Stained Glass - Handbook

From the Library of the
Fogg ^Museum of Art
Harvard University
STAINED GLASS
STAINED GLASS
A Handbook on the Art of Stained and

Painted Qlass, Its Origin and De
velopment From the Time of
Charlemagne to Its
Decadence
(850-1650 A.D.)
By
ALFRED WERCK
With 20 Illustrations
NICHOLAS L. BROWN
NEW YORK MCMXXII
IOGG MUSEUM LIBRARY
HARVARD UNIVERSITY
whs
Copyr1ght, 1922
by
Alfred Werck
4
NOULVDiaaa
oj^ 3rot/t oya% mouy 2uti/fou fo psutvts

'ssvfi ot 3soi{i oi/ai (noiiy Suttfptuos
puv luvca ot aiouy {3uotu 0/ 9soi(i ot/ai
aiouy 2uii{)£uda3 tnq pfnoai uvsy tuoaf
'ustfjouv j sjvjtpap sty •yooq
'V— -M
CONTENTS
Preface 15
Introduction 19
Colored Glass, its Origin 13
Stained Glass and Painted Glass:
Blue (Azure)
Green (Vert)
Violet (Purpure)
Red, Ruby (Gules)
F1rst Part
The Art of Stained Glass 31
Its Origin and Development:
Close Relation of Glass Painting to
Mural and Panel Painting
Questions of Authorship
Chronological Survey of Early Glass
Glass Painting as a Monastic Art
Theophilus
The Gothic Period
Influence of Panel Painting
7
CONTENTS
The Development of Technique 54

France, the Birthplace of the Art
The Medieval Technique as Described
by Theophilus
The Three Periods of Glass Painting:
Early Period from 800-1350A. D . . 69
Technique of trie Earliest Glass
Painters
Windows of the Early Period
Early Colored Glass
*»»v^Completion of the Windows
Middle Period from 1350-1 500 A. D. 83
The Discovery of Silver Stain
The Abrasion of Flashed Glass
Late Period from 1 500-1650 A. D. 89
Changes in the Style of Glass
Painting
Old Windows in England and
Western Europe
Swiss Glass
The Cistercian Interdict
Spreading of the Art to Secular
Buildings
Influence of the Gothic Style
Changes in the Material
Tapestry Effect of Stained-glass
Windows
Lack of Perspective
S
CONTENTS
Second Part
Ornamentation
Decorative Character of Glass

Painting
Plant Motifs
Influence of the Renaissance
Painted Architecture
Diapered Backgrounds
Draperies and Adornments
Flesh-color in Figure-painting
Changes in Representation of Archi
tecture
Changes in Composition
Study of Perspective
Landscape
Over-indulgence in Colors
Signs of Transition
Neglect of Unity of Style
Employment of Non-permanent
Figures and Groups of Figures

Style of Painting
Heraldic Panels
Armorial Subjects
Causes of the Decay of the Art
9
CONTENTS
A L1st of Art1sts 1n Glass from the

Fourteenth to the Seventeenth
Centur1es
I. French Artists 139

II. Flemish Artists 147
III. Dutch Artists 147
IV. Swiss Artists 151
V. English Artists 162
VI. Allemanic Artists 165
10
LIST OF ILLUSTRATIONS
Front1sp1ece In Color
Saint Timothy, the martyr, coloured

glass of the end of the Eleventh Cen
tury, found in the Church ofNeuviller
(Bas Rhin), now at the Cluny Mu
seum, Paris 20
Medallion window, representing Samson,
leaving the City of Gasa. Excellent
coloured glass of the middle of the
Twelfth Century. (No Restoration) . . 24
Angel in the Crypt at the Cathedral of
Strasbourg. Early Thirteenth Cen
tury glass 28
Medallion window from Peter and Paul
Church, Wissembourg (Bas Rhin).
French glass, late Thirteenth Century. 32
The Parting Knight. French glass, late
Thirteenth Century 36
The Flight of Paulus. French glass, late
Thirteen th Cen tury 40
The Resurrection. French glass, early
Fourteenth Century 48
Christ appearing to his mother and dis
ciples. French glass, early Fourteenth
Century 52
II
LIST OF ILLUSTRATIONS
Christ in the Purgatory, leading Adam

by his arm, followed by Eve. French
glass, early Fourteenth Century 56
The Last Judgment. French glass, early
Saint Christophorus. French glass, early
Represents Sodom and Gomorrha. French
glass, early Fourteenth Century 72
The Flight into Egypt. French glass,
middle of Fourteenth Century 80
The presentation of Christ in the temple.
French glass, middle of Fourteenth
Century 84
Saint Florentius healing the King's
daughter. Late Fourteenth Century
glass of French influence 92
Early Fifteenth Century French glass.
Medallion window 100
Representing Pierre Brun, donor of a
window. (Museum Saverne) (Bas Rhin) 108
Saint George. Early Sixteenth Century
glass. (French-Alsatian School) 124
By the Author. Miniature glass panel
(size of original), representing Christ on
the Cross. The smallest glass panel
in existence 132
12
STAINED GLASS
PREFACE
Early training in the workshop, long prac

tice in designing and painting in all styles,
a deep interest in Stained glass, and a loving
study of it, combined with painstaking re
search extending over many years, I may
plead as my justification for writing this
book. The following chapters are the prod
uct of an experience of thirty years, during
which glass painting and collecting old glass
has been my delight and recreation.
Minute investigation into the history of
this art seemed to me at first safer in the hands
of English and Continental authorities, yet
in the course of time I was confronted with so
many puzzling details and antiquarian prob
lems that I started to look into the mysteries
of this half-forgotten art. I have succeeded
in uncovering the secrets of the brilliant col
ors of mediaeval Stained glass, thus striking
at the root of the problems of an art that has
the minerals of the earth as its source and
medium.
PREFACE
The illustrations for this book, some of them

from private collections, others from churches
or Museums, have been chosen throughout
to clarify the subject, not merely to beautify
the text. From practical considerations, I
have resisted the temptation of colored illus
trations with the exception of the frontispiece
in spite of their desirability from a theoretical
standpoint in a book about windows. A per
fect reproduction of Stained glass which alone
would satisfy the connoisseur, is probably as
yet beyond the resource of color-printing.
Alfred Werck.
New York City, January, 1922.
16
INTRODUCTION
INTRODUCTION
white (*t1nted) glass: its origin
White glass, as we see it to-day, did not exist in the early

days. So-called "white glass" was always tinted ; that means
that it showed either a greenish, yellowish, bluish or greyish
hue.
Ordinary glass is composed of sand

melted and run together. The best sand
for the purpose contains a large pro
portion of the substance called silica, as
in the case of sand formed of powdered
quartz or flint. Silica, after melting,
does not recrystallize in cooling, but
forms an even transparent substance,
plastic while still hot. Glass can be
made by this means alone, but the
heat required in this process is so great
that it has been used in recent years
only for special purposes by the use
of electric furnaces. Otherwise the
19
INTRODUCTION
sand is melted at a lower temperature

by means of a flux, for which either
potash or soda may be used, with the ad
dition of lime and magnesium, or lead,
to enable the glass to resist moisture.
Theophilus, describing the process in
his treatise, which dates back as far as
the thirteenth century, recommends the
use of beach twigs, calcined in an
earthen pot, whence the name "pot
ash."
It is interesting to observe that glass
containing lime and magnesium does
not resist the influence of the atmos
phere so well as glass containing lead,
and corrodes much sooner. Old glass,
for instance, shows corrosion on some
panes while on others only a steel blue
patina is visible. The age of glass can
therefore not be judged by corrosion
alone !
Pliny tells a tale with regard to the
invention of glass which, if not correct,
20
FIRST PERIOD
Saint Timothy, the martyr, coloured

glass of the end of the Eleventh Century,
found in the Church of Neuviller (Bas
Rhin), now at the Cluny Museum, Paris.
1075-1080.
INTRODUCTION
is at any rate so plausible that I cannot

resist quoting it here. A certain mer-
chantship touched on the coast of Syria,
and the crew landed at the mouth of the
river Belus on a beach of fine white
sand, which, says Pliny, was still in his
day of great repute for glass making.
The cargo of the ship consisted of na
tron, a natural alkaline crystal, much
used in ancient times for washing, and
the crew, having lighted a fire on the
sand, used lots of the natron to prop up
their kettle. What was their surprise,
to find afterwards a stream of molten
glass running down from their camp-
fire! The natron had acted as a flux
and enabled the sand to melt in the heat
of the camp-fire, which must, however,
have been of unusual intensity to
achieve this result.
This episode, whether true or not, can
have had no more than local signifi
cance, for the art of glass making was
21
INTRODUCTION
known in Egypt from very early times,

and was employed in the imitation of
precious stones which were produced
in white and colors.
22
COLORED GLASS: ITS ORIGIN
"sta1ned" glass and "painted" glass
"Stained" glass is usually confounded

with "painted" glass, but the two should
be considered quite distinct. "Stained"
glass, as the term is ordinarily used, is
taken to include also painting upon
glass. As a matter of fact, glass stain
ing and glass painting are two quite
different processes. There is, however,
some justification for the custom of
grouping them together under one
name in the fact that from the earliest
times the two processes have been em
ployed in close association. "Stained"
glass, strictly speaking, is understood to
apply to windows, or separate stained
and painted panels, or "medallions," in
a window, either separate or inserted in
23
INTRODUCTION
the lead-work of the window. Stained

glass first appeared in connection with
the Byzantine and Romanesque styles,
but came into general use with Gothic
architecture, developing to ever greater
beauty and brilliancy, until it reached
the zenith of perfection in the early
part of the sixteenth century, and con
cluded with the Renaissance style,
which owed not a little to the Gothic
tradition. The art of Stained glass was
thus closely identified with the Middle
Ages.
Blue (Azure)
"Stained" glass means colored glass,

that is "colored in the pot," a process
used for instance in the manufacture of
blue glass. The melted white glass is
mixed with a metallic oxide (the blue
extract of arsenic sulphates of natural
cobalt) which stains the glass blue. A
delicate process, however, was devised
24
FIRST PERIOD
INTRODUCTION
by glass-makers of the early period, by

which the nickel, always associated with
cobalt in nature, was eliminated. Thus
they avoided the brown shade and the
dark effect produced by the presence of
nickel. Copper was then added, about
ten per cent, the greenish-blue tint of
which served to correct the too violet
blue of the pure oxide of cobalt. It
was during this earliest period (800-
1350) that Stained and Painted glass
reached the zenith of its perfection, ex
hibiting a gorgeous richness and intrin
sic value of color unequaled in later
periods.
Green ( Vert)
Green glass was obtained by boiling

white glass for about five hours until it
turned yellow. Then, as in the making
of blue glass, a certain percentage of
blue extract of arsenic sulphate of co
balt was added to the formerly white
25
INTRODUCTION
glass which in the course of half an

hour turned into a light green. The
glass-worker, having removed from
the pot as much of the light green as he
required, obtained a darker green by
the simple process of adding more
of the above mentioned blue extract
and letting it cook for another hour.
The glass was then ready to be taken out
and blown into shapes of varying thick
ness and tints, which of course added
greatly to its quality.
Violet (Purpure)
Violet, generally called purple, glass

was produced by adding the natural,
unpu rifled ore of manganese.
Red (Ruby, Gules)
Red glass, called Ruby among glass-

workers, is really a bottle-green glass,
26
INTRODUCTION
covered with an extremely thin enamel

tinted with oxidulated copper, that is,
copper slightly oxidized. This kind of
glass is generally known as "flashed
glass."
The secret of red glass was lost for
many centuries. It is now only equaled
by that made with gold. I have found
specimens dating from the twelfth and
thirteenth centuries, in which the Ruby
glass had been colored all through, or
colored in the pot. This kind of red
glass is now very rare, and has been re
placed almost entirely by the "flashed
glass" described above.
27
FIRST PERIOD
Angel in the Crypt at the Cathedral of

Strasbourg. Early Thirteenth Century
glass.
About 1230.
FIRST PART
THE ART OF STAINED GLASS

Its Origin and Development
The Staining of glass, like many other

arts, was an achievement of antique cul
ture. Upon the collapse of Graeco-
Roman civilization this art survived to
gether with other remains of the classic
tradition, and spread gradually from
the cities of the Mediterranean to
Northern Europe. Marseilles, where
the antique arts and crafts had flour
ished since the early days of Phenician
trade, was one of the foremost abiding-
places of this art, and not less impor
tant was the glass industry of Murano,
the secrets of which were jealously
guarded by the city of Venice. From
the earliest times the Venetian authori
ties had assumed control of the Mu
rano craft in order to prevent the spread
of the knowledge of the unique methods
31
The Art of Stained Glass
there employed for the Staining and

working of glass. But the jealously
guarded books of instruction were
copied. Foreign countries succeeded
by bribes and promises in enticing the
craftsmen to bring their skill to other
cities.
Thus the art of Staining glass spread
throughout Europe and developed dur
ing the Middle Ages. While the secrets
of the technique of the art became grad
ually known, there were still special
processes cherished by certain locali
ties, and even in later centuries, the guns
of Murano were wont to fire an alarm
when it became known that one of its
craftsmen had escaped to another city.
Close Relation of Glass to Mural and

Panel Painting
The desire to gain possession of the

secrets of this much coveted trade ex
32
plains the character of the extensive lit

erature which has accumulated upon
the art of Staining glass. For most of
the treatises on this subject which have
appeared from the Middle Ages to the
present time, have discussed the art of
Staining glass chiefly from a commer
cial and technical standpoint, and have
seldom progressed beyond these prac
tical considerations to a deeper appre
ciation of the art as such. Little effort
has been expended upon the important
task of examining the style of ornamen
tation and figure drawing. There can
be no doubt, however, that an inquiry
into these problems would make a valu
able contribution to the history of art.
For the crafts stand here in such close
relationship to art itself that it is im
possible to form a just estimate of the
artistic productivity of former centuries
without paying due regard to the work
of the handicrafts. The old painters of
33
the fifteenth and sixteenth centuries, al

most without exception, were ready to
place their art at the service of the
crafts in the preparation of models and
designs. In the goldsmith's craft, for
instance, in pottery, in leatherwork, and
in many other Mediaeval handicrafts
was this alliance of artistic imagination
and manual skill noticeable, but no
where more than in the art of glass
Staining, closely connected as it was
from the very beginning with Mural
decoration and panel painting.
Much light can therefore be thrown
upon the understanding of painting in
the earlier centuries, of which so much
has been lost to us, by a consideration
of glass painting from the artistic, rather
than the technical point of view. This
is particularly true of the earlier period
where we have no examples of panel
painting and must therefore give par
ticular attention to mural and miniature
34
painting, and to a less extent to glass

