150 Sloan's Architectural Review and Builders' Journal. [August, beautj r of the whole, when worked up into a pattern, and adjusted in its place, adds greatly to it. Thus nature puts on her grassy mantle, apparently of one uniform brilliant green ; yet the artist's eye discovers the variety of tones and shades, so softly and nicely blended, giving a choicer beauty to the landscape. So, that even a simple green field, as painted by nature, has enough variety not to be monotonous. This, in fact, has much to do with the beauty of the ancient glass, worked in mosaic pattern, giving it that kaleidoscopic effect, so much more pleasing, than that obtained when you take the glass of the present day This latter is so well manufac- tured, that its color, though equally beautiful in itself, has, in comparison with the antique, a flat, cheap look, even When made up into the same mosaic forms ; and the modern artist has to resort to shadings and blendings with enamels on the surface of the glass, to produce the mediaeval effect. This, of course, destroys a portion of the bril- liancjr and transparency of modern stained glass. We refer, here, more particularly, to the" earlier productions, before the intro- duction of figures, symbols and heraldic devices, which, by requiring a different sub-division or arrangement of lines, gave greater variety to the pattern. There is one other point, which it may not be out of place to notice here: that is, the care the early glass-workers took, to have their patterns and designs in harmony with the architectural 'style of the building. In the grand cathedrals and churches of earlier times, this seems to have been especially the case ; as if the architect, the mason, and the sculp- tor, the glass-stainer, and the decorator, all had one feeling towards producing a grand result ; each artist not executing what might be beautiful in itself, but what would be in keeping and harmony with the whole when finished. Ruskin attributes a great deal of this, to the fact, that the monks of old would devote their time and talents to this and other branches, connected with church building, without compensation, and for the glory of God. This may be so, although we have many old statements of what the " auntient glasse " cost per foot; but there is no doubt that the ancient artists in glass-painting were part of that noble band of Free-masons, who were employed in building and re- pairing cathedrals, churches, and other great edifices in England and on the continent ; and who travelled from place to place to execute their works. This will account, in some measure, for the palpably congenial spirit, in carrying out their designs ,to harmonize with those of their allied brothers, engaged in architecture, and also for the simi- larity or adherence to style of the older masters. Thus we find, that in the Norman window head, which is semi-circular in architecture, the glass tracery and the leaden bands were formed in circles, half circles, ovals, lozenges,* &c. These being enclosed with a rich border com- posed of small pieces of all colors, in- cluding a neutral tint, approaching to white, gave the effect of brilliants and other gems, set in silver and gold. Not even gold itself is so luminous as the glorious golden yellow of stained glass, when kept in proper subjection to the other colors ; and it must not be for- gotten, that the black bands of lead which join together each separate color of these minute pieces, add greatly to the richness of effect, when relieved by the heavy frame of massive stone-wall which surrounds it. This style prevailed during the eleventh and twelfth centuries, inter- mixed, as before stated, with medallions, figures, symbols, &c, illustrative of Christian history, or traditions from the lives of saints and early martyrs, some of which are very curious, and may be dilated upon in future communications.
- That is, rhombs or diamonds.
