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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xfigures, of which only three are under canopies ofLyens time, and of a row, across the bottom, ofshort double-arched canopies enclosing coats ofarms of past bishops of Exeter. The drawing isabout equal to that of the Winchester School, butthe canopies, with their multitude of crockettedpinnacles in strong outline, are far nearer to theregular Perpendicular type, such as we find atYork, than anything that was being done by theWinchester School at that date. Was the work of Robert Lyen an example of astyle which had become general throughout thewest, and of which the influence extended as far asCoventry ? For in 1405 John Thornton of Coventrywas commissioned to fill with stained glass thehuge east windows of the new choir of YorkMinster, and this is the earliest existing window,of which the date is known, in which the Per-pendicular style in glass has taken definite form. This great window is the glory of English PLATE XLIII HEAD, FROM ST. MICHAELS. SPURRIERGATE, YORK Fifteenth Century
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FIFTEENTH CENTURY GLASS AT YORK 229 stained glass. It is 78 feet high from top to The eastbottom, and below the great mass of Perpen- yo^^*^^ ^dicular tracery, which fills the mighty pointed Minster.arch of it, there are the three tiers of lower lightsdivided by horizontal transoms, with nine lightsin every tier. Each of these lights measures 3feet 6 inches across, and is divided again by thethick iron frame-bars into roughly square panels,each of which contains a subject from the Bible.The canopy work which, in the hands of a four-teenth century artist, would have filled half thewindow space with its towering spires, is here re-duced to a small many-pinnacled canopy just fillingthe head of each light (where it would have beenan awkward shape for a subject), a narrow shaftingforming a border down the side, and a very shallowflat arch dividing each subject from the one above.There has been no question here of eking out apoverty of ideas; on the contrary, the artists aimseems rather to

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