Identifier: stainedglassofmi00arno (find matches)
Title: Stained glass of the middle ages in England & France
Year: 1913 (1910s)
Authors: Arnold, Hugh Saint, Lawrence Bradford, 1885-
Subjects: Glass painting and staining -- England Glass painting and staining -- France Art, Medieval
Publisher: London, A. & C. Black
Contributing Library: Wellesley College Library
Digitizing Sponsor: Wellesley College Library

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e are other features—the complete absence of borders, the pedestals thatcarry the figures (which are first found at Wells),and the decoration of the quarries—which all indicatethe coming change. The quarries, where theoriginal ones remain, still have the trellis pattern,but instead of the continuous flowing pattern offoliage running through them each quarry has asort of star pattern in the middle of it, stainedyellow, a design much more common in thefifteenth than in the fourteenth century. Thisplacing of quarries at the foot of the windows andin the tracery has its origin, of course, in the oldfourteenth century arrangement of a horizontalstripe or stripes of figure and canopy work on aground of grisaille. The subject of the window is the enthronementof the virgin surrounded by apostles, saints, andangels; the same subject as that of the westwindow of York Minster which it was probably PLATE XXXVII PRIEST, FROM ACTS OF MERCY WINDOW, ALL SAINTS,NORTH STREET, YORK Fifteenth Century
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LATE FOURTEENTH CENTURY IN ENGLAND 201 meant to, and certainly does, surpass. The figuresthemselves, however, still suffer from the conven-tionahty and affectation of the period, and it wasnot for twenty years more that there was to be achange in that quarter as well. It was in 1380, or soon after, that new life came William ofinto the art through the piety and enterprise of ^^y^^^^^ o ^ -^ ^ and 1 nomas William of Wykeham, whose influence may be the Glazier.compared to that of Abbot Suger in the twelfthcentury, and the genius of his master glazier,Thomas. Of the latter we only know his namefrom the portrait of himself which he put in thewindows of Winchester College Chapel (now, alas !only modern copies of the originals), with theinscription Thomas operator ist. vitri, but hishand is easily recognizable not only at Winchester,and in the three original Ughts from thence now inSouth Kensington INIuseum, but in the glorious setof windows in the antechapel of New College atOxford. There

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