Glazier

“ One of the earlier operations of the glazier is to prime the sash, that is, to give it a coat of thin paint, for the purpose of making the putty adhere more firmly to the wood. He next takes the dimensions, in inches and eighths of an inch, of the groove or rebate in which each square of glass is to be fixed, and then proceeds to cut squares of those sizes from the semicircular pieces in his crate. ”

“ The early glazier, it was said, first blocked out his design according to his leading; here he begins with the bars. The iron framework forms, itself, in many of these windows, a quite satisfactory [Pg 125] pattern, and one which proudly asserts itself in the finished window. The designs of the period are not of course all equally ingenious. Sometimes, in order to strengthen a circle or quatrefoil of great size, the glazier, instead of breaking up the shape ornamentally as was the rule, merely supports it by cross bars ”

“ All wood that is to be painted requires before being primed to have the knots coated with knotting. When the priming is dry, the glass is cut and fitted into its place; each pane should fit easily with about 1⁄16th in. play all round. The glazier runs the putty round the rebates with his hands, and then beds the glass in it, pushing it down tight, and then further secures it by knocking in small nails, called glaziers’ sprigs, on the rebate side. He then trims up the edges of the protruding putty and bevels off the putty on the rebate or outside of the sash with a putty knife. ”

“ Of late years each country has been learning so much from the others that the newest effort is very much in one direction. It seems to be agreed that the art of the window-maker begins with glazing, that the all-needful thing is beautiful glass, that painting may be reduced to a minimum, and on occasion (thanks to new developments in the making of glass) dispensed with altogether. A tendency has developed itself in the direction not merely of mosaic, but of carrying the glazier’s art farther than has been done before and rendering landscapes and even figure subjects in unpainted glass. ”

“ In this lower tier there has been no attempt to [Pg 183] introduce figures, the glazier having contented himself with surrounding his grisaille by decorated borders. The only exception to this rule is where the triforium gallery passes below the lovely rosaces that decorate the transept ends—there, in each case, the row of ten lancets is filled, alas! with modern glass whose thin tones betray it at once. Fortunately one is too much absorbed in looking at the great roses above to notice them very intently. ”

“ Ouen (Rouen) and Evreux. This sudden revulsion did not appear in England where, indeed, there were no grounds for it, because, as we have just seen, the glaziers had already thoroughly grasped the need for, as well as the value of, light-admitting grisaille. That they thoroughly mastered the technique of uncoloured glass we will readily conclude from the splendid monuments to their genius in the “Five Sisters” at York, and the grisaille in the south transept at Salisbury, ideal glazing for a land of infrequent sunshine. ”

“ The smallness of the panels only increases one's sense of the size of the window and gives the glass a jewel-like quality. It is all a twinkle of beautiful colour. Neither have the repairs effected by the eighteenth century 233 glaziers hurt it much—pieces of clear coloured glass put in to fill up holes, and on which the glazier has usually scratched his name and the date with his diamond. ”

“ One should observe what an agreeable use is made of these small angels that people the traceries. The glazier has skilfully avoided the ugly effect which would have been produced had the white sheets of music or psalms been continued in a horizontal line around the chapel, and has so waved this white line up and down that it becomes as decorative as the labels so common in German glazing. This appearance of music on glass is rare in England and rarer still in France. ”

“ Early Assyrian faience, Della Robbia ware, the Maiolica of Spain and Italy, and the wares of Delft and Rouen are earthenwares coated with a tin enamel.
The silicious glaze here referred to is prepared by fusing silicious materials with soda or potash, and is known as Vitreous, or glass glaze. Plumbeous, or lead glaze, is produced by the addition of oxide of lead to the silicious glaze, rendering it more fusible, and still transparent. A white opaque enamel formed by using oxide of tin with the vitreous glaze, is termed Stanniferous, or tin enamel. ”

“ Of much the same character is the detail from Salisbury on page 117, which forms no part of a medallion window, but more likely of a tree of Jesse.
It was in this ornamental kind of design that the thirteenth century glaziers were most conspicuously successful. One no longer feels here, as one does with regard to their figure work, that they mean much better than their powers enable them to do. ”

“ Mediæval glaziers did not attempt anything like foliated ornament in leaded glass, and for good reason. In such work the difficulty of doing without lines detrimental to the design is greatly increased, whereas abstract forms you can bend to your will, as you can bend your strip of lead. The more natural the forms employed the more nature has to be considered in rendering them, and nature declines to go always in the direction of simple glazing. ”

“ A glazier came as soon as the weather permitted, who was carefully escorted through my chamber by Mrs. Clayton to ascertain the repairs to be made—a fresh-looking, white-aproned Irish lad, I remember (for a human being was a novelty to me then) , who found it necessary, in order to repaint the wood-work, to bear the sash away with him, leaving behind his tray of chisels and putty, and the light step-ladder he had brought with him on his shoulder, and on whose return I vainly waited as a chance for communication with the outer world. ”

“ It is principally used by glaziers for bedding and fixing sheets of glass in windows and other frames, and by joiners and painters for filling up nail-holes and other inequalities in the surface of woodwork. The oxidation of the oil gradually hardens the putty into a very dense adherent mass, but when it is required to dry quickly, boiled oil and sometimes litharge and other driers are used. ”

“ On coming to the strong sash-bars previously fixed, they temporarily removed them to allow the stage to pass. In this manner each stage travelled, uninterruptedly, from the transept to the east and west ends of the building, and the glaziers were enabled to follow up the previously-fixed work very closely. The average amount of glazing done by one man per day was fifty-eight squares, or about 200 superficial feet; and the largest amount done by any one man in a working-day was 108 squares, or 367 superficial feet. ”

