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 8 Next: The Mentor · Stained Glass · Page 10 Navigation
Stained Glass
12 of 29

·Envelope
·Front Cover
·I.F.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
·I.B.Cover
·Back Cover
 
Evangelist
In the Metropolitan Museum
"EVANGELIST"
From the Abbey of Flavigny, near
Nancy, France. Designed and executed by
Valentin Bousch (1531), Flemish school.
of Gothic architecture, so painters did likewise for the great openings of the carved stone windows of the interior by painting in gray on glass of pearly white the picture of those same niches to enshrine their saints in the windows. Among the first of English cathedrals to evolve this distinctly new type of window, both as regards the stone work and the glass filling the openings, was the Cathedral of Gloucester. Here we may still see the original glass made for the great east window of
The Three Mary's at the Tomb
Decorative Glass Studios, Inc.
"THE THREE MARYS
AT THE TOMB"

By John La Farge
In the Church of the
Ascension, New York
the choir pretty much as it was placed by the Benedictine monks who designed it. Having originated in this choir the new English type of architecture later known as the "perpendicular," the builders also set about creating a new design for the windows corresponding to the lofty height of the interior they were meant to decorate. This they did by painting on the glass above the canopied niches tall spires simulating stone work and reaching far above the figures placed beneath them. So we find it was the lack of sunshine in clear, strong floods of light as known in southern countries that early changed the use of strong, deep color to paler tones in the windows of English churches.

Special Features of Flemish Glass
    The low countries during the late fifteenth and early sixteenth centuries developed the art of painting on glass in a manner quite different from the early work we have considered in France and England. The Flemish master glass workers are credited with the invention of the silver stain so much used on the halos, heads and embroidered garments of the figures, as well as on the pinnacles of architecture framing the groups.
    The most important invention, however, was the development of "flashed" glass, or doubled glass having a core of white with red, blue or yellow on one side of the pane and