Staining. We have a number of impor
tant miniatures which enable us to re
construct a picture of the earliest period
in its main outlines. Of the earliest mu
ral paintings, however, but few exam
ples survive. The beautiful frescoes in
color of the earliest centuries are to-day
shrouded under a dead-white covering
of chalk, and where they are still visible
by accidental or intentional removal of
this covering, they appear in a poor
state of preservation. In many cases,
they have been whitewashed again or
completely painted over with little ap
preciation for their merit. We have
therefore few materials for the study of
mural painting, but can only imagine
what these decorations might have been.
The northern countries, such as
Switzerland, Germany, Austria, France
and England, unlike Italy, have no Vas-
sari to record with indefatigable indus
35
try the history of art and artists. Even

in the case of their greatest masters our
information is very meager. Most of
the works that still survive are without
signature or date, and it is therefore
very difficult to arrange these works in
chronological order. Furthermore, the
varied points of view of the investiga
tors often lead to quite different conclu
sions in a critical estimate of styles.
Long lists of names of masters have
been gathered from a study of the ar
chives but only rarely are their works
mentioned in connection with their
names. The notations refer almost ex
clusively to such matters as taxes, trans
fer of property, citizenship, guild mem
bership and marriage.
In the works of painting that have
come down to us, we find, however, a
large number of artists, whose work is
of the greatest interest. But in these
cases also there appear the gaps which
36
FIRST PERIOD
The Parting Knight. French glass, late

Thirteenth Century.
About 1290.
the most exhaustive investigation has

not been able to fill. A complete esti
mate of the work of a master, therefore,
can only be secured by supplementing
the study of his pictures with that of
his engravings and woodcuts. For ex
ample, we should consider a woodcut
of Duerer or Cranach among their
other works, even though it has been
executed by a wood engraver, such as
Andreae, Joerg, or some other. To be
sure, we can distinguish to what extent
the engraver has coarsened the fine
points of the master, or followed his de
sign; the details of the craftsman's life
and work are usually of little interest to
us.
The Staining of glass is often still
more closely connected with painting
than other crafts, since in many cases
the painter was at the same time the
glass worker. Furthermore, the sub
jects, usually religious in character,
37
were often identical, so that the inclu

sion of glass Staining in the history of
painting is an inevitable necessity. The
technique of Staining glass naturally
involves simplifications and peculiari
ties which make it very difficult to ap
preciate the essential features of the
style of earlier examples, but the trained
eye will recognize these divergences.
Questions of Authorship
By what standards, then, can we as

sign to its proper artistic position and
value a work of Stained glass which has
been produced by a glass painter after
a design, frequently in colors, by such
well known artists as Hans Baldung
Grien, or Hans Holbein the younger?
Can we rightly describe it as the work
of a glass painter? Or must we con
sider it as the work of Grien or Hol
bein? There can hardly be any doubt
38
upon this point, as the entire artistic

content of the work must be ascribed
to Grien or Holbein. Nevertheless we
must recognize that there is required
in the accurate interpretation of such a
design in glass, not only a highly devel
oped technique, but also an artistic sen
sibility, not less than that required in
wood-engraving. If, therefore, we know
of works of Stained glass that we can
definitely ascribe to the designs or
sketches of certain artists, we are justi
fied in assigning these to such masters,
and we are thus enabled to enlarge and
enrich our knowledge of them and their
work. It is possible also that we may
find among glass paintings the works of
a painter whose mural decorations have
not been preserved, or to whom we can
not definitely ascribe any of the surviv
ing works of unknown masters. We
are thus enabled to draw important con
clusions with regard to the ascription
39
of certain mural decorations. This

method of using our knowledge of
Stained glass to throw light upon the
history of painting in general, has been
insufficiently employed, although it oft
en furnishes valuable evidence for the
position and work of a mural painter.
This task is a large and difficult one.
But few pictures have been reproduced,
which, having no special connection
with each other, are of comparatively
little value for the history of art. For
their insufficient number permits no
general inferences to be drawn.
Chronological Survey of Early Glass
No exhaustive work on the history of

Stained glass from the artistic stand
point has yet been written. An account
of all the important Stained glass win
dows in churches and museums would
make an important contribution to the
40
FIRST PERIOD
The Flight ofPaulus. French glass, late

Thirteenth Century.
About 1290.
history of painting. The specimens of

Stained glass which have been pre
served, are sufficiently numerous and
varied to illustrate the continuous devel
opment of the art of Staining glass from
its earliest inception to its final deca
dence. It offers us a direct analogy to
the simultaneous development of paint
ing from the twelfth century to the
Thirty Years' War which brought about
the decay of many of our arts.
In France and particularly in the dis
trict of the Vosges are to be found many
monuments from the Byzantine and
Roman periods, and of the style of the
period of transition in which among
other artistic productions a work so im
portant for the development of painting
in Central Europe has been created as
the "Hortus Deliciarum" of Herrade
de Lansberg, now lost forever.
In regard to the Gothic period, and
especially concerning the fifteenth cen
41
tury, we find there too much informa

tion. On account of its beauty and
costliness Stained glass was always pro
tected with the greatest care and for
this reason it often escaped destruction,
so that, paradoxically enough, the most
fragile material proved here the most
lasting.
After I had arranged the specimens
of Stained glass chronologically, ac
cording to their date of origin, thus hav
ing worked out a continuous line of de
velopment, I compared with them the
extant works of French, Alsatian and
Swiss painting, that is, the paintings
from the districts of the Marne, Saone,
Aisne and Upper Rhine, in order to as
certain to what extent these had served
as models for Stained glass. I succeeded
as far as the fifteenth, and in par
ticular as far as the sixteenth century
was concerned, in recognizing in
Stained glass the masters and typical
42
characteristics of panel painting. For

the twelfth, thirteenth and fourteenth
centuries, however, only mural paint
ings and miniatures can be considered
for purposes of comparison since there
exist no properly attested panel paint
ings of these periods. The frescoes, too,
of this period have disappeared to an
almost equal extent and the most impor
tant subject for purposes of comparison
in the miniatures is represented by the
"Hortus Deliciarum."
In the examination of these works I
endeavored first to ascertain the posi
tion of the glass painters in the various
periods and the modifications which it
underwent. My conclusions were cor
roborated by the development of the
technique of glass painting.
Firstly: From the beginning to the
eleventh century glass painting like all
other arts of the period was a monastic
43
art, the painter and the glass painter

for the most part the same person.
Secondly: About the middle of the
eleventh century glass painting began
to become a secular as well as a mo
nastic art, which grew to be a purely
secular art with the continuous develop
ment of handicraft in the thirteenth
and to an even greater extent in the four
teenth century. The glass painter
works out his own designs and sets up
the glass window himself in his work
shop with the help of his assistants.
Thirdly: An important change ap
pears about the middle of the fourteenth
century with the development of panel
painting which flourishes during the
fifteenth century. The painter fur
nishes the conception, the design and
the sketch while the glass painter in
terprets these to the glass. The painter
is here differentiated from the glass
painter.
44
Glass Painting as a Monastic Art
Glass painting, properly so-called,

which appeared about the year 750 ac
cording to the latest researches, found
its first employment in the monasteries,
at this time the patrons of all forms of
art. The painter monk, who with
painstaking industry interwove the mar
ginal decorations of the manuscripts
with his miniatures or adorned the cor
ridor and refectory of his monastery
with wall paintings, may also have de
voted himself to the art of glass paint
ing. Hence the similarity of style and
technique to be observed in all these
types of paintings, whether in books,
on walls or on glass. And even if there
was a division of artistic labor among
the monks and the painter in these
three mediums was not one and the
same person, nevertheless the possibili
45
ties and limitations of their artistic ex

pression remained on the same level.
The regulations of the Benedictine \
order, especially, recommended the
practice of the arts and the monks de
voted themselves thereto with the great
est eagerness. Artistic skill spread
from one monastery and one country
to another. Just as the monk surren
dered his own individuality upon enter
ing the monastery and thought of him
self only as a part of his brotherhood,
so he denied himself the signing of his
works with his own name and labored
only "for the honor and the glory of the
Saints." So we must explain the fact
that the names of the creators of the
most important works of the early pe
riod and those most significant in the
history of art are entirely unknown to
us, and remain so except for an occa
sional accidental reference to them in
some document.
46
Theophilus
The monk Theophilus in his book

"Schedula diversarum artium" which
dates from the end of the eleventh or the
beginning of the twelfth century, gives
us a quite detailed description of the
process of the making of a window,
how the implements were prepared,
how the furnace for melting and burn
ing the glass was constructed, how the
colors were prepared, applied and
burnt in, how the lead cames were cast
and placed around the glass. This en
tire work and all the preparations for
it we can hardly believe was accom
plished by the glass painter of this pe
riod, without assistance and coopera
tion, although the description of The
ophilus leaves us with this impression.
We must remember, however, that we
have other sources of information for
47
the methods of work on the monastic

estates in the tenth, eleventh and twelfth
centuries.
The relation of the manorial workers
to the monasteries has been well de
scribed as follows: The artisans that
are included in the manor are only in
their service. At times mere servants
who receive food and shelter within the
manor, sometimes settled upon their
own land where they receive their live
lihood and give in turn service to the
manor in their particular craft. To in
dicate that they are under obligation for
such service they bear the designation
"Officiates, Officiati," that is, "offi
cials." Among the manorial workers
of Charlemagne there are named not
only blacksmiths, bakers, carpenters,
woodturners and others, but even gold-
and silversmiths. Hence we can infer
to what extent even at this early period
the handicrafts had been taken over by
48
FIRST PERIOD
such special secular workers. The so-

called Conversi, or lay brothers, also
worked in the monastery to which they
belonged. These lay brothers, but still
more the secular workers, formed a
bridge upon which art spread from the
monastery among the people and grad
ually became secular industry and later
town industry. In this development the
crusades exercised a particularly im
portant and beneficial influence in
awakening in the laity the slumbering
individuality and by increasing the per
sonal power of the individual. To an
ever increasing extent in the twelfth
century and more particularly in the
thirteenth century we find the names of
secular craftsmen, among them glass
painters. The latter are variously de
scribed in the documents as: "Pictor,
Vitrarius, Vitrator, Fenestrator, Factor
Vitrorum, Glaseator, Glaisworter."
This indicates that this industry was
49
very widely extended, and that under

the term glass painter were to be in
cluded not only those who completed
the glass window but also those who
painted it, as the term "Pictor" appears
with great frequency. Thus we see the
painting of glass developing constantly
during the twelfth and thirteenth cen
turies as a lay industry although there
were monks at that time and later who
were recognized as glass painters of
particular skill.
The Gothic Period
The rise of the Gothic style, which

originated in France in the middle of
the twelfth century and began to spread
to the other countries of Europe in the
beginning of the thirteenth century,
gave the most powerful impetus to glass
painting. In the Romanesque period
the windows were still relatively small,
50
and the large wall spaces supplied room

for the free development of fresco
painting, j A change came with the ap
pearance of the new architectural style
which from the beginning made it pos
sible to break up the wall space by dis
tributing the weight of the arches and
roof upon special parts of the wall sup
ported by flying buttresses. The win
dow space in Gothic architecture thus
makes a significant gain in width and
height, and fresco painting left with in
sufficient space or no space at all, ac
cordingly, hands over the scepter to
glass painting, which now displays its
magnificent beauty and splendor. For
the decoration of the many broad, high
windows of the numerous Gothic
churches, a large number of skilled
masters of the art of glass painting
were required, and a much more ex
tensive division and differentiation of
labor among them. The glass painter
51
was compelled to keep a large number

of journeymen and apprentices, and to
submit, like the stone-cutters, to the craft
regulations of the guild. He usually
belonged to the guild of painters, which
as a matter of fact first appears in the
middle of the fourteenth century. The
glass painters were enrolled in various
guilds composed of craftsmen in the
various trades, but they belonged for the
most part to art guilds.
In the monasteries of the fourteenth
century the art of glass painting was
rarely practiced. The glass worker of
this period was still a "painter," and was
assisted to some extent in his painting by
his journeymen who painted particular
sections or panels of the windows, but
for the most part were entrusted with
the technical construction of the win
dow. The artistic conception of the
design was in most cases worked out by
the master himself. But those elements
52
FIRST PERIOD (Transitional)
Christ appearing to his mother and dis

ciples. French glass, early Fourteenth
Century.
About 1320.
in the workshop, who were especially

gifted artistically, were divided at an
early date, it need hardly be remarked,
from the workers with craft skill and
technical training.
Influence of Panel Painting
The vogue of panel painting at the

beginning of the fifteenth century often
found the glass painters no longer
equipped to satisfy the more fastidious
taste and higher requirement im
posed upon them as "painters." They
were placed in competition with art
ists, and glass paintings were ex
pected not only to resemble panel paint
ings but to rival them. There may in
deed have been masters in the fifteenth
century who were either skillful enough
in painting to meet the requirements or
who took a skillful young painter to
work as a journeyman in their work
53
shops. For the most part, however, the

glass painters of the fifteenth and the
sixteenth century who received an or
der for a glass window or a heraldic
panel, entrusted the design of the work
to a panel painter except in special cases
where the design was given to them di
rectly with the order. So in the fif
teenth century the painter is differen
tiated from the glass painter and for
that reason we must regard the pre
ponderant number of the works of this
period no longer merely from the
standpoint of craftsmanship but rather
from that of art. And we must assign
the works of glass painting to the paint
ers of the period.
The Development of Technique
The art of glass painting, to be prop

erly understood, must be considered in
all its phases in its relation with the de
54
velopment of its technique. Our obser

vations upon the individual works must
be prepared by a short discussion of
technique which has been the subject of
intensive research.
The beginning of the art of Stained
glass, as has been remarked already,
must be assigned to the time of Charle
magne (750-814 A.D.). The French
historian M. Labarte in his "Histoire
des Arts Industriels du Moyen Age"
gives in one passage the first information
that we possess upon glass painting.
He states that the art of Staining glass
was invented in Germany, since the
first, that is, the oldest, painted windows
were found in the Rhine province.
Richer, a monk of the monastery of St.
Remy tells us in his chronicle that
Adalbert, Archbishop of Rheims, a Ger
man by birth and at the same time arch
bishop of Rheims and Deacon of the
cathedral at Metz, which at that time
55
was included in the Holy Roman Em

pire, arranged for the restoration of
the Cathedral of Rheims in the year
989. He bestowed a chime of bronze
bells upon the cathedral and ordered
Stained glass windows depicting va
rious historical scenes to be set up in
a number of the window-openings.
These glass windows, therefore, were
apparently made in the neighborhood
of the Rhine.
France as the Birthplace of the Art
Our evidence, however, is fairly com

plete that France is the birthplace of
the art of glass painting, for the mo
nastic chronicler, Benigne de Dijon,
tells us about 1052 A.D. that the chapel
of his monastery contains a window that
illustrates the martyrdom of St. Prasca-
sia, and furthermore that this glass
painting was transferred from the older
56
Christ in the Purgatory, leading Adam

by his arm, followed by Eve. French
glass, early Fourteenth Century.
About 1320.
church that was restored by Charles the

