,transcriber's ,note3 ,inconsistent hyphenation and spelling in the original document have been preserved4 ,obvious typographical errors have been corrected4 ,italic text is denoted by underscores and bold text by equal signs4 ,,stained ,,glass ,,agents ,,america ,,the ,,macmillan ,,company #fd #ff ,,fifth ,,avenue1 ,,new ,,york ,,australasia ,,the ,,oxford ,,university ,,press #bje ,,flinders ,,lane1 ,,melbourne ,,canada ,,the ,,macmillan ,,company ,,of ,,canada1 ,,ltd4 ,,st4 ,,martin',s ,,house1 #gj ,,bond ,,street1 ,,toronto ,,india ,,macmillan ,,company1 ,,ltd4 ,,macmillan ,,building1 ,,bombay #cji ,,bow ,,bazaar ,,street1 ,,calcutta ,illustration3 ,,plate ,i ,,the ,,ascension ,,window1 ,,le ,,mans ,possibly ,eleventh ,century ,,stained ,,glass ,,of ,,the ,,middle ,,ages ,,in ,,england ,,and ,,france ,,painted ,,by ,,lawrence ,b4 ,,saint ,,described ,,by ,,hugh ,,arnold ,,adam ,,and ,,charles ,,black ,,soho ,,square,,london,,mcmxiii ,,preface ,the ,cathedral verger1 conducting his flock of tourists round the building1 while giving them plenty of really interesting and valuable information about it 7for the verger of to-day is a different man from his predecessor1 and is often very intelligent and well informed71 remarks briefly1 ,the glass is of the thirteenth century--or fourteenth or fifteenth1 as the case may be2 the procession gazes carelessly at it1 and passes on4 ,yet from out of that dazzling and glowing labyrinth of coloured jewels a past age is speaking far more articulately1 if one stops to unravel the message1 than ever in stone or wood1 and it is for those who can be induced to take that second look which will be followed by a third and a fourth and many more that ,i have written this book4 ,it is impossible in a book of this size to give an adequate review of all the important windows even within the limits of place and time which ,i have set myself4 ,i have therefore chosen for study certain typical windows in each century1 and have written about them some of the things which interest me and which1 ,i hope1 will interest others4 ,the work of the countries and period ,i have chosen is of course the most important of all4 ,there is beauty1 it is true1 in much ,renaissance work 7only a prig could resist the gaiety and charm of the windows of ,st4 ,vincent at ,rouen71 but it is for the most part beauty achieved in spite of1 and not through1 the material4 ,there is beautiful medival work in ,germany and ,italy1 but the ,germans1 till the ,renaissance1 clung to a rather lifeless and archaic convention1 and the ,italians were hampered by their greater knowledge of painting4 ,the art has found its noblest expression in the work of the great school which for nearly the whole of the ,middle ,ages was common to ,france and ,england4 ,there is especial reason why we ,english should study the work of our own medival glass painters4 ,they are the chief representatives of our primitive school of painting4 ,it is true that there are ,english manuscripts in the museums1 and there are the painted rood screens of ,norfolk1 including the superb example at ,ranworth1 and there is the portrait of ,richard ,,ii4 at ,westminster2 but of the painting which must once have covered the walls of our churches1 there is little left but patches of faded colour clinging here and there to the plaster1 and the occasional dim outline of a figure4 ,of our glass1 on the other hand1 in spite of four hundred years of destruction1 a considerable quantity remains1 and is worth far closer study than it has ever had4 ,i must gratefully acknowledge the help ,i have had from my brother1 ,mr4 ,t4 ,k4 ,arnold1 especially in writing of the ,canterbury glass of which he has made a very close study4 ,my thanks are also due to ,mr4 ,noel ,heaton for information on the chemical composition of glass4 ,the publishers are fortunate in having been able to reproduce1 for the illustrations1 the very beautiful coloured drawings of ,mr4 ,lawrence ,b4 ,saint1 which are now in the ,victoria and ,albert ,museum4 ,h4 ,a4 ,,contents ,,chap4 ,,page #a4 ,,the ,,making ,,of ,a ,,window #a #b4 ,,the ,,beginnings ,,of ,,stained ,,glass #aa #c4 ,,the ,,style ,,of ,,the ,,first ,,period #bi #d4 ,,twelfth ,,century ,,glass #da #e4 ,,early ,,thirteenth ,,century ,,glass ,,in ,,england3 ,,canterbury ,,and ,,lincoln #fg #f4 ,,thirteenth ,,century ,,glass ,,in ,,france3 ,,sens ,,and ,,chartres #he #g4 ,,other ,,thirteenth ,,century ,,windows4 ,,early ,,grisaille #aji #h4 ,,the ,,style ,,of ,,the ,,second ,,period #abc #i4 ,,early ,,fourteenth ,,century ,,glass ,,in ,,england3 ,,merton ,,college ,,and ,,exeter #aea #aj4 ,,fourteenth ,,century ,,glass ,,at ,,york #afa #aa4 ,,fourteenth ,,century ,,glass ,,in ,,france #ahc #ab4 ,,late ,,fourteenth ,,century ,,glass ,,in ,,england3 ,,transitional--,,gloucester ,,and ,,the ,,work ,,of ,,the ,,winchester ,,school #aie #ac4 ,,the ,,style ,,of ,,the ,,third ,,period #baa #ad4 ,,fifteenth ,,century ,,glass ,,at ,,york #bbe #ae4 ,,fifteenth ,,century ,,glass ,,in ,,france #bda #af4 ,,malvern ,,and ,,fairford #bea ,,index #bfg ,,illustrations ,,plate #a4 ,the ,ascension ,window1 ,le ,mans4 ,possibly eleventh century ,frontispiece ,,facing ,,page #b4 ,part of ,crucifixion ,window1 ,poitiers4 ,late twelfth century #h #c4 ,methuselah1 ,canterbury1 originally in choir clerestory4 ,twelfth century #af #d4 ,no in ,archa1 from the north choir aisle1 ,canterbury4 ,twelfth century #bd #e4 ,the ,entombment1 from the east window1 ,canterbury4 ,twelfth or early thirteenth century #cb #f4 ,scroll-work1 from the east window1 ,canterbury4 ,twelfth or early thirteenth century #dj #g4 ,border1 from the ,trinity ,chapel1 ,canterbury4 ,twelfth or early thirteenth century #dd #h4 ,border and ,mosaic ,diaper1 from the ,trinity ,chapel1 ,canterbury4 ,thirteenth century #dh #i4 ,western ,lancets and ,rose1 ,chartres ,cathedral4 ,twelfth and thirteenth centuries #ef #aj4 ,the ,big ,angel1 from the clerestory of the apse1 ,chartres ,cathedral4 ,thirteenth century #fj #aa4 ,david1 from the clerestory of the apse1 ,chartres ,cathedral4 ,thirteenth century #fd #ab4 ,amaury de ,montfort1 from the choir clerestory1 ,chartres ,cathedral4 ,thirteenth century #gb #ac4 ,the ,flight into ,egypt1 from the south aisle1 ,chartres ,cathedral4 ,thirteenth century #gf #ad4 ,work of ,clement of ,chartres in ,rouen ,cathedral4 ,late thirteenth century #hj #ae4 ,the ,flight into ,egypt1 ,poitiers4 ,late thirteenth century #hh #af4 ,heraldic ,panel1 from the clerestory of the nave1 ,york ,minster4 ,early fourteenth century #ib #ag4 ,details from windows in the north aisle of nave1 ,york ,minster4 ,fourteenth century #if #ah4 ,border and ,shields1 from ,peter de ,dene window1 north aisle of nave1 ,york ,minster1 with details from window in south aisle and sketch of clerestory window4 ,fourteenth century #ajd #ai4 ,st4 ,margaret1 west window of north aisle of nave1 ,york ,minster4 ,fourteenth century #ajh #bj4 ,st4 ,stephen1 from south aisle of nave1 ,york ,minster4 ,fourteenth century #aab #ba4 ,the ,nativity1 upper part of east window of north aisle1 ,all ,saints'1 ,north ,street1 ,york4 ,fourteenth century #abj #bb4 ,st4 ,john1 from east window of south aisle1 ,st4 ,martin's1 ,micklegate1 ,york4 ,fourteenth century #abd #bc4 ,st4 ,barnabas1 from clerestory of nave of ,st4 ,pierre1 ,chartres4 ,early fourteenth century #abh #bd4 ,st4 ,luke1 from choir clerestory of ,st4 ,ouen1 ,rouen4 ,fourteenth century #acf #be4 ,window with ,life of ,st4 ,gervais1 from south choir aisle1 ,st4 ,ouen1 ,rouen4 ,fourteenth century #adj #bf4 ,grisaille pattern and boss from ,plate #be #add #bg4 ,bosses1 from ,plate #be #adh #bh4 ,borders1 from ,plate #be #aeb #bi4 ,details1 from ,plate #be #afj #cj4 ,angels in canopy work of ,plate #be #afd #ca4 ,the ,annunciation1 from ,st4 ,ouen1 ,rouen4 ,fourteenth century #afh #cb4 ,window in ,st4 ,bartholomew's ,chapel1 ,st4 ,ouen1 ,rouen4 ,fourteenth century #agf #cc4 ,details1 from ,st4 ,ouen1 ,rouen4 ,fourteenth century #ahj #cd4 ,canopy1 from ,all ,saints'1 ,north ,street1 ,york4 ,fifteenth century #ahd #ce4 ,canopy1 from ,all ,saints'1 ,north ,street1 ,york4 ,fifteenth century #aib #cf4 ,nicholas ,blackburn and his wife1 from east window of ,all ,saints'1 ,north ,street1 ,york4 ,fifteenth century #aif #cg4 ,priest1 from ,acts of ,mercy window1 ,all ,saints'1 ,north ,street1 ,york4 ,fifteenth century #bjj #ch4 ,kneeling ,donors1 from ,acts of ,mercy window1 ,all ,saints'1 ,north ,street1 ,york4 ,fifteenth century #bjh #ci4 ,figure1 from ,visiting the ,prisoners1 in ,acts of ,mercy window1 ,all ,saints'1 ,north ,street1 ,york4 ,fifteenth century #bab #dj4 ,small ,figures in ,white and ,stain1 from ,all ,saints'1 ,north ,street1 ,york4 ,fifteenth century #baf #da4 ,heads1 from ,all ,saints'1 ,north ,street1 ,york4 ,fifteenth century #bbj #db4 ,head1 from ,st4 ,michael's1 ,spurriergate1 ,york4 ,fifteenth century #bbd #dc4 ,head1 from ,st4 ,michael's1 ,spurriergate1 ,york4 ,fifteenth century #bbh #dd4 ,head of an ,archbishop1 ,canterbury4 ,fifteenth century #bcb #de4 ,head of ,patriarch1 from window in south aisle of nave1 ,st4 ,patrice1 ,rouen4 ,fifteenth century #bcf #df4 ,head of ,st4 ,catherine1 from window above altar in north-west corner of ,st4 ,vincent's1 ,rouen4 ,fifteenth century #bdj #dg4 ,drapery from sleeve of ,virgin1 from west end of ,st4 ,vincent's1 ,rouen4 ,fifteenth century #bdd #dh4 ,angel's ,head1 from ,great ,rose ,window in north transept of ,st4 ,ouen's1 ,rouen4 ,fifteenth century #bdh #di4 ,angel's ,head1 from ,great ,rose ,window in north transept of ,st4 ,ouen's1 ,rouen4 ,fifteenth century #bef #ej4 ,the ,prophets ,joel1 ,zephaniah1 ,amos1 and ,hosea1 from the north aisle of the nave1 ,fairford4 ,late fifteenth century #bfj ,i ,,the ,,making ,,of ,a ,,window ,the making of stained-glass windows is one of the arts which belong wholly to the ,christian ,era4 ,its traditions do not extend back beyond the great times of ,gothic architecture1 and it is to the work of those times that the student must turn1 as the student of sculpture and architecture turns to that of the ancient world1 to learn the basic principles of the art4 ,in the ,middle ,ages stained glass formed an important part1 but still only a part1 of that interior colour decoration without which no church was considered complete2 but in spite of its fragile nature it has on the whole survived the attacks of time1 the fury of the ,puritan1 the apathy and neglect of the eighteenth century1 and the sinister energies of the nineteenth-century restorer better than the painting which once adorned the walls and woodwork1 and for this reason has come to be considered in these days as peculiarly appropriate to churches4 ,so much so1 indeed1 that whereas ,i have sometimes found in country parishes a certain amount of opposition to any attempt to revive wall-painting as savouring of popery1 no such feeling seems to exist with regard to coloured windows4 ,sidenote3 ,the process4 ,stained glass is not one of the arts in which the method of production reveals itself at the first glance4 ,indeed1 so few people when looking at a stained-glass window1 whether a gorgeous and solemn one of the thirteenth or fifteenth century1 or a crude and vulgar one of the nineteenth1 realize the long and laborious process by which the result1 good or bad1 has been obtained1 that a short description of that process as finally perfected some five hundred years ago may not be out of place here4 ,one hears it so often spoken of as painted glass--,mr4 ,westlake calls his book ,a ,history of ,design in ,painted ,glass--that it is not surprising that there should be a good deal of misconception on the point4 ,it must be clearly understood then that the colour effects which are the glory of the art are not directly produced by painting at all1 but by the window being built up of a multitude of small pieces of white and coloured glass--glass1 that is1 coloured in the making1 and of which the artist must choose the exact shades he needs1 cut them out to shape1 and fit them together to form his design1 using a separate piece for every colour or shade of colour4 ,in twelfth and thirteenth century windows many of these pieces are only half an inch wide and from one to two inches long1 and few are bigger than the palm of one's hand2 so the reader can amuse himself1 if he wishes1 in trying to calculate the number of pieces in one of the huge windows of this date in the ,cathedral of ,canterbury1 ,york1 or ,chartres1 and the labour involved in this1 the initial stage of the process4 ,when the window is finished these pieces are put together like a puzzle and joined by grooved strips of lead soldered at the joints1 just as any lattice window is put together 7and until glass was made in large pieces this was the only way of filling a window72 but before this is done the details of the design--features1 folds of drapery1 patterns1 and so on--are painted on the glass in an opaque brownish enamel made of oxide of iron and other metals ground up with a soft glass 7i4e4 glass with a low melting-point74 ,this is mixed with oil or gum and water in order to apply it1 and then the glass is placed in a kiln and fired till the enamel is fused on and1 if well fired1 becomes part of the glass itself4 ,this is the only painting involved in the production of a stained-glass window1 and its effect1 in the hand of an artist1 besides enabling him to express more than could be done merely with glass and lead1 is to decorate and enrich what would otherwise be somewhat crude and papery in effect4 ,sidenote3 ,the two parts of the process4 ,the process thus consists of two parts4 ,the cutting and putting together of the glass is called glazing1 and it is this that gives the window colour2 while the enamel work is spoken of as painting1 and gives detail1 richness1 and texture4 ,i shall presently show that the glazing and painting are really two separate crafts1 having separate origins and development1 and that stained glass as we know it1 or as it should be called in strict accuracy stained-and-painted glass1 is the product of their union4 ,there is another method1 far inferior in the beauty of its results1 by which pictures can be produced in glass1 which is to paint on white glass with transparent coloured enamels4 ,as1 however1 this method was not used till the seventeenth century1 and is now once more almost wholly abandoned1 it does not concern us here4 ,the softness of lead which makes it the only practicable metal for joining pieces of glass of complicated shapes1 has the disadvantage that a stained-glass window when leaded up has a considerable degree of flexibility1 and1 if held by the edges alone1 would be quite unable to resist the pressure of the wind1 which on a big window is enormous1--think of the power even of a fresh breeze on a boat's sail4 ,sidenote3 ,the iron-work4 ,it would not even be able to support its own weight for long1 and so it follows that it must be held up by a system of short metal bars fixed firmly into the stone-work4 ,naturally the design of the window must be so arranged that these bars either do not interfere with it or form an integral part of it4 ,in early windows1 especially those of the twelfth and thirteenth centuries and even to some extent in those of the fourteenth1 the bars are sufficiently important to form the governing factor in the design4 ,it must not be thought that stained glass loses in beauty by the presence of these black lines of lead and iron4 ,on the contrary it gains enormously4 ,large pieces of unrelieved colour in windows are thin in effect and trying to the eye1 which needs the continual contrast of the solid black of the lead all over the window to enable it to appreciate the colour and brilliance of the glass4 ,the painting when rightly used is directed to the same end1 for it may be said that the smaller and more divided the spaces of clear glass1 the more brilliant and jewel-like is the effect4 ,sidenote3 ,silver stain4 ,to the rule that a separate piece of glass must be used for every change of colour1 there are1 in later work1 two exceptions4 ,the most important1 which was discovered early in the fourteenth century1 is the use of silver stain4 ,it was then found that if white glass is painted with a preparation of silver--either oxide or chloride of silver will do--and then fired in the kiln used for the enamel painting1 it will be stained a clear and indelible yellow1 varying from pale lemon to deep orange1 according to the strength of the painting4 ,sidenote3 ,abrasion4 ,the other exception was ,abrasion1 effected by the use of what is called flashed glass4 ,flashed glass is glass so made that instead of being coloured all through1 it consists of a thin film or flash of colour on a backing of white4 ,with this glass it is possible to chip with a burin1 or grind away1 the coloured film in places 7we do it now with hydrofluoric acid7 so as to get white and colour on the same piece of glass4 ,illustration3 ,,plate ,,ii ,,part ,,of ,,crucifixion ,,window1 ,,poitiers ,late ,twelfth ,century ,in the ,middle ,ages only red and certain shades of blue were made in this way1 so the use of the process was very much restricted4 ,the invention of silver stain1 on the other hand1 by enabling the artist to decorate his white glass and make it interesting1 led him at once to use a larger quantity of white in his window1 and so1 as will be seen later1 had a considerable influence on design4 ,these1 however1 are the exceptions which prove the rule1 and1 broadly speaking1 a stained-glass window must consist1 to the eye1 of flat patches of colour1 large or small1 worked on with dark monochromatic line work and shading4 ,these patches of colour must each be separated from the next by a black line--the leading--varying from a quarter to half an inch in thickness1 and crossed at intervals by still thicker black lines--the iron bars4 ,sidenote3 ,limitations of the art4 ,it follows from this that anything like illusion is impossible in stained glass1 and no artist with any sympathy for the medium would attempt it4 ,unwise persons in decadent times have wasted much ingenuity in the endeavour1 but the result has always been disastrous and ridiculous4 ,apart from its higher mission1--the expression of ideas and emotions1--which it shares with every other branch of art1 the mission of stained glass is to beautify buildings and nothing else4 ,it is the handmaid of architecture1 and can only justify itself by loyal service of its mistress4 ,the ideal of the stained-glass artist must not be a picture made transparent1 but a window made beautiful4 ,let no one suppose1 however1 that the artist is hampered by these limitations on the higher side of his work4 ,on the contrary1 they set him free to tell his story his own way4 ,ruskin--poor ,ruskin1 out of date1 ridiculed1 forgotten--pointed out long ago1 in writing of ,giotto's frescoes1 the advantage which the pure colourist has over the chiaroscurist in his power of telling a story4 ,in our times the fact has been rediscovered with a flourish of trumpets by the ,post-,impressionists4 ,i have no great enthusiasm1 ,i confess1 for the way in which they have carried out their principles1 but ,i do know two perfect tellings of the story of the ,creation4 ,one is in mosaic on the ceiling of the narthex of ,st4 ,mark's at ,venice1 and the other is in the upper part of the east window of ,york ,minster2 and in each case the language used consists of flat forms and colour only4 ,,ii ,,the ,,beginnings ,,of ,,stained ,,glass ,i have said that stained-glass work is the product of the union of two crafts1 the glazier's and the enameller's4 ,the glazier's work being the groundwork of a window1 ,i will take it first4 ,sidenote3 ,glass-making4 ,what1 to begin with1 is glass8 ,it is sand melted and run together4 ,the best sand for the purpose is that which is most largely composed of the substance called silica1 such as sand formed of powdered quartz1 or flint4 ,for some reason1 the silica when melted does not recrystallize on cooling as might have been expected1 but forms an even transparent substance1 plastic while still hot4 ,think of the tremendous effect this one natural fact has had on the architecture1 dress1 and1 probably1 the physique of the nations of northern ,europe4 ,given sufficient heat1 glass can be made by this means alone1 but the heat required is so great that it has only been done in recent years for special purposes by means of the electric furnace4 ,failing this1 the sand must be induced to melt at a lower temperature by means of a flux1 for which either potash or soda may be used1 and to which lime or lead must be added1 to enable the glass to resist moisture4 7,theophilus1 describing the process in his ,treatise1 certainly no later than the thirteenth century1 recommends the use of beech twigs calcined in an earthen pot1 whence the name ,pot-ash47 ,sidenote3 ,colouring4 ,glass may be coloured or stained while in a molten condition by the admixture of various substances1 mostly metals1 gold1 copper1 manganese1 and so on1 the result depending on the temperature to which it is subjected and on the exact composition of the glass as well as on the colouring matter used4 ,sidenote3 ,blowing4 ,glass is made into vessels1 as most people know1 by blowing4 ,the workman takes a dab of molten glass on the end of a long metal pipe1 and putting his mouth to the pipe blows the glass--soap-bubble fashion--into a hollow bulb4 ,then by a rapid and dexterous series of alternate and repeated heating1 blowing1 and spinning1 and manipulation with tools1 most fascinating to watch1 he shapes it into the form required4 ,if a flat sheet be required for window glass it may be run out flat when liquid1 or blown as described above1 and worked into a cylindrical form1 split open1 and unrolled4 ,this is called muff glass4 ,but glass can also be formed1 by rapidly spinning it while soft1 into a large flat disc1 called a crown1 and is then known as crown glass4 ,it was by these last two methods1 the muff and the crown1 that all the material of the windows we have to consider in this book was made4 ,sidenote3 ,cutting4 ,when cold1 the sheet or disc of glass may be cut to the shape required1 either1 as in the old days1 by running a hot iron slowly along the proposed line of fracture1 in which case a crack will follow the iron1 or by scratching it with a diamond and then bending it so as to break along the line of the scratch4 ,the latter is a comparatively modern invention1 and has in its turn been superseded by the use of a little steel wheel with a sharp edge4 ,sidenote3 ,pliny's story4 ,pliny gives a story of the invention of glass which1 if false1 is still so picturesque that ,i cannot resist quoting it here4 ,a certain merchant-ship touched on the coast of ,syria1 and the crew landed near the mouth of the river ,belus1 on a beach of fine white sand which1 ,pliny says1 was still in his day of great repute for glass-making4 ,the ship's cargo consisted of natron1--a natural alkaline crystal which was much used in ancient times for washing1#a--;and the crew having lighted a fire on the sand used lumps of it from the cargo to prop up their kettle4 ,what was their surprise to find afterwards a stream of molten glass running down from their camp-fire4 ,in this case the natron acted as a flux and enabled the sand to melt in the heat of the camp-fire1 which1 however1 must have been a very large and hot one4 ,sidenote3 ,egyptian glass4 ,now1 whether this story is true or not1 it cannot have been the beginning of more than a local industry1 for the art of glass-making was known in ,egypt from very early times indeed4 ,its earliest use seems to have been in the imitation of precious stones1 and perhaps for this reason it seems from the first to have been made in colours as well as in white2 but the art of blowing it into vessels was certainly known in the fourth dynasty1 and in some of the paintings in the tombs the process is actually represented4 ,illustration3 ,,plate ,,iii ,,methuselah1 ,,canterbury1 ,,originally ,,in ,,choir ,,clerestory ,twelfth ,century ,it was not1 however1 till the first century of the ,christian ,era that any one seems to have thought of using glass to fill windows4 ,in ,egypt naturally the climate made it unnecessary1 and even in ,italy1 where it can be cold enough in winter1 civilization had evolved a style of architecture independent of glass4 ,sidenote3 ,roman windows4 ,nevertheless it was introduced in ,rome under the first emperors4 ,caligula had his palace windows glazed1 and ,seneca mentions it as one of the luxuries which had been introduced into life in his time1 but which did not really add to a philosopher's happiness4 ,its introduction was1 however1 very gradual1 and even two centuries later its use was still quoted as evidence of excessive luxuriousness4 ,remains of these ,roman windows have been found at ,pompeii and elsewhere4 ,at ,pompeii they are in the form of small panes of glass held1 in one case in a wooden1 and in another in a bronze lattice4#b ,it must be remembered that large panes were not available4 ,another method seems to have been to set panes of glass directly into small openings in stone-work4 ,when coloured glass was first used in windows we have no evidence to enable us to say4 ,as1 however1 the manufacture of coloured glass was already a flourishing art it cannot have been long before the idea came of using it to decorate windows4 ,sidenote3 ,st4 ,sophia4 ,whether the windows of ,st4 ,sophia at ,constantinople originally had colour in them or not1 is not quite certain4 ,that they were glazed we know1 from the description of the church by ,paul the ,silentiary1 an officer of ,justinian's court1 but his language about them is tantalizingly vague4 ,from his enthusiasm at the effect of the sunlight through them ,i am inclined to suspect that they were coloured1 though he does not definitely say so4 ,of this glass1 which seems to have been fixed in small rectangular openings in a slab of alabaster1 nothing1 ,i believe1 remains2 but similar work--coloured--is to be seen in other mosques1 the only difference being that the openings in the slab are formed into patterns and kept very small4 7,i have already mentioned the necessity1 when dealing with clear coloured glass1 of keeping the pieces small and contrasting them with plenty of solid dark47 ,sidenote3 ,mahommedan windows4 ,this was as far as stained glass in the ,east ever got4 ,the ,mahommedan conquerors seem to have taken the art as they found it1 and continued it down without much change almost to modern times4 ,their religion debarred them from any attempt to represent living forms1 so that the art as it stood sufficed for the needs of their architecture4 ,visitors to ,leighton ,house may see some of these pierced and glazed lattices from ,damascus1 and very beautiful they are4 ,in them the pieces are not much larger than a penny1 and are set in holes cut in plaster slabs1 bevelled on the inside1 the glass being set at the outer edge of the hole4 ,the glass is not really of very good quality1 but treated in this way even thin poor glass looks rich and jewel-like4 ,sidenote3 ,glass in the ,west4 ,what course the glazier's art first followed in the ,west it is impossible to say1 for nothing of it remains earlier than the eleventh century1 if as early4 ,nevertheless1 in spite of repeated barbarian invasions1 it seems never to have quite died out4 ,the ,church1 the refuge of the arts and civilization in the general debacle1 sheltered it1 and from being the luxury of the ,roman millionaire it became the ornament of the house of ,god4 ,from time to time we get allusions to glazed windows1 but never a description that can throw much light on their construction or design4 ,enough is said1 however1 to show that coloured glass was sometimes used4 ,for instance1 we read that ,st4 ,gregory of ,tours placed coloured windows in the ,church of ,st4 ,martin in that city in the sixth century4 ,one or two facts1 however1 lead me to think that whereas1 in the ,east1 glass was set in stone or plaster1 in the ,west it was usually set in metal4 ,at ,pompeii1 as we have seen1 panes of glass are set in a bronze lattice and fixed with nuts and screws4 ,as colour was introduced it is probable that from the necessity1 already spoken of1 of keeping the pieces small1 several bits would be joined together with lead to fill one opening of the rigid lattice1 and so patterns could be formed4 ,leo of ,ostia says his predecessor1 the ,abbot ,desiderius1 filled the windows of the ,chapter-,house at ,monte ,cassino in the eleventh century with coloured glass1 glazed with lead and fixed with iron2 and certain it is that the earliest existing windows consist of a large rigid lattice of massive rebated iron bars1 in which leaded panels have been placed separately1 and held there by light cross-bars passed through staples and keyed with wedges4 ,if this conjecture is correct1 we may assume that the art of the glazier had for some time been perfected1 and had progressed as far as was possible for it unaided1 when its union1 probably in the tenth century1 with that of the enameller gave birth to the art of stained-and-painted glass--that is1 stained glass as we know it4 ,sidenote3 ,the opaque enamel4 ,without the use of enamel the glazier's craft must always have been strictly limited to patterns in glass and lead1 or1 as we now call it1 plain glazing4 ,what was needed to convert it into the art as we know it was the addition of painting in the black or brown monochrome enamel described in the first chapter4 ,only one who has worked in glass1 and seen his work grow from a map-like combination of white and coloured glass to the finished glass painting1 knows the power the enamel gives him of controlling1 softening1 and enriching his effects of colour4 ,the power it gives of suggesting form is only one1 and not the most important1 of its functions1 and it was as vital to the work of the twelfth and thirteenth as of the fifteenth century4 ,with its introduction the glorious windows of the ,middle ,ages became possible4 ,exactly when and where the application of the enameller's craft to glass windows first took place it is impossible to say with certainty2 but there is some reason to suppose that it was in ,france1 and not earlier than the tenth century4 ,sidenote3 ,venetian enamellers4 ,enamel--the art of painting on metal with an easily fusible glass ground to powder1 which is then fused on to its groundwork in a furnace--was of ancient invention1 and had been carried to a high state of perfection in ,constantinople in the eighth and following centuries4 ,thence by way of ,venice it had come to ,france1 where a colony of ,venetian craftsmen had established itself before the end of the tenth century4 ,sidenote3 ,monkwearmouth4 ,france was already famous for its glaziers3 for instance1 when in ,a4,d4 #fhj the ,abbot1 ,benedict ,biscop1 glazed the windows of the monastery at ,monkwearmouth1 we read in ,bede that he sent messengers to ,gaul to fetch makers of glass 7or rather artificers7 till then unknown in ,britain4444 ,they came1 and not only finished the work required1 but taught the ,english nation their handicraft2 and it is probable that the ,french glaziers1 chafing under the limitations of their art1 called in the aid of the ,venetian enamellers4 ,it is noteworthy that no attempt seems to have been made to use transparent coloured enamel on glass4 ,that mistake was reserved for the decadence of the art seven hundred years later4 ,perhaps experiment convinced them that enamel colour could never hope to rival the depth and richness of coloured glass1 and the glazier would realize that what he wanted of the enameller was not colour but black1 to modify and enrich the colour which his glass already gave him in full measure4 ,in this book1 therefore1 the word enamel1 when used in connection with glass1 must be understood to refer1 unless coloured enamel is specifically mentioned1 to this brown opaque enamel or paint1 as glass-workers call it4 ,sidenote3 ,cloisonn4 ,but the enameller's art had another influence on that of stained glass4 ,a form of enamelling developed at ,constantinople and practised at ,limoges was that known as cloisonn4 ,in this1 narrow strips of metal are soldered edgeways to the groundwork and the spaces between are filled with differently coloured enamel1 the different colours being thus separated by strips of metal4 ,when the enameller's attention was first turned to glasswork1 in which different coloured pieces of glass were separated by strips of lead1 he must have been struck with the similarity of the two arts1 and have perceived that the style of design already developed in enamel could be applied with little change to glasswork4 ,this probably explains not only the apparently sudden birth of the art fully formed1 but the strongly ,byzantine character of the design in the earliest work1 the enameller's art having been brought1 as we have seen1 from ,constantinople by way of ,venice4#c ,what1 then1 is the oldest