INDEX. - Windows: A Book About Stained & Painted Glass - 6 - Lewis F. Day

INDEX.

U

X

Z

(The ordinary figures refer to the numbers of the illustrations, and those in black type to the pages of the book.)

Abrasion, [60], [62]
Aix-la-Chapelle, [14]
Alabaster windows, [380], [381]
Alençon, [366]
Angels, [375]
Angers, [61], [62], [63], [256]
museum, [168]
(S. Serge), [17], [85], [86]
Annealing, [63]
Antwerp, [80], [82], [226], [227], [258]
Arab glass, [19], [15], [16], [18], [19], [20], [21], [22], [23]
Architecture (due consideration of), [356]
Arezzo, [248], [41], [43], [181], [254]
Assisi, [262], [53], [177], [187]
Auch, [233], [280], [393], [410]
Augsburg, [118]
Auxerre, [55], [75], [220]
Background, [251]
(architectural), [209], [211]
(landscape), [209], [211]
Bars, [101], [113], [114], [122], [158], [267], [275]
(shaped), [68], [69]
Beauvais, [374], [394], [247]
Beverley minster, [74]
Black paint (used for local colour), [89]
Bologna, [264], [180]
Bonlieu, [11]
Borders (Early), [114], [327]
(Decorated), [174-7], [335]
(Perpendicular), [190], [344]
Bourges, [392], [70], [72], [234]
(S. Bonnet), [208], [157]
Brabourne church, [16]
Bristol (S. Mary’s), [407]
British Museum, [1]
Brou, [393]
Brussels (S. Gudule), [69], [79], [80], [233], [395], [42]
Bull’s-eye windows, [267]
Cambridge (King’s College), [216], [257], [396]
Canopies (Early), [135], [313], [334]
(Decorated), [155], [197], [313]
(Italian), [264], [265]
(Perpendicular), [184] et seq., [340]
(Renaissance), [205], [221], [224], [225], [347]
Canopy (the beginning of the), [135]
Canterbury, [385], [23], [73], [79], [81], [214]
Carcassonne, [362], [369]
Cartouches, [229]
Châlons, [393], [12], [13], [98], [121], [122], [227]
Chantilly, [303], [160]
Chartres, [144], [387], [27], [71], [76], [103], [117], [216], [219]
(S. Pierre), [96], [115]
Chetwode church, [201]
Choice of glass, [60], [101]
Clerestory windows, [283]
Clok (Cornelius), [399]
Coated glass, [49]
Cologne, [392], [147]
(S. Kunibert), [25], [28], [77], [222], [223]
(S. Peter), [240]
Colour (Early),[122], [328], [330]
(Decorated), [338]
in quarry windows, [287]
(Italian), [268], [270]
(Perpendicular), [346]
Conches, [394]
Confused effect, [42], [134], [217]
Costa (Lorenzo), [264]
Coutances, [101]
Crabeths (the), [247], [399]
Cutting, [8]
(economy of), [25]
Da Udine (Giovanni), [300]
Decay, [219]
Decline of glass painting, [86]
Decorated borders, [176], [335]
canopies, [155], [313], [334]
colour, [338]
composition, [334]
figure design, [157], [337]
grisaille, [163], [337]
Jesse windows, [363]
medallion windows, [152]
quarries, [290]
style, [333-338]
tracery, [278]
Design (banded), [160]
(Early), [36], [111], [112]
(effect of window-shape upon), [113]
(essential conditions of), [96]
(Perpendicular), [187], [340]
Detail (ornamental), [328]
Devils, [374]
Diaper (geometric), [133]
(German), [171]
(painted or picked out), [35], [32], [33], [36], [49], [56]
Donors, [221]
“Doom” windows, [372]
Dramatic effect, [378]
Drawing, [346]
Early canopies, [313]
colour, [328], [330]
design, [36], [111], [112]
English, [327]
figures, their crudity, [41]
glass (confusion in effect of), [42]
glazing, [330]
grisaille, [137] et seq., [408]
Jesse windows, [362]
mosaic windows, [32] et seq.
ornament, [40], [115], [130]
rose windows, [273]
tracery, [274]
Ecouen, [394]
Enamel, [12] et seq., [77] et seq., [99], [232]
(influence of Byzantine), [17]
(objections to), [84]
(use of in ornament), [78]
Enamel plus [POT-METAL], [79]
English (Early), [327]
(Perpendicular), [190]
Evreux, [176], [177], [113], [118], [190], [191]
Fairford, [374], [391], [34], [143], [144], [150], [173], [236], [237], [248], [249], [250], [253]
Fifteenth century glass, [322], [340]
Figure-and-canopy windows, [326]
Figure design, [157], [337]
Figures (Early), [41], [42]
Figures and ornament, [126], [319]
Five Sisters (the), [146], [147]
Flashed glass, [49], [50]
Flesh tints, [77], [106]
Florence, [264], [270], [300], [179], [182], [183]
(Certosa in Val d’Ema), [202], [203], [204], [242]
(S. Maria Novella), [178], [199]
Fourteenth century glass, [322], [333]
painting, [47]
Freiburg, [105], [126], [127], [244]
