DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1327#0278
AN ILLUSTRATED CYCLOPEDIA OP'THE GltKAT EXHIBITION OF 1851.
AGRICULTURAL IMPLEMENTS.
anno the practice of many agricultural implement Linkers to
whole energy and skill to the perfecting of one or two parti-
lfinta or machines; hence, wo now find one firm celebrated for
her for chaffcutters, another for drills, S
c.; and tho excellent
9 practice arc cspeciallv observable in tin
case of the portable
of llessvs. Hornsby.
nt firm have paid great attention to the
'oustmeiiou of port-
gines, and have been tho winners of ma
v prices m oonioscs
v with other makers. Last year, and we
slieve on a previous
■rained the first prize from the Royal
\gricultural Society
and they moreovov again carried off a C
nincil Jlodal at, tho
passible result in t
V/o have engra.
fold, with one of
table feature in this engine is ihe placing tho cylinder
where it is kept hot, and all waste of heat prevented ;
lie, it is so arranged that the cylinder may bo got at
dssai-y, for repair, fcc.
) of this machine is highly creditable to tho Messrs.
iiig been nothing, perhaps, in this department superior
nils exhibit the result of study to produce tho best
.e best possible manner.
cd the engine as it is used in threshing in tho open
the excellent threshing-machines rondo by tho same
)[r Baddoloj
patters conn
ta design a oi
BADDBLBY'S 3?ARMEE'S FIRE-ENQIKE.
rrence of fires in the agricultural
has. led
tmoxton with a variety of
ig and escaping from fires)
' the requirements of the
lay move it from place to
THE ARTS OP DESIGN AND DECORATION.
STAINED A1SD PAINTED GLASS.
ing glass is lost in antiquity,
iparalivoly recent. Doubtlcsi
..riginally suggested tho idea ,
i earliest attempts
ad.u.valioi
Wfifi. AU tlio working parts are constructed to bear the roughest usage
"may meet with on a farm, and any farm labourer may bo taught in a few
minutea-how to use it. The valves are of metal, and not liable to derange-
.."''"': ''■;- should any obs-ruction occur, it can be removed instantly
^'^'■n: disturbing any of the working parts of tho engine. The branch-
!hed with a spreader, by means of which the water can bo
' 'ch is specially important in the event
i, the
y'-"Mt and, t
K-t to work, i
H than on
^'ii-w.v; ion.
i large
■hav-ricks, or v
mgiiio will thro
d the great r;
1 1)0 f.
ndn
i of I
. on. 'Hot the & t«
;'''!d;:->Ms tho iaot, that it will
^"P.nud for a variety of a«ri.
:.' ^-mgnishiu:; (lame. They
■'-;'!;--:^r. of Long-acre, whic
"w»ship anii pou0Vll| 0[,i(.i,.IlcVi
Worked by
It of water between 60 nud 60 feet iii
with which it can be brought up and
Kctfjol in grwtting the progress of the
araeter at an advanced stage of the
'ttto a ivamage to be derived from tlie
rally useful as a liquid manure forcing-
.il purpi^o-. as for the special object
onstrueted for tho inventor, by Sir.
i guarantee' for their oxcellent work-
^LTHUDOH the at
to pictorial purpos
of the Egyptians and
glass pictures; for, lu
of small pieces of glass of various colours, unitad by thin strips i
may still bo seen in old churches and cathedrals," The, first records of
Vectorial glass work extant date from about, the year S00, in the days of
Pope Leo III., whon so many magnificent ecclesiastical edifices wore
erected, commeneod, and designed,
Venieo was ehiefiy famous for tho manufacture of stained ghiss, the use
Of which was brought to high perfection with tho pointed stylo of architec-
ture, in England, Fine specimens of the art may be scon in York Minster
the collegiate halls and chapels, and especially in the chapel of King's
Collage, Cambridge. It is ovident that the art of painting on glass may be
divided into two perfectly distinct operation* ; firstly, the artistic design
with Reference to tho capacities of the materials ; secondly, the mechanical
or rather chemical preparation and (replication of the materials themselves.
