Windows: A Book About Stained & Painted Glass. Lewis F. Day
panes of considerable size. Where pot-metal colour was used at all, it had of necessity to be surrounded with a leaden line; but within the area of the coloured mass the leading was usually in these upright and horizontal lines, and not at all according to the folds of the drapery or what not. If the glazier went out of his way to take a lead line round a face, instead of across it, that was as much as he would do; if it was merely the face of a cherub, however delicately painted, he would, perhaps, as at S. Jacques, Antwerp, cut brutally across it; and even where structural lead lines compelled him to use separate pieces of material, he by no means always took advantage of the opportunity of getting colour in his glass, but, as at Antwerp, contentedly accepted his rectangular panes of white, as something to paint on—to the exclusion of no matter how much light. It simplified matters, no doubt, for the painter thus to throw away opportunities, and just depend upon his brush; but it resulted at the best only in an imitation of oil painting, lacking the qualities of oil paint.
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