stained-and-painted glass in existence8 ,at ,brabourne in ,kent there is a small window1 of which a coloured tracing may be seen in ,south ,kensington ,museum1 which may belong to the eleventh century4 ,it consists of a simple pattern of white glass and leading1 with small pieces of colour inserted at intervals4 ,some of these latter1 however1 have been formed into rosettes of simple design by means of opaque enamel1 which is the only painting in the window at all4 ,whatever the actual date of the window1 ,i think it is not unlikely that it shows the manner in which enamel painting and glazing were first combined4 ,illustration3 ,,plate ,,iv ,,no ,,in ,,archa1 ,,from ,,the ,,north ,,choir ,,aisle1 ,,canterbury ,twelfth ,century ,sidenote3 ,early window at ,le ,mans4 ,almost the earliest glass1 however1 to which any date can be approximately assigned are the panels in ,le ,mans ,cathedral1#d which are illustrated by a sketch of ,mr4 ,saint's in ,plate ,i4 ,in a thirteenth century manuscript preserved at ,le ,mans it is recorded that ,bishop ,hoel1 who occupied the ,see from ,a4,d4 #ajha to #ajig1 glazed the windows of the ,cathedral with stained glass1 sumptuosa artis varietate1 and it is just possible that this glass1 which was found in #ahej scattered and glazed up among fragments of a later date1 may be part of the glass referred to4 ,it seems to have formed the lower part of a window representing the ,ascension1 and consists of figures of the ,virgin and the ,twelve ,apostles gazing up into ,heaven4 ,the arrangement is very simple4 ,there seems to have been little or no ornament in the window1 and the figures in white and coloured draperies1 standing on conventionalized hillocks which represent the top of the high mountain1 are relieved against a background of plain colour in alternate panels of red and blue4 ,in this window and for long afterwards the background represents nothing in nature1 but merely serves the purpose of throwing up and isolating the figures4 ,as the glass is not in its original position1 one can only guess at its original construction and design4 ,all early windows1 as ,i have said1 consisted of separate leaded panels inserted into the openings of a massive metal framework1 an arrangement which of necessity governed the design4 ,in this case one would expect the six panels1 with their differently coloured backgrounds1 each to have filled a separate opening in the framework4 ,if this is so1 however1 the panels must have been somewhat cut down1 since as at present glazed the limbs and drapery of the figures occasionally overlap into the neighbouring panels4 ,i think it very probable indeed that the glass has been so cut down1 and that the window at ,poitiers1 illustrated in ,plate ,,ii41 though of later date1 gives a true idea of the original relation of these panels to the iron-work4 ,it is probable too that the upper part of the ,le ,mans window was filled with a figure of the ascending ,christ on the same plan as that of ,poitiers4 ,it is1 indeed1 only fair to say that the ,poitiers window1 which is of the end of the twelfth century1 throws some doubt on the greater antiquity of that at ,le ,mans4 ,there is little or no ornament in the latter1 and perhaps there was never much1 though it may have once had simple borders between the panels and a rich border like that at ,poitiers 7not shown in the drawing7 surrounding the whole4 ,the technique followed in the painting is precisely that which obtained for nearly three hundred years after4 ,that is to say1 as far as possible the effect is obtained by glazing1 and the features and folds of drapery are put in with strong1 dark1 sweeping lines of enamel4 ,the style of the drawing1 however1 both in the figures and the drapery1 is perhaps more purely ,byzantine than any later work4 ,the sweeping lines of the drapery are graceful and decorative1 but the action of the figures is absolutely conventional4 ,there is none of that feeling for motion which1 expressed in line1 gives so much vigour and animation to the subject windows of the thirteenth century4 ,in colour1 however1 which after all is the most important thing in a window1 this glass is splendid1 and for the quality of the material and the way in which it has resisted the attacks of time it is superior to much glass of a later date4 ,,footnotes3 #a ,pliny's word nitrum does not mean what we call nitre1 which is potassium nitrate1 but natron1 or natural carbonate of soda1 of which deposits are found in the ,nile ,delta4 ,it is this that is meant in the passage in ,jeremiah3 ,though thou wash thee with nitre1 and take thee much sope4444 #b ,these panes are1 ,i believe1 of cast glass2 but ,i have seen ,roman window glass found at ,silchester that was obviously blown glass and of very good quality4 #c ,by some writers it has been claimed that the whole idea of stained-glass work was derived from cloisonn enamel2 but from the fact that the glazing of windows in glass and metal had been known long before1 ,i think the course of events ,i have suggested above to have been more probable4 #d ,there is some at ,augsburg and at ,tegernsee in ,bavaria which may perhaps be a little earlier1 but it is not certain4 ,,iii ,,the ,,style ,,of ,,the ,,first ,,period ,sidenote3 ,the three periods4 ,stained glass from its birth to the ,renaissance has been divided by ,winston into three main periods1 each having broad characteristics peculiar to itself1 and which he named after the corresponding architectural styles1 ,early ,english1 ,decorated1 and ,perpendicular4 ,as1 however1 these terms only apply to ,english work1 and as the architectural styles do not altogether correspond in date with those of the glass1 ,i prefer to speak simply of the ,first1 ,second1 and ,third ,period4 ,the ,first lasts from the earliest examples almost to the end of the thirteenth century1 and might be subdivided again into twelfth and thirteenth century work1 between which there is a distinct difference4 ,the ,second covers nearly the whole of the fourteenth century4 ,the ,third lasts down to the end of the fifteenth century1 by which time the influence of the classic ,renaissance began to be felt in glasswork1 but lingers on in belated examples well into the sixteenth4 ,between each of these periods there is a very short transitional period lasting hardly a decade1 and occupying the closing years of each century4 ,it must not be thought1 however1 that at any time design in stained glass stood still4 ,its history is rather one of periodic impulses1 due no doubt to the work of individual genius1 followed in each case by a long and gradual decline1 towards the end of which artists began to grow restless and feel about for new modes of expression1 and so prepare the way for the next impulse of genius4 ,sidenote3 ,the ,first ,period4 ,the broad characteristics then which distinguish the ,first ,period are-- 7#a7 ,its rich colour4 7#b7 ,its mosaic character4 7#c7 ,the importance of the iron-work and its influence on the design4 7#d7 ,the method of painting4 99 99 99 99 99 ,illustration3 ,,plate ,v ,,the ,,entombment1 ,,from ,,the ,,east ,,window1 ,,canterbury ,twelfth or early ,thirteenth ,century ,sidenote3 ,its rich colour4 7#a7 ,its ,colour4--,the colour of the glass in this ,first ,period is of a barbaric richness1 unequalled in the succeeding periods4 ,a very deep and splendid blue is used1 in contrast with the greyish-blue of later glass1 and it is of an uneven tint1 which greatly adds to its quality4 ,the ruby1#e too1 is often of a streaky character and of great beauty4 ,these two usually form the dominant colours in the window1 the greens1 yellows1 and purples being used rather to relieve them4 ,so much is the artist in love with his deep reds and blues1 which he nearly always uses for the backgrounds of his figures1 that he seldom insults them by painting on them except in so far as is necessary to the drawing1 reserving his enamel mainly for the decoration of his whites and paler colours1 keeping them in their places by a delicate fret of line and pattern work4 ,it is only towards the latter part of the period1 when the quality of the glass began to fail a little1 that he ever covered the whole surface of a blue background with an enamelled diaper1 to give it a depth and richness which was lacking in the glass itself4 ,except in the grisaille windows to be described later1 in which a definitely white effect is aimed at1 the amount of colour used in proportion to the white glass is considerably greater than in succeeding periods4 ,nevertheless the white is always present1 running everywhere among the colour like a silver thread1 relieving and beautifying it4 ,in fact it was not till modern times that any glass-worker ever thought he could do without it4 ,sidenote3 ,its mosaic character4 7#b7 ,the ,mosaic ,character of the ,glass4--,the designer depends for his effect primarily upon glass and lead1 and builds up his window out of tiny pieces4 ,he had learned the jewel-like effect this gave to his work1 and seemed to grudge no labour in it4 ,take1 for example1 the ,ark at ,canterbury in ,plate ,,iv4 ,where a fifteenth century painter would have been content to make the ark of perhaps only one piece of glass1 probably of white1 getting his detail in enamel and silver stain only1 our thirteenth century craftsman has used over fifty pieces1 purple1 blue1 red1 yellow1 green and white1 and that in a space less than a foot square6 ,he was a colourist par excellence1 and his waves1 too1 are blue1 greenish-blue and green1 with caps of white foam--all a mosaic of glass and lead4 ,from this dependence for its effect on the actual material used1 it follows that the work of no period is more easily damaged than this by so-called restoration4 ,the introduction of only half a dozen pieces of crudely coloured modern glass is often enough to upset the whole harmony of the colour and to make the window irritating instead of restful to the eye4 ,in ,france1 indeed1 so few windows of this period have been left unrestored that the period does not always get justice done it4 ,i doubt if many people honestly get much pleasure from the effect of the windows of the ,sainte ,chapelle at ,paris taken as a whole2 but if you notice how much of the original glass is in ,south ,kensington ,museum you will understand the reason4 ,sidenote3 ,the iron-work4 7#c7 ,the ,influence of ,iron-,work4--,the windows of this period consisted from the first1 as we have seen1 of separate leaded panels inserted into the openings of an iron lattice4 ,this lattice was formed of iron bars of a ,t shaped section1 the head of the ,t being outwards1 and having staples at intervals on the inner rib1 through which light iron bars were thrust and keyed with wedges1 to hold the glass in its place4 ,in the absence of any tracery to assist in the support of the glass1 this iron-work in large windows was of a massive character and could not be disregarded in the design4 ,in figure work there were two possible ways of dealing with it3 one was to make the figures so large as to be independent of it2 and the other was to make the figures so small that a complete figure-subject could be included in one opening of the frame work4 ,both these methods were used by the artists of the early period4 ,where the work is far from the eye1 as in the clerestory windows1 we usually find large single figures--far larger1 often1 than life--filling the whole window1 like the big angel from ,chartres on ,plate ,x4 and the smaller and older figure of ,methuselah from ,canterbury on ,plate ,,iii4 ,when1 on the other hand1 the work is near the eye1 as in the aisle windows1 they used the other method1 filling each opening of the iron-work with a small subject-panel like that of ,noah and the ,dove in ,plate ,,iv41 thus producing what is called the medallion window4 ,sidenote3 ,medallion windows4 ,at first the lattice work consisted merely of upright and horizontal bars4 ,these1 it is true1 sometimes1 as in the twelfth century window at ,poitiers in ,plate ,,ii41 were manipulated to fit the subject1 but more usually the subject fitted the bars4 ,sidenote3 ,bent iron-work4 ,in the earliest form of medallion window1 such as those in west windows at ,chartres and some of the earliest ones at ,canterbury1 the window is divided by the iron-work into a series of regular squares1 each of which alternately is filled with a square and a circular figure-subject4 ,later1 however1 in the thirteenth century1 the iron-work itself was bent into geometric patterns which the medallions were shaped to fit1 producing the elaborate designs shown in the insets of the whole windows in ,plates ,,iv4 and ,,viii4 from ,canterbury4 ,even when in the latter part of the thirteenth century there was a return1 prompted no doubt by motives of economy1 to iron-work composed of straight bars1 the influence of these elaborate lattices is still seen in the shapes of the medallions1 though these are no longer outlined by the iron-work which now passes across or between them4 ,an example of this is shown in ,plate ,,xiv4 from ,rouen ,cathedral4 ,sidenote3 ,the method of painting4 7#d7 ,the ,method of ,painting4--,this consists of vigorous line work in the brown enamel1 laid on with a brush in beautiful1 firm1 expressive strokes on a ground of clear glass4 ,lettering and patterns are formed by being scratched out clear from a solid coat of enamel4 ,there is no attempt at modelling in planes or at light and shade1 and half-tone is only used1 as ,i shall presently explain1 to soften the edges of the line work4 ,sidenote3 ,irradiation4 ,now the optical law which most affects the technique of stained glass is that of which the effect is known as irradiation4 ,in an unscientific work it is enough to say that it is the law which causes the filament of an electric light1 in reality thin as a hair1 to appear when incandescent as thick as a piece of worsted4 ,in the same way it makes the clear spaces of glass appear larger than they really are in proportion to the obscured parts1 and also tends to make them look rounded4 ,from the fact that the glass between the line work was left nearly clear1 the work of this period is more affected by irradiation than any other1 and the artist had to make his line work very black and thick in order to tell at all1 especially in work far from the eye4 ,for instance1 if he wished to distinguish the fingers of a hand he separated them with solid black spaces as thick as the fingers themselves4 ,sidenote3 ,the line work4 ,the glass between the line work is left nearly clear1 but not quite2 for if quite clear the intensity of the light would have bitten into the edge of the black line and made it appear what engravers call a rotten line1 or even be invisible altogether at a little distance4 ,therefore the painter softened the edges of his line work by one of two methods4 ,the first1 described by ,theophilus1 though ,i cannot say for certain that it has been used in any glass ,i have examined1 was to slightly smear the painting when wet with a soft brush4 ,the other1 which seems to have been more used1 was to edge the dark line work1 so to speak1 with fainter strokes in semi-transparent half-tone4 ,in work that was meant to be placed near the eye the line work is extraordinarily fine and delicate1 while in work that has to be seen from a distance1 such as the clerestory windows of a cathedral1 we find the whole scale of the execution increased4 ,lines are there used from half an inch to an inch thick1 but in every case the work is equally admirable for its precision and vigour4 ,sidenote3 ,the ,matt4 ,in the later periods the half-tone shading became developed into the matt or thin coat of enamel laid evenly all over the surface of the glass1 from which1 when dry1 the lights were brushed out and the line work became more and more delicate4 ,still1 as long as technique remained sound1 the strength of shading was really obtained by line work1 the matt or half-tone serving its true use in softening the light and making the line work visible4 ,renaissance glass painters1 in their efforts to produce the effects of oil painting in glass1 tried to get rid of the effect of irradiation altogether by dulling the whole surface of the glass1 with fatal results to the beauty of the material4 ,to sum up1 although the work of this period may suffer in popular esteem from the drawing being conceived in an archaic convention1--a convention different to our own1--and from having suffered from restoration1 the fact remains that at no time did the artist understand better the possibilities and limitations of his art and adopt a sounder technique in regard to them4 ,,footnote3 #e ,it seems to have been the practice of glass-workers in the ,middle ,ages to describe the different colours in glass by the jewel they most nearly resembled4 ,a survival of this at the present day is their universal habit of calling red glass ruby4 ,illustration3 ,,plate ,,vi ,,scroll-,,work1 ,,from ,,the ,,east ,,window1 ,,canterbury ,twelfth or early ,thirteenth ,century ,,iv ,,twelfth ,,century ,,glass ,the few examples ,i have mentioned are the only ones which can with any probability be dated from the eleventh century1 but of twelfth century work much more remains4 ,sidenote3 ,poitiers4 ,the window at ,poitiers in ,plate ,,ii4 shows little if any change in style from the ,le ,mans window in ,plate ,i4 ,it is still almost pure ,byzantine1 and if ,i were to judge by style alone ,i should place this window very early indeed4 ,a fragment of an inscription has1 however1 been found on it--,,dithanc 444 ,,blas1--which has been thought to mean that the window was the gift of one ,maurice de ,blason1 who became ,bishop of ,poitiers in #aaih4 ,if so1 and if we are right in identifying the ,le ,mans window with ,bishop ,hoel's glazing1 a whole century separates the two4 ,the probable explanation is that the ,byzantine style had lingered on in the south-east of ,france1 as it may well have done1 whereas north of the ,loire a school had by this time arisen1 and had been flourishing for many years1 which was producing work both in ,france and ,england of a very different and far more advanced character4 ,sidenote3 ,the school of ,chartres1 ,st4 ,denis1 and ,canterbury4 ,the twelfth and early thirteenth century windows at ,chartres1 ,st4 ,denis1 ,canterbury and ,sens show such resemblance to each other that there can be little doubt of their common origin4 ,as1 however1 their execution covers a period of at least seventy years1 one man cannot have been responsible for them all4 ,probably they represent the work of a group of men working together--perhaps never more than half a dozen at one time--under a master who was trained by his predecessor1 and who in turn would be succeeded in the leadership by the best of his pupils4 ,several of these masters in succession must have been men of genius1 and thus between them they evolved a style which1 carried on by a succession of lesser men1 governed design in stained glass for a century to come4 ,illustration3 ,,plate ,,vii ,,border1 ,,from ,,the ,,trinity ,,chapel1 ,,canterbury ,twelfth or early ,thirteenth ,century ,the rise of this school is the first of the periodic impulses to which ,i have referred1 and the work they produced was1 for its dignity and grandeur1 unequalled for two hundred years--if it has ever been equalled at all4 ,the figure of ,methuselah or ,matusale in ,plate ,,iii41 which is one of the few remaining of the original figures once in the choir clerestory at ,canterbury 7it is now in the ,s4 ,transept71 is a good example of their work1 and a comparison of it with the ,poitiers window 7which is actually later in date but in the older style7 shows the greatness of the change they effected4 ,the change is1 in fact1 that from ancient to modern art3 from ,byzantine1 the last lingering survival of the great classic tradition of ,greece1 to ,gothic1 the first expression of the art of the modern world4 ,who were these men and where did they come from8 ,some would have it that there was a great central school at ,chartres1 but there is little evidence for it4 ,when ,abbot ,suger built the great abbey of ,st4 ,denis1 which was dedicated in #aadb1 he filled it with glass1 painted1 says his secretary1 ,monk ,william1 with exquisite art by many masters of divers nations 7de diversis nationibus74 ,does this mean that some of them were ,english or ,germans1 or only men from other provinces than the ,ile de ,france8 ,no one can say2 but they must have been working together to produce the results they did4 ,one statement of the ,monk ,william's leads me to think that the work was done on the spot4 ,he says the work was very costly1 because they used sapphires to colour their glass4 ,now this is an obvious misunderstanding1 due to the practice1 in those days1 of describing coloured glass by the name of the precious stone it resembled1 and such a mistake is most likely to have been made in conversation with the artists themselves4 ,it is1 of course1 always possible that they had no permanent headquarters but took up their abode in whatever city their chief work was for the time being1 there erected their furnaces1 which the description of ,theophilus shows to have been simple affairs1 and remained there till their work was completed--which must have taken some years in every case--and then moved on to the next work4 ,much has been made of the fact that a window in ,rouen bears the signature of one ,clement of ,chartres1--,clemens vitrearius ,carnutensis me fecit1--but that window is a hundred and forty years later than ,st4 ,denis4 ,by that time the whole ,cathedral at ,chartres had been filled with glass1 a task which extended over thirty years2 and ,clement may well have learned his trade and passed from apprentice to master there4 ,no other artist of the school has signed his name anywhere1 nor has ,clement anywhere else4 ,one can tell pretty well the order in which the most important of their work which remains was done4 ,first ,chartres and ,st4 ,denis1--so near together that one cannot say which came first1--then ,canterbury1 ,sens1 and then back to ,chartres again1 where a fire had destroyed all but the west windows4 ,this1 however1 probably represents only a small portion of their labours1 of which the rest has disappeared4 ,for instance1 a few fragments set among later work in ,york ,minster have all the characteristics of this school2 and we know that ,prior ,conrad's choir at ,canterbury1 which was completed in #aacj and destroyed in #aage1 was renowned for the splendour of its glass1 which may have been their work too4 ,a window at ,le ,mans1 rather later than the one illustrated1 and which ,mr4 ,westlake thinks may be dated about #aabj1 shows signs of the new movement4 ,it consists of a series of subjects from the stories of ,,ss4 ,gervasius and ,protasius1 and already shows the arrangement of small medallions of simple shape1 surrounded by ornament filling the rectangular openings of the iron-work1 though from the fact that some of the medallions seem to have been cut down1 they are probably not in their original position4 ,in the drawing of the subjects the artist is breaking away from the ,byzantine tradition4 ,the new wine is bursting the old bottles4 ,he is a man in love with life1 and when he depicts a group of men stoning a saint he likes to make them really throwing1 and to show in their faces1 as well as he knows how1 that they are thorough ruffians4 ,next in antiquity to this window1 and some twenty or thirty years later 7#aadb-aaej71 come the earliest of the windows at ,chartres and at ,st4 ,denis4 ,sidenote3 ,chartres4 ,in the year ,a4,d4 #aacd a terrible fire destroyed the town of ,chartres and so damaged the west end of the ,cathedral that it had to be pulled down and rebuilt--a work which took some fifteen years to accomplish1 while the towers were not finished till twenty years later still4 ,the three windows over the west door were filled with glass some time between #aade and #aaej4 ,illustration3 ,,plate ,,viii ,,border ,,and ,,mosaic ,,diaper1 ,,from ,,the ,,trinity ,,chapel1 ,,canterbury ,thirteenth ,century ,sidenote3 ,the west windows4 ,in early times churches seem to have been peculiarly liable to destruction by fire1 owing perhaps to the number of wooden buildings by which they were surrounded4 ,the early history of every great cathedral is one of successive disastrous conflagrations1 after each of which the building rises once more1 larger and more splendid4 ,thus1 in #aaid1 another fire completely destroyed the whole of the ,cathedral with the exception of the newly built west end1 which included the three windows in question4 ,these escaped damage1 protected perhaps by the immense depth of their embrasures1 and still remain almost unimpaired to this day1 the largest and most perfect windows of their time that have come down to us4 ,in them one feels that the new movement has found itself and produced a great man4 ,two of them1 the central one1 which is the largest1 being some #cj feet high and #aj wide1 and that on the south1 are medallion windows1 containing scenes from the life of ,christ4 ,the bars of the iron-work1 which are about #c feet apart1 divide them into a series of regular squares1 which are filled with square and circular medallions2 in the central window the figures in the medallions are relieved against alternate backgrounds of ruby and blue4 ,the ruby of the twelfth and thirteenth centuries is a wonderful colour4 ,it is never of a perfectly even tint1 each piece having1 as it were1 its own character1 and the colour seems to have a slightly granulated or crumbly texture1 which gives it a quality unknown in later glass4 ,so beautiful was it evidently considered that the artist seldom or never attempted to enrich it with painting4 ,sidenote3 ,the ,jesse tree4 ,the third window1 that on the north1 is filled with a ,tree of ,jesse4 ,the subjects of stained-glass windows in this ,first ,period were chosen with one object--the exposition of the ,christian ,doctrine1 and of this the human descent of ,christ was an essential part4 ,accordingly1 at all periods in the history of medival stained glass we find windows devoted to the representation of the ,tree of ,jesse4 ,the arrangement is always the same as in this window at ,chartres4 ,the figure of ,jesse lies recumbent at the foot of the window1 and from his loins rises the ,tree--a mass of branching scroll work with conventional foliage1 spreading over the whole window1 carrying on its branches ,david and other human ancestors of ,christ1 and culminating in the ,virgin and ,christ ,himself at the top of the window4 ,on either side are ranged the ,prophets who foretold ,his coming1 and the whole1 surrounded by a rich border1 forms1 at ,chartres1 a mass of jewelled colour some #i feet wide and #be feet high4 ,this window and the one of which a part1 identical in design1 remains at ,st4 ,denis1 are the oldest examples ,i know of a ,jesse tree in stained glass1 and whether or not they were the first to be made1 their design formed a model for others for long after4 ,sidenote3 ,la ,belle ,verrire4 ,the remainder of the windows in the ,cathedral1 including the western rose1 are of the thirteenth century with one exception--the one in the south choir aisle1 which contains the great figure of the ,virgin known as ,notre ,dame de la ,belle ,verrire3 the only window1 as far as ,i know1 to which in former times people knelt by hundreds in adoration1 and before which they still occasionally burn a candle4 ,the ,virgin with the ,child on her knee sits enthroned in the upper part of the window1 and surrounded by angels1 on a much smaller scale1 incensing and holding candles1 while below are medallions illustrating the ,marriage at ,cana and the ,temptation4 ,the angels and the medallions are of the thirteenth century1 but the figures of the ,virgin and ,child with their background are almost certainly of the twelfth4 ,probably the veneration in which they were held caused them to be rescued from the fire1--hurriedly broken out1 perhaps1 from the surrounding glass1--and then reset in thirteenth century work after the ,cathedral was rebuilt4#f ,the ,virgin is dressed in a robe of pale greyish-blue1 of a colour one seldom sees in later work1 relieved against a background of deep ruby1 set with jewels of a darker blue4 ,the precision of the colour harmony is wonderful1 and no drawing ,i have seen of the window gives1 even in outline1 the beautiful poise of the head1 bent in gracious benediction4 ,although ,i have said that the workers of this school were breaking away from the ,byzantine tradition and looking at life with their own eyes1 yet it is never possible for men suddenly to produce work wholly independent of tradition1 even when they are foolish enough to try2 so we find in this case ,greek art1 through ,byzantine1 retains enough influence with these men to give to their work a dignity and restraint which is lacking in that of the thirteenth century4 ,this is very noticeable wherever one gets the two in close juxtaposition1 as at ,chartres and also at ,canterbury4 ,there is an impressive severity of design and a feeling for proportion in the figure of the ,virgin in ,la ,belle ,verrire which one misses in the surrounding work1 which1 though very beautiful1 is by comparison small and fussy in treatment4 ,sidenote3 ,st4 ,denis4 ,in the meantime1 in #aadb1 while the west front of ,chartres ,cathedral was still in progress1 the great ,abbot ,suger had finished the construction of his abbey of ,st4 ,denis1 near ,paris4 ,he was a great patron of the arts1 as well as a good man and the first statesman of his age1 and he seems to have spared no pains in the decoration of the church and especially in the filling of the windows with stained glass4 ,of this glass1 alas6 only the merest remnant is left1 consisting of several medallions and part of a ,tree of ,jesse4 ,they have been collected and placed in the chapels of the apse of the church1 embedded in garishly coloured ornament--the work of ,m4 ,grente1 acting under the orders of the great and terrible ,viollet-le-,duc--which effectually prevents one taking any pleasure in their beauty4 ,they are1 however1 very interesting to study4 ,whether or not they were done before or after the three windows at ,chartres it is1 ,i think1 impossible to say for certain4 ,the history of the two buildings shows that they must have been done within a few years of each other 7two of those at ,st4 ,denis contain figures of ,suger as donor1 and he died in #aaeb71 and they are certainly the work of the same school4 ,the ,jesse tree in particular is either a copy1 or the original1 on a smaller scale1 of the one at ,chartres1 being almost identical in design4 ,many of the medallions are interesting from their deeply symbolical character4 ,in one1 for instance1 is ,christ1 with the seven gifts of the ,holy ,spirit1 represented1 as in the ,jesse tree1 by doves1 each contained in a circle and connected with ,his breast by rays4 ,with ,his left hand ,he unveils a figure labelled ,synagoga1 and with ,his right ,he crowns another figure labelled ,ecclesia4 ,another very curious medallion represents the foederis arca1 ark of the covenant4 ,a figure of the ,almighty supports a crucifix which rises from the ark1--a square box on four wheels1--while round about are the four symbols of the ,evangelists4 ,the cross is thus shown as the symbol of ,god's new covenant with man as the ark was that of the old4 ,a quaint feature is that the artist1 while feeling that all four wheels had got to be shown somehow1 has been in some difficulty as to how to show the farther pair1 and has therefore placed them above the ark1 as if resting on it1 as an ancient ,egyptian artist might have done in his place4 ,in most of the medallions the teaching of the subject is emphasized and the application pointed out by rhyming ,latin hexameters1 doggerel in style and innocent of prosody1 such as3 ,quod ,moyses velat1 ,christi doctrina revelat4 ,the same feature is found in the glass at ,canterbury4 ,none of the verses are identical1 but the literary style is the same4 ,sidenote3 ,angers and ,chalons4 ,at ,angers there are some remains of twelfth century windows which are thought to be about the same date as those of ,chartres and ,st4 ,denis1 or even a little earlier1 and there are some at ,chalons1 but they cannot be dated with any exactitude1 and ,i have had no opportunity of examining them4 ,next after these in point of date should1 ,i think1 come the earliest of the windows at ,canterbury1 though nearly thirty years must separate the two4 ,sidenote3 ,fragments at ,york4 ,a few fragments in ,york ,minster1 however1 show where the artists may have been occupied meantime4 ,there are some scraps in the clerestory--scraps of a ,jesse window of which the details are almost identical with the ,st4 ,denis work--and a medallion representing ,daniel in the ,lion's ,den1 which is glazed into the foot of the centre light of the great thirteenth century grisaille windows in the north transept1 known as