. The Civil engineer and architect's journal, scientific and railway gazette. Architecture; Civil engineering; Science. 1843.] THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 303 above having been left open till lately), and partly from their having been painted on an intonaco of lime and marble dust; they have also suffered in some measure from violence and mischief. Effect of Stained Glass on Paintings.—A few facts and observations con- nected with the employment of stained glass in rooms with paintings in them may not lie unimportant, as an opinion lias been expressed that windows coloured in a
. The Civil engineer and architect's journal, scientific and railway gazette. Architecture; Civil engineering; Science. 1843.] THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 303 above having been left open till lately), and partly from their having been painted on an intonaco of lime and marble dust; they have also suffered in some measure from violence and mischief. Effect of Stained Glass on Paintings.—A few facts and observations con- nected with the employment of stained glass in rooms with paintings in them may not lie unimportant, as an opinion lias been expressed that windows coloured in any degree are incompatible with paintings in rooms so lighted. It rather appears, however, from many instances, that stained glass may be sometimes so employed with great advantage; and that the excess of light may be thus subdued or otherwise modified so as to produce the most pleasing effect. In the cathedral at Munich the windows are coloured to a certain height, and although the effect is far from pleasing considered in itself, yet it is very useful as regards the pictures in the church, as the light is brought in from above in an advantageous manner. At Saronno, near Milan, there are two small frescos by Luini with a coloured circular window between. The pictures are lighted by a window on one side, and could not be seen at all but for the exclusion of white light by the coloured glass in the centre window. In St. Patrizio, at Bologna there is an altar-piece under a window tilled with richly stained glass; the picture is well lighted from an opposite window, but if the window over it had been of white glass it would have been impossible to see the picture, which is very dark. The sun happened to shine through the rich hues of the window above, and I observed here, as I had previously remarked at Saronno, that the picture did not suffer in consequence. At Assisi in the upper church, all the windows, one excepted over the door, are coloured, but in those which are painted,
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