Identifier: transactionsofbr38bris (find matches)
Title: Transactions of the Bristol and Gloucestershire Archaeological Society
Year: 1915 (1910s)
Authors: Bristol and Gloucestershire Archaeological Society. cn
Subjects: Bristol and Gloucestershire Archaeological Society
Publisher: Bristol, Eng. : The Society
Contributing Library: Allen County Public Library Genealogy Center
Digitizing Sponsor: Internet Archive

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s didnot know how to boil out the bubbles. Their presencemakes the cutting of old glass much more difhcult ; butit produces the wonderful silvery light, owing to the breakingup of the rays by the bubbles, something like the raindropswhich make the rainbow. Streaky ruby, of which we have the finest example inthe world in our window, ceased with the fourteenth century.The red glass in the fifteenth century became quite a thincoat of clear colour. Also the treatment of the rose, perhapsthe flower most often found in painted glass, was quitedifferent in the fourteenth and in the fifteenth century.See the flat-leaved wild rose of Bradeston (66) (see p. 82),and compare the roses, the petals of which are distinctlylipped, in the Lady Chapel, which are fifteenth-century work.Again, in the fourteenth century the shading was eitherlines or smear. Compare St. Catharine (31) with St. Clement 1 Winston, Inquiry, p. 35 ; Arch. Joitrn., vol. xx., p. 239, note 1. 2 Arch. Joum., xx., p. 245. Plate II.
Text Appearing After Image:
EAST WINDOW, GLOUCESTER CATHEDRAL.ST. GEORGE. The East Window of Gloucester Cathedral. 77 (1), the face of the Virgin (6), and to some extent the LadyChapel roses, which latter are beautifully stippled. Thecanopies of the Decorated style were flat-fronted, oftensurmounted with lofty spires, as in the East Window, theside piers from which the arch springs running up on eitherside into pinnacles. The background behind the figure wasrichly coloured and quite flat, with no attempt to produceby shading the effect of its being a hollow niche. The figuresof St. Catharine (31) (Plate I.) and St. George (26) (Plate II.)illustrate this. Later the canopies were drawn to stand outfrom the picture, like those over the figures on the south porch,which cover the statues under them. The figure of St.George is, I think, one of the original panels. The plateskull-cap, the hauberk of chain mail, the white sleevelesssurcoat or jupon with St. Georges red cross upon it, thegauntlets of plate, the plate on

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