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 HOLA S L. BROWN YORK MCMXXII ' '/-V.. v", Y.V i>^:. 1 til ¦•:<:,. " 1 > s "¦¦ / \ / "... ' vvt^'t Copyright, 1922 by Alfred Werck DEDICATION To those who know nothing of stained glass, to those who know something and want to know more, to those who know everything but would hear from another, I dedi&ate this book. —A. W. CONTENTS Preface 15 Introduction 19 Colored Glass, its Origin 23 Stained Glass and Painted Glass: Blue (Azure) Green (Vert) Violet (Purpure) Red, Ruby (Gules) First 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 TheophilusThe 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 800-1350 A. D . . 69 Technique of the Earliest Glass Painters Windows of the Early Period Early Colored Glass 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 1 500-1 650 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 8 CONTENTS Second Part Ornamentation 107 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 Colors Figures and Groups of Figures Style of Painting Heraldic Panels Armorial Subjects Causes of the Decay of the Art CONTENTS A List of Artists in Glass from the Fourteenth to the Seventeenth Centuries I. French Artists 139 II. Flemish Artists 147 III. Dutch Artists 147 IV. Swiss Artists 151 V. English Artists 162 VI. AUemanic Artists 165 10 LIST OF ILLUSTRATIONS Frontispiece In Color Saint Timothy, the martyr, coloured glass of the end of the Eleventh Cen tury, found in the Church of Neuviller (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 Thirteenth Century 40 The Resurrection. French glass, early Fourteenth Century 48 Christ appearing to his mother and dis ciples. French glass, early Fourteenth Century 52 11 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 Fourteenth Century 64 Saint Christophorus. French glass, early Fourteenth Century 68 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. 15 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 (*tinted) 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 "stained" 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 Medallion window, representing Samson, leaving the City of Gasa. Excellent coloured glass of the middle of the Twelfth Century. (No Restoration) About 1 1 50. 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, unpurified 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 FIRST PERIOD fcafBsB ¦ vufi * ' .'-¦' v ^^•k^ A » '/iii^ ^ &>¦ 5a Lip &M i Medallion window from Peter and Paul Church, Wissembourg (Bas Rhin). French glass, late Thirteenth Century. About 1280. Its Origin and Development 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 Art of Stained Glass 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 Its Origin and Development 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 The Art of Stained Glass 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. Its Origin and Development 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 tries glass worker. Furthermore, the sub jects, usually religious in character, 37 \ The Art of Stained Glass 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 Its Origin and Development 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 The Art of Stained Glass 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. Its Origin and Development 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 The Art of Stained Glass 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 Its Origin and Development 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 The Art of Stained Glass 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 Its Origin and Development 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 The Art of Stained Glass 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 Its Origin and Development 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 Art of Stained Glass 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 "Officiales, 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 \. N The Resurrection. French glass, early Fourteenth Century. About 1320. Its Origin and Development 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 The Art of Stained Glass 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 Its Origin and Development and the large wall spaces supplied room for the free development of fresco painting. 