2. The use of curious pieces of accidentally varied ruby to represent marble, and the like.
3. The abrasion of white spots or other pattern on flashed blue (the abrasion of white from ruby begins with the second half of the century).
4. The introduction of distant landscape in perspective, and especially the representation of clouds in the sky, and other indications of attempted atmospheric effect.
5. The treatment of several lights as one picture space, without canopy.
Colour.—White glass is cooler and more silvery, more purely white. Red glass is less crimson, often approaching more to a scarlet colour. Blue glass becomes lighter, greyer; sometimes it is of steely quality, sometimes it approaches to pale purple. More varieties of purple-brown and purple are used. Purer pink occurs.
Drawing.—In the fifteenth century the archaic period of drawing is outgrown. Figures are often admirably drawn, more especially towards the end of the period, at which time the folds of drapery are made much of.
Painting.—Painting is much more delicate. The method adopted is that of stippling ([page 64]).
Figure and ornament alike are carefully shaded, quarry patterns and narrow painted borders excepted.
For a long while painters hesitated to obscure the glass much; they shaded very delicately, and used hatchings, and a sort of scribble of lines, to deepen the shadows. As a result the shading appears sometimes weak, but the glass is always brilliant.