The difference between twelfth and thirteenth century pictures is in the lingering of Byzantine traditions of design in the earlier work, and in the strictly simple disposition of the figures en silhouette against the background, as well as in the way the drapery is wrapped closely round them, so that the figure always explains itself. There is an expression and a “go” about some of the earliest figures for which we look in vain later in the thirteenth century. The figures of the Apostles from the Ascension at Le Mans on [page 33] are altogether more alive than the thirteenth century bishops, for example, on [page 276], who seem by comparison tame and altogether respectable. A certain exaggeration there is, no doubt, about the action of these earliest figures, a certain brutality of rendering, as there is also a certain barbaric quality in the ornament, and, indeed, in the whole effect; but of its superlative richness there is no manner of doubt. One is even led to speculate, when one compares it with later work, whether a certain barbaric character of design does not go to that unrivalled brilliancy. In the absolute glory of rich colour the very earliest glass has never been equalled. The advance of glass painting was at the cost of this, perhaps barbaric, quality.
64. EARLY ORNAMENT, SALISBURY.
In the earliest windows the subjects were not invariably enclosed in medallions; sometimes the square lines of the bars would be accepted as division enough; these would be framed with lines of colour, and the design of the portion of the window within the border would consist (as occasionally at Chartres) of a series of square subjects, each with its marginal lines, ranged one above the other. For the most part, however, the design of the earliest richly coloured windows extant took the shape of little pictures in panels or medallions. Another favourite scheme was to delineate the Tree of Jesse. The upper portion of such a window is given on [page 117]; but further consideration of Jesse windows is reserved for a separate chapter.
65. S. Remi, Reims.
From the earliest period, no doubt, clerestory or other lights were often occupied each with a separate figure standing upright; but such of these as may remain in their places are not readily distinguishable from thirteenth century work; and the undoubtedly earlier figures—such, for example, as those in S. Remi at Reims—have been re-set in framework more or less old, but so as not to tell us anything very authentic about the setting out of the original windows. Again at Augsburg, where the figures in the clerestory are said to be the oldest in Germany (to belong, in fact, to about the year 1000), the windows are bordered with modern glazing in white. At Reims we have very rudely drawn figures in rich colour against a deep background, standing with splayed feet upon little rounds or half rings of colour, representing the earth, their names inscribed in bold lettering, which forms a band of yellow behind their heads. At Augsburg the figures, equally rude in drawing, equally splay-footed, are in white and colour upon a white ground. They stand upon little hemispheres of Byzantine ornament, and their names are writ large in black letters upon the white glass around their heads. Presumably they were framed in a border of pattern work similar to that surrounding the medallion windows. The ornamental work in the windows at S. Remi may not always have formed part of the same window with the figure work—it does not go very happily with it now—but it is probably of about the same date; and it illustrates, together with some similar work at S. Denis, near Paris (so “thoroughly restored” as to have lost its historic value), a kind of pattern work peculiar to the earliest glass.
As a rule, early glass divides itself naturally into two classes: work in rich colour, which is what we have hitherto been discussing, and work in “grisaille,” as it is called; that is to say, in which the glass is chiefly white, or whitish, relieved only here and there by a line or a jewel of colour.