" … And remembering these, trust Pindar for the truth of his saying, that to the cunning workman—(and let me solemnly enforce the words by adding, that to him only)—knowledge comes undeceitful."

—Ruskin ("Aratra Pentelici").

"'Very cool of Tom,' as East thought but didn't say, 'seeing as how he only came out of Egypt himself last night at bed-time.'"

—("Tom Brown's Schooldays").

To his Pupils and Assistants, who, if they have learned as much from him as he has from them, have spent their time profitably; and who, if they have enjoyed learning as much as he has teaching, have spent it happily; this little book is Dedicated by their Affectionate Master and Servant,

THE AUTHOR.

EDITOR'S PREFACE

In issuing these volumes of a series of Handbooks on the Artistic Crafts, it will be well to state what are our general aims.

In the first place, we wish to provide trustworthy text-books of workshop practice, from the points of view of experts who have critically examined the methods current in the shops, and putting aside up a standard of quality in the crafts which are more especially associated with design. Secondly, in doing this, we hope to treat design itself as an essential part of good workmanship. During the last century most of the arts, save painting and sculpture of an academic kind, were little considered, and there was a tendency to look on "design" as a mere matter of appearance. Such "ornamentation" as there was was usually obtained by following in a mechanical way a drawing provided by an artist who often knew little of the technical processes involved in production. With the critical attention given to the crafts by Ruskin and Morris, it came to be seen that it was impossible to detach design from craft in this way, and that, in the widest sense, true design is an inseparable element of good quality, involving as it does the selection of good and suitable material, contrivance for special purpose, expert workmanship, proper finish, and so on, far more than mere ornament, and indeed, that ornamentation itself was rather an exuberance of fine workmanship than a matter of merely abstract lines. Workmanship when separated by too wide a gulf from fresh thought—that is, from design—inevitably decays, and, on the other hand, ornamentation, divorced from workmanship, is necessarily unreal, and quickly falls into affectation. Proper ornamentation may be defined as a language addressed to the eye; it is pleasant thought expressed in the speech of the tool.

In the third place, we would have this series put artistic craftsmanship before people as furnishing reasonable occupations for those who would gain a livelihood. Although within the bounds of academic art, the competition, of its kind, is so acute that only a very few per cent. can fairly hope to succeed as painters and sculptors; yet, as artistic craftsmen, there is every probability that nearly every one who would pass through a sufficient period of apprenticeship to workmanship and design would reach a measure of success.

In the blending of handwork and thought in such arts as we propose to deal with, happy careers may be found as far removed from the dreary routine of hack labour as from the terrible uncertainty of academic art. It is desirable in every way that men of good education should be brought back into the productive crafts: there are more than enough of us "in the city," and it is probable that more consideration will be given in this century than in the last to Design and Workmanship.

Our last volume dealt with one of the branches of sculpture, the present treats of one of the chief forms of painting. Glass-painting has been, and is capable of again becoming, one of the most noble forms of Art. Because of its subjection to strict conditions, and its special glory of illuminated colour, it holds a supreme position in its association with architecture, a position higher than any other art, except, perhaps, mosaic and sculpture.

The conditions and aptitudes of the Art are most suggestively discussed in the present volume by one who is not only an artist, but also a master craftsman. The great question of colour has been here opened up for the first time in our series, and it is well that it should be so, in connection with this, the pre-eminent colour-art.

Windows of coloured glass were used by the Romans. The thick lattices found in Arab art, in which brightly-coloured morsels of glass are set, and upon which the idea of the jewelled windows in the story of Aladdin is doubtless based, are Eastern off-shoots from this root.

Painting in line and shade on glass was probably invented in the West not later than the year 1100, and there are in France many examples, at Chartres, Le Mans, and other places, which date back to the middle of the twelfth century.

Theophilus, the twelfth-century writer on Art, tells us that the French glass was the most famous. In England the first notice of stained glass is in connection with Bishop Hugh's work at Durham, of which we are told that around the altar he placed several glazed windows remarkable for the beauty of the figures which they contained; this was about 1175.

In the Fabric Accounts of our national monuments many interesting facts as to mediæval stained glass are preserved. The accounts of the building of St. Stephen's Chapel, in the middle of the fourteenth century, make known to us the procedure of the mediæval craftsmen. We find in these first a workman preparing white boards, and then the master glazier drawing the cartoons on the whitened boards, and many other details as to customs, prices, and wages.