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 5i The Art of Stained Glass 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. Its Origin and Development 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 The Art of Stained Glass 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 Its Origin and Development 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 remarked1 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 ,i The Art of Stained Glass 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 FIRST PERIOD (Transitional) Christ in the Purgatory, leading Adam by his arm, followed by Eve. French glass, early Fourteenth Century. About 1320. Its Origin and Development 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 Glas* 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 nee pris- corum temporibus comperti sumus, nee 58 Its Origin and Development 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 The Art of Stained Glass 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 Its Origin and Development 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 MeditBval 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 The Art of Stained Glass 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 plumbo, 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 Its Origin and Development 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 : I. The early period, that of brown enamel, about 800- I350. 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 The Art of Stained Glass ' 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 clew to 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 FIRST PERIOD (Transitional) The Last Judgment. Fourteenth Century. French glass, early About 1320. Its Origin and Development 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. FIRST PERIOD (Transitional) 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 FIRST PERIOD (Transitional) 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 A.D. 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 SECOND PERIOD (Transitional) 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 SECOND PERIOD (Transitional) Saint Florentius healing the daughter. Late Fourteenth glass of French influence. About 1390. King's Century 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 1182, 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- 162 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 Ornamentation 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 no 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- iii 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 geometric 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 1 20 . v Orrianientatidh) - '*•« „ .,:>,.., \Sh 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 THIRD PERIOD (Transitional) ¦i^ rrnTm^rPcajMKI^fa B^Snl^^lJMyTWiw ilf. 1 i^lli ¦fit K f^lK ( j%j^k ti\ «4% 1 %»»«rMi Air '< */ji . 1^^^ J»2ft^*aim *&« Saint George. Early Sixteenth Century glass (French-Alsatian School). 1510. 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 tl>e 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 Authbr. 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: i. 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 i34 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 i35 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 N 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. Anquetil, Pierre Barbe, Guillaume Barbe, Jean, Fils Rouen 1541-1598 Saint Maclou de Rouen Rouen 1549- 1585 Cathedrale de Rouen Rouen 1488-1530 Cathedrale de Rouen, Chateau de Gaillon Bacot, Philippe Boussi 1551-1565 Bernier, Jean Evreux 1555-1560 Besoche, Jean Rouen 1595-1611 Saint Maclou de Rouen Besoche, Michel Rouen Saint Maclou de Rouen Beuselin, Freres Dreux 1563-1581 Bosc (Gilles et Michel Saint-Georges-d'Aulney du) 1549-1580 139 A List of Artists in Glass Bouch, Valentin Brice, Guillaume Brun, (Le) Francois Canonce, Guillaume Chamu, Pierre Chenesson, Antoine Claude, Marcel Claude, Guillaume (Frere) Clement Clerc, Pere et Fils Cochin, Benoit Commonasse, Guillaume Cousin, Jean Surnomme le Michel- Ange francais, Metz (Lorraine) 1475-1541 Cathedrale de Metz Paris 1 686- 1 768 Notre-Dame de Paris, Sainte Chapelle