196. 14th Century Quarry.
197. 14th Century Quarries.
198. 14th Century Quarry.
The patterns with which quarries are painted naturally followed the ordinary course of grisaille. In the thirteenth century the designs were strongly outlined, and showed clear against a cross-hatched ground; which, however, did not, as a rule, extend to the lead, but a margin of clear glass was left next to it, in acknowledgment of the quarry shape. The combination of quarries and strap ornament in the example at Lincoln ([page 287]) is unusual, but the quarries themselves are, but for the absence of a clear line next the leads, characteristically of the thirteenth century. The quarry border from Nuremberg ([above]) is rather later in character. In that case also, as it happens, there is no marginal line of clear glass. The typical treatment is shown [below]. Later, as in other grisaille, the cross-hatched ground was omitted; and the foliage took, of course, more natural form. It was presently more delicately traced ([page 290]), and more often than not tinted in yellow stain. Consistently with the more natural form of leafage the design in fourteenth century work was often one continuous growth trailing through the window, and passing behind the marginal band of stain which now usually emphasised the top sides of the quarries. Often a futile attempt was made ([page 286]) to give the appearance of interlacing to these bands, but that was nullified by the stronger lead lines. True, interlacing was only possible where, as in some earlier work, the bands were continued on all four sides of the quarry, so that the lead fell into its place as interspace between two interlacing bands. It was better when there was no pretence of interlacing ([below]). Additional importance was sometimes given to the marginal band by tracing a pattern upon it, or, as on [page 291,], painting it in brown, and then picking out geometric tracery upon it. There came a time when marginal lines were omitted altogether. That was the usual, though not invariable, practice in the fifteenth century, by which time the draughtsman had apparently learnt to husband his inventive faculty. The continuous growth of the pattern, as well as the marginal acknowledgment of the lead lines, died out of fashion, and quarries were mostly painted sprig fashion. The character of these sprigs will be best judged from the specimens on [page 289], some of the most interesting given in “Shaw’s Book of Quarries.” Quarry patterns do not, of course, occur in that profuse variety; it is seldom that more than two patterns are found in a single window, often there is only one. The range of design in quarries of this kind is limited only by the invention of the artist. It includes both floral and conventional ornament, animal and grotesque figures, emblems and heraldic badges, cyphers, monograms, mottoes, and so on. There is scope not only for meaning in design, but for the artist’s humour; but, when all is said, the Late Gothic pattern windows, now given over entirely to quarry work, are of no great account as concerns their detail. The later quarry patterns are often pretty enough, sometimes amusing, but they go for very little in the decoration of a church. Plentiful as quarry work is everywhere, and characteristic as it is of Perpendicular glass, there is not much that shows an attempt to do anything serious with the quarry window. All that was done was to paint more or less delicate and dainty patterns upon the little lozenge panes. However, they were traced with a light hand and a sure one, and with a kind of spontaneity which gives them really what artistic charm they have.
