October, 1906 



AMERICAN HOMES AND GARDENS 



247 



A Rival of the Stained-glass Window 



By Benjamin Coleham 



TTENTION has lately been drawn to a 

 scheme of decoration entirely new and inter- 

 esting. 



Marine Mosaic is the name given to a new 

 method of obtaining effects quite distinct 

 from those of stained glass and pigments, in 

 the class of which it may be placed. Its appropriate name is 

 derived from the adaptation of material found upon the sea- 

 shore in connection with stained and chipped glass. It is, in 



I lie use of cement in place of lead allows a secure application 

 <>l the variety of small and irregular pieces of which marine 

 mosaic is comprised. At the same time, the play of light and 

 shade as a chief attraction can only be acquired by this new 

 method. 



The surface of marine mosaic being a plated cover upon 

 three-eighths inch thick hammered or plate j^lass, its strength 

 and durability has no rival in the customary leaded product. 



In marine mosaic, by careful drawing and the gradation 



truth, but another means of reaching the objective point for of accents, the movements, sparkle and life of the sea is 

 which the arts are striving — that is, to render form and beauty rendered in a manner quite original and effective. By the 

 in color, with effect of light, in such a manner as to make a juxtaposition of high relief and density of color with variety 



truthful impression upon the retina 

 of the eye. It makes but little 

 difference whether one indulges in 

 the use of oils, pastel, water-color 

 or glass; a variation in the accom- 

 plished work with each medium 

 will be perceptible. By the manner 

 in which the materials are used, 

 there will be demonstrated certain 

 individual idiosyncrasies. While 

 each laborer may be struggling for 

 the same end, evidences of a diver- 

 sity of thought and opinion will 

 appear. The realist will, with 

 honest purpose, render form 

 apparently without light. The ton- 

 alist, in the popular method of the 

 day, produces light without vibra- 

 tion, while the impressionist, with 

 his well-defined scheme, partially 

 solves the science of vibration and 

 the effect of light upon form. 



Marine mosaic holds the same 

 relation to the art of glass decora- 

 tion that impressionism does to the 

 art of painting, in supplying a con- 

 ception of vibration and scintilla- 

 tion in transparent work found 

 lacking in stained-glass decoration, 

 which in a degree the impressionist 

 has rendered in painting. 



The claim of a new art is not 

 made for marine mosaic, for the 

 truth of the popular adage, "There 

 is nothing new under the sun," ex- 



Decorative Window Made of Sea-shells and Stones 



of materials, there is created imag- 

 inary action in a forcible and im- 

 pressive manner. 



Atmospheric effects are obtained 

 by the use of irregular bits of ma- 

 terial, and prospective is derived 

 from gradation of size and density, 

 with the same quality of color. 



By the use of a succession of 

 undertones of primary colors with 

 a plating above, a prismatic in- 

 fluence secures refraction which is 

 utilized to serve as a truthful rep- 

 resentation of reflection. 



Foliage, dense or light, is pro- 

 duced in a similar manner, but 

 without the use of undertones. 

 Much of the same scientific 

 methods are applied to the produc- 

 tion of landscape, when, with a 

 knowledge of the colors possessed, 

 pebbles, stones and shells are so 

 placed side by side and combined 

 as to give a general aspect of 

 nature. Again, the under-life of 

 the water is pictorially shown by 

 the use of Crustacea of the natural 

 dwellers of the sea, such as the 

 crab, scallop and similar mollusca, 

 which are made to appear with a 

 diffusion of their own color, appar- 

 ently disporting in their native ele- 

 ment. A further and more ex- 

 tended use of the harvest of the 

 sea is made in the field of flora, 



ists in art as in the sciences, but it does seek recognition as an for it has been ascertained that in form and color nearly 



advanced development in the study of the penetration of light every known flower may be represented with sea-shells, whose 



through objects so placed as to illustrate in a pictorial manner multitudinous shapes and immense variety of colors and 



the beauties of nature. shades adapt themselves to the requirements. In the ex- 



Before the discovery of glass, it is known that shells were amples of marine mosaic may be seen the pure white lily, 



used for windows. At the Louisiana Purchase Exposition the gorgeous chrysanthemum in its varied colors and shades, 



at St. Louis, one of the exhibits of a semi-civilized race con- 

 tained a habitation with windows of transparent shells. In 

 modern decoration shells, and even pebbles, have been com- 

 bined, but in marine mosaic is to be found the first use of 

 these materials in a skilful and scientific way to secure a long- 

 sought-for effect. 



The mechanical process varies from that used in the mak- 

 ing of stained glass work. It is only through this newly 

 acquired method that the desired results can be obtained. 



the drooping wistaria in its tones of purple and blue, the rose, 

 with its delicate petals and groups of bright hydrangea, with 

 numberless other representations, all in their natural beauty 

 of color and form. 



Stones and pebbles are. with the skill and knowledge 

 acquired by the artist, made to appear as representing the 

 fruits of the garden; bunches of luscious grapes are shown 

 in transparency of color so natural as to appear quite edible; 

 the orange, with its hue of gold; the peach, showing its deli- 



