Part 2

It is clear that the glass artist, whatever his nationality, had at all times to take heed of the architecture which provided the setting for his glass, and which his work was to help decorate. It is but natural, therefore, that his designs should have been influenced by the prevailing architectural style, and this was particularly true in England during the prevalence of both the Decorated and the Perpendicular schools. When the time arrived to change from the mosaic method of constructing stained glass, the whole effort of the Englishman seemed to have been devoted to making his new product conform to the new Decorated style of building. Not so his neighbour across the Channel, for there everything was then being sacrificed to the demand for better lighted interiors, even to the extent of filling much of his embrasures with grisaille, and using deep colour only in the borders or in bands of canopy-framed figures across parts of the windows (Sees, Evreux). The need for more illumination did not exist in England, for in that land of cloudy skies and infrequent sunshine they had already realised how greatly mosaic medallion glass obscured the light, and, therefore, had early struck out for themselves, and developed an admirable use of grisaille, as one may see at York and Salisbury. They had already solved the problem of better illumination, and were that much ahead of their French neighbours. In France, because of light-admitting grisaille then demanded (either alone or in conjunction with the early canopies), the fourteenth century window gives a lighter effect than when later on, in the fifteenth century, the artist dispensed with the grisaille, enlarged his canopy completely to fill its lancet, and, thanks to the development of coated glass--_i.e._, several layers of different colours permitting, in combination, a wide range of hues--introduced more varied and richer colouring in both figures and costumes. In England, however, where light-admitting grisaille had already been freely used during the mosaic period, and the glazier began the fourteenth century untrammelled by any sudden demand for brilliant illumination, we shall easily observe a tendency directly contrary to that just remarked in France. The English Decorated windows are much deeper in tone than the Perpendicular ones which followed them. These latter seemed to have proved a satisfactory solution of the lighting problem for the English climate. Indeed, we shall see some at St. Neot, manufactured as late as 1530, that are copied after others of the preceding century, and yet the later ones are obviously from the hand of an artist so skilful as to have readily worked in the contemporary Renaissance manner, had he not deliberately preferred the earlier one.

Those who desire to study this subject seriously should read Lewis F. Day's excellent "Windows of Stained Glass" (1897).

EARLY ENGLISH BEFORE 1280 -------------------------------------------------------------- PLANTAGENET { Edward I. 1272 1280-1380 { Edward II. 1307 DECORATED { Edward III. 1327 { (Crecy, 1346) { (Poitiers, 1356) ------------{------------------------------------------------- { Richard II. 1377 1380-1500 PERPENDICULAR LANCASTER { Henry IV. 1399 { Henry V. 1413 { (Agincourt, 1415) { Henry VI. 1422

YORK { Edward IV. 1461 { Edward V. 1483 { Richard III. 1483

TUDOR { Henry VII. 1485 ------------{------------------------------------------------- { Henry VIII. 1509 1500-1550 { Edward VI. 1547 RENAISSANCE { Mary, 1553 { Elizabeth, 1558

STUART { James I. 1603

TOURS

Our glass-hunting tours will take us into almost every part of England. We shall go up and down the east coast cathedrals, from York in the north to Canterbury in the south-east. We shall also wander through the entire range of southern counties, and see the whole coast from Winchester, west through Salisbury and Exeter to St. Neot, far off in Cornwall, hard by Land's End. But it will be in that corner of England which lies between Oxford and the Welsh border, that the greatest wealth of windows will be found. We shall arrange the tours so that the order in which the windows are viewed will conform chronologically with the stages of the craft's development. It will, of course, largely depend on whether he elects to travel by rail, by automobile, or by bicycle, just how slavishly the pilgrim follows the order in which the towns have been set out. The trips have been arranged with an eye to geography rather than to railway time-tables--geography is so much more stable than "Bradshaw's General Railway Guide"! The omission from the list of sundry important cathedrals, like Durham, Ely, Peterborough, Worcester, &c., is caused by the deplorable fact that all their ancient stained glass has been destroyed.

The order of towns is as follows:

Early English Epoch Salisbury, Canterbury, Lincoln, York.

Decorated Epoch York, Norbury, Shrewsbury, Ludlow, Hereford, Tewkesbury, Deerhurst, Bristol, Wells, Exeter, Dorchester, Oxford.

Perpendicular Epoch Oxford, Fairford, Cirencester, Gloucester, Great Malvern, Little Malvern, Ross, Warwick, Coventry, York. Salisbury. Winchester. St. Neot.