Caudebec 1 729-1 783 Saint-Nicolas-de-la Taille Rouen 13 84- 13 86 Cathedrale de Rouen. Paris 1569-1619 figlise Saint-Merry de Paris Orleans 1507- 1508 Chateau de Gaillon Marseille 1468-1536 Chapelle du Vatican, Rome Marseille 1465-1537 figlise Sainte-Marie de Popolo et del Anima, Rome Chartres 1402- 1450 Cathedrale de Rouen Paris 1 480- 1 500 £glise de la paroisse de Saint-Sulpice ; Chapelle du college Mazarin Troyes 1 712-1789 Auxerre 1551-1618 £glise-Cathedrale d'Auxerre Paris 1551-1584 Saint-Gervais, Paris, Chateau d'Anet, Sainte Chapelle-de-Vin- 140 A List of Artists in Glass Inventeur de l'fimail rouge, nomine "Rouge, Jean Cousin." Damaigne, Robin Desangives, Nicolas tres celebre peintre-ver- rier francais Desmoles, Arnaud Dor, Jean-Francois Eudier, Pierre Evrard, Mathieu Evrard, Michel Germain, Michel Goblet, Frere Antoine Gontier, Jean et Leo nard, Freres, (Linard, Madrain et Cochin ) Jean et Leonard, Benedictines, fort recom- cennes, Moret, Fon- tainebleau figlise de Saint-Romain, Fontainebleau, £glise de Saint-Etienne- du-Montj Paris, Chapelle du Chateau de Fleurigny, Sens Rouen 1421-1477 Cathedrale de Rouen Paris 1465-1551 Charniers de Saint- Paul, Paris, Chapelle Royale de Saint-Denis, Paris Auch en Gascogne, 1432-1514 Cathedrale d'Auch Paris 1717-1718 Cloitre des Carmes des Chausses, Paris Fecamp 1561-1570 Rouen 15 74- 1603 Cathedrale de Rouen Rouen 1541-1591 Cathedrale de Rouen, figlise de Saint Maclou, Rouen Auxerre 1501-1569 Cathedrale d'Auxerre Dinan 1676-1721 Troyes 1 550-1 600 La cathedrale de Troyes, La collegiale de Troyes, Saint-Martin-es-Vignes, Moutier-la-Celle, 141 A List of Artists in Glass mandes par le Cardi nal Richelieu Goust, Philippe Gradville, Guillaume DE Havene, Gabriel Henriet, Claude et Is rael, (pere et fils) Heron, Serastien, Herusse, Robert, "Maitre Robert He russe, Maitre des Arts et Sciences, de Sculpture et Peinture" Hubert, Martin Joyse, Cardin Lagoubaulde, (Le) Rene Lagoubaulde, (Le) Remy Langlois, Francois Chapelle de la paroisse de Saint-fitienne, Sanctuaire de Saint-Pan- taleon, Troyes Rouen 1605- 1620 Notre Dame de Rouen Rouen 1426-1432 Cathedrale de Rouen Rouen 1509-1530 Saint Maclou de Rouen Chalons sur Marne 1502-1558 Cathedrale de Chalons, Saint-fitienne-du-Mont, Paris Paris 1 562-1 630 figlise Saint-Merry de Paris, Saint-Andre-des-Arts, Paris Anet 1 549-1 594 Gurgues 1 521 -15 70 Saint-Georges-d'Aulney Rouen 1465-1536 Saint-Ouen de Rouen Caen 1541-1599 Lecuye, Jean Caen 1568-1619 Paris 1 65 1 -1 725 Abbaye de Sainte-Geh- evieve, Paris Bourges 1 503-1569 142 A List of Artists in Glass Lequier, Jean, Bourges 1489-1556 Cathedrale de Bourges, Saint-Jean-des- Champs Linard, Pierre Troyes 1577-1601 Lucas, Laurent, Anet, 1 550-1 609 Madrain, Benoit Troyes 1530-1581 Maget, Maurice (Frere) Nevers 1671-1720 Mahiet, Evrard, Rouen 1574-1603 Masson, Geoffroy Rouen 1459-15 16 Mathieu, Pierre, Arras 1 589-1 602 Mehestre, Simon Caen 1538-1581 Mellein, Henri Bourges 1381-1447 Michu, Benoit Minouflet, Charles Monnier, Pere et Fils Monnier, Jean Vitrail representant le portrait de Jeanne d'Arc dans l'figlise de Saint-Paul de Paris Paris 1641-1730 Cloitre des Feuillans, Rue Saint-Honore, Paris, Chapelle de Versailles, figlise des Invalids, Cathedrale de Paris, Abbaye de Sainte-Gene- vieve du Mont, Chapelle de Saint-lStien- ne du Mont Soissons 1 622- 1 66 1 Abbaye de Saint-Nicaise, Reims Blois 1547-1623 Paris 1581-1649 Charniers de Saint-Paal, Paris 143 A List of Artists in Glass Monori, Dominic Nogare, Jean, Palissy, Bernard de etait Geometre, in- g e n i e u r, physicien, chimiste, naturaliste, modeleur - habile, dessinateur elegant, ecrivain, un des plus grands peintres sur verre du seizieme siecle Paroy, Jacques de, celebre peintre sur verre, il composa des ecrits, malheureusement per- dus Perrier, Francois Perrin, Paul Pinaigrier, Robert est un des plus fameux peintres sur verre de Abbaye de Cerfroy en Sois- sonais 1493-1551 Refecture de ce mo- nastere Paris 1571-1625 figlise Saint-Merry de Paris Agen ^ 1509-1590 II decorait les vitres de la Salle d'Armes du Chateau d'E c o u e n, pres Paris. Naquit a Agen, il termina en prison (La Bastille) 1590 Saint- Pourcain-sur-Allier, 1 590-1 692 figlise de Saint-Merry, Paris, figlise de Sainte-Croix, a Ganhat, figlise des Jacobins a Moulins-en-Bourbonnais