the ,five ,sisters4 ,it is a circular medallion filled out to a square form with ornament1 no doubt to fit a square of the iron-work1 and strongly resembles the ,st4 ,denis work4 ,sidenote3 ,canterbury choir4 ,of the stained glass of the twelfth and thirteenth centuries1 which was once the glory of ,canterbury ,cathedral1 only a remnant has escaped the zeal of the ,puritans4 ,the minister placed in charge of the ,cathedral under the ,commonwealth1 one ,richard ,culmer1 known to his enemies as ,blue ,dick1 though ,i do not know why1 relates with glee how he stood on a ladder sixty steps high with a whole pike in his hand and rattled down proud ,beckett's glassie bones4 ,i own ,i feel less resentment against ,blue ,dick1 who at least thought the windows important enough to smash1 than against that later vandal ,wyatt1 who in the eighteenth century sold the glass at ,salisbury for the price of the lead in it1 or those who even now in many places are letting old glass perish for want of proper care4 ,illustration3 ,,plate ,,ix ,,western ,,lancets ,,and ,,rose1 ,,chartres ,,cathedral ,twelfth and ,thirteenth ,century ,even ,blue ,dick seems to have tired of his pious labours before they were quite finished1 for1 of the early windows1 he has left us two in the north choir aisle1 and four in the ,trinity ,chapel east of the choir1 in which most of the old glass remains4 ,besides these there are many medallions and numerous fragments scattered about in other windows and embedded in the work of the modern restorer1 and several large figures from the clerestory1 of which the ,methuselah in ,plate ,,iii41 now in the south transept1 is one4 ,in the year #aagd1 four years after ,becket's death1 the splendid choir built by ,prior ,conrad in #aacj was completely destroyed by fire1 and the monks immediately set about building a new one4 ,gervase the monk has left a detailed account of the progress of the great work1 year by year and pillar by pillar1 for the space of ten years1 first under the ,french master-builder1 ,william of ,sens1 and then under his successor1 ,william the ,englishman 7little in body but in workmanship of many kinds acute and honest71 so that we know just when each part of the work was finished4 ,now in the spring of #aahj1 he relates1 the monks had a great desire to celebrate ,easter in the new choir1 and to gratify them the master1 by a special effort1 succeeded in getting the building finished and roofed in almost to the east end of the choir1 where he placed a hoarding to keep out the weather4 ,since we are told that in this hoarding there were three glass windows1 it seems reasonable to suppose that the other windows were glazed too4 ,now since both the windows in the north choir aisle and1 when in its original position1 the ,methuselah on ,plate ,,iii4 were well to the westward of the point at which the hoarding was erected1 ,i have no doubt that they were in position by this date1 in which opinion ,i am confirmed by the character of the glass itself4 ,that in the ,trinity ,chapel to the east of the hoarding would naturally be later4 ,the same arrangement seems to have been followed at ,canterbury as elsewhere of having large figures in the clerestory and small medallions in the lower windows4 ,the ,methuselah1 which seems to have formed one of a series of ,patriarchs1--of which three others remain1 which filled the windows in the clerestory of the choir1--is a particularly dignified figure1 and it is noticeable that the throne he is seated on is of somewhat the same type as that of ,notre ,dame de la ,belle ,verrire at ,chartres4 ,as in all windows of this date1 the flesh is executed in glass of a brownish-pink colour instead of white1 which later on became the rule4 ,this illustration shows very well the early method of painting4 ,where possible1 as in the rich blue of the background1 the glass is left quite clear4 ,the folds of the drapery and the features are drawn in sure and vigorous line work4 ,diaper is used very sparingly1 only when it is necessary to keep back and subdue a piece of glass1 as in the case of the green cushion to the throne and the border of the tunic4 ,if you can imagine the glass with these pieces left clear or with any other piece diapered1 you will see how unerring has been the artist's judgment4#g ,the letters of the inscription are scratched out of a dark ground of enamel4 ,this is the invariable method used in early glass1 which indeed is always 7except in grisaille1 of which more later7 conceived as a light design on a dark ground4 ,in the fifteenth century the reverse was the case1 and then we get inscriptions in dark lettering on a light ground4 ,the arched form of the top of the background shows how it once fitted a clerestory light1 though doubtless with a border1 and the space above has been filled with scroll work of1 ,i think1 the same date1 which may have come from some of the medallion windows in the choir aisles4 ,the two medallion windows in the north choir aisle formed part1 as we know from an old ,,ms4 still in existence1 of a series of twelve dealing with the life and parables of our ,lord4 ,in style they very closely resemble the ,st4 ,denis work1 perhaps a little further developed4 ,some of the medallions1 indeed1 are almost identical with those at ,st4 ,denis1 notably that of the ,magi on horseback following the star4 ,the figures are tall and dignified1 and both for drawing and decorative placing are far better than much work of the succeeding century4 ,the ,calling of ,nathaniel is a particularly good panel4 ,the westernmost of the two windows still retains the early arrangement found at ,chartres1 the iron-work consisting simply of straight bars dividing it into a series of regular squares1 which are filled alternately with circular and square medallions4 ,illustration3 ,,plate ,x ,,the ,,big ,,angel1 ,,from ,,the ,,clerestory ,,of ,,the ,,apse1 ,,chartres ,,cathedral ,thirteenth ,century ,the other one of the two has bent iron-work of a very simple design1 consisting simply of four circles connected by straight bars1 thus marking the transition from one form to another2 which is another reason for dating these windows between the west windows of ,chartres1 where the iron-work is all straight1 and those at ,sens1 where it is nearly all bent4 ,the small scale-sketch in the corner of ,plate ,,iv4 shows the arrangement of the iron-work and the medallions4 ,the panel of ,noah in the ,ark is from one of the semicircles on the left side of the window4 ,the spaces between the medallions are filled up with beautiful foliated scroll work1 on a ruby ground of the same character as that round the head of ,methuselah4 ,the arrangement of their subjects is so interesting1 forming one of the first and most complete examples of a type and antitype window1 that ,i shall describe it in some detail4 ,in each of these two windows the upper two-thirds1 or thereabouts1 of the glass is in its original position1 while the lower panels1 smashed by the pike of ,blue ,dick1 who seems at this point to have got tired of going up his ladder1 have been filled with subjects from other windows of the series4 ,down the centre run the subjects from the life of ,christ1 while on each side are the types or subjects from the ,old ,testament which illustrate it4 ,thus the westernmost of the two1 once the second of the series1 begins at the top with the ,magi following the star1 while on one side is ,balaam1 with the words of his prophecy1 ,there shall come a star out of ,jacob1 etc41 and on the other ,isaiah1 with the words1 ,the ,gentiles shall come to ,thy light1 and kings to the brightness of ,thy rising4 ,next below we see in the centre the arrival of the ,magi before ,herod1 illustrated on the left by the ,israelites coming out of ,egypt1 led by ,moses1 and on the right by the ,gentiles leaving a heathen temple containing an idol--a naked blue figure 7blue merely because the artist wanted some blue there71 and following ,christ1 by way of a font1 towards a ,christian altar1 while a demon above their heads urges them to return to the idol4 ,as at ,st4 ,denis1 each of the medallions has a ,latin rhyme attached1 explaining and enforcing the lesson4 ,here1 for instance1 it runs3 ,stella ,magos duxit et eos ab ,herode reduxit1 ,sic ,satanam gentes fugiunt te ,christe sequentes4 ,next we see the ,magi making their offerings to the infant ,christ1 on one side of which is the ,queen of ,sheba visiting ,solomon and on the other ,joseph in ,egypt receiving his suppliant brethren4 ,and so the series goes on4 ,the twelve windows when complete formed one of the most elaborate sets of types and antitypes known1 and included not only the life of ,christ but eight of ,his parables--for some reason a very rare subject in medival glass4 ,two panels of the ,parable of the ,sower--the seed falling among the thorns and the seed falling by the wayside--remain1 and have been used to fill up the gaps at the bottom of this window4 ,above is a curious subject--the ,church with the three sons of ,noah1 who hold between them the world1 divided into three regions4 ,from the ,,ms4 above mentioned we know that this was the type to the leaven which a woman took and hid in three measures of meal till the whole was leavened--an idea taken1 ,i think1 from ,st4 ,augustine4 ,the subject of ,noah and the ,ark from the other window was originally alongside the ,baptism of ,christ1 the purging of the world by the flood of waters serving as the type for the purging of the soul by baptism4 ,altogether as one studies these windows one is almost as much struck by the subtlety of thought and earnestness of the teaching they embody as by the glory of their colouring and grace of their design4 ,in one of the triforium windows is some glass which may perhaps be earlier even than this4 ,it consists of three medallions1 only one of which is at all perfect1 which seem to be part of a life of ,st4 ,alphege1 ,archbishop of ,canterbury1 who was martyred by the ,danes4 ,in the one perfect panel which represents the storming of ,canterbury by the ,danes1 the warriors wear the long coats of mail and kite-shaped shields of the ,norman period as shown in the ,bayeux tapestry1 and a ship in one of the other medallions is exactly like those in which ,william the ,conqueror and his knights are there shown crossing the sea4 ,the obscure position of this glass in the triforium is not where one would expect to find a window devoted to ,st4 ,alphege1 who before the death of ,becket was the most important saint that ,canterbury could boast2 it may be therefore that the medallions have been moved from elsewhere1 perhaps from ,archbishop ,lanfranc's nave1 or it may1 for all we can tell1 be some of ,prior ,conrad's glass that has survived the fire4 ,sidenote3 ,vendme4 ,of other twelfth century work there is not much in existence4 ,there is a ,virgin and ,child at ,vendme which somewhat recalls ,notre ,dame de la ,belle ,verrire but has none of her grace1 and ,i have already referred to the window at ,poitiers illustrated in ,plate ,,ii4 ,illustration3 ,,plate ,,xi ,,david1 ,,from ,,the ,,clerestory ,,of ,,the ,,apse1 ,,chartres ,,cathedral ,thirteenth ,century ,sidenote3 ,poitiers4 ,this remarkable and impressive window1 which is over #bf feet high and nearly #aj wide1 is one of three1 and occupies the central light of the ,cathedral apse4 ,the illustration does not show the whole of it1 for it is surrounded by a rich border1 which in its arrangement of alternate bunches of foliage and knots of interlaced work resembles that of the ,jesse ,tree at ,chartres1 and below the ,crucifixion is a four-lobed medallion showing the ,martyrdom of ,st4 ,peter1 and the donor offering a model of the window4 ,the design1 as ,i have said1 seems to show that the ,byzantine style had lingered on south of the ,loire1 where no doubt the influence of the ,limoges school would be strong1 and in view of this fact it is rash to take the age of the ,le ,mans ,ascension altogether for granted4 ,,footnotes3 #f ,some critics have thought the figure merely a copy from an earlier design1 but ,i cannot agree with them4 #g ,the little piece of white with yellow stain under the right toe is1 of course1 a fifteenth century scrap4 ,v ,,early ,,thirteenth ,,century ,,glass ,,in ,,england 7,,canterbury ,,and ,,lincoln7 ,in passing from the twelfth to the thirteenth century one notices a certain loss of the restraint and sense of proportion which gives such dignity and refinement to the earlier work1 but on the other hand a certain gain in vivacity and facility of expression4 ,the ,greek influence is dying out1 but the artists1 though with less sense of design than their predecessors1 were accomplished at story-telling1 in which1 however1 they seem less serious and more gossiping4 ,their figures are less tall1 and the lines of the drapery from being straight and severe become agitated and flowing4 ,sidenote3 ,the ,trinity ,chapel1 ,canterbury4 ,east of the choir in ,canterbury ,cathedral is the ,trinity ,chapel1 of which the building was finished in #aahe and to which the body of ,st4 ,thomas was translated with great pomp in the year #abbj and placed in a marvellous jewelled shrine1 the position of which can still be traced on the pavement by the hollow worn round it by the knees of pilgrims4 ,all around were gorgeous windows which1 with the exception of those in the little circular chapel at the east end1 known as ,becket's ,crown1 were filled with the stories of his posthumous miracles4 ,it is a little difficult to date these windows4 ,they cannot of course be earlier than #aahe1 but ,i do not think that any of them are much later than #abbj1 though from the fact that one of the medallions1 and one only1 contains a representation of the famous shrine--everywhere else it is the martyr's tomb in the crypt that is shown--the particular window containing it cannot have been executed before the latter date1 as the shrine would not have been in existence4 ,it may1 however1 have been done in that year4 ,this window and the one next it seem to me to be by an inferior hand1 and contain certain features not found in the others1 but common in later glass of the thirteenth century4 ,whether this represents a gap in the execution of the windows it is1 however1 impossible to say without the evidence of the windows which have been destroyed4 ,seeing that from #abjh to #abac the country was under an interdict1 the existence of such a gap would not be surprising4 ,none of the windows are entirely filled with their original glass1 but four of them are nearly so4 ,the gaps have been filled up with most ingenious imitations of the old glass1 executed from #ahec onwards by ,mr4 ,caldwell1 under the direction of ,mr4 ,g4 ,austin1 and so cleverly are they done that they are very difficult to detect by the eye alone4 ,i do not think that restoration of old glass1 by which is usually meant filling up or replacing it by imitation of the old work1 is ever justifiable1 but ,i am obliged to admit that1 if it ever could be so1 it has been justified here at ,canterbury4 ,i think there is not much doubt that in these four windows1 at least1 one can see the old glass better for the gaps being filled up with colour than if they had been left white4 ,the principle1 however1 is a bad one1 and ,i have seen little restoration elsewhere that did not disfigure the window4 ,fortunately a most indefatigable lover of stained glass1 the ,rev4 ,j4 ,g4 ,joyce1 has left a series of coloured drawings of the glass as it was in #ahda before restoration4 ,these and his manuscript notes are now in ,south ,kensington ,museum1 together with some coloured tracings by a ,mr4 ,hudson1 and enable us to trace what has been done4 ,from these we learn that in his time the place of the ,crucifixion in the east window was occupied by a figure of the ,virgin from a ,jesse window1 proving that there was once a ,jesse window at ,canterbury as well as elsewhere4 ,judging from the tracing1 the scroll work of the tree follows closely the lines of those at ,chartres and ,st4 ,denis1 but is a little more elaborate and very beautiful4 ,it seems to me more in keeping with the earlier than the later work at ,canterbury4 ,unfortunately no one seems to know what has become of it2 but ,winston who saw it1 quotes it in a lecture as some of the oldest glass in the country4 ,if the ,cathedral authorities have got it stowed away anywhere ,i hope they will some day place it in one of the empty windows where it can be seen4 ,illustration3 ,,plate ,,xii ,,amaury ,,de ,,montfort1 ,,from ,,the ,,choir ,,clerestory1 ,,chartres ,,cathedral ,thirteenth ,century ,sidenote3 ,the east window4 ,this east window1 which is in ,becket's ,crown1 is one of the best preserved1 only four or five of its four-and-twenty medallions being new4 ,it is an example of an arrangement of subjects which occurs also at ,bourges and at ,chartres1 and to which ,,pp4 ,cahier and ,martin in their work on ,bourges give the name of ,la ,nouvelle ,alliance4 ,it represents1 in fact1 the foundation of the ,church of ,christ1 as embodied in ,his ,passion1 ,resurrection1 and ,ascension1 in the coming of the ,holy ,ghost1 and in the reign of the ,son of ,man on high1 each subject being accompanied and illustrated by types from the ,old ,testament4 ,here1 at ,canterbury1 on one side of the ,crucifixion--which1 though new1 is doubtless a correct restoration as far as the subject goes--is the sacrifice of the ,passover1 and on the other is ,moses striking the rock in the desert1 from whence1 as from the side of ,christ1 gushes the life-giving stream4 ,above is the sacrifice of ,isaac2 and below1 the spies returning from ,eshcol carrying the great cluster of grapes--a type of the wine of the ,sacrament4 ,above this group come the ,entombment 7which is reproduced in ,plate ,v471 the ,resurrection1 the ,ascension1 the ,descent of the ,holy ,ghost1 and ,christ in ,glory1 each with its four types surrounding it4 ,the ,resurrection is modern1 and so is the ,escape of the ,spies and the ,majesty4 ,noah and his ,ark is a modern copy of the one in the north choir aisle1 but the rest of the panels are original4 ,the work seems to me fairly early in character1 but it is not so well drawn as that in the north choir aisle1 and there is not1 to me1 the same feeling for line in it4 ,it is1 however1 very beautiful1 and the whole window is a shimmer of iridescent colour4 ,plate ,,vi4 shows some of the scroll work that fills the spaces between the medallions4 ,sidenote3 ,the ,becket windows4 ,the windows in the ,trinity ,chapel itself are all devoted to the tale of the posthumous miracles of the ,blessed ,st4 ,thomas as related in the ,chronicle of ,prior ,benedict1 which affords a key to the pictures4 ,the ,chronicle is fascinating reading for the homely light it throws upon everyday life in ,england at the end of the twelfth century4 ,by its means we can trace in the glass the story of the little boy who fell in the ,medway while throwing stones at frogs1 three of which1 very large and green1 are shown in the glass2 of the workman ,william1 who was overwhelmed by a fall of earth while digging a conduit near ,gloucester2 of the physician of ,perigord and many others1 who were one and all restored to life and health through prayer to the ,blessed ,martyr4 ,there1 too1 is the tale of ,eilward1 whose eyes were put out by the magistrate for having1 when drunk1 broken into the house of ,fulk 7with whom he had quarrelled over a debt7 and taken a pair of hedger's gloves and a whetstone2 to whom ,st4 ,thomas1 who seems to have thought the sentence excessive1 appeared in a vision1 and with a touch restored his eyesight4 ,here1 too1 we see the awful vengeance of the saint on the knight1 ,jordan ,fitzeisulf1 who1 when his son was restored to life1 meanly neglected to make the offering he had vowed at the ,martyr's tomb4 ,three of the windows on the north side are fairly perfect1 and two on the south side contain many of their original medallions4 ,of those on the north1 one1 the sixth from the west1 is the best1 and might be by the same hand as the east window4 ,an interesting point about it is the border1 of which the design is identical with that of a window at ,sens which also deals with the history of ,st4 ,thomas ,becket4 ,as this window contains the story of ,jordan ,fitzeisulf1 ,i shall refer to it1 if ,i have to do so again1 as the ,jordan ,fitzeisulf window4 ,the other two1 the fourth and fifth from the west1 are1 ,i think1 by an inferior hand1 and contain1 as ,i have said1 certain features not found in the other windows1 but common in later glass of the thirteenth century4 ,one of them1 the fifth from the west1 is divided by the iron-work into four great circles1 each of which contains four pear-shaped medallions1 their points meeting in the middle4 ,the spandrils between them are filled with scroll work on a ruby ground1 not quite so good as those in the east window2 but outside the large circles--and this is the important point--the ground is filled in with a regular mosaic of little pieces forming a repeat pattern as shown in ,plate ,,viii4 ,this is the only instance at ,canterbury of this mosaic diaper1 as it is called1 which is so common in glass a little later1 and which from the fact that it could be done by the yard1 and if necessary by an apprentice1 was a much cheaper method of filling in a background than by scroll work1 which it soon completely superseded4 ,it is noticeable that it is this window which in its uppermost medallion contains the representation already mentioned of the famous shrine1 from which the saint is issuing and addressing a sleeping monk1 who is thought to be the ,prior ,benedict1 the chronicler of the miracles4 ,in all the other medallions of the series it is the tomb of ,st4 ,thomas in the crypt1 easily recognizable from the descriptions that remain1 at which the sufferers pay their vows1 so that it seems probable that the window was executed in1 or soon after1 the year #abbj1 in which the saint's body was removed to the shrine1 but while the memory of the tomb in the crypt was still fresh4 ,illustration3 ,,plate ,,xiii ,,the ,,flight ,,into ,,egypt1 ,,from ,,the ,,south ,,aisle1 ,,chartres ,,cathedral ,thirteenth ,century ,the other1 the fourth from the west1 has a very remarkable peculiarity1 very seldom met with in glass of the ,early ,period at all4 ,the blue background to the figures in the medallions1 which is of a paler and poorer quality than in the other windows1 is covered all over with a thin matt of enamel1 from which a delicate diaper pattern has been scratched out4 ,presumably the artist had for some reason been unable to get any more of the splendid deep blue glass1 and used this means to give richness and texture to his background4 ,the only other thirteenth century glass ,i know of in which at all the same thing has been done is at ,st4 ,urbain at ,troyes1 but that belongs1 ,i believe1 to quite the latter part of the century4 ,it was a common device in the fourteenth century1 but the patterns used then were of quite a different character4 ,sidenote3 ,lincoln4 ,except for the grisaille windows at ,york and ,salisbury1 the only other extensive remains of thirteenth century work in ,england are those in ,lincoln ,cathedral1 which1 however1 are little more than wreckage1 and consequently very difficult to date with any attempt at precision4 ,the only window in which any of the glass is in its original position is the great rose window in the north transept1 and even this1 though the original design can still be made out1 is much mutilated4 ,the lancets under the rose in the south transept and the east windows of the choir aisles contain a miscellaneous collection of medallions1 separated from their surrounding ornament and glazed in with remains of thirteenth century grisaille4 ,other medallions1 too1 have been used to fill gaps in the north rose1 and the south rose is filled1 with the exception of one light which retains its original fourteenth century foliage pattern1 with scraps of thirteenth century ornament of which the effect1 with the sunlight twinkling through1 is wonderfully beautiful4 ,the medallions are not1 ,i think1 all of one date1 which is not surprising1 for the filling of the windows of a big cathedral must always have taken many years4 ,the difficulty of dating them is increased by the fact that much of the painting does not seem to have been so well fired as at ,canterbury1 and in many cases has perished altogether4 ,this seems to have happened in recent years1 for ,mr4 ,westlake shows many details in his drawings of the glass which ,i cannot now distinguish4 ,where the painting remains we find that in a few of the medallions the drapery is drawn in the stiff manner of the twelfth and very early thirteenth century1 but in most of them the later more flowing treatment prevails4 ,in some1 too1 the blue of the backgrounds resembles that used at ,canterbury1 but in many1 and notably in the north rose1 it is of a purplish colour and much less agreeable4 ,in a few it is of quite a grey blue4 ,nowhere can ,i trace the same hand as at ,canterbury1 and the borders and ornament are quite different2 but that the artist had access to some at least of the same designs is shown by a medallion in the south choir aisle which represents ,noah receiving the ,dove1 and is practically a replica of the ,canterbury one in ,plate ,,iv41 with a boat-like hull added to the ,ark4 ,it is not1 however1 nearly so good4 ,according to ,mr4 ,westlake the work at ,lincoln strongly resembles that at ,bourges1 and to me it has something in common with that in the ,sainte ,chapelle at ,paris4 ,lincoln ,cathedral was not finished till after ,st ,hugh's death in #aaii1 so none of the glass can be older than that4 ,on the whole1 ,i think the bulk of the glass is a little later than any but the very last of the work at ,canterbury1 that it is by a different hand1 and shows less taste both in colour and design4 ,probably it was done between #abbj and #abdj4 ,sidenote3 ,the south rose4 ,i am confirmed in this view by the examination of the fragments which fill the great south rose1 which consist entirely of thirteenth century ornament and most probably once formed the setting of these same medallions4 ,a little of it is scroll work1 but the greater part is mosaic diaper of the kind shown in ,plate ,,viii41 and which is so characteristic of ,french work after #abbj1 whereas we only find it beginning at ,canterbury4 ,some of the medallions are1 however1 very interesting1 the best being those in which the drapery shows the earlier treatment4 ,in the north choir aisle is a good one of the ,israelites crossing a ,red ,sea of a fine streaky ruby1 and in the south choir aisle is one of ,st4 ,thomas ,becket being conducted to ,heaven by angels and carrying the damaged top of his head in his hands4 ,by a touch of realism both parts of his head have been made of glass that has slight ruby streaks in it1 giving it a gory appearance4 ,this is the earliest example ,i know of the deliberate use of an accident of colouring in the glass to produce a realistic effect4 ,illustration3 ,,plate ,,xiv ,,work ,,of ,,clement ,,of ,,chartres ,,in ,,rouen ,,cathedral ,late ,thirteenth ,century ,among the medallions which have been glazed into the north rose is one representing the funeral of ,st4 ,hugh of ,lincoln in #aaii1 the coffin being carried by three archbishops and three kings4 ,one of the kings was ,william of ,scotland1 and the other ,king ,john of ,england 7the only occasion on which ,i know of that monarch appearing in a pleasant light71 but the artist must have put the third king in for the sake of symmetry as there is no record of his presence4 ,a curious medallion in the south transept shows ,salome dancing before ,herod1 not in the languorous ,oriental fashion one would have expected of her1 but turning a somersault worthy of the music-hall stage1 with a lavish display of red stockings4 ,a similar treatment of the subject occurs at ,bourges1 and also in sculpture over one of the west doors at ,rouen ,cathedral4 ,sidenote3 ,the north rose4 ,the north rose still retains about three-quarters of its original glazing1 and enables one to make out the design4 ,in the centre is ,christ1 and in the four petal-like lights which surround ,him are1 or were1 figures of the ,blessed seated1 not in circles but in horizontal rows4 ,filling the spandrils between these lights are four trefoils1 of which two still each contain an angel swinging a censer1 in an attitude ingeniously fitted to the shape of the light4 ,outside these1 sixteen circular lights form a ring round the whole1 and once represented the ,second ,coming of ,christ4 ,at the top is ,christ seated on the rainbow1 and in two lights on either side of ,him are angels carrying instruments of the ,passion4 ,next come ,st4 ,peter and the other ,apostles1 six in one light on each side1 and below them1 in the lights level with the centre1 are the four archangels sounding trumpets4 ,the lower half of the circle was probably devoted to the resurrection of the dead and perhaps their judgment1 but of these only one light remains1 showing the dead rising from their graves1 the rest being filled with single figures from elsewhere4 ,the spandrils between these circles are filled with little triangular lights forming an inner and an outer ring of sixteen each4 ,of these the inner ring is filled with white wavy pointed stars on a red ground and the outer with similar red stars on a dark blue ground1 thus suggesting the idea--in colour alone1 without use of light or shade1 of light and warmth radiating from the centre4#h ,according to ,mr4 ,westlake the central ,christ has no stigmata1 while the one in the outer circle has them2 but the painting has now perished too much for me to see this even at close quarters4 ,his theory is that the centre represents ,christ as ,the ,word1--the uncreated ,wisdom1 as ,creator1 resting1--and the outer circle shows ,his last coming as ,judge4 ,,footnote3 #h ,were it not for the difference in the source of the light one would be reminded of ,kipling's lines3-- ,the first are white with the heat of ,hell and the second are red with pain1 and 444 ,tomlinson looked up and up1 and saw against the night ,the belly of a tortured star blood-red in ,hellmouth light2 ,and ,tomlinson looked down and down1 and saw beneath his feet ,the frontlet of a tortured star milk-white in ,hellmouth heat4 ,,vi ,,thirteenth ,,century ,,glass ,,in ,,france 7,,sens ,,and ,,chartres7 ,sidenote3 ,sens4 ,it was at ,sens that ,thomas ,becket took refuge during his exile4 ,his mitre and chasuble are still preserved there1 and the connection between the two places seems to have remained very intimate4 ,it will be remembered that ,william of ,sens was the first architect of the choir of ,canterbury1 and it is not surprising to find the resemblance between the cathedrals at the two places very marked indeed4 ,not only does one at once perceive the same hand in the architecture1 but what remains of the early glass at ,sens is quite incontestably the work of the same artist who gave us the east window and the ,jordan ,fitzeisulf window at ,canterbury4 ,sidenote3 ,the ,good ,samaritan4 ,there are four of these windows at ,sens1 all in the north choir aisle4 ,they have suffered a little from restoration but not very much4 ,their subjects respectively from left to right are1 the ,life and ,death of ,st4 ,thomas ,becket1 the ,story of ,st4 ,eustace1 the ,parable of the ,prodigal ,son1 and the ,parable of the ,good ,samaritan4 ,this last is another type and antitype window1 and corresponds exactly in the arrangement of its subjects with one of the lost windows in the choir of ,canterbury as described in the manuscript catalogue before mentioned4 ,the verses1 however1 which were in the ,canterbury window are omitted at ,sens4 ,to the medival mind the parable of the ,good ,samaritan was much more than a mere illustration of neighbourliness4 ,to them the man who went down from ,jerusalem--the ,city of ,god--to ,jericho1 was ,adam leaving ,paradise1 the thieves were the seven deadly sins1 the ,priest and the ,levite were the law of ,moses1 and the ,good ,samaritan was ,christ ,himself4 ,it is this reading of the subject which is here illustrated4 ,from the fact that at ,sens it is isolated1 while at ,canterbury it was1 as we have seen1 one of a series1 ,i think we may conclude that ,sens is the later of the two4 ,the drawing of the medallions resembles that of the older work at ,canterbury1 whereas the setting of them is a little later in character1 showing the beginnings of mosaic diaper4 ,it seems to me probable1 therefore1 that for the subjects the actual drawings from ,canterbury were used in a fresh setting4 ,we know from the ,treatise of ,theophilus that designs for windows at this time were drawn out in full size on whitened boards1 which also served apparently as the bench on which the window was put together4 ,not much would be left of the drawing when the window was finished1 and the bench would be