File:Transactions of the Bristol and Gloucestershire Archaeological Society (1915) (14781562221).jpg

Identifier: transactionsofbr38bris (find matches)
Title: Transactions of the Bristol and Gloucestershire Archaeological Society
Year: 1915 (1910s)
Authors: Bristol and Gloucestershire Archaeological Society. cn
Subjects: Bristol and Gloucestershire Archaeological Society
Publisher: Bristol, Eng. : The Society
Contributing Library: Allen County Public Library Genealogy Center
Digitizing Sponsor: Internet Archive

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the crack followed the iron. He thentook the grozing iron, which should be a palm long and bentback at each end, and smoothed and fitted the piece to thesize and shape required. 1 Think of the time and patience required in the fourteenthcentury ; and remember that the glass was only made insmall pieces, was very expensive (about five shillings persquare foot), and being full of bubbles very difficult to cut.You can always tell glass which has been cut with a grozingiron. It has one edge fairly sharp, and the other looks as if amouse had nibbled it. Grozing is a good guide as to the ageof the glass. Having cut and grozed each piece he laid 1 For the work of Theophilus see Winstons Inquiry into theDifference of Style Observable in Ancient Glass Paintings (2nd ed.)(Part i., App. A., p. 351, where a translation of Book II. of the Schedulawill be found. The passage referred to is in Chap, xviii., p. 369. Seealso P. Nelson, Ancient Painted Glass in England (London, 1913), p. 37^ FIG .3 ■
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Diagram Illustrative of ths East Window or Gloucester Cathedral. 74 Transactions for the Year 1915. them out on his board, over his drawing or cartoon, withnails or pegs between them so as to allow for the core of thelead, and proceeded to paint his picture. He stained with yellow, where required by his cartoon,by painting the glass with a pigment (if I may use the word)made of silver (chloride, sulphate, or nitrate), usually onthe back or weather side of the glass, which produced thebeautiful varied yellow we have in our window. Generallythis yellow was lighter than the pot-metal, and varied inmany shades. For outlines the artist (and often the artist and workmanwere one person) used his leading. Really he drew in lead.This is well seen in the Golfer Roundel (63). The headbias gone, being replaced by much later and thinner whiteglass ; but so good is the drawing in lead that you feelthe man has his eye on the ball. In painting he used for his outlines and line-shading abrown enamel m

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