An Introduction to the Study of Painted Glass, by A.A.
Paperback
Currently unavailable to order
ISBN10: 1151612553
ISBN13: 9781151612557
Publisher: General Books
Pages: 22
Weight: 0.13
Height: 0.05 Width: 7.44 Depth: 9.69
Language: English
ISBN13: 9781151612557
Publisher: General Books
Pages: 22
Weight: 0.13
Height: 0.05 Width: 7.44 Depth: 9.69
Language: English
This historic book may have numerous typos, missing text or index. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1878. Not illustrated. Excerpt: ... CHAPTER VI. Glass fainting fa tf)e JHfaeteenth (c)enturg. THE art of glass painting was at a very low ebb in the commencement of the nineteenth century, as, although a good many tradesmen composed coloured glass windows, few who could be called artists painted on glass. M. Brongniart became the director of the Royal Porcelain Works at Sevres about 1800, and turned his attention to improve the method of painting on glass in enamel colours. Shortly afterwards some finely-executed paintings were issued from the porcelain works. The shading graduated up to high lights, in accordance with art principles regarding paintings on opaque material. In union with M. Brongniart, M. Merand successfully laboured at the improvement of the composition of enamel colours. M. Mortelegue also tried experiments, and worked with the same aim. Between the years 1809 and 1823 he painted a figure of Christ for the Church of St. Roch, the first stained glass window that had been placed in a French church since the restoration of Christian worship after its abolition during the Revolution.* * Peinture sur Verre. M. Langlois. In 1826 four glass paintings were exhibited at Luxembourg, executed by W. Collins, of London, under the direction of M. le Comte de Noe--one representing the Marriage of the Blessed Virgin, intended for the Chapel of Notre Dame, in the Church of St. Etienne du Mont. The subjects of the other three were Faith, Hope, and Charity. They were to be placed in the Chapel of the Blessed Virgin, in the Church of St. Elizabeth at Paris. M. Langlois, who relates the circumstance, and is perhaps a little hurt at the English glass having been brought to France, says that except for their large size, these windows displayed no merit that French artists could not have attained to,
