Stained Glass Work: A text-book for students and workers in glass

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Christopher Whall. Stained Glass Work: A text-book for students and workers in glass

EDITOR'S PREFACE

AUTHOR'S PREFACE

PART I

CHAPTER I. INTRODUCTORY, AND CONCERNING THE RAW MATERIAL

CHAPTER II

CHAPTER III

CHAPTER IV

CHAPTER V

CHAPTER VI

CHAPTER VII

CHAPTER VIII

CHAPTER IX

CHAPTER X

CHAPTER XI

PART II

CHAPTER XII

CHAPTER XIII

CHAPTER XIV

CHAPTER XV

CHAPTER XVI. OF COLOUR

CHAPTER XVII. OF ARCHITECTURAL FITNESS

CHAPTER XVIII. OF THOUGHT, IMAGINATION, AND ALLEGORY

CHAPTER XIX

CHAPTER XX. A STRING OF BEADS

APPENDIX I

SOME SUGGESTIONS AS TO THE STUDY OF OLD GLASS

APPENDIX II

ON THE RESTORING OF ANCIENT WINDOWS

APPENDIX III

NOTES ON THE COLLOTYPE PLATES

GLOSSARY

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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.

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Practise now for a time the making of strokes, large and small, dark and light, broad and fine; and when you have got command of your tools, set yourself the task of doing the same thing, copying an example placed underneath your bit of glass. You will find a hand-rest (fig. 21) an assistance in this.

Fig. 20.

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