Evening star. [volume] (Washington, D.C.) 1854-1972, 1905-06-18

Kinos or glass which are colored. Stained
glass Is glass which is colored in 1.-The
pot' tnat Is to say. there is mixed with
the molten white glass metallic oxide.
which stains 1t green, yellow, blue. purple
ana SO on. for which reason this self-tinted
glass is called ''pot-metal" The glass pieces
are then shaped according to the forms of
the design. and are bound together nv
strips OF lead, just as a pavement is held
IN place by cement. The artist is. there
lore, glazing, just as an inlayer or a mo-
saic WORKER puts together pieces Of wood
OF marble, or even Opaque glass.
In painted glass, on the other hand the
color is not in the glass, but upon H. Ann
~ attached to 1t by the use of fire A me-
.alilc color, which has some affinity with
glass or which Is ground up with finely
powdered glass. is used as a pigment, pre-
clseiy as ceramic colors are used In pot
terry painting. The painted glass is then
perature at which 1t Is on the point of
melting. whilst the color does not actually
melt into 1t. By this means 1t Is possible to
paint colored picture upon a single shee.
cesses OF painting and glazing were never
kept apart. Painting was at first subsi-
diary TO glaciers work; after that, for a
time; giaxier and painter worked hand in
nand upon equal terms. Eventually of
course, the painter took precedence The
adherence is that that in the earlier work
the painting was used to help out ehe
stained glass, but since portraits have come
help the painting
A survey of specimens of early church
window making serves to diffuse happy
reanzation OF the advances made in this art
curing the late years. The figure work Of
the thirteenth century figure designer Is dis
tinctly less perfect than his scrolls partly
because of his inadequate figure drawing
ana partly perhaps because his materials
were not Well adapted to anything remote
~ like pictorial representation. The figures
In early subjects were cut out against
the background in order to be In
telligible Hence a stiff and uItra-for-
NAL scheme of design and exaggeration
OF attitude, the draughtsmanship at times
being almost grotesque. This is said to be
the case In the larger figures. sometimes
considerably over life size. standing all in
row in some of the great French cathe-
drals.
In order to appreciate the wonderful ad-
vancement in this regard, 1t is said one
need only visit some of the PRINCIPAL houses
Of worship in this city. Several prominent
churches among them Gunton-Temple Me-
mortal, st. Paul's Catholic Church. Foundry
Methodist and st. Patrick's Roman Catho-
lie, where the figures are especially fine
ST. Marks Lutheran Church is also notable
in this regard.
The end of the fifteenth century saw an
era when painting and glazing were most
evenly matched, though glass painting
had not found it's fullest development.
Glass painting followed always the cur
rent of modern thought and drifted
pictureward. Naturalism in design be-
came fashion. But improvement was
not fast and in the sixteenth century there
was still room for improvement in painting
1t has been suggested that the ideal was to
blame; that the Gothic glass was still
severely architecturesque in design. Com
To he re Nv
ceilence was Its painting. About this time
a really new thing in glass painting was
that of enamel painting In
theory the process of painting in enamel
is simple enough. Colored glass is ground
to impalpable dust, mixed with fat oil and
gum and water, and painted upon white or
tinted glass. In the furnace the medium
is fired away and the particles of colored
glass melt and adhere to the heated sheet of
glass to which they are applied. In the be-
ginning this was used for the flesh tints,
as 1t had been the custom from the four
teenth century to paint flesh always upon
white or whitish glass in the ordinary
brown pigment. Gradually the fashion was
introduced Of painting the flesh in red in
stead of brown.
In the seventeenth and eighteenth CEN
turtles there was not a remarkable develop
ment in glass work. except that The draw
ing and coloring were both amplided and
improved. The lace-like work of the Swiss
was an important development to this era
which served to make the drawing well nigh
ideal
America has not been backward in this
art In many quarters it is even said that
she exceeds the older countries of Europe
In this regard, in the manufacture, at least;
for opalescent glass is unanimously accred-
tied with producing the finest results in
decorative church windows. Considering the
centuries during which the artists of Eu-
rope have propagated this industry, the
achievement of an American Is indeed re-
markabIe. 1t could not be learned who the
individual was that produced the first piece
Of opalescent glass, both the name of the
inventor and his method being shrouded in
some little mystery or trade secret" 1t
is stated to have been about fifteen years
ago that this ware was first introduced.
though it was some time afterward that it
was employed in church windows. Artists
and dealers have complained much on the
score of a tendency on the part of large
number of American purchasers of glass
windows to go to 1.-The other side for their
church lights, when even finer results can
be achieved at home. Their excuse is usual
ly that the proper ecclesiastical atmosphere
Is not to be found in American glass win
dows; that it is impossible to find their