314- T}i£ Philosophical Society of Glasgoio. 



white glass of tlie fourteenth century, although in a somewhat less 

 degree than that of the thirteenth, was of a greenish hue, from the im- 

 purity of the materials used in its manufacture ; this defect did not in- 

 jure the heauty of the early windows, but it somewhat impairs that of 

 those of the fourteenth century, which I attribute to a want of harmony 

 between it and the yellow. We must refer the change observable 

 in the windows of the Decorated period to that iu the style of archi- 

 tecture, and also to the greater use of books in churches, which made 

 more light necessary. The change, however, was gradual, as it was ui 

 every case from one positive and developed style to another ; an interval 

 of transition always occurred, when glass painting partook of the 

 character of the old and new modes. 



In the style of the fourteenth century we have the first indications of 

 that study of nature which was to lead to a great revolution in art. 

 We are involuntarily reminded of the similar revolution in Greek art, 

 when, prior to the advent of Phidias, the erection of statues to Athletes 

 directed the attention of Greek artists to the study of nature, and led to 

 their emancipation from the trammels of archaic forms. 



In the latter half of the century the human figure was treated with 

 more skill; there was more action, and a longing for grace of movement 

 is manifest, not always guided by good taste, yet indicating progressive 

 thought. A notable and unsatisfactory change took place in the substi- 

 tution of white glass in the faces and hands of the figures for the 

 flesh-coloured glass used in the early English ; the hair being stained 

 yellow. In the foliated ornament the progress was marked, and both in 

 painting and sculpture a beautiful style was matured. The canopy-win- 

 dow now received its full development, — the forms were obviously imita- 

 tive of the architect's creations ; but the fancy of tlie glass painter, soar- 

 ing beyond constructive necessities, ran riot in shafts, buttresses, pinna- 

 cles, and spires of the most dehcate and elaborate forms, piled high 

 over the figures which they enclosed and covered, and relieved against 

 the rich diapering with which the remainder of the window was 

 filled. 



The Gothic style of architecture culminated in the Decorated: 

 the succeeding Perpendicular was certainly a downward step. But 

 although we must consider this a period of decline in architecture, 

 it was not so in glass painting : the progress made in representing 

 the human figure was decided and remarkable, thus we find in the 

 heads a distinct advance towards good style in form, a sense of beauty, 

 and very delicate modeUing in the execution, — this last the result of 

 the introduction of stipple-shadmg, which was a most important dis- 

 covery, enabling the artists to execute with a refinement, delicacy, and 

 truth of chiaroscuro, hitherto unthought of. The introduction of 