Unliko most other descriptions oi' paiutiu;;, in which vegetable as well as
mineral colours arc freely used, glass requires ihe exclusive use of mineral
oolours. Tlio oxides ni' metals, such as gold, silver, cobalt, itc, arc chiefly
employed. These colours are, as it were, burnt into the glass. Some of
them, stain the whole substance, and are quite transparent; others mix
with a substance called (lux, and vitrify on tho surfaoo. These last are
more or less opaque or semi-transparent, according to the mode in which
they are applied.
Now, tho aneiouts being mora moderate in their demands on such a
means, were more primitive, and perhaps, more successful in their effects,
whilst, the moderns have progressed in an artistic point of view, but at the
expense of the transparency, breadth and simplicity, of their ancestors. As
a general rule, the modern paintings on gla.-.s are toe much paintings iu the
Strict sense of ihe v/ord, too ouaqtie in their shadows, and, in fact, too mil oh
shaded altogether. Whereas, painting on glass, io be really cll'ective, should
be almost entirely outline and colour, and as freo from non-transparent,
that is, black, shading as possible, for it must bo remembered that all non-
trausparont colour becomes mere neutral tint when opposed to light in a
window, and that tho depth of tlio tint is mainly regulated by its trans-
parency ; hence ihe somewhat muddy character of ihe majority of modem
paintings on glass. Where, however, the nature of the material is sacrificed
to real excellence in tho design, wo are inclined to make great allowances ;
but, unfortunately, cither most manufacturers of stained glass grudge tho
expense of employing competent ariists to draw for tbem, or artists of
merit consider it beneath their dignity, or, lastly, the patrons of the art
themselves regard it in too mean a light, and do not offer an adequate
remuneration for the production of sueii pain; lug on glass in their churches,
ftOu as we should desiro to see, and, seeing, to admire.
Yet thoro are plenty of young artists who would be glad to make coloured
designs for glass windows for a very moderate remuneration, and who are
perfectly capable of good composition, correct drawing, and judgment iu
the arrangement and distribution of the colours. Opon those more
especially, who, from the spur given to the art by the late Exhibition, may
speedily'bo called on to fulfil tho a bo vo requirements, we would impresB
the following suggestions, which we venture, with all humility, to advance
for tho guidance of adventurers in a new or revived domain of pictorial
creation. In the 'first place, it must be borne in mind that a stained glass
window is not a mere painting, but a means of aiinniting light, modified
and tempered, it is true, but still light, into the building io which itpertaius.
s> Hence an additional reason for the ail-imnoi'ianee of transparency in glass
Window-piotures. Secondly, it must be remembered that these pictures
are generally seen at a considerable distance: the re lb re, the boldness,
breadth, and, above all, tho harmony of the effect, is far more vital to its
Success than any minuteness of detail. Thirdly, it must bo invariably
present to the mind of the artist, that ho is not producing a work for
isolated exhibition, but is labouring in combination with the architect of
tho edifice which his design is to adorn, and with which it is expected to fill
in and harmonise—not to jar and contrast by painful and violent uses of
light and shadow, such as, wo are sorry to say, tho late collection very
plentifully offered. Actual white and black (that is. opaque shadow) ought
to ba almost entirely excluded from works of this kind. In a word, the
window ought never to lose for an Instant its character as a window, that
is. an admitter of hgbt, which is its absolute and u'stluvtie relation to the
Wails, columns, and domes of the building it illuminates.
It is certain that the practical art of {joining glass, which flourished in
Such perfection during the thirteenth century, has been in a great measure
lost, and, notwithstanding all the efforts of modern chemistry to equal and
surpass it in purity and brilliance of colour, it remains unrivalled. On the
other baud,puhiti»;i on glass, when carried out by artists such as form the
exceptions to tho strictures above made, is decidedly plumed much further
than iu former times, as far ns mere pictorial excellence is concerned.
