(2) The magnificent and superior artist, mature in imagination and composition, fully equipped as a painter of pictures, perhaps even of academical distinction, who turns his attention to the craft, and without any adequate practical training in it, which alone could teach its right principles, makes, and in the nature of things is bound to make, great mistakes—mistakes easily avoidable. No such thing can possibly be right. Raphael himself designed for tapestry, and the cartoons are priceless, but the tapestry a ghastly failure. It could not have been otherwise under the conditions. Executant separated from designer by all the leagues that lie between Arras and Rome.
(3) The patron, who should know something of the craft, that he may not, mistrusting, as so often at present, his own taste, be compelled to trust to some one else's Name, and of course looks out for a big one.
(4) The architect and church dignitary who, having such grave responsibilities in their hands towards the buildings of which they are the guardians, wish, naturally, to understand the details which form a part of their charge. And lastly, a new and important class that has lately sprung into existence, the well-equipped, picked student—brilliant and be-medalled, able draughtsman, able painter; young, thoughtful, ambitious, and educated, who, instead of drifting, as till recently, into the overcrowded ranks of picture-making, has now the opportunity of choosing other weapons in the armoury of the arts.
To all these classes apply those golden words from Ruskin's "Aratra Pentelici" which are quoted on the fly-leaf of the present volume, while the spirit in which I myself would write in amplifying them is implied by my adopting the comment and warning expressed in the other sentence there quoted. The face of the arts is in a state of change. The words "craft" and "craftsmanship," unheard a decade or two ago, now fill the air; we are none of us inheritors of any worthy tradition, and those who have chanced to grope about for themselves, and seem to have found some safe footing, have very little, it seems to me, to plume or pride themselves upon, but only something to be thankful for in their good luck. But "to have learnt faithfully" one of the "ingenuous arts" (or crafts) is good luck and is firm footing; we may not doubt it who feel it strong beneath our feet, and it must be proper to us to help towards it the doubtless quite as worthy or worthier, but less fortunate, who may yet be in some of the quicksands around.
It also happens that the art of stained glass, though reaching to very high and great things, is in its methods and processes a simple, or at least a very limited, one. There are but few things to do, while at the same time the principles of it touch the whole field of art, and it is impossible to treat of it without discussing these great matters and the laws which guide decorative art generally. It happens conveniently, therefore, as the technical part requires less space, that these things should be treated of in this particular book, and it becomes the author's delicate and difficult task to do so. He, therefore, wishes to make clear at starting the spirit in which the task is undertaken.
It remains only to express his thanks to Mr. Drury and Mr. Noel Heaton for help respectively, with the technical and scientific detail; to Mr. St. John Hope for permission to use his reproductions from the Windsor stall-plates, and to Mr. Selwyn Image for his great kindness in revising the proofs.
January 1905.
PART I
CHAPTER I
INTRODUCTORY, AND CONCERNING THE RAW MATERIAL
You are to know that stained glass means pieces of coloured glasses put together with strips of lead into the form of windows; not a picture painted on glass with coloured paints.
You know that a beer bottle is blackish, a hock bottle orange-brown, a soda-water bottle greenish-white—these are the colours of the whole substance of which they are respectively made.
Break such a bottle, each little bit is still a bit of coloured glass. So, also, blue is used for poison bottles, deep green and deep red for certain wine glasses, and, indeed, almost all colours for one purpose or another.
Now these are the same glass, and coloured in the same way as that used for church windows.
Such coloured glasses are cut into the shapes of faces, or figures, or robes, or canopies, or whatever you want and whatever the subject demands; then features are painted on the faces, folds on the robes, and so forth—not with colour, merely with brown shading; then, when this shading has been burnt into the glass in a kiln, the pieces are put together into a picture by means of grooved strips of lead, into which they fit.
This book, it is hoped, will set forth plainly how these things are done, for the benefit of those who do not know; and, for the benefit of those who do know, it will examine and discuss the right principles on which windows should be made, and the rules of good taste and of imagination, which make such a difference between beautiful and vulgar art; for you may know intimately all the processes I have spoken of, and be skilful in them, and yet misapply them, so that your window had better never have been made.
Skill is good if you use it wisely and for good end; but craft of hand employed foolishly is no more use to you than swiftness of foot would be upon the broad road leading downwards—the cripple is happier.
A clear and calculating brain may be used for statesmanship or science, or merely for gambling. You, we will say, have a true eye and a cunning hand; will you use them on the passing fashion of the hour—the morbid, the trivial, the insincere—or in illustrating the eternal truths and dignities, the heroisms and sanctities of life, and its innocencies and gaieties?
This book, then, is divided into two parts, of which the intention of one is to promote and produce skilfulness of hand, and of the other to direct it to worthy ends.
The making of glass itself—of the raw material—the coloured glasses used in stained-glass windows, cannot be treated of here. What are called "Antiques" are chiefly used, and there are also special glasses representing the ideals and experiments of enthusiasts—Prior's "Early English" glass, and the somewhat similar "Norman" glass. These glasses, however, are for craftsmen of experience to use: they require mature skill and judgment in the using; to the beginner, "Antiques" are enough for many a day to come.
How to know the Right and Wrong Sides of a Piece of "Antique" Glass.—Take up a sheet of one of these and look at it. You will notice that the two sides look different; one side has certain little depressions as if it had been pricked with a pin, sometimes also some wavy streaks. Turn it round, and, looking at the other side, you still see these things, but blurred, as if seen through water, while the surface itself on this side looks smooth; what inequalities there are being projections rather than depressions. Now the side you first looked at is the side to cut on, and the side to paint on, and it is the side placed inwards when the window is put up.
The reason is this. Glass is made into sheets by being blown into bubbles, just as a child blows soap-bubbles. If you blow a soap-bubble you will see streaks playing about in it, just like the wavy streaks you notice in the glass.
The bubble is blown, opened at the ends, and manipulated with tools while hot, until it is the shape of a drain-pipe; then cut down one side and opened out upon a flattening-stone until the round pipe is a flat sheet; and it is this stone which gives the glass the different texture, the dimpled surface which you notice.
Some glasses are "flashed"; that is to say, a bubble is blown which is mainly composed of white glass; but, before blowing, it is also dipped into another coloured glass—red, perhaps, or blue—and the two are then blown together, so that the red or blue glass spreads out into a thin film closely united to, in fact fused on to, and completely one with, the white glass which forms the base; most "Ruby" glasses are made in this way.
CHAPTER II
Cutting (elementary)—The Diamond—The Wheel—Sharpening—How to Cut—Amount of Force– The Beginner's Mistake—Tapping—Possible and Impossible Cuts—"Grozeing"—Defects