Mort a l'age de 102 ans Paris 1581-1630 Charniers de Saint- Paul de Paris Paris 1602-1672 £glise de Saint-Gervais de Paris, £glise et batiment de la Sorbonne Paris 1501-1570 figlise Saint-Hilaire de Chartres, 144 A List of Artists in Glass son temps, seizieme siecle Pinaigrier, Nicolas, est inventeur des emaux Pinaigrier, Jean pointe, arnoult de la Porcher, Felice Pot, Jean Le Pot, Nicolas Le Prince, Angrand Le Regnier, Frere Pierre Repel, Soyer Rue, Liom de la Rue, Paul de la figlise de Saint-fitienne- du-Mont, Paris £glise de Saint-Denis, pres Paris figlise Saint-Gervais de Paris Paris 15 12-1590 Charnier de Saint-Paul de Paris, Charnier de Saint-lS t i e n n e - du- Mont Paris 1 508- 1 5 80 figlise Saint-Etienne-du- Mont, Paris, Char- niers de Saint-Paul de Paris Rouen 1 475-1 532 Saint-Ouen de Rouen Paris 1481-1541 Saint-Paul de Paris Beauvais 1479-1563 Beauvais 1521-1577 Hotel des Arquebusiers, Beauvais, et plusieurs edifices de la meme ville Beauvais 1 451 -1530 figlise de Saint-£tienne de Beauvais, Cathe drale de Beauvais Saint-Maur 1711-1766 Abbaye royale de Saint- Denis Rouen 1518-1572 Saint-Maclou de Rouen Caen 1 546-1 597 Caen 1571-1621 145 A List of Artists in Glass Sempi, P. A. Simon, Francois Tacheron, Pierre Tardif, Olivier Tardif, Noel Vasseur, Nicolas Le Vieil, Guillaume Le (First) Vieil, Guillaume Le (Second) Vieil, Guillaume Le (Third) Paris 1671-1735 Cloitre des Feuillans de Paris, Chapelle de Versailles, Eglise des Invalides Nantes 1672-1730 Saint-Nicolas-du-Char- donnet, Paris Soissons 1 5 78-1 665 Salle de la Compagnie de l'Arquebuse, Sois sons Cloitre des Minimes, Soissons Rouen 1540-1554 Cathedrale de Rouen Rouen 1 562-1 569 figlise Saint - Ouen de Rouen Paris 1561-1635 Eglise de Saint-Paul de Paris Rouen 1542-1602 figlise de Saint-Maclou de Rouen Rouen 1 640-1708 figlise de l'Ancien H6- tel-Dieu de Rouen, Cathedrale de Sainte- Croix d'Orleans Rouen 1 676-1 731 figlise des Blancs-Man- teaux, Paris Chateau de Meudon Dome des Invalides, Paris 146 A List of Artists in Glass Vieil, Jean Le Vieil, Louis Le Vieil, Pierre Le Auteur de l'ouvrage : "L'Art de la peinture sur verre et de la vi- treries" figlise paroissiale de Saint-Roch, Paris Saint-Nicolas-du-Char- donnet, Paris Chapitre des Celestins de Paris Hotel-Dieu de Paris figlise Saint-£tienne-du- Mont, Paris Chapelle de Versailles Sainte-Chapelle de Bour ges Cordeliers d'fitampes Paris 1 702-1 76 1 Chapelle de Versailles Chateau de Crecy Cathedrale de Paris Hotel de Toulouse College des Bernardins Paris 1695-1761 Paris 1 708-1 772 Saint-fitienne-du-Mont, Paris, A b b a y e-d e- Saint - Victor, Paris, figlise de Saint-Merry de Paris II. FLEMISH ARTISTS ( Peintre-Verriers Flamands) Ghein, Jean de Anvers 1552-1582 Ghein, Jacques de Anvers 1 565- 1 625 Guerards, Marc Bruges 1581-1644 Heere, Lucas de Anvers 1534-1584 Van der Veecken, Jean Anvers 1 59 1 -1 660 Baptiste figlise de Saint-Jacques d'Anvers 147 A List of Artists in Glass Van Dyck Pere et premier maitre du celebre Antoine van Dyck Van Eyck, Jean "dit Jean de Bruges" Van Linge, Abraham A travailler presque toute sa vie a Oxford, An- gleterre Van Linge, Bernard Frere d'Abraham et Col- laborateur Villems, Marc Dessinateur, enlumineur Vriendt, Jacques Bruges 1370-1459 Gand 1616-1670 Cathedrale d'Oxford Chapelle du College de la Reine ( Queens College) Oxford Chapelle du College de Balliol (Balliol Col lege) Oxford Chapelle du College de 1'Universite ( Univer sity College) Oxford figlise du College (Christ Church), Ox ford Chapelle de la Divi- nite (Divinity Chapel), Oxford Gand 1608-1665 Chapelle de Wadham ( Wadham Chapel ) Oxford, Chapelle de Lincoln's Inn, Lon don, Chapelle de Lin- coln (Lincoln Chapel), Oxford Malines 1 527-1 661 Bruxelles 1541-1598 Cathedrale d'Anvers, figlise de Sainte Gu- dule, Bruxelles 148 A List of Artists in Glass Ypres, Charles d' Ypres 1505- 1564 Dessinateur Vellert, Dirick Anvers 1 522-1 598 Dessinateur, peintre-ver- rier tres distingue III. DUTCH ARTISTS (Peintre-Verriers Hollandais) Antiquus, Jean Groningue 1 702-1 750 Both, Jean Utrecht 1 651 -1722 Bylert, Pierre Utrecht 1571-1642 Claes-Jansze Rotterdam 1565-1621 figlise de Saint- Jean-de- Gouda Clock, Corneille Delft 1561-1635 figlise de Gouda Crabeth, Thierry et Gouda J550-i595 Vautier Freres (Ar figlise