For instance, we cannot have either the scale of it or the colour—two rather vital exceptions. These collotypes are, therefore, put forth as mere diagrams for the use of students, to call their attention to certain definite points and questions of treatment, and no more pretending than if they were black-board drawings to give adequate pictures of what glass can be or should be.
This is one reason, too, for the omission of all attempt to reproduce ancient glass. It was felt that it should not be subjected to the indignity of such very imperfect representation, and especially as so many much larger books on the subject exist, where at least the scale is not so ill-treated.
But, besides, if one once began illustrating old glass, one would immediately seem to be setting standards for present-day guidance, and this could only be done (if done) with many annotations and exceptions and with a much larger range of examples than is possible here.
The following illustrations, therefore, show the attempts of a group of workers who have endeavoured to carry into practice the principles set forth in this book. It has not been found possible in all cases to get photographs from the actual glass—always a very difficult thing to do. The illustrations can be seen much better by the aid of a moderately strong reading-lens.
PLATE I.—Part of East Window, St. Anselm's, Woodridings, Pinner, by Louis Davis. The design, cartoons, and cut-line made, all the glass chosen and painted, and the leading superintended by the artist.
I.—Part of Window. St. Anselm's, Woodridings, Pinner.
PLATE II.—Another portion of the same window, by the same. Scenes from the Life of St. Anselm. Executed under the same conditions as the above. The freehand drawing and the varying thickness of the leads in the quarry work should be noted.
