DOI issue:
No. 140 (October, 1908)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.28255#0306
Studio- Talk
Club and Arts and Crafts Society), have shown
great enthusiasm in the encouragement of local
art, and also in promoting a taste for art among
the people at large. Four years ago they gave to
the Corporation a valuable collection of oil paint-
ings and water-colours, a collection to which they
are frequently adding, and it is through their
generosity that the town has a Municipal Art
Gallery. R. H.
parent silver stain and lustres were also used for
general effect upon the colouring. The glasses were
also etched out by means of acid and the grinding
wheel in parts to give detail or enrichment. All the
pieces of glass were small, and the general masses
of colour were relied on for outline less than the
actual leading, which from the nature of the glass
used was erratic and largely accidental.
Of the two examples here reproduced,
the one in colour represents a window at
St. Matthew’s Church, Liverpool, a church
attended by people of the poorer classes.
The window was designed primarily to give
an opportunity for the use of rich colour,
full in tone and opulent in effect. The
glass used was mostly that known as
Norman, Early English, or slab ; a glass
that is made by blowing into a square bottle-
shaped mould. Before cutting into sheets
the resulting glass much resembles a Dutch
case bottle such as is made for Hollands,
etc. When cut up the angles, four small
sheets of slightly convex glass are obtained
which are about half-an-inch thick in the
centre and one-eighth or less at the edges.
Surface painting in this window was con-
fined to such details and shading as were
necessary to elucidate the design, and was
all done, both outline and shadow, in a
brown transparent colour between sepia
and burnt umber. The stipple method of
using water-colours only was adopted in order
to secure clear and unimpaired light passing
through every portion of the work. Trans-
“THE RESURRECTION MORNING” DESIGN FOR
STAINED-GLASS WINDOW IN A LIVERPOOL CHURCH
BY WALTER J. PEARCE
MANCHESTER.—Mr. Walter J. Pearce,
of whose stained-glass designs we re-
produce two examples, commenced his
artistic career in London as a decorative
painter. Later on stained glass attracted him,
because of the great opportunity it presented
of using colour opulently and boldly; and in
time be relinquished decorative painting
altogether in order to devote himself entirely
to stained glass. The ideal he aimed at
was to use glass as it was used by the
Egyptians, by the Arabs and Moors, and
later by the early French and English
workers; that is, as positive colour of jewel-
like brilliance, as the top note in any
scheme of decoration.
Though surface painting was resorted to on a
small scale in this Liverpool window, Mr. Pearce
objects to it in general, and in later work—e.g.,
in windows at Martlesham Church, Dunmow Chapel
(designed by Mr. Lewis Day), and the other window
here illustrated, which has been designed for
another Liverpool church—he has either reduced
it to a minimum or dispensed with it altogether.
288
Club and Arts and Crafts Society), have shown
great enthusiasm in the encouragement of local
art, and also in promoting a taste for art among
the people at large. Four years ago they gave to
the Corporation a valuable collection of oil paint-
ings and water-colours, a collection to which they
are frequently adding, and it is through their
generosity that the town has a Municipal Art
Gallery. R. H.
parent silver stain and lustres were also used for
general effect upon the colouring. The glasses were
also etched out by means of acid and the grinding
wheel in parts to give detail or enrichment. All the
pieces of glass were small, and the general masses
of colour were relied on for outline less than the
actual leading, which from the nature of the glass
used was erratic and largely accidental.
Of the two examples here reproduced,
the one in colour represents a window at
St. Matthew’s Church, Liverpool, a church
attended by people of the poorer classes.
The window was designed primarily to give
an opportunity for the use of rich colour,
full in tone and opulent in effect. The
glass used was mostly that known as
Norman, Early English, or slab ; a glass
that is made by blowing into a square bottle-
shaped mould. Before cutting into sheets
the resulting glass much resembles a Dutch
case bottle such as is made for Hollands,
etc. When cut up the angles, four small
sheets of slightly convex glass are obtained
which are about half-an-inch thick in the
centre and one-eighth or less at the edges.
Surface painting in this window was con-
fined to such details and shading as were
necessary to elucidate the design, and was
all done, both outline and shadow, in a
brown transparent colour between sepia
and burnt umber. The stipple method of
using water-colours only was adopted in order
to secure clear and unimpaired light passing
through every portion of the work. Trans-
“THE RESURRECTION MORNING” DESIGN FOR
STAINED-GLASS WINDOW IN A LIVERPOOL CHURCH
BY WALTER J. PEARCE
MANCHESTER.—Mr. Walter J. Pearce,
of whose stained-glass designs we re-
produce two examples, commenced his
artistic career in London as a decorative
painter. Later on stained glass attracted him,
because of the great opportunity it presented
of using colour opulently and boldly; and in
time be relinquished decorative painting
altogether in order to devote himself entirely
to stained glass. The ideal he aimed at
was to use glass as it was used by the
Egyptians, by the Arabs and Moors, and
later by the early French and English
workers; that is, as positive colour of jewel-
like brilliance, as the top note in any
scheme of decoration.
Though surface painting was resorted to on a
small scale in this Liverpool window, Mr. Pearce
objects to it in general, and in later work—e.g.,
in windows at Martlesham Church, Dunmow Chapel
(designed by Mr. Lewis Day), and the other window
here illustrated, which has been designed for
another Liverpool church—he has either reduced
it to a minimum or dispensed with it altogether.
288