de Saint-Jean-de- tistes oelebres) Gouda David, Jorisz, Delft 1501-1556 (mort a Bale, Suisse) Dow, Gerard, Leyde 161 3-1674 connu par ses delicieux tableaux Fouchier, Bertrand Bergen-op-Zoom 1609-1674 fileve sous Antoine Von- Dyck Goltzius, Henri Harlem 1558-1617 Dessinateur, enlumi- neur, graveur, tres habile peintre-verrier, ecrivain, etc Hoet, Guerard Bommel 1 648-1 733 figlise de Sainte-Ur- sule, Delft, Hotel de Ville, La Haye 149 A List of Artists in Glass Holsteyn, Corneille Janssens, Pierre Kowhorn, Pierre Kuffeus, Corneille Lenards, Jacques Leyde, Lucas de Dessinateur, enlumi- neur, habile peintre- verrier, on peut, sans doute, comparer cet il- lustre artiste au cele- bre Albrecht Diirer Pieters, Gerard Rogers, Paul Excellent peintre-ver- rier hollandais, ses ouvrages lui furent commandes par Fran cois I., Charles V. et plusieurs autres sou- verains Thibaut, Guillaume Tomberg, Guillaume Toornevliet, Abraham Excellent dessinateur et peintre-verrier Van Bockorst, Pierce Van Bronckhorst, Jean Harlem 1625-1683 Amsterdam 1612-1673 Leyde 1581-1649 Gouda 1531-1618 figlise de Sainte-Ursule, Delft Amsterdam 1601-1673 Leyde H94-I533 Amsterdam 162 7-1 689 Bruxelles 1 553-1 641 Chapelle du Saint-Sac- rement de Sainte-Gu- dule de Bruxelles Gouda 1521-1599 figlise de Sainte-Uru- sule de Delft, figlise de Gouda Gouda 1601-1678 Salle du Conseil a Gouda Delft 1591-1671 Amsterdam 1 625-1 678 Utrecht 1603-1681 Nouvelle figlise d'Am- sterdam 150 A List of Artists in Glass Van Cool, Laurent Van der Ulft, Jacques Artiste, Peintre-verrier, chimiste, inventeur des emaux brillants Van der Veen, Guerard, Van Diepenbeke, Abra ham Tres habile peintre- verrier, dessinateur et compositeur, fileve de Rubens Van Kuyck, Jean Van Zyll, Dirck- Thierry Verburg, Jean Vrije, Adrien de Uytenvael, Pere et son fils Joachim Vyten- VAEL Westerhout, Francois Delft 1 537-1 597 Chapelle du Conseil prive de Delft Gorcum 1 627-1 702 Hotel de Ville, Gor cum, A decore plusieurs eglises au pays de Gueldres Groningue 1671-1750 Anvers 1607-1675 Cathedrale d'Anvers figlise paroissiale de Saint-Jacques, Anvers figlise de Sainte-Gudule, Bruxelles, Cloitre des Minimes, Lille Dort 1530-1572 Utrecht 1519-1581 figlise de Gouda Utrecht 1571-1653 Gouda 1 599-1 667 figlise de Saint-Jean de Gouda Utrecht 1535-1600 figlise Saint-Jean de Gouda Gouda 1583-1651 Salle du Conseil, Gouda IV. SWISS ARTISTS (Peintre-Verriers Suisses) Amiet, Urs Amman, Jose Soleure 1 560-1 621 Zurich et Nuremberg 151 A List of Artists in Glass Dessinateur, enlumineur, compositeur excellent pour vitraux et gra- vures sur bois Asper, Hans Dessinateur habile Bock, Hans Dessinateur et peintre- verrier Baldewin, Pierre Baldewin, Pierre, Fils Baldewin, Jose Baldewin, George Baldung, Hans, surnom- me Grien, Dessinateur fort habile, Peintre-verrier de pre mier ordre Ban, Ulric (Le Jeune) Ban, Jean-Henri Ban, Jean-Henri, Ban, Henri Beham, Hans Sebald, Compositeur, dessina teur, peintre-verrier distingue Berger, Jean-Jacques Bickard, Abraham Bilger, Paul Bluntschli, Rodolphe Peintre-verrier, com positeur habile Bluntschli, Nicolas, Dessinateur et celebre peintre-verrier Bluntschli, Hans Bal- THASAR Zurich Berne Zofingen Zofingen Zofingen Aarburg Bale 1 529-1601 1520-15501512-1562 1570-15991 5 90- 1 649 1531-1591 1581-1621 1479-1552 Zurich Zurich FribourgFribourg Bale 1536-1576 I533-I59I 1522-15991520-1560 1500-1560 Zurich BerneBale Zurich 1588-16391542-16151562-16191 499-1 565 Zurich 1518-1609 Zurich 529-1587 152 A List of Artists in Glass Considere fort habile comme peintre et vi- trier Bochli, George Soleure 1 545-1 595 Bochli, Wolfgang Soleure I53I-I593 Peintre - verrier dis tingue Brandenberg, Nicolas Zoug 1 598-1 67 1 Fameux Peintre-verrier en miniatures Brennwald, Joachim Zurich 1 546-1 624 Brennwald, Jean- Zurich 1583-1615 George Breni, Hans-Ulric Rapperswyl 1 600-1 659 Brosamer, Hans Bale 1575-1660 Dessinateur, Enlumineur Brunner, Nicolas Soleure 1560-1618 Brunner, Joachim Brugg 1519-1581 Brunner, Pierre Brugg I53I-I593 surnomme le Peintre de Brugg Daentzler, Hans Zurich 1588-1652 Diebold, Hans Zurich 1568-1631 Diebolt, Hans Casper Zurich 1600-1674 DlETERLIN, WENDEL Bale 1595-1660 Dessinateur, et Composi teur fort habile Dunz, Jean-Jacques Brugg et Bale 1 580-1655 Dur, Melchior Soleure 1539-1593 