DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.32044#0163
opaque in their colours, from an apparent attempt on the part of the
artists to imitate the deep ihadows of oil paintings. In richness of deiign,
colour, and compoiition, the lateil cinque cento specimens are quite equal
to the earlier ones.
The varied and harmonious colouring of cinque cento glass paintings
was frequently increased by taking advantage of the accidental variations
of colour found occaiionally in the same iheet of glass, so as to make the
lighter parts of the glass coincide, as far as poihble, with the lights of
the pidlure, and its dark parts with its ihadows.
The principal distindlion and great cause of superiority of cinque cento
glass over that in the earlier ilyles, is in the extraordinary distindtness
and relief of the pidture. This is the result partly of well defined out-
lines, and contrasts of colour, but chiessy by powerful and ikilful con-
trasts of light and ihade. Our example may be taken as an inflance of
an artifice very commonly employed. The pidture is represented as seen
beneath an archway ; the architedtural frame-work being painted in rich
but comparatively quiet tints, while the figures and heraldry, composed
of white, golden, and the brightest ruby glass, are thrust prominently
forward by means of a deep blue diapered back-ground. The figurds
over the arch are made to assist the general effedt by being painted on
glass of a light blue tint relieved by yellow stains on a portion of the
accessories.
The painted glass of this period asfords satisfaitory evidence of its
being susceptible, in connexion with its surrounding architedtural em-
belliihments, of the most admirable pidtorial effedts, without violating
any of the principles peculiar to the nature of the material ; and that the
greatest Masters may delight the world, and immortalize themselves, by
producing designs suited to this fascinating medium, which in modern
times has been treated too much as an article of mere manufadture.
We have not been able to discover any particulars respediing the ori-
ginal owner of this glass, who, from the inscription on the Panel forming
the base, was evidently an envoy from France to the Swiss Cantons.
The inscription on the label forming the arch, consists of German words
with the exception of the word regum. It is im andren bvch regvm.
—AM XVIII. CAPiTEL. 1533. This, by supplying the letter S (no doubt
covered by the shield) would read, “ In the second book of Kings.—
Samuel 18th chapter.” In the 18th chapter of the second book of Samuel
is contained the narrative of the death of Absalom through Joab’s agency.
Why the second book of Kings is alluded to is not so clear.
artists to imitate the deep ihadows of oil paintings. In richness of deiign,
colour, and compoiition, the lateil cinque cento specimens are quite equal
to the earlier ones.
The varied and harmonious colouring of cinque cento glass paintings
was frequently increased by taking advantage of the accidental variations
of colour found occaiionally in the same iheet of glass, so as to make the
lighter parts of the glass coincide, as far as poihble, with the lights of
the pidlure, and its dark parts with its ihadows.
The principal distindlion and great cause of superiority of cinque cento
glass over that in the earlier ilyles, is in the extraordinary distindtness
and relief of the pidture. This is the result partly of well defined out-
lines, and contrasts of colour, but chiessy by powerful and ikilful con-
trasts of light and ihade. Our example may be taken as an inflance of
an artifice very commonly employed. The pidture is represented as seen
beneath an archway ; the architedtural frame-work being painted in rich
but comparatively quiet tints, while the figures and heraldry, composed
of white, golden, and the brightest ruby glass, are thrust prominently
forward by means of a deep blue diapered back-ground. The figurds
over the arch are made to assist the general effedt by being painted on
glass of a light blue tint relieved by yellow stains on a portion of the
accessories.
The painted glass of this period asfords satisfaitory evidence of its
being susceptible, in connexion with its surrounding architedtural em-
belliihments, of the most admirable pidtorial effedts, without violating
any of the principles peculiar to the nature of the material ; and that the
greatest Masters may delight the world, and immortalize themselves, by
producing designs suited to this fascinating medium, which in modern
times has been treated too much as an article of mere manufadture.
We have not been able to discover any particulars respediing the ori-
ginal owner of this glass, who, from the inscription on the Panel forming
the base, was evidently an envoy from France to the Swiss Cantons.
The inscription on the label forming the arch, consists of German words
with the exception of the word regum. It is im andren bvch regvm.
—AM XVIII. CAPiTEL. 1533. This, by supplying the letter S (no doubt
covered by the shield) would read, “ In the second book of Kings.—
Samuel 18th chapter.” In the 18th chapter of the second book of Samuel
is contained the narrative of the death of Absalom through Joab’s agency.
Why the second book of Kings is alluded to is not so clear.