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20 THE DAILY TIMES-GAZETTE, Thursday, July 9, 1953 Stained Glass Window And Its Masterpieces By JEAN GALLOTTI | The magnificent and long-await- ed exhibition of stained glass win- dows has just opened for a per- iod of five months at the Pavillon de Marsan in Paris. The selection has been made from those windows which were stored away in ¥rance before the invasion and have not | yet been re-installed. The number | of these is still very great, and | though they no longer include | the windows of Chartres, Bourges, | Strasbourg and the Sainte-| Chappelle now restored, the absence of these outstanding | examples has not prevented the assembling of a collection of 63 panels of rare and notable bezuty, | never again to be brought together | and which, judiciously displayed | and illuminated, are not only a| cent.); the 'Crucifixion' from the church of Saint- Remi at Rheims (12th cent.); the great panel made up of 15 medallions of the "Stem of Jesse" from Saint-Etienne de Beauvais, a 14tR' century work of dazzling luminosity in which the skilled draughtsmanship, the pur- ety and vitality of color and the arnsparence of the glass represent the ultimate perfection of technical development. RARE EXAMPLE From a documentary point of view, such pieces as the "Head of Christ' from Wissembourg (11th cent.), the oldest fragment of stained glass decorated with fig- ures in France; or the *'ship" from the Palce of Jacques - Coeur at Bourges (15th cent.) a rare exam- ple for secular stained glass art; delight to the spectator but an in- | or again the miniature "Eve" (15th comparable lesson in the history of | cent.) from Bourges Cathedral, a art. nude figure no less exceptional in If these masterpieces could only | this branch of medieval art -- all be described, but it would be child- |these are priceless exhibits. ish to try. One could do no more| In the most comprehensive and than enumerate the gems of which [extremely well illustrated catal- | each one seems to be composed, |ogue compiled by Mr. Louis Gro- or talk of golden glory, radiance |decki, with a preface by Mr. and mystery, enchantment, delight | Verrier, Isnpector-General Of His- and mystical splendour, and yet torical Monuments, there is an give no idea of their actuality. It |abundance of information and scho- must suffice simply to mention a larly comment on the history of few: The 'Ascension' from Mans the stained glass window in the Cathedral (12th cent.); the 'Virgin |light of recent investigation, and Glorified" from Vendome (12th !of this exhibition itse'". This art is SALLY'S SALLIES h) & i Cope. 1953, King Features Syndicate, Inc., World rights reserded "How much meat do I have to buy, Mr. Schultz, to get some dog scraps for--{iree?" so particularly a part of French culture that in an international corpus now in preparation on the subject, France alone is to publish at least as many volumes as all the other countries of Europe put together. In the Roman period, when the windows of churches were small and few in number, the' glass panels were at first almost color- less, like those the Abbe Suger had installed at Saint- Dennis about 1145, of which some fragments still remain. But soon, as we can see from a medallion from the same basilica and of roughly the same date -- the "Martyrdom of Saint Vincent" -- they became richly colored and of very complicated | draughtsmanship. The glass, which {was then obtained by the fusion | of a mixture of sand and wood ash, was still very thick, often charged | with impurities and used only in small fragments. Nevertheless, the | effect produced by these transpar- ent pictures through which the sun- light filtered to lighten the dim church interiors seemed of such miraculous beauty that, to com- pensate for the reduced intensity of light caused by the colors, instead of going back to the use of clear effort to_construct bigger windows. According to Mr. Grodecki, this preoccupation must have had such an influence on the master build- | ers of the Gothic period that, 'far {from playing a complementary | part, the art of the stained glass | window was in active force in ar- | chitectural development." | And here the visitor has placed before him the proof that, even {in the 11th century, these windows were not, simplv mosaics of color- ed glass, but that all the pieces, however small, plain or colored, have, always been decorated, ex- (cept in uni-colored backgrounds, with paintings in fusible mineral powders traced on with a brush. THE GOLDEN AGE The 13th ceutury, with its style of architecture permitting the con- struction of large bays, was the golden age of the stained glass window. Scores of working studios, the investigation of whose history is only just beginning, were then flourishing throughout France. And the painter's art found its expres- sion more upon glass than upon walls and parchment. In the 14th and 15th centureis, the use of sod- wm as a substitute for the potas- sium of wood ash made it possibly to manufacture a much purer though more fragile glass, and re- finements in coloring and cutting encouraged the development of a more and more realistic style of representation. Finally, in the 16th century, with the Renaissance came the Italian influence. However, its ef- fect, upon the sptirit of the Middle Ages was not immediately felt. The traditional techniques still surviv- ed and developed, tending