312 The Philosophical Society of Glasgow. 



Glass painting of different epochs is distingiiished by the style, cer- 

 tain characteristics in manipulation, and peculiarities of manufacture. 

 The distinctive styles have been thus arranged by my friend Mr. 

 Charles Winston, whose profound knowledge of old glass painting is 

 unequalled in our own country :• — 



The early English, which extends from the date of tlie earliest 

 specimens extant to the year 1280. 



The Decorated, from 1280 to 1380— 100 yeai-s. 



The Perpendicular, from 1380 to 1530 — 150 years. 



The Cinquecento, from 1500 to 1550 — 50 yeai-s. 



And the intermediate, comprehending the period which has elapsed 

 from the end of the Cinquecento style down to the present time. 



This is the most accurate division possible ; but, in his very interesting 

 work on the history of glass painting, M. de Lasteyrie divides the 

 styles by centuries —as, twelfth century glass, thirteenth century gla^s, 

 and so on, which has the merit of being easily remembered. 



Early English, or thirteenth century glass painting, is readily recog- 

 nized by the general arrangement of the designs, by the details of the 

 ornaments, the drawing and character of the figures, as well as their 

 costumes, the method of painting, quality of the glass, and other pecu- 

 liarities which it might be tedious to enumerate. The general arrange- 

 ment is twofold: there are medallion or legendary windows, presenting 

 each a series of figure-subjects, the figures being comparatively on a 

 small scale, and placed in medalUons of different geometric forms, united 

 by diapers and scroU-work, and surrounded by rich borders ; and there 

 are figure-windows, containing each single figures, sometimes of great 

 size, placed under canopies of very simple and primitive forms, and sur- 

 rounded by borders of rich foliage. 



The figures in these windows are meagre and disproportioned, — the 

 draperies plaited in small folds, like those in archaic Greek art, to which 

 they have a singularly close resemblance, suggesting that primitive art, 

 at epochs remote fi-om each other, sought similai- methods of expres- 

 sion. The heads, although rudely drawn, are traditionally of a classic 

 model, the features are marked by strong lines, and the eyes 

 open and staring. The ornament is a descendant from the By- 

 zantine, and very conventional but elegant in its arrangement, and 

 indescribably rich, glowing, and harmonious in colour. The method 

 of execution is vigorous ; the shading that which is technically caUed 

 smear shading; and the effect is aided by strongly mai-ked lines and 

 markings, put in with freedom and decision. 



The glass is horny in texture, some of it streaky, and time has coated 

 it with a crust or patina of a silvery-gray tint, which still further 

 diminishes its transluceney, so that objects cannot be seen through 



