. A stained glass tour in Italy. rtist at his best, not only in theadjustment of his scenes, but also in the masterlycombination of strong colours with deliciously softgreens and neutral tints. His small landscapes,whether depicted in the open or shown throughdoorways, are so alluring as to make you feelinclined to defer your studies and walk abroad inthem. In the chapel of the Caetani family at SantaPudenziana is another window worth seeing, if onlyto show that the Italian glazier continued to bepainstaking at a time when his French contem-porary, to avoid the labour demanded by carefulleadin
. A stained glass tour in Italy. rtist at his best, not only in theadjustment of his scenes, but also in the masterlycombination of strong colours with deliciously softgreens and neutral tints. His small landscapes,whether depicted in the open or shown throughdoorways, are so alluring as to make you feelinclined to defer your studies and walk abroad inthem. In the chapel of the Caetani family at SantaPudenziana is another window worth seeing, if onlyto show that the Italian glazier continued to bepainstaking at a time when his French contem-porary, to avoid the labour demanded by carefulleading, was turning more and more to the easiermethod of painting his glass. The subject isChrist crucified, against a background of colourlesspanes surrounded by a rich yellow stain border. Atthe foot of the cross the housetops of distantJerusalem are carefully delineated in lead lines. InFrance they would have been painted only, as onesees in the 16th century landscapes at Conches andelsewhere. The same trouble is taken with the 44. SANTA MAKIA DEL POPOLO, ROMEThe obscure position of the window in the left back-ground, almost hidden behindthe high altar, perhaps explains why these masterpieces of William of Marcillat escapedthe general destruction of Romes glass in 1527. {Seepage 3q) Rome small cherubs who hold lighted tapers at each side,and also with the blue garland at the top—veryagreeable and equally significant. When we wrench ourselves from the fascinationthat Rome has and always has had for all the world,it will be but the memory of the history of glassand few reminiscences of windows that we can takewith us; but after all, is not history the mostpotent spell that Rome exerts ? If you doubt it,stand for a while looking down on the mutelyeloquent ruins of the Forum, and there will comepouring in a flood of memories from every point ofgeography and every episode of history, returningas in duty bound to the Golden Milestone fromwhich their distances have all been measured.
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectglasspaintingandstai
