DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.26439#0021
STAINED GLASS.
7
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PLATES Y. AND AIL
Y. FROM THE CHOIR OE S. M. NOVELLA, FLORENCE.
VII. FROM THE NORTH TRANSEPT OF S. M. NOVELLA, FLORENCE.
The painted windows of the choir of S. M. Novella are amongst the most remarkable and effective
examples to he found in the Renaissance style: they are stated to have been executed by Alessandro Fiorentino
in the year 1491.
The triple window of the choir, each side-light of which contains three figures of saints in niches placed
one over the other, surmounted at the top by a dome, as seen in Plate VII., presents a mass of powerful and
brilliant colour, an excellence of design and execution, and a breadth of light and shade, such as one can seldom
meet with; and when the setting sun throws its rays full on this window, nothing more wonderfully gorgeous
can be conceived; it is then we arrive at the conviction that it is only by painting on glass, the colourist
can hope to obtain effects which vie with the most beautiful tints of Nature, as seen on birds, insects, shells,
jewels, in comparison with which the greatest efforts of the Venetian and Dutch schools, of Delacroix or of
Etty, appear dull and lifeless; and this may be accounted for by supposing that in the case of an oil
painting, the image is impressed by a reflected light, whilst in the case of a window the subject is cast on the
retina of the eye by direct rays.
In these windows the designs are still composed of irregular pieces of glass, without any regard as to where
the lead lines may occur, except in the case of faces, and even then, as may be seen by reference to the head
of the Infant Christ in Plate VII., the artist was not very particular. The pieces of glass are however generally
of larger size than those in the Duomo. There are very few portions left perfectly white; and when such
occur, they are always of a warm cream or light straw tint, the shadowed portions of the same being hatched
in with rich brown bistre lines: the skin is generally of a rich, somewhat red, siena tint, with warm brown
shadows: and we may remark, that all the shadows are strongly marked, especially in the draperies; indeed the
whole system of colour employed in them reminds one of that great school of early Venetian colourists,
represented by Cima da Conegliano, Marco Rasaiti, and Carpaccio.
The features, extremities, and anatomy (when seen) are excellently drawn; the faces of the men are
characterized by a manly nobility of expression, and those of the women by much sweetness and grace. The
artist has felt himself at liberty to apply colour arbitrarily to his architectural accessories: there is little
attempt to be matter-of-fact in these aerial buildings,—they glitter with all the splendour of works composed
of the most precious stones and jewels, and when masses of colour occur in them, they are generally rendered
luminous by small bright dots on a darker ground of the same tint. In the draperies we remark two particular
kinds; the one black, which, lightened by some pattern, such as white stars, becomes of essential service as a
key and a contrast to the brighter colours; and secondly, a dark purple, which is of incomparable beauty, such
as may also be remarked in the Lucca window. As we have noticed in all the former examples, the lead
lines serve to give distinctness and force to the whole design; only a few of these lines being shown in the
lithographs, for reasons already stated.
The borders of both these windows are boldly designed and very effective, and serve to exemplify how
much labour is frequently wasted in the minute ornament we too often see in modern works in stained glass.
The figure of the Virgin and Child is much of the same character as the Saints, etc., in the windows of
the choir; but the ornamental accessories seem to indicate a somewhat later date. The armorial bearings
interwoven with the ornament, and seen on the shield, are those of the Strozzi family.
Central Italy is rich in works of this nature, and it appears extraordinary that more attention has not
been given to them. Amongst those which we have ourselves more particularly remarked, may be mentioned,
7
%
PLATES Y. AND AIL
Y. FROM THE CHOIR OE S. M. NOVELLA, FLORENCE.
VII. FROM THE NORTH TRANSEPT OF S. M. NOVELLA, FLORENCE.
The painted windows of the choir of S. M. Novella are amongst the most remarkable and effective
examples to he found in the Renaissance style: they are stated to have been executed by Alessandro Fiorentino
in the year 1491.
The triple window of the choir, each side-light of which contains three figures of saints in niches placed
one over the other, surmounted at the top by a dome, as seen in Plate VII., presents a mass of powerful and
brilliant colour, an excellence of design and execution, and a breadth of light and shade, such as one can seldom
meet with; and when the setting sun throws its rays full on this window, nothing more wonderfully gorgeous
can be conceived; it is then we arrive at the conviction that it is only by painting on glass, the colourist
can hope to obtain effects which vie with the most beautiful tints of Nature, as seen on birds, insects, shells,
jewels, in comparison with which the greatest efforts of the Venetian and Dutch schools, of Delacroix or of
Etty, appear dull and lifeless; and this may be accounted for by supposing that in the case of an oil
painting, the image is impressed by a reflected light, whilst in the case of a window the subject is cast on the
retina of the eye by direct rays.
In these windows the designs are still composed of irregular pieces of glass, without any regard as to where
the lead lines may occur, except in the case of faces, and even then, as may be seen by reference to the head
of the Infant Christ in Plate VII., the artist was not very particular. The pieces of glass are however generally
of larger size than those in the Duomo. There are very few portions left perfectly white; and when such
occur, they are always of a warm cream or light straw tint, the shadowed portions of the same being hatched
in with rich brown bistre lines: the skin is generally of a rich, somewhat red, siena tint, with warm brown
shadows: and we may remark, that all the shadows are strongly marked, especially in the draperies; indeed the
whole system of colour employed in them reminds one of that great school of early Venetian colourists,
represented by Cima da Conegliano, Marco Rasaiti, and Carpaccio.
The features, extremities, and anatomy (when seen) are excellently drawn; the faces of the men are
characterized by a manly nobility of expression, and those of the women by much sweetness and grace. The
artist has felt himself at liberty to apply colour arbitrarily to his architectural accessories: there is little
attempt to be matter-of-fact in these aerial buildings,—they glitter with all the splendour of works composed
of the most precious stones and jewels, and when masses of colour occur in them, they are generally rendered
luminous by small bright dots on a darker ground of the same tint. In the draperies we remark two particular
kinds; the one black, which, lightened by some pattern, such as white stars, becomes of essential service as a
key and a contrast to the brighter colours; and secondly, a dark purple, which is of incomparable beauty, such
as may also be remarked in the Lucca window. As we have noticed in all the former examples, the lead
lines serve to give distinctness and force to the whole design; only a few of these lines being shown in the
lithographs, for reasons already stated.
The borders of both these windows are boldly designed and very effective, and serve to exemplify how
much labour is frequently wasted in the minute ornament we too often see in modern works in stained glass.
The figure of the Virgin and Child is much of the same character as the Saints, etc., in the windows of
the choir; but the ornamental accessories seem to indicate a somewhat later date. The armorial bearings
interwoven with the ornament, and seen on the shield, are those of the Strozzi family.
Central Italy is rich in works of this nature, and it appears extraordinary that more attention has not
been given to them. Amongst those which we have ourselves more particularly remarked, may be mentioned,