247. JESSE WINDOW, BEAUVAIS.
There is distinction, again, in the drawing of the figures in the Jesse at S. Etienne, Beauvais, shown on [page 368]. That is a splendid specimen of characteristically Renaissance work. Jesse is honoured by a rich canopy of white and stain, which allows of a deep purple background separating him from his descendants. These appear as demi-figures, very richly robed, in strong relief against a pale purplish-blue ground of the atmospheric quality peculiar to the period. The vase-shaped flowers whence they issue are also in rich colour, dark against the ground, as are the variegated fruits and green leaves of the tree, but its branches are of silvery-white, suggesting of birch-bark. This tree-trunk is altogether too realistically treated for the ornamental leafage and still more arbitrary flowers growing from it; but it is a marvellously fine window, masterly in drawing and perfectly painted. And it owes positively nothing to age or accident. Indeed, the effect is somewhat diluted by restoration. Even on the reduced scale of the illustration given, you can detect in the head of the hatless figure to the right a touch of modern French character; and the fine colour of it all is fine in spite of the flatness of tint in the background, for which the nineteenth century must be held responsible.
Except for the confusion caused by the occasional introduction of canopies and borders, a Jesse window may be usually recognised at a glance. In the cathedral at Troyes, however, is what might be mistaken, at first sight, for a Jesse tree. But the recumbent figure is not that of Jesse, but of Christ. He lies, in fact, in the wine press, whence grows a vine bearing half effigies of the Twelve Apostles, and the patron saints of the Donor and his wife, who themselves had places in the lower portion of the sidelights, but the figure of the wife is now missing. The general design and effect of this window, and especially the seriousness of the ornamental portion of it, are such as almost to belie the period of its execution. It is an exceptionally fine window for the year 1625.
This same subject is anticipated in a sixteenth century window (1552) at Conches. There the Saviour treads the blue grapes, and a stream of blood-red wine issues from them. The frame of the press immediately behind him is designed to suggest the cross.
The Jesse window referred to in the north transept at Carcassonne is balanced by a window on the south, which is of peculiarly interesting design, not, to my knowledge, elsewhere to be found in glass, although it occurs in Early Italian painting. It represents the Tree of Life, of Knowledge of Good and Evil—which knowledge appears to be inscribed all over it and the window. It might almost be described as a tree of lettering, for it bears upon its branches (which are labels) and upon its fruit (which are heart-shaped tablets) voluminous inscriptions, not, in the present state of the glass, always easy to decipher, but most effectively decorative. On either side the window, by way of border to the outer lights, is a series of little figures, prophets, or whoever they may be, bearing other inscribed scrolls, mingling with the boughs of the tree, the leaves of which form, as it were, a kind of green and yellow fringe to the inscribed white branches. At the foot of the tree stand Adam and Eve, in the act of yielding to the temptation of the woman-headed serpent coiled round its trunk, and beyond are shown the Ark of Noah and the Ark of the Covenant. Amidst the upper branches is a crucifix, the narrow red cross so inconspicuous that the Christ seems almost to hang upon the tree, and at its summit is the emblem of the pelican, Qui sanguine pascit alumnos. This is altogether not only a striking, and, at the same time, most satisfactory window, but an admirable instance of the use of lettering in ornament. Lettering is very often introduced into Jesse windows, and forms sometimes a conspicuous feature in them: how much more use might be made of it is suggested by this Tree of Life.
CHAPTER XXX.
STORY WINDOWS.
There is something very interesting in the simple heartedness with which the mediæval artist would attack a subject quite impossible of artistic realisation, apart from his modest powers of draughtsmanship, or the limitations of glass.