re-whitewashed for the next window2 but from the fact that similar treatments of the same subject repeatedly occur1 it seems to me not unlikely that drawings of figure subjects for medallions were kept on separate sheets of parchment1 or in a book1 and used again4 ,illustration3 ,,plate ,,xv ,,the ,,flight ,,into ,,egypt1 ,,poitiers ,late ,thirteenth ,century ,to the scene of the ,good ,samaritan rescuing the traveller there are four scenes showing as a type the ,passion of ,christ4 ,of these the ,crucifixion is treated in the most striking and original way1 which ,i rather think occurs also at ,bourges4 ,on one side of the cross stands a female figure wearing a crown and with a nimbus1 and receiving in a chalice the blood which flows from the side of ,christ2 on the other1 a six-winged seraph is sheathing a sword4 ,the latter is1 no doubt1 a symbol of the peace made between ,god and man by the atonement on the ,cross1--,i think ,,pp4 ,cahier and ,martin identify him with the angel that guarded the gates of ,paradise1--while the crowned female figure is1 of course1 the ,church4 ,sidenote3 ,the ,prodigal ,son4 ,the next window1 containing the ,parable of the ,prodigal ,son1 differs from the others in having straight iron-work and a more formal arrangement of the medallions4 ,i do not think1 however1 that it is older4 ,one charming panel in it is a good illustration of the attitude of the artists of that day on the question of colour4 ,the ,prodigal ,son is feeding pigs1 of which one is white1 two blue1 one green1 and one red6 ,the next scene shows him making his way homeward1 undeterred by the efforts to hamper him of several devils as gaily and variously coloured as the pigs4 ,there is considerable dramatic power shown in this figure of the ,prodigal4 ,let no one call the drawing of this period bad drawing4 ,it would be as true to call ,japanese drawing bad4 ,it is drawing in a convention--a convention different from our own1 but which1 once mastered1 set the artist free to express action and emotion without being further hampered by technical difficulties4 ,sidenote3 ,the ,becket window4 ,of the other two1 the one dealing with the story of ,st4 ,thomas ,becket is the one which most reminds me of ,canterbury4 ,here there is no doubt that we have the same hand that gave us the ,jordan ,fitzeisulf window there4 ,the border is identical1--an unusual thing at that time even in the same church1--and the representation of ,becket's tomb in the crypt is precisely the same4 ,sidenote3 ,the story of ,st4 ,eustace4 ,i am less certain about the ,st4 ,eustace window4 ,its general effect is very different from the others1 being flatter and less sparkling2 but this may be due to the work of a restorer4 ,the figures1 however1 do not fit and decorate the medallions as well as in the other windows or in those at ,canterbury2 in many cases part of a figure has to project into the border4#i ,the medallions themselves1 too1 are of rather awkward shapes1 and the design of the iron-work not very restful4 ,the scroll work1 however1 is very like that in the east window at ,canterbury--so like that one can hardly doubt their common origin4 ,it may be that here1 too1 the artist has used some one else's figure designs1 less successfully than in the ,good ,samaritan window4 ,there is a ,life of ,st4 ,eustace at ,chartres in which the scenes bear a general resemblance to those at ,sens1 but decorate their spaces much better4 ,to sum up1 ,i think that these windows at ,sens1 with the possible exception of the ,life of ,st4 ,eustace1 are the work of the same artist as the ,jordan ,fitzeisulf window and the east window in ,becket's ,crown at ,canterbury2 that in the ,good ,samaritan window he was using the cartoons of his master1 who designed the windows in ,canterbury choir1 of which two1 as we have seen1 remain4 ,he may have come from ,canterbury at the time of the interdict in ,king ,john's reign 7#abjh-abac71 when all work there must have been suspended1 and not returned1 leaving another to finish the work after the interdict was removed4 ,it would be a very probable date for the ,sens work1 but in the absence of the destroyed windows at ,canterbury it is pure conjecture4 ,illustration3 ,,plate ,,xvi ,,heraldic ,,panel1 ,,from ,,the ,,clerestory ,,of ,,the ,,nave1 ,,york ,,minster ,early ,fourteenth ,century ,sidenote3 ,chartres4 ,meanwhile1 ever since the fire in #aaid1 the people of ,chartres1 careless of their personal losses1 had been working in a flame of enthusiasm and devotion at the rebuilding of their ,cathedral4 ,every one1 nobles1 merchants1 craftsmen1 and peasants1 gave what they could4 ,some gave money1 some materials1 some provisions for the workmen4 ,those who had nothing else gave their labour1 even harnessing themselves to carts to drag stone for the building4 ,heaven itself seemed to lend its aid1 for it is said that ,our ,lady worked many miracles of healing at her shrine at ,chartres1 which soon became a thirteenth century ,lourdes1 to which pilgrims came from all countries1 leaving offerings of money or jewels4 ,finally1 in #abaj the main part of the building seems to have been finished4 ,entirely rebuilt in hewn stone1 says ,william le ,breton some years later1 the ,cathedral of ,chartres has nothing to fear from temporal fire from now till the day of judgment1 and will save from eternal fire the many ,christians who by their alms have contributed to its reconstruction4 ,the great church was now ready to receive its decoration3 ,the altars1 the painting1 the sculpture were still to be done1 and above all the one hundred and twenty-five great windows1 with the three great roses1 and forty-seven lesser ones had to be filled with the glass which still makes ,chartres ,cathedral one of the wonders of the world4 ,in the year #abbf ,saint ,louis came to the throne4 ,eight years later he acquired the ,comt of ,chartres1 and lent his powerful aid to the work1 giving the great rose window in the north transept and the five lancets below it1 as well as other windows4 ,the ,king of ,castile gave a window too1 and following these royal donors a crowd of princes1 seigneurs1 and churchmen added their gifts1 while forty-seven windows were given by the ,guilds of ,chartres alone4 ,yet even so it was thirty years more before the bulk of the work was completed1 and the actual consecration did not take place1 for some reason1 till ,october #ag1 #abfj1 when it was performed with great pomp and rejoicing before ,saint ,louis and his family and an immense concourse of prelates1 nobles1 and common people4 ,there is nothing in the world quite like the ,cathedral of ,chartres4 ,in the quality of its work ,canterbury is as good or even better1 but for the proper appreciation of the glass of the twelfth and thirteenth centuries it is necessary to have every window of the building filled with it in order that the eye may get used to the gloom and attuned to the pitch of the colour2 and it is only at ,chartres that this is even approximately the case4 ,i know nothing like the effect on one of several hours spent in the building1 the awe and wonder1 mingled with a strange sort of exaltation1 which it produces4 ,even when its windows were complete1 ,canterbury can hardly have had quite the same effect1 for its clerestory is much smaller1 and it has not the splendid width of nave and choir which enables one to see the great clerestory windows of ,chartres so well4 ,in the thirteenth century the nave at ,canterbury was still the old ,norman nave of ,lanfranc1 of which the windows were1 as an old drawing shows1 comparatively small2 nor indeed do we know for certain if they had coloured glass in them4 ,york is almost as complete as ,chartres1 but the glass there is nearly all of the fourteenth and fifteenth centuries1 and though it is in a sense quite as beautiful1 with all its great windows twinkling with lovely colour1 yet the subjects are too small to be seen from below1 and there is nothing like the awe-inspiring majesty of the ranks of colossal saints which fill the clerestory of ,chartres4 ,that the master or masters of ,canterbury and ,sens came to ,chartres is1 ,i think1 certain2 the ,canterbury tradition is traceable in so much of the work4 ,here ,i imagine he or they ended their life's work1 leaving their pupils and their pupils' successors to carry it on in the later style which they developed as they went along4 ,one of these1 no doubt1 was that ,clement of ,chartres who signed his name in the window at ,rouen which ,mr4 ,saint has sketched in ,plate ,,xiv4 ,i think ,i can trace his hand in some of the windows on the south side of the nave at ,chartres1 in the treatment of the mosaic diaper in which various shades of blue have been so skilfully blended as to produce1 as at ,rouen1 a lovely play and ripple of colour over the whole surface of the window4 ,perhaps the most notable development of the style at ,chartres is the increase in the use of mosaic diaper1 of the kind illustrated in ,plate ,,viii41 as a setting for the medallions1 instead of the leafy scroll work formerly used4 ,at ,canterbury the mosaic diaper setting is the exception1 only occurring in one window2 at ,sens it is introduced tentatively1 but at ,chartres it is the rule4 ,the scroll-work filling only occurs1 ,i think1 in three windows of the lower tier4 ,one of these is the ,st4 ,eustace window already mentioned1 which to me is strongly reminiscent of ,canterbury work--more so1 indeed1 as far as the medallions go1 than the similar one at ,sens4 ,illustration3 ,,plate ,,xvii ,,details ,,from ,,windows ,,in ,,the ,,north ,,aisle ,,of ,,nave1 ,,york ,,minster ,fourteenth ,century ,sidenote3 ,the four extremities4 ,it is only at the four extremities of the ,cathedral at ,chartres that we find any connected idea governing the choice of subjects4 ,the three twelfth century windows were already1 as ,i have said1 devoted to the ancestry and life of ,christ1 and the thirteenth century rose window above them shows ,his second coming4 ,the seven great lancets of the apse are given up to the glorification of the ,virgin1 the especial patroness of ,chartres4 ,the north rose and the lights below it seem to show the human ancestry of ,christ culminating in ,saint ,anne and the ,virgin1 while opposite in the south transept is the ,christ of the ,apocalypse4 ,in other parts of the church the choice of theme seems to have been left to the taste of the donors1 subject only to the general arrangement of medallion windows in the lower tier and huge single figures in the clerestory lights4 ,thus in the lower windows we find the story of ,noah next to that of ,st4 ,lubin1 ,bishop of ,chartres2 the story of ,st4 ,eustace next that of ,joseph4 ,one or two of the clerestory windows are medallion windows1 the medallions being on a very large scale1 but most of them are filled1 as ,i say1 with single figures of saints1 nearly twice life-size4 ,so large are they that their faces have had to be composed of several pieces of glass4 ,a brownish pink is used for the flesh1 and the eyes are separate pieces of white with the pupil painted in4 ,as the flesh colour has in many cases darkened considerably from the effects of time and weather1 the effect of the brilliant whites of the eyes is somewhat weird and startling4 ,here again there seems to be no special idea governing the order of subjects1 which were probably left to the donors1 who would choose their patron saints4 ,sidenote3 ,the ,guild windows4 ,it is at ,chartres that for the first time1 as ,i believe1 the donors of the windows are made much account of in the glass4 ,it is true that at ,st4 ,denis there are two very tiny figures of ,abbot ,suger1--in one case1 prostrate1 in simple monk's dress1 at the feet of the ,virgin in the ,annunciation1 and in the other1 holding up a model of the ,jesse window1--and there is a donor at ,poitiers1 but at ,canterbury and ,sens there is nothing to show by whom the windows were given4 ,at ,chartres1 however1 it is far otherwise4 ,partly1 perhaps1 because of the emulation that had been shown in presenting windows1 nearly every one contains some record of its donor4 ,in the case of those given by the ,guilds this takes the form of a little panel introduced into the bottom of the window1 showing members of the ,guild at work--bakers1 butchers1 tanners1 furriers1 money-changers and so on--charming and valuable little pictures of the everyday life of the time4 ,more noble donors are represented by their portraits1 either kneeling at the foot of the window or1 as in the clerestory of the choir1 where the rose-lights of the tracery are filled with a splendid series of princes and nobles armed and on horseback1 each recognizable by his shield and banner4 ,sidenote3 ,amaury de ,montfort4 ,the one illustrated in ,mr4 ,saint's sketch in ,plate ,,xii4 is ,amaury de ,montfort1 brother of our own ,simon de ,montfort who led the rebellion of the barons against ,henry ,,iii41 and son of that ,simon de ,montfort who led the crusade against the ,albigenses and was made ,lord of ,languedoc for his pains4 ,amaury1 who succeeded him in #abah1 finding himself not strong enough to hold the country1 had ceded his rights six years later to the ,king of ,france1 and was made in return ,constable of ,france4 ,sidenote3 ,pierre ,mauclerc4 ,the great rose window of the south transept and the lancets below it are the gift of ,pierre ,mauclerc1 ,count of ,dreux and ,duke of ,brittany4 ,his arms are in the trefoils of the rose and in the central lancet4 ,at the foot of the lancets on either side are portraits of himself1 his wife1 ,alix de ,thouars1 and his son and daughter1 all kneeling4 ,from the fact that his wife died in #abbf it has been argued that the window must have been executed1 or at least designed1 before that date4 ,i do not know that the argument is absolutely conclusive1 but the fact seems probable4 ,the window1 however1 cannot be many years older than this date4 ,the choir would almost certainly be the first part of the church to be glazed1 and the windows in the clerestory there were certainly not finished till after #abbj4 ,one1 indeed1 has the figure of a king of ,france on horseback as donor1 who has always been called ,st4 ,louis4 ,it is1 however1 quite possible1 as far as ,i can see1 that the figure is his father1 ,louis ,,viii41 or even ,philip ,augustus1 who died in #abbc1 for he bears the lilies of ,france only1 without the castle of ,castile4 ,sidenote3 ,st4 ,louis4 ,assuming therefore that the date of the south rose is shortly before #abbf1 then ,pierre ,mauclerc1 at the time he gave this and the other windows in the church which bear his arms1 was practically an independent sovereign4 ,when ,st4 ,louis ascended the throne as a boy in #abbf1 under the ,regency of his mother1 the wise and beautiful1 if somewhat imperious1 ,blanche of ,castile1 ,pierre ,mauclerc1 in company with ,thibault of ,champagne1 who was ,count of ,chartres1 and many other barons of ,france1 took up arms against his sovereign1 scorning to acknowledge the overlordship of a boy and a woman4 ,eight years later the boy and the woman1 aided by the devoted support of the ,commons1 had brought them all to submission1 and ,thibault had yielded up ,chartres to the ,crown4 ,it seems to me not unlikely that this latter event is marked by the gift of the north rose and the lancets below1 which contain ,st4 ,louis's own arms and those of his mother4 ,if so1 the glass of ,chartres may be considered as a landmark in the history of the growth of ,france into a nation4 ,whether this is so or not1 the north rose cannot in any case be earlier than #abbf1 the year of ,st4 ,louis's accession4 ,sidenote3 ,the north rose and lancets4 ,this north rose1 or ,rose of ,france as it is called1 has in its centre light the ,virgin with the ,child1 in a purple tunic with a blue robe and nimbus against a ground of rich ruby4 ,in the twelve radiating lights round her are3 above her head1 four doves2 on her right and left1 four angels1--two on either side1--two incensing and two holding candles2 and below1 four six-winged seraphs4 ,outside these are twelve kings of ,judah1 the ,virgin's ancestors1 and outside these again is a ring of the ,prophets who foretold ,christ's coming4 ,below1 in the five great lancets1 is a huge figure of ,saint ,anne carrying the infant ,virgin1 having on her right ,king ,david and on her left ,solomon1 and beyond these ,melchizedek and ,aaron1 types of ,christ as ,king and ,high ,priest4 ,below ,st4 ,anne is a great shield with the arms of ,st4 ,louis1 but under each of the four other figures is a kind of predella1 in which are shown1 as a contrast3 below ,david1 ,saul falling on his sword2 below ,solomon1 ,jeroboam worshipping the golden calves2 below ,melchizedek1 ,nebuchadnezzar2 and below ,aaron1 ,pharaoh being whirled away1 horse and man1 in the ,red ,sea4 ,in this last scene the artist has been in a dilemma4 ,the backgrounds of these lancets are alternately red and blue1 and ,pharaoh's should have been blue1 but it represents the ,red ,sea1 and the artist has had to get out of the difficulty by making it a kind of maroon purple4 ,sidenote3 ,the south rose and lancets4 ,the idea of the window is the same as that of ,jesse ,tree3 ,humanity preparing1 through the ages1 for the coming of ,christ1 and culminating in ,his ,mother4 ,the rose and lancets opposite show the fulfilment4 ,here ,christ is seen enthroned in the centre of the rose1 as ,st4 ,john beheld ,him1 surrounded by angels and by the four great beasts1 and by the four-and-twenty elders seated on their thrones1 in a double ring round the whole4 ,in the five lancets below are1 in the centre1 the ,virgin and ,child1 and on either side the four ,evangelists1 borne1 by a quaint conceit1 like children on the strong shoulders of the major ,prophets4 ,the general arrangement of the windows is the same1 but the detail seems to me to bear out the supposition that the southern rose is by some years the earlier of the two4 ,in both windows the outer and the inner ring of figures are contained in circular medallions1 but where in the south rose the filling in is done by means of scroll work1 in the north transept mosaic diaper is everywhere used4 ,the borders of the lancets1 too1 are of an older type1 and more beautiful in the south transept than in the north4 ,both1 however1 are very lovely1 and the more ,i look at them the more ,i admire the nameless workers who could so use red and blue--such difficult colours to combine well4 ,for red and blue are everywhere the groundwork of the colour scheme--green1 purple1 brown1 and yellow being only used in small quantities to relieve them4 ,it must be remembered1 too1 that the artist could never see the effect of his work till it was finished4 ,nowadays the stained-glass painter can put his work together temporarily by fastening it with beeswax to a large sheet of white glass1 and can work on it so2 but the artist of the twelfth and thirteenth centuries1 as we know from ,theophilus1 and as was probably the case for long after1 did all his work on the bench4 ,the most he could do would be to hold a few pieces together in his hands up to the light1 but for the rest he had to trust to his experience and training4 ,not quite always did he succeed4 ,much depended upon his getting just the right quality of blue1 and sometimes this seems to have failed him4 ,i have already noticed the rather purplish blue which is found in some of the windows at ,lincoln1 and this occurs again at ,chartres in the central lancet of the apse1 and the one next it on the north containing the big angel illustrated in ,plate ,x4 ,this purplish blue when interspersed with red produces at a distance the effect of a rather unpleasant mauve1 making these two windows less attractive in colour than the others4 ,this purplish blue occurs again in the north rose of ,notre ,dame at ,paris1 but there the artist has countered it by the use of a good deal of a rather sharp pale green1 which completely balances it and turns the window into perhaps the most glorious of all the great rose windows of ,france4 ,illustration3 ,,plate ,,xviii ,,border ,,and ,,shields1 ,,from ,,peter ,,de ,,dene ,,window1 ,,north ,,aisle ,,of ,,nave1 ,,york ,,minster1 ,,with ,,details ,,from ,,window ,,in ,,south ,,aisle ,,and ,,sketch ,,of ,,clerestory ,,window ,fourteenth ,century ,sidenote3 ,the apse4 ,five of the seven great lancets of the clerestory of the apse are devoted to the glorification of the ,virgin ,mother1 or perhaps one should say1 to the fact of the ,virgin ,birth4 ,this is what one would expect at ,chartres4 ,not only is the church dedicated to ,notre ,dame1 but the place in the ,middle ,ages was held sacred to her above all others in ,france4 ,tradition says that the ,church occupies the site of a grotto in which the ,druids worshipped the ,virgin that shall bear a child1 of whom they had set up a wooden image1 which was preserved by the ,christians when the grotto became a ,christian church4 ,certain it is that down to the ,revolution a very ancient and quite black wooden statue was worshipped in the ,chapel of ,notre ,dame ,sous-terre--the ancient grotto--where it had been at all events since the days of ,fulbert1 who built the eleventh century ,cathedral4 ,the ,sansculottes burnt it1 and its place has been taken by a modern work which professes to be a copy of it4 ,chartres1 too1 can boast of the possession of the ,holy ,veil4 ,given to ,charlemagne by the ,byzantine ,emperor1 ,constantine ,porphyrogenitus1 it has escaped successive fires1 and though cut in two at the ,revolution1 is still preserved in the ,treasury4 ,owing to the great height and narrowness of the lancets1 each contains several figures or figure subjects1 one above the other4 ,in the head of the central lancet is ,our ,lady enthroned1 with her ,child on her knee1 and below her are the ,annunciation and the ,salutation4 ,in the head of the light on either side is an angel incensing1 and in the lights beyond these1 a cherub and a seraph4 ,below these are ,moses1 ,aaron1#aj ,david1 and the four major ,prophets--,isaiah1 ,jeremiah1 ,ezekiel--and ,daniel4 ,the arrangement of these figures seems1 however1 quite haphazard1 and as if the original design had not been carried out4 ,the two remaining lancets1 on the extreme right and left1 contain1 respectively1 scenes from the lives of ,st4 ,john the ,baptist and ,st4 ,peter4 ,how far these are meant to have a bearing on the central subject ,i am not quite sure4 ,the uppermost subjects in them are the ,baptism of ,christ and the ,domine1 quo vadis8 ,sidenote3 ,the big angel4 ,the ,big ,angel 7,plate ,x47 on the north side of the ,virgin is especially puzzling4 ,the other six lights of the apse have each three figures or figure subjects1 set one above the other in elongated medallions1--,plate ,,xi4 shows two of them1 ,king ,david and ,ezekiel1--and at the foot of each is a panel showing the donors4 ,the other figures are so set as to form regular tiers round the apse1 but this angel is twice the size of any of them and forces the figure below--,aaron--down out of line1 leaving no room for another figure between him and the donor4 ,perhaps this light represents part of a design for the apse which was afterwards modified in order to get more figures in4 ,the donor is one ,gaufridus1 who has been identified with a certain ,godfrey d',illiers1 a gentleman of the neighbourhood1 whereas the rest are given by the ,guilds--the bakers1 butchers1 money-changers1 and furriers1 which latter are seen actually bringing their window4 ,the ,prophets bear a good deal of resemblance to the figures from the clerestory at ,canterbury4 ,the ,isaiah at both places wears the same curious headdress--a little round hat1 not unlike the latest form of bowler of our own days4 ,the figures are not from the same drawings1 for the attitudes are different1 but the ,chartres artist has at least remembered ,canterbury choir1 which was probably the work of his master1 thirty or forty years earlier4 ,sidenote3 ,the canopy4 ,notice the simple architectural canopy over this angel4 ,all the single figures at ,chartres and in most other thirteenth century windows have them1 and their counterparts may be found in the canopies over the sculptured figures on the porches outside4 ,they occur also at ,canterbury over some of the surviving figures from the clerestory1 but it is noteworthy that whereas at ,canterbury the canopies are round arched 7and the same is true of the architecture in the medallion windows71 at ,chartres they are nearly all either cusped or pointed1 which ,i take as additional evidence in support of my opinion that the ,canterbury work is the older of the two4 ,illustration3 ,,plate ,,xix ,,st4 ,,margaret1 ,,west ,,window ,,of ,,north ,,aisle ,,of ,,nave1 ,,york ,,minster ,fourteenth ,century ,in thirteenth century work these canopies are a fairly unobtrusive feature1 but in the next period they were destined1 as we shall see later1 to be developed out of all reason or proportion4 ,,footnotes3 #i ,this is a later feature1 and found at ,bourges and elsewhere4 #aj ,the miraculous budding of ,aaron's rod was considered a type of the ,virgin ,birth4 ,,vii ,,other ,,thirteenth ,,century ,,windows ,sidenote3 ,salisbury and ,peterborough4 ,a single band of craftsmen might1 as far as we can now tell1 have been responsible for nearly all the stained glass that was produced at any one time in the twelfth century in ,england and the north of ,france2 but by the time the ,trinity ,chapel at ,canterbury was finished1 a great many such bands must have been at work1 yet all deriving their art from the same source--the school of ,chartres1 ,st4 ,denis1 and ,canterbury4 ,the output was enormous1 especially in the first half of the thirteenth century4 ,i have already spoken of ,lincoln1 but ,salisbury and ,peterborough were once rich in glass of the thirteenth century1 that of ,peterborough--now destroyed--being known to have been given1 some of it at least1 as early as #abad1 and ,york has the famous ,five ,sisters4 ,sidenote3 ,bourges4 ,in ,france1 ,bourges is only second to ,chartres for the quantity and interest of its early glass1 which was certainly begun long before the windows of ,chartres were finished4 ,every one knows the rose windows of ,notre ,dame at ,paris1 and besides these ,amiens1 ,beauvais1 ,laon1 ,rheims1 ,tours1 ,soissons1 ,auxerre1 and in fact nearly all the great cathedrals of ,france1 contain glass of the period1 while fragments of it are to be found in many parish churches both in ,england and ,france4 ,sidenote3 ,westwell4 ,at ,westwell in ,kent1 for instance1 is a ,jesse ,tree of #abdj-abej which is well worth study1 in which the details of the foliage resemble fragments of one at ,salisbury and another at ,troyes1 and show the development that had taken place from the ,jesse ,trees of ,chartres and ,st4 ,denis4 ,it is impossible1 however1 in the limits of this work to describe even all the important windows of this period1 and ,i have taken those ,i have already described as typical of their time and as together showing the progress of the development of the art4 ,illustration3 ,,plate ,,xx ,,st4 ,,stephen1 ,,from ,,south ,,aisle ,,of ,,nave1 ,,york ,,minster ,fourteenth ,century ,sidenote3 ,the ,sainte ,chapelle4 ,the most complete example of the work of the latter part of the thirteenth century is the ,sainte ,chapelle in ,paris1 built by ,st4 ,louis to contain the ,crown of ,thorns1 which he had purchased with other relics from the ,emperor of ,constantinople1 who was then in need of ready money4 ,the ,chapel was consecrated in #abdh1 but although some at least of the windows are said to have been prepared beforehand and to have been in their place on that occasion1 yet the series was certainly not completed till after the death of ,st4 ,louis in #abgj1 as that event is represented in one of them4 ,the glass has unfortunately suffered a good deal from restoration1 and it is difficult now to say quite how much beauty it once had1 but it must be confessed that at present it gives one none of the joy and wonder of ,chartres4 ,yet the very design of the ,chapel shows the importance which the art had now attained1 for the building is constructed entirely with a view to being filled with stained glass1 being in fact a mere glass-house with no wall spaces at all4 ,if the colour effect may be judged of from the specimens of the original glass now in ,south ,kensington ,museum1 the place must have been a wondrous ,aladdin's cave of jewels1 but at the same time it may be doubted whether the arrangement was a wise one4 ,the windows at ,chartres gain immensely by the spaces of gloom between them1 whereas here the eye gets no rest4 ,in detail1 apart from colour1 the work shows a certain falling off4 ,the artist seems to have been cramped by the necessity of adapting the medallion window to such narrow lights4 ,one misses the fine broad border which does so much to pull together the earlier medallion windows4 ,the borders at the ,sainte ,chapelle are narrow and uninteresting1 and even so the medallions have sometimes to overlap them4 ,sidenote3 ,work of ,clement of ,chartres at ,rouen4 ,on the other hand1 the work of ,clement of ,chartres in ,rouen ,cathedral1 which is as late as #abij-abie1 is as good as anything that was done in the thirteenth century4 ,besides a great many broken remains of thirteenth century work in the nave1 there are five complete windows in the ambulatory of the apse4 ,two of these between them illustrate the story of ,joseph1 and are particularly beautiful4 ,one of them 7,plate ,,xiv47 is signed by ,clement of ,chartres1 and the other is obviously by the same hand4 ,i should hesitate1 however1 to say positively that the other three are his work too1 but ,i think two of them may be4 ,of these1 one contains in its lowest section the story of the ,good ,samaritan1 with other subjects above which ,i have not identified1 and the other--a very good one--the story of ,st4 ,julian1 which is a parallel to that of ,oedipus except that1 being ,christian1 it ends with atonement and forgiveness4 ,the fifth window illustrates the ,passion1 ,resurrection1 and ,ascension of ,christ4 ,it is hardly as good as the others1 and is very red and hot in general colour4 ,the filling in1 of yellow suns on a blue ground1 is very unlike any other thirteenth century work4 ,on the whole this window seems to me to show a certain restlessness1 indicative of the change of style that was so soon to follow4 ,the redness1 however1 may perhaps be intentional1 as being appropriate to the subject1 for of the three twelfth century windows in the west end of ,chartres ,cathedral1 the one which illustrates the ,passion is far redder than the others4 ,the iron-work of these windows shows a return to the straight-bar system1 but the relation of the medallions to the iron-work is1 as may be seen by the illustration1 wholly different to what it was in the twelfth century4 ,by the end of the thirteenth century the bent iron-work has wholly disappeared4 ,before leaving the ,early ,period ,i must touch upon another of its developments1 namely1 the grisaille window4 ,sidenote3 ,grisaille windows4 ,side by side with the richly coloured windows which we have been considering1 there had grown up during the thirteenth century a style of window in which a wholly different effect was aimed at4 ,these are what are called grisaille windows1 in which the bulk of the glass is white1 only studded here and there with jewels of colour and with1 perhaps1 a coloured border1 the surface of the white glass being variegated and ornamented with delicate patterns in painted line work4 ,the effect of this in old glass is very beautiful1--there are few things lovelier than the ,five ,sisters at ,york1--but all modern attempts to imitate it have been hopeless failures1 looking like so much transparent paper4 ,perhaps our modern white glass is too clear and hard-looking1 or the difference may be merely that between the work of those who are artists and those who are not4 ,the causes which led to the development of this style of window were probably two3 one1 the desire for more light1 of which the richly coloured windows admitted but little2 and the other1 simply economy1 for a window of this sort could be produced comparatively cheaply4 ,then1 too1 the ,cistercians1 whose rule1 adopted in the twelfth century1 prohibited the use of colour altogether1 had shown what could be done in patterns of white glass and lead alone4 ,unless you count the gryphon windows in ,st4 ,denis1 which are mainly the work of ,viollet-le-,duc1 grisaille seems almost wholly a development of the thirteenth century4 ,it is interesting to see that just as the design of the coloured window seems always to have been conceived as a light pattern on a dark ground1 so the earliest grisaille1 even though the quantity of white far exceeds the colour1 still seems to have been conceived as a white pattern on a coloured ground1 the ground being1 as it were1 almost entirely hidden by the pattern4 ,later this idea gets reversed1 