yb STAINED GLASS AND GLASS USED FOR DECORATION. 



with our present mode of thought ? How far does'the recent Exhibi- 

 tion, considering the present advanced state of the fine arts, meet the 

 requirements of the 19th century ?. We reply, it is the contrast between 

 1851 and 1862 that affirms the fact, that in most of the English exhibi- 

 tors, and several of the foreign, the art of glass painting has advanced 

 with the times both in style and artistic execution. It is, however, much 

 to be regretted, that few of the windows can fairly be seen to advantage, 

 owing to too much interior light, and the exterior borrowed lights of 

 the Exhibition building being so inferior. 



Continental glass artists generally adhered to the early grotesque, 

 style in imitation of the past age: and in that respect in 1851 were 

 superior to the English; and with the exception of the beautiful win- 

 dows painted by Bertini and his school, that style is still retained. 



Bertini's windows in 1851 and 1862, may be classed in the mixed 

 style of the old Mosaic, and the enamelled style of the 19th century. 

 The excellence in design and execution of the former was generally 

 admitted, although insufficient transparency was occasioned by the too 

 great opacity of the principal central figure. The Madonna and Child 

 of Bertini, of 1862, may be considered as one of the gems of this 

 Exhibition. 



The art of glass painting should have a special mode of treatment, 

 impressed upon it by the nature of the material, as oil for canvas, and 

 fresco for ceilings and walls. Glass being the medium through which 

 the light passes, transparency must be its condition ; different degrees 

 of transparency are admissable, but when a large portion of the glass is 

 so opaque as almost wholly to preclude the transmission of the Tays, an 

 essential condition is infriuged. 



The style of the 16th century, or earlier periods, modified by the 

 taste, and feeling of the 19th century, should be supported by our 

 designers and glass painters. With good original designs, improved 

 antique glass, judiciously leaded, with a proper degree of transparency, 

 first rate drawing, good shadows, and well arranged colours, forming as 

 a whole, a work of art, rich, harmonious, and impressive, patrons will 

 not be wanting for the decoration of our ecclesiastical or domestic 

 buildings. 



Kb doubt artists are influenced considerably by their patrons, each 

 of whom may have his settled convictions as to style, &c. We should, 

 however, endeavour to preserve the beauties, and avoid the defects of 

 the drawing of the earlier ages ; but no reason exists, that, as pottery, 

 carving, statuary, and the fine arts have generally advanced, why glass 

 painting should be impeded, or restricted in its progress towards the 

 perfection of the art. 



(To be continued.) 