fiGERi, Charles d' Zurich 1510-1562 Dessinateur excellent, le plus fameux peintre sur verre qui existait en Suisse. Presque tous ses oeuvres sont signees C. V. E. Ij 53 A List of Artists in Glass Zurich 1557-1612 Winterthur 1 569-1 622 £geri, Hans Rudolph Zurich 1541-1607 Compositeur, habile Peintre-verrier Engelhart, Hans Hein- rich Erhard, Tobias Dessinateur et Peintre verrier excellent Ermatinger, Hans-Ul- Schaffhouse 1561-1651 ric Fallenter, Francois Lucerne 1580-1642 Tres habile Peintre-ver rier, Dessinateur et Compositeur d ' u n e grande collection des vitraux celebres. Fietz, George Flueckiger, Hans Forrer, Daniel Fridli, Burghard Fries, Hans Rodolphe Celebre Peintre-verrier Frick, Ulric Froehlicher, Wolfgang Fuchs, Jean Habile artiste de son temps Fuchsli, Jacques Fuchsli, Hans Fuchsli, Schultheiss Funck, Hans Excellent Dessinateur et Peintre-verrier Fusslin, Walthart Fribourg 1550-1591 Gaisberger, Francois Constance 1 555-1 607 Dessinateur, et Composi teur 154 Zurich 1 528-1 59 1 Burgdorf 1585-1641 Schaffhouse 1561-1615 Zurich 1 536-1 572 Zurich et Schaffhouse 1597-1661 Zurich 1532-1600 Soleure 1 541 -1596 Lucerne 1431-1495 Bremgarten 15 12-1572 Bremgarten 1561-1612 Bremgarten, 1551-1621 Zurich et Berne 1483-1540 A List of Artists in Glass Gantinn, H. J. Bale 1583-1641 Graf, Urs Bale 1556-1610 Celebre Dessinateur, Compositeur, Enlumi- neur Grimm, Max Schaffhouse 1557-1618 Grissach, Pierre Lucerne et ] Morat 1 543-1605 Griff, Hans Gaspar Fribourg 1539-1596 Peintre-verrier distingue Gugger, Urs Soleure 1547-1599 Gut, Jean-Jacques Berne 1555-1609 Habile peintre-verrier Haffner, Thomas Soleure 1537-1601 Haldenstein, Ulric Zurich 1542-1611 Hegener, Jacques Zurich 1558-1615 Hegener, Jean-Henri Zurich 1600-1658 Heimo, Guillaume Fribourg 1 542-1 600 Hinderegger, Vincent Lucerne 1519-1600 Hirt, Caspar Zurich 1 634-1 700 Holbein, Hans (le Bale H95-I543 jeune) 11 est inutile de s'enten- dre ici sur le merite de ce grand artiste, re- garde comme le Doyen de la peinture sur verre en Suisse Holzhalb, Henri Zurich 1 503-1 570 Hoer, Andre St. Gall 1503-1582 Dessinateur, Composi teur, Peintre - verrier fort habile. Ces pein- tures ressemblent a des vraies miniatures Huber, Caspar Zurich 1605-1631 Huebschi, Jean-Jacques Berne 1541-1600 155 A List of Artists in Glass Hug, Hans M. Zurich 1500-1561 II excellait principale- ment dans les grisai lles. Ill marquait ces ouvrages du mono- gramme, H. M. Hug Jaeggli, Hans Jegly, Hans Ulric Tres habile peintre-ver rier, Dessinateur et Compositeur Jerli, Leonard Jost, Hans Kachler, Jean Peintre-verrier tres dis tingue Keller, Antoine Keller, Hans-Baltha- SARE Keller, Salomon Kessler, Ulric Kolmann, Jean-Fre deric Kuebler, Hans-Werner, Excellent Peintre-verrier Kuebler, Werner (Fils), Dessinateur, Composi teur, habile Peintre- verrier Kuebler, Jean Sebas- tien Excellent Dessinateur et Peintre-verrier Kuhn, W. Zurich 1569-1634 Kuster, Oswald Winterthur 1 567-1 623 Lang, Daniel Schaffhouse 1553-1613 156 Winterthur Zurich 1571-1635 1584-1651 Fribourg Aarau Uri 1550-16211549-1597 1561-1638 SchaffhouseZurich 1548-1612 1576-1638 Zurich Schwyz Schaffhouse 1 582-1 642 1512-1582 1 550-1 608 Schaffhouse 1543-1607 Schaffhouse 1568-1642 Schaffhouse 1571-1651 A List of Artists in Glass Peintre et Maitre-ver- rier tres distingue Lang, Hieronymus, Schaffhouse 1543-1605 Bon peintre-verrier Lang, Hans Gaspar Schaffhouse 1561-1636 Peintre-verrier fort ha bile, Dessinateur, Compositeur Lavater, Hans Zurich 1 549-1 595 Lindinner, Mathieu Zurich 1 562-1 611 Lindner, Jean, Henri Zurich 1571-1637 Lindtmeyer, Daniel Schaffhouse 1561-1622 Un des plus illustres Artistes suisses de la Renaissance, excellent Dessinateur, Enlumi- neur et Compositeur pour vitraux en mini atures Lingk, Bartolome Habile Peintre-verrier et Dessinateur Lipp, Hans Loeuw, Henri Lurer, Joseph Manuel, Hans Ro- dolphe, Artiste tres connu par ses admirables dessins pour vitraux et pein- tures a l'huile Manuel, Nicolas Bale H73-I535 Dessinateur, Composi teur, Artiste par excel lence Manuel, Eugene Bale 1501-1576 157 Zurich et Strassbourg 1558-1632 Lucerne I553-i6o7 Zurich et Aarau 1523-1576 Chur I54I-I599 Berne 1530-1581 A List of Artists in Glass Dessinateur pour vi traux, tres habile Peintre Margkgraff, E. Mecken, Israel van Habile Peintre-verrier et