Bald. This event took place about
820 A.D., shortly after the death of
Charlemagne. This window has been
preserved and the city of Dijon is now
in possession of the oldest glass paint
ing that has defied the ravages of time
and must be therefore over 1200 years
old.
Further light is thrown upon the his
tory of glass painting incidentally by an
undated letter of Gozbert, Abbot of the
monastery of Tegernsee from 982 to
1001. This Abbot thanks a count Ar
nold of Vogaburg or Vohburg for the
windows which were painted for him,
that is, presented to him. The most im
portant passage of this letter runs as fol
lows: "By your happy fortune the
golden-haired sun for the first time
shone upon the pavement of our church
through glass painted with pictures of
various colors." (Vestris felicibus tem
57
The Art of Stained Glast
poribus auricomus sol primum infulsit

basilicae nostrae pavimenta per discolo-
ria picturarum vitra).
The astonishment and delight of the
Abbot and the monks of Tegernsee can
be imagined as the golden haired sun
sent for the first time its rays through
the newly set colored glass windows of
the church and covered the floor like a
carpet with colored reflections. The
same feeling of mystic exaltation that
comes over us even to-day as we gaze
upon the mysterious splendor of trans
parent color must have affected people
in those times when the Abbot promised
the count his pious intercession for the
generous donor who had adorned the
church so wonderfully with works of
art "whose like had never been seen."
"Merito pro vobis deo supplicamus
qui locum nostrum talibus operibus
honorum sublimastis, qualibus nec pris-
corum temporibus comperti sumus, nec
58
nos visuros esse suerabamus." (You

well deserve that we should supplicate
the Deity in behalf of one who has
beautified our place of worship with
such works of art as have not been
found in the times of the ancients nor
will ever be seen again.) And the more
as the windows had previously been
covered with old hangings, probably
with tapestries which had grown very
unsightly with time, for he adds:
"until now the windows of our church
have been covered with old draperies."
The fact that this letter mentions for
the first time, so far as we know, mul
ticolored glass paintings led historians
to the conclusion, that Tegernsee is the
place where Stained glass was first made,
or invented. But there is evidence to
the contrary in the words of abbot Goz-
bert of Tegernsee who, in thanking the
Count of Vohburg for the donation of
the windows, remarks, that it was a
59
work "such as has not been found in

the times of the ancients nor can we
ever expect to see ourselves."
The origin of glass painting must
therefore be sought rather with the do
nor, Count Arnold of Vohburg, than
with the beneficiary at Tegernsee.
There is further evidence against Te
gernsee as the place of origin in the
fact, that the Abbot Gozbert sent the
Count apprentices for instruction in the
art of glass painting, as is clearly indi
cated in the close of the letter already
quoted: "Vestrae deliberationi dimitti-
mus illos pueros probandos, si illud
opus adhuc ita sint edocti, ut vobis est
honorificum nobisque necessarium, vel
si aliquid eis deesse inveniam liceat eos
remittere vobis causa meliorationis.
Vale!" (We entrust to your judgment
those boys on probation until they are
sufficiently trained in this work so hon
orable to you, so necessary for us, or if
60
there should still be found some defi

ciency in them, we should like to be
permitted to send them back to you to
be improved. Farewell.)
Under the successor of Gozbert, Ab
bot Beringer (1003-1012), Tegernsee
possessed a glass factory, as appears
from letters to an abbess and to Bishop
Gottschalk of Freisingen (994-1006).
The Mediaeval Technique as Described

by Theophilus
Of the greatest importance, however,

for an understanding of the beginnings
of glass painting is the world-famous
book of Theophilus presbyter "Scedula
diversarum artium," which dates from
the end of the eleventh or the beginning
of the twelfth century. This book con
tains chapters on
1. The preparation, mixing and treat
ment of colors ;
61
2. Glass makers and the art of glass

painting;
3. Manufacture of ecclesiastical par
aphernalia such as chalices, candle
sticks, incense-burners, lamps, pitchers,
reliquaries.
Unfortunately just the chapters are
missing on the preparation of colored
frits, which were later removed on pur
pose, a loss which is to be greatly de
plored. According to the Index the fol
lowing subjects were treated in the lost
chapters :
Chap. 12. De coloribus qui fiunt ex pi umbo, cupro et

sale.
Chap. 13. De Viridi Vitro.
Chap. 14. De Vitro Saphireo.
Chap. 15. De Vitro quod vocatur Gallien.
12. Concerning colors which are

made of lead, copper and salt. 13. Con
cerning green glass. 14. Concerning
blue glass. 15. Concerning glass which
is called Gallien.
62
The Three Periods of Glass Painting
The prescriptions of Theophilus un

derwent, however, many modifications
during the following centuries. After
the changes brought about in the tech
nique of glass painting by the discovery
of new enamel colors, the history of the
art may be divided into three periods :
1. The early period, that of brown enamel, about 800-

1350.
2. The middle period, that of silver stain, about 1350-
1500.
3. The late period, that of enamel colors, about 1500
1650.
To assign individual works to their

correct place within these periods is a
very difficult task, as indeed are all ef
forts at chronological definition in glass
painting. One is too apt to be guided
in his judgment by the facial types, the
position of the figures, the drapery, etc.,
and thus perhaps to commit great er
63
rors. For some artists often continue

for years an outworn style. Then too,
especially in the fourteenth century, an
effort was often made to match the older
works of Stained glass in a church.
This happened particularly when one
or more windows damaged by fire or
weather had to be repaired, and care
had to be used to adapt the new sections
in style to the old.
One /dlewjo the dating of Stained
glass we" often find, however, in the
character of the letters in the inscrip
tions, bands of letters, and the like or
in the incidental articles which are as
sociated in the paintings with the fig
ures, such as crowns, scepters, swords,
lances, girdles, buckles, shoes, armor,
goblets, bumpers, etc. For here the ar
tist keeps to the style of his time.
The making itself of Stained glass
windows remained the same in all es
sentials during these three periods, such
64
The Last Judgment. French glass, early

Fourteenth Century.
About 1320.
changes as there were relating more to

the manner of painting, which will be
viewed later. For the application of
new colors was most conspicuous in
the second and third periods.
At the beginning of the nineteenth
century an effort was made to revive the
ancient and honorable art of glass
painting, albeit as with all beginnings,
with great difficulties. But the art is
now marching forward with sturdy
steps to ever greater perfection. Now
again as in the Middle Ages, artist and
craftsman collaborate for a common
end. And another factor contributes
greatly to the present prospects of the
art, that is, the increasing interest shown
by the public.
It may, therefore, safely be prophe
sied that at no very distant date this an
cient art will be restored to its position
of universal admiration and apprecia
tion.
65
EARLY PERIOD
From 800 to 1350 A.D.

Saint Christophorus. French glass, early

Fourteenth Century.
About 1320.
Technique of the Earliest Glass
Painters
Theophilus gives us sufficient infor

mation in his work in regard to the
technique which was used by the oldest
glass painters, and remained in general
use during the whole period. Further
more, Theophilus gives us specific di
rections, not only about the preparation
of brushes and like matters, but also
about the preparation of the glass, the
building and tending of the kiln, how
the lead-cames for the casings around
the glass are to be cast, prepared
and fitted in place, how the leading of
the windows must be done, the solder
ing of the lead work and many other
details. In Theophilus' time the glass-
furnace for the making of the glass
for church windows was usually con
69
Stained Glass
structed in the vicinity of the church

that was being built. This was done
in order to avoid the necessity of trans
porting the windows for a distance,
since the material was so fragile and the
means of transport so inadequate. An
old tradition, for which I can find no
documentary evidence, has it, that as
late as the first decades of the nineteenth
century, the remains of an old glass fur
nace were found in Windisch in Switz
erland, in the vicinity of the ancient
church of Koenigsfelden, and that in
this furnace the panes of glass were
made for the beautiful old windows,
which are still the chief adornment of
the church.
The old monuments show us that the
glass makers of that time could only
make small panes of glass, about the size
of a hand (in white and color). It was
not until the end of the fourteenth cen
tury that the larger pieces appeared.
70
Early Period
The only color the painter applied with

his brush, and fixed by a process of
enameling, was "Grisaille." Theophilus
advises the use of copper in its prepara
tion; to-day it is made from oxidised
iron. With this tint the finer outlines,
ornaments and smaller folds of drapery
were drawn on the various small white
and colored pieces of glass put together
in mosaic-like manner. The main out
lines were of course marked by the lead
strips, which followed the contours care
fully, and fulfilled the same functions
as the heavy outline drawing in mural
paintings or in miniatures. Grisaille
paint was also applied to inscriptions
and ornaments, where fine effects were
often secured by erasures with a small
wooden stick, which removed as much
of the color as was required to make
certain spots appear transparent or
shaded.
This method was practiced during
7i
Stained Glass
the entire early period, and was applied

with increasing success and precision.
In former times, inventions and im
provements were not so numerous as
they are to-day, nor did science, with its
knowledge and researches, come to the
aid of technique as it does to-day. Im
provement in technique in those days
was only achieved by a constant effort
at the elaboration and perfection of
methods, already acquired. Progress
was attained rather by developing tech
nical processes, already known to a
higher state of perfection, than by in
venting entirely now processes. But
the works of art of olden times profited
well thereby, and call forth our wonder
ing admiration, through the mastery of
technique which they exhibit.
Windows of the Early Period
The windows of the early period ap

pear to us then as a mosaic of small
72
Represents Sodom and Gomorrha. French

glass, early Fourteenth Century.
About 1320.
Early Period
separate pieces of glass, enclosed in

lead, with the shadings and finer out
lines indicated upon these with Grisaille
paint.
Theophilus must be appealed to
again for enlightenment on the work
ing method of his time. The glass
maker first manufactured the colored
glass, the recipes for which have been
lost, as stated above. We know, how
ever, that metal oxides were used in
their preparation, just as to-day.
The painter then prepared a wooden
panel, which corresponded in size to the
window which was planned. On this
panel chalk was scraped, which was then
moistened with water, and the resulting
mixture spread evenly over the panel.
(Cf. Theophilus in his chapter "De
componendis fenestris.") As soon as
the chalk foundation was dry, the out
lines of the design were sketched upon
it, the various colors marked with let
73
Stained Glass
ters or figures, and the corresponding

pieces of glass laid in place. The out
lines which showed through were
traced upon the glass pieces with mois
tened chalk, and were then cut out,
according to the outlines, with a red-hot
iron. The edges were then smoothed
with the "Ferrum grossarium," that is,
the grozing-iron. The general use of
glazier diamonds for cutting glass first
appears in the sixteenth century, al
though, surprisingly enough, a consid
erably earlier window has been discov
ered whose panes have been cut with a
diamond. It is that representing the
legend of Mary, at Althaus, and dates
from the year 1466.
Early Colored Glass
The colored glass of the early period

was pot metal glass, permeated with a
single color, even in the case of red,
74
Early Period
though this point has been a subject of

much controversy. My own examina
tions of red glass in the old windows
disclosed a complete permeation of the
color, although I must admit that, in the
case of red, this was superseded at a
very early date by the so-called "flashed
glass." This was produced by dipping
a metal pipe first in the white and then
in the red mass. In this way, when the
dab is blown, the inner white mass is
covered with a layer of red as with a
transparent skin.
For the glass makers of the earlier
centuries the preparation of a given
color presented very great difficulties,
since the color of the glass was deter
mined by the degree of heat of the fur
nace, which was very hard to regulate.
Theophilus remarks with reference to
the preparation of colorless glass: "If
you notice a pot of melted glass turning
yellow, let it boil for three hours and
75
Stained Glass
you will have a clear yellow. If you

wish, let it boil for six hours and you
will have a red yellow. If you notice,
however, that a pot is turning reddish,
so that it resembles flesh, take from it
and use it for flesh color. Boil the
rest for two hours and you will have a
bright purple, and another three hours,
a real red purple."
It is easy to understand how, in the
course of such long and tiresome work,
the various panes of glass often dif
fered in strength, and were uneven in
thickness in the middle or at the side.
The average thickness is one-eighth of
an inch. The principal colors used in
the early period are red, green, blue and
yellow. Yellow was employed mostly
for hair, ornamentation of draperies,
and articles of adornment such as
crowns, scepters, swords, buckles, clasps
as well as golden utensils, goblets and
halos, or architectural decoration, but
76
Early Period
seldom for draperies. Red and green

appeared, for the most part, in one tone
only, while blue ranges from light to
very dark blue, at a very early date.
Completion of the Windows
Let us turn again to the further com

pletion of the windows. After the
panes of glass have been properly cut
and prepared, they were painted with
Grisaille, which was changed into
enamel in the kiln. For the pieces that
serve to frame the real picture, Theo-
philus recommends flowers, branches,
leaves and bands as decoration. When
the firing, or burning in, of the Grisaille
paint had been accomplished success
fully, the glass was laid on the previously
prepared board, and leaded up. This
was done by bending the strips of lead
around each pane of glass, as it lay
upon the board, and then the various
77
Stained Glass
leaded pieces were soldered together.

Whenever one color impinged upon an
other in the design, a strip of lead had to
be inserted. Lead strips were also re
quired to hold together the small panes,
which were only the size of a hand in
one and the same color, since larger sur
faces often had to be made in a single
color. These strips of lead were called
"emergency leads" to distinguish them
from the larger cames used for the out
lines. Where it was impossible to fol
low these accurately, the fine lines and
curves of the contours, with the outline-
lead, as it occurred frequently in the case
of finely wound foliage, etc., the surface
between the painted outline and the lead
was filled in with black. Even in cut
ting the glass, it was not always possible
to follow faithfully the outlines of the
drawing. After having been put to
gether with the various small panes of
glass, the window was now set up in the
78
Early Period
opening, and fastened to the iron bars

of the opening, by means of lead strips
which were soldered on at equal inter
vals from each other where the leads
crossed.
On the inner surface of the window
opening a groove was chiselled into the
stone mullion, through which vertical
and horizontal iron rods pass at certain
intervals. The window is slipped into
this groove and fastened with lime.
It is further secured by other thin
iron bars, "cross-bars," which were hori
zontally fastened upon the back of the
window. The same manner of fasten
ing which is used for the long windows
is used also for the rose-windows.
79
SECOND PERIOD (Transitional)
The Flight into Egypt. French glass,

middle of Fourteenth Century.
About 1360.
THE MIDDLE PERIOD
1350-1500 AD-
The Discovery of Silver Stain
The Middle period is to a certain de

gree a transition period in the art of
glass painting, which, still at this time,
clings to its traditions, while on the
other hand it employs to a greater or
less extent the new achievements of
technique and brings into service two
new inventions which characterize par
ticularly this period in the history of the
art. These two inventions, probably
made about the middle of the fourteenth
century, and more widely extended dur
ing the latter half of that century, are
the discovery of a new color, "silver
Stain" (oxide or chloride of silver) and
"the abrasion of flashed glass."
Both inventions, although they can
only be considered a step forward in the
art of glass painting, gradually effect
83
Stained Glass
so complete a transformation in glass

painting that it departs to an even
greater degree from the style peculiar
to itself. We found that during the
early period there was only one color
that was fixed by being burnt in, namely
"Grisaille-paint." Now a new color ap
pears with the same quality, namely
the so-called silver Stain, a clear and
indelible yellow, varying from pale
lemon to deep orange. When and by
whom this discovery had been made, has
remained a secret.
The Abrasion of Flashed Glass
The second invention, the abrasion

of flashed glass, consisted in the "abra
sion" in certain places of the red
"flashed" glass so as to produce white
spots on the pane. "Flashed" glass con
sists of a thin film or "flash" of color
over the surface of white or "dirty"
84
The presentation of Christ in the temple.

