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 · Page 2 Next: The Mentor · Stained Glass · Page 4 Navigation
Stained Glass
6 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
evidence a complete knowledge of expressive drawing as well as the art of glass making.
    The very large figures of the south transept of Chartres Cathedral, shown in the outline tracing from the window on page 5, are good types of this early glass. In the figure of Isaiah bearing St. Matthew the carefully studied folds of drapery barely indicate the figures beneath, and there is no attempt at modeling, either in the features of the faces or in the figures themselves. However, the theology of the Prophets was quite clear to the simplest mind in this symbolic representation.
    In the rose, or circular mullioned window, above is the figure of Christ seated on a throne, surrounded by the emblems of His power, as described by the Revelations of St. John. These figures are also drawn in the same definite fashion, but the dazzling effect of the whole when seen with the sun shining on the glass and throwing rays of brilliant color across the cool gray interior of the nave is something to hold in the memory for a lifetime. Black and white reproductions give no
Window in a Carthusian Monastery
near Florence, Italy. Designed by Giovanni da
Udine, 1548. The Renaissance Period is here
shown in the miniature medallions executed in
monochrome and silver stain.
hint of this, nor can they convey any just appreciation of the real expression conveyed by the windows themselves, since the interchange of color, as the sun travels the heavens, brings out or subdues the color of the glass in endless variety. It is not strange the builders looked upon stained glass windows as the crowning glory of their achievement.

Contrast in Mediums
    The medium through which the stained-glass picture is expressed is the exact opposite of the one by which oil painting finds expression. With the latter, the light shines on the opaque surface of the pigment, which never varies in itself, while with glass the opposite is the case, that is to say: the light always comes from the outside through the glass to the eyes, and to realize its complete expression there must be no light whatever shining on the inner surface of the glass.
    Many beautiful ancient windows have been made opaque and colorless by the introduction of clear glass in windows facing them, or by bordering them with