Identifier: stainedglassofmi00arno (find matches)
Title: Stained glass of the middle ages in England & France
Year: 1913 (1910s)
Authors: Arnold, Hugh Saint, Lawrence Bradford, 1885-
Subjects: Glass painting and staining -- England Glass painting and staining -- France Art, Medieval
Publisher: London, A. & C. Black
Contributing Library: Wellesley College Library
Digitizing Sponsor: Wellesley College Library

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on in EnglishThe new stained glass. It is an early, if not the first work^ ^ ^ of a new school which, throwing away the oldnative tradition, based its style on that which hadgrown up on the Continent and, still more, uponFlemish painting. The Fairford windows repre-sent a phase of their art which did not last verylong, for their style soon began to assimilate itselfto that of the Renaissance. In the windows ofKings College Chapel at Cambridge you may seethe change happening, and in the latest windowsthere you may also, alas! see the rapid setting inof decadence. It was, indeed, a style whichcontained in itself the seeds of decay, whichgerminated all too rapidly ; but these, its first-fruits,at Fairford are magnificent, and disarm criticism. They mark, as I say, a complete departure fromthe older standards of English fifteenth centuryglass. It is the same story, once more repeated, of PLATE XLIX ANGELS HEAD, FROM GREAT ROSE WINDOW IN NORTH TRANSEPT OF ST. OUENS. ROLEN Fifteenth Century
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MALVERN AND FAIRFORD 257 old conventions of drawing becoming out of date,and failing to satisfy a newer generation. Of themore advanced schools of painting, the Flemishwas the one that Englishmen were most in touchwith, and it was thence that the new school ofEnglish glass-workers took their inspiration, with theresult that a Flemish feeling is traceable in all theirwork. One immediate result of the more pictorialstandard now expected of the artist was that hecame to depend in quite a different way on thepainting of his glass as distinct from the glazing.At Fairford, elaborate landscape backgrounds areput in with the brown enamel alone, helped byyellow stain, sometimes on white, sometimes ongrey-blue glass, to which latter the stain gives agreen for grass and trees. Not as yet, however,does the painting take precedence of the glazing,the balance being for a time held equal betweenthe two. Indeed the craft of glazing, as well asthat of painting, was now at its height; the artisthad all

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