American."y Under "Painted," the first head we will place "Stained," and that which is designated as "Eng

lislh," remembering that these are not distinct methods but terms only and synonymous. There is, however, an important distinction between
"painted" and "stained," of which we shall speak later on, but popularly they mean the same.
THE DIVINE COMMISSION" AND D.SC1NT OF HOL' GH/ST' ) (E.NGLISH

PICTORIAL

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IN

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I57

Windows glass leaded

are made of the "Antique School" together, the glass in each section

up of many sections of being of uniform color

throughout, the shadows and detail being brushed in with staining pig
This method is the one ment mixed with a flux and fused into the glass. in the middle is the which was employed ages and by our forefathers, one in favor in England and upon the continent of Europe to-day, and

in which, many contend, the English workers excel. The "American School," so called because of its invention in this
countrv and largely used here, though not to the'exclusion of

method, covers the terms "Opalescent," "Drapery," etc. The chief char acteristics of windows of this school are the disuse of shading pigments
and the lack of detail. In the sections of an "American" window the glass is very rarely

thf

other

homogeneous in color, but may be found variegated or "opalescent," and

it may be seamed or roughened so as to give the effect of drapery when held before the light-hence its name "Drapery." The glass for this pur pose is made up in large sheets by pouring various pot metals together on

a slab, which produces irregular color effects.

to harden as they metal cools. From

Some sheets are allowed

lie, others are furrowed with blunt sticks before the these sheets are cut pieces which will produce the de

sired effects. Depth of coloring, or shading effects are obtained mainly

from the thickness of the glass, or else by plating, i. e., by superimposing one piece of glass on another; from the furrowed glass, drapery effects and detail is not seriously considered. We have observed that windows of these two schools are made on the

mosaic principles. Many centuries ago windows were made of many small pieces of colored glass without stain, and called the "Mosaic School."
is now obsolete, This method be seen at Pisa; but specimens may even at the present itme

Another school, now happily out of favor, called the "Munich School," in various is responsible for enamelled windows, i. e., subjects painted we must bear this in mind colors on single sheets of white glass,-and and Stained Glass. between Painted in making the distinction the two important schools and the that we are fa-miliar with Now some technical details and the method of materials used, let us consider

construction.
is a most of the design, which First comes the preparation important feature, and to which we will refer later. This usually takes the form of a carefully executed color sketch drawn to scale.

This design being approved, the artist proceeds to make a full sized cartoon (in duplicate) with black lines showing the leads, heavy or light according to the outline to be emphasized. The spaces between the leads
are then numbered to serve as and are cut out from one of the cartoons for cutting the glass, allowance patterns being made for the heart of the

leads. Next
"Antique"

comes the selecting and cutting of the glass. Under the

little else is required than to find glass of the desired

method

PICTORIAL color. glass In the American is a most important

ART school feature

IN

GLASS of the

the selection of the work.

. -

~~~~.

I~~~
1 $_

the It will be seen that in the form,er method and faithfully a design in glass can prepare worker follow it by the use of shading or staining pigments body color has been on the glass after the necessary a sketch but it may make The American obtained. for he cannot, as his be suggestive necessarily must brother artist, prepare a finished picture and then exe He must not only find a piece of cute it in glass. to se will suit him in color, but is obliged glass that can be in formation or thickness cure a piece which light, shade and mod cut to produce advantageously The glass once selected and cut the American elling. could lead the glass together and the window worker would be completed were it not for the fact that faces, flesh parts, etc., have to be painted. artist has the English On the other hand, however, is cut. His the glass scarcely begun his work when next step is to lay a large sheet of plate glass upon the original cartoon and the small sections of colored glass are affixed to it with wax over the numbers cor they have been by which to the patterns responding lead lines are then traced on the glass with cut. The is cartoon opaque paint, and the whole affair without set up before the light. He has before him a piece of are mostly there, but Outlines glass work. mosaic in, the delicate detail worked others must be drawn, In doing finished. picture effected-the the shading this, metal oxides are used, which must be fused into it. Each sec incorporated with the glass and become tion of the glass so treated has to be fired- separately, several times, this process many have to go through be for each piece must and then often are useless, before glass and inspected the sheet replaced upon can be completed. the window the small and firing accomplished, staining The in both and this process pieces are leaded together, The sections in the same manner. schools is handled time directly the cartoon-this laid over are again to the leads are bent and cut to conform upon it-and points the leads are At the interesting their shapes. the out frame lead is run around soldered, a heavier is rubbed into side, and then, after a sort of cement every crevice, the window then that we may Imagine have before be set in place. us a window for

GOOD SHEXHErRD'" T^HE, (ENG,ISH)

~~~~~~~.

