The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-05-03
NEW WINDOWS AND MOsAICs IN ST.
PAUI2S.
Ttom ne LOndan saturdqr Repiele.


Wren, IL Is well known, intended that the inte-
rior of st. Pauls should receive, though not
lavish, yet appropriate decoration; nc wisned
that some eminent Italian artist should be called
in to adom the cupola with rich and durable
mosaics. His plan, however, was overruled by
Commissioners, both ecclesiastical ana secularl
as too novel to be liked and too costly TO be pad
for. And instead of such mosaics-"paintings
for eternity'-the world has for nearly n CEN
tury had to endure the empty and pretentious
compositions of Sir James Thornhill-works
which, happily nearly invisible, may now with
advantage be wholly swept away. Yet unfortu-
nately the ''barren statcliness' of the general
interior has been held to be in keeping with
Professionalism, and thus this grim desolation was
sustained sacred to the Reformation, in lasting
testimony as il were against Rome. Even George
III when he wanted to do something in mitigation
of the evil, was opposed by the ecclesiastcs; and
the Academy including Reynolds its President,
when they offered, in n moment of youthful
generous impulse, ''to paint at their own eX-
pense series of Scriptural histories for the de-
coration of St. Paul's Cathedral" were thwarted
by Bishop and Archbishop, under the plea that
the plan "would occasion great noise and
clamor rs an artful intrusion of Popery.' Hap
PLY we live in a day when zeal for the Church
no longer prescribes hostility to the arts. Thus,
when n meeting was convened in the Mansion
House to raise funds "foT the renovation and
decoration of the interior of the Cathedral of St.
Paul, in accordance with the original designs of
Sir Christopher Wren the first resolution was
moved by the Bishop of OXford while the
Chapter, expressed gratitude for the wide
and influential support given to the
great work. Furthermore, in the ARHdLs
of st. PGups, Dean Milman speaks to the fol-
lowing effect:-'I should wish TO see such deco
rations introduced as might give some splendor,
without disturbing the solemnity and simplicity
of the edifce, some color to enliven and gladden.
the eye. l would the dome, instead of
brooding in dead weight over the area below,
expanding and eleyating the soul towards
heaven. l would see the suen white of the
roof, the arches, the cornces, the capitals, and
the walls, broken and enliyened by gliding.
would see the adOrnments carried out in a rich,
but harmonious (and as far possible from
gaudy) style, in unison with our simple form of
worship"
Having thus stated the needs of the case and
the general principles of the plan proposed, we
will now speak more in detail of the decora-
tions already effected. Of the gliding, upon
which the late Dean laid, rs we have seen, some
stress, we need say nothing more than it has
been so applied as to accentuate the leading
lines of construction and thus to relieve by light
and color an oppressive dreariness OF the
painted windows and mosaics we will speak
more at large In the outset we may remark
that the interior of ST. Paus is by common
consent inferior to the exterior, that the details
confess to haste and carelessness, and that, as
in st. Peters, the windows are rather holes
knocked through the walls for the admission of
light than architectural designs. Altogether it
must be admitted that Italian styles are less
favorable to painted glass than Gothic. No
mullions or traceries having been con-
structed by Wren, and it being impossi-
BILE that the figures in glass could stand
without support, columns, friezes, pedments,
etc, had to be included in the painted compost
tions of the windows. Thus, at the West-end
St. Paul is converted, and in the central East
window Christ is crucided, under remarkably
handsome structures of the Clnque-cento. 1t
may be observed that, in these two grand East
and West windows, which, as first instalments,
have come from Munich, there has been three
fold responsibility. First, Mr.. Penrose, who,
with praiseworthy moderation, seeks simply to
do what Wren might have done if entrusted
with the decoration of his own structure pro-
Vided architectural designs to serve when exc
cuted in glass; as stately surroundings to the
figures. Thus the style of the building, which
may be designated in general terms as Palladian,
imposed the design of the glass; hence these
windows, by the inevitable conditions of
the case, are removed from early treat
ments identified with Gothic architecture, and
become, almost of necessity, allied to later de-
velopments belonging to Cinque-cento, Pala-
dian, and Renaissance styles. OF course the
works now presented to the public will be
praised or ccnsured accordingly. Then, secondly,
Professor SchnOrr is responsible for the drawing
and composition of the figures. We need
scarcely remind our readers that Professor
Julius SchnOr Won KarOlsfed known in this
country through his Bible prints and otherwise
is a leader in the Munich school of mural paint
ing Accordingly his designs for these windows
are distinguished by the accuracy in FORM the
science OF composition, and the academic and
somewhat artificial treatment which distinguish
that school. The cartoons being thus studiously
elaborated, the final responsibility was thrown
upon Chevalier Ainmiller, the well-knOwn in
spector of the Royal Mandatory of Glass
Painting in Munich. The windows now set
up in st. PauIs, like those in the cathedrals
OF Cologne and Glasgow, and in the church of
Sta. Maria Hilf, Munich, are products from this
royal factory. The finished works may be
designated in few words. The general charac-
terstics of the style are those of the Cinque-
cento The compositions aspire to an architec-
tonic pomp worthy of the epoch of Raffaelle
The Mosaic system, at least in its somewhat
abrupt brilliance, and its broken piecemeal of
tesser3, is surrendered for a manner which
assimilates gass-painting to oil-painting. And.
instead of an assemblage or galaxy of colors,
each lustrous as a jewel, the compositOn is
delicately modulated in its polychrOmc broken
into halt-tones, till 1t gently passes through
atmospheric distance into grey blue of slSv
which dawns as the armament in at the window
To quote the words of the late Mr. Winston. we
may say that the object sought by these win
dOws, in common with other works of the
Munich school, is "a union of the severe and
excellent drawing of the early Florentine oil
paintings with the cooring and arrangement OF
the glasspaintings of the latter half OF the six.
teenth century"
We have neither space nor inclination To ro
sumo the interminable controversies which
Munich windows have provoked whenever the,
have presented themselves to the notice of Emo
lsh critics. Within the limits at our command
il seems best to attempt merely such impartia
statement as may give to these latest attempt
fair consideration. To try to shake the conyic
tiOns of deyout medi9valists were waste of time
moreover, it is scarcely TO be expected that re
weren't Gothicists will put themselves to the pai
of entering st. Paul's at all; and within our ey
perience, the painters in glass are the most in