Whether it has advanced in its legitimate mission, that of an harmonious
!
Mi
11: \
AGRICULTURAL IMPLEMENTS.
anno the practice of many agricultural implement Linkers to
whole energy and skill to the perfecting of one or two parti-
lfinta or machines; hence, wo now find one firm celebrated for
her for chaffcutters, another for drills, S
c.; and tho excellent
9 practice arc cspeciallv observable in tin
case of the portable
of llessvs. Hornsby.
nt firm have paid great attention to the
'oustmeiiou of port-
gines, and have been tho winners of ma
v prices m oonioscs
v with other makers. Last year, and we
slieve on a previous
■rained the first prize from the Royal
\gricultural Society
and they moreovov again carried off a C
nincil Jlodal at, tho
passible result in t
V/o have engra.
fold, with one of
table feature in this engine is ihe placing tho cylinder
where it is kept hot, and all waste of heat prevented ;
lie, it is so arranged that the cylinder may bo got at
dssai-y, for repair, fcc.
) of this machine is highly creditable to tho Messrs.
iiig been nothing, perhaps, in this department superior
nils exhibit the result of study to produce tho best
.e best possible manner.
cd the engine as it is used in threshing in tho open
the excellent threshing-machines rondo by tho same
)[r Baddoloj
patters conn
ta design a oi
BADDBLBY'S 3?ARMEE'S FIRE-ENQIKE.
rrence of fires in the agricultural
has. led
tmoxton with a variety of
ig and escaping from fires)
' the requirements of the
lay move it from place to
THE ARTS OP DESIGN AND DECORATION.
STAINED A1SD PAINTED GLASS.
ing glass is lost in antiquity,
iparalivoly recent. Doubtlcsi
..riginally suggested tho idea ,
i earliest attempts
ad.u.valioi
Wfifi. AU tlio working parts are constructed to bear the roughest usage
"may meet with on a farm, and any farm labourer may bo taught in a few
minutea-how to use it. The valves are of metal, and not liable to derange-
.."''"': ''■;- should any obs-ruction occur, it can be removed instantly
^'^'■n: disturbing any of the working parts of tho engine. The branch-
!hed with a spreader, by means of which the water can bo
' 'ch is specially important in the event
i, the
y'-"Mt and, t
K-t to work, i
H than on
^'ii-w.v; ion.
i large
■hav-ricks, or v
mgiiio will thro
d the great r;
1 1)0 f.
ndn
i of I
. on. 'Hot the & t«
;'''!d;:->Ms tho iaot, that it will
^"P.nud for a variety of a«ri.
:.' ^-mgnishiu:; (lame. They
■'-;'!;--:^r. of Long-acre, whic
"w»ship anii pou0Vll| 0[,i(.i,.IlcVi
Worked by
It of water between 60 nud 60 feet iii
with which it can be brought up and
Kctfjol in grwtting the progress of the
araeter at an advanced stage of the
'ttto a ivamage to be derived from tlie
rally useful as a liquid manure forcing-
.il purpi^o-. as for the special object
onstrueted for tho inventor, by Sir.
i guarantee' for their oxcellent work-
^LTHUDOH the at
to pictorial purpos
of the Egyptians and
glass pictures; for, lu
of small pieces of glass of various colours, unitad by thin strips i
may still bo seen in old churches and cathedrals," The, first records of
Vectorial glass work extant date from about, the year S00, in the days of
Pope Leo III., whon so many magnificent ecclesiastical edifices wore
erected, commeneod, and designed,
Venieo was ehiefiy famous for tho manufacture of stained ghiss, the use
Of which was brought to high perfection with tho pointed stylo of architec-
ture, in England, Fine specimens of the art may be scon in York Minster
the collegiate halls and chapels, and especially in the chapel of King's
Collage, Cambridge. It is ovident that the art of painting on glass may be
divided into two perfectly distinct operation* ; firstly, the artistic design
with Reference to tho capacities of the materials ; secondly, the mechanical
or rather chemical preparation and (replication of the materials themselves.
