Home Index Site Map Up: Glassmaking Navigation
Up: Glassmaking

First: The Mentor · Stained Glass · Mailing Envelope Last: The Mentor · Stained Glass · Back Cover Prev: The Mentor · Stained Glass · Gravure 4 Front Next: The Mentor · Stained Glass · Gravure 5 Front Navigation
Stained Glass
23 of 29

·Front Cover
·Page 1
·Page 2
·Page 3
·Page 4
·Page 5
·Page 6
·Page 7
·Page 8
·Page 9
·Page 10
·Page 11
·Page 12
·Gravure 1 Front
·Gravure 1 Back
·Gravure 2 Front
·Gravure 2 Back
·Gravure 3 Front
·Gravure 3 Back
·Gravure 4 Front
·Gravure 4 Back
·Gravure 5 Front
·Gravure 5 Back
·Gravure 6 Front
·Gravure 6 Back
·Back Cover
STAINED GLASS Stained Glass in the Netherlands

DURING the great age of portraiture in the Netherlands the chief concern of the glass painter was to give noble and accurate representations of the prominent people of his time. He succeeded admirably, rivaling often the masters of oil painting in their work. All earlier precepts of the master-glazier and designer were cast aside.
The color of the glass itself, while maintaining its richness, was no longer enriched by small jewel-like pieces set in strong dark lines of lead, like a sparkling curtain of oriental richness. Not like the pale silvery tones of shimmering light of the English glass master's work. Instead, the definite realization of persons, and such concrete substances as fabrics and architectural backgrounds, was sought for. In the last development of this art, that of the seventeenth century, landscapes were introduced and by the aid of colored enamel paint applied to the surface of the glass the work became more and more opaque until all beauty in the glass itself disappeared. It was literally painted glass without an effort to preserve the translucid quality in the material itself, considered of such importance by the best workers in glass of all times. While the influence of climate is not to be forgotten in this neglect of color for mere monotone, other considerations also prevailed and realism, rather than religious inspiration, which had been the sustaining motive of the Gothic art work, became the sole object of the later work in glass in the Netherlands (Holland and Belgium).
    Under these conditions it is not surprising that one who has seen the glory of wonderful color created by the thirteenth-century glass workers in Italy, France or England has a sense of deep disappointment when introduced to the work of these later times in Europe, which is to be found everywhere. The last change noted substituted plain white glass cut in rather large squares on which the entire work was executed in enamel paint (fired of course in the kiln). When flesh-colored enamel paint came into use, the portrait artist in glass became in high favor with
all the princes and titled people, as well as others of less exalted station who thus could have their persons placed prominently in public view. The cathedrals of Antwerp, Brussels, Liège, and many more, preserve in their windows work of this later period.
    Among the celebrated Netherlands artists who painted glass are Frans Floris, Michel van Coxie, van der Mont, van Balen, van Thulden and van Diepenzeeck.
    The Metropolitan Museum in New York is the fortunate possessor of two complete windows and four circular medallions representing the best work of the first half of the sixteenth century of this celebrated school of Flemish glass painters. They are the work of Valentine Bousch and were made for the Abbey of Flavigny, near Nancy, in Eastern France, and bear the date 1534. These windows remained in their original setting in the Abbey Church until the final suppression of the Monastic Orders in France, when they were sold and stored in Paris. There they were purchased by the Metropolitan Museum from the income of the fund bequeathed the Museum by Joseph Pulitzer.
    Furnishing, as they do, excellent examples of the complete surrender to Renaissance influences on the part of designers of stained glass, these windows display the skill of the glass painters of that time in a most complete form, and are worthy of careful study on the part of any one interested in stained glass. The subject of the two complete windows are "The Deluge" and "Moses and The Law."
    Late Renaissance glass is well represented by windows in the Groote Kirk, Gouda, Holland, and in the Cathedrals of Brussels and Antwerp, Belgium.