Studio: international art (13.1898)

Some Glasgow Designers

and so far showed a distinct gain. But as most
surviving examples of ancient glass were found in
ecclesiastic buildings, consciously or unconsciously
even modern domestic glass was modelled upon
their lines. Later still, in the designs of Sir Edward
Eurne-Jones for Morris glass, Mr. Selwyn Image,
Mr. Christopher Whall, Mr. Holiday, Mr. Walter
Crane, and others, we find that the influence of the
Renaissance has ousted many distinctly Gothic
features, while the true principles of the craft are still
retained. Despite certain notable exceptions, such
as the windows of the common room at Peterhouse,
Cambridge, by Sir Edward Burne-Jones, " The
Brownies" and others by Mr. Image, domestic
glass is chiefly a thing of commercial design. Nor
need this statement convey the implication that
therefore it must needs be bad ; one can recall here
and there quite admirable work done by a "firm."
Some glass in a popular restaurant in the Strand
is of its sort entirely satisfactory, for its design
is almost entirely a pattern in lead lines, with
touches of yellow upon a few panes of the glass
itself, which is otherwise either clear or but slightly
tinted.

Still, much remains open for experiment in
domestic glass, and no one has attempted more
paraphrases of old work and distinctly new effects
than Mr. Oscar Paterson, whose labours are the
subject of this paper. Some of his experiments
deserve serious and most hearty approval; others

PANEL IN BLACK AND WHITE GLASS DEFINED
WITH LEAD LINES BY OSCAR PATERSON

need not be too weightily discussed, because they
are obviously pleasant conceits (mite worthily
carried out, even if, while defensible on their own
merits, they are at times perhaps a shade too
whimsical to be considered as new types that would

WINDOW

DESIGNED BY OSCAR PATERSON

survive many repetitions. Here, too, is a good place
to acknowledge his partner's share in the work,
and to explain that reference more frequently to
Mr. Harry Thomson has only been avoided
because of the awkwardness in attributing each
item on which they have worked to two people.

The designs of these craftsmen—each duly
accredited below the reproductions—are charac-
terised by two prominent qualities. First, that they
never lose sight of the materials employed; in
other words, that lead lines, which must needs be
opaque, and glass which should be translucent, il

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