94 STAINED GLASS AND GLASS USED FOR DECORATION. 



his superintendence. If the colours in these windows equal the best of 

 the ancient, of which there is little doubt, it is owing to the various 

 specimens he caused to be analyzed, and the synthetic experiments he 

 made, which enabled him to reproduce the glass, and furnish recipes 

 gratuitously to the glass maker. 



Foreign manufacturers have no doubt, availed themselves ere this of 

 Mr. Winston's liberality, and as wood fuel and open pots succeed best 

 for glass dependent upon carbon as a colouring constituent, no doixbt 

 they will ere long rival our productions of antique glass for windows. 



Messrs. Clayton and Bell, in their artistic treatment of the severe 

 early archaic style ; Messrs. Ward and Hughes, in their window for St. 

 Anne's Church, Westminster, of the style of the 13th century, the 

 figures of which are treated in keeping with modern taste, similar to 

 those in the Temple Church ; Messrs. Powell and Son, in a window 

 wholly of antique glass, of their own manufacture ; likeAvise Messrs. 

 Lavers and Barraud, Heaton, Preedy, and other artists, have aA r ailed 

 themselves of English antique glass, much of which rivals the ancient 

 in rich colour and low tone, and has a crispness and shellac appearance, 

 so well calculated to absorb the rays, and retain the richness and beauty 

 of the ancient colours. 



While, therefore, most of our continental neighbours exhibit windows 

 of inferior material, fully equal or superior in artistic merit to their 

 painted windows of 1851, the English, availing themselves of the 

 superiority of the antique glass, excelled their exhibits of 1851. The 

 Exhibition of 1862 may be considered so far as a triumph over that 

 of 1851 ; the artistic progress has, however, been less than might have 

 been anticipated. 



" The various attempts which have been made to imitate the rich- 

 ness and depth of the ancient material, by coating the glass with 

 enamel paint, have produced no other effect than that of depriving it 

 of its brilliancy, and, consequently, the glass paintings in which this 

 expedient has been resorted to, of one of their chief distinguishing 

 merits. 



" In all the glass paintings of earlier date than the last quarter of 

 the 14th century, until which period the glass was not over clear, sub- 

 stantial in appearance, or intense in colour, the artists seem to have 

 relied for effect principally on the richness and depth of the colouring. 

 In these works the means of representation may be said to have been 

 reduced almost to the lowest degree. 



"We are strongly impressed that the difference of effect between 

 such ancient and modern glass does not depend on the state of the 

 surface, but on the composition of the material, and this result has 

 been strengthened by the result of some experiments recently made, by 

 which the very great difference in the composition of modern glass of 

 the 13th century is clearly demonstrated." 



The cheaper sorts of white and coloured glass, as alluded to in the 

 foregoing extract, from the Report of the Commissioners of 1851, 



