This illustration shows very well the early method of painting. Where possible, as in the rich blue of the background, the glass is left quite clear. The folds of the drapery and the features are drawn in sure and vigorous line work. Diaper is used very sparingly, only when it is necessary to "keep back" and subdue a piece of glass, as in the case of the green cushion to the throne and the border of the tunic. If you can imagine the glass with these pieces left clear or with any other piece diapered, you will see how unerring has been the artist's judgment.[7]
The letters of the inscription are scratched out of a dark ground of enamel. This is the invariable method used in early glass, which indeed is always (except in grisaille, of which more later) conceived as a light design on a dark ground. In the fifteenth century the reverse was the case, and then we get inscriptions in dark lettering on a light ground.
The arched form of the top of the background shows how it once fitted a clerestory light, though doubtless with a border, and the space above has been filled with scroll work of, I think, the same date, which may have come from some of the medallion windows in the choir aisles.
The two medallion windows in the north choir aisle formed part, as we know from an old MS. still in existence, of a series of twelve dealing with the life and parables of our Lord.
In style they very closely resemble the St. Denis work, perhaps a little further developed. Some of the medallions, indeed, are almost identical with those at St. Denis, notably that of the Magi on horseback following the star. The figures are tall and dignified, and both for drawing and decorative placing are far better than much work of the succeeding century. The Calling of Nathaniel is a particularly good panel.
The westernmost of the two windows still retains the early arrangement found at Chartres, the iron-work consisting simply of straight bars dividing it into a series of regular squares, which are filled alternately with circular and square medallions.
PLATE X
THE BIG ANGEL,
FROM THE CLERESTORY OF THE APSE,
CHARTRES CATHEDRAL
Thirteenth Century