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The primary characteristics of early English glass are deep rich colours, particularly deep blues and ruby reds, often with a streaky and uneven colour, which adds to their appeal; their mosaic quality, being composed of an assembly of small pieces; the importance of the iron work, which becomes part of the design; and the simple and bold style of the painting of faces and details.
Second, as a result, the pointed arches of the windows could entirely fill the upper wall. Two very large rose window entirely filled the upper ends of the north and south transepts. The rebuilt abbey was consecrated in 1281. The design of the Sant-Denis window, created by the radiating stone mullions, later gave the new style its name ...
The style is probably most known for its emphasis on more glass being shown in the rose windows. Curvilinear style. Origin are from England. Compared to previous styles, the Curvilinear style is considered to be one of the more abstract, unconventional, design interpretations of the rose window. Example(s): Boyton in Wiltshire (13th century A.D.)
The designs are often sinuous, luscious and richly textured, making highly creative use of flashed glass and repetitive forms. Drifting clouds, sweeping draperies and angel's wings lent themselves to the art of the Aesthetes. The idiosyncrasies of Burne-Jones’ style make his windows particularly easy to recognise.
The upper windows are best seen from the opposite side of the aisle to the window viewed, but as they are taller than the lower windows they are harder to view. The circuit is clockwise, from the north side of the nave, the south transept, the choir, the apse, the north transept and finally the south side of the nave.
There was a great demand for stained glass. The designs for many windows were based directly on the work of famous engravers such as Albrecht Dürer. Original designs often imitate this style. Much 19th-century German glass has large sections of painted detail rather than outlines and details dependent on the lead.
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The vertical plan of early Gothic cathedrals had three levels, each of about equal height; the clerestory, with arched windows which admitted light on top, under the roof vaults; the triforium a wider covered arcade, in the middle; and, on the ground floor, on either side of the nave, wide arcades of columns and pillars, which supported the weight of the ceiling vaults through the ribs
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