French glass painting, [75]
medallion windows, [125]
Geometric diaper (German), [171]
(mosaic), [133]
German foliated pattern windows, [174]
geometric diaper, [171]
Glazing, [6], [15] et seq., [80], [82], [101], [229], [282], [168]
(Early), [330]
(economy in), [144]
(ingenuity in), [56]
Glazing plus [painting], [43], [44], [53], [54]
in rectangular panes, [80], [225]
shadows in pot-metal, [72], [224]
Gontier (Linard), [80], [81], [229], [230]
Gothic influence, [203]
(Italian), [263]
landscape, [253]
pattern windows, [291]
tracery, [280]
Gouda, [223], [256], [258], [398], [401], [46], [161], [162], [165], [172], [176]
Grisaille (Early), [137] et seq., [331], [408]
Grisaille (Decorated), [163], [337]
(Perpendicular), [192], [343]
and colour, [106], [120], [157]
Heraldry, [198]
Hitchin church, [21]
Interlacing, [167]
Italian canopies, [265]
Gothic, [263]
glass, [248], [260] et seq., [299]
Jesse windows, [360] et seq.
(Early), [362]
(Decorated), [363]
(Renaissance), [367]
Jewellery (glass related to), [21]
Johnson (N.), [399]
Kaleidoscopic effect, [42]
King’s College, Cambridge, [216], [257], [396]
Landscape, [209], [251], [256]
Last Judgment windows, [372]
Late Gothic pattern windows, [291]
style, [343]
technique, [346]
tracery, [280]
windows, [178] et seq.
Late Renaissance canopies, [225]
Lead lines, [38]
outlines, [23]
Leading (its influence on colour), [39]
Leads (contrivances for avoiding), [61], [62], [63], [97]
(scheming of), [27], [28]
Le Mans, [20], [218]
Lichfield, [214], [395]
Liège, [214], [395]
Lincoln, [67], [93], [95], [185], [189], [192]
Lisieux, [167]
Local schools, [261]
London (S. George’s, Hanover Square), [214], [159]
Lucerne, [403]
Lyons, [26], [83], [84], [153], [188], [239]
Malvern, [55], [37]
Many lights (windows of), [151] et seq.
Map of a window, [8]
Marseilles (William of), [248]
Material and design, [107]
Medallion windows, [123] et seq., [324], [325]
(Decorated), [152]
(French), [125]
of many lights, [153]
Mediæval artlessness, [376]
Mending (judicious), [407]
Middle Gothic glass, [162] et seq.
Milan, [263]
Misuse of shading, [68]
Montmorency, [394], [40], [158]
Mosaic, [5], [6]
(marble and glass), [29]
diaper, [133]
Mullions, [151], [195], [197], [198], [240], [272]
Munich museum, [124], [128], [129], [131]
Naturalism, [337]
Needle-point work, [87] et seq.
Netherlandish glass, [73], [302]
New departures, [109]
Nimbus (the), [208]
Norbury, [114]
Nuremberg, [224], [125]
(S. Lorenz), [164]
(S. Sebald), [163]
Obscuration, [68], [79], [82]
Old work (the spirit of), [358]
Ornament (a plea for), [317] et seq.
(Early), [40], [115], [130]
(Decorated), [160]
(Perpendicular), [343]
(possibilities in), [321]
(Renaissance), [349]
Orvieto, [380], [19]
Oxford (All Souls’ College), [35], [141]
(New College), [179], [401], [48], [109], [137]
Paint (brushing out), [64]
(early use of), [33]
(first use of), [11]
Paint as local colour, [57]
Painted mosaic glass, [43] et seq.
Painter as glass designer (the), [69]
Painting, [6], [44], [45], [47], [53], [59] et seq., [64], [68], [85], [89], [103], [105], [190], [211], [247], [263], [331], [338], [346]
Painting out, [11], [34], [35], [44], [45], [278]
Palette (the early), [328]
Paris (Louvre), [208]
(Musée des Arts Décoratifs), [243]
Paris (S. Eustache), [223]
(S. Gervais), [166]
Pattern windows (German), [174]
(Late Gothic), [291]
Peckitt, [233]
Perpendicular, [340]
(English), [188], [190]
(German), [188]
Perpendicular borders, [344]
canopies, [184], [340]
colour, [346]
design, [187], [340]
detail, [343]
drawing, [346]
grisaille, [343]
ornament, [343]
style, [340]
tracery, [278], [279], [343]
Picking out, [35], [103]
Pictorial versus Decorative, [238]
Picture (achievement in), [250]
(the ideal glass), [246]
Pictures (a medley of), [195]
Picture-windows, [236] et seq.
Pisa, [263]
Plain glazing, [226], [166], [167]
and painted grisaille, [139]
Poictiers, [388], [24], [58], [59], [60]
Possibilities in the way of ornament, [321]
Pot-metal, [5]
Prato, [184]
Quarries, [146], [168], [192], [283] et seq.
Quarry-like patterns, [169]
Quarry windows (colour in), [287]
Regensburg, [389], [123], [128], [131], [252]