and the coloured pieces are mere jewels or lines contained in the pattern4 ,in a white window the leads1 from their greater thickness1 are more conspicuous than the traced lines of the painting1 and in consequence it is upon the leads that the artist depends for the main features of his design4 ,the earliest grisaille windows may be divided into two classes3 those in which the pattern is formed of narrow straps of white glass interlacing or seeming to interlace2 and the other in which the leads form a flat geometrical pattern1 as at ,lincoln4 ,the painted pattern on the glass consists of branching scroll work in simple outline1 forming stems and the round-lobed leaves which were the thirteenth century convention for foliage4 ,in the earlier work the ground is covered with delicate cross-hatching1 which at a distance resolves itself into a pearly grey1 against which the scroll work stands out white4 ,at first1 too1 the painted pattern is1 so to speak1 contained within the leading1 and merely enriches and emphasizes the pattern formed by it2 but in later work1 towards the end of the century1 it becomes independent of the leading and grows through it1 spreading over the surface of the window in graceful curves like a creeper over a trellis4 ,the influence of the medallion window is often seen in contemporary grisaille1 of which the design frequently consists of interlacing medallions of strap-work of the same shape as those in the coloured windows4 ,sidenote3 ,rheims4 ,sidenote3 ,angers1 ,soissons1 and ,chartres4 ,the ornament surrounding some of the figures in the triforium of ,st4 ,remi at ,rheims1 and which ,mr4 ,westlake considers to date from about #abjj1 contains so much colour as to be hardly grisaille1 and the same may be said of one of the lancets in the north transept of ,lincoln ,cathedral1 of which the others contain grisaille of a later date4 ,there is1 however1 some very early thirteenth century grisaille--true grisaille1 with interlacing bands--at ,st4 ,serge at ,angers1 and some at ,soissons of about #abcj4 ,chartres has four or five grisaille windows1 of the middle of the century or a little earlier1 in the apsidal chapels4 ,these have broad1 richly coloured borders1 a very beautiful feature1 which one finds also at ,salisbury4 ,sidenote3 ,westminster ,abbey4 ,according to ,professor ,lethaby#aa the original glazing of ,westminster ,abbey1 begun in #abec1 was1 at least in the lower windows1 of grisaille1 of which some remains are in the triforium4 ,from the fabric rolls we know the name of the master-glazier1 ,lawrence1 presumably an ,englishman1 and the weekly accounts show wages paid to fourteen glaziers in all4 ,sidenote3 ,salisbury4 ,the few remains of old glass which that eighteenth century vandal1 the architect ,wyatt1 has left us at ,salisbury include some very beautiful and interesting specimens of thirteenth century grisaille1 of which the date is1 according to ,winston1 from #abdj to #abgj4 ,in most of these the pattern when analysed is found to be formed of overlapping 7not interlacing7 geometrical forms outlined in bands of colour and filled in with white1 painted with patterns of the usual conventional scroll work on a cross-hatched ground4 ,there are besides1 however1 some remains of ornamental glazing of an interesting and rare kind in which there is no painting whatever1 and the pattern is obtained by lead-work alone1 forming diagonal white bands interlacing in various ways on a white ground1 and containing here and there between them little square dies of blue4 ,some coloured tracings of these may be seen in ,south ,kensington ,museum4 ,sidenote3 ,the ,five ,sisters of ,york4 ,the finest grisaille windows in ,england or1 for that matter1 in the world1 are the five immense lancets which fill the end of the north transept of ,york ,minster and are known as the ,five ,sisters4 ,their date is probably about #abfj4 ,the iron-work in them is straight-barred1 and the massive main bars1 placed every #c feet or so1 divide the space between the broad borders into a succession of squares1 one above the other1 each one of which is occupied by a medallion--a different shape in each light--outlined with a narrow band of colour1 and having bosses of colour at the centre and between the medallions4 ,one hardly can trace the plan of the painted pattern on the white1 which besides is much confused with centuries of breakage and repair1 and one is only conscious of it as texture1 which indeed is its raison d'tre4 ,five feet wide1 and towering to a height of more than #ej feet1 each sister is a shimmering mass of pearl and silver1 delicately veined and jewelled with colour to give quality to its whiteness4 ,illustration3 ,,plate ,,xxi ,,the ,,nativity1 ,,upper ,,part ,,of ,,east ,,window ,,of ,,north ,,aisle1 ,,all ,,saints'1 ,,north ,,street1 ,,york ,fourteenth ,century ,sidenote3 ,quarries4 ,the same tendency that caused the artist to substitute mosaic diaper for the scroll work in the setting of his medallions in coloured windows led him in time to fill large spaces of his grisaille windows with painted quarries4 ,quarries 7from the ,french carr7 are small diamond-shaped panes1 and were then the quickest and most economical way of glazing any given space4 ,sometimes towards the end of the century the painted pattern ran over the quarries independently of them1 but more often in the thirteenth century each quarry was a repetition of the next1 the whole thus forming a regular diaper4 ,sometimes each quarry has a thick black line painted parallel to two1 or sometimes all four1 of its sides at a distance of three quarters of an inch or so1 leaving the space between it and the lead blank while the rest of the quarry is patterned4 ,the effect of this when glazed together is that of interlacing white bands on a ground of pattern4 ,apart from economy1 the principal motive for the use of grisaille in windows was1 as ,i have said1 the need for light4 ,in the ,cathedral of ,chartres1 where there is no grisaille except that in the chapels already mentioned1 and where practically all the other windows are filled with richly coloured glass1 it is quite difficult to read in the nave on a dull day4 ,it is possible1 therefore1 that in some churches a certain number of windows may have been deliberately reserved for grisaille4 ,sidenote3 ,combination of grisaille and figure work4 ,it is not1 however1 till the very end of the thirteenth century1 and then only rarely1 that coloured figures and grisaille were combined in the same light as shown in the example from ,poitiers in ,plate ,,xv41 though this is a salient feature of the style of the succeeding period4 ,in the clerestory windows of the choir of ,st4 ,pierre at ,chartres1 which belong to the closing years of the century1 the problem has been attacked in an interesting and unique manner1 but as the glass in that church really marks the transition to the succeeding period1 ,i shall deal with it later4 ,sidenote3 ,conclusion of the ,early ,period4 ,i must now leave the ,early ,period4 ,if ,i have devoted a larger space to it than ,i have to give to either of those succeeding1 it is because to me it is the most interesting of all4 ,in all later work artists seem1 by comparison1 unsatisfied and trying1 sometimes with more1 sometimes with less1 success1 to reconcile opposing ideals in their work4 ,never again does one find the same perfect understanding of the limitations of the material1 together with such daring and grandeur of conception1 and such depth and earnestness in the ideas expressed4 ,illustration3 ,,plate ,,xxii ,,st4 ,,john1 ,,from ,,east ,,window ,,of ,,south ,,aisle1 ,,st4 ,,martin',s1 ,,micklegate1 ,,york ,fourteenth ,century ,,footnote3 #aa ,westminster ,abbey and the ,kings' ,craftsmen4 ,,viii ,,the ,,style ,,of ,,the ,,second ,,period ,although the earliest known work in the style of the ,second ,period may possibly date from a little before #acjj1 and although the transition to the succeeding style had certainly begun by #achj1 yet1 roughly speaking1 the limits of the period are those of the fourteenth century1 and it is not unusual to speak loosely of the style as the fourteenth century style in glass4 ,the interest of the period lies perhaps rather in its tendencies and development than in its actual achievements1 which by general consent are inferior not only to those of the ,first1 but to those of the ,third1 ,period4 ,it is a period of transition and uncertainty1 of the loss of old ideals when men follow wandering fires4 ,sidenote3 ,weakening of the religious motive4 ,most of all does one notice the change of mental attitude4 ,the fierce missionary zeal for the ,faith1 the mystic symbolism1 has gone4 ,the wonderful two hundred years which produced ,st4 ,bernard1 ,st4 ,francis1 ,st4 ,dominic1 ,st4 ,louis and the ,crusades1 and which saw most of the great cathedrals built are over1 and a reaction sets in4 ,never again do we find a whole people1 from princes to ploughmen1 neglecting their personal affairs and combining to build and decorate worthily a glorious house of ,god4 ,churchmen are growing comfortable and apathetic1 if not corrupt1 and laymen are either uninterested in religion or critical4 ,towards the end of the century this feeling gives rise to ,wyclif's movement and we get ,piers ,plowman1 with its fierce denunciation of the means by which money was obtained for windows and of lordings who writen in windowes of their well deedes4 ,with the religious motive thus weakened the artist seems to have interested himself chiefly in the technical side of his art1--he may even have talked of ,art for ,art's sake1--and the usual result follows4 ,the lack of the underlying and unifying motive produces a want of proportion in the parts4 ,the canopies become much more important than the figures under them2 narrative subjects become much more rare1 and when they occur have none of the dramatic intensity of those of the past age4 ,instead we have an endless series of single figures of saints1 without character and each in exactly the same affected attitude1 like an elongated letter ,s4 ,in search of inspiration the artist turns to the study of nature and the literal reproduction of plant forms in ornament4 ,in the figures too1 although the attitudes are conventional the drawing of drapery is less so1 and towards the end of the period the artist is tentatively feeling his way towards modelling4 ,sidenote3 ,progress in technique4 ,one thing indeed we find during this time1 which is within the power of every artist in times of artistic dearth1 namely1 a steady grappling with practical problems offered by the changed conditions1 whereby the way was cleared for the new life that came into the art in the succeeding age4 ,for instance1 by showing how coloured figure work could be combined with grisaille in the same window they solved the problem of lighting2 by the invention of the silver stain they made it possible to make white glass more interesting and to blend it better with colour2 while in drawing they made steady progress towards a style more in keeping with the standards of the time4 ,sidenote3 ,characteristics4 ,the outward and visible characteristics of this period as compared with the preceding one are as follows3-- 7#a7 ,the simplification of the iron-work4 7#b7 ,the invention and use of silver stain4 7#c7 ,the combination of figure work and grisaille4 7#d7 ,the extraordinary development of the canopy4 7#e7 ,the style of drawing the figure4 7#f7 ,the use of natural plant forms in ornament4 7#g7 ,the quality of the glass1 and the colours used4 7#h7 ,the use of painted diaper patterns on the coloured backgrounds4 99 99 99 99 99 ,illustration3 ,,plate ,,xxiii ,,st4 ,,barnabas1 ,,from ,,clerestory ,,of ,,nave ,,of ,,st4 ,,pierre1 ,,chartres ,early ,fourteenth ,century ,sidenote3 ,tracery ,sidenote3 ,the iron-work4 7#a7 ,the ,simplification of the ,iron-,work4--,the windows of the twelfth century had been huge single lights1 but the thirteenth century had seen the gradual evolution of tracery1 beginning with the grouping of lancets in pairs under a rose light above4 ,gradually each lancet was again subdivided into a pair of lights and a rose1 the spandrils were pierced1 till1 at the close of the century1 the glazier had to design his window to fit a row of narrow lancets divided by slender mullions1 which above branched into an elaborate mass of tracery containing a multitude of roses1 quatrefoils1 trefoils and little openings of all shapes and sizes4 ,with this division of the window into comparatively narrow lights the need for the elaborate iron lattice of the preceding age disappeared1 its work being now largely taken up by the stone-work4 ,instead of lights from six to nine feet wide the glazier had now to deal with lights three and a half feet wide at most1 and often much narrower1 and in consequence all that was necessary was a series of horizontal bars connecting the mullions1 which themselves take the place of the upright bars of former days4 ,in windows of this time1 then1 and later1 massive rebated bars are fixed horizontally in the stone-work at intervals of between three and four feet1 and these with the mullions really form the framework into the square openings of which the panels of the glazing were inserted separately4 ,between1 and parallel with1 these massive bars1 three or four light saddle-bars are fixed on the inside of the glass1 which keep the panel in its place1 the glass being attached to them by means of strips of lead 7called bands7 soldered to the lead-work of the glazing and twisted round the bar4 ,in order to distinguish between the massive rebated bars which hold the top and bottom of each panel and these light bars between1 ,i shall speak of the former as frame-bars1 the latter by the name they still hold1 of saddle-bars4 ,the only change from this arrangement which has been made in modern times 7except for the use of copper wire instead of lead for the bands7 is the omission of the stout frame-bar1 the whole of the weight of the window being now borne by its edges and the saddle-bars4 ,not only is this arrangement less sound in construction but it is also far less decorative4 ,the thick bars at intervals with thin bars between punctuate the length of the tall windows pleasantly1 and are made use of in the design1 which in this way is still based on the iron-work4 ,in a recent disastrous restoration that was made of one of the windows in the nave of ,york1 the glass was refixed with saddle-bars all of equal size and the thick frames omitted1 and it is wonderful how the eye misses them4 ,this arrangement was1 of course1 only used in windows above a certain size1 in quite small lights the saddle-bars alone being considered sufficient4 ,it was not1 ,i think1 an uncommon arrangement for the uppermost bar at all events--that at the springing of the arch--to pass continuously through all the mullions and bind them together4 ,sidenote3 ,silver stain4 7#b7 ,the ,invention of ,silver ,stain4--,in the early years of the fourteenth century an important addition was made to the technical resources of the glass painter by the discovery that if white glass is painted with a preparation of silver--oxide or chloride may be used1 or even silver in its metallic form1 though that is less convenient--and then subjected to the heat of the kiln1 the parts so painted will be found to be stained yellow1 pale or dark according to the amount of silver used and according also to the composition of the glass4 ,this is a process quite different from enamelling4 ,it is a true stain1 actually penetrating the glass to a slight degree and quite indelible except by the perishing of the glass itself4 ,the oxide or chloride of silver is only mixed with other substances1 such as yellow lake1 for convenience of application4 ,sidenote3 ,its first appearance4 ,precisely when and where the invention was made and first used we have no means of knowing4 ,we may dismiss the story of the glazier from whose coat a silver button dropped on to the glass he was putting into the kiln1 partly because the artist of whom the story is told1 one ,james of ,ulm1 who worked in ,italy and was beatified after his death1 was not born till more than a hundred years later4 ,it appears in ,york ,minster1 used very sparingly and tentatively1 soon after #acjj4 ,i am not sure that there are any examples in ,france that can be dated quite so early1 but it was certainly used there by #acaj4 ,its first use was limited to such matters as differentiating the hair1 or gold crowns1 of figures from their faces1 but the nave windows of ,york ,minster show a progressive increase in its use4 ,yellow pot-metal is there still used for the larger pieces of yellow in the canopy1 but an examination of the details in ,plates ,,xvii41 ,,xviii4 will show that stain is used in places to gild the crockets of the white pinnacles1 the beak and claws of the white eagle in the border of ,,xvii4c1 and the flowers in the lower part of the border in ,,xvii4a4 ,the pieces that are yellow all over may1 ,i think1 be assumed to be pot-metal4 ,it is not1 however1 till one gets well on in the century1 to #accj or #acdj1 that one finds such a free use of the stain in the grisaille as that in the windows at ,st4 ,ouen at ,rouen1 of which the detail is given in ,plates ,,xxvi4-,,xxx4 ,sidenote3 ,combination of figures and grisaille4 7#c7 ,the ,combination of ,figures and ,grisaille4--,this is one of the most noticeable developments of the period4 ,as ,i have said1 it is occasionally attempted in the preceding style towards the close of the period1 but in the fourteenth century it is the rule4 ,small windows are sometimes still filled entirely with colour1 but nearly every window of any size1 especially in the early part of the century1 contains a large proportion of grisaille4 ,in the nave of the ,church of ,st4 ,pierre at ,chartres 7,plate ,,xxiii47 the same principle is followed as in the earlier work in the choir1 namely1 the arranging of the figure-work and grisaille so as to form vertical stripes of alternate white and colour4 ,this plan1 however1 was not persisted in4 ,the numerous vertical lines formed by the mullions in the newer style of architecture required horizontal lines to balance them1 and accordingly we find the usual method in fourteenth century windows is for the coloured masses to be ranged in horizontal bands running right across the window through all the lights4 ,plate ,,xxv4 from ,st4 ,ouen at ,rouen shows a very typical window of the period4 ,sometimes there was1 as here1 one row of coloured panels1 sometimes two or more as in the nave of ,york ,minster4 ,it will be noticed that in order to blend the white and colour satisfactorily the designer includes a good deal of white among the colour and a good deal of colour among the white4 ,this latter is no longer dispersed through the white in coloured threads1 half suspected1 but is collected into bosses and borders where its effect is strong enough to support the principal masses4 ,in fact the key-note of the design--namely1 the strong contrast of light and dark in flat masses1 necessitated by the combination of colour and grisaille--is repeated everywhere in detail throughout the window of which the parts are thus brought into harmony with the whole4 ,sidenote3 ,the borders4 ,this same idea leads to a complete change in the character of the borders4 ,the running scroll work of the preceding age would no longer be appropriate2 the vertical lines need breaking rather than emphasizing1 and the design of the border usually takes the form of alternate blocks of colour and white or yellow4 ,plate ,,xxviii4 shows some typical borders from ,rouen1 borders typical of ,english as well as ,french work4 ,it will be noticed that the coloured pieces are usually left blank while the white and yellow are decorated with patterns or foliage blocked out with solid black4 ,the ornament of the tracery lights1 which by the way are usually kept pretty full of colour1 is designed on the same principle4 ,it consists1 in fact1 of borders tightly curled up with1 sometimes1 in the larger lights1 a figure or a small coloured medallion in the centre containing a head4 ,sidenote3 ,the bosses4 ,the intervals formed by the regular spacing of the thick iron frame-bars are further emphasized by the placing of a coloured boss or small medallion midway between each4 ,this arrangement in some form or other is almost universal in fourteenth century grisaille1 the panels contained between the frame-bars being in fact the units of the design4 ,some of these bosses from ,rouen are shown in ,plates ,,xxvi41 ,,xxvii41 ,,xxix4 ,here they are purely fantastic in design1 but elsewhere1 as at ,york1 they frequently have an heraldic motive or even take the form of shields of arms 7,plate ,,xviii474 ,heraldic motives are very commonly used too in the borders1 as may be seen in the details from ,york ,minster in ,plate ,,xvii41 the charges from the shield being repeated all up the border1 relieved against1 or sometimes alternating with blocks of the colour of the field4 ,symbolic objects such as chalices are sometimes used in the same way1 and occasionally we find borders formed of a succession of little figures under canopies1 as in the very elaborate example from ,york in ,plate ,,xviii4 ,illustration3 ,,plate ,,xxiv ,,st4 ,,luke1 ,,from ,,choir ,,clerestory ,,of ,,st4 ,,ouen1 ,,rouen ,fourteenth ,century ,sidenote3 ,quarries4 ,as the century proceeds quarries become much the commonest form of grisaille4 ,in ,plates ,,xxv41 ,,xxvi4 they are true quarries1 but in the first quarter of the fourteenth century they are sometimes1 as1 for instance1 at ,york1 bulged round the central boss1 thus forming a sort of cross between quarries and geometric glazing4 ,grisaille glazed in geometric patterns such as we find at ,merton ,college1 at ,evreux1 and in ,st4 ,pierre at ,chartres belongs1 ,i think1 always to quite the early years of the period1 and even then1 as may be seen in ,plate ,,xxiii41 it shows a decided leaning towards quarry-work1 and indeed needs little but the straightening of the leads to convert it into quarries altogether4 ,continuous painted patterns are now the rule1 as shown in ,plate ,,xxvi4 ,the cross-hatched grounds disappear1 and presently the silver stain is used 7as here7 to enrich the painting4 ,it will be noticed that the trellis-like pattern produced by painting lines parallel to the leading is still retained4 ,sidenote3 ,the canopy4 7#d7 ,the ,extraordinary ,development of the ,canopy4--,as we have seen1 single figures in the preceding period1 even at ,canterbury1 usually had architectural canopies of an unobtrusive kind1 of similar design to the sculptured niches which sheltered the statues on the outside of the building4 ,the motive for their adoption by the glazier at this date is not very obvious4 ,they do not in the ,early ,period form a very important feature in the design1 and serve no decorative purpose that the artist could not equally well have attained by the flat ornamentation of which he was a master4 ,however1 the glazier seems to have liked the idea when he saw it in stone-work1 where it had a practical object1 and to have imported it into his own work1 where it had none4 ,it must be remembered that when the sculpture was painted in colours1 as it was then1 the resemblance between it and the stained glass would have been closer than it is now4 ,however this may be1 the canopy in the thirteenth century was a comparatively unobtrusive object1 but in the fourteenth century1 as the sculptured canopy grew and developed1 so did its counterpart in stained glass1 till the stained-glass worker seems to have run canopy mad4 ,not only is it now found over single figures but over subjects too4 ,it is true there was now a certain practical reason for the tall canopy to be found in the tall and narrow shape of the lights that had to be filled4 ,the human figure was very short and broad in proportion to them1 and when it was a case of a group the resulting shape was shorter still1 so the canopy offered a convenient way of elongating the design2 but the fourteenth century designer developed it1 as may be seen in the illustrations1 out of all reason1 filling it with fantastic detail--angels looking out of the windows1 birds perching on the pinnacles1 and miniature figures standing like statues in the niches of it--till it quite reduced the figures below it to insignificance4 ,in doing so he was only following the rest of the artistic world1 which had all gone wild over the new style of architecture1--with its passion of pinnacle and fret1 as ,ruskin called it1--using its details as motives for ornament even where they were least appropriate2 but all this expenditure of effort on fantastic and irrelevant detail is really a symptom of the weakening of interest in the principal theme1 of which a further sign is the uninteresting treatment of the subjects themselves4 ,the fourteenth century canopy is1 at first at least1 always in pure elevation1 attempts at perspective not being found till close on the end of the century4 ,plate ,,xxv4 shows both of the forms which are most commonly found1 that with a single big crocketted gable and arch spanning the opening1 and that with three small ones4 ,i think the former is the earlier form1 but they are often1 as here1 found together4 ,sidenote3 ,the base4 ,in the earlier part of the century at all events1 there is never an architectural base to the panel as well as a canopy1 but both subject and the shafts of the canopy end off below with a straight line at one of the frame-bars4 ,the earliest examples of anything in the nature of a base that ,i know of are at ,wells and in the great east window of ,gloucester ,cathedral1 where the topmost pinnacle of each canopy spreads out into a sort of bracket supporting the next figure above1 while the shafts at the side are prolonged upwards into the canopy of that figure1 an arrangement suggestive of ,perpendicular work4 ,but indeed in its general arrangement1 though not in its details1 the ,gloucester east window1 though executed in #acej-acfj1 contains many hints of the style that was to follow1 the stone tracery1 in fact1 being pure ,perpendicular1 perhaps the earliest example known4 ,the canopy work itself is always in the main yellow or white1 relieved against a coloured background1 and with windows1 capitals and other details put in with another colour4 ,in the aisle windows of the nave of ,york ,cathedral1 the coloured background1 and1 at first1 the pinnacles of the canopy too1 end off square at the top1 at one of the frame-bars1 just as the panel does at the bottom4 ,as the series proceeds1 however1 the central pinnacles1 as in the ,peter de ,dene window1 of which details are given in ,plate ,,xviii41 are prolonged above the bar1 a tendency which became more and more developed as time went on4 ,in the big window from ,st4 ,ouen's at ,rouen1 shown in ,plate ,,xxv41 the coloured background1 by a rather inept arrangement1 is also brought up behind the pinnacles1 and has to end in a somewhat meaningless outline4 ,at first the yellow of the canopies was obtained by the use of a yellow glass1 a pot-metal 7i4e4 a glass coloured all through in the making7 of a not very pleasant colour1 but gradually this was superseded by the use of silver stain1 by means of which a much lighter and more delicate effect could be obtained4 ,its introduction was gradual1 however1 the artist having to feel his way towards the best use of it4 ,as its use increased1 coloured glass was less and less used for details of the canopy1 the character of which gradually approached more and more to that which it was to have in the following period4 ,in some of the very earliest windows of the period1 such as those in ,merton ,college ,chapel and in the chapels of the choir in ,evreux ,cathedral1 small coloured panels1 with canopies of quite modest and reasonable proportions1 are used to decorate large spaces of grisaille4 ,the growth of the canopy began very soon1 however1 and where these small canopies are found together with geometric glazing of the grisaille and a complete absence of silver stain1 it is fairly safe to assign a date to the window not much later than #acje4 ,sidenote3 ,figures on quarries4 ,curiously enough1 in spite of the fourteenth century fondness for elaborate canopies1 we find at the same time another type of window in which they are wholly absent1 the figures being placed simply upon a background of quarries4 ,plate ,,xxiv41 one of a series from the clerestory of ,st4 ,ouen at ,rouen1 is an example of this4 ,here the figures stand1 it is true1 on little architectural bases 7an exception to the rule ,i mentioned just now71 but elsewhere these too are absent4 ,sidenote3 ,the ,s-like pose4 7#e7 ,the ,style of ,drawing the ,figure4--,the chief characteristic of this in fourteenth century work is its apparent affectation4 ,there seems to have been a sudden revolt from the taste for dramatic force of action which characterized the subject panels of the thirteenth century4 ,look at ,plate ,,xxxi4 from ,rouen1 with its three little panels showing the ,annunciation and the ,visitation4 ,in each the figure is in exactly the same pose1 and that a perfectly meaningless one1 like an elongated letter ,s4 ,yet this pose seems to have become all the fashion1 for it is almost universal in the work of this period1 and is found even in such transitional work as the east windows of the antechapel of ,new ,college1 ,oxford1 which1 in other respects1 belong far more to the succeeding period4 ,yet in spite of this loss of naturalism in movement1 in the actual drawing of forms1 both of the figure and of drapery1 there is an advance4 ,if you will compare ,st4 ,luke from the clerestory of ,st4 ,ouen at ,rouen in ,plate ,,xxiv4 with ,methuselah from ,canterbury in ,plate ,,iii41 you will see the change that has occurred4 ,st4 ,luke has far less character and force1 he is far less alive1 his pose and gesture mean nothing1 or at most are mildly argumentative1 and yet there is a certain sense in which he1 and still more his drapery1 is better drawn1 or if not better1 at all events in a more advanced manner4 ,this is more noticeable if you compare ,st4 ,luke or the little figures in ,plate ,,xxx4 with the big angel from ,chartres in ,plate ,x41 which is not so well drawn as the ,methuselah4 ,illustration3 ,,plate ,,xxv ,,window ,,with ,,life ,,of ,,st4 ,,gervais1 ,,from ,,south ,,choir ,,aisle1 ,,st4 ,,ouen1 ,,rouen ,fourteenth ,century ,sidenote3 ,the effort towards grace of form4 ,the fact is that the twelfth and thirteenth century convention in figure drawing had served its turn well1 but was now worn out4 ,deriving1 originally1 as we have seen1 out of ,greek art in its ,byzantine form1 it had formed a stock on which the artist of the ,early ,period had been able to graft his own observation and love of nature1 but it had now ceased to satisfy and was therefore abandoned4 ,the progress of drawing in other arts1 or at all events in sculpture1 had taught men to demand something different4 ,the artist of the late thirteenth century1 as the last influence of ,greek art died out of his work1 had undoubtedly neglected grace of form in his enthusiasm for vigorous and naturalistic movement2 and1 as so often happens when one quality in art is neglected1 a reaction had come1 in which people demanded that quality above all others4 ,consequently1 the chief effort of the draughtsman of the fourteenth century1 if ,i understand him rightly1 was to bring his drawing of form up to the standard required of him1 the ,s-like attitude1 for instance1 being merely a trick to get a willowy gracefulness into his figures1 especially those of women4 ,the same tendency is observable in the drawing of drapery4 ,the drapery of the thirteenth century was entirely conventional in the method in which it was drawn1 but it was always in movement and helped the action of the figures4 ,fourteenth century drapery1 on the other hand1 is always at rest1 or at most sweeping with the slow movement of a figure1 but its folds are drawn in a much more advanced manner than before1 and seem to bear evidence of a certain amount of direct study of actual drapery1 either on the part of the artist or of those whom he was following4 ,the ideal of gracefulness shows itself in a love for long and sweeping folds1 as may be seen in ,plates ,,xxiv41 ,,xxx41 ,,xxxi4 ,at first the artist is content to use in his drawing the strong line work of the preceding period1 but as the century proceeds this becomes rather more delicate1 and he begins to feel his way towards modelling in half-tones4 ,the drapery over the ,virgin's knees in ,plate ,,xxi4 shows this very clearly4 ,illustration3 ,,plate ,,xxvi ,,grisaille ,,pattern ,,and ,,boss ,,from ,,plate ,,xxv ,sidenote3 ,neglect of movement4 ,with this preoccupation with the truer rendering of form1 it is perhaps not surprising that the study of action was neglected4 ,the artist had enough to do to draw his figures and drapery in repose without making them move about