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Stained Glass
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·Gravure 1 Front
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·Back Cover
Stained Glass Window, Lawyers' Club, New York
Planned by Henry J. Davison, designed
by J. Gordon Guthrie, made
by Kimberly Company, New York

This window, "a liberal education in the history
of Law," has been compared as a work of art
to the glass of Chartres and Milan
another color on the under side. This by the use of the emery wheel could be scratched away to leave a pattern of the under color and thus the representation of costly fabrics (as gold against red or green or gorgeous purple) would help very much the workman's effort to realize the actual representation of the garments of wealthy donors.
    From the humble position of devout prayer in the lowest panel, perchance, of a large window, we find the donors now taking the largest central place in the window, with their patron saints at either side, back of them, and the family coat-of-arms in the midst, very large indeed, while the Bible story, if present in the window at all, is placed in a smaller panel above.

Italian Schools of Glass

    Lombardy was influenced by the school of James of Ulm to practice the art as developed by the glass painters of the Netherlands, which then comprised Holland and Belgium.
Descent from the Cross
Early sixteenth-century glass of the Rhine
Countries, after a design of Albrecht Dürer

    The glass made in large sheets with a coating of color on one or both sides was utilized in new forms of technic notable for its fine execution. The abrasion of scratching of the surface by means of the emery wheel, to cut away the color on one side, gave elaborate patterns for garments imitating the rich brocades so much worn at the time. The surface of the glass being painted to further realize the elaborate folds of drapery, the glass, often over-loaded with paint, became muddy and opaque, while the selection of finely graded color tones making for the decorative harmony of the whole was more or less lost sight of. This can be seen in the glass of the cathedral at Milan where an over-abundance of strong reds and greens makes the glass coarse. The lead lines no longer express any great part of the design.