French glass, middle of Fourteenth Cen
tury.
About 1360.
The Middle Period
white glass, while colored glass proper

is being colored all through and is
known by the name of "pot metal." By
chipping with a burin (an instrument
used in engraving) or by grinding away
the colored film in certain places (done
with hydrofluoric acid since the begin
ning of the nineteenth century) white
and color is obtained on the same piece
of glass. If the two enamel colors, Gri
saille paint and silver Stain, were now
applied to the abraded panes, four col
ors could be produced upon the same
piece of glass, namely red, white, black
and yellow. Frequently one side was
painted with Grisaille, the other side of
the glass with silver Stain. From now
on, also, fine lines and borders could be
painted, as well as golden diapers upon
the draperies, without disturbing the de
sign by the emergency lead, since it was
no longer necessary to include addi
tional glass pieces. It was also possible
85
Stained Glass
to obtain green by painting a blue pane

of glass upon the back with yellow. So
new combinations constantly made
their appearance, especially with the
introduction of green and violet "flashed
glass" which made possible a large num
ber of finer and more subtle effects. At
the same time greater skill was devel
oped in producing glass panes of larger
size, thus enhancing the artistic possi
bilities.
86
THE LATE PERIOD
From 1500 to 1650

From a technical standpoint, there
is little to be said with regard to this
third period. Technical improvements
had to do mostly with the change in the
combination of colors and the style of
painting brought about by the invention
of enamel colors in this period. A
third glass paint, "iron-red," was added
about the year 1550 by an invention of
Jean Cousin, a famous glass painter of
Paris, with which a beautiful red could
be produced, and which was also used
extensively as a flesh tint. Then in the
sixteenth and seventeenth centuries,
glass enamels were also invented in
other colors, such as blue, green, violet
and other shades. For this reason, this
period has often been called the period
of varicolored enamel. The Stained
glass window now makes a much more
89
Stained Glass
richly colored impression than in pre

vious times, although, on the other hand,
the brilliancy of the colors deteriorated,
as they were not burnt in any longer
with the former care, and thus left
much to be desired regarding their per
manence. The size of the glass panes,
which had increased considerably dur
ing the Middle period, had now become
so large that the emergency lead could
be done away with entirely, and the
painter was able to work in all colors
upon white panes of any size.
Changes in the Style of Glass Painting
Old Windows in England and

Western Europe
The oldest Stained glass window that

remained to us is the window in Dijon,
already alluded to, which dates from
about the middle of the eighth century.
Then follows a series of five windows
90
The Late Period
from the middle of the eleventh cen

tury, which are in the center of the ca
thedral of Augsburg. Thereafter ap
pears early twelfth century glass at Le
Mans and Poitiers. Late twelfth cen
tury glass can be seen at Canterbury,
St. Denis and Chartres. Early thir
teenth century work is still to be found
at Chartres, Sens, Canterbury and
York. Late thirteenth century work is
preserved at Notre Dame, Sainte-Cha-
pelle, Bourges, Rouen, Strassburg, Neu-
villers, St.-Denis, Angers, Chalons, Poi
tiers, Sens, Chartres, Canterbury, Lin
coln, Westminster Abbey, Salisbury,
Beverley Minster, York Minster and
Lausanne (Switzerland).
The wonderful windows of the
church in Koenigsfelden, Switzerland,
date from the beginning of the four
teenth century, as does most of the old
church-glass in the north of France,
Flanders and England. Stained glass
91
Stained Glass
appeared later in Holland, during the

fifteenth and sixteenth centuries, and
gained a world-wide reputation, because
of its peculiar beauty (mostly Grisaille-
work). Spain, too, and Italy, especially
Venice and Florence, can boast of
charming examples.
Swiss Glass
The Stained glass art of Switzerland,

which produced the most fascinating
miniature windows, called "Wappen-
scheibe" (armorial or heraldic panel),
"Standesscheibe" (Corporation-panel)
or "Kabinettscheibe" (Marriage panel)
mostly of the fifteenth, sixteenth and
seventeenth centuries, is well rep
resented everywhere. No other coun
try indeed with the exception of Hol
land, possesses so much Stained glass,
particularly miniature paintings. The
best talents devoted themselves to this
92
Saint Florentius healing the King's

daughter. Late Fourteenth Century
glass of French influence.
About 1390.
■
The Late Period
art, and an endless number of artists

have illustrated in skillfully executed
glass paintings the history of the little
republic, with its noble record of glori
ous achievements.
I will name here only a few, such as
Carl von Egeri, Zurich; Niclavs Blunt-
schli, Zurich; Andreas Hoer, St. Gall;
Hans Funk, Bern ; Franz Fallenter, Lu
cerne; and the glass painters Mueller,
Brandenberg and Zumbach from Zug.
Cistercian Interdict
We may well conclude that the art

of glass painting appeared during
the eighth century in France and
spread from there gradually through
the agency of the Benedictine monks.
Those monastic orders, however, whose
rules called for a strict simplicity, con
demned entirely, or in part, the gor
geous ornament of painted glass win
93
Stained Glass
dows. Thus the general chapter of the

Cistercians decreed in the year 1134
that the windows of the churches of the
order should be made only of clear, un-
colored glass.
A more drastic order, dating from the
year 11 82, however, says, that the
Stained glass windows must be removed
within two years. The instruction
reads : "Vitreae picturae infra terminum
duorum annorum emendentur; alioquin
ex nunc abbas et prior et celerarius
omni sexta feria jejunent in pane et
aqua donee sint emendatae." (Glass
pictures must be removed within the
term of two years, otherwise the abbot,
prior and cellarer will have to fast with
bread and water every Friday until
the windows have been changed).
As a substitute for Stained glass, the
Cistercians turned for the adornment
of their churches to the splendid Gris
aille-windows, painted in gray, which
94
The Late Period
I shall speak of later, or to windows of

clear, colorless glass, with small panes
arranged in geometric figures and dec
orative bands, forming diamonds, strips,
triangles, hexagons, octagons, circles
and stars. A great variety of patterns
could be produced in the arrangement
of these geometric figures, and the pat
terns produced by the alternation of the
lead casings with the clear glass pro
duced the impression of a white carpet
ornamented with a dark design.
Spreading of the Art to Secular Build

ings
If we wish to regard the changes of

style in Stained glass as a whole, we
must be guided by the division of the
technical development into the three
periods, that have been described above.
It has been explained, too, how the in
vention and employment of new colors
95
Stained Glass
exerted the most important influence

upon the methods of staining and paint
ing the glass, and therefore upon the
style and ideals of the art itself.
To judge from the works preserved
to us, Stained glass extended already in
the early period over a wide area and
had attained universal popularity. It
contributed for the most part to the
adornment of the churches, by painted
glass windows, which, like varicolored
carpets, harmonized with the general
tone of decoration of the church; not,
as to-day, disagreeing with the mono
tone of the church interior. The walls
were covered with mural paintings, the
capitals of the pillars, the keystones,
the rims of the arches, the sculptures
were painted. At the altars, magnifi
cently adorned in color, the priests of
ficiated at mass in robes ornamented
with costly colored embroideries and
bordered with gold and precious stones.
96
The Late Period
But also in convents and castles the art

of Stained glass soon flourished. In the
convents it was the cloisters to which
this new art of decoration was first ap
plied, and for its employment in castles,
we have many instances, such as the
decoration of the castle of Karlstein in
Bohemia by Emperor Charles IV. And
young Titurel, about the year 1270, de
picts for us with genuine enthusiasm
the magnificence of the glass windows
in the temple of the Holy Grail:
"According to the stones the sun was colored
When sending through the windows golden rays,
That was a wondrous pleasure for the eyes."
Influence of the Gothic Style
The appearance of the Gothic style,

as has been pointed out above, gave a
strong impetus to the extension of the
art of Stained glass; but in another
respect, it exerted an unfavorable influ
ence. As the new style of architecture
97
Stained Glass
developed, it laid ever greater emphasis

on height, and the window openings
were compelled to follow these prin
ciples in their form. At first, without
partition, they were later separated by
a thin mullion, which divided the win
dow into two parts. Thus, the space to
which the design was to be adapted
was constantly increased in height, and
contracted in width. Even more se
rious in its disturbing effect upon the
art of glass painting was the custom,
introduced later on, of dividing the win
dow by two mullions, thereby seriously
impairing the beautiful tapestry effect
of the Stained glass.
With the appearance of windows
with tracery lights in the fifteenth cen
tury, which produced manifold new
forms with their cusps, the Stained glass
which filled the space changed its forms
to correspond, chiefly by means of
small decorative panes. For the glass
98
The Late Period
windows with single upright figures

these new window forms were still
quite appropriate, although the height
of the window was often no longer pro
portioned, with the greatly attenuated
width of the painting, made necessary
by the partition into sections. The par
tition made by the cross-bars was also,
aside from a few exceptions, more and
more neglected. An attempt was often
made to eliminate, or conceal, this dis
proportion by using the cross-bars as
dividing lines for the design itself.
Changes in the Material
New conditions for the development

of the art of glass painting were also
brought forth by the changes, not only
in the architectural style, but also in the
material upon which, and with which,
the designs were carried out, a new de
termining factor, to which mural and
99
Stained Glass
panel painting were not subject. Glass

painting could not develop freely, like
its sister-art of panel painting, which
was able, without check or hin
drance, to delight the eye with the
charm of landscape and its distant per
spectives or the representation of genre
and intimate interiors.
Every type of artistic representation
has its peculiar quality, determined for
it by the special characteristics of the
material, which differentiate it from
other material. So glass painting is
and always has been definitely limited
within certain bounds by the material,
i.e., transparent glass. During the
early period the art did not transgress
these bounds, but submitted to the fixed
limitations imposed by the character of
the art, so that the works of Stained
glass resembled tapestry and were not
unlike flat painting. This condition
cannot, however, be ascribed to the con
IOO
SECOND PERIOD
Early Fifteenth Century French glass.

Medallion window.
About 1420.
The Late Period
scious design of the artist. The glass

painters of this period were not clearly
aware that the flat manner style of paint
ing, which they employed, was the only
one suitable for glass painting. They
were simply unable to paint in any
other manner. And if we examine the
mural and miniature painting of the
same period for purposes of compari
son, we will meet the same phenomena
there, where the artist was not bound by
the limitation of his material as in glass
painting. For us, however, who are
able to view the development of the art
of glass painting as a whole, down
through the centuries, following every
changing phase of the art in place and
practice, it is easy to discern the ap
propriate style for glass painting. And
we find this most perfect style in the
tapestry effect of the earlier windows,
where the eye is not distracted by the
small views and perspectives of land
IOI
Stained Glass
scape, but is left free to receive the

"impression of the whole," and to ab
sorb the entire effect of the design.
Tapestry Effect of Stained Glass

Windows
The best conception of this tapestry

effect of Stained glass windows may be
obtained from the decorative windows,
for example those of the church in
Koenigsfelden. Thus too the "medal
lion windows" of the older period, al
though filled with small figures and
groups, yet produce this effect of tap
estry by the beautiful harmonizing of
colors, which is after all the determin
ing factor in the general impression.
It was not until the later period that
glass painters departed with mighty
strides from this beautiful tapestry ef
fect, and fell to imitating the panel
painters in everything down to the mi
102
The Late Period
nutest detail, in the coloring, the shad

ing, and the perspective. This tendency
was responsible to a great extent for
the stylistic decline of glass painting,
gradual and unnoticed as it was. For,
however great the artistic skill expend
ed, it could only be considered a decline
when a piece of glass, which should
properly produce an effect at a distance,
could only be appreciated when viewed
quite near by. An atmospheric per
spective of landscape is therefore quite
unsuited to an art which works with
transparent panes of glass and runs
counter to all its laws of style.
Lack of Perspective
Figures were never placed before

each other in the Early period. The old
masters were still incapable of making
the individual figure stand out solidly.
Their art was shown rather in the
103
Stained Glass
simple outline drawings, with finer lines

within, for the indication of draperies
and other details, and was practiced ac
cording to these principles. In the
simple, primitive Grisaille painting, the
aim was to depict crown and scepter of
the king, or the attributes of the saint,
goblet, book, rod and the like, so
that these objects stood out from the
figure, and a certain perspective was
achieved. But these early designs re
lied purely upon drawing for their
effect, like the miniatures in the manu
scripts.
104
SECOND PART
Ornamentat1on
Decorative Character of Glass Painting
The decorative character of glass

painting determines the importance of
ornamentation for the whole window
as well as for the border and the acces
sories. Ornamentation of church win
dows by decorative combination of
panes of Stained glass must be thought
of as the first achievements of the newly
invented art of glass painting.
We find indeed in glass painting the
same decorative motifs as in mural and
miniature painting, and it is precisely
the geometrical form of ornamentation
in which the decorative spirit finds its
expression in the early phases of glass
painting. The problem of glass paint
ing is the ornamentation of a flat sur
face and the most obvious method was,
to divide this space by stripes and lines
107
Stained Glass
into fields and these again into smaller

ones. Thus a great diversification of
design and a highly decorative effect
was obtained by the interweaving of
lines and spaces, the introduction of
decorative motifs and the variation of
the color combination.
Plant Motifs
During the Carolingian period (750-

