Welsh Journals

The *Puritan iconoclasm of the Commonwealth was responsible for the destruction of much more, and the neglect and ignorance of later ages completed the work of destruction. But it has been surmised that neither the Ordinances for the destruction of super- stitious paintings in glass windows promulgated in the reigns of Edward Vi. and Queen Elizabeth, nor the work of fanatical civilians and Parliamentarian soldiers, were greater factors in the destruction of ancient glass, than the neglect of Stuart and Georgian days, or the restoring zeal of the last century. For the purpose of this paper, a short summary of the early methods employed in making windows and some account of the different stages in the development of the art might be of service. Those who look for fuller details should read F. S. Eden's "Ancient Stained Glass" in the Cambridge Manuals, Mr. De Courteur's "History of Winchester Glass," Dr. Nelson's book, already referred to, and Lewis Day's "Windows." Glass for the purpose of glazing windows was probably introduced into England in the 7th Century from France, but it was not till late Saxon or early Norman days that coloured glass was used. This coloured glass was obtained by the admixture of various metallic earths and minerals after being specially prepared by washing and drying with glass in its molten state. The crafts- man dipped in his blow-pipe and extracted a small quantity. This was blown into an oblong bubble, opened out flat and cooled. Only quite small sheets were thus made and the colours obtainable were very limited, chiefly ruby, blue, green and yellow. This glass was known as "pot metal" to distinguish it from "flashed" or coated glass which very soon began to be made. Pot-metal was in most instances too opaque to have much value for lighting purposes and the craftsman found that by first dipping his blow-pipe in ordinary white molten glass, and then in coloured, and blowing his bubble, he obtained a sheet of white glass coated with a thin layer of colour which not only had the advantage of being transparent, but also gave him a greater range of colours to work with. The next step was the discovery of a brown opaque pigment which was used for drawing designs or figures and for shading "I myself, coming into the Church at Hawarden, the morning after they (the Commonwealth, the soldiers) were there, found the Common Praver Book scattered up and down the Chancel. In the windows where there was oriental glass, they broke in pieces only the faces to be as frugal as they could they left sometimes the whole bodies of painted Bishops, though in their Rochets. But if there was anything in the language of the beast, though it be but an 'hoc fecit' or at the worst 'orate* it was dashed out."— (letter written by Capt. Harry Birch, Dec. 12th, 1643).