Renaissance Epoch London, Cambridge, Lichfield, Shrewsbury. Guildford, Gatton, Knole.

In selecting the order of the above itineraries, we have ended the first, or Early English period, at York, because that city is not only rich in early mosaic glass, but also in that of the Decorated period, thus making it most convenient for us there to begin the second or Decorated tour. In the same manner we have concluded the itinerary of the Decorated period at Oxford, for there are found not only Decorated, but also Perpendicular windows, thus permitting us to commence the Perpendicular tour in the same city which ends our Decorated one. York is set down as the last of the Perpendicular trip, but if our pilgrim has already visited that city on either the Early English or the Decorated tour, he will doubtless also have seen all of its Perpendicular glass, which will obviate the necessity for again making the long journey north. In that event, with York left out of the Perpendicular tour, it will prove to be much more condensed, both as to territory and distance, than either of the two earlier ones. The last, or Renaissance epoch, has but few examples in England, and these are so widely separated that it seems best to break them up into two tours. Of the seven places cited (London, Cambridge, Lichfield, Shrewsbury, Guildford, Gatton, and Knole) the best English glass is at London and Cambridge, while that at Lichfield is Flemish, and most of that at Shrewsbury German.

For tables of distances, &c., _see_ pp. 251-254.

EARLY ENGLISH

We shall find it more convenient to group all early glass under the heading of "Early English," although it will be found not only in its own narrow, pointed-arched windows, but also before that, in the round-arched ones of the Norman style. So slow was the development of our craft during all the time covered by those two schools of architecture as to make it hardly proper or necessary that our subject be likewise divided into two epochs. During both of them there is found richly coloured glass of the "mosaic" type, and also uncoloured windows of the sort styled by the French "grisaille." Obviously, uncoloured glass admits much more light than that made up of rich dark hues, and, therefore, it is but natural that the glazier who dwelt in a cloudy northern land should early have realised the need for sufficient light in his churches, a need which did not concern his fellow craftsmen in the sunny lands of the south. Indeed if he had not appreciated this practical side of his craft he would not have been the artist which his windows prove him to have been. The glaziers of sunny Italy were never confronted with this problem of sufficient illumination--if anything, they had too much, no matter how richly they painted the panes. Their fellows in France had less sunlight than they, but more than the English, and therefore occupied an intermediate ground in the matter of church illumination; the result was that the French neglected it so entirely during both the twelfth and thirteenth centuries, and so darkened their interiors by heavily leaded mosaic glazing as to bring about, at the opening of the fourteenth century, a sudden revulsion in favour of better lighted interiors, which went so far as to produce the excessive light and glare observable at Sees, St. Ouen (Rouen) and Evreux. This sudden revulsion did not appear in England where, indeed, there were no grounds for it, because, as we have just seen, the glaziers had already thoroughly grasped the need for, as well as the value of, light-admitting grisaille. That they thoroughly mastered the technique of uncoloured glass we will readily conclude from the splendid monuments to their genius in the "Five Sisters" at York, and the grisaille in the south transept at Salisbury, ideal glazing for a land of infrequent sunshine. Turning from these untinted windows to those filled with colour, one notices at once that the early examples of the latter are made up of very small pieces of different hues bound together by winding strips of lead having little sunken channels on both sides to hold the glass in place. So small are these pieces that the windows seem to have been composed much in the same way that the diminutive cubes are assembled to make a mosaic. It is because of this striking similarity of method, that this early glazing, constructed of small fragments, is frequently referred to as "mosaic" glass. Another name which it often receives is also easily explainable. The stories on these early windows are told by groups of very small figures, and to prevent a chaotic multitude of these little persons spread over the glass, each episode or group is separated from the others by a frame of contrasting colour, thus breaking up the whole surface into medallions. For this reason, early mosaic glazing is sometimes spoken of as "medallion glass." Unfortunately for England, it possesses but few remains of this delightful product, and therefore suffers sadly by comparison with the great wealth of it to be seen in France. We shall find enough, however, at Canterbury and Lincoln to kindle our enthusiasm for the splendid jewelled glow which the glazier of that time, and of no other, knew how to make his windows produce. It will not take long for the intelligent observer to notice that this glitter is due partly to the fact that the glass is free from paint (except that used to delineate features, folds of garments, &c.), and partly because its surface is not regular as is ours to-day. Furthermore, the pieces were small, and the constantly recurring leadlines (breaking up and combining the rays of light coming through the little panes) assisted materially to produce the brilliancy and shimmer which so delight the eye. There is no doubt that the glazier thoroughly realised this, and availed himself of this mingling of the coloured rays to suit the purposes of his picture. We frequently see a thirteenth century window that produces a purple effect, and yet a closer inspection will reveal that there is only red and blue glass used in it, but so cunningly have they been intermingled as to produce a much warmer purple than any sheet of purple glass could render. Some writers would have us believe that the glazier had no choice but to use these small bits in building up his picture, and that therefore the rich glowing effect was the result of chance, and not that of intelligent deliberation. Any one who has been fortunate enough to visit St. Maurice's Cathedral at Angers is amply equipped to refute this theory, and will be prepared to give full credit to the glazier of the thirteenth century, for, in that church, the twelfth century mosaic glass of the nave is readily seen to be composed of much larger fragments than were employed in the choir by the thirteenth century man. These latter in the choir glisten and glitter, while the earlier ones in the nave, composed of larger pieces, do not. This indicates that the improvement shown by the thirteenth century windows over those of the twelfth century was caused by artistic intelligence, and at the expense of more labour to the glazier, because in lessening the size of his panes, he greatly increased the work of leading them together. As he purposely used smaller fragments, he should receive full credit for his splendid results. Those who have been so fortunate as to see the French thirteenth century windows will not only regret the fewness of examples of that period in England, but will also remark the dearth there of the great rose windows so frequent in France. Furthermore, he will notice that in the case of English medallion windows, the medallions are smaller than those across the Channel; this is caused by the fact that the lancets of the Early English school were narrower than contemporary French ones, and therefore necessitated a smaller medallion. While it is true that it is only at Lincoln that one finds the splendid rose windows which reach their greatest perfection in France, compensation for their absence is found in the development in their place of a style of window almost unknown in France, _i.e._, the great east window, of which such superb examples will be seen during the next (or Decorated) period at York, Bristol, and many other places. This difference in the development of the largest light aperture of a church is due to the architect; in France he built the eastern end of his churches round, but in England they were square, thereby permitting a large sheet of glazing at the east end, which the French rounded apse could not afford. It is gratifying to note the way in which the genius of the glazier, no matter where he lived, seized upon and developed to the utmost the artistic possibilities of his glass, and, furthermore, how cleverly he adapted them to the structures prepared for him by his architect. We shall see at Canterbury, more clearly even than elsewhere, that in the manufacture of this early mosaic glass the English glaziers followed the French models. In "Stained Glass Tours in France," p. 17, we have made some conjectures as to the beginnings of glass in France and whence it came into that country. Indications appear to be in favour of its first steps being guided by a group of enamellers in Limoges, who were instructed or influenced by a colony of Venetians that settled near by in 979, bringing with them their Byzantine art. Whatever opinion we may hold, there can be no doubt that a striking similarity in drawing, colouring, &c., is to be remarked between stained glass of the twelfth and thirteenth centuries, Limoges enamels of those two and the two preceding centuries, and the Byzantine mosaics of St. Mark's in Venice, &c.

