File:Stained glass of the middle ages in England and France (1913) (14799429123).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 which a coloured tracing maybe seen in South Kensington Museum, which maybelong to the eleventh century. It consists of asimple pattern of white glass and leading, withsmall pieces of colour inserted at intervals. Someof these latter, however, have been formed intorosettes of simple design by means of opaqueenamel, which is the only painting in the windowat all. Whatever the actual date of the window, Ithink it is not unhkely that it shows the mannerin which enamel painting and glazing were firstcombined.Early Almost the earliest glass, however, to which any date can be approximately assigned are the panels window atLe Mans. 1 By some writers it has been claimed that the whole idea of stained-glass work was derived from cloisonne enamel; but from the fact thatthe glazing of windows in glass and metal had been known long before,I think the course of events I have suggested above to have been moreprobable. PLATE IV •NOE IN ARCHA,FROM THE NORTH CHOIR AISLE, CANTERBURY Twelfth Century
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THE BEGINNINGS OF STAINED GLASS 25 in Le Mans Cathedral,^ which are illustrated by asketch of Mr. Saints in Plate I. In a thirteenth century manuscript preservedat Le Mans it is recorded that Bishop Hoel, whooccupied the See from a.d. 1081 to 1097, glazedthe windows of the Cathedral with stained glass,sumptuosa artis varietate, and it is just possiblethat this glass, which was found in 1850 scatteredand glazed up among fragments of a later date,may be part of the glass referred to. It seems to have formed the lower part of awindow representing the Ascension, and consists offigures of the Virgin and the Twelve Apostles* gazing up into Heaven. The arrangement is very simple. There seemsto have been little or no ornament in the window,and the figures in white and coloured draperies,standing on conventionalized hillocks which repre-sent the top of the high mountain, are relievedagainst a background of plain colour in alternatepanels of red and blue. In this window and forlong afterwards t

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