Stained glass of the middle ages in England & France . entury there is asteady struggle for a more advanced method ofexpression. At the beginning of the fifteenthcentury, drawing, in England at least, crystallizedonce more into a convention satisfying to the mindof the time, which left the artist free to tell hisstory. Plates XXXIX. to XLIII. are examplesof it as found at York, and Plate XLIV. fromCanterbury does not greatly differ in drawing still depends chiefly on line work, butthe line work is far finer than before and is usedto express modelling with the help of the mattshading
Stained glass of the middle ages in England & France . entury there is asteady struggle for a more advanced method ofexpression. At the beginning of the fifteenthcentury, drawing, in England at least, crystallizedonce more into a convention satisfying to the mindof the time, which left the artist free to tell hisstory. Plates XXXIX. to XLIII. are examplesof it as found at York, and Plate XLIV. fromCanterbury does not greatly differ in drawing still depends chiefly on line work, butthe line work is far finer than before and is usedto express modelling with the help of the mattshading. This last is the form of shading whichhas survived to modern times, and is done by layinga flat semi-transparent coat or matt of enamelover the whole surface of the glass, and, when it isdry, and before it is fired, brushing out graduatedHghts and half tones with a small stiff hogs-hairbrush. Sometimes, but not always, the matt wasstippled when wet, as may be seen in Plate XLII. PLATE XLI HEADS, FROM ALL SAINTS, NORTH STREET, YORK Fifteenth Century.
Size: 2019px × 1238px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1910, bookpublisherlondo, bookyear1913