~~ P ~ ~

OUR LORD AND SAINT PETFR HEALIN.G THE SICK

ANTIQUE Courtesy

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-S

____ ffi

I.

"t-_R6

"ADORATION Showing extending wealth over and of detail five lights successful

OF THE LAMBB" (English) of one subject treatment Courtesy Spaulding & Company

ART PICTORIAL INGLASS

16i

inspection. How shall we judge it? Besides its color, good drawing, and perfection of construction, what else must be considered? What are the requirements of a window? Under what conditions or restrictions has it been produced?
Glass and its use for many articles of utility and ornament was known

for many centuries before Christ, but window glass came much later, and although windows were known in Rome early in the Christian era,
it is not so many centuries ago that in England, outside of churches and

public buildings, only the houses of the very rich possessed windows; taken out and so valued were those in private possession that they vre '. and stored when the family went away from home. Before the introduction of window glass, holes in the walls were made for the purpose of admitting light. In the nortArn countries these
were necessarily small, but the use of sheet* glass made we must not larger openings of the

practicable, it serving the double purpose of admitting light and excluding

a window so in judging And weather. is to admit light. fact that the window lose sight

This brings us to a point that differentiates a window from a painting

on canvas. In the former the glass, leads, and stains serve a double pur is to glaze an aperture in the wall pose. The first object to be attained that it it may be subdued, but not blocked; that light may pass through; a work of art is a secondary may be so brought together as to constitute In a painting, on the other hand, the paints and canvas consideration. to an end, and have no value apart from the result are simply a means

i. e., the producing of an impression on the mind then the eye.

The many fact that window have become making by it. is strictly These a technical are such men art does not pro

hibit true art in glass. Great artists have turned their attention to it,
famous as Burne-Jones,

Richmond, Holiday, La Farge, not tomention others equally well known. The art has also become "commercial" and the spirit of Commercial ism, which often spells cheapness, is responsible for much of the bad glass, of which there is all too much in this country.
artist that his brother in a way is handicapped The window artist with canavas is not, in that he must prepare his design under certain con out on his canvas his best thoughts and the latter works ditions, while inspirations.

The architecture of the building wherein the window is to be placed

and its position as well as the shape of the opening must be considered, is a vast difference There as regards the amount of light to pass through. In a through one. between light thrown on a picture and light passing so painting under a good light even the deepest shadows are illuminated color is dull as com is really dark, while yet its highest that nothing on the other hand, the shadows are very In a window, pared to the sky.

intense, being seen against the light, and the high lights, if the window
is well lighted, have the intensity of the sky itself. artist From this it will be seen that a window should not attempt to

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ART PICTORIAL IN GLASS

reproduce natural effects, his material
the for he cannot produce prohibits, delicate shading and blending of colors are not only possi Nvhich in a painting realistic effects beautiful. ble but make are, other points of handicap Two first, the brace bars which are necessary the against the windows to strengthen lines black and make heavy weather of course, the picture, which, across as to interfere as must be so arranged and the design, little as possible with the other is the very important fact that the artist is usually given a theme to wvork out, and so must in a way paint to

order.
Were we to judge of windows in

houses, public buildings, and other

similar places, we might well stop here and sum up, but we shall not find the in such places-we mutst best examples

go into the churches.

sep True art can never be wholly is the ex Art arated from religioni. pression of an idea and the best results and highest come' from man's must we read how In the Old Testament to bring his people God commanded their best of all things and their most efforts for the building and decoration of the Ark of the cunning And so, down through the ages, we find art associated with Covenant. In the early Christian sacred things. times we see those primitive places Catacombs, decorated with Christian symbols. of worship, the Roman of decorative art through there the development the succeeding From is most It was crude at first, but it improved interesting. centuries under the guidance of holy men, and the monks of the Middle Ages were
"THE GLAD TIDINGS" Glass for American Design & Company Courtesy Spaulding

noblest thoughts.

skilled craftsmen.
is essentially a Christian Pictorial window makinig remember religion. We must arately associated with glass, and here we use the name in its popular sense, art and is insep then that stained is for the church

where "Storied windows richly dight

Cast a dim, religious light." mere pictures It is Milton whom we quote and he has spoken truly-not for beaut)'s in glass, but storied Nvinldovs. Art for art's sake, beautv

PICTORIAL

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sake, is pagan , and the motif wlhich is back of churclh art mllust ring true. color and beautiful We are told to worship God in the beauty of holiness, but figure are indeed legitimnate in God's house; in decoration effects tell some should for those are the ones we are discussing, windows, a lesson. storv and point It is related how the early mission of religion. Art is the handmaid they to erect huge stone crosses upon which were wont aries to England carved scenes from the story of our Redemption. In those days there were but few books, and so those early preachers brought art, crude as it was, to their aid. They told their story, preached the remembered seeing the&r carvings and the people their sermons, had departed. story long after the preacher their religious bent of mind art students and lovers must Whatever in England. deplore the work of the iconoclasts of the Reformation and They were demolished in earnest, very much discrimination. without the patched up windows the glories of earlier days why did for restoration, and destroyed these Roundheads, a one asks on visiting Why,

cathedral like grand old Winchester,

and observing reflect which and cry out

they demolish those beautiful examples

it done simply art? Was of Gothic And we they were beautiful? because

venture to answer that, Puritans though

of Cromwell the followers they were, not simply be the windows destroyed to the ornamental they were cause they told some but because church,

story and reflected some doctrine.

We have dwelt at some length on

the ecclesiastical aspect of our subject,

the im to emphasize but it is necessary portance of design in a church window. in stones, there are If there be sermons in glass, and the designer also homilies and in his doctrine should be sound

firm in his expression.

To sum up we have learned five im in portant points which must be borne looking at a window. mind when is to admit light, window First-A is opaque not block it; hence one which its defeats lacks brilliancy in spots or

purpose.
window Second-The uise his leads and braces maker should so as to work

THE LAMB OF GOD" "BEHOLD Glass for American Design & Company Spaulding Courtesy

Imu'
"THE WORSHIP THRONE" THE BEFORE

Courtesy Company & Spaulding

(Antique School)

PICTORIAL

ART

IN

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into the subject

and not

fere with the general design.

Third The architecture of the building cannot be dis regarded. The artist may find one light, to treat or lhe may be confronted by a large win dow divided by mullionis into several lights (as somiie of otur

illustrations show).

He may

I i~~~~~~~~~~~~~~~~~~~~~

find these divisions a help or a hindrance. Perhaps lhe xwill use each light for a separate subject or treat the group of lights as a whole. If the lat dS 1~~~~17 ter he must never commilit the error of so dividing his vork that the mullioni appears as a disturbanice, but shotuld have I R j in each light figures or groups which are related to each oth er by something more thani mere accord in height and background. Fourth Natural effects sliould not be attempted. Fifth-If in a churclh the THE INFANT SAVIOUR" JOHN. THE BAPTIST"' COMPANION WINDOW COMtPANION WINDOW Nviidow should have some otlher object than mere beauty. Which one of the two schools undcler discussion best meets these it is not our purpose con(litions to say. There are those wvho, with a deep love for sacred things and religious art. demnand the traditional detail, possible in the Antique school, and who caninot saidl foi tolerate sainits anid martyrs 'in the poster style garments and im

pressioniistic colorings of the American school. MAuch indeed must be

wlhiclh places material under the will of the artist as substitutes accident for design, and makes the artist he can find in the accidents of the materials to ap stuit his pturpose. Accident proximately where art is concerned, is a useful servant but the worst possible master. For the AAmerican sclhool it milust be said it is still in its infancy, but is rapidly developing. In some cquarters an attempt has been made to onie whiclh depeindent on what againist that metlhod

overconme accidlent in the employment of modern glass, by modelling

and casting each section. This is necessarily is too soon yet to predict its success. an expensive process and it

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ART PICTORIAL INGLASS

mnust give We this credit school for suc in secular ces,s work where netal orniame

effects are desired, for the rich colorings of

modern glass and the artistic manner in which it has been handled, for this class of work, de s e r v e the favor witl it has been re which

ceived.
That it has not as yet achieved the same suc cess in religious work is due to the restrictions which the material places upon the design er, and the fact that in

America,
perhaps, of

on
the

account,
lack of

a national, or f o rm religion,

uni there

s to have been seem wanting the spirit of t r u e ecclesiastical de

sign.
being

Happily
r em e d

this is
ie d and

there have arisen those who are imbued with the true fitness of things,

-I

and

the designs

for

American g 1a s s which are here shown seem to breathe forth an atmos

phere of devotion which

was wantinig in the ear lier efforts of the Amer

ican school.
We will here rest otur is case, but the subject by no means exhausted. Those who have learned

something

from

these

words will, we hope, de sire to go further into the subject, and if they do we can promise them an interesting and fasci nating field for reading and study.

S. 'ITllOSIAS, APOSTLE TO TI F. I l)lFS N I

S. MARK. bISHPI' OF ALEXANDRIA SPALD A COURT;LISIY C A COURTESYSPAULDINGC AN'DCOMI'ANY