DOI Page / Citation link:
https://doi.org/10.11588/diglit.1397#0200
PLATE 59.
A STAINED-GLASS WINDOW,
BY C. B. MAKECIIAL, JUN., METZ.
P
RIZE medals were awarded to Messrs. Marechal, father and son, for their stained glass
windows in the International Exhibition of 1862, " for the highest artistic and executive
merit, and the employment of a new process of ornamentation." Indeed, nothing can well be
conceived more rich, harmonious, and effective than the pieces contributed by them, from which
we have selected a large window, containing a representation of the blind Tobit, guided by his
wife Anna, going to meet his son, placed within an architectural composition in the Renaissance
style. The effect of light and shade and colour was exceedingly fine when the light was favourable.
Other very remarkable and highly artistic works by M. Marechal were, a great window repre-
senting the Glorification of Martyrs, destined for the cathedral of Metz; the St. G-eorge window,
one of three intended for Notre-Dame at Paris; and a life-size portrait of Rembrandt, very deep
and striking in its chiaroscuro. This piece belonged to the town museum of Metz, which city
may well be proud of having produced so worthy and distinguished an artist.
Mr. Sebastian Evans, in a critical descriptive notice of the glass at this Exhibition, which
appeared in the " Practical Mechanic's Journal," October, 1862, speaking of these works, says,
" It may be doubted whether any effect produced in these windows could not have been
produced equally well in oiled silk! " Mr. Evans, however, is a vehement opponent of the practice
of pictorial representation on glass, unless under certain assthetic conditions of his own, to disregard
which naturally excites his disapprobation. For our part, never have we been so impressed with
the glorious power of colour as when standing before some of those brilliant stained glass windows
of the 16th century, which are to be found in Italy and Holland especially, and to which these
windows of M. Marechal form noble pendants in a modified and probably higher style of art.
Indeed, we have often wondered how an artist could continue in the practice of oil-painting after
having seen the brilliant richness and life-like vividness of effect obtainable by a judicious combination
of stained and painted glass. If oiled silk or linen can produce such effects, by all means let us
adopt that system, which, in fact, was not unusual for windows of private houses during the
Middle Ages.
As regards the French exhibitors of stained glass generally, we must admit that they held
by far the highest and most important place in the Exhibition. Our own taste leads us to give
Messieurs Marechal the first post of honour. We nevertheless exceedingly admired the productions
of other French contributors. M. Oudinot's " Lazarus and Dives " was good in general tone and
carefully executed; his portrait of a gentleman, excellent in itself, appeared to suffer from a somewhat
over-florid and ornamental border of stained glass; his window, after the style of the 12th century,
was perfect as a specimen of reproduction. The same may be said of the glass of M. Ooffetier in
the Romanesque style. Didron's imitation of Romanesque and Early Pointed glass-work was
excellent as the mere close reproduction of a past style; his St. Cecilia was of a better class of art.
Lusson's " Godfrey de Bouillon going in procession to the Holy Sepulchre," and " Geoffroy of St.
Omer founding the Order of the Templars," were both of them remarkable for admirable drawing,
composition, and colour; his 12th century windows were also of great merit. Mcod, a pupil of
Paul Delaroche, had some Pompeian subjects and an excellent group after Perugino, the only fault
to be found in which was the too vivid yellow of the flesh-tints. M. Lafaye reproduced the style
of the Swiss and German glass of the 16th and 17th centuries with moderate success; the rich colours
and clever arrangement of the originals, generally small, have never yet been equalled, much less
surpassed. Laurent & Gsell, in their 17th century window, containing medallion, figure-subjects
from the history of Poland on a diaper ground, contributed a good example of the style. The
" Suffer little children to come unto me," and the " Samuel and Eli," by M. Bourgeois, of Rheims,
were by no means bad, the tone of colour in the last subject being very rich, though rather crude.
We could not praise the style adopted by M. Honer, of Nancy, although the manipulation was very
clever.
If the glass manufacturers of other countries are not too prejudiced or blind, they must
have learnt important lessons for their good from this section of the French exhibition.