850) the use of foliage, the plant motif
of the antique, was introduced into dec
orative art. Greater naturalism, how
ever, was developed in these plant forms
by introducing motifs taken from na
ture and by giving life and variety to
the foliage. The new naturalistic forms
were adopted with enthusiasm by the
early glass painters and supplanted as a
decorative device the geometrical forms
which were thus reduced to a secondary
role, and used almost exclusively for the
108
THIRD PERIOD (Transitional)
Representing Pierre Brun, donor of a

window (Museum Saverne) (Bas Rhin).
1499
Ornamentation
borders of paintings. It is interesting

to observe how the foliage is gradually
combined with the interlacing bands.
Lead ornaments are placed at the ends
of the bands during the earlier period,
which, with the later development of
the naturalistic spirit, evolve into
branches and stems and become an in
tegral part of the plant motif. At the
same time the leaf acquired the natural
ribs and veins instead of the stylized
branching running in parallel lines.
As the Gothic style became prevalent
during the thirteenth century, the influ
ence of stylistic severity transformed
the traditional manner of ornamenta
tion and led through a long series of
gradual transitions to a completely
naturalistic reproduction of actual
plant forms.
Up to the fifteenth century, the ten
dency is noticeable to employ the most
varied and complicated designs, but
109
Stained Glass
these are gradually transformed by the

exaggeration of the Gothic style into
extremely pointed and bizarre effects.
Influence of the Renaissance
These motifs were gradually replaced

in the new style, which supplanted the
Gothic, by the rich and varied forms of
the Renaissance, reverting thus to the
forms of the Antique, as it had been the
case with the Carolingian leaf during
the earlier period. The origin of the
old Christian and Byzantine decorative
motifs, and their inner relation to primi
tive decorative art, has been traced by
Riegl in his "Problems of Style." He
shows that the fundamental decorative
motifs have remained the same from the
period of Mycenae and Tiryns to the
Christian era, although they have been
transposed and transformed frequently.
The inner law, that rules the world of
1 10
Ornamentation
art, as well as of nature, has been well

described by the great architect, Gott
fried Semper :
"Nature, in spite of its infinite riches,
is nevertheless sparing in its fundamen
tal forms, and repeats them continually,
modifying them according to the stage
of development and conditions of ex
istence. Just as nature has its own evo
lution, in which the old elements sur
vive in every new stage of development,
so art, too, exhibits certain forms or
types, similar to those of nature, which
are found at the earliest stage of develop
ment, and reappear in continually
changing forms in all later stages.
There is no element of chance in this
process, but everything is determined by
the circumstances."
This observation receives universal
corroboration from monumental re
mains. A small delicate rosette, for in
111
Stained Glass
stance, adorns the forehead of the

daughter of a king in a Stained glass
window of the fifteenth century; but
the princess Nofret on an old Egyptian
monument wears a similar decoration.
The same repetition is found in the
case of the other motifs, such as flower,
stem, foliage, branching, and of geo
metric forms, such as triangle, quad
rangle, hexagon and diamond. These
ornaments were merely adapted by each
people to its own needs in the terms of
its own spirit. The geometrical motif,
which remains the same in form, though
arranged in new and varied combina
tions, is most clearly and most closely
connected with the earliest forms of
art.
Painted Architecture
There is in painted architecture an

other decorative idea of importance for
112
Ornamentation
glass painting, in addition to geometri

cal and leaf design. Architecture in
glass painting either surrounds the
painted figure in the form of a niche,
or it extends over the upper part of the
window above the figure or picture. In
the application of this idea, we find em
ployed characteristic examples of all
styles and periods, from the earliest to
the latest and most highly developed,
from the Romanesque and the Gothic, to
the lively forms of the Renaissance.
We find thus embodied the severity and
simplicity of the Romanesque, and the
diversity and delicacy of detail of the
Gothic, with its luxuriant variety of
forms and figures.
Diaper Backgrounds
At a very early date, the background,

alternately of red and blue, is covered
"3
Stained Glass
with diaper design, applied in Grisaille

paint, or erased with the stick from the
matted background. This process is
also used, as we have seen already, in
the case of "Grisaille windows," which
are, for the most part, decorative in
themselves, and seldom combined with
colored medallions. These "Grisaille
windows" were very popular in the thir
teenth and fourteenth centuries, and
were generally used in the buildings
erected by the Cistercians, which were
thus easily distinguishable from other
churches, where a chiaroscuro of color
from the Stained windows prevailed.
Grisaille we find used, but rarely, in a
design with colored glass, but very fre
quently as a subordinate decoration
with colored medallions, or for framing,
or outlining. The simple decorative
effect is often increased by the intro
duction of small pieces of colored glass,
raised rosettes or small round panes.
114
Ornamentation
Draperies and Adornments
Decorative details are of great value

in determining the date of Stained glass
windows, particularly in the case of
those where the figures have been more
or less restored. For, even where the
details have not been executed with the
same skill and thoroughness, as the rest
of the painting, they nevertheless, al
most without exception, belong to the
same period.
The costumes of Saints were from the
earliest times depicted in an idealized
form, which was maintained during
later periods, while other figures usually
appear in contemporary costumes—that
is, in the fashion worn in the period the
window is made. In this respect—glass
painting follows closely the miniature
painting of the period and patterns it
self after it. We find a large number of
115
Stained Glass
such costumes depicted in the "Hortus

Deliciarum" of Herrade de Lansberg.
Costume, as a matter of fact, is an im
portant feature in Stained glass win
dows, whose high degree of preserva
tion, in spite of all destruction, provides
us with a rich source of information
with regard to costumes, arms, vessels,
jewelry, and articles of adornment of
former times. Any discrepancies be
tween the costumes that appear in the
windows and the fashion of the period
are to be explained in many cases, and
especially in the earliest period, by the
fact that the former were decorated
somewhat too lavishly with embroi
dery, and other forms of adornment.
This overornamentation may be due to
the limited number of colors at the dis
posal of the painters, who therefore
sought to attain a certain variety in
their paintings by means of gold borders
and ornamentation of all kinds, and thus
116
Ornamentation
to enhance the ceremonial glow of the

holy, or princely, figures in the glass
paintings.
Flesh Color in Figure Painting
Theophilus' instructions with regard

to the use of color for figures state that
flesh color is usually employed for the
nude, but in the case of feminine figures
it is often replaced by a sort of white.
The hair is yellow or brown; in the case
of the aged, white. The brown color of
the hair was obtained by a wash of
Grisaille, which turned brown in the
enameling process, instead of black, as
would have been the case if a larger
quantity of color had been used.
Changes in Representation of
Architecture
The architecture is of great interest

in the paintings of the early period.
117
Stained Glass
Whereas in the later periods we find the

architecture constantly approaching
more closely to nature, in color of the
stone as well as in its structural form,
the painted architecture of the early
period makes no attempt at verisimili
tude in color or form. The artist was
interested chiefly in the color harmony
of the glass paintings and was quite in
different to the claims of realism or na
ture. The colors of the painted archi
tecture of this period are therefore sub
ordinated to the general color scheme
of the glass painting. If ruby is the
dominant color, then the columns may
be ruby; if blue must be the predomi
nant color, perhaps on account of the
background, then we have a blue arch,
or white columns with yellow capitals
and blue bases.
The entire architectural scheme is
fantastic. Columns are introduced
for filling the space or for similar rea
118
Ornamentation
sons. They are omitted in other places

where the structural principle would
require them. The vaulting is often
depicted as to be of no use for its ar
chitectural purpose, if so constructed
in reality. Keystones are placed where
there is no meeting of the arms of
arches. Columns are often so slender
as to belie their real purpose of support.
The sole standard of choice here, as in
miniature painting, is the color effect.
The painter in his design considers only
the picturesque effect and omits a
column without scruples if he needs the
space for a figure.
There is still another reason that adds
to our interest for the painted architec
ture of these times. Transparency of
structure is one of the prominent fea
tures of the architecture, depicted in
early glass paintings. There are no
walls, but columns only, or four sup
ports with a roof. They were simply im
119
Stained Glass
itations of the structures that served as

scenery for the Mystery or Passion
plays of the Middle Ages. The Medie
val plays exerted a very powerful in
fluence on contemporary art, as will be
shown later on in reviewing the scenes
and events depicted in glass paintings.
For the purpose of these plays was to
edify the masses. They were first pro
duced in churches and later on in the
open, as the Middle Ages did not know a
theater in the antique or modern sense.
Light wooden structures, the so-called
"stands," were erected for these plays
to be removed again after the perform
ance. These structures consisted—ex
actly like the painted architecture in
Stained glass—of columns covered with
a roof. Otherwise the spectators who
were standing in a circle, or semicircle,
around this stage, would not have been
able to follow the action of the play.
The architecture of these religious
120
Ornamentation
plays was imitated by the glass painters

of the Medieval period as the scenes
and events of these early dramas were
depicted in the windows.
Changes in Composition
Since the last half of the fourteenth

century, coats-of-arms, usually those
of the donor, were inserted in the
Stained windows. These coats-of-arms,
usually surrounded by architectural de
signs, occupied generally the panel at
the base of the window. The next two
panels were filled with the standing
figure, while the canopy or gable-beard
above was frequently extended over five
panels. The remainder of the window
up to the top was filled out with orna
mented panels. During the later years
of the middle period, windows with
standing figures became more rare. In
glass paintings, as in ordinary paintings,
121
Stained Glass
scenes with more than one figure rep

resenting legends of the Saints or inci
dents from the Old or New Testament
become more frequent. These group
pictures, most of them in smaller size,
occupy the various divisions of the win
dows and show in the most interesting
way the development of the tendency to
a more subtle observation of nature and
to a more daring art of representation.
The borders disappear, often there
remains but a white strip of glass sepa
rating the scene or figure from the
window frame. Frequently even this in
termediary strip is omitted, so that the
painting of the figure or scene appears
as if it were cut out of the window
frame. Scenes with figures occur in
the early Gothic stage ; their popularity
increases however in later times while
the windows with single figures become
more rare.
There are a few characteristic fea
122
Ornamentation
tures that distinguish these later win

dows from those of the early Gothic.
Instead of the group pictures of the
earlier Gothic, every panel in the later
windows contains a scene, while the
division through lead strips—a method
frequently employed in earlier windows
—is avoided. But they lack also the
harmonic borders of former times
which produced in the earlier windows
an effect similar to framed pictures.
The method of flat painting, employed
in earlier windows, was abandoned as
a result of the improvement of technical
processes, which in turn, changed the
technique of painting. The lifelike fig
ures move within a walled-in space. The
architectural parts do not resemble
any longer those "stands" of the Mys
tery Plays described above, for they are
an imitation of real architecture in color
and structure. The figures move freely
and naturally through the interiors, de
123
Stained Glass
picted with realistic taste. The rooms

are represented with all their furnish
ings, large and small, that form a part
of domestic life.
The Study of Perspective
The problems of perspective are

studied with great care and although
errors of seeing and drawing may often
be detected, our interest is attracted by
the natural realism and faithful cor
rectness of every detail.
Landscape
The landscape also appears in the

windows of the later Gothic. A blue
pane of glass represents the sky in
which sun, moon and stars are indi
cated with yellow. The point of per
spective in the landscapes, which are
still of comparatively rare occurrence
124
Ornamentation
in this Middle period, is rather high up

in the picture, so that the landscape
gives one the impression of an ascend
ing hill on the top of which the walls of
a city with towers and roofs are dis
closed.
Over-indulgence in Colors
One weakness of this Middle period

arises from the great variety of colors
and mixtures of colors at the disposal of
the painters, which leads to the tempta
tion of trying to produce a juxtaposi
tion and conglomeration of colors that
remains far behind the wonderful har
mony of colors in former times.
Signs of Transition
The Stained glass windows of the

later part of this period do not termin
ate any longer in the ascending, high-
vaulted canopies of the earlier Gothic,
125
Stained Glass
but in a low baldachin-like architec

tural design. With regard to the last
part of the Middle period, as well as to
the late period, the following remarks
by Kugler in his "History of Paint
ing" may be quoted:
"Figures idealized or symmetrically
arranged groups no longer appear iso
lated in the design. The rigid monot
onous background is eliminated, while
perspective is opened to the eye and its
possibilities utilized to their fullest ex
tent. All natural phenomena, the earth
and the sky, distance and proximity,
mountainsides, green meadows, fruit-
laden trees, the comfort and adornment
of human dwellings, all the equipment
and necessities of life are represented in
the works of this period. The human
figures appear in their environments,
and joined in organic relation with
them, they form a complete unit. The
details are recorded with the most metic
126
Ornamentation
ulous care and an admirable effect of

realism is achieved. Faults may still be
detected in places, as rigidities in the
modeling and in the draping of the gar
ments, nor is there yet a correct ana
tomical understanding of the human
body. These defects, however, disap
pear in the general harmony of the
whole, which is achieved by the blend
ing of clear and brilliant colors and by
the deep sympathy of the interpretation
which presents to us the glorification
and transfiguration of earthly life in the
midst of all its restricted conditions."
Neglect of Unity of Style
During the latter period, as the rivalry

between glass painting and panel paint
ing increased, less consideration was
given to the problem of adapting the
work to the style of the church for
which it was executed and to harmoniz
127
Stained Glass
ing it with other decorations. In the