EARLY ENGLISH TOUR

Even though we shall encounter but few examples of this period in England, a tour of the towns in which they are to be found will perhaps yield us more interesting glimpses into history than our later tours, far richer though they may be in glass. Starting at ancient Salisbury hard by the site of Druid Stonehenge, we follow the oldest of English national roads, the "Pilgrim's Way," through Winchester (for so long the English capital) on to Canterbury with its dramatic history of the martyred archbishop. Close to Canterbury are Chartham and Willesborough; these may be seen _en route_ from Salisbury. Thence we go north to Lincoln, and, after an interesting visit to its sanctuary-crowned hilltop, we will push on still further north to York, that treasure-house of glass of this as well as of all periods. Although we end our first tour in that city, we shall also be able there to begin our second one, and may also, if we choose, inspect the glass of a still later (the Perpendicular) epoch.

SALISBURY

There is no country in the world whose ancient history is writ so large upon its broad acres as old England. It is full of silent testimonials to past events which render those early days and their happenings more vivid than any printed page can hope to effect. Many of these remains are of such remote antiquity as to long antedate our glass, but nevertheless we must not be so prejudiced as to neglect them when encountered on our travels. Indeed, it may well be that the existence of other attractions of this sort may secure for us the company of certain archaeological friends who at first will have but small interest in glass. Nor need we distress ourselves about how small that interest may be; for if they, for any reason, accompany us, our charming windows will surely make converts of them long before the journey is ended. These same archaeological folk will tell us that few localities in England can show more extraordinary historical remains than Stonehenge and Old Sarum near Salisbury. The great upright monoliths of Stonehenge, stationed in the form of a horse-shoe within a circle, loom up in such a solitary and impressive way upon the great reaches of Salisbury Plain as to produce a mental picture long to be remembered. Their very isolation makes them much more striking than the voluminous remains of a similar nature erected also by the Druids on the west coast of Brittany. As for Old Sarum, it is now nothing but a lofty fortified camp, but the enclosure within its circle of high walls formerly contained a town which was the predecessor of Salisbury. The shape of this high truncated cone recalls the pictures of the Tower of Babel that used to appear in our child's geographies. Whatever may have been the real cause for the removal of Salisbury to its present site, the one generally alleged was that Sarum lacked water--this certainly cannot be charged against the present city, which is so sorely harassed at certain seasons of the year by local floods, as well to merit the name often given it of the "English Venice." Its vast cathedral is much more regular and balanced in its proportions than are most examples of mediaeval church architecture. The two great twin spires are esteemed the most beautiful in England. To one who has become accustomed to the archaic appearance of most European cathedrals, Salisbury will prove quite a surprise; in the words of Emerson, "The cathedral, which was finished six hundred years ago, has even a spruce and modern air." This splendid building, even if it were not so impressive as it is, would have been rendered sufficiently picturesque because of the setting provided by the shaded walks and green swards of its Close. Within the roomy interior are examples not only of thirteenth century medallion glass, but also some of the best types of English grisaille of that period. Because of the belief that the doors, windows and pillars exactly coincide respectively with the number of months, days and hours in the year, Thomas Fuller said, "All Europe affords not such an almanac of architecture." We are concerned only with that portion of the almanac that has to do with the days. An old rhyme says:

"As many days as in one year there be So many windows in this church we see."

Notwithstanding the great number of light apertures thus provided by the architect, the glazier was not permitted to make excessive use of the light-obscuring coloured mosaic glass, as was then the custom in France. Grisaille was plentifully used, and Salisbury was famous for it. Most of its remains are found in the upper lancets at the south end of the easterly transepts, as well as a little in the west windows of the nave aisles, the east one of the choir aisles, and the lower triplet in the south end of the small transepts. Two of the easterly clerestory lights of the large northern transept also show this early pattern glass. Instead of filling the other embrasures with rudely contrasting modern glazing, a very intelligent effort has been made throughout the choir and transept to model as closely as possible upon these ancient examples. The result is very agreeable--at least it contrives to give us some idea of how the church must have looked with its original windows all complete. Little touches of colour are very judiciously interspersed throughout the strapwork, and serve to correct what otherwise might be dull-toned. Blue is very extensively used here for this purpose, and to a greater extent than is usually found elsewhere. It tones in admirably with the greenish hue of the glass, and enriches it without risking too striking a contrast. The thirteenth century medallion remains have been collected into the three lancets at the western end. Note especially the plentiful and interesting fragments of the Tree of Jesse done in mosaic style which has been introduced in two parallel columns into the central lancet: the borders are contemporary. The side lancets are not so satisfactorily filled, for the combination of strips of later glass separated by equally wide ones of old grisaille, and all surrounded by a rich old border on ruby and blue backgrounds, is not pleasing. The medallions are interesting, but nothing like so fine as we shall see elsewhere. We shall chiefly remember Salisbury Cathedral for the effective glazing of its choir and transepts afforded by thirteenth century grisaille eked out with good modern glass copied after it.

One does not have to search far in the records of Salisbury to find why there is so little remaining of its ancient glazing. Time has been materially aided and abetted in its work of destruction by ruthless restorations, of which the worst was Wyatt's in the eighteenth century. We read that "whole cartloads of glass, lead, and other rubbish were removed from the nave and transepts, and shot into the town ditch, then in course of being filled up; whilst a good deal of similar rubbish was used to level the ground near the chapter-house." Nor was destruction the only means used to get rid of the Salisbury windows, as will appear from the following letter written to Mr. Lloyd, of London, in 1788, by John Berry, a glazier of Salisbury:

"SIR.--This day I have sent you a Box full of old Stained & Printed glass, as you desired me to due, which I hope will sute your Purpos, it his the best that I can get at Present. But I expect to Beate to Peceais a great deal very sune, as it his of now use to me, and we do it for the lead. If you want more of the same sorts you may have what thear is, if it will pay you for taking out, as it is a Deal of Truble to what Beating it to Peceais his; you will send me a line as soon as Possable, for we are goain to move our glasing shop to a Nother plase and thin we hope to save a great deal more of the like sort, which I ham your most Omble servent--JOHN BERRY."