DOI Heft:
No. 6 (September, 1893)
DOI Artikel:Kennedy, Henry Albert: Technique in glass painting
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17188#0264
Technique in Glass Painting
traced the leading lines of the head, the tiara, the cut lines of light come out with sufficient saliency
hand, the book, and the drapery. This done, he and sparkle. This line of light, always going down
has added, still.I believe with the brush, the darker to the clear glass, is employed with equal dexterity
shadows, floating or painting them dexterously into elsewhere in the flesh and the drapery, reflected
their places. After this he has covered the whole lights being given their due subordination by fine-
piece of glass with a tone or matt, which he has ness of touch. On the back of his piece of glass
deftly swept on to the glass with a broad flat brush, the painter has added to the nimbus, to the crowns
bringing it together and giving a certain quality or of the tiara, to the band that fastens the cloak, and
texture by the use of a badger softener. This to the leaves of the book, a stain made of silver,
process slightly melts and softens the outlines, and which, when fired, produces a clear golden yellow,
also blends the shadows into the tint or matt. Having done this, the piece of glass was ready for
The piece of glass would then present the aspect the kiln. This description will serve to explain how
that it now bears__
minus all the lights.
Then, with a stiff
hog's-hair brush
adapted to his pur-
pose, he attacks his
work; modelling from
the light towards the
dark, picking out the
lights with his tool:
its texture enabling
him to leave a certain
amount of gradated
tint at the side of a
light. When the face,
tiara, drapery, and
hand showed a suf-
ficient indication of
modelling in them,
he has taken a point
(of bone, wood, or
similar material) and
picked out the finer
details of light every-
where ; this process
being specially cha-
racteristic of glass-
painting. The nim-
bus, as will be under-
stood from the fore-
going, had so far no
lines upon it, only a
light tint. Out of this
the inscription, and a
certain amount of
pattern work and
hatching, being lightly
etched, the effect be-
came peculiarly lu-
minous ; it is dark
nowhere, and yet
everywhere the crisply
FROM A PANEL OF OLD GERMAN STAINED GLASS
246
traced the leading lines of the head, the tiara, the cut lines of light come out with sufficient saliency
hand, the book, and the drapery. This done, he and sparkle. This line of light, always going down
has added, still.I believe with the brush, the darker to the clear glass, is employed with equal dexterity
shadows, floating or painting them dexterously into elsewhere in the flesh and the drapery, reflected
their places. After this he has covered the whole lights being given their due subordination by fine-
piece of glass with a tone or matt, which he has ness of touch. On the back of his piece of glass
deftly swept on to the glass with a broad flat brush, the painter has added to the nimbus, to the crowns
bringing it together and giving a certain quality or of the tiara, to the band that fastens the cloak, and
texture by the use of a badger softener. This to the leaves of the book, a stain made of silver,
process slightly melts and softens the outlines, and which, when fired, produces a clear golden yellow,
also blends the shadows into the tint or matt. Having done this, the piece of glass was ready for
The piece of glass would then present the aspect the kiln. This description will serve to explain how
that it now bears__
minus all the lights.
Then, with a stiff
hog's-hair brush
adapted to his pur-
pose, he attacks his
work; modelling from
the light towards the
dark, picking out the
lights with his tool:
its texture enabling
him to leave a certain
amount of gradated
tint at the side of a
light. When the face,
tiara, drapery, and
hand showed a suf-
ficient indication of
modelling in them,
he has taken a point
(of bone, wood, or
similar material) and
picked out the finer
details of light every-
where ; this process
being specially cha-
racteristic of glass-
painting. The nim-
bus, as will be under-
stood from the fore-
going, had so far no
lines upon it, only a
light tint. Out of this
the inscription, and a
certain amount of
pattern work and
hatching, being lightly
etched, the effect be-
came peculiarly lu-
minous ; it is dark
nowhere, and yet
everywhere the crisply
FROM A PANEL OF OLD GERMAN STAINED GLASS
246