. A stained glass tour in Italy. display of glass awaits ourinvestigation. The writer prefers the large occhioin the western front to any other in Italy. Per-haps it is not the finest, but his reason for pre-ferring it is similar to that of people who preferearly tapestries to the most perfect Gobelins. TheGobelins are copies of oil paintings, while thecartoons of their forerunners were obviously madefor tapestries alone, and therefore show a know-ledge both of the possibilities and the limitationsof weaving, which the Gobelins often window shows the Descent from the Cross,and
. A stained glass tour in Italy. display of glass awaits ourinvestigation. The writer prefers the large occhioin the western front to any other in Italy. Per-haps it is not the finest, but his reason for pre-ferring it is similar to that of people who preferearly tapestries to the most perfect Gobelins. TheGobelins are copies of oil paintings, while thecartoons of their forerunners were obviously madefor tapestries alone, and therefore show a know-ledge both of the possibilities and the limitationsof weaving, which the Gobelins often window shows the Descent from the Cross,and whoever drew the cartoon for it thoroughlyunderstood how to make the most of glazing incolour. The disposal of the figures over theentire surface is admirable. Nothing could beneater than the adjustment of the trees below, or ofthe flying angels above. As was to be expected, thebackground is blue and there is a liberal use ofsoft greens in the rest of the picture. Unless I ammuch mistaken you will pay several visits to this 94. INTERIOR OF SANTA CROCEThis T-shaped church is peculiarly well lighted, and boasts of a wealth of stainedglass, mostly of Florences best period, the 15th centiir>. Florence occhio before you leave Florence. Down each sideof the nave are tall lancets, most of them glazed incolour, generally showing single figures in canopieswhich, with two exceptions, are Gothic. There aretwo tiers of these enshrined saints, and two on eachtier. The tones are of the usual 15th centuryrichness, but the restorer has frequently let hiszeal run away with his reverence for the is particularly true of the northern lancets, andalso of the three tall double ones which light theshallow chapel back of the high altar. One has onlyto stand off at a distance to detect the thin-tonednew panes among the richer and deeper old and to the right and left of the chapel aper-ture, two tall narrow lancets pierce the wall, andthese still preserve their old glazing—
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectglasspaintingandstai
