42 ANCIENT PAINTED WINDOW, HAULT HUCKNALL CHURCH. 



for this Joiirtial by the Rev. F. Brodhurst, the vicar, to whom 

 our best thanks are due, as well as for the extracts from the 

 " Inq. post mortem " illustrative of the Sauvage family. 



A drawing merely (however well it may be executed) can 

 hardly convey the true expression of the original glass ; and 

 although we may lose the charm of colour by the more 

 accurate process of photography, a specification of the tints 

 may in some measure compensate the loss. 



As in all windows of this period, there is but little 

 colour, the prevailing hue being a warm dusky white. The 

 general effect at a distance is pleasant and soothing, and 

 whatever imperfections there may be owing to the decadence 

 of treatment and style, these all vanish in the breadth and 

 unity of colouring. 



The figure of the Blessed Virgin Mary in the first light has lost 

 the head, as well as the lower portion. The mantle is open in 

 front, the left side of it being gracefully brought round and 

 tucked under the right arm. This robe has a stained border 

 with a kind of inscription by way of ornament pegged out of 

 the heavy ' 7nat ' which covers it 



^ Stain' is the technical term for the beautiful light yellow tint 

 applied here and there for decoration on the larger pieces of 

 white glass. It is the only tint (not an enamel) which can be 

 applied by the artist for the decoration of his draperies, and 

 other portions of his work. Stain applied to blue glass 

 produces various shades of green, according to the relative 

 density both of glass-tint, and stain. With ruhy it produces 

 orange, and so on according to the laws of colour. Grey 

 takes stain with charming results, and the same may be said 

 of many other tones of glass. 



' Stain ' is produced by an application of nitrate of silver 

 compounded with a medium for application ; and fixed (after 

 the other work has been through the kiln) at a second firing. 

 Its use was discovered about the year 1370, and its intro- 

 duction gradually imparted a lightness and silvery beauty to 

 windows quite unknown to the earlier schools of art. It is 



