Notes and Reviews 
all visitors stop to examine it as best they 
may in a miserable light. 
This door and a plaster model of an en¬ 
trance to a town residence, by Messrs. New¬ 
man an d H arris, are the sole examples of 
architecture emerging from the paper state and 
becoming, for the layman, a reality. Were the 
public not expected to attend the exhibition, 
this would not be surprising. But the galleries 
of the Art Club have been selected by reason 
of their convenience tor the lay visitor, and 
the only explanation for the absence from the 
exhibition of objects which are intelligible to 
him lies in a tradition of the T-Square Club 
that architecture exists on paper, and to then- 
expressions on paper architects must confine 
themselves in appearing before the public 
gaze. A liberally illustrated catalogue, edited 
by Mr. William Charles Hays and serving 
as a permanent record of the exhibition, has 
been dedicated by the T-Square Club to the 
memory of the late Walter Cope. 
A LTHOUGH in his volume “Windows, 
a Book about Stained and Painted Glass,” 1 
Mr. 1 _.ewis F. Day views his subject as a 
designer and craftsman rather than a his¬ 
torian or archaeologist, the light he throws 
upon the technique of glazing and painting 
comes to us through the historic windows of 
Gothic and Renaissance churches. The 
point of view is “ that of art and workman¬ 
ship, or, more precisely speaking, workman¬ 
ship and art, workmanship being naturally the 
beginning and root of art. We are workmen 
first and artists afterwards—perhaps.” There¬ 
fore we have not to listen to a sentimental 
admirer, but to one who gained his early 
training in the workshops of artists in 
stained glass, and has spent more than a score 
of years at closely studying the craft wherever 
its achievements could be found. Between 
prominent landmarks in the progress of the 
art, he points out the phases of inventive 
design which kept pace with the progress of 
glass-making. He tells his readers how 
windows are and have been made, the pig¬ 
ments used, the difficulties and limitations of 
the art, how in their zeal for telling a story or 
portraying a picture, the artists took to paint¬ 
ing glass as a quicker means to their end than 
the less tractable stained-glass or “ pot-metal.” 
The rudiments of cutting and leading are 
followed by the use of colors, from the earliest 
attempts at shading, picking out and stipp¬ 
ling, to the use of enamel, translucent marbles 
and paint heavily applied. The evolution of 
drawing and pictorial design becomes upper¬ 
most in the author’s mind, and yet for the 
1 “ Windows, a Book about Stained and Painted Glass," by Lewis 
F. Day. 419 pp., octavo, with 257 ills, in photo-tint and half-tone. 
London, B. T. Batsford, 1902. Imported by Charles Scribner’s 
Sons, New York. Price, $10.50 net. 
simpler decorative work, contra-distinguished 
with the pictorial, he makes a strong plea. 
Coeval with the history of design in glass, 
from the tiny panes of an Arab lattice to the 
plate glass windows of to-day, was the glass 
which not only formed the background of 
figure scenes, but was sufficient to itself in 
grisaille and early plain-glazing. It is not sur¬ 
prising that one, in whose hands pure orna¬ 
ment is so easily moulded, as it is in Mr. 
Day’s, should defend this purely ornamental 
glass. The art of pictorial window painting 
has practically reached a limit in an ecclesi¬ 
astical development, and much remains to be 
done toward making windows henceforth the 
most decorative features of public buildings 
and dwellings. Many windows are illustrated 
by the “photo-tint” and half-tone processes. 
These examples the author reviews in 
one chapter on the characteristics of style, 
and groups them according to three periods 
easy of comprehension. By telling how to 
see windows and enumerating the finest ex¬ 
amples to be seen, the author renders his 
volume attractive and interesting to laymen, 
as it is invaluable to any student who would 
inquire of one who knows. 
BOOKS RECEIVED. 
The Orders of Architecture, by R. Phene Spiers, F. S. At, 
F. R. I. B. A. Letterpress and 27 plates, folio. London, B. T. 
Batsford, 1902. Imported by Charles Scribner’s Sons, New York. 
Price, $4.00 net. 
Corot and Millet, with critical essays by Gustave Geffroy and Arsene 
Alexandre. Edited by Charles Holme. Letterpress and 117 illustra¬ 
tions in line, half-tone, photogravures, etc. London and New York, 
fohn Lane, 1902. Price, $2.00 net. 
A Discussion of Composition, especially as applied to Architecture, 
by John V. Van Pelt. 275 pp., i2mo with illustrations by the 
author. New York and London, Macmillans, 1902. Price, $2.00 
net. 
Letters and Lettering, a Treatise with 200 Examples, by Frank 
Chouteau Brown. 214 pp., i2mo. Boston, Bates and Guild Com¬ 
pany, 1902. Price, $2.00 net. 