“ The plasticity of clay and its hardening qualities under the influence of intense heat, its adaptability to the most refined and appropriate forms, its affinity for the beautiful glazes and enamels so often associated with pottery, and its splendid traditions of craftsmanship, of colour, form and decorations, so beautiful and varied in character,—all combine to invest the subject with a charm or fascination of its own. Intrinsically valueless in its natural state, it is capable of being rendered almost priceless by scientific workmanship and artistic skill. ”

“ In the 14th century, the English craftsman attained a thorough mastery over his materials, and consequently the type of ornament followed English contemporary architecture more closely.
To sum up, stained glass changed through the different periods from the rich coloured mosaic of the Normans—the equally rich coloured medallions and grisaille glass of the early Gothic—the decorated Gothic, with glass in lighter colours, and a prevalence of yellow stain, culminating in the later Gothic period, when largeness of mass, lightness, and silvery colour, were the characteristics. ”

“ This lustre was produced by exposing the ware to the action of smoke during the firing in the kiln; the smoke, being carbon in a highly divided state, reduces the metallic salts of the pigment or glaze, forming a thin film of metal upon the surface, the beautiful iridescent lustre resulting from the relative thickness of the film.
Castel Durante was frequently enriched, on white or grey borders, with delicate raised scroll-work in white slip or enamel, a process called “Lavoro di sopra bianco” or “bianco sopra bianco.” ”

“ The purity of glass, its adaptability to colour, and its remarkable ductility while hot for blowing, twisting or drawing into threads, differentiates it from all other materials and methods of treatment. Its tradition dates from the remote past, for glass-blowing is represented on the tombs at Thebes, B.C. 2500. It was also used in Egypt for vitreous pastes for bronze and gold cloisonné jewellery, and for the small bottles or Stibium, with chevron patterns, in yellow, turquoise and white on a coloured ground. ”

“ Stone-wares differ from earthenwares, owing to the presence of a larger percentage of silicia in the plastic material, which, being fired at a greater degree of heat, vitrifies the body or paste into a kind of glass, thus ensuring a closeness and hardness of material not possessed by ordinary earthenware. Stoneware is usually glazed during the firing by throwing common salt into the kiln, which being volatilized, re-acts upon the silicia in the body, forming with it a silicate of soda or glass, having a minute granular texture. ”

“ John Glazier, of Westminster, drew a petition to which he obtained about thirty signatures, and presented it to the Massachusetts Legislature, praying that honorable body to set off from the northwesterly part of Westminster, the west part of Ashburnham, the south portion of Winchendon, and the east part of Templeton, all in the County of Worcester, land enough for a Town. And in duty bound will your petitioners ever pray. ”

“ Hard porcelain is made from clays containing much aluminia and felspar or decomposed granite, having but little plasticity, which necessarily influenced the shape or profile of the vessel. The beauty of form, which is so typical of the Greek earthenware vase, is absent in porcelain, where the cylindrical or octagonal form is principally used. ”

“ GLASS with its depth and translucency, owes its intrinsic qualities to metallic oxides, such as cobalt, giving fine blues, silver, pale and deep yellows, pink from iron and antimony, and ruby from gold and copper, which also yields fine greens. ”

“ There is a very pleasant one east of the common, familiarly known by the name of Esq'r Glazier's hill, now owned by Capt. Joel Cowee. About one-half mile west of the common, is another, owned by Dea. S. W. Bancroft. Southwest of the common is one owned by William Lynde. In a south-east direction is one belonging to Dr. ”

“ Glass, or silicious glaze, is formed by fusing sand with an alkali—potash or soda. When to this is added the oxide of lead, transparent plumbiferous glaze is the result; and when to both of these oxide of tin is added, we have opaque stanniferous enamel. The glass and plumbeous glazes may be colored with a variety of other oxides, without losing their transparency.
When or where glaze was first applied to clay is not known. Like many other branches of knowledge and many nations, it has its roots in the East, but whether we are indebted for it to India, Egypt, or Assyria, cannot now be decided. ”

“ The principal objection to a hard refractory glaze, such as that so long in use at Sèvres, arises from the difficulty of properly incorporating the enamel colours with its body. The restriction of the number of pigments that can be employed, both under and on the surface of the glaze, in consequence of the high temperature at which the latter melts, is another drawback. The dulness, the ‘painted on’ look of so much of the decoration on European hard paste porcelain, is in great measure a consequence of the employment of a glaze that is only softened at a high temperature. ”

“ The first firing completed, the ware is said to be in the “biscuit,” and is then ready to be glazed. This matter of glazing is a very important one, and the success of the whole very largely depends upon the manner in which the operation is performed. To insure a successful result there must be the nicest adaptation of the materials composing the glaze to the body of the ware. The glaze for each kind of ware must be suited to its especial characteristics, and it can therefore be imagined that the number of glazes in use is very large. Each pottery has its own glaze and the variety is infinite. ”

“ The making of glazes is not often done by amateurs, and unless one is planning to start pottery-making as a business, and requires large quantities of glazes, it is best to buy them from a reliable dealer. They come in the form of powder—soft glaze, hard glaze, and stannifère, which is a hard glaze with some oxide of tin added, to make it opaque. The soft glazes are used on ware which fires at a low heat, and is therefore not durable. ”

“ Putting aside salt glaze we find a countless number of both lead and leadless glazes. They range from the thin silicious coating of the ancients up to the rich alkaline glazes of the Persians and Chinese; from the raw galena of peasant pottery to the rich Majolicas and fine hard glazes of modern commerce. Salt glaze is obtained by the vaporizing of salt inside the kiln at a great heat. The sodium oxide so formed combines with the silicates in the clay to form a very thin coat of refractory glass, intimately connected with the body. ”