Reims, [92], [99]
(S. Remi), [118], [22], [65], [66], [213]
Renaissance canopies, [205], [347]
(Late), [225]
Renaissance Jesse windows, [367]
landscape, [255]
ornament, [349]
tracery, [280-282], [349]
Resources of the glass painter, [95] et seq.
Restoration, [404] et seq.
Reynolds (Sir Joshua), [401], [402]
Rose windows, [272] et seq., [326]
(Early), [273]
Ross (S. Mary), [55], [145], [232]
Rouen, [392], [394], [45], [119], [238]
(S. Godard), [154]
(S. Ouen), [29], [229]
(S. Patrice), [377], [378], [155]
(S. Vincent), [375], [377], [44], [156], [175]
Roundels, [293], [199]
S. Denis, [404]
S. Jean-aux-Bois, [87], [88], [100], [224], [257]
S. Miniato, [381]
Salisbury, [385], [15], [30], [64], [97], [102], [221], [225], [251]
Scraps, [409]
Sens, [90]
Seventeenth century glass, [233], [323]
style, [352]
Shading (misuse of), [68], [70], [73], [79], [80], [247]
(the beginning of), [13], [45]
Shrewsbury, [38], [39], [57], [139], [142], [152], [171], [174]
Silver stain, [52]
Single-figure windows, [118], [197]
Sixteenth century glass, [323], [347]
style, [348]
technique, [350]
windows, [201] et seq.
Soissons, [89], [91]
South Kensington Museum, [205]
Stain, [50], [52], [60], [61], [62], [105], [182], [336], [344]
Stanton S. John, [120]
Storied windows, [195], [209], [371] et seq.
Strassburg, [388], [134]
Style, [111], [112], [156], [177], [178], [323]
(Early), [324]
(Decorated), [335], [338]
(Late Gothic), [343]
(Perpendicular), [340]
(16th century), [348]
(17th century), [352]
(the characteristics of), [322] et seq.
in modern glass, [354] et seq.
Subjects not within mullions, [198]
Subject-windows, [197]
Swiss glass, [87], [94], [308]
Thirteenth century glass, [322]
ornament, [130]
Tibaldi (Pellegrino), [264]
Tibault (Wilhelmus), [399]
Time of day to see windows (the), [382]
Tours, [362], [389]
Tracery (Early), [274]
(Decorated), [278]
(Gothic), [280]
(Perpendicular), [343]
(Renaissance), [280-2], [349]
Tracery lights, [272] et seq.
Transition, [165], [178], [181], [333]
from Gothic to Renaissance, [65], [202], [204]
from plain glazing to painted grisaille, [139]
Tree of Life (the), [370]
Triforium windows, [284]
Troyes, [32], [366], [401], [112], [148], [149], [151], [228], [246]
(museum), [211]
(private collection), [207]
(S. Jean), [241]
(S. Martin ès Vignes), [230], [47], [169], [170], [255]
(S. Urbain), [31], [108], [114], [226]
Van Linge, [233]
Van Orley (Bernard), [69], [222], [245]
Van Ort (Lambrecht), [399]
Van Thulden, [233]
Verona (S. Anastasia), [199]
Warwick Castle, [54], [206], [209]
Water Perry, [94]
Wells, [390], [136], [231], [245]
White and colour (combination of), [193]
White as a frame for colour, [192], [315]
White-line work, [91]
Winchester, [407]
Window plane (the), [242]
Window shape (effect of, upon design), [113], [211], [212], [240]
Windows (how to see), [380] et seq.
Wine press (the), [368]
Workmanlikeness, [244]
Workmanship (Early), [330]
Yellow stain, [52]
York, [147], [192], [277], [387], [146]
(All Saints), [371], [36]

Note—The name of a town without mention of a church may be taken to mean
that the glass is in the cathedral or principal church.

THE END.

BRADBURY, AGNEW, & CO. LD., PRINTERS, LONDON AND TONBRIDGE.

TRANSCRIBER NOTES:

Missing punctuation has been added and obvious punctuation errors have been corrected.

Illustrations have been moved from their original location to maintain the flow of the text. Links are provided to the actual illustrations instead of the page numbers referenced in the text.

Archaic, alternate and misspellings of words have been retained to match the original work with the exception of those listed below.

Page 79: reference to an illustration on page 242 has been linked to the illustration printed on page 244 as there is no illustration on page 242 in the original work.

Page 85: the printing of several lines was transposed in the original. They have been corrected.

Page 125: "borders-lines" changed to "border-lines" (He frames his little pictures with sufficient border-lines to keep them distinct).

Page 226: "(16R5)" changed to "(1615)" (as in the cathedral at Antwerp (1615)").