History of mediæval art . Fig. 250.—The Virgin. Antependium of St. Walpur-gis in Soest, now in the Museum in Muenster. 408 PAINTING OF THE ROMANIC EPOCH. designer of the antependium and of the before - mentioned altar-piece. The glass painting of the Romanic epoch deserves attention,rather as a forerunner of the future greatness of this art than be-cause of any intrinsic merit. Colored decorations of this kind ap-pear to be as old as the employment of glass for windows. Thefirst mention of the representation of figures in stained glass is thatof the Church of St. Remy at Rheims, into the windo
History of mediæval art . Fig. 250.—The Virgin. Antependium of St. Walpur-gis in Soest, now in the Museum in Muenster. 408 PAINTING OF THE ROMANIC EPOCH. designer of the antependium and of the before - mentioned altar-piece. The glass painting of the Romanic epoch deserves attention,rather as a forerunner of the future greatness of this art than be-cause of any intrinsic merit. Colored decorations of this kind ap-pear to be as old as the employment of glass for windows. Thefirst mention of the representation of figures in stained glass is thatof the Church of St. Remy at Rheims, into the windows of whichBishop Adalbero, a German, and formerly canon of Metz, introduced,between 968 and 989, various legendary scenes* In Germany we. Fig. 251. —Altar-piece from the Wiesenkirche in Soest, now in the Museum of Berlin. find the first notice of this art in a letter of Gozbert, Abbot of Te-gernsee, 983 to 1001, to Count Arnold, patron of the convent;but the expression many colored panes leaves us in doubt as towhether these decorations were of figures or merely geometricalpatterns. The colored window draperies, embroidered or woven,which seem to have been common before the time of glazing, wereof great influence in the introduction of glass painting. This influ-ence may have been supplemented by that of the previous works in * Pertz, Monumenta, V., page 613. GERMANY. 409 mosaic and enamel, the characteristics of the former appearing inthe putting together of small pieces of stained glass, and of the lat-ter in the handling of the colors. The technical treatment longcontinued very simple, the outlines being formed by the leadings,and the details, without regard to local color,being indicated by the blackish-brown
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