Up: Glassmaking
Stained Glass
6 of 29
|
|
| |
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
|
|