towards virtuosity in execution. This virtu- osity was carried to such a degree of excellence that artists like Ar- naud de Moles in Auch or the Leprince family of Beauvais, pro- duced transparent and luminous pictures of such perfect fidelity as to rival the canvases of the great- est painters of the day. The "Ery- threan Sibyl" of Auch Cathedral the characters in the 'Stem of Jesse' from Beauvais, "St. Anne and her Daughters" from the panels on view allow us to judge this art for ourselves with wonder | ___ and delight. For the moment, we set aside consideration of how far this new conception of the art of the stain- ed glass window has departed from the medieval view, with its host of masterpieces harmonizing perfectly with their Gothic arched settings. Now we see and pay homage to the talent of those ar- tists whose works, looked at in photographic reproduction, that is, reduced to their purely graphic qualities, will bear comparison wv An % % Z . ww PLUS YOU GET © SERVINGS IN EVERY 8 QT. BAG CRYSTAL CLEAR eae JACOBEAN TUMBLER N3-21 NO MORE BLEACHING Avoid 2 tiresome washday chores WITH NEW C New CHEER is really different . . . with a difference you notice the moment you open the box. It's BLUE! And new CHEER has an amazing new whitener we call "Blue-Magic"... not just an added bluing but a new whitening agent so effective youneverneed blue again! Cheer's exclusive whitening agent--*"Blue Magic" --means you can cut out two bothersome washday chores . . . bleaching (except for stubborn spots) and bluing! Cheer's magic blue granules billow up into oceans of snow-white suds . . . husky dirt-chasing suds that guarantee you the cleanest washes possible . . . without bleaching or bluing! P.S. Youll love CHEER for dishes. Gives oceans of white suds in a jiffy . . . gets glassware and dishes sparkling clean without wip- ing. Delightfully scented . . . and so gentle to your hands! IT'S © And it makes oceans of rich, white suds! heer TE WASHRAY EIUUE=RIAGIC CHEER GUARANTEES YOU THE CLEANEST, WHITEST _ WASHES POSSIBLE ~ Without Bleaching or Bling d a with the reproductions of the fin- est cuavasses of Raphael, da Vinci and perhaps El Greco, as in the Beauvais "Saint Francis of Assisi' These master artists in glass were painters that the history of art can- not fail to recognize from that date onwards. UNEXCELLED ARTISTS Indeed, this observation could apply with equal justice to the glass workers of the preceding cen- turies, who were not surpassed in color or draughtsmanship, either by the fresco painters, the minia- turists or the portrait painters of their time. "We must rewrite the history of painting in France', de- clares Mr. Grodeckip 'for these monuments, which are the most beautiful and the most numerous of the Middle Ages, are paintings on glass." Extraordinary movements indeed of which we can over-estimate neither the value nor the achieve- ments of their authors in over- coming the many difficulties of execution. The more we consider them the more their value grows in our eyes. It was perhaps a small thing to attempt and to succeed in making glass from sand and ashes. After that it had to rout a ball of incandescent molten | glass which he spun like a top, 'rolling the rod between his hands until. by centrifugal force the | ball flattened to a disc. But for | the splitting of the heavy plates | of glass thus produced, not having | yet discovered the use of the dia- | mond, they ran a red-hot iron {over the surface and cut them in this way. So cutting in itself | was a difficult art; and besides this there was the work of making | the leads with chisel and hammer. | As for the seeking out and use of coloring 'materials, firing them, { mounting the pieces, we can scare- icely imagine the dificulties. | As these primitive techniques |gav way to simpler and more ef- | ficient processes, the art of the | stained glass window became even | more closely akin to painting and fresco. And no distinction can be | made between them when once the master glass workers had per- | fected the means of manufacturing | lerge, perfectly transparent panes and immeasurably enriched their ' SCALDS + BURNS € | Dab on a paste of Baking Soda palettes. However, technical facili- ty proved fatal to artisitic value, and from the end of the 16th cen- tury the art of the stained glass window began to go into decline. It is the effect of a law common to most of the fine arts. Much might be said on the question. In a short article there is only space to recall that it is. a law which is permanent and unrelaxing. Mount Rainier in Washington state has 40 square miles of gla- ciers, more than any other U.S. DOUBLE DOSE MIDDLETON, N.S. (CP)--Light ning can strike twice, says Percy | Carrington. Two blasts within sec- 'wnds destroyed a water pump in 'his basement, blew out a fuse box and ignited furniture. MORE PRODUCTION SALTCOATS, Sask. (CP) -- The need for more sheep and better wool production was stressed by W. Bouchei, district agriculture representative, at a sheep-shearing demonstration here. Flock man- agement and parasite control also were urged. = ? Lr -- ~\_ HOT, TIRED FEET? Soothe them quickly and effectively. Get fast-drying Minard's Liniment--rub it on. Feel the coolness--get relief, guick! to be made into panes. To this end they blew through a tube damp cloth, 9 thick "cylindrical bubbles. hich | IS : Cl | | £73 | COW BRAND . 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