310 The Philosophical -Society of Glasgoio. 



symmetry in the general architectural design would be impaired. A 

 solemn, grand and impressive character in the figures, necessary to their 

 harmony with the masses of the architecture, and the stately columns or 

 piers near which they were placed. Distinctness and completeness of 

 parts were conditions of paramount importance, necessitating great 

 power of drawing both of the human form and of drapery, as no con- 

 venient melting away of outlines, or tricks of chiaroscuro, concealing 

 incapacity in the rendering of form, were possible ; the absolute ac- 

 curacy and finish in the forms of the architect's work rendered equal 

 perfection necessary in the painter's. Simplicity of effect was another 

 condition ; for this reason, as a number of subjects were repi'esented in 

 a series of pictures in the same church or hall, the rigid demands of 

 architectural unity imposed on the painter a similar unity of effect 

 throughout his works ; he might not, for instance, make one panel or 

 space light and another dark. It must be obvious that equally strict 

 rules of necessity guided the artist in his balance of colour; each 

 picture, perfect in itself, must also accord with every other ; masses 

 of certain colours must re-appear at graduated intervals, or centres of 

 colour be fixed, round which the artist might group his harmonies. 

 The monumental painter thus completed the magnificent design of 

 the architect, covering the walls with histories, enriching every shape 

 with colour, arranged in infinitely varied and beautiful designs. It is to 

 this view of the painter's art, and to the effect of such a view on glass 

 painting that I wish to draw your attention. It must be apparent to 

 you that the laws of composition, colour, and effect, guiding him in its 

 practice, must be different from those regulating him in the production 

 of pictures having no relation to anything beyond their frames. 



A consequence of the employment and state of painting which I 

 have endeavoured to describe, was the influence of the master minds of 

 the time over every subordinate branch of art. In their studios, or 

 workshops we may call them, there were pupils of various degrees of 

 skill and mental qualification. Some became great painters, others 

 ornamentists — some painted miniatures in manuscripts — some painted 

 glass, others pottery ; and we know how admirably they executed all 

 that they undertook, and how precious are the works which they have left 

 us. The influence also of great ideas of art, cultivated and matured by 

 its employment in this manner, is very observable in every work pro- 

 duced by the great masters, however small or unimportant. Thus in easel 

 pictures, even of the smallest dimensions, the subjectswere always treated 

 in the gi-andest manner. So it was in Greece during the flourishing 

 epochs of her schools : the figures on cameos, intaglios, and coins were 

 as nobly designed as the statues of the gods. 



It is very different where a low or sensuous taste in art prevails: 