Dessinateur, origi nate d'Hollande Menlin, Pierre Meyer, D. Bon Peintre-verrier Meyer, Henri Meyer, Hans C. Le dernier peintre-ver rier Suisse de son temps Most, Jean-Jacques Mueller, Paul Excellent Peintre-ver rier. et Dessinateur Mueller, Michel Celebre par ses nom- breuses peintures sur verre en miniature, qu'il a executees pour le monastere de Muri Mueller, Tobias Bon Peintre-verrier en miniatures Mueller, Jacques Muellibach, Hans muerer, jodocus Bon Peintre-verrier et Compositeur MUERER, CHRISTOPHE Fils du precedent ex cellent Dessinateur et Lucerne Lucerne 1 544-1 605 1544-1605 BaleZurich 1 305-1 36 1 1572-1658 ZurichZurich 1 502-1 569 1 694-1 766 Zurich Zoug 1589-1629 1581-1642 Zoug Zoug Zurich ZurichZurich Zurich 1 628-1 676 1 596-1 670 1565-1611 1490-15431 530-1 580 1558-1614 I 58 A List of Artists in Glass Peintre-verrier, Artiste fort renomme Muerer, Jose, Tres habile Peintre-ver- Zurich ner 1 564- 1 630 Nuescheler, Henri Zurich 1550-1616 Nuescheler, Christo- Zurich 1589-1661 phe Nuescheler, Jean-Gas- Zurich 1605-1652 PAR Nuescheler, Jean Zurich 1641-1705 Henri Bon Peintre-verrier, Maitre-verrier Nuescheler, Jean-Jac Zurich 1583-1654 ques Nuescheler, Jean-Jac Zurich 1614-1658 ques (Le Jeune) Pein tre-verrier fort habile, Dessinateur et Com positeur Nuescheler, Jean-Ulric Zurich 1 645- 1 707 Nuescheler, Oswald Zurich 1 600-1 635 Peyer, Mathieu Zurich 1563-1611 Rady, Lux Bale 1562-1619 Rehbach, Gaspar Lucerne 1571-1621 Reidet, (Le Jeune) Fribourg 1 550-1 597 Rieher, H. Bale 1549-1605 Ringgli, Godard Zurich 1575-1635 Ringler, Louis Bale 1518-1607 Peintre-verrier fort ha bile Rippel, Nicolas Bale 1545-1605 Rordorf, Jean Henri Zurich 1591-1680 Ruetter, Jean Pierre Zurich 1550-1610 Rutter, Jean Jacques Zurich 1581-1620 Schad, Jean Henri Zurich 1560-1615 159 A List of Artists in Glass Schaennis, Jean de Zurich 1606-1683 Schaerer, Jean Felix Zurich 1582-1636 Schmid, Jean Theodore Zurich 1538-1582 Schmitter, Jean M. Wyl 1563-1631 Schmucker, Andre Stein S. Rhin 1561-1611 Schnyder, Henri Schaffhouse 1580-1639 Schoen, Jean Zurich 1516-1586 Peintre habile, Dessina teur, Compositeur, etc. Schryber, Tobias Schaffhouse 1558-1629 SCH WALLER, JACQUES Soleure 1541-1598 Seebach, Jean George Zurich 1 522-1 603 Seebach, Ulric Zurich 1 498- 1 552 Spengler, Jacques Constance 1 534-1 622 Dessinateur, Composi teur, excellent Peintre- verrier Spengler, J. A. Constance 1558-1635 Peintre-verrier distingue Spengler, Jean George Constance 1647-1719 Excellent Dessinateur et Peintre-verrier Spengler, J. M. Constance 1641-1702 Spengler, M. S. Constance 1623-1690 Spengler, Wolfgang Constance 1641-1655 Bon peintre-verrier Springinklee, Maurice Bale 1531-1592 Dessinateur, Enlumi- neur, Graveur. 11 pei- gnait aussi sur verre avec la meme habilite Springlin, Henri Zurich et Nun imberg Spruengli, Jean Jac ques Spyser, Jean {surnomme "Zwinger") 1431-1497 Zurich 1559-1637 Bischofszell 1 544-1 604 [60 A List of Artists in Glass Stadler, Geoffrey Starch, Guillaume Stimmer, Tobias Excellent Peintre-ver rier, Dessinateur, Com positeur et Enlumi- neur; Artiste tres dis tingue Strasser, Jean Rodolphe Stricker, Jacques Struss, Roche Struss, Rodolphe Sur, Jean Suter, Henri Suter, Jean Sybold, Samuel Tetzeler, A. B. Tetzler, Jean Guil laume Thomman, Jean Thoeucher, Jean Henri Thuering, Walter Fameux Peintre sur verre, Dessinateur ele gant, compositeur Tubenmann, Jean Bal- thasar Usteri, Jean Vischer, Max Simon VlSCHER, HYRONIMUS Vischer, G. A. Dessinateur excellent Walder, Jean Waegmann, Jean, Henri Zurich et Winterthur 1616-1637 Schaffhouse 1561-1672 Schaffhouse 1539-1584 Zurich 1631-1687 Uri 1521-1687 Schaffhouse 1555-1602 Schaffhouse 1551-1618 Bale 1561-1615 Baden 1537-1599 Bale 1561-1615 Berne 1529-1600 Bale 1550-1600 Schaffhouse 1 549-1 629 Zurich 1525-1575 Zurich 1514-1631 Berne 1 544-1 625 Zurich 1 5 63- 1 607 Zurich 1536-1587 Bale 1549-1611 Bale 1553-1621 Bale 1558-1609 Zurich 1558-1612 Zurich et Lucerne 1557-1636 [6l A List of Artists in Glass Wannenwetsch, George Bale 1557-1614 Wannenwetsch, G. A. Bale 1 686-1 763 Weber, Jean Ulric Zurich 1666-1733 Weber, Jacques Winterthur 1 637-1 685 Bon Peintre - verrier, Dessinateur, Enlumi- neur Weerder, Henri Zurich 1528-1590 Wirt, Nicolas Wyl 1533-1598 Tres habile Peintre-ver rier, Dessinateur et Compositeur