DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1401#0437
: .:
THE ILLUSTRATED EXHIBITOR.
333
11
SHAKSPERE AT THE COITUT OP QUEEN ELIZABETH. STAINED GLASS WINDOW.----BY E. BA1LLIE.
"We have purposely omitted previous mention of this
famous picture of Mr. Baillie. Like the Dante of Bertini,
it owes much of its beauty to enamel. Enamelling requires
a greater number of colours, and differs essentially from
the former process described. Orange, red, blue, rose
colour, &c, are used to produce the life-like effects of a
portrait; these colours being vitrified until they become a
portion of the glass on which they are laid, some of them
requiring to be burnt four or five times before the painting
is complete. The Italians have carried this art a step fur-
ther, by occasionally substituting portions of opaque in-
stead of translucent glass ; and the effect attained is equal,
if not superior, to an oil painting. It has been objected to
this picture, that " the light is made to appear as if thrown
upon the glass from within, instead of being transmitted
through it from without—the back-ground being, in ap-
pearance, not translucent at all, but a reflecting surface.
And, waiving this, is it not unreasonable to devote so
much labour and cost on a material so fragile, and, when
broken, so irreplaceable ? Stained glass, composed of
numerous pieces, may be partially broken, and easily
mended; not so this ambitious enamelling on large areas
of this brittle substance." "Without questioning the first
part of the objection—except to remark that the picture
is a treat to gaze upon in any light—we may question the
correctness of the writer in regard to the last, stained glass
being usually placed in positions which renders it not
liable to accidental injury. Mr. Baillie has, with the
m^mmm^*
THE ILLUSTRATED EXHIBITOR.
333
11
SHAKSPERE AT THE COITUT OP QUEEN ELIZABETH. STAINED GLASS WINDOW.----BY E. BA1LLIE.
"We have purposely omitted previous mention of this
famous picture of Mr. Baillie. Like the Dante of Bertini,
it owes much of its beauty to enamel. Enamelling requires
a greater number of colours, and differs essentially from
the former process described. Orange, red, blue, rose
colour, &c, are used to produce the life-like effects of a
portrait; these colours being vitrified until they become a
portion of the glass on which they are laid, some of them
requiring to be burnt four or five times before the painting
is complete. The Italians have carried this art a step fur-
ther, by occasionally substituting portions of opaque in-
stead of translucent glass ; and the effect attained is equal,
if not superior, to an oil painting. It has been objected to
this picture, that " the light is made to appear as if thrown
upon the glass from within, instead of being transmitted
through it from without—the back-ground being, in ap-
pearance, not translucent at all, but a reflecting surface.
And, waiving this, is it not unreasonable to devote so
much labour and cost on a material so fragile, and, when
broken, so irreplaceable ? Stained glass, composed of
numerous pieces, may be partially broken, and easily
mended; not so this ambitious enamelling on large areas
of this brittle substance." "Without questioning the first
part of the objection—except to remark that the picture
is a treat to gaze upon in any light—we may question the
correctness of the writer in regard to the last, stained glass
being usually placed in positions which renders it not
liable to accidental injury. Mr. Baillie has, with the
m^mmm^*