Stained glass windows of this period, no
attention was paid to the stone pillars,
which divided the window openings, so
that the paintings were partly covered
by the pillars. For the most part, the
figures are related to each other irre
spective of the stone pillars. We find
windows with wonderful Renaissance
architecture, which are inserted in
pointed window openings of the Gothic
period. At the tops of the windows we
see panels with such small and deli
cately drawn figures that it is almost im
possible for us to recognize these fig
ures with naked eyes. The panels, made
in larger and larger sizes, were covered
with representations which were adapt
ed only for a close view but not for a
large window, and the tapestry-like ef
fect of the old windows disappeared
more and more, until it vanished en
tirely.
128
Ornamentation
Employment of Non-permanent Colors
A further disadvantage for the art of

glass painting consisted in the fact that
colors were indicated in the design, or
in the order for the window, for which
the glass painter did not possess any
sufficiently permanent colors for enam
eling. The bad results soon became ap
parent in the blurring and fading of
the colors used in such glass paint
ings. At the present time certain parts
of the design appear to be missing in
these windows, while the color has en
tirely disappeared. The Grisaille paint
used for the drawing of the faces was
often so badly annealed that it rapidly
disappeared, a result all the more re
grettable as the facial expression is of
ten the chief clew to the identity of a
master.
It is during the sixteenth and seven
129
Stained Glass
teenth centuries that a number of new

color-mixtures appears, whose vivid and
inharmonious combinations produced
an unpleasing effect.
Figures and Groups of Figures
Here and there in the representations

of the sixteenth century we find the
popular pictures of the "Biblia Pau-
perum" more or less adapted to the
style of the time. Individual figures are
again used more generally during this
period. They are usually figures rep
resenting Saints, together with their at
tributes, which look down upon us in
plastic reproduction, often in life size.
Frequently, in a large three-light win
dow, we find the Crucifixion group, so
that the center light shows the Savior
on the Cross, while the windows at the
right and left represent Saint Mary and
Saint John, both in life size like the
130
Ornamentation
Savior. Windows depicting complete

legends of the Saints or Christ's Pas
sion became more rare towards the end
of the period. Where they occur, they
rival oil painting in every detail of
their execution.
Style of Painting
The style of painting includes the

grouping of figures as well as architec
ture and landscape, the latter par
ticularly being developed most care
fully. We see wooded heights, roads
or plains. In the distance there is a
herd grazing, an ascending hill ex
pands into a chain of mountains. Or
we find a beleaguered city, reproduced
in these windows, or a guarded camp
and all the lansquenets, battle and war
scenes with which we have become fa
miliar through the paintings of this
period. We sometimes even gain the
131
Stained Glass
impression that the painter attached

more importance to the representation
of the landscape than to the action.
With what faithfulness and accuracy
are the details of craftsmanship de
picted, with what keen realism are the
figures represented in action! The
architecture is faithfully reproduced to
the smallest details with its gorgeous
Renaissance capitals, richly sculptured,
and garlands of fruit and foliage.
Heraldic Panels
Another variety of Stained glass de

sign, the Heraldic Panel ("Wappen-
scheibe") made its appearance during
the times of the Reformation. The
first examples of this new development
are to be found during the closing
years of the Gothic period. The most
perfect specimens, however, were pro
duced during the Renaissance period.
132
By the Author. Miniature glass panel
(size of original), representing Christ on
the Cross. The smallest glass panel
in existence.
Ornamentation
This development was encouraged by

three factors:
1. The technique of Stained glass
had progressed to a point where it
could paint on absolutely white glass
with the various enamel colors and with
such delicacy and refinement that the
effect could only be appreciated fully
if viewed at close range.
2. The Reformation banished col
ored windows from many churches.
Coats-of-arms, however, could be in
troduced as painted glass panels in the
otherwise entirely white windows of the
family chapel, or of a church that had
received benefits from the family.
3. The custom had become general
of displaying the arms of patrician or
middle-class families in the council
chambers and guild halls, or as decora
tion in residences.. The beginning of
this custom may be observed in individ
ual instances as early as the middle of
133
Stained Glass
the fourteenth century. The use of

heraldic panels became prevalent, how
ever, only during the sixteenth and sev
enteenth centuries. This was due in
great measure to the growing impor
tance of the middle class since the end
of the Middle Ages.
Armorial Subjects
In these heraldic panels there are

represented the heralds, shield bearers,
mythological figures, landscapes, alle
gories of the most varied description,
genre scenes, in short, everything that is
known to us through the oil paintings
of that time. It was especially the por
trait showing the master of the house
or his wife, or both together, often sur
rounded by their children, which en
joyed an increasing popularity. It
must be taken into consideration in this
connection that the ban on colored glass
by Protestant churches had made the
134
Ornamentation
world of the artist in Stained glass a very

precarious profession and that many
artists through lack of large orders had
to take up some other occupation.
Those, however, who remained true to
their art, devoted themselves to the
spreading fashion of heraldic painting,
in order to find a substitute for the larg
er orders of former times. But in this
way the possibility of obtaining really
important orders vanished more and
more.
Causes of the Decay of the Art
After the destruction caused by the

wars of the Reformation and the Thirty
Years' War, the art of Stained glass
would have recovered like other arts in
spite of the general impoverishment, if
the prejudice against Stained glass win
dows in churches had not interfered
with the recovery of this art. No
135
Stained Glass
new windows were ordered and fin

ished, and many old ones were removed.
The church, for which, in former cen
turies, the art of Staining windows had
done its most beautiful and sublime
work, adopted a style of architecture,
since the seventeenth century, which
was quite incompatible with the char
acter of the art.
The secular population was impov
erished after the Thirty Years' War and
exhausted by the protracted anxiety and
insecurity. It had lost the love and ap
preciation for Stained glass, nor did it
have the means, like its ancestors, to
decorate its home or make its environ
ment attractive and comfortable. Thus
the instructions and directions for the
making of windows and the prepara
tion of colors were more and more for
gotten, and finally, the art of Stained
glass passed into oblivion.
136
A LIST OF ARTISTS IN GLASS
A LIST OF ARTISTS IN GLASS FROM THE
FOURTEENTH TO THE SEVENTEENTH
CENTURY
In the following list the dates of the earliest and latest

works known are substituted for the dates of birth and
death wherever the latter were unobtainable. It is ex
tremely difficult to trace the authorship of the earliest
windows as the custom of signing works of art became
only prevalent after the fourteenth century.
I. FRENCH ARTISTS
( Peintre-Verriers Francais)
Their creations with dates of earliest or latest works
known.
Anquet1l, P1erre Rouen 1 541-1598
Saint Maclou de Rouen
Barbe, Gu1llaume Rouen 1 549-1 585
Cathedrale de Rouen
Barbe, Jean, F1ls Rouen 1488- 1530
Cathédrale de Rouen,
Chateau de Gaillon
Bacot, Ph1l1ppe Boussi 1 551-1565
Bern1er, Jean Evreux 1555-1560
Besoche, Jean Rouen 1595-161 1
Besoche, M1chel Rouen
Beusel1n, Freres Dreux 1 563-1 581
Bosc (G1lles et M1chel Saint-Georges-d'Aulney
du) 1549-1580
139
A List of Artists in Glass
Bouch, Valent1k Metz (Lorraine)
1475-1541
Cathédrale de Metz
Br1ce, Gu1llaume Paris 1686- 1768
Notre-Dame de Paris,
Sainte Chapelle
Brun, (Le) Franço1s Caudebec 1 729-1 783
Saint-N icolas-de-la
Taille
Canonce, Gu1llaume Rouen 1 384-1 386
Cathédrale de Rouen
Chamu, P1erre Paris 1 569-1 619
Église Saint-Merry de
Paris
Chenesson, Anto1ne Orléans 1507- 1508
Château de Gaillon
Claude, Marcel Marseille 1468- 15 36
Chapelle du Vatican,
Rome
Claude, Gu1llaume Marseille 1465-1537
(Frère) Église Sainte-Marie de
Popolo et del Anima,
Rome
Clément Chartres 1402-1450
Clerc, Père et F1ls Paris 1480- 1500
Église de la paroisse de
Saint-Sulpice ; Chapelle
du collège Mazarin
Coch1n, Benoît Troyes 1 712-1789
Commonasse, Gu1llaume Auxerre 1551-1618
Église-Cathédrale
d'Auxerre
Cous1n, Jean Paris 1 551 -1584
Saint-Gervais, Paris,
Surnommé le Michel- Château d'Anet,
Ange français, Sainte Chapelle-de-Vin-
140
cennes, Moret, Fon-
tainebleau
Inventeur de 1'fimail Église de Saint-Romain,
rouge, nomme Fontainebleau,
"Rouge, Jean Cousin." Église de Saint-Etienne-
du-Mont, Paris,
Chapelle du Chateau de
Fleurigny, Sens
Dama1gne, Rob1n Rouen 1421-1477
Cathedrale de Rouen
Desang1ves, N1colas Paris 1465-1551
tres celebre peintre-ver- Charniers de Saint-
rier frangais Paul, Paris, Chapelle
Royale de Saint-Denis,
Paris
Desmoles, Arnaud Auch en Gascogne,
1432-1514
Cathédrale d'Auch
Dor, Jean-Franco1s Paris 1 71 7-1 7 18
Cloltre des Cannes des
Chausses, Paris
Eud1er, P1erre Fecamp 1561-1570
Evrard, Math1eu Rouen 1 574-1603
Evrard, M1chel Rouen 1541-1591
Cathedrale de Rouen,
Église de Saint Maclou,
Rouen
Germa1n, M1chel Auxerre 1 501 -1569
Cathedrale d'Auxerre
Goblet, Frere Anto1ne Dinan 1 676-1 721
Gont1er, Jean et Leo Troyes 1 5 50- 1 600
nard, Freres, La cathédrale de
(Linard, Madrain et Troyes,
Cochin) La collegiale de Troyes,
Jean et Leonard, Saint-Martin-es-Vignes,
Benedictines, fort recom- Moutier-la-Celle,
mandés par le Cardi Chapelle de la paroisse
nal Richelieu de Saint-Étienne,
Sanctuaire de Saint-Pan-
taléon, Troyes
Goust, Ph1l1ppe Rouen 1605- 1620
Notre Dame de Rouen
Gradv1lle, Gu1llaume Rouen 1426-1432
de Cathédrale de Rouen
Havène, Gabr1el Rouen 1509- 15 30
Henr1et, Claude et Is Chalons sur Marne
raël, 1 502-1 558
(père et fils) Cathédrale de Chalons,
Saint-Étienne-du-Mont,
Paris
HÉRON, SÉRAST1EN, Paris 1 562-1630
Paris,
Saint-André-des-Arts,
Paris
Herusse, Robert, Anet 1549- 1594
"Maître Robert He
russe, Maître des Arts et
Sciences, de Sculpture et
Peinture"
Hubert, Mart1n Gurgues 1 521-1570
Saint-Georges-d'Aulney
Joyse, Cardin Rouen 1465- 1536
Saint-Ouen de Rouen
Lagoubaulde, (Le)
René Caen 1 541 -1599
Lagoubaulde, (Le)
Remy Caen 1568-1619
Langlo1s, Franço1s Paris 1 651-1725
Abbaye de Sainte-Géin-
eviève, Paris
Lécuyé, Jean Bourges 1503- 1569
142
Lequ1er, Jean, Bourges 1 489-1 556
Cathédrale de Bourges,
Saint-Jean-des-
Champs
L1nard, P1erre Troyes 1577-1601
Lucas, Laurent, Anet, 1550-1609
Madra1n, Benoît Troyes 1530-1581
Maget, Maur1ce
(Frère) Nevers 1671-1720
Mah1et, Evrard, Rouen 15 74- 1603
Masson, Geoffroy Rouen 1459-15 16
Math1eu, P1erre, Arras 1589- 1602
Méhestre, S1mon Caen 1538-1581
Melle1n, Henr1 Bourges 1381-1447
Vitrail représentant le
portrait de Jeanne
d'Arc dans l'Église de
Saint-Paul de Paris
M1chu, Benoît Paris 1 641-1730
Cloître des Feuillans,
Rue Saint-Honoré,
Paris,
Chapelle de Versailles,
Église des Invalides,
Cathédrale de Paris,
Abbaye de Sainte-Gene
viève du Mont,
Chapelle de Saint-Étien-
ne du Mont
M1nouflet, Charles Soissons 1 622-1 661
Abbaye de Saint-Niçaise,
Reims
monn1er, père et Flls Blois 1547- 1623
Monn1er, Jean Paris 1 581-1649
Charniers de Saint-Pajl,
Paris
H3
Monor1, Dom1n1c Abbaye de Cerfroy en Sois-
sonais 1 493-1 551
Réfecture de ce mo
nastère
Nogare, Jean, Paris 1571-1625
Paris
Pal1ssy, Bernard db Agen 1 509-1 590
était Géomètre, in- Il décorait les vitres de
g é n i e u r, physicien, la Salle d'Armes du
chimiste, naturaliste, Château d'E c o u e n,
modeleur - habile, près Paris. Naquit à
dessinateur élégant, Agen, il termina en
écrivain, un des plus prison (La Bastille)
grands peintres sur 1590
verre du seizième
siècle
Paroy, Jacques de, Saint-Pourçain-sur-Allier,
célèbre peintre sur verre, 1590- 1692
il composa des écrits, Église de Saint-Merry,
malheureusement per Paris,
dus Église de Sainte-Croix, à
Gannat,
Église des Jacobins à
Moulins-en-Bourbonnais
Mort à l'âge de 102 ans
Perr1er, Franço1s Paris 1581-1630
Charniers de Saint-
Paul de Paris
Perr1n, Paul Paris 1602- 1672
Église de Saint-Gervais
de Paris,
Église et bâtiment de la
Sorbonne
P1na1gr1er, Robert Paris 1501-1570
est un des plus fameux Église Saint-Hilaire de
peintres sur verre de Chartres,
144
son temps, seizième Église de Saint-Étienne-
siècle du-Mont, Paris
Église de Saint-Denis,
près Paris
Église Saint-Gervais de
Paris
P1na1gr1er, N1colas, Paris 1512-1590
est inventeur des émaux Charnier de Saint-Paul
de Paris, Charnier de
Saint-É tienne- du-
Mont
P1na1gr1er, Jean Paris 1 508-1 580
Église Saint-Étienne-du-
Mont, Paris, Char
niers de Saint-Paul de
Paris
Po1nte, Arnoult de la Rouen 1 475-1 532
Saint-Ouen de Rouen
Porcher, Fél1ce Paris 1481-1541
Saint-Paul de Paris
Pot, Jean Le Beauvais 1 479- 1563
Pot, N1colas Le Beauvais 1 521-1577
Hôtel des Arquebusiers,
Beauvais, et plusieurs
édifices de la même
ville
Pr1nce, Angrand Le Beauvais 1451-1530
Église de Saint-Étienne
de Beauvais, Cathé
drale de Beauvais
Régn1er, Frère P1errb Saint-Maur 1711-1766
Abbaye royale de Saint-
Denis
Repel, Soyer Rouen 1518-1572
Saint-Maclou de Rouen
Rue, L1om de la Caen 1 546-1 597
Rue, Paul de la Caen 1571-1621
H5
Semp1, P. A. Paris 1671-1735
Cloître des Feuillans de
Paris, Chapelle de
Versailles, Église des
Invalides
S1mon, Franço1s Nantes 1 672-1 730
Saint-Nicolas-du-Char-
donnet, Paris
Tacheron, P1erre Soissons 15 78-1 665
Salle de la Compagnie
de l'Arquebuse, Sois-
sons
Cloître des Minimes,
Soissons
Tard1f, Ol1v1er Rouen 1 540-1 554
Tard1f, Noël Rouen 1 562-1569
Église Saint - Ouen de
Rouen
Vasseur, N1colas Le Paris 1561-1635
Église de Saint-Paul de
Paris
V1e1l, Gu1llaume Le Rouen 1542-1602
(First) Église de Saint-Maclou
de Rouen
V1e1l, Gu1llaume Le Rouen 1640- 1708
(Second) Église de l'Ancien Hô
tel-Dieu de Rouen,
Cathédrale de Sainte-
Croix d'Orléans
V1e1l, Gu1llaume Le Rouen 1 676-1 731
(Third) Église des Blancs-Man
teaux, Paris
Château de Meudon
Dôme des Invalides,
Paris
146
Église paroissiale de
Saint-Roch, Paris
Saint-Nicolas-du-Char-
donnet, Paris
Chapitre des Célestins
de Paris
Hôtel-Dieu de Paris
Église Saint-Étienne-du-
Mont, Paris
Chapelle de Versailles
Sainte-Chapelle de Bour
ges
Cordeliers d'Étampes
V1e1l, Jean Lb Paris 1 702-1 761
Chapelle de Versailles
Château de Crécy
Cathédrale de Paris
Hôtel de Toulouse
Collège des Bernardins
V1e1l, Lou1s Le Paris 1 695-1 761
V1e1l, P1erre Le Paris 1 708-1 772
Auteur de l'ouvrage: Saint-Étienne-du-Mont,
"L'Art de la peinture Paris, A b b a y e-d e-
sur verre et de la vi Saint - Victor, Paris,
treries" Église de Saint-Merry
de Paris
II. FLEMISH ARTISTS
( Peintre-Verriers Flamands)
Ghe1n, Jean de Anvers 1552-1582
Ghe1n, Jacques de Anvers 1565-1625
Guérards, Marc Bruges 1581-1644
Héere, Lucas db Anvers 1534-1584
Van der Véecken, Jean Anvers 1591-1660
Bapt1ste Église de Saint-Jacques
d'Anvers
147
Van Dyck
Père et premier maître
du célèbre Antoine
van Dyck
Van Eyck, Jean Bruges 1370-1459
"dit Jean de Bruges"
Van L1nge, Abraham Gand 161 6-1 670
À travailler presque toute Cathédrale d'Oxford
sa vie à Oxford, An Chapelle du Collège de
gleterre la Reine ( Queens
College) Oxford
Chapelle du Collège de
Balliol (Balliol Col
lege) Oxford
l'Université (Univer
sity College) Oxford
Église du Collège
(Christ Church), Ox
ford
Chapelle de la Divi
nité (Divinity
Chapel), Oxford
Van L1nge, Bernard Gand 1608- 1665
Frère d'Abraham et Col Chapelle de Wadham
laborateur ( Wadham - Chapel )
Oxford, Chapelle de
Lincoln's Inn, Lon
don, Chapelle de Lin-
coln (Lincoln
Chapel), Oxford
V1llems, Marc Malines 1527-1661
Dessinateur, enlumineur
Vr1endt, Jacques Bruxelles 1541-1 598
Cathédrale d'Anvers,
Église de Sainte Gu-
dule, Bruxelles
148
Ypres, Charles d' Ypres 1 505- 1 564
Dessinateur
Vellert, D1r1ck Anvers 1 522-1 598
Dessinateur, peintre-ver-
rier tres distingue
III. DUTCH ARTISTS