Unliko most other descriptions oi' paiutiu;;, in which vegetable as well as
mineral colours arc freely used, glass requires ihe exclusive use of mineral
oolours. Tlio oxides ni' metals, such as gold, silver, cobalt, itc, arc chiefly
employed. These colours are, as it were, burnt into the glass. Some of
them, stain the whole substance, and are quite transparent; others mix
with a substance called (lux, and vitrify on tho surfaoo. These last are
more or less opaque or semi-transparent, according to the mode in which
they are applied.
Now, tho aneiouts being mora moderate in their demands on such a
means, were more primitive, and perhaps, more successful in their effects,
whilst, the moderns have progressed in an artistic point of view, but at the
expense of the transparency, breadth and simplicity, of their ancestors. As
a general rule, the modern paintings on gla.-.s are toe much paintings iu the
Strict sense of ihe v/ord, too ouaqtie in their shadows, and, in fact, too mil oh
shaded altogether. Whereas, painting on glass, io be really cll'ective, should
be almost entirely outline and colour, and as freo from non-transparent,
that is, black, shading as possible, for it must bo remembered that all non-
trausparont colour becomes mere neutral tint when opposed to light in a
window, and that tho depth of tlio tint is mainly regulated by its trans-
parency ; hence ihe somewhat muddy character of ihe majority of modem
paintings on glass. Where, however, the nature of the material is sacrificed
to real excellence in tho design, wo are inclined to make great allowances ;
but, unfortunately, cither most manufacturers of stained glass grudge tho
expense of employing competent ariists to draw for tbem, or artists of
merit consider it beneath their dignity, or, lastly, the patrons of the art
themselves regard it in too mean a light, and do not offer an adequate
remuneration for the production of sueii pain; lug on glass in their churches,
ftOu as we should desiro to see, and, seeing, to admire.
Yet thoro are plenty of young artists who would be glad to make coloured
designs for glass windows for a very moderate remuneration, and who are
perfectly capable of good composition, correct drawing, and judgment iu
the arrangement and distribution of the colours. Opon those more
especially, who, from the spur given to the art by the late Exhibition, may
speedily'bo called on to fulfil tho a bo vo requirements, we would impresB
the following suggestions, which we venture, with all humility, to advance
for tho guidance of adventurers in a new or revived domain of pictorial
creation. In the 'first place, it must be borne in mind that a stained glass
window is not a mere painting, but a means of aiinniting light, modified
and tempered, it is true, but still light, into the building io which itpertaius.
s> Hence an additional reason for the ail-imnoi'ianee of transparency in glass
Window-piotures. Secondly, it must be remembered that these pictures
are generally seen at a considerable distance: the re lb re, the boldness,
breadth, and, above all, tho harmony of the effect, is far more vital to its
Success than any minuteness of detail. Thirdly, it must bo invariably
present to the mind of the artist, that ho is not producing a work for
isolated exhibition, but is labouring in combination with the architect of
tho edifice which his design is to adorn, and with which it is expected to fill
in and harmonise—not to jar and contrast by painful and violent uses of
light and shadow, such as, wo are sorry to say, tho late collection very
plentifully offered. Actual white and black (that is. opaque shadow) ought
to ba almost entirely excluded from works of this kind. In a word, the
window ought never to lose for an Instant its character as a window, that
is. an admitter of hgbt, which is its absolute and u'stluvtie relation to the
Wails, columns, and domes of the building it illuminates.
It is certain that the practical art of {joining glass, which flourished in
Such perfection during the thirteenth century, has been in a great measure
lost, and, notwithstanding all the efforts of modern chemistry to equal and
surpass it in purity and brilliance of colour, it remains unrivalled. On the
other baud,puhiti»;i on glass, when carried out by artists such as form the
exceptions to tho strictures above made, is decidedly plumed much further
than iu former times, as far ns mere pictorial excellence is concerned.
Whether it has advanced in its legitimate mission, that of an harmonious
!
Mi
11: \