STAINED GLASS.
From early times it has been customary to colour glass. To the ancient Egyptians a method of forming glass of various tints was known, and by producing a mass of glass consisting of variously coloured pieces vitreously united, and cutting this into slices, they, in a costly and laborious manner, produced a sort of stained glass which might have been employed for the sides of lanterns or other purposes. The Greeks were acquainted with a similar process, and bowls formed in this manner by them are common in our museums.
Soon after the re-discovery of glass in our own country, methods of colouring it were sought, and cathedral windows were formed, which were of such beauty, and were so thoroughly fitted to answer the end of their creation, that little or no improvement upon these early works has even yet been made, and much of the decorative glass which we now produce is far inferior to them as regards design, colour, and mode of treatment.
A window must fulfil two purposes—it must keep out rain, wind, and cold, and must admit light; having fulfilled these ends, it may be beautiful.
If a window commands a lovely view let it, if possible, be formed of but few sheets (if not very large, of one sheet) of plate-glass; for the works of God are more worthy of contemplation, with their ever-changing beauty, than the works of man; but if the window commands only a mass of bricks and mortar inartistically arranged, let it, if possible, be formed of coloured glass having beauty of design manifested by the arrangement of its parts. A window should never appear as a picture with parts treated in light and shade. The foreshortening of the parts, and all perspective treatments, are best avoided, as far as possible. I do not say that the human figure, the lower animals, and plants must not be delineated upon window glass, for, on the contrary, they may be so treated as not only to be beautiful, but also to be a consistent decoration of glass; but this I do say, that many stained windows are utterly spoiled through the window being treated as a picture, and not as a protection from the weather and as a source of light.
If pictorially treated subjects are employed upon window glass, they should be treated very simply, and drawn in bold outline without shading, and the parts should be separated from each other by varying their colours. Thus, the flesh of a figure may be formed of glass having a pink tone; the robe of the figure of glass which is green, purple, or any other colour; a flower may be formed of white glass, or of glass of any colour; the leaves of green glass; and the sky background of blue glass. All the parts will thus be distinguished from each other by colour, and the distinction of part from part will be further enhanced by the strong black outline which bounds the parts and furnishes the drawing of the picture.
Strong colours should rarely be used in windows, as they retard the admission of light. Light is essential to our well-being; our health of body depends in a large measure upon the amount of light which falls upon the skin. Those wonderful chemical changes, in the absence of which there can be no life, in part, at least, depend upon the exposure of our bodies to light; let our windows, then, admit these life-giving rays. It must also be remembered that if light is not freely admitted to an apartment the colours of all the objects which it contains, and of its own decorations if it has any, are sacrificed, for in the absence of light there is no colour.
It is not necessary, in order to the production of a beautiful window, that much strong colour be used; tints of creamy yellow, pale amber, light tints of tertiary blue, blue-grey, olive, russet, and other sombre or delicate hues, if enlivened with small portions of ruby or other full colours, produce the most charming effects, and by their use we have consistent windows.
A good domestic window is often produced by armorial bearings in colour being placed on geometrically arranged tesseræ of slightly tinted glass. In some cases such an arrangement as this is highly desirable, for the room may thus get the benefit which a bit of colour will sometimes afford, and at the same time a pleasant view may be had through the uncoloured portion of the window. As an illustration of this class of window, we extract one from the catalogue of those excellent artists in stained glass, Messrs. Heaton, Butler, and Bayne, of Garrick Street (Fig. 173). A good window may also be formed by bordering a plain window with colour, (Fig. 174), or in place of the plain centre squares of glass may be used, each bearing a diaper pattern, as Figs. 175 to 182.
No architectural constructive feature should be introduced into a window—thus, an elaborate architectural canopy overshadowing a figure is not at all desirable. If a figure is formed of a perishable material, and stands on the outside of a building, it is well that it be protected from the rain by a canopy; but such a contrivance when introduced over a figure drawn on a flat window is absurd, being useless. Let us always consider what we have to do before we commence the formation of any ornamental article, and then seek to do it in the most simple, consistent, and beautiful manner. Figs. 183 and 184 represent my views of what stained glass may advantageously be.
More than once in the course of these chapters I have protested in strong terms against pretence in art and art-decoration—the desire to make things appear to be made of better material or more costly substances than what they have in reality been wrought from—that leads men to paint and varnish a plain freestone mantelpiece in imitation of some expensive marble, or to make doors and window-shutters, skirting and panelling that the carpenter has fashioned out of red or yellow deal, assume the appearance of oak, or maple, or satinwood, by the deceptive skill of the grainer. In no case can the imitation ever approach a fair resemblance to the reality it is proposed to imitate. The coarse, rough grain of the soft freestone, which is incapable of receiving a polish, or rather of being polished until it becomes as smooth, and even, and lustrous as good glass, can never be made by successive coatings of paint and varnish to afford a satisfactory resemblance to the marble that it is supposed to represent, however carefully the cunning hand of the painter may have imitated the veins, and spots, and curious diversities of colour with which Nature has variegated the surface of the substance that he is endeavouring to copy. Nor, again, can a coarse-grained, soft wood, however skilled may be the hand that manipulates it, be treated so as to resemble the texture and smoothness of hard, close-grained wood, which from its very nature is capable of receiving the high polish that the softer material can never take if treated by the same process—that is, unless the expense of producing the imitation greatly exceeds the cost of the thing imitated. And what is applicable to the treatment of wood and stone is applicable also to the treatment of glass: for as a freestone mantelpiece, or deal door, however suitable and pleasing to the eye either may be when simply painted in the one case and varnished in the other to preserve the surface from the deteriorating influences of dirt of any kind, can never be made by the exercise of reasonable time and skill to present the appearance of marble or oak; so glass, by the application of colour rendered transparent by varnish, can never be brought to resemble glass stained or painted by the legitimate method, either in delicacy of tint, or depth, and richness, and brilliancy of colour. The greater part of the imitative stained glass, or "diaphanie" as it is styled, fails not only in colour, but in design; and in this indeed it may perhaps be said to be especially faulty. The designs, which are printed on paper, with the view of imitating glass patterns, err principally in being too elaborate, and in representing figures and scenery which are not in character or keeping with the designs that are usually represented in painted glass. If confined to simple diaper work, or borderings and heraldic emblems, as shown in Figs. 173 and 174, or patterns similar to that shown in Fig. 183, the artistic effect produced would be more satisfactory, although it can never equal genuine stained glass in depth of colour or purity of tone.