( Peintre-Verriers Hollandais)
Ant1quus, Jean Groningue 1 702-1 750
Both, Jean Utrecht 1 65 1 -1 722
Bylert, P1erre Utrecht 1571-1042
Claes-Jansze Rotterdam 1505-1621
Église de Saint-Jean-de-
Gouda
Clock, Corne1lle Delft 1561-1635
Église de Gouda
Crabeth, Th1erry et Gouda 1 550-1 595
Vaut1er Freres (Ar Église de Saint-Jean-de-
tistes celeb res) Gouda
Dav1d, Jor1sz, Delft 1501-1556
(mort a Bale, Suisse)
Dow, Gerard, Leyde 1613-1674
connu par ses delicieux
tableaux
FOUCH1ER, BeRTRAND Bergen-op-Zoom 1609- 1674
£leve sous Antoine Von-
Dyck
Goltz1us, Henr1 Harlem 1558-1617
Dessinateur, enlumi-
neur, graveur, tres
habile peintre-verrier,
ecrivain, etc.
HOET, GUERARD Bommel 1 648-1 733
Église de Sainte-Ur-
sule, Delft, Hotel de
Ville, La Haye
149
holstevn, corne1lle Harlem 1625-1683
Janssens, P1erre Amsterdam 1612-1673
Kowhorn, P1erre Leyde 1581-1649
kuffeus, corne1lle Gouda 1531-1618
£glise de Sainte-Ursule,
Delft
Lenards, Jacques Amsterdam 1601-1673
Leyde, Lucas de Leyde 1 494-1 533
Dessinateur, enlumi-
neur, habile peintre-
verrier, on peut, sans
doute, comparer cet il-
lustre artiste au cele-
bre Albrecht Diirer
P1eters, Gerard Amsterdam 1627-1689
Rogers, Paul Bruxelles 1 553-1 641
Excellent peintre-ver- Chapelle du Saint-Sac-
rier hollandais, ses rement de Sainte-Gu-
ouvrages lui furent dule de Bruxelles
commandes par Fran
cois I., Charles V. et
plusieurs autres sou-
verains
Th1baut, Gu1llaume Gouda 1 521-1599
Église de Sainte-Uru-
sule de Delft, Église
de Gouda
Tomberg, Gu1llaume Gouda 1601-1678
Salle du Conseil a Gouda
toornevl1et, abraham Delft 1591-1671
Excellent dessinateur et
peintre-verrier
Van Bockorst, P1erce Amsterdam 1 625-1 678
Van Bronckhorst, Jean Utrecht 1 603-1 681
Nouvelle feglise d'Am-
sterdam
I50
Van Cool, Laurent Delft 1537-1S97
Chapelle du Conseil
prive de Delft
Van der Ulft, Jacques Gorcum 1 62 7- 1 702
Artiste, Peintre-verrier, Hotel de Ville, Gor
chimiste, inventeur cum,
des emaux brillants A decore plusieurs
eglises au pays de
Gueldres
Van der Veen, Guerard, Groningue 1671-1750
Van D1epenbeke, Abra Anvers 1 607-1 675
ham Cathédrale d'Anvers
Tres habile peintre- Église paroissiale de
verrier, dessinateur et Saint-Jacques, Anvers
compositeur. £leve de Église de Sainte-Gudule,
Rubens Bruxelles, Cloitre des
Minimes, Lille
Van Kuyck, Jean Dort 1530-1572
Van Zyll, D1rck- Utrecht 1519-1581
Th1erry Église de Gouda
Verburg, Jean Utrecht 1571-1653
Vrije, Adr1en de Gouda 1599-1667
Église de Saint-Jean de
Gouda
Uytenvael, Pere et son Utrecht 1 535-1600
f1ls Joach1m Vyten- Église Saint-Jean de
VAEL Gouda
Westerhout, FRANgO1S Gouda 1 583-1 65 1
Salle du Conseil, Gouda
IV. SWISS ARTISTS

( Peintre-Verriers Suisses)
Am1et, Urs Soleure 1 560-1 621
Amman, Josb Zurich et Nuremberg
151
Dessinateur, enlumineur, 1529-1601
compositeur excellent
pour vitraux et gra-
vures sur bois
Asper, Hans Zurich 1 520-1 550
Dessinateur habile
Bock, Hans Berne 15 12-1562
Dessinateur et peintre-
verrier
Baldew1n, P1erre Zofingen 1570-1599
Baldew1n, P1erre, F1ls Zofingen 1 590-1649
Baldew1n, Jose Zofingen 1531-1591
Baldew1n, George Aarburg 1581-1621
Baldung, Hans, surnom- Bale 1479-1552
me Grien,
Dessinateur fort habile,
Peintre-verrier de pre
mier ordre
Ban, Ulr1c (Le Jeune) Zurich 1536-1576
Ban, Jean-Henr1 Zurich 1533-1591
Ban, Jean-Henr1, Fribourg 1522-1599
Ban, Henr1 Fribourg 1 520-1 560
Beham, Hans Sebald, Bale 1 500-1 560
Compositeur, dessina
teur, peintre-verrier
distingue
Berger, Jean-Jacques Zurich 1588-1639
B1ckard, Abraham Berne 1542-1615
B1lger, Paul Bale 1562-1619
Bluntschl1, Rodolphe Zurich 1 499-1 565
Peintre-verrier, com
positeur habile
Bluntschl1, N1colas, Zurich 1518-1609
Dessinateur et celebre
peintre-verrier
Bluntschl1, Hans Bal- Zurich 529-1587
THASAR
152
Considers fort habile
comme pcintrc et vi-
trier
Bochl1, George Soleure 1 545-1 595
Bochl1, Wolfgang Soleure 1531-1593
Peintre - verrier dis
tingue
Brandenberg, N1colas Zoug 1 598-1 671
Fameux Peintre-verrier
en miniatures
Brennwald, Joach1m Zurich 1 546-1 624
Brennwald, Jean- Zurich 1583-1615
Georgb
Bren1, Hans-Ulr1c Rapperswyl 1 600-1 659
Brosamer, Hans Bale 1575-1660
Dessinateur, Enlumineur
Brunner, N1colas Soleure 1 560-1618
Brunner, Joach1m Brugg 1519-1581
Brunner, P1erre Brugg 1531-1593
surnomme le Peintre de
Brugg
Daentzler, Hans Zurich 1588-1652
D1ebold, Hans Zurich 1 568-1 631
D1ebolt, Hans Casper Zurich 1 600-1 674
D1eterl1n, Wendel Bale 1 595- 1 660
Dessinateur, et Composi
teur fort habile
Dunz, Jean-Jacques Brugg et Bale 1 580-1 655