There is not much old glass to be studied in London, but in the museum at South Kensington there are specimens of some of the principal varieties. These are to be found in the Furniture corridor and the corridor which leads from it. Close by a fine series of English coats of arms of the fourteenth century, which are excellent examples of Heraldry, is placed a fragment of a broad border probably of late twelfth-century work. The thirteenth century is represented by a remarkable collection, mostly from the Ste. Chapelle in Paris and executed about 1248. The most striking of these remnants show a series of Kings seated amidst bold scrolls of foliage, being parts of a Jesse Tree, the narrower strips, in which are Prophets, were placed to the right and left of the Kings, and all three made up the width of one light in the original window. The deep brilliant colour, the small pieces of glass used, and the rich backgrounds are all characteristic of mid-thirteenth-century glazing. Of early fifteenth-century workmanship are the large single figures standing under canopies, and these are good examples of English glass of this time. They were removed from Winchester College Chapel about 1825 by the process known as restoration.

W. R. LETHABY.

January 1905.

AUTHOR'S PREFACE

The author must be permitted to explain that he undertook his task with some reluctance, and to say a word by way of explaining his position.

I have always held that no art can be taught by books, and that an artist's best way of teaching is directly and personally to his own pupils, and maintained these things stubbornly and for long to those who wished this book written. But I have such respect for the good judgment of those who have, during the last eight years, worked in the teaching side of the art and craft movement, and, in furtherance of its objects, have commenced this series of handbooks, and such a belief in the movement, of which these persons and circumstances form a part, that I felt bound to yield on the condition of saying just what I liked in my own way, and addressing myself only to students, speaking as I would speak to a class or at the bench, careless of the general reader.

You will find yourself, therefore, reader, addressed as "Dear Student." (I know the term occurs further on.) But because this book is written for students, it does not therefore mean that it must all be brought within the comprehension of the youngest apprentice. For it is becoming the fashion, in our days, for artists of merit—painters, perhaps, even of distinction—to take up the practice of one or other of the crafts. All would be well, for such new workers are needed, if it was indeed the practice of the craft that they set themselves to. But too often it is what is called the designing for it only in which they engage, and it is the duty of every one speaking or writing about the matter to point out how fatal is that error.

One must provide a word, then, for such as these also here if one can.

Indeed, to reckon up all the classes to whom such a book as this should be addressed, we should have, I think, to name:– (1) The worker in the ordinary "shop," who is learning there at present, to our regret, only a portion of his craft, and who should be given an insight into the whole, and into the fairyland of design.

(2) The magnificent and superior artist, mature in imagination and composition, fully equipped as a painter of pictures, perhaps even of academical distinction, who turns his attention to the craft, and without any adequate practical training in it, which alone could teach its right principles, makes, and in the nature of things is bound to make, great mistakes—mistakes easily avoidable. No such thing can possibly be right. Raphael himself designed for tapestry, and the cartoons are priceless, but the tapestry a ghastly failure. It could not have been otherwise under the conditions. Executant separated from designer by all the leagues that lie between Arras and Rome.

(3) The patron, who should know something of the craft, that he may not, mistrusting, as so often at present, his own taste, be compelled to trust to some one else's Name, and of course looks out for a big one.

(4) The architect and church dignitary who, having such grave responsibilities in their hands towards the buildings of which they are the guardians, wish, naturally, to understand the details which form a part of their charge. And lastly, a new and important class that has lately sprung into existence, the well-equipped, picked student—brilliant and be-medalled, able draughtsman, able painter; young, thoughtful, ambitious, and educated, who, instead of drifting, as till recently, into the overcrowded ranks of picture-making, has now the opportunity of choosing other weapons in the armoury of the arts.

To all these classes apply those golden words from Ruskin's "Aratra Pentelici" which are quoted on the fly-leaf of the present volume, while the spirit in which I myself would write in amplifying them is implied by my adopting the comment and warning expressed in the other sentence there quoted. The face of the arts is in a state of change. The words "craft" and "craftsmanship," unheard a decade or two ago, now fill the air; we are none of us inheritors of any worthy tradition, and those who have chanced to grope about for themselves, and seem to have found some safe footing, have very little, it seems to me, to plume or pride themselves upon, but only something to be thankful for in their good luck. But "to have learnt faithfully" one of the "ingenuous arts" (or crafts) is good luck and is firm footing; we may not doubt it who feel it strong beneath our feet, and it must be proper to us to help towards it the doubtless quite as worthy or worthier, but less fortunate, who may yet be in some of the quicksands around.

It also happens that the art of stained glass, though reaching to very high and great things, is in its methods and processes a simple, or at least a very limited, one. There are but few things to do, while at the same time the principles of it touch the whole field of art, and it is impossible to treat of it without discussing these great matters and the laws which guide decorative art generally. It happens conveniently, therefore, as the technical part requires less space, that these things should be treated of in this particular book, and it becomes the author's delicate and difficult task to do so. He, therefore, wishes to make clear at starting the spirit in which the task is undertaken.

It remains only to express his thanks to Mr. Drury and Mr. Noel Heaton for help respectively, with the technical and scientific detail; to Mr. St. John Hope for permission to use his reproductions from the Windsor stall-plates, and to Mr. Selwyn Image for his great kindness in revising the proofs.

C. W. WHALL.

January 1905.