Wirz, Gaspar Zurich 1575-1641 Wiss, Henri Zurich 1518-1588 Wolf, Jean Guillaume Zurich 1638-1710 Zeiner, Lux Zurich 1458-1511 Zender, Jean Berne 1 544- 1 609 Zumbach, Adam Zoug 1 605- 1 682 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. Barnett, Jean Beckwith, W. Collins, M. W. Londres 1 721-1789 Londres 1 786-1859 Londres 1 728-1 777 Salle des Barons au chateau d'Arundel Londres, 1 775-1 842 Chapelle de Notre- Dame, Paris, figlise 162 A List of Artists in Glass Eginton, Francois Flower, Bernard Forest, Clement Gidde, Walter Maitre-verrier Gyles, Henri Greenbury, Richard Godfrey, Robert Scott Jarvis, Benoit Jervais, Francois B. de Saint-fitienne du Mont, Paris, figlise de Sainte-Elizabeth, Pa ris Birmingham 1736- 1805 Chapelle du College de la Madeleine, Ox ford, Chapelle de Saint- George, Windsor, Chapelle de All-Soul's College, Oxford Londres et Cambridge 1459-1526 College du Roi a Cam bridge, Chapelle Henri VII., Westminster Abbey, Londres Oxford 1 769- 1 83 1 Londres 1571-1635 York 1662-1709 Chapelle du College d'Universite, Oxford Oxford 1 595-1 666 Chapelle du College de la Madeleine a Ox ford Londres et Paris 1 739-1 795 Cathedrale d'Exeter Londres 1761-1829 Chapelle de Saint George, Windsor Londres 1 735-1 801 a peint un vitrail pour 163 A List of Artists in Glass Marlow, Lovegrove de Miller, J. H. Oliver, Isaac Pearson, Jamm PeKitt, William Picket, Francois Price, William (senieur) Price, William (Le Jeune) la chapelle du Col lege neuf a Oxford apres le dessin de Sir Joshua Reynolds Oxford 1681-1755 Chapelle du College de All Souls, Oxford Doncaster 1650-1734 figlise de Doncaster Oxford 1620-1712 figlise du College de Christ-Church, Ox ford Londres 1 729-1 800 Chapelle du College de Brazenose, Oxford figlise de Salisbury, etc. York 1 718-1795 Chapelle du College neuf a Oxford Cathedrale d'Exeter Londres 1 726-1 783 Cathedrale de Lincoln Londres et York 1699-1722 Chapelle du College de la Reine a Oxford Chapelle de Merton Col lege Londres 1 687-1 765 Chapelle du College de la Madeleine a Ox ford Chapelle du College neuf a Oxford 164 A List of Artists in Glass VI. ALLEMANIC ARTISTS ( Peintre-Verriers — Allemanics ) Acker, Jean Ulm 1413-1441 Tres habile Peintre- Cathedrale d'Ulm verrier Acker, Pierre Ulm 1 408-1 47 1 Acker, Jacques Ulm 1393-1435 Acker, Michel Ulm 1 409- 1 465 Acker, Pere et fils Ulm 1450-1521 Baumgaertner, S. Innsbruck 1 727-1 779 BUHLER, J. G. Urach 1761-1823 Deckinger, Pierre Ulm 1 407- 1 449 Deckinger, Jean Ulm 1401-1461 Bon Dessinateur, Com Cathedrale d'Ulm positeur et Peintre- verrier Griesinger, Jacques Ulm 1 407- 1 49 1 "Surnomme l'Allemand" celebre Peintre du Quinzieme Siecle Mort a Bologna (Italie) Franck, E. Munich et Nuremberg 1761-1831 Kaiber, Antoine Strasbourg 1574-1641 Kirchheim (Jean de) Strasbourg -1348- Excellent Peintre-verrier Cathedrale de Strasbourg du Quatorzieme Siecle figlise Saint Guillaume a Strasbourg. figlise de Niederhaslach (10 fenetres) Isenmann, Gaspare Colmar 1412-1481 Enlumineur, Composi teur, Peintre-verrier fort habile du Quin zieme Siecle figlise de Valbourg t65 A List of Artists in Glass Maurer, Jean, Christo- phe Maurer, M. Pfeiffer, Ulric Lutz, Gaspare E. S. ( Monogrammiste ) Graveur, Enlumineur Compositeur, Peintre- verrier tres distingue SCHONGAUER, MARTIN Surnomme "Schoen," un des plus illustres Ar tistes du quinzieme siecle, tres habile des sinateur compositeur et graveur TlEFFENTHAL, JeAN ( Surnomme, "Jean de Schlestadt") Excellent Dessinateur, Composi teur et Peintre-verrier du commencement du quinzieme siecle Wild, Jean Dessinateur, Composi teur et Peintre-verrier excellent II est con- sidere le plus grand Artiste dans son genre au quinzieme siecle Reutlingen 1623-1693 Reutlingen 1 590-1 661 Tuttlignen, 1551-1612 Tubingen, 1 548-1 621 Valbourg -1461- figlise de Schlestadt figlise Saint-Guillaume a Strasbourg Colmar 1445-1491 Schlestadt 1 390-1465 Chapelle de la Sainte Vierge a Saverne (Bas Rhin) Ulm 1441-1519 figlise d'Urach figlise de Tubingen Cathedrale d'Ulm figlise de Nonnberg, a Salzbourg figlise Sainte Madeleine, Strasbourg Cathedrale d'Augsburg Notre Dame a Munich figlise Saint Laurent a Nuremberg 166 A List of Artists in Glass figlise Saint-Kilian Heil- bronn figlise de Saverne (Bas Rhin) figlise d'Ohringen figlise Saint-Pierre a Salzbourg 167