\
A STAINED-GLASS WINDOW,
BY C. B. MAKECIIAL, JUN., METZ.
P
RIZE medals were awarded to Messrs. Marechal, father and son, for their stained glass
windows in the International Exhibition of 1862, " for the highest artistic and executive
merit, and the employment of a new process of ornamentation." Indeed, nothing can well be
conceived more rich, harmonious, and effective than the pieces contributed by them, from which
we have selected a large window, containing a representation of the blind Tobit, guided by his
wife Anna, going to meet his son, placed within an architectural composition in the Renaissance
style. The effect of light and shade and colour was exceedingly fine when the light was favourable.
Other very remarkable and highly artistic works by M. Marechal were, a great window repre-
senting the Glorification of Martyrs, destined for the cathedral of Metz; the St. G-eorge window,
one of three intended for Notre-Dame at Paris; and a life-size portrait of Rembrandt, very deep
and striking in its chiaroscuro. This piece belonged to the town museum of Metz, which city
may well be proud of having produced so worthy and distinguished an artist.
Mr. Sebastian Evans, in a critical descriptive notice of the glass at this Exhibition, which
appeared in the " Practical Mechanic's Journal," October, 1862, speaking of these works, says,
" It may be doubted whether any effect produced in these windows could not have been
produced equally well in oiled silk! " Mr. Evans, however, is a vehement opponent of the practice
of pictorial representation on glass, unless under certain assthetic conditions of his own, to disregard
which naturally excites his disapprobation. For our part, never have we been so impressed with
the glorious power of colour as when standing before some of those brilliant stained glass windows
of the 16th century, which are to be found in Italy and Holland especially, and to which these
windows of M. Marechal form noble pendants in a modified and probably higher style of art.
Indeed, we have often wondered how an artist could continue in the practice of oil-painting after
having seen the brilliant richness and life-like vividness of effect obtainable by a judicious combination
of stained and painted glass. If oiled silk or linen can produce such effects, by all means let us
adopt that system, which, in fact, was not unusual for windows of private houses during the
Middle Ages.
As regards the French exhibitors of stained glass generally, we must admit that they held
by far the highest and most important place in the Exhibition. Our own taste leads us to give
Messieurs Marechal the first post of honour. We nevertheless exceedingly admired the productions
of other French contributors. M. Oudinot's " Lazarus and Dives " was good in general tone and
carefully executed; his portrait of a gentleman, excellent in itself, appeared to suffer from a somewhat
over-florid and ornamental border of stained glass; his window, after the style of the 12th century,
was perfect as a specimen of reproduction. The same may be said of the glass of M. Ooffetier in
the Romanesque style. Didron's imitation of Romanesque and Early Pointed glass-work was
excellent as the mere close reproduction of a past style; his St. Cecilia was of a better class of art.
Lusson's " Godfrey de Bouillon going in procession to the Holy Sepulchre," and " Geoffroy of St.
Omer founding the Order of the Templars," were both of them remarkable for admirable drawing,
composition, and colour; his 12th century windows were also of great merit. Mcod, a pupil of
Paul Delaroche, had some Pompeian subjects and an excellent group after Perugino, the only fault
to be found in which was the too vivid yellow of the flesh-tints. M. Lafaye reproduced the style
of the Swiss and German glass of the 16th and 17th centuries with moderate success; the rich colours
and clever arrangement of the originals, generally small, have never yet been equalled, much less
surpassed. Laurent & Gsell, in their 17th century window, containing medallion, figure-subjects
from the history of Poland on a diaper ground, contributed a good example of the style. The
" Suffer little children to come unto me," and the " Samuel and Eli," by M. Bourgeois, of Rheims,
were by no means bad, the tone of colour in the last subject being very rich, though rather crude.
We could not praise the style adopted by M. Honer, of Nancy, although the manipulation was very
clever.
If the glass manufacturers of other countries are not too prejudiced or blind, they must
have learnt important lessons for their good from this section of the French exhibition.
\