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Excerpt from Windows a Book About Stained Painted Glass A stained glass window is itself the best possible illustration of the difference it makes whether we look at a thing from this side or from that. Gœthe used this particular image in one of his little parables, comparing poems to painted windows, dark and dull from the market-place, bright with colour and alive with meaning only when we have crossed the threshold of the church. I may claim to have entered the sanctuary, and not irreverently. My earliest training in design was in the workshops of artists in stained glass. For many years I worked exclusively at glass design, and for over a quarter of a century I have spent great part of my leisure in hunting glass all Europe over. This book has grown out of my experience. It makes no claim to learnedness. It tells only what the windows have told me, or what I understood them to say. I have gone to glass to get pleasure out of it, to learn something from it, to find out the way it was done, and why it was done so, and what might yet perhaps be done. Anything apart from that did not so much interest me. Those, therefore, who desire minuter and more precise historic information must consult the works of Winston, Mr. Westlake, and the many continental authorities, with whose learned writings this more practical, and, in a sense, popular, volume does not enter into any sort of competition. My point of view is that of art and workmanship, or, more precisely speaking, workmanship and art, workmanship being naturally the beginning and root of art. We are workmen first and artists afterwards - perhaps. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
60 lovely, royalty-free designs from authentic landscape and memorial windows, panels, transoms, skylights, glass screens, more. Also practical for other craft and coloring activities.
This book about the art of windows painting and staining is an important source for practical and historical information. It is an overview of researching the art, history, and technical aspects of stained and painted glass. A reader can learn a lot about church windows, firms, artists, and designs.
Over 100 authentic, royalty-free patterns from one of the most flamboyant of artistic periods, including outlines of a lovely winged damsel, florals and vines, a vase, a butterfly, and much more. All displayed in rectangular, oval, circular, and semi-circular frames for use by craftspeople and stained glass workers at all levels of expertise.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Sixteen full-page designs adapted from windows in Wright buildings: Robie House, Dana House, Coonley Playhouse, many more. Geometrics, florals, etc. Color and hang near light source for glowing stained glass effects.
"[...]single sheet of white glass, as has been proved at Sevres. Strictly speaking, then, stained and painted glass are the very opposite one to the other. But in practice the two processes of glazing and painting were never kept apart. The very earliest glass was no doubt pure mosaic. It was only in our own day that the achievement (scientific rather than artistic) of a painted window of any size, independent of glazier's work, was possible. Painting was at first always subsidiary to glazier's work; after that, for a time, glazier and painter worked hand in hand upon equal terms; eventually the painter took precedence, and the glazier became ever more and more subservient to him. But from the twelfth to the seventeenth century there is little of what we call, rather loosely, sometimes "stained" and sometimes "painted" glass, in which there is not both staining and painting-that is to say, stained glass is used, and there is painting[...].""