Dur, Melch1or Soleure 1 539-1 593
ÉGER1, Charles d' Zurich 1510-1562
Dessinateur excellent, le
plus fameux peintre
sur verre qui existait
en Suisse. Presque
tous ses ceuvres sont
signees C. V. E.
153
£ger1, Hans Rudolph Zurich 1541-1607
Compositeur, habile
Pcintre-verrier
Engelhart, Hans He1n- Zurich 1557-1612
r1ch
Erhard, Tob1as Winterthur 1569-1622
Dessinateur et Peintre
verrier excellent
Ermat1nger, Hans-Ul- Schaffhouse 1 561-1651
r1c
Fallenter, Franco1s Lucerne 1 580-1642
Tres habile Peintre-ver-
rier, Dessinateur et
Compositeur d'une
grande collection des
vitraux celebres.
F1etz, George Zurich 1 528-1 591
Flueck1ger, Hans Burgdorf 1 585-1641
Forrer, Dan1el Schaffhouse 1561-1615
Fr1dl1, Burghard Zurich 1 536-1 572
Fr1es, Hans Rodolphe Zurich et Schaffhouse
Celebre Peintre-verrier 1597-1661
Fr1ck, Ulr1c Zurich 1532-1600
Froehl1cher, Wolfgang Soleure 1541-1596
Fuchs, Jean Lucerne 1431-1495
Habile artiste de son
temps
Fuchsl1, Jacques Bremgarten 15 12-1572
Fuchsl1, Hans Bremgarten 1561-1612
Fuchsl1, Schulthe1ss Bremgarten, 1551-1621
Funck, Hans Zurich et Berne 1 483-1 540
Excellent Dessinateur et
Peintre-verrier
Fussl1n, Walthart Fribourg 1 550-1 591
Ga1sberger, Franco1s Constance 1555-1607
Dessinateur, et Composi
teur
154
Gant1nn, H. J. Bâle 1583-1641
Graf, Urs Bale 1556-16 10
Célèbre Dessinateur,
Compositeur, Enlumi
neur
Gr1mm, Max Schaffhouse 1 557-161 8
Gr1ssach, P1erre Lucerne et Môrat
1543-1605
Gr1ff, Hans Gaspar Fribourg 1539-1596
Peintre-verrier distingué
Gugger, Urs Soleure 1 547-1 599
Gut, Jean-Jacques Berne 1 555-1609
Habile peintre-verrier
Haffner, Thomas Soleure 1537-1601
Haldenste1n, Ulr1c Zurich 1542-1611
Hegener, Jacques Zurich 1558-1615
Hegener, Jean-Henr1 Zurich 1600-1658
He1mo, Gu1llaume Fribourg 1542-1600
H1nderegger, V1ncent Lucerne 15 19-1600
H1rt, Caspar Zurich 1634-1700
Holbe1n, Hans (le Bâle 1495-1543
jeune)
Il est inutile de s'enten
dre ici sur le mérite de
ce grand artiste, re
gardé comme le Doyen
de la peinture sur
verre en Suisse
Holzhalb, Henr1 Zurich 1503- 1570
Hoer, André St. Gall 1503-1582
Dessinateur, Composi
teur, Peintre - verrier
fort habile. Ces pein
tures ressemblent à des
vraies miniatures
Huber, Caspar Zurich 1605-163 1
Huebsch1, Jean-Jacques Berne 1 541 -1600
155
Hug, Hans M. Zurich 1500-1561
II cxcellait principale-
ment dans les grisai
lles. Ill marquait ces
ouvrages du mono-
gramme, H. M. Hug
Jaeggl1, Hans Winterthiir 1571-1635
Jegly, Hans Ulr1c Zurich 1584-1651
Tres habile peintre-ver-
Compositeur
Jerl1, Leonard Fribourg 1550-1621
Jost, Hans Aarau 1 549-1 597
Kachler, Jean Uri 1561-1638
Peintre-verricr trcs dis
tingue
Keller, Anto1nb Schaffhouse 1 548-1612
Keller, Hans-Baltha- Zurich 1 576-1638
SARE
Keller, Salomon Zurich 1582-1642
Kessler, Ulr1c Schwyz 1512-1582
Kolmann, Jean-Fre- Schaffhouse 1 550-1 608
DERIC
Kuebler, Hans-Werner, Schaffhouse 1 543-1 607
Excellent Peintre-verrier
Kuebler, Werner Schaffhouse 1568-1642
(Fils),
teur, habile Peintre-
verrier
Kuebler, Jean Sebas- Schaffhouse 1571-1651
TIEN
Peintre-verrier
Kuhn, W. Zurich 1569-1634
Kuster, Oswald Winterthiir 1567-1623
Lang, Dan1el Schaffhouse 1553-1613
156
Peîntre et Maître-ver
rier très distingué
Lang, H1eronymus, Schaffhouse 1543-1605
Bon peintre-verrier
Lang, Hans Gaspar Schaffhouse 1561-1636
Peintre-verrier fort ha-
bile, Dessinateur,
Compositeur
Lavater, Hans Zurich 1549-159S
L1nd1nner, Math1eu Zurich 1562-1611
L1ndner, Jean, Henr1 Zurich 1571-1637
LlNDTMEYER, DANIEL Schaffhouse 1 561 -1622
Un des plus illustres
Artistes suisses de la
Renaissance, excellent
Dessinateur, Enlumi
neur et Compositeur
pour vitraux en mini
atures
L1ngk, Bartolomé Zurich et Strassbourg
Habile Peintre-verrier 1558-1632
et Dessinateur
L1pp, Hans Lucerne 1 553-1607
Loeuw, Henr1 Zurich et Aarau 1 523-1576
Lurer, Joseph Chur 1541-1599
Manuel, Hans Ro Berne 1530-1581
dolphe,
Artiste très connu par
ses admirables dessins
pour v1traux et pe1n-
tures à l'huile
Manuel, N1colas Bâle 1473-1535
teur, Artiste par excel
lence
Manuel, Eugène Bâle 1501-1576
157
Dessinateur pour vi
traux, très habile
Peintre
Margkgraff, E. Lucerne 1 544-1 605
Mecken, Israel van Lucerne 1544- 1605
Habile Peintre-verrier
et Dessinateur, origi
naire d'Hollande
Menl1n, P1erre Bile 1305-1361
Meyer, D. Zurich 1572-1658
Bon Peintre-verrier
Meyer, Henr1 Zurich 1 502-1 569
Meyer, Hans C. Zurich 1 694-1 766
Le dernier peintre-ver
rier suisse de son
temps
Most, Jean-Jacques Zurich 1589-1629
Mueller, Paul Zoug 1581-1642
Excellent Peintre-ver
rier et Dessinateur
Mueller, M1chel Zoug 1628-1676
Célèbre par ses nom
breuses peintures sur
verre en miniature,
qu'il a executées pour
le monastère de Muri
Mueller, Tob1as Zoug 1596-1670
Bon Peintre-verrier en
miniatures
Mueller, Jacques Zurich 1565-1611
Muell1bach, Hans Zurich 1490- 1543
Muerer, Jodocus Zurich 1530-1580
Bon Peintre-verrier et
Compositeur
Muerer, Chr1stophe Zurich 1558-1614
Fils du précèdent ex
cellent Dessinateur et
I58
Peintre-verrier, Artiste
fort renomme
Muerer, Jose, Zurich 1564- 1630
Tres habile Peintre-ver
rier
Nuescheler, Henr1 Zurich 1550-1616
Nuescheler, Chr1sto- Zurich 1589-1661
phe
Nuescheler, Jean-Gas- Zurich 1605-1652
PAR
Nuescheler, Jean Zurich 1641-1705
Henr1
Bon Peintre-verrier,
Maitre-verrier
Nuescheler, Jean-Jac- Zurich 1 583-1 654
QUES
Nuescheler, Jean-Jac- Zurich 1614-1658
QUES (Le Jeune) Pein
tre-verrier fort habile,
Dessinateur et Com
positeur
Nuescheler, Jean-Ulr1c Zurich 1645-1707
Nuescheler, Oswald Zurich 1600-1635
Peyer, Math1eu Zurich 1563-1611
Radv, Lux Bale 1 562-1619
Rehbach, Gaspar Lucerne 1571-1621
Re1det, (Le Jeune) Fribourg 1 5501597
R1eher, H. Bale 1549-1605
R1nggl1, Godard Zurich 1 575- 1635
R1ncler, Lou1s Bale 1518-1607
Peintre-verrier fort ha
bile
R1ppel, N1colas Bale 1 545-1 605
Rordorf, Jean Henr1 Zurich 1 591 -1680
Ruetter, Jean P1erre Zurich 1550-1610
Rutter, Jean Jacques Zurich 1 581-1620
Schad, Jean Henr1 Zurich 1560-1615
159
Schaenn1s, Jean de Zurich 1 606- 1 683
Schaerer, Jean Fel1x Zurich 1582-1636
Schm1d, Jean Theodore Zurich 1538-1582
Schm1tter, Jean M. Wyl 1563-1631
Schmucker, Andre Stein S Rhin 1561-161 1
Schnyder, Henr1 Schaffhouse 1 580- 1 639
Schoen, Jean Zurich 1516-1586
Peintre habile, Dessina-
teur, Compositeur, etc.
Schryber, Tob1as Schaffhouse 1558-1629
schwaller, jacques Soleure 1541-1598
Seebach, Jean George Zurich 1522-1603
Seebach, Ulr1c Zurich 1498-1552
Spengler, Jacques Constance 1 534-1 622
teur, excellent Peintre-
verrier
Spengler, J. A. Constance 1558-1635
Peintre-verrier distingue
Spengler, Jean George Constance 1647-1719
Peintre-verrier
Spengler, J. M. Constance 1641-1702
Spengler, M. S. Constance 1623-1690
Spengler, Wolfgang Constance 1641-1655
Bon peintre-verrier
Spr1ng1nklee, Maur1ce Bale 1531-1592
Dessinateur, Enlumi-
neur, Graveur. II pei-
gnait aussi sur verre
avec la meme habilite
Spr1ngl1n, Henr1 Zurich et Nuremberg
1431-1497
Spruengl1, Jean Jac Zurich 1 559- 1 63 7
ques
Spyser, Jean (surnomme Bischofszell 1544-1604
"Zwinger")
60
Stadler, Geoffrey Zurich et Winterthur
1 616-1637
Starch, Gu1llaumb Schaffhouse 1561-1672
St1mmer, Tob1as Schaffhouse 1539-1584
Excellent Peintre-ver-
rier, Dessinateur, Com
positeur et Enlumi-
neur; Artiste tres dis
tingue
Strasser, Jean Rodolphe Zurich 1631-1687
Str1cker, Jacques Uri 1521-1687
Struss, Roche Schaffhouse 1555-1602
Struss, Rodolphe Schaffhouse 1551-1618
Sur, Jean Bale 1561-1615
Suter, Henri Baden 1537-1599
Suter, Jean Bale 1561-1615
Sybold, Samuel Berne 1529-1600
Tetzeler, A. B. Bale 1 5 50- 1 600
Tetzler, Jean Gu1l Schaffhouse 1 549-1 629
laumb
Thomman, Jean Zurich 1525-157S
Thoeucher, Jean Henr1 Zurich 1514-1631
Thuer1ng, Walter Berne 1 544-1 625
Fameux Peintre sur
verre, Dessinateur ele
gant, compositeur
TUBENMANN, JEAN BaL- Zurich 1563-1607
thasar
Uster1, Jean Zurich 1536-1587
V1scher, Max S1mon Bale 1549-1611
VlSCHER, HYRON1MUS Bale 1553-1621
V1scher, G. A. Bale 1558-1609
Dessinateur excellent
Walder, Jean Zurich 1558-1612
Waegmann, Jean, Zurich et Lucerne
Henr1 1557-1636
l6l
Wannenwetsch, Bale 1557-1614
George
Wannenwetsch, G. A. Bale 1 686- 1 763
Weber, Jean Ulr1c Zurich 1 666-1 733
Weber, Jacques Winterthur 1 637-1 685
Bon Peintre - verrier,
Dessinateur, Enlumi-
neur
Weerder, Henr1 Zurich 1528-1590
W1rt, N1colas Wyl 1533-1598
Tres habile Peintre-ver-
Compositeur
W1rz, Gaspar Zurich 1575-1641
W1ss, Henr1 Zurich 1518-1588
Wolf, Jean Gu1llaume Zurich 1638-1710
Ze1ner, Lux Zurich 1458-15 1 1
Zender, Jean Berne 1 544- 1 609
Zumbach, Adam Zoug 1605-1682
Veritable Artiste Pein-
tre-verrier en minia
ture, Dessinateur et
Compositeur fort re-
nomme
Zuener, Bernard Schaffhouse 1551-1619
V. ENGLISH ARTISTS
( Peintre-Verriers Anglais)
Bachler, G. Londres 1 721-1789
Barnett, Jean Londres 1 786-1 859
Beckw1th, W. Londres 1 728-1 777
Salle des Barons au
chateau d'Arundel
Coll1ns, M. W. Londres, 1 775-1 842
Chapelle de Notre-
Dame, Paris, £glise
162
de Saint-Étienne du
Mont, Paris, Église de
Sainte-Elizabeth, Pa
ris
Eg1nton, Franço1s Birmingham 1 736-1 805
Chapelle du Collège
de la Madeleine, Ox
ford,
Chapelle de Saint-
George, Windsor,
Chapelle de All-Soul's
College, Oxford
Flower, Bernard Londres et Cambridge
1459-1526
Collège du Roi à Cam
bridge,
Chapelle Henri VIL,
Westminster Abbey,
Londres
Forest, Clement Oxford 1 769-1 831
G1dde, Walter Londres 1571-1635
Maître-verrier
Gyles, Henr1 York 1662- 1709
Chapelle du Collège
d'Université, Oxford
Greenbury, R1chard Oxford 1595- 1666
la Madeleine à Ox
ford
Godfrey, Robert Scott Londres et Paris
1 739-1 795
Cathédrale d'Exeter
Jarv1s, Benoît Londres 1761-1829
Chapelle de Saint
George, Windsor
Jerva1s, Franço1s B. Londres 1735-1801
a peint un vitrail pour
163
la chapelle du Col
lège neuf à Oxford
après le dessin de Sir
Joshua Reynolds
Marlow, Lovecrove de Oxford 1681-1755
All Souls, Oxford
M1ller, J. H. Doncaster 1 650-1 734
Église de Doncaster
Ol1ver, Isaac Oxford 1620-1712
Église du Collège de
Christ-Church, Ox
ford
Pearson, James Londres 1729-1800
Brazenose, Oxford
Église de Salisbury, etc.
Pek1tt, W1ll1am York 1718-1795
Chapelle du Collège neuf
à Oxford
Cathédrale d'Exeter
P1cket, Franço1s Londres 1 726-1 783
Cathédrale de Lincoln
Pr1cb, W1ll1am (scnieur) Londres et York
1699-1722
la Reine à Oxford
Chapelle de Merton Col
lege
Pr1ce, W1ll1am Londres 1687-1765
(Le Jeune) Chapelle du Collège de
la Madeleine à Ox
ford
Chapelle du College
neuf à Oxford
164
VI. ALLEMANIC ARTISTS

( Peintre-Verriers—Allemanics)
Acker, Jean Ulm 1413-1441
Tres habile Peintre- Cathedrale d'Ulm
verner
Acker, P1erre Ulm 1 408- 1 47 1
Acker, Jacques Ulm 1393-H35
Acker, M1chel Ulm 1 409- 1 465
Acker, Pere et f1ls Ulm 1450-152 1
Baumgaertner, S. Innsbruck 1 727-1 779
buhler, j. g. Urach 1761-1823
Deck1nger, P1erre Ulm 1 407-1449
Deck1nger, Jean Ulm 1401-1461
Bon Dessinateur, Com Cathedrale d'Ulm
positeur et Peintre-
verrier
Gr1es1nger, Jacques Ulm 1 407- 1 49 1
"Surnomme 1'Allemand"
celebre Peintre du
Quinzième Siecle
Mort a Bologna
(Italie)
Franck, E. Munich et Nuremberg
1761-1831
Ka1ber, Anto1ne Strasbourg 1574-1641
K1rchhe1m (Jean de) Strasbourg -1348-
Excellent Peintre-verrier Cathedrale de Strasbourg
du Quatorzième Siècle Église Saint Guillaume a
Strasbourg.
£glise de Niederhaslach
( 10 fenetres)
Isenmann, Gaspare Colmar 1 41 2-1 481
Enlumineur, Composi
teur, Peintre-verrier
fort habile du Quin
zieme Siècle Église de Valbourg
'65
Maurer, Jean, Chr1sto- Reutlingen 1623- 1693
phe
Maurer, M. Reutlingen 1 590-1 661
Pfe1ffer, Ulr1c Tuttlignen, 1551-1612
Lutz, Gaspare Tubingen, 1 548-1621
E. S. (Monogrammistc) Valbourg -1461-
Graveur, Enlumineur Église de Schlestadt
Compositeur, Peintre- Église Saint-Guillaume à
verrier très distingué Strasbourg
SCHONGAUER, MARTIN Colmar 1 445-1 491
Surnommé "Schoen," un
des plus illustres Ar
tistes du quinzième
siècle, très habile des
sinateur compositeur et
graveur
TlEFFENTHAL, JEAN Schlestadt 1 390- 1465
(Surnommé, "Jean de Chapelle de la Sainte
Schlestadt") Excellent Vièrge à Savernc (Bas
Dessinateur, Composi Rhin)
teur et Peintre-verrier
du commencement du
quinzième siècle
W1ld, Jean Ulm 1441-1519
Dessinateur, Composi Église d'Urach
teur et Peintre-verrier Église de Tubingen
excellent. Il est con Cathédrale d'Ulm
sidéré le plus grand Église de Nonnberg,
Artiste dans son genre à Salzbourg
au quinzième siècle Église Sainte Madeleine,
Strasbourg
Cathédrale d'Augsburg
Notre Dame à Munich
Église Saint Laurent à
Nuremberg
166
Église Saint-Kilian Heil-
bronn
Église de Saverne (Bas
Rhin)
Église d'Ohringen
Église Saint-Pierre
à Salzbourg
167
t
1148 W48
Stained glass; a handbook on the ar
Fine Arts Library
THE BORROWER WILL BE CHARGED

AN OVERDUE FEE IF THIS BOOK IS NOT 3 2044 034 636 902
RETURNED TO THE LIBRARY ON OR
BEFORE THE LAST DATE STAMPED
BELOW. NON-RECEIPT OF OVERDUE
NOTICES DOES NOT EXEMPT THE
BORROWER FROM OVERDUE FEES. 'i
1995

Stained Glass - Handbook

Uploaded by

Document Information

Original Description:

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Stained Glass - Handbook

Uploaded by

Copyright:

Available Formats

From the Library of the

Fogg ^Museum of Art

A Handbook on the Art of Stained and

oj^ 3rot/t oya% mouy 2uti/fou fo psutvts

The Development of Technique 54

Decorative Character of Glass

Figures and Groups of Figures

A L1st of Art1sts 1n Glass from the

I. French Artists 139

Saint Timothy, the martyr, coloured

Christ in the Purgatory, leading Adam

Early training in the workshop, long prac

The illustrations for this book, some of them

New York City, January, 1922.

white (*t1nted) glass: its origin

White glass, as we see it to-day, did not exist in the early

Ordinary glass is composed of sand

sand is melted at a lower temperature

Saint Timothy, the martyr, coloured

is at any rate so plausible that I cannot

known in Egypt from very early times,

"sta1ned" glass and "painted" glass

"Stained" glass is usually confounded

the lead-work of the window. Stained

"Stained" glass means colored glass,

by glass-makers of the early period, by

Green glass was obtained by boiling

glass which in the course of half an

Violet, generally called purple, glass

Red (Ruby, Gules)

Red glass, called Ruby among glass-

covered with an extremely thin enamel

Angel in the Crypt at the Cathedral of

THE ART OF STAINED GLASS

The Staining of glass, like many other

there employed for the Staining and

Close Relation of Glass to Mural and

The desire to gain possession of the

plains the character of the extensive lit

the fifteenth and sixteenth centuries, al

painting, and to a less extent to glass

try the history of art and artists. Even

The Parting Knight. French glass, late

the most exhaustive investigation has

were often identical, so that the inclu

By what standards, then, can we as

upon this point, as the entire artistic

of certain mural decorations. This

Chronological Survey of Early Glass

No exhaustive work on the history of

The Flight ofPaulus. French glass, late

history of painting. The specimens of

tury, we find there too much informa

characteristics of panel painting. For

art, the painter and the glass painter

Glass Painting as a Monastic Art

Glass painting, properly so-called,

ties and limitations of their artistic ex

The monk Theophilus in his book

the methods of work on the monastic

such special secular workers. The so-

very widely extended, and that under

The Gothic Period