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dow, are full length figures of the Redeemer, St. Peter, and St. Paul. The colours of their garments are equal to the best specimens of ancient glass : and the rich carmine, or imperial purple of our Saviour's vest, the artist informed the author of this work, had never been obtained in glass before. The drawing and colouring of the face, hands, and feet are infinitely superior to any thing ever executed in the times when this beautiful art was so much cultivated, and of which the ancient glass painters had but little con- . ception, their finest works being painted, in all that relates to flesh, on pieces of white or plain glass, with one tint of brown only, and at one firing; whereas this window has had four firings at a very high temperature, producing combinations of tints which even Albert Durer never attempted. An in. scription on the lower part informs us, that “This WindOW WAS GIVEN BY FRANCES SANDARS, FOR THE Ornament of this HOUSE OF GOD, 1836.
came to practise, the artists having been destroyed, all was dark; and even to this day the royal manufactory at Sevre has not regained its ancient reputation for the extraordinary superiority of its colours. In Saxony, however, where the horrors of the French revolution were not so destructive of the fine arts, there are artists still in possession of the secrets, and are using the very same materials to make coloured glasses which were used in the time of Albert Durer. The artist assured the author of this work that the purple and crimson tints, in the Owston window, were made of the purple oxide of gold. How then can we expect that, without a prospect of ample remuneration, men will devote their time and talents to work with such costly materials ?
The author of this topographical work hopes he may be pardoned if he reminds the lovers of this finest of all the fine arts in the county of Lincoln, that the Minster one of the noblest churches in Europe, affords an excellent opportunity for the extension of liberal patronage to the modern glass painter, inasmuch as most of the ancient glass has been destroyed; still sufficient remains to challenge a competition of skill, which I feel certain, under liberal patronage, like that of the bishops, and deans, and chapters of former times, would greatly surpass even the best productions of the ancient masters.
To those who, from laudable curiosity or from any higher motive, desire information as to the recorded theory and practice of the ancient glass painters, the following works will be most useful. M. Le Vicil, who was himself a descendant of a race of glass painters, published in folio, 1774, L'Art de la Printure sur Verre, et de la Vitrerie par Feu, M. Le Vicil. This book is in itself a little library of glass painting and glass painters, historical, theoretical, and practical. In the notes also numerous references are given to standard works in various languages upon the same subject. Observations on English Architecture, &c. the late Rev. James Dallaway, 8vo. London, 1806, v. section XI. p. 252 ; also Two Papers of Brogniart, published in the Philosophical Magazine, Vol. XIV. and XV.