Windows: A Book About Stained & Painted Glass

LEWIS F. DAY
author of Nature in Ornament & other Text-books of Design.
1897 LONDON B‧T‧BATSFORD 94 High Holborn, W. C.
BRADBURY, AGNEW, & CO. LD., PRINTERS, LONDON AND TONBRIDGE.
TO THOSE WHO KNOW NOTHING OF STAINED GLASS; TO THOSE WHO KNOW SOMETHING, AND WANT TO KNOW MORE; TO THOSE WHO KNOW ALL ABOUT IT, AND YET CARE TO KNOW WHAT ANOTHER MAY HAVE TO SAY UPON THE SUBJECT;—I DEDICATE THIS BOOK.

A stained glass window is itself the best possible illustration of the difference it makes whether we look at a thing from this side or from that. Gœthe used this particular image in one of his little parables, comparing poems to painted windows, dark and dull from the market-place, bright with colour and alive with meaning only when we have crossed the threshold of the church.
I may claim to have entered the sanctuary, and not irreverently. My earliest training in design was in the workshops of artists in stained glass. For many years I worked exclusively at glass design, and for over a quarter of a century I have spent great part of my leisure in hunting glass all Europe over.
This book has grown out of my experience. It makes no claim to learnedness. It tells only what the windows have told me, or what I understood them to say. I have gone to glass to get pleasure out of it, to learn something from it, to find out the way it was done, and why it was done so, and what might yet perhaps be done. Anything apart from that did not so much interest me. Those, therefore, who desire minuter and more precise historic information must consult the works of Winston, Mr. Westlake, and the many continental authorities, with whose learned writings this more practical, and, in a sense, popular, volume does not enter into any sort of competition.
My point of view is that of art and workmanship, or, more precisely speaking, workmanship and art, workmanship being naturally the beginning and root of art. We are workmen first and artists afterwards—perhaps.