Corpus Vitrearum - Centre André Chastel

Résumés des communicationsmercredi 5 juilletagainst a grisaille background (Fig. 1), will be shownto depend for its creation on Charles Winston, AnInquiry into the Difference of Style observable in AncientGlass Paintings,especially in England ;with Hints on GlassPainting (Oxford and London, James Parker and Co.,1867). A panel in the Musée des Beaux-Arts,Montréal, depicting the Martyrdom of St Protasius(Fig.2), will be related to Eugène Hucher, Calques desvitraux de la cathédrale du Mans (Paris and Le Mans,1854-1864), N.-H.-J.Westlake, A History of Design inStained and Painted Glass,4 vols (London, 1879-1881)and to other works of stained glass, such as Léon-Auguste Ottin’s reconstitution of the oldest work ofFrench stained glass mentioned in documents, theMartyrdom of St Paschasius. And finally, twoKabinettscheiben in the Musée du Québec, QuebecCity (Fig. 3), will be related to cartoons illustrated inFr. Warnecke, Musterblätter für Künstler undKunstgewerbtreibende, insbesonders für Glasmaler(Berlin, 1880-1883).All of these instances show thatpioneering efforts to understand Pre-Modernstained glass resulted in « treatises » that not onlyilluminated the style and techniques of Pre-Modernstained glass but, like their medieval predecessors,were actively used in the creation of « Medieval »stained glass.A full realization of the various ways inwhich 19th century studies of stained glass wereused as treatises is necessary both to account for theoften very high-quality copies that found their wayonto the art market in the late 19th and early 20thcenturies, and also to explicate aspects of the contemporaryrestoration of Pre-Modern works.Fig. 2 Montréal, Musée des Beaux-Arts, Inv. no. 936.Dg.2 : Martrydom of StProtais, France, antiquarian, based on the 12th century panel of the Martyrdomof St Protais in Le Mans Cathedral.Fig. 3 Québec, Musée du Québec, Inv. no. 58.206 : Kabinettscheibe, Switzerlandor southern Germany, antiquarian after a cartoon by Hans Jakob Plepp ; ca. 1576.41