DOI Page / Citation link:
https://doi.org/10.11588/diglit.43452#0455
14
THE INTERNATIONAL STUDIO
March, 1913
Mi
We will be glad to send sample copies 4
to those unfamiliar with the magazine j
1500 In One Month
requested that their names be put upon
our mailing list to receive “Art” regu-
larly. “Art” was first published four
months ago, issuing 3500 copies.
To-day We Are Sending Out
9500!
Increasing circulation has greatly in-
creased the cost and we therefore find
it necessary to make a nominal charge
for “Art.” From now on the subscrip-
tion price is
50 CENTS PER YEAR
Published by
M. O’BRIEN & SON
334 S. MICHIGAN AVENUE CHICAGO, ILL.
K
IJ U S T P
THE OLD GARDENS OF ITALY. How to Visit Them. By Mrs.
Aubrey LeBlond. During the course of some half-dozen visits to Italy, Mrs.
LeBlond has compiled a volume that garden lovers can carry with them on their
travels, enabling them to decide which gardens are worth visiting, and giving
special information regarding them. One hundred illustrations from photographs.
$1.25 net. Postage, 10 cents.
THE VIOLET BOOK. By A. and D. Allen-Brown. Two young women
who have made wonderful experiments with their violet nurseries give us, in
this little manual, the garnered wisdom of about nine years of work as violet growers.
They have elaborated a kind of violet calendar, noting the operations to be carried
out on the violet farm throughout the months. The book has the charm of perfect
simplicity and directness and the value of the first essential for a theoretical treatise
—knowledge born of practical experience and effort. Illustrated with ten plates in
color. $1.25 net. Postage, 12 cents.
JOHN LANE CO.NEW YORK
TAINED GLASS PANELS
The Metropolitan Museum oi Art
now owns early panels of considerable in-
terest and merit, more especially as
specimens of early work have hitherto
been conspicuously absent in its halls.
Fifteen panels in all may be seen in the hall
of recent accessions—7 English, 3 German,
4 Dutch and 1 Italian, and of these 9 may
be traced to fifteenth century origin. The
idea of connecting colored glass by strips of
lead is supposed to have originated in
Byzantium about the eleventh century.
The first two hundred years of stained glass
manufacture, culminating in the famous
windows of Chartres Cathedral, may be
regarded as the Golden Age of the art.
The two thirteenth century panels are re-
spectively 25 x 20 and 23 x 16 inches, both
with resplendent blue backgrounds indica-
tive of the period. The one panel, ellipti-
cal in form, contains seated figures of
Noah, Job and Daniel, their names on
scrolls and an angel hovering over each.
The other panel represents the Four Evan-
gelists by their respective symbols, and
bears the inscription, “ Sibis binifont unit.”
These two panels compare favorably with
specimens of similar period in Canterbury
Cathedral. Another panel, a roundel, 26
inches across, is a century later, chiefly of
white glass, and shows a seated bishop.
This one points to German origin. There
is a good German fifteenth century roundel
in Hausbuch style; also a later one, Col-
ogne style, and one still later, about 1503,
in style of the Dutch artist, Groningen.
The Antwerp artist, Vellert, is credited
with a small roundel of 1520.
THE INTERNATIONAL STUDIO
March, 1913
Mi
We will be glad to send sample copies 4
to those unfamiliar with the magazine j
1500 In One Month
requested that their names be put upon
our mailing list to receive “Art” regu-
larly. “Art” was first published four
months ago, issuing 3500 copies.
To-day We Are Sending Out
9500!
Increasing circulation has greatly in-
creased the cost and we therefore find
it necessary to make a nominal charge
for “Art.” From now on the subscrip-
tion price is
50 CENTS PER YEAR
Published by
M. O’BRIEN & SON
334 S. MICHIGAN AVENUE CHICAGO, ILL.
K
IJ U S T P
THE OLD GARDENS OF ITALY. How to Visit Them. By Mrs.
Aubrey LeBlond. During the course of some half-dozen visits to Italy, Mrs.
LeBlond has compiled a volume that garden lovers can carry with them on their
travels, enabling them to decide which gardens are worth visiting, and giving
special information regarding them. One hundred illustrations from photographs.
$1.25 net. Postage, 10 cents.
THE VIOLET BOOK. By A. and D. Allen-Brown. Two young women
who have made wonderful experiments with their violet nurseries give us, in
this little manual, the garnered wisdom of about nine years of work as violet growers.
They have elaborated a kind of violet calendar, noting the operations to be carried
out on the violet farm throughout the months. The book has the charm of perfect
simplicity and directness and the value of the first essential for a theoretical treatise
—knowledge born of practical experience and effort. Illustrated with ten plates in
color. $1.25 net. Postage, 12 cents.
JOHN LANE CO.NEW YORK
TAINED GLASS PANELS
The Metropolitan Museum oi Art
now owns early panels of considerable in-
terest and merit, more especially as
specimens of early work have hitherto
been conspicuously absent in its halls.
Fifteen panels in all may be seen in the hall
of recent accessions—7 English, 3 German,
4 Dutch and 1 Italian, and of these 9 may
be traced to fifteenth century origin. The
idea of connecting colored glass by strips of
lead is supposed to have originated in
Byzantium about the eleventh century.
The first two hundred years of stained glass
manufacture, culminating in the famous
windows of Chartres Cathedral, may be
regarded as the Golden Age of the art.
The two thirteenth century panels are re-
spectively 25 x 20 and 23 x 16 inches, both
with resplendent blue backgrounds indica-
tive of the period. The one panel, ellipti-
cal in form, contains seated figures of
Noah, Job and Daniel, their names on
scrolls and an angel hovering over each.
The other panel represents the Four Evan-
gelists by their respective symbols, and
bears the inscription, “ Sibis binifont unit.”
These two panels compare favorably with
specimens of similar period in Canterbury
Cathedral. Another panel, a roundel, 26
inches across, is a century later, chiefly of
white glass, and shows a seated bishop.
This one points to German origin. There
is a good German fifteenth century roundel
in Hausbuch style; also a later one, Col-
ogne style, and one still later, about 1503,
in style of the Dutch artist, Groningen.
The Antwerp artist, Vellert, is credited
with a small roundel of 1520.