File:Stained glass of the middle ages in England and France (1913) (14779287532).jpg

Identifier: stainedglassofmi00arno (find matches)
Title: Stained glass of the middle ages in England & France
Year: 1913 (1910s)
Authors: Arnold, Hugh Saint, Lawrence Bradford, 1885-
Subjects: Glass painting and staining -- England Glass painting and staining -- France Art, Medieval
Publisher: London, A. & C. Black
Contributing Library: Wellesley College Library
Digitizing Sponsor: Wellesley College Library

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f the north transept ofYork INIinster and are known as the Five Sisters.Their date is probably about 1260. The iron-work in them is straight-barred, and the massivemain bars, placed every 3J feet or so, divide thespace between the broad borders into a successionof squares, one above the other, each one ofwhich is occupied by a medallion—a differentshape in each fight—outlined with a narrow bandof colour, and having bosses of colour at the centreand between the medallions. One hardly cantrace the plan of the painted pattern on the white,which besides is much confused with centuries ofbreakage and repair, and one is only conscious of itas texture, which indeed is its raison detre. Fivefeet wide, and towering to a height of more than50 feet, each * sister is a shimmering mass of pearland silver, delicately veined and jewelled withcolour to give quality to its whiteness. PLATE XXI THE NATIVITY, UPPER PART OF EAST WINDOW OF NORTH AISLE, ALL SAINTS, NORTH STREET, YORK Fourteenth Century
Text Appearing After Image:
OTHER THIRTEENTH CENTURY WINDOWS 121 The same tendency that caused the artist to Quarries.substitute mosaic diaper for the scroll work in thesetting of his medallions in coloured windows ledhim in time to fill large spaces of his grisaille windowswith painted quarries. Quarries (from theFrench carre) are small diamond-shaped panes, andwere then the quickest and most economical way ofglazing any given space. Sometimes towards theend of the century the painted pattern ran overthe quarries independently of them, but more oftenin the thirteenth century each quarry was a repeti-tion of the next, the whole thus forming a regulardiaper. Sometimes each quarry has a thick blackline painted parallel to two, or sometimes all four,of its sides at a distance of three quarters of an inchor so, leaving the space between it and the leadblank while the rest of the quarry is patterned. Theeffect of this when glazed together is that of inter-lacing white bands on a ground of pattern. Apart from economy,

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