and do things1 and a contributory cause was1 no doubt1 the weakening of interest already alluded to in the subjects he had to illustrate4 ,this then is why1 whereas in the thirteenth century we find a highly conventional rendering of form allied to naturalism in movement1 in the fourteenth1 conversely1 we find conventional poses and movement allied to a more naturalistic rendering of form4 ,comparative study of the illuminated manuscripts of the same period shows exactly the same changes in progress4 ,so closely do the two arts keep pace with each other that ,i do not think it can be said that at any time either was leading the other4 ,they must have been in very close touch even if they were not1 which it is quite possible they often were1 practised by the same artists4 ,the lead1 if there was a lead1 must have come from sculpture4 ,sidenote3 ,natural plant forms in ornament4 7#f7 ,the use of ,natural ,plant ,forms in ,ornament4--,this is another manifestation of the same spirit1 and divides the work of the fourteenth century most sharply from that both of the preceding and following periods4 ,the ,jesse ,trees1 and the leafy scrolls and borders of the twelfth and thirteenth centuries belong to no genus known to botanists1 but in the fourteenth century it seems as if the artist1 the inspiration of religion failing him1 had sought it in a rather literal study of ,nature4 ,accordingly in the grisaille and borders of this period we find patterns formed of oak leaves and acorns1 ivy leaves1 maple1 vine1 and so on4 ,plate ,,xxvi4 is rather an exception in that one cannot name the particular plant2 but ,plates ,,xxviii4 and ,,xxix4 contain characteristic examples1 and ,plate ,,xxi4 shows a good vine border from ,york1 and some holly leaf grisaille4 ,yet the feeling for ,nature in these patterns does not go very deep4 ,the artist is1 for instance1 content to make the oak wreath and twine itself as freely as the vine1 and ,i always feel that his practice is the result of theory rather than the spontaneous expression of love of ,nature4 ,the earlier worker was really1 ,i believe1 more in tune with ,nature than his successor of the fourteenth century4 ,he did not copy her forms in ornament but he followed her principles4 ,he did not copy her forms1 because she had taught him to design forms for himself4 ,nature1 it may be observed1 does not adorn one object with copies of another1 hardly even when she gives her creatures protective colouring and markings1 but gives to each the patterning which suits it best4 ,in the same way the ornament of the twelfth and thirteenth century artist is always perfectly suited to its purpose without distracting one's attention2 and when his subject requires him to represent a tree or a bush1--such as the fig tree under which ,nathanael sits1 or the thicket in which the ram is caught1 at ,canterbury1--though the foliage is that of the shamrock1 he knows how to make it grow and live better than his fourteenth century successor4 ,the waves1 too1 of the ,flood in ,plate ,,iv41 conventional though they are1 give a real sense of tossing and stormy water4 ,sidenote3 ,change in material4 ,sidenote3 ,fourteenth century colour schemes4 7#g7 ,the ,quality of ,glass and the ,colours ,used4--,at first these differ little from those used in the previous period1 but as the fourteenth century proceeds1 the rich intense reds and blues1 with their streakiness1 their endless variety of tone and texture1 which makes each piece of glass a jewel with an individuality of its own1 and needing no enrichment1 give way to glass of a thinner1 flatter quality4 ,in ,plate ,,iii4 ,mr4 ,saint has managed to catch and the printer to reproduce something of the quality of these early blues4 ,there is a change too in the proportions of the colours used4 ,the colour schemes of the ,early ,period are almost always conceived on a basis of red and blue1 but now green and yellow become equally important2 ,plates ,,xxi41 ,,xxii41 for example1 contain very little blue at all4 ,the canopies when not white are mainly yellow1 and this alone is responsible for a very large amount of yellow in the colour scheme--too much1 in fact1 as a rule4 ,the yellow used at first1 till silver stain took its place1 was1 as ,i have said1 a rather hot unpleasant pot-metal4 ,the green of the ,first ,period had been a rather sharp brilliant colour1 used generally in small quantities1 and striking a high shrill note among the deep reds and blues1 like a clarionet in an orchestra4 ,the typical green of the fourteenth century1 on the other hand1 which is often used as a background1 is a greyer duller colour altogether4 ,plate ,,xvi4 and ,plate ,,xxi4 give a fairly good idea of its quality4 ,sidenote3 ,white glass for flesh4 ,another change1 which was the natural result1 both of the increased amount of white now used in windows and of the introduction of the silver stain1 was the gradual substitution of white glass in the flesh of figures for the brownish pink formerly used4 ,its use afforded an opportunity for getting white in amongst the colour1 and so helping to bind the design together1 and the fact that the hair1 crowns1 and mitres of figures could now be stained yellow1 rendered it on the whole the most suitable glass for the purpose1 and we find it holding the field down to the late sixteenth century1 when a pinkish enamel began to be used4 ,illustration3 ,,plate ,,xxvii ,,bosses1 ,,from ,,plate ,,xxv ,sidenote3 ,painted diapers4 7#h7 ,the use of ,painted ,diaper ,patterns on the ,coloured ,backgrounds4--,the red and blue backgrounds to the figures in the twelfth and thirteenth centuries needed no further decoration4 ,their own depth and quality was enough in itself1 but the thinner1 flatter tones that succeeded them needed enriching and giving texture to1 in order to throw the figures up into proper relief2 or so the fourteenth century artist seems to have felt1 for from the beginning we find his backgrounds usually covered with a diaper painted in enamel4 ,the method is always the same2 the ground having been covered with an even coat of enamel1 the pattern is scratched out clear with the point of a stick or a brush handle4 ,plates ,,xvi41 ,,xx41 ,,xxi4 are typical examples1 and show in detail the kind of pattern that was used4 ,it is very rarely that we find anything of the kind in the previous period4 ,there is1 as we have seen1 an isolated and early example of it at ,canterbury1 where a rather paler1 poorer blue has been used than in the other windows1 but there it is more delicate than in the fourteenth century1 the pattern being scratched out of a very thin semi-transparent mat of enamel2 and it is found too in some late thirteenth century windows in ,st4 ,urbain at ,troyes1 but in fourteenth century work it is frequently met with even at the beginning of the period1 and by the end of the first quarter of the century it is the rule1 and remains so throughout the succeeding century as well4 ,illustration3 ,,plate ,,xxviii ,,borders1 ,,from ,,plate ,,xxv ,,ix ,,early ,,fourteenth ,,century ,,glass ,,in ,,england 7,,merton ,,college ,,and ,,exeter7 ,the windows in the chapel of ,merton ,college1 ,oxford1 are perhaps the earliest in which the design of the ,second ,period has taken a definite and typical form4 ,antony ,wood1 in his catalogue of ,fellows1 says that the donor1 ,henry de ,mamesfield or ,mannesfield1 whose portrait is in the windows1 caused them to be made in #abhc1 but in view of an order in the ,bursar's ,rolls of #abib for stone for building these windows1 this date must be rejected4 ,antony ,wood's statement elsewhere that the whole chapel was pulled down and rebuilt in #adbd shows he is not altogether to be relied on4 ,the presence of the fleur-de-lis with the castle of ,castile in some of the borders makes it probable#ab that they were done after ,edward ,i4's second marriage with ,margaret of ,france in #abii1 while the arms of an ,heir-,apparent as well as of a ,king of ,england in the east window makes it certain that they were executed while ,edward ,i4 and his son were both alive1 i4e4 before #acjg4 ,on the whole1 and by comparison with the ,york glass1 ,i should think #acjc-acje a not improbable date for them4 ,sidenote3 ,the east window4 ,there are seven windows on each side and a great east window1 and1 with the exception of the latter1 they are still fairly perfect4 ,of the east window it is only the beautiful wheel tracery which retains its original glass1 the lower lights1 alas6 having been destroyed in #agjb to make room for a monstrosity by one ,pryce--a horrible blare of yellow4 ,what remains in the tracery has a more transitional character than the other windows1 and was probably executed first1 and if only the lower lights had remained they might have thrown an interesting light on the development of the style4 ,the three trefoils in the centre of the wheel contain three coats of arms--the short triangular shields of the thirteenth century1 of which the first is that of ,edward ,i41 the leopards of ,england2 the second the same with a label of five points azure for his son1 afterwards ,edward ,,ii42 and the third that of ,walter de ,merton1 the founder of the college4 ,for the most part the other lights contain ornament that is wholly fourteenth century in character1 but the quatrefoil on each side has a feature which shows the early date of the window4 ,in these two small figures representing the ,annunciation1 though themselves in the style and colouring of the early fourteenth century1 are placed directly on a background of red and blue mosaic diaper1 such as one finds again and again in thirteenth century work in ,france1 and among the fragments in the ,south ,rose at ,lincoln4 ,i have often thought that thirteenth century glaziers sometimes kept this mosaic filling in stock1 and perhaps the artist of ,merton had some left on his hands and used it up here4 ,in any case it would seem to show that the style in which he was working was fairly new to his workshop4 ,sidenote3 ,the side windows4 ,the fourteen side windows are designed on a plan which is typical of fourteenth century work both in ,england and in ,france1 especially ,normandy4 ,the sections into which the glazing is divided by the heavy iron frame-bars are taken as the units of the design4 ,one in each light is filled with a coloured panel--a figure under a canopy--and the rest with grisaille having a coloured boss in the centre of each1 the whole being surrounded by a coloured border4 ,the effect is that of a range of greenish-white windows just dotted and edged with colour1 and with a single broad band of colour running horizontally through them all4 ,this plan is common in all early fourteenth century work1 especially in ,england and ,normandy4 ,evreux is another example1 ,york nave another1 but with two rows of coloured panels1 and the window from ,rouen in ,plate ,,xxv4 is only an elaboration of it forty years later4 ,at ,merton ,college1 however1 the canopy has not yet run mad1 but is of modest proportions1 figure and canopy together only occupying one section of glazing4 ,the grisaille itself is for the most part of bulged quarries curving round the central bosses1 but two on each side have true quarries4 ,all have the trellis pattern formed by doubling the lead with a painted line and a continuous flowing pattern of foliage--vine1 oak1 ivy1 and fig--spreading through it over the window from a central stem4 ,plate ,,xxvi4 is a later example of the same thing1 but with the addition of silver stain1 which is nowhere found in the ,merton windows4 ,the borders1 when not formed of castle and fleur-de-lis1 are of a kind found in the ,chapter-,house at ,york1 and common in other fourteenth century windows--leaves white or yellow1 branching at intervals from a straight or wavy stem on a coloured ground4 ,there is not much variety in the coloured bosses1 which all consist either of a simple four-leaved pattern or of a small head in white on a coloured disc4 ,there are1 ,i think1 only four different designs of these heads--,christ1 an old man1 a king1 and a queen continually repeated4 ,sidenote3 ,poverty of ideas4 ,the most woeful poverty of ideas is1 however1 found in the figures under the canopies4 ,there are fourteen windows of three lights each1 with a figure in each1--forty-two in all1--yet the designer could think of nothing better to do than to put an apostle in the centre light of each window1 repeating two apostles to make them go round1 and in every window but two a kneeling figure of the donor--,magister ,enricus de ,mamesfield--in the light on each side4 ,thus the proud and happy ,master ,henry might see himself reproduced no less than four-and-twenty times1 in robes of red1 white1 brown or blue1 wide sleeved robes with a hood1 doubtless the ,m4,a4's gown of the period4 ,neither are the apostles very interestingly treated4 ,they are almost repetitions of each other1 standing in the same conventional pose and distinguished only by their attributes4 ,the backgrounds of the figures are diapered with enamel in the usual fourteenth century way4 ,in point of development these windows come between the ,chapter-,house and the earliest nave windows at ,york1 and correspond with the earliest work at ,evreux1 being the earliest windows in which the style of the ,second ,period has taken final and definite form4 ,they are not without their beauty1 but in looking at them one wonders what has become of the spirit that created the windows of ,canterbury1 ,chartres1 and ,bourges4 ,sidenote3 ,exeter east window4 ,of the same stage of development as the ,merton windows are the earliest of the figures remaining in the east window of ,exeter ,cathedral4 ,although this window was rebuilt and enlarged in #acij1 the original glass was1 it is known1 used again and eked out with new4 ,there is an entry in the ,fabric ,rolls of #acja-acjb for #abga feet of glass at #e;d4 per foot1 ad summas fenestras frontis novi operis--which seems to mean the east end of the choir1 and two years later a payment to ,master ,walter the glazier for fixing the glass summi gabuli1 but no further light is thrown on its origin4 ,later on1 however1 in the roll for #acag-acah1 there is an entry for glass1 apparently for the ,lady ,chapel1 bought at ,rouen at the rate of #f;d4 a foot for white 78 grisaille7 and #as4 #j;d4 for coloured1 and from this it has been argued that the whole of the glass up to that time was bought from ,rouen too4 ,to me1 however1 the fact that ,rouen is specifically mentioned here1 and nowhere else1 militates against this theory1 while if the price of #e;d4 a foot paid for the glass of the east window was for finished figure work1 it is far lower than that of the ,rouen glass4 ,the figures themselves are much larger than those at ,merton ,college1 and on the whole more interestingly treated4 ,there are nine of them remaining3 three patriarchs2 three apostles--,st4 ,peter1 ,st4 ,paul1 and ,st4 ,andrew2 and three female saints--,st4 ,margaret1 ,st4 ,catherine1 and1 ,i think1 the ,magdalen4 ,the canopies are large in proportion1 being nearly twice the height of the figures1--an unusual height for so early a date1--but they are not unlike the ,merton canopies in style4 ,there is no trace of silver stain either in the canopies or the figures4 ,another fact which to some extent tells against the theory of their ,rouen origin1 is that so far ,i have found no glass of that date at ,rouen which at all resembles them1 whereas as late as #abij-abie ,clement of ,chartres was1 as we have seen1 doing work there1 which shows little change from the style of the middle of the thirteenth century4 ,sidenote3 ,grisaille at ,exeter4 ,there is some very interesting grisaille in two of the chapels at ,exeter1 of an earlier type than that at ,merton1 being in fact transitional between the style of the ,first and ,second ,periods4 ,it has the interlacing medallions of coloured strap work1 with the painted grisaille pattern passing behind them1 but this latter1 though chiefly of the ,herba ,benedicta1 breaks here and there into natural leafage4 ,it is a slightly earlier point of development than even the ,chapter-,house at ,york1 and corresponds very closely with some at ,st4 ,urbain at ,troyes4 ,,footnote3 #ab ,this is not altogether conclusive4 ,the fleur-de-lis and castle had been a favourite ornament in ,french glass since their adoption by ,st4 ,louis4 ,illustration3 ,,plate ,,xxix ,,details1 ,,from ,,plate ,,xxv ,x ,,fourteenth ,,century ,,glass ,,at ,,york ,the best work of the ,second ,period that ,i know of anywhere is to be found in ,york ,minster4 ,here the new style seems to have become engrafted on a strong local school which had preserved much of the life and vigour of the previous age4 ,it is true that even here one finds a certain weakening of the religious motive1 but its place seems to be to some extent taken by a patriotic enthusiasm for a warrior king and for the gallant nobles who followed him in the ,scotch wars1 and whose arms are everywhere in the glass of the nave4 ,sidenote3 ,chronological order of the windows4 ,the windows themselves show a steady and almost unbroken progression in style from the late thirteenth to the early part of the fifteenth century1 which makes them most useful for study4 ,leaving out the fragments of very early glass ,i have mentioned before1 the order of their execution seems to be-- #a4 ,the ,five ,sisters4 #b4 ,chapter-,house4 #c4 ,the vestibule of the ,chapter-,house4 #d4 ,the clerestory of the nave4 #e4 ,the first five#a in the north aisle of the nave 7dated by ,winston #acjf74 #f4 ,the first five#ac in the south aisle of the nave4 #g4 ,the sixth in the north aisle of the nave4 ,the three west windows of the nave 7contract #acch74 #h4 ,the sixth in the south aisle of the nave4 ,one 7probably from the nave7 in the south aisle of the choir4 #i4 ,the third from the east in the south side of the ,lady ,chapel4 #aj4 ,the fifteenth century windows in the choir and ,lady ,chapel1 which we shall come to later4 ,whatever difference of opinion there may be about the date of these windows1 ,i do not think this order can be disputed4 ,illustration3 ,,plate ,,xxx ,,angels ,,in ,,canopy ,,work ,,of ,,plate ,,xxv ,sidenote3 ,the ,chapter-,house4 ,the ,five ,sisters have already been dealt with in their place in the ,first ,period4 ,those of the ,chapter-,house1 whether of earlier or later date than those of the ,merton ,college ,chapel1 are distinctly earlier in style and are one of the few examples of work that is really transitional between the ,first and ,second ,periods1 belonging almost as much to one as to the other4 ,unfortunately there is no record of the building of the ,chapter-,house1 and its date is a matter of dispute1 ,drake putting it as early as the time of ,archbishop ,walter ,grey1 who died in #abef1 and ,browne holding it was not finished till nearly #acdj--;an impossible date for the glass4 ,as in ,merton ,chapel the presence of the fleur-de-lis as well as the castle of ,castile in the windows may mean that they are not earlier than #abii1 but ,i do not think they are much later4 ,the only ,french work ,i know of which at all corresponds to it is in ,st4 ,urbain at ,troyes1 which ,viollet-le-,duc dates at about #abie1 and the windows from ,poitiers in ,plate ,,xv4 ,sidenote3 ,the grisaille in the ,chapter-,house4 ,the windows are divided by the tracery into narrow lights in which a series of coloured medallions of typical thirteenth century shape are placed one above the other on a ground of grisaille1 much as in the window from ,poitiers4 ,it is in the grisaille itself that the beginnings of the new style are shown1 for whereas in the ,five ,sisters1 which are certainly later than #abfj1 the pattern on the grisaille is the conventional trefoil of the ,first ,period--the ,herba ,benedicta--and conforms to the shapes of the lead-work and of the hollow medallions outlined in coloured bands1 in the ,chapter-,house1 although the medallions in coloured outline are still there1 the painted pattern1 as at ,exeter and ,troyes1 runs through them independently of them 7giving them a rather meaningless appearance of being hung in front of it71 but is wholly formed of natural foliage1 oak1 fig1 ivy1 and so on2 the borders1 too1 are of the character of the ,second ,period4 ,similar grisaille is found at ,chartham in ,kent4 ,at ,poitiers1 as may be seen in the illustration1 the grisaille pattern is still of the ,herba ,benedicta1 with a cross-hatched ground1 and the border is of an earlier type2 at ,st4 ,urbain at ,troyes1 as at ,exeter1 both the conventional and the natural foliage are found1 but on the whole ,i am somewhat inclined to think that wherever the other features of the style originated these patterns of natural foliage were first used in ,england4 ,these windows1 by the way1 are in a sad state and want releading1 instead of which the authorities have contented themselves with placing quarry glazing on the outside of them1 which now that it is dirty so darkens the old windows as to kill all light and colour in them4 ,when ,i say releading1 ,i mean that and nothing more--not restoration1 which is murder4 ,sidenote3 ,the ,chapter-,house vestibule4 ,the windows in the ,l-shaped vestibule1 or passage1 which leads to the ,chapter-,house show a slight further development4 ,here the grisaille is of the same character as in the ,chapter-,house itself1 but the coloured panels are each surmounted by a little crocketted canopy1 which here appears for the first time in ,york4 ,it is found in some glass at ,selling1 in ,kent 7which from the heraldry seems to commemorate ,edward ,i4's marriage to ,margaret of ,france in #abii71 in conjunction with grisaille in which the foliage is of the earlier conventional type1 and which therefore may1 perhaps1 be a little earlier than these windows4 ,sidenote3 ,the clerestory of the nave4 ,the windows in the clerestory of the nave of ,york ,minster are little1 ,i think1 if at all1 later than those in the ,chapter-,house1 but it is a little difficult to compare them as they are designed to be seen at such a very different distance from the eye1 the white parts of the clerestory windows consisting only of interlacing bands of lead-work without any painted pattern at all4 ,a small inset in ,plate ,,xviii4 shows the general arrangement of all these windows2 the great wheel of the tracery1 it will be seen1 is filled with colour1 while the lower lights are white with two bands of coloured panels running horizontally through them all4 ,of these panels the lower row consists of coats of arms of the great families of the ,north1 contained in medallions of which ,plate ,,xvi4 is an example4 ,the upper row consists for the most part of subjects contained in somewhat similar medallions1 but many of the panels are filled with earlier glass of the twelfth and thirteenth centuries1 which were doubtless preserved from the older nave4 ,thus1 if you let your eye run along the northern side it will be arrested at the extreme west end of the line by a piece of blue that is different from all the others4 ,it is the twelfth century blue that we have seen at ,st4 ,denis and in the west windows at ,chartres1 and the panel is the portion of a ,jesse ,tree of the same pattern as that which is found at both those places1 and which ,i mentioned when speaking of them4 ,portions of the foliage of the tree are in the tracery above4 ,i think ,i recognize this blue too in a panel on the south side representing a man with a horse and cart1 and remains of early thirteenth century glass are plentiful4 ,illustration3 ,,plate ,,xxxi ,,the ,,annunciation1 ,,from ,,st4 ,,ouen1 ,,rouen ,fourteenth ,century ,sidenote3 ,the aisles of the nave4 ,next after the clerestory1 the oldest windows in the nave are the first five from the east in each aisle4 ,in these the style of the ,second ,period is fully developed and is in no sense transitional4 ,they are rather more advanced in style than the ,merton ,college windows and are by a far finer artist1 being1 in fact1 the finest work of the period that ,i know4 ,they seem to me all to have been executed within a few years of each other1 probably in continuous succession1 and to show the gradual development which might be expected during the progress of the work4 ,those on the north are the oldest and in the best condition1 those on the south being much broken and confused1 and one1 alas6 restored4 ,the general design is the same in all and is a typical fourteenth century one1 two horizontal bands of coloured panels surmounted by canopies running horizontally through all the lights1 separated by panels of grisaille which have a coloured spot in the centre of each panel4 ,it is characteristic of the fourteenth century that the whole of the lower panels are in nearly every window devoted to the donor1 who is thus given as much space as the subject4 ,the grisaille is of the same type as at ,merton4 ,as in all early fourteenth century work1 the sections divided by the heavy frame-bars are taken as the units of the design1 the coloured panels with their canopies each occupying two sections and the grisaille panels one each4 ,nos4 #b1 #c1 and #d on the north were probably the first executed1 as they contain no trace of yellow stain 7,plate ,,xvii4b74 ,no4 #e1 from which the border of monks in their stalls in ,plate ,,xvii4a is taken1 has a single touch of it in one place1 but in ,no4 #a it is used1 though still sparingly and tentatively1 on the beaks and claws of the eagles in the borders of the outer lights 7,plate ,,xvii4c7 and on the mail of the knights in the border of the centre light 7,plate ,,xviii471 and here and there in the canopy4 ,another fresh development is the prolonging of the pinnacles of the canopy into the grisaille panel above4 ,sidenote3 ,the ,peter de ,dene window4 ,this window1 which is sometimes called the ,heraldic ,window1 from the number of coats of arms it contains1 is the only one of them that has hitherto been the subject of any very close study1 ,mr4 ,winston having devoted a whole article to an extremely close and careful analysis of its heraldry1 and to an account of the life of its donor1 one ,peter de ,dene1 whose portrait is in the central light and who was a churchman-politician under the first two ,edwards4 ,there is no space here to repeat his arguments1 and ,i will only say that1 after reading them and rereading them1 ,i find it very difficult not to accept his conclusion that the most probable date for the window is #acjf4 ,the subject panels represent the story of ,st4 ,catherine1 but are the least interesting part of the window1 of which the most charming feature is1 perhaps1 the border of the central light1 which consists of miniature portraits of kings1 queens1 and nobles whom the donor wished to compliment 7,plate ,,xviii474 ,the two uppermost figures are those of a ,templar and a ,hospitaller2 below them are the kings and queens of ,england and ,france1 in allusion to ,edward ,i4's second marriage1 and the recent peace concluded by it2 below the ,queen of ,france is the ,heir-,apparent of ,england1 and the remaining figures bear the arms of de ,clare1 ,earl of ,gloucester1 ,warrenne 7both connected with the ,royal ,family71 ,beauchamp1 ,ros1 ,mowbray1 ,clifford1 and ,percy4 ,the coats of arms which form the bosses in the white panels are those of foreign monarchs with whom the ,king of ,england was connected4 ,the white eagles in the outer border are thought by ,winston to refer to ,piers ,gaveston1 who1 though somewhat under a cloud in #acjf1 yet1 as the friend of the heir to the throne1 was a good person to keep in favour with4 ,it is true the ,gaveston eagles were golden1 but heraldry was more free and easy then than later4 ,there is a portrait of ,prince ,edward in the ,chapter-,house with a white falcon on his wrist1 and white falcons are plentiful in the windows of the nave1 yet ,i have never heard of his using it as a badge1 though the last ,plantagenet1 ,richard ,,ii41 did so4 ,sidenote3 ,the ,bell-founder's window4 ,the next window to this is the famous ,bell-founder's ,window1 given by ,richard ,tunnoc1 bell-founder of ,york4 ,in the lower panel of the centre light is his portrait kneeling and presenting a model of the window to an ,archbishop1 perhaps ,st4 ,william4 ,the panels on either side represent one1 the casting1 the other the turning of a bell in a lathe4 ,bells are everywhere in the window1 the canopies are hung with them in rows1 the borders are formed of them1 but ,mr4 ,westlake's careless remark that all six panels represent the process of bell-making is not true4 ,the upper three are much perished1 but one can just see that they tell the story of ,st4 ,william's return to ,york1 when the welcoming crowds broke down ,ouse ,bridge1 but when1 through his intercession1 not a life was lost4 ,sidenote3 ,the de la ,warde window4 ,the third window contains some interesting portraits in its lower panels4 ,the central one is that of an ,archbishop of ,york1 as shown by the key in his left hand1 holding in his right a model of the nave#ad4 ,on the left is a knight dismounted1 holding his horse by the bridle1 and behind him the hand of some one out of the picture holds his banner1 which the painting1 though almost obliterated1 still shows to be vair argent and sable4 ,in the opposite panel is a lady standing and behind her1 half out of the picture1 a man on horseback1 doubtless his wife and son4 ,now the arms on the banner are those of the ,barons de la ,warde1 of whom there were only two1 ,robert and his son ,simon4 ,robert1 who was in the ,scotch wars1 and in #acjf was steward of the household to ,edward ,i41 must have passed the greater part of that year in ,york with the ,king1 who was there preparing for his last expedition against ,robert ,bruce4 ,he1 ,robert de la ,warde1 died next year4 ,his son ,simon was ,governor of ,york in #acba1 and helped with his forces to defeat ,thomas of ,lancaster at ,boroughbridge4 ,it will thus be seen that the window might either have been given by the father in #acjf or the son about #acbj1 but since two figures are represented1 and since we know that ,simon died childless 7the barony becoming extinct71 it seems probable that it was executed in the father's lifetime4 ,again1 though #acbj would fit the ,bell-founder's window1 since ,tunnoc was ,sheriff of ,york that year1 it cannot be made to fit the facts in ,peter de ,dene's window1 which is certainly not earlier but later4 ,the presence of the ,templar is against it1 as it is unthinkable that the ,order which was suppressed in #acab 7and its grandmaster burnt7 should thus have been complimented in #acbj4 ,but for this fact ,i am bound to say ,i should have thought #acbj the more probable4 ,if then we accept #acjf as the approximate date for these windows1 it will be seen that in little more than seven years a complete change had come over the design of ,english stained glass1 and it will presently be seen that much the same thing was happening in ,france at the same time4 ,indeed1 one of the surprising things about medival art is the rapidity with which new ideas seem to flash across ,europe from ,yorkshire to ,dalmatia4 ,the outer lights of the de la ,warde window have a fascinating border of monkeys bearing pitchers1 and across the bottom of the window is a busy scene of monkeys hunting and feasting1 with a man and woman among them4 ,sidenote3 ,the fifth window in the north aisle4 ,the three lower panels of the fifth window illustrate a story which ,i have never yet found any one to give me a clue to4 ,it has nothing to do with the upper subjects1 two of which are the martyrdoms of ,,ss4 ,peter and ,paul1 the third being merely fragments4 ,from its position1 and from the fact that the costume is contemporary with the painting1 ,i should rather imagine that it refers to some local story1 perhaps connected in some way with the gift of the window4 ,on the right1 a figure in a red cope with a red skull-cap but no nimbus1 holding a scourge or disciplina in his hand1 is pointing apparently in denunciation at what appears to be a cringing figure in brown1 much broken1 among a crowd of others1 some of whom are women4 ,in the next panel1 which is also much broken and jumbled1 the same figures seem to be there1 but the one in red seems to be exhorting rather than denouncing4 ,the third or left-hand panel is in much better condition1 and here we see the figures plainly4 ,the one in brown1 which turns out to be that of a layman1 without armour1 but with a dagger at his side and a spiked mace slung over his left arm1 is kneeling at the feet of the figure in red1 who is seated1 and with one hand laid on the penitent's head is with the other firmly administering the disciplina to his back6 ,the border is of monks 7or canons7 in their stalls1 and the only heraldry in the window is contained in the painted diaper on the blue background1 and consists of spread eagles and rampant lions1 like the border of the ,peter de ,dene window4 ,the remains of the donor's name--,w 444 ,,mn 444 ,,cton--gives me no clue4 ,sidenote3 ,the south aisle4 ,illustration3 ,,plate ,,xxxii ,,window ,,in ,,st4 ,,bartholomew',s ,,chapel1 ,,st4 ,,ouen1 ,,rouen ,fourteenth ,century ,sidenote3 ,the de ,mauley window4 ,the first five windows in the south aisle seem to me to follow these immediately in order of execution4 ,the style is just a little more advanced2 stain is used more freely1 and the canopies begin to grow up into the white panel above them until their pinnacles reach its centre and do away with the coloured boss there altogether2 they spread into the borders in many cases in order to give more room to the figures under them1 thus giving rise to the three-gabled form of canopy4 ,in colour they are still very beautiful1 but have suffered much more damage than those in the north aisle4 ,several of them have been repaired and restored by ,peckitt1 of ,york1 as the inscriptions show1 at the end of the eighteenth century1 but ,peckitt's restoration was merciful compared to that which the fourth one has undergone at the hands of a modern firm of stained-glass manufacturers4 ,whole quantities of the old glass have been replaced by new1 and the whole has been smeared with some brownish mess to make it look old again4 ,as a result1 all life and beauty have gone out of the window which is merely a sort of embalmed corpse1 and this is the more to be regretted that it seems to have been a particularly interesting window4 ,the lower panels each contain a pair of kneeling figures1 five knights1 and one churchman who hold aloft shields which show them to be various members of the ,yorkshire family of de ,mauley of ,mulgrave4 ,the founder of the family was the ,poitevin ruffian1 ,piers de ,mauley who1 at ,king ,john's orders1 murdered ,prince ,arthur and was rewarded for this service with the hand and estates of an unfortunate ,yorkshire heiress4 ,the descendants of this miscreant seem1 however1 to have been gallant soldiers who distinguished themselves in ,scotland and ,gascony and were made barons by ,edward ,i4 ,a peculiarity of the family was that the eldest son was always called ,peter1 and they distinguished themselves by numbers1 like kings4 ,one of the portraits must be the particular ,peter who afterwards1 in #acdf1 commanded the forces which ,queen ,philippa raised in her husband's absence against the invading ,scots1 whom he routed at ,neville's ,cross1 taking their king1 ,david ,bruce1 prisoner1 and partly avenging ,bannockburn4 ,an interesting point of heraldry is the way in which the arms of the different sons are distinguished1 not by the marks of cadency used later1 but by the addition of different charges to the original shield which is or1 a bend sable4 ,the fifth window was once a ,tree of ,jesse but is now a mere wreck4 ,it is1 however1 the earliest ,jesse ,tree ,i know of in which the stem and foliage of the tree are green4 ,these windows show a progressive increase in the use of white for flesh colour instead of the brownish pink formerly used4 ,at first1 white is used only for women's faces1 and then for those of saints of both sexes1 brown-pink continuing to be used for other people till quite the middle of the century or later4 ,stain is not used on the hair at first1 but sometimes a thin brown matt of enamel is laid all over the hair which at a distance has almost the effect of stain4 ,sidenote3 ,the sixth window in the north aisle4 ,the sixth window on the north side is1 ,i think1 a good many years later in date than these ten windows we have been considering1 and is much less beautiful4 ,a canopy and border from it are shown in ,plate ,,xviii4a on the right4 ,although the same general arrangement is adhered to as in the other windows1 the treatment is much coarser2 the crockets of the canopies are big1 heavy1 and ugly1 of a brownish-yellow pot-metal1 but at the same time stain is freely1 indeed lavishly1 used1 not only in the canopies and borders but1 for the first time in the ,cathedral1 in the quarries of the grisaille as well4 ,the borders of heraldry or little figures have given way to running patterns of natural foliage of the more common fourteenth century type4 ,there are four different patterns of these borders in the window1 so that some probably came from another window of the same date1 perhaps in the now empty seventh window4 ,sidenote3 ,the west windows4 ,later still are the three west windows and the sixth in the south aisle which mark a further stage in development4 ,here we have at last a definite date to help us1 for the contract with the glazier1 one ,robert1 is still in existence and is dated #acch1 so we may assume the windows were finished about #acdj4 ,it is difficult to judge these windows fairly1 for they were subjected to a most drastic restoration in the eighteenth century1 and the great central one is further disfigured by protective quarry glazing on the outside1 which reduces it to a dirty brown4 ,i do not think1 however1 that they can ever have been1 comparatively speaking1 very good1 and ,i am inclined to look upon them as perhaps the poorest work of the ,middle ,ages4 ,plate ,,xix4 shows one light of the northernmost of the three1 that at the west end of the north aisle4 ,it will be seen that the canopy has now grown to an absurd height and fills the whole light1 and neither in its proportions nor in its details is it very graceful4 ,the border is now growing narrower and narrower1 and is eventually doomed to disappear altogether4 ,the crockets of the gable are the only yellow pot-metal used1 silver stain being used everywhere else1 and not very artistically1 though how far this is due to the restorer it is difficult to say4 ,illustration3 ,,plate ,,xxxiii ,,details1 ,,from ,,st4 ,,ouen1 ,,rouen ,fourteenth ,century ,the same qualities may be observed in the great central west window of the nave1 also the work of the glazier ,robert4 ,here1 too1 the canopies over the various rows of figures which form the design meet the feet of the row above1 and in the top row shoot up to the head of the light4 ,their stiff awkwardness is in curious contrast to the wonderful flowing grace of the actual tracery of the window which contains them4 ,the treatment of the figures1 too1 is dull4 ,for the eight archbishops who form the bottom row1 only two different patterns have been used1 and in the row above the eleven apostles have been got into eight lights by making six of them squeeze1 most uncomfortably1 two in a niche4 ,the ,st4 ,stephen 7,plate ,,xx47 is from the sixth window in the south aisle1 which seems to be of about the same date as the west windows and probably by the same glazier ,robert4 ,instead of conforming to the design of the other windows in the aisle1 he has filled it with three figures larger than life under tall canopies4 ,it has likewise suffered much from eighteenth century restoration 7the head1 ,i think1 is new71 and has1 besides1 the same faults as the west windows4 ,to me its chief interest is in the ornamentation of the saints' dalmatic1 which affords the earliest example ,i know of the use of silver stain on blue glass1 which may be seen in the ring-like ornaments on the blue stripes4 ,sidenote3 ,all ,saints'1 ,north ,street1 and ,st4 ,martin's1 ,micklegate4 ,the parish churches of ,york contain a good deal of fourteenth as well as fifteenth century glass4 ,the windows in the west end of the north aisle of ,all ,saints'1 ,north ,street1 and the south aisle of ,st4 ,martin's1 ,micklegate1 ,plates ,,xxi4 and ,,xxii41 are not very easy to place with regard to the ,cathedral work4 ,my own opinion is that they are rather later and show a recovery in quality4 ,the canopies are as big as ever1 but there is more taste and refinement in the drawing1 both of the figures and ornaments1 and more experience as well as taste in the use of the silver stain4 ,at the same time1 they contain later features1 such as the attempt at perspective in the battlements above the canopy in ,plate ,,xxi41 and in the brackets of a sort of balcony 7not shown in the illustration7 below4 ,the curious device above the canopy in the window at ,st4 ,martin's 7,plate ,,xxii47 is1 ,i imagine1 the merchant's mark of the donor4 ,,footnotes3 #ac ,from the east4 #ad ,in #acjf this would be ,william de ,greenfield1 under whom the nave was building1 and in #acbj ,william de ,melton1 who finished it4 ,illustration3 ,,plate ,,xxxiv ,,canopy1 ,,from ,,all ,,saints'1 ,,north ,,street1 ,,york ,fifteenth ,century ,,xi ,,fourteenth ,,century ,,glass ,,in ,,france ,sidenote3 ,st4 ,pierre at ,chartres4 ,in ,france the change of style seems to have occurred very much at the same time as in ,england4 ,there is some transitional work in ,st4 ,urbain at ,troyes1 to which ,viollet-le-,duc gives the date #abie4 ,this would make it a few years earlier in all probability than the ,chapter-,house at ,york1 but the type of grisaille is rather earlier too1 still consisting partly1 like that at ,exeter1 of conventional foliage4 ,the clerestory windows of the fine church of ,st4 ,pierre at ,chartres1 whatever their precise date1 certainly mark the local change from the previous style4 ,the church had been begun as early as #aaej1 but its progress was slow and it was not completed till #abbe1 though the choir had been glazed in #aagb4ae ,the upper part of this choir was1 however1 pulled down in #abgj1 and rebuilt with large traceried windows1 filling all the wall space of the clerestory4 ,this again was not finished till #acaj1 but this date probably refers to the completion of the interior decoration which was always preceded by the glazing of the windows4 ,on the whole1 ,i think it is fairly safe to conclude that the choir windows were done about #acjj1 or a little before4 ,the style is still that of the ,first ,period but modified1 experimentally as it were1 to suit new conditions4 ,each window has four tall narrow lights with tracery above1 and every other light is filled with two large figures placed one above the other each in a medallion1 which is squeezed by the narrowness of the light into an elongated form1 while the space between the medallions is filled in the old way with mosaic diaper of red and blue4 ,in compliance1 however1 with the growing demand for more light in churches1 the other two lights in each window are filled entirely with grisaille4 ,this would give a lop-sided appearance to a single window1 but seen together with only a slender shaft between window and window1 they form a succession of alternate white and coloured vertical stripes all round the choir1 an interesting and almost unique method of combining figure and grisaille4 ,altogether the clerestory windows may be considered as the very last work of the ,first ,period already modified and influenced by the spirit of change that was in the air4 ,in the clerestory windows of the nave the change has already come about4 ,although in the richness of colouring there is still a reminiscence of the earlier style1 yet the medallion has vanished1 and everywhere1 both over single figures and over subject panels1 we find decorated canopies1 not yet1 however1 of exaggerated proportions1 and with a complete absence of yellow stain4 ,in the general arrangement the same idea is seen as in the choir1 but it has had to be adapted to a different form of window-opening4 ,the nave is part of the original church of #abbe1 and the clerestory windows consist1 like those of the ,cathedral1 of broad lights grouped in pairs1 with a rose above each pair--the germ of tracery4 ,every alternate pair is entirely filled with small coloured scenes from the life of a saint1--no longer in medallions1 but each framed under a small white canopy1--but the windows between them have only a vertical stripe of colour down the centre of each light containing two large figures1 one above the other1 while the rest of the light is filled with grisaille 7,plate ,,xxiii474 ,the portrait of a certain abbot as donor enables us to date these nave windows with fair accuracy as about #acjg-h1 which makes them slightly later than the ,peter de ,dene window in ,york ,minster4 ,the grisaille is1 however1 of a distinctly earlier type1 having the background still cross-hatched1 but at ,chartres one would expect the old traditions to die hard4 ,sidenote3 ,fourteenth century glass in ,chartres ,cathedral4 ,there is fourteenth century work in the ,cathedral1 which is interesting in its way4 ,the window given1 about #acjg-aj1 by ,geoffrey the ,restorer1 a canon whose restoration of the thirteenth century windows was of a different kind to that now in vogue1 is the work of an archologist and an enthusiast for the older style and can hardly be taken as typical4 ,very different is the strip of glazing which ,canon ,thierry got leave1 in #acbh1 to insert in the foot of one of the big thirteenth century windows in the south transept to light an altar he had founded4 ,even for its date it is remarkable1 consisting1 as it does1 of figures 7,canon ,thierry kneeling to the ,virgin surrounded by saints7 executed entirely in white and silver stain1 without any coloured glass1 placed directly on a background of white and stain quarries4 ,it is perhaps the first examples of this treatment of figures1 and anything more hopelessly out of keeping with the deep and solemn colours above it can hardly be imagined1 so that it is difficult to do it justice4 ,an example of coloured figures placed directly on quarries is the ,annunciation1 which dates from #acej1 in the south choir aisle1 but it is not a very interesting group4 ,the chapel of ,st4 ,piat contains some glass of the latter half of the century1 but the treatment it has received prevents one forming an opinion of it4 ,sidenote3 ,evreux4 ,the ,cathedral of ,evreux is rich in remains of fourteenth century glass1 which1 like that at ,york1 illustrates the progress of design during the century1 the windows being of all dates from the opening of the fourteenth century till well on in the fifteenth4 ,the earliest are those in the choir chapels1 some of which are of about the same date as the ,merton ,college glass1 which1 indeed1 they at once call to mind4 ,as at ,merton1 small coloured panels containing figures under low canopies are made to decorate long lights of grisaille4 ,for the most part1 as at ,merton1 the figures consist of donors in the outer lights1 kneeling to their patron saints in the inner ones1 though occasionally one finds subjects1 such as the part of a ,life of ,st4 ,martin in one of the northern chapels4 ,one of the chapels in the apse is remarkable for the charming use of heraldry in the border4 ,the windows contain figures of the ,count of ,evreux kneeling to the ,virgin4 ,his arms are the lilies of ,france with a bend compone of argent and gules1 and the fleur-de-lis and the bend are repeated alternately all the way up the border1 on a ground of blue1 with delightful effect4 ,later than these is the ,harcourt window1 the earliest apparently of those in the clerestory1 which must date from between #acaj and #acbg1 though ,i am inclined to think it is nearer the later date4 ,here again one has the arrangement1 so characteristic of the fourteenth century1 of kneeling donors in the outer lights and their patron saints in the inner1--the first idea in nearly every fourteenth century window is the safety of the donor's soul1--but here the coloured panels are placed at the very bottom of the window1 with grisaille above1 an arrangement which one finds again in later work at ,rouen4 ,it has the advantage of bringing the figures nearer the eye1 but as a design it is hardly happy4 ,sidenote3 ,st4 ,ouen at ,rouen4 ,the fine church of ,st4 ,ouen at ,rouen is very rich in fourteenth century glass of the first half of the century4 ,the oldest1 perhaps1 is in the clerestory windows1 which afford another example of the practice found1 ,i think1 earlier in ,france than in ,england1 of placing figures directly on a background of quarries 7,plate ,,xxiv474 ,from the small amount of stain used ,i do not think they are likely to be later than #accj1 though the queer little pedestal with its ogival arch does not look a very early feature4 ,rather later than these are the immense windows in the choir aisles1 of which ,plate ,,xxv4 is an example4 ,in comparing them to those in ,york ,minster1 they seem to me to come1 in point of development1 between the aisle windows of the nave and the west windows1 but are far better than the latter2 yet1 although there is hardly a detail in them which cannot be found in an earlier form at ,merton ,college or ,york1 they have1 nevertheless1 a character all their own1 a hint of growing divergence between the two schools4 ,the subject of this particular window is the ,life of ,st4 ,gervais1 but it is such an unimportant detail in the design as to be hardly worth mentioning1 the real interest of the windows being their planning and ornament4 ,they are planned on precisely the same system as the windows in ,merton ,college chapel1 in the choir chapels at ,evreux1 and the aisles of ,york nave1 but the canopies are more highly developed1 the quarries are true quarries1 and stain is much more freely used4 ,plates ,,xxvi4-,,xxx4 show1 in detail1 the use that has been made of it in the grisaille borders and bosses of this window4 ,even the canopies that are all yellow are1 ,i fancy1 coloured with stain2 but the artist has been alive to the danger of too much yellow in the window1 and has made every other canopy white1 merely touched with stain1 a form which in time was to supersede the other altogether4 ,if you compare the little figure from one of these canopies in ,plate ,,xxx4 with the little border figures from ,peter de ,dene's window at ,york1 you will see how the work is beginning to lose the mosaic character it had inherited from the previous centuries4 ,the grisaille patterns1 as well as the borders1 show descent from1 or at least common origin with1 those of ,york and ,merton--you can find that central stem with a wavy line on it in both2 but there is a subtle difference in the ,rouen work--a little more grace1 and more care that the foliage shall not only decorate the whole space of white1 but form a symmetrical pattern on each individual quarry1 a tendency which1 however1 may also be found in ,english work towards the end of the century4 ,illustration3 ,,plate ,,xxxv ,,canopy1 ,,from ,,all ,,saints'1 ,,north ,,street1 ,,york ,fifteenth ,century ,of later fourteenth century work there is not very much in ,france4 ,the country was devastated by war1 and there can have been little money or heart left for painted windows4 ,whichever side of the channel the style of the early fourteenth century originated1 it is quite certain that the next great movement came from ,england4 ,,footnote3 #ae ,lasteyrie would have it that the existing windows represent this glazing1--an extraordinary mistake for him to make1--but it is just possible that they contain figures from the older windows4 ,illustration3 ,,plate ,,xxxvi ,,nicholas ,,blackburn ,,and ,,his ,,wife1 ,,from ,,east ,,window ,,of ,,all ,,saints'1 ,,north ,,street1 ,,york ,fifteenth ,century ,,xii ,,late ,,fourteenth ,,century ,,glass ,,in ,,england 7,,transitional--,,gloucester ,,and ,,the ,,work ,,of ,,the ,,winchester ,,school7 ,an interesting thing about the design of stained glass in the fourteenth century is that it never stands still1 but changes more rapidly than at any other period in its history4 ,at ,gloucester1 not more than from ten to twenty years after the latest of the windows ,i have been describing1 the great east window of the ,cathedral was filled with glass1 which already faintly foreshadows the change into the style of the succeeding period4 ,the ,severn valley is rich in glass of the fourteenth century1 the work of a school which may have had its headquarters at ,gloucester1 where1 in later times1 at all events1 there were important glass-works1 which may still be seen in seventeenth century views of the city4 ,the fourteenth century glass at ,shrewsbury1 ,tewkesbury1 and ,wells is all of this school1 and differs in many little ways from the work at ,york1 among which are the frequency of the ogival arch and gable in the canopies1 and1 at ,wells1 the presence of foliated brackets which support the figures4 ,whether the work in ,bristol ,cathedral also belongs to it ,i am not quite prepared to say4 ,sidenote3 ,the east window of ,gloucester ,cathedral4 ,i have no space1 however1 to describe these windows1 and must return to the east window of ,gloucester ,cathedral which is later in style than any of them4 ,winston1 who has given it the same careful study that he had devoted to the ,peter de ,dene window at ,york1 points out that the coats of arms in it are all those of nobles who took part in the ,campaign of ,crcy in #acdf and deduces that the date of the window is not later than #acej1 whereas ,westlake thinks it cannot be earlier than #acfj4 ,in either case it is remarkable4 ,to begin with1 the tracery of this immense window1 the second largest in ,england1 is pure ,perpendicular1 and the earliest important example of it4 ,the glass1 on the other hand1 in its architectural detail1 style of drawing1 and material used1 belongs almost wholly to the ,second or ,decorated ,period1 and it is mainly in its planning and general colour scheme that we find a hint of approaching change4 ,the perpendicular mullions and horizontal transoms divide the great window1 which is slightly bowed outwards to give its strength1 into a series of horizontal rows of narrow lights one above the other1 fourteen lights in a row1 each light being about two feet wide and from six to nine feet high4 ,the lower tiers 7and originally this was true of the tracery as well7 are filled with quarries1 and the upper one of these1 the first that extends all across the window1--for the entrance to the ,lady ,chapel makes a gap below it1--is decorated with the splendid row of coats of arms already mentioned4 ,above this each light1 row upon row1 contains a figure under a canopy1 the side shafts of which extend into the light above and support the canopy there1 while the central pinnacle also extends upwards past the transom and expands into a flat-topped pedestal which carries the figure above4 ,figure and canopy are white1 their whiteness only emphasised by touches of yellow stain1 and relieved against a coloured background4 ,the background of the two central columns of lights is ruby1 that of the column on each side blue1 and the next ruby again and so on alternately4 ,thus the general effect is of a white pattern on a background that is striped vertically with alternate red and blue4 ,it is this simple but effective colour scheme that gives the window its resemblance in effect to ,perpendicular glass2 but there are other features--the complete absence of borders1 the pedestals that carry the figures 7which are first found at ,wells71 and the decoration of the quarries--which all indicate the coming change4 ,the quarries1 where the original ones remain1 still have the trellis pattern1 but instead of the continuous flowing pattern of foliage running through them each quarry has a sort of star pattern in the middle of it1 stained yellow1 a design much more common in the fifteenth than in the fourteenth century4 ,this placing of quarries at the foot of the windows and in the tracery has its origin1 of course1 in the old fourteenth century arrangement of a horizontal stripe or stripes of figure and canopy work on a ground of grisaille4 ,illustration3 ,,plate ,,xxxvii ,,priest1 ,,from ,,acts ,,of ,,mercy ,,window1 ,,all ,,saints'1 ,,north ,,street1 ,,york ,fifteenth ,century ,the subject of the window is the enthronement of the virgin surrounded by apostles1 saints1 and angels2 the same subject as that of the west window of ,york ,minster which it was probably meant to1 and certainly does1 surpass4 ,the figures themselves1 however1 still suffer from the conventionality and affectation of the period1 and it was not for twenty years more that there was to be a change in that quarter as well4 ,sidenote3 ,william of ,wykeham and ,thomas the ,glazier4 ,it was in #achj1 or soon after1 that new life came into the art through the piety and enterprise of ,william of ,wykeham1 whose influence may be compared to that of ,abbot ,suger in the twelfth century1 and the genius of his master glazier1 ,thomas4 ,of the latter we only know his name from the portrait of himself which he put in the windows of ,winchester ,college ,chapel 7now1 alas6 only modern copies of the originals71 with the inscription ,thomas operator ist4 vitri1 but his hand is easily recognizable not only at ,winchester1 and in the three original lights from thence now in ,south ,kensington ,museum1 but in the glorious set of windows in the antechapel of ,new ,college at ,oxford4 ,sidenote3 ,new ,college antechapel4 ,there had been no such work as this last done since the best days of the thirteenth century4 ,here1 once again1 one finds the art used as a means of emotional expression not only in the deep and solemn harmonies of colour that strike one with a thrill on entering the building1 but in the treatment of the subjects themselves1 in which the artist breaks completely away from the conventionalism of the preceding period4 ,the antechapel of ,new ,college1 a graceful piece of ,early ,perpendicular1 is really1 like that at ,merton1 a cross transept at the west end of the ,chapel1 forming a ,t of which the antechapel is the head1 having windows on all its four sides--two on the east1 on either side of the entrance to the ,chapel proper1 two on the north1 one on the south1 and three on the west4 ,the glass of the great central west window was taken out to make room for ,jervais' smudgy rendering in muddy browns and yellows of ,sir ,joshua ,reynolds' famous ,virtues4 ,i am not concerned with this but with the other windows1 which contain1 though some of the lights are evidently out of their order1 the original glazing which ,william of ,wykeham placed here when he built the ,chapel1 between #achj and #achf4 ,sidenote3 ,the canopies4 ,the design of the windows is a very simple one4 ,the horizontal transom divides each window into two equal tiers of four1 or1 in the eastern windows1 six1 lights with tracery above4 ,each light is filled with a figure standing on a pedestal and under a canopy1 both canopy and pedestal being white1 enriched with touches of yellow stain1 relieved against a background which is1 or was1 blue and red in alternate lights1 the colour of the background inside the canopy being counterchanged with the colour outside4 ,from this arrangement and from the presence of the pedestal ,i think the artist had seen both ,wells and the east windows of ,gloucester ,cathedral1 but the architecture of his canopies is of a fantastic kind peculiar to this school and unlike anything in glass of the styles which preceded and followed it1 but based to some extent on the stone canopies of the late fourteenth century1 such as those on the screen of the west front of ,exeter ,cathedral4 ,the most noticeable feature in them is the number of queer rounded turrets with pepper-box tops1 modelled in relief4 ,indeed for their solidity1 as well as for their violent and untrue perspective1 these canopies have more in common with those introduced at ,fairford a hundred years later1 when the continental influence was coming in1 than with the typical canopy of ,english ,perpendicular4 ,from the large amount of space that is occupied by the canopy work1 the general effect of these windows is rather a white one 7though white in all old work is a relative term1 the white in this case consisting really of a delicate play of greenish1 yellowish1 and pure white continually contrasted71 and the most beautiful to my mind are those in which1 as in the windows on the north side which face one on entering1 the figures themselves are almost entirely covered with a coloured mantle which makes a broad splash of distinctive colour in the middle of each light4 ,sidenote3 ,the eastern windows4 ,although all the windows conform to the same general design1 those on the east side1 on each side of the entrance to the ,chapel proper1 seem to me to be by a different hand1 and were probably done first4 ,they contain or contained originally no colours but red and blue1 and the drawing of the figures has much of the conventionalism of the earlier fourteenth century work4 ,the upper tier consists of the twelve apostles1 and the lower is believed to have contained the figure of the crucified ,christ with ,his mother and ,st4 ,john on either side1 repeated four times4 ,the figures of ,christ have all been destroyed and replaced by figures from elsewhere1 perhaps from the destroyed west window2 but three figures of the ,virgin and three of ,st4 ,john remain1 though it was only in #aijj that they were replaced in what ,i have little doubt were their original positions4 ,it may1 of course1 be that these windows are by the same artist as the others1 but done before he had quite found himself or emancipated himself from the conventionalities of his predecessors1 for he has infused a certain amount of life into the old forms2 and the ,mater ,dolorosa1 in spite of her conventional ,s-like pose1 is a tender and pathetic figure4 ,sidenote3 ,the colouring4 ,there is1 however1 no trace of this conventionality in the other windows1 quaint though the drawing may be1 and in the colour of them the artist has fairly let himself go4 ,i know of no better piece of colour music in the world than is afforded by the double tier of prophets and patriarchs which occupy the two northern windows which face one on entering--deep rich purple of many shades1 warm green1 slaty-blue1 brown1 and a splendid blood-red ruby with a great deal of variety in it2 the changes are rung on these in the mantles1 hats1 and shoes of the figures1 while the reds and blues of the backgrounds form a connecting link between them all4 ,a pretty detail is the powdering of the backgrounds to the figures in all the windows with the initials of the personage represented1 in white ,lombardic letters surmounted by little gold crowns4 ,the drawing is1 ,i admit1 quaint1--,thomas was not a great draughtsman even for his time2 far from it1--but it is always big1 masculine1 and expressive1 with a strong feeling for decorative line4 ,to copy the scrolls which twist and flutter round the prophets in the upper tier is in itself a lesson in design4 ,sidenote3 ,eve4 ,perhaps nowhere is his originality of conception so well shown as in the figure of ,eve1 in the northern west window4 ,instead of representing her1 as nearly every other artist has done to the best of his ability1 as a graceful nude1 he has given us a peasant woman of his own time1 spinning with a distaff and spindle4 ,i do not know that he has even tried to make her pretty1 and in the simple drawing of the folds of her colourless dress he has managed to suggest that it is of coarse thick stuff4 ,she is neither nymph nor princess but the sharer of man's daily drudgery4 ,in looking at her one is unavoidably reminded of the lines which ,wat ,tyler's followers had sung only a year or two before3-- ,when ,adam delved and ,eve span1 ,who was then the gentleman8 ,the little upright tracery lights are filled with angels1 but in the summit of the northern east window is a small figure of ,william of ,wykeham kneeling before his ,saviour1 who shows ,his wounds4 ,this and the mutilated inscription at the base of each light1 ,orate pro ,willelmo de ,wykeham1 ,episcopo ,wynton1 fundatore istius collegii1 is all there is to tell of the donor4 ,there was a new spirit abroad2 no longer were the portrait and arms of the patron allowed to usurp half1 or1 as at ,tewkesbury1 the whole of a church window1 nor in ,england1 at all events till the end of the fifteenth century1 was the practice again revived to quite the same extent4 ,these windows mark the second of the great periodic impulses in stained glass1 which ,i spoke of at the beginning of the book4 ,only the second1 ,i consider1 for though there had been many changes in style since the twelfth century1 each had meant1 on the whole1 a loss of beauty rather than a gain1 whereas now we find a sudden infusion of new life into the art1 which did not in ,england lose its force for fifty or sixty years to come1 and produced a new style1 the style of the ,third ,period4 ,to me these windows are one of the great art treasures of the world1 yet as ,i lately sat there all through a long spring afternoon1 party after party of visitors1 many of them people educated enough1 one would think1 to know better1 came in to gaze awe-struck at ,sir ,joshua's muddy brown ,virtues1 and left without a glance at the glorious colour harmonies which surrounded them4 ,sidenote3 ,winchester ,college4 ,of other work of ,thomas the ,glazier and his school--the ,winchester school1 as ,mr4 ,westlake calls it--little but fragments remain1 unless one counts a window in the south aisle of the ,lady ,chapel of ,york ,minster1 the third from the east1 which somewhat resembles their work and represents just about the same stage in development4 ,william of ,wykeham's next great work was the founding of ,winchester ,college in #achg1 and in what remains of its glass the hand of ,thomas can be clearly seen4 ,but1 alas6 in the early nineteenth century they took out the old glass and substituted modern copies2 it was their method of restoration in those days4 ,the old glass seems to have been the perquisite of the glazier1 and three of the lights1 after various peregrinations1--spending eight years in a window of ,st4 ,mary's1 ,shrewsbury1--have found their way to ,south ,kensington ,museum where they may still be seen4 ,in style they are very like the north1 west1 and south windows at ,new ,college1 and quite obviously by the same hand1 though perhaps the canopies1 at least in one case1 show a very slight progress towards the regular ,perpendicular type4 ,the material seems to me much the same as at ,new ,college1 but for some reason the coloured glass is much more pitted by the weather and consequently obscured1 though the white1 perhaps from a different shop1 is in splendid preservation4 ,illustration3 ,,plate ,,xxxviii ,,kneeling ,,donors1 ,,from ,,acts ,,of ,,mercy ,,window1 ,,all ,,saints'1 ,,north ,,street1 ,,york ,fifteenth ,century ,sidenote3 ,winchester ,cathedral4 ,the great west window of ,winchester ,cathedral contains fragments and a few whole figures of very similar work1 and there are others in the side windows of the nave4 ,william of ,wykeham's will1 made in #adjc1 leaves money for the glazing of the ,cathedral windows beginning from the west at the first window of the new work done by him1 which sounds as if the west end had been already glazed4 ,indeed the fragments there are more like the eastern windows 7the earliest1 if ,i am right7 in ,new ,college antechapel1 while in the fragments that remain in the side windows of the nave the later hand can be traced1 though the tendency in the canopies of these is to assimilate gradually to the regular ,perpendicular type which by this time had been developed elsewhere4 ,winston thinks the west window of the ,cathedral may have been glazed in the time of ,william of ,wykeham's predecessor1 ,bishop ,edington1 in which case it is not unlikely that it and the east windows of the antechapel at ,new ,college were the work of ,thomas's master1 whose style was further developed and improved by ,thomas himself4 ,illustration3 ,,plate ,,xxxix ,,figure1 ,,from ,,visiting ,,the ,,prisoners1 ,,in ,,acts ,,of ,,mercy ,,window1 ,,all ,,saints'1 ,,north ,,street1 ,,york ,fifteenth ,century ,,xiii ,,the ,,style ,,of ,,the ,,third ,,period ,sidenote3 ,divergence between ,english and ,french schools4 ,a notable feature of the fifteenth century is the divergence which takes place in it between the styles of ,english and ,french stained glass4 ,although in some respects they develop along parallel lines the two no longer form1 as they did almost to the end of the fourteenth century1 one school4 ,the ,hundred ,years' ,war has done its work1 and produced a separation of spirit for which the world has1 perhaps1 been the poorer ever since4 ,indeed for the first half of the fifteenth century1 during which the best of the ,english work was done1 the quantity of stained glass produced in ,france seems to have been almost negligible1 and a comparison of the conditions of the two countries is a sufficient explanation of this fact4 ,while ,england was becoming rich and prosperous and developing her foreign trade1 ,france was laid waste by war and struggling to free herself from the foreigner who had beaten her down4 ,it was not till the ,english had been finally expelled1 and ,france had emerged from the struggle a stronger ,state than she had ever been before1 that the art revived2 and when it did so it owed little1 as is not surprising1 to ,english influence1 but on the other hand began to feel1 almost at once1 the influence of the ,continental schools of painting4 ,in ,england1 on the other hand1 in spite of the quarrels of the nobles and the rival claimants to the throne1 the middle class were steadily growing wealthy and powerful4 ,the wool trade was bringing a great deal of money into the country1 and the result is still seen not only in the number and size of ,perpendicular churches that were built1 but in the immense output of stained glass that took place4 ,the fifteenth century1 indeed1 was by far the most prolific period in the history of ,english stained glass1 and1 in spite of four hundred years of destruction1 vast quantities of it still remain4 ,sidenote3 ,general characteristics of the ,english style4 ,the general characteristics which distinguish the ,english style in glass in the ,third ,period--the ,perpendicular style--are as follows3-- 7#a7 ,the type of canopy4 7#b7 ,the increased amount of white in figure and canopy work1 with the delicate and accomplished use of silver stain4 7#c7 ,the more advanced style of drawing4 7#d7 ,the abandonment of natural form in ornament4 7#e7 ,the supersession of all other forms of grisaille ornament by regular quarries4 7#f7 ,the material used4 99 99 99 99 99 ,sidenote3 ,the canopy4 7#a7 ,the ,type of ,canopy4--,although in the fifteenth1 as in the fourteenth century1 figures were occasionally placed directly on a background of white quarries1 as may be seen at ,york1 in the clerestory of ,st4 ,martin's-le-,grand1 and in the transepts of the ,minster1 the fifteenth century artists showed no signs of wishing to abandon the canopy4 ,it was a curious freak of fate that imposed the canopy upon stained-glass designers and made it a sine qu non for two hundred years4 ,it has certain obvious advantages1 it is true4 ,it conveniently filled the head of the light1 and its upright lines and pinnacles repeated those of the surrounding architecture and made the window part of it2 but the imitation of a stone niche in glass is hard to justify on abstract grounds1 and it is difficult now to understand the enthusiasm which1 as soon as it was introduced1 made its adoption so universal that1 with few exceptions1 the artists of the day seemed unable to conceive of a single figure or a set of subject panels otherwise than surmounted by a bewildering mass of crockets and pinnacles4 ,it is true that in the hands of medival craftsmen1 in ,england at least1 there was no attempt1 as there was later1 at literal imitation of stone-work2 the canopy was rather ornament with an architectural motif1 and as such possessed beauty2 but ,i cannot help thinking that if they had never adopted it they would have evolved some other ornamental form which1 while serving the same purposes1 would have been more strictly in accordance with the rules of sound art1 and might have given more room for the play of individual fancy4 ,illustration3 ,,plate ,,xl ,,small ,,figures ,,in ,,white ,,and ,,stain1 ,,from ,,all ,,saints'1 ,,north ,,street1 ,,york ,fifteenth ,century ,though1 however1 the ,english fifteenth century craftsmen did not abandon the canopy1 they profoundly modified it and made it far more pliant and adaptable4 ,plates ,,xxxiv4 and ,,xxxv4 from ,york will give a better idea of the canopies of the early fifteenth century than any description4 ,it will be seen that the single overpowering crocketted gable and wall-sided tower of the fourteenth century has disappeared1 and in its place we have a froth of pinnacles1 windows1 buttresses and niches all in white and yellow stain1 on a background of colour4 ,the earlier attempt at modelling the canopies in the round1 which is seen in the work of the ,winchester school1 had been abandoned1 and although every little shaft has its light and dark side delicately distinguished1 this counts for little except to diversify the surface1 the forms being expressed principally in strong and simple outline4 ,the extent to which this simplification of outline was carried may be seen in the little crocketted pinnacles1 such as those at the bottom of ,plate ,,xxxiv41 which are characteristic of all ,english work of the time4 ,there is1 as you may see1 no attempt to draw or model the foliation of the crockets1 which are simply knobs outlined in the flat with a thick black line4 ,this method is the salvation of ,english ,perpendicular work1 and shows the thorough understanding on the part of our craftsmen of the technical problem4 ,in ,french work later on in the century1 and in much modern pseudo-,gothic work1 the attempt is made to express the canopy work in fine lines and delicate modelling1 which1 in the result1 appears confused and indistinct1 and too weak for the leading and for the coloured figure work it encloses4 ,sidenote3 ,the skilful use of silver stain4 7#b7 ,the ,increased ,amount of ,white used4--,not only is the canopy white1 but there is also as a rule a good deal of white in the figures within it1 which are generally relieved against a diapered flat background of colour4 ,just one figure at ,new ,college has the brown-pink flesh colour1 and that is its last appearance4 ,everywhere else one finds white used1 the hair1 in the case of women and young men1 being stained yellow4 ,this large increase in the use of white glass was accompanied1 and indeed made possible1 by a most delicate and skilful use of the yellow silver stain4 ,this operation1 of all others in stained-glass work1 calls for the greatest exercise of taste and judgment as well as skill on the part of the craftsman1--experto crede1--and in its use the ,english workers of the first three-quarters of the fifteenth century stand unrivalled4 ,sidenote3 ,loss of mosaic character4 ,this use of white in the figures and canopies rendered unnecessary the old fourteenth century plan of dividing the window up into alternate panels of grisaille and colour1 and this is abandoned4 ,another result is the loss of the essentially mosaic character of the older windows4 ,so much could now be expressed with stain and brown enamel on one piece of glass that1 although the pieces used were still comparatively small1 it was no longer necessary to surround every form with a lead as a matter of course4 ,plate ,,xxxvi4 is a good instance of this4 ,the green-striped background to the figures is the work of the restorer and was probably once blue1 as in ,plate ,,xxxvii41 and this and the red mantle surcoat and shield are the only forms that it was absolutely necessary to lead in separately4 ,it is true that1 either for emphasis or from habit1 the artist has outlined the man's knees in lead2 but he need not have done so1 and it would indeed have been easier not to4 ,in the next plate 7,plate ,,xxxvii47 the leading on the white takes very little account of the drawing4 ,out of these conditions then arose a wholly new attitude towards the leading4 ,hitherto the disposition of the lead-work had followed naturally and inevitably from the design--the artist drew in lead1 so to speak1 merely supplementing it with the finer painted line2 whereas now the leads had1 in part at least1 to be so arranged as not to interfere with the drawing1 or only to emphasize it when needed1 a matter requiring much more thought4 ,a comparison of either of the above plates with ,plate ,,iv4 will illustrate the difference4 ,hence we find a gradual tendency to use larger pieces of glass and fewer leads 7the latter being sometimes concealed behind the iron-work71 till by the end of the century the jewel-like quality of the early glass is a thing wholly lost and forgotten4 ,sidenote3 ,the method of drawing4 ,sidenote3 ,matt shading4 7#c7 ,the more ,advanced ,style of ,drawing4--,the older conventions in drawing had1 as we have seen1 become outgrown and abandoned1 and all through the last part of the fourteenth century there is a steady struggle for a more advanced method of expression4 ,at the beginning of the fifteenth century1 drawing1 in ,england at least1 crystallized once more into a convention satisfying to the mind of the time1 which left the artist free to tell his story4 ,plates ,,xxxix4 to ,,xliii4 are examples of it as found at ,york1 and ,plate ,,xliv4 from ,canterbury does not greatly differ in method4 ,the drawing still depends chiefly on line work1 but the line work is far finer than before and is used to express modelling with the help of the matt shading4 ,this last is the form of shading which has survived to modern times1 and is done by laying a flat semi-transparent coat or matt of enamel over the whole surface of the glass1 and1 when it is dry1 and before it is fired1 brushing out graduated lights and half tones with a small stiff hog's-hair brush4 ,sometimes1 but not always1 the matt was stippled when wet1 as may be seen in ,plate ,,xlii4 ,in later times the matt shading was1 and sometimes still is1 abused in the attempt to give modelling in high relief by its means alone1 a method which results in the loading of the glass with opaque muddy brown1 while the modelling becomes untrue with changing lights4 ,this1 however1 was hardly done within the limits of the period ,i am writing about in this book1 in which the drawing of form is still principally dependent on line work1 and is merely helped and softened with the matt4 ,illustration3 ,,plate ,,xli ,,heads1 ,,from ,,all ,,saints'1 ,,north ,,street1 ,,york ,fifteenth ,century ,sidenote3 ,the type of figure4 ,the figures themselves in contrast to those of the previous period are rather short and ungraceful1 but1 in the best work at least1 very much alive4 ,the quaint nose of which ,plate ,,xlii4 is an extreme type is curiously universal throughout ,english work of the time1 and was1 ,i suppose1 the accepted type of beauty4 ,sidenote3 ,forms used in the ornament4 7#d7 ,the ,abandonment of ,natural ,plant ,forms in ,ornament4--,the natural plant forms1 which were so universally used in fourteenth century ornament1 were abruptly abandoned at the beginning of the fifteenth4 ,their place is taken1 in the diapered backgrounds to the figures1 by a curious long serrated leaf1 rather like certain kinds of seaweed1 which may be seen in ,plates ,,xxxvii4 and ,,xxxviii4 ,borders become less frequent1 and when they occur generally consist of a leaf of something the same sort1 in white and stain1 wrapping round a central stem1 sometimes with and sometimes without a coloured background4 ,later on1 the conventional pomegranate pattern is occasionally introduced in vestments and hangings1 but it is the exception for coloured garments to be ornamented except with an edging4 ,white garments are sometimes powdered with little devices in yellow stain1 as in ,plate ,,xxxix4 ,the edgings to bishops' copes are often of white set with coloured jewels1 which are sometimes let into the middle of a piece of glass without its being cut across--a tour de force of glazing very difficult to accomplish and not worth the trouble when done4 7#e7 ,supersession of ,other ,forms of ,grisaille by ,regular ,quarries4--,the bulged quarries disappear by the middle of the fourteenth century and the ordinary straight-sided1 diamond-shaped quarry is henceforth the rule4 ,by the end of the century the continuous flowing pattern running through them is abandoned also4 ,there had been a tendency towards the end1 as may be seen in ,plate ,,xxvi41 for the pattern to be so disposed that a flower1 or other feature1 was repeated in the middle of each quarry--in a transitional window at ,york1 which ,i have referred to elsewhere1 there is a continuous pattern with a bird in the centre of each quarry perching upon a branch of it4 ,in the fifteenth century the connecting pattern was left out1 and quarries are decorated solely by a little device in the centre of each4 ,sometimes these are purely conventional1 but often they are the occasion for delightful exercise of fancy on the artist's part and form an exception to the general rule of the disuse of natural ornament4 ,birds1 insects1 flowers1 and leaves are used1 as well as heraldic devices and monograms1 all expressed very simply in firm pure line work touched with the yellow stain4 ,sidenote3 ,the change in material4 ,sidenote3 ,flashed ruby4 7#f7 ,the ,material used4--,at the beginning of the fifteenth century there is a very marked change in the material used4 ,it becomes thinner and flatter--sometimes very thin indeed--and the colour is more even4 ,thirteenth century ruby1 seen edgeways1 reveals itself as composed1 for nearly1 if not quite1 half its thickness1 of alternate minute layers of red and white1 the rest of the thickness being white4 ,it has been thought that to this is due the wonderful luminous quality of the early ruby4 ,gradually the number of these layers are reduced till at the beginning of the fifteenth century the red is all concentrated into one layer on the surface4 ,this is the flashed glass referred to at the beginning of the book1 and one soon begins to find instances of ornament chipped out of it4 ,the lion on the red shield in ,plate ,,xxxvi4 has1 ,i think1 been got in this way1 and a later instance may be seen in ,plate ,l4 in the girdle of the prophet ,hosea on the right4 ,illustration3 ,,plate ,,xlii ,,head1 ,,from ,,st4 ,,michael',s1 ,,spurriergate1 ,,york ,fifteenth ,century ,the rich blues of earlier times are replaced by a more sober greyish blue1 which1 however1 is a very effective colour in glass4 ,the colours are not perfectly flat tints1 for there are gradations in them1 but the streaky1 crumbly quality of the early glass is gone4 ,the craftsman was beginning to rely for quality less on the glass itself than on what he put on it4 ,,xiv ,,fifteenth ,,century ,,glass ,,at ,,york ,the very well-defined and distinctive style ,i have described1 which became universal in ,english fifteenth century work1 and which1 from the architecture with which it is associated1 we call ,perpendicular1 was not1 ,i think1 evolved by the ,winchester ,school1 although no doubt they influenced it4 ,where it began must always be something of a mystery1 but some work in the east window of ,exeter ,cathedral is very suggestive in this connection4 ,sidenote3 ,lyen's work at ,exeter4 ,this window1 glazed originally at the beginning of the fourteenth century1 was enlarged and rebuilt with ,perpendicular tracery in #acij-ia through the munificence of one of the canons1 ,henry ,blakeborn2 and in #acib ,robert ,lyen1 glazier1 citizen of ,exeter1 and master glazier to the ,cathedral1 was commissioned to adapt the old glass to its new setting1 adding what was necessary of his own work to fill the space4 ,robert ,lyen's work is easily to be distinguished from the earlier work 7which1 besides that of #acjb1 includes four figures of about #acdj-ej1 which he may have brought from other windows to fill up with74 ,it consists of six figures1 of which only three are under canopies of ,lyen's time1 and of a row1 across the bottom1 of short double-arched canopies enclosing coats of arms of past bishops of ,exeter4 ,the drawing is about equal to that of the ,winchester ,school1 but the canopies1 with their multitude of crocketted pinnacles in strong outline1 are far nearer to the regular ,perpendicular type1 such as we find at ,york1 than anything that was being done by the ,winchester ,school at that date4 ,was the work of ,robert ,lyen an example of a style which had become general throughout the west1 and of which the influence extended as far as ,coventry8 ,for in #adje ,john ,thornton of ,coventry was commissioned to fill with stained glass the huge east windows of the new choir of ,york ,minster1 and this is the earliest existing window1 of which the date is known1 in which the ,perpendicular style in glass has taken definite form4 ,illustration3 ,,plate ,,xliii ,,head1 ,,from ,,st4 ,,michael',s1 ,,spurriergate1 ,,york ,fifteenth ,century ,sidenote3 ,the east window of ,york ,minster4 ,this great window is the glory of ,english stained glass4 ,it is #gh feet high from top to bottom1 and below the great mass of ,perpendicular tracery1 which fills the mighty pointed arch of it1 there are the three tiers of lower lights divided by horizontal transoms1 with nine lights in every tier4 ,each of these lights measures #c feet #f inches across1 and is divided again by the thick iron frame-bars into roughly square panels1 each of which contains a subject from the ,bible4 ,the canopy work which1 in the hands of a fourteenth century artist1 would have filled half the window space with its towering spires1 is here reduced to a small many-pinnacled canopy just filling the head of each light 7where it would have been an awkward shape for a subject71 a narrow shafting forming a border down the side1 and a very shallow flat arch dividing each subject from the one above4 ,there has been no question here of eking out a poverty of ideas2 on the contrary1 the artist's aim seems rather to have been to get as much space as possible for the expression of them4 ,there are one hundred and seventeen of these subject panels4 ,thornton would seem to have begun at the top with the idea of telling the whole story of the ,old ,testament1 or perhaps that of the entire ,bible1 but by the time he had finished the upper tier1 which contains three rows of panels1 as compared with five in each tier below1 and carried the story as far as the death of ,absalom1 he1 or more probably his clients1 seem to have changed their minds1 for the rest of the window1 with the exception of the bottom row panels1 is devoted to the illustration of the ,apocalypse1 beginning with the torture of ,st4 ,john under ,domitian and his banishment to ,patmos4 ,john ,thornton was a greater draughtsman than ,thomas of ,winchester1 and the portrayal of these scenes is far in advance1 from the pictorial point of view1 of anything that had been done in glass up to that time4 ,here again one feels1 as in the best days of the ,early ,period1 that one can take pleasure in the actual technique of the painting1 but it is a different technique to that of the ,early ,period4 ,the line work is still wonderfully precise and expressive1 but it is more delicate than before1 and is helped by delicate modelling in matt shading1 while the drawing itself is in a much more modern convention4 ,it is1 indeed1 the first example in stained glass of a style of drawing which was to hold the field in ,england till nearly the end of the century1 and to ,john ,thornton is due1 probably1 the credit of its introduction4 ,sidenote3 ,its colouring4 ,as a colourist1 however1 ,john ,thornton is even greater4 ,this window stands almost alone in ,england1 if not in ,europe1 for the way in which colour is made use of as a means of expression4 ,elsewhere in ,york the successors of ,john ,thornton seem to have been content with a merely decorative distribution of red1 blue1 and silver stain in their subjects1 but here each scene has its appropriate colour scheme1 the creation of fishes1 for instance1 being a lovely harmony of blue and silvery white1 while the scenes in ,eden are a glory of spring-like greens and gold4 ,sidenote3 ,its construction4 ,the necessary element of strength in the construction of this huge window1 which1 at ,gloucester was1 as we have seen1 obtained by building the whole window on the plan of a bow1 is here provided by doubling the mullions below the second transom4 ,an inner set has been constructed between three and four feet on the inside of those which sustain the glass1 being connected with them by little flying arches and so acting as buttresses to them4 ,this double set of mullions carries a gallery along its top at the level of the upper transom1 while another runs across the base of the window1 and from these it is possible to study the upper and lower tiers of lights at close quarters4 ,unfortunately access to these galleries is nowadays only granted as a great favour1 but for those that can obtain it1 it is well worth the trouble1 for it is only from this position that the pages of this vast picture-book can be studied1 and its story unravelled4 ,indeed ,i think the only adverse criticism that can be made of ,john ,thornton's work is to question the artistic wisdom of putting so much beautiful work1 on such a small scale1--for the delicate drawing and finish of the work is wonderful1--in a position in which it was invisible to the ordinary observer below4 ,perhaps ,john ,thornton did not realize how small his panels would look1--panels three and a half feet square seem a fair size when you are working at them1--and no doubt access to the galleries was freer then than now2 but a thirteenth century artist would not have made the mistake4#af ,illustration3 ,,plate ,,xliv ,,head ,,of ,,an ,,archbishop1 ,,canterbury ,fifteenth ,century ,yet the architectural effect of the whole is little1 if at all1 the worse for it4 ,the smallness of the panels only increases one's sense of the size of the window and gives the glass a jewel-like quality4 ,it is all a twinkle of beautiful colour4 ,neither have the repairs effected by the eighteenth century glaziers hurt it much--pieces of clear coloured glass put in to fill up holes1 and on which the glazier has usually scratched his name and the date with his diamond4 ,rather1 ,i think1 these tiny touches of pure colour 7for they used quite a good blue7 add to it and give it a quality4 ,what does detract from its beauty is the dirty quarry glazing which has been put outside it to protect it4 ,beautiful as the window still is1 quite a third of its beauty of light and colour has been sacrificed by this means4 ,sidenote3 ,a transitional window4 ,there is some glass in the ,lady ,chapel which seems older than the east window4 ,i have already alluded to the third window from the east in the south aisle which represents a stage of development corresponding to the earlier work of the ,winchester ,school in the west window of ,winchester ,cathedral and the east windows of ,new ,college antechapel4 ,the three lights contain three figures1 ,st4 ,edward the ,confessor between ,st4 ,james and ,st4 ,john the ,evangelist1 unless the former figure is also ,st4 ,john appearing to the king as a pilgrim1 as in the well-known story4 ,below are small scenes of the ,massacre of the ,innocents1 ,christ among the ,doctors1 and the ,baptism in ,jordan4 ,the figures still have something of the ,s-like curve of the fourteenth century1 but the canopies are white and of the transitional type4 ,perhaps the most interesting things in the window are the quarry panels at the bottom1 which have a continuous flowing pattern of oak foliage running through the quarries1 but with birds perching on it1 so arranged that a bird comes in the centre of each quarry4 ,sidenote3 ,thornton's successors4 ,there is some similar glass to this in the clerestory1 but1 with this exception and that of a fourteenth century window in the south aisle which has evidently been moved from the nave1 the rest of the glass in the choir and ,lady ,chapel is the work of the school which was either founded by ,john ,thornton at ,york1 or at least profoundly influenced by him4 ,it seems probable to me that it was in their work1 which is found not only in the ,cathedral but also in most of the parish churches of ,york1 that the ,perpendicular style in glass finally crystallized into the form which1 with minor local differences1 became universal throughout ,england4 ,details from their work may be seen in ,plates ,,xxxiv4-,,xliii4 ,in one respect1 namely in colour1 they did not1 as ,i have said1 follow ,john ,thornton1 limiting themselves1 for some reason unknown1 very much to ruby1 blue1 and yellow stain4 ,plate ,,xxxviii4 is a good instance of their method 7the background of ,plate ,,xxxvi41 it must be remembered1 is modern74 ,the blue is of a greyish quality1 quite different from that of early times1 but pleasant1 and with a good deal of variety in it2 a blue-black was sometimes used1 as in ,plate ,,xxxvii41 for monks' dresses4 ,sidenote3 ,a ,jesse ,tree4 ,the only exception to this rule is a window in the south aisle of the ,cathedral choir1 which contains parts of a ,jesse ,tree1 in which the blue is combined with some very beautiful rich dark greens and a strong orange stain4 ,mr4 ,westlake thinks the glass is not ,york work at all4 ,to me it seems not quite impossible that it is the work of ,john ,thornton himself1 the use of the deep orange stain in the east window being very similar4 ,there is1 however1 no certainty of his authorship of any existing window but the east window4 ,the glass in the ,guildhall of ,coventry is sometimes claimed for him1 but ,i do not know of any evidence for it1 and as it contains a portrait of ,henry ,,vi4 as a grown man it can hardly be much earlier than #addj1 thirty-five years later than the east window at ,york4 ,sidenote3 ,the ,st4 ,william and ,st4 ,cuthbert windows4 ,next to the great east window1 the most important windows in the choir are those which fill the two choir-transepts1 and which tell the histories respectively of ,st4 ,william of ,york and ,st4 ,cuthbert4 ,they are only five lights wide1 but extend upwards to the full height of the church1 and have double tracery and galleries like the east window4 ,except for their prevailing red and blue colouring1 their general design resembles that of the east window1 the whole window being divided1 in the same way1 into a series of small square subject panels with a short many-pinnacled canopy just filling the head of each light4 ,the ,st4 ,cuthbert window1 however1 has1 in addition1 a life-size figure of the saint1 which occupies two panels in the middle of the window4 ,the two windows are evidently by the same hand1 but the northern or ,st4 ,william window is a good deal the older1 having been presented1 as it would seem from the portraits it contains1 by ,baron ,ros of ,hamlake about #adbj1 while the ,st4 ,cuthbert window cannot have been given till after #adbf1 and probably not till #adcj or later4 ,no doubt1 however1 the execution of the first window would occupy a large part of the intervening time4 ,of the two1 ,i rather prefer the effect of the ,st4 ,william window1 to which the larger amount of dark blue in the monks' dresses gives greater depth and richness1 but the ,st4 ,cuthbert window shows perhaps more accomplishment in drawing4 ,it is a fascinating occupation on a bright day to trace1 with the aid of a strong field-glass1 the stories unfolded in these rows upon rows of pictures in glass1 to which a key may be found in monographs on the two windows1 by the ,rev4 ,j4 ,t4 ,fowler and his brother1 published in the ,yorkshire ,archological ,journal1 vols1 iii4-iv4 ,illustration3 ,,plate ,,xlv ,,head ,,of ,,patriarch1 ,,from ,,window ,,in ,,south ,,aisle ,,of ,,nave1 ,,st4 ,,patrice1 ,,rouen ,fifteenth ,century ,sidenote3 ,st4 ,martin's1 ,coney ,street4 ,sidenote3 ,all ,saints'1 ,north ,street4 ,more easily studied1 because nearer to the eye1 are the windows1 again by the same hand1 in the churches of ,st4 ,martin's1 ,coney ,street1 and ,all ,saints'1 ,north ,street4 ,the former has a large west window containing a life-size figure of ,st4 ,martin1 surrounded by small scenes from his life1 the gift of a former vicar1 ,robert ,semer1 who has most obligingly recorded the date--#adcg--;in an inscription4 ,this would probably make it just a little later than the ,st4 ,cuthbert window1 which its arrangement resembles4 ,the glass at ,all ,saints' is particularly interesting4 ,the east window has three lights with large figures under canopies of the type shown in ,plates ,,xxxiv4 and ,,xxxv41 which1 though elaborate enough1 have none of the unwieldiness of the fourteenth century type and are properly subordinate to the figures4 ,these are ,st4 ,peter and ,st4 ,christopher 7always a favourite subject in ,england71 and1 between them1 ,st4 ,anne1 teaching the ,virgin to read4 ,this last is a very beautiful group2 the ,virgin1 a graceful girlish figure in white and yellow stain1 with a wreath of white flowers round her head1 is pointing with a short stick to the letters in a book held by her mother1 who wears a deep ruby mantle over a blue dress1 and a most curious red turban-like headdress#ag with ermine stripes1 which is one of the most striking things in the window4 ,below are the donors1 ,nicholas ,blackburn1 twice ,mayor of ,york1 and his wife ,margaret 7,plate ,,xxxvi471 facing his son1 also named ,nicholas1 and his wife1 also named ,margaret4 ,the window has unfortunately been a good deal restored1 and the background to the ,blackburns is modern and was1 ,i should think1 originally blue4 ,modern1 too1 is the vivid green of the younger ,nicholas's cloak4 ,margaret ,blackburn1 the elder1 carries a book with the words1 ,domine1 labia mea aperies et os meum4 ,the same verse occurs also1 if ,i remember right1 in a lady's hand at ,selby ,abbey4 ,were ,yorkshire women1 one wonders1 so very silent8 ,some of those in the north aisle are designed on the same plan as the ,st4 ,william and ,st4 ,cuthbert windows1 small subject panels arranged in rows4 ,one shows the ,six ,corporal ,acts of ,mercy--,feeding the ,hungry1 ,giving ,drink to the ,thirsty1 ,receiving ,strangers1 ,clothing the ,naked1 ,visiting the ,sick1 and ,visiting the ,prisoners4 ,the little scenes are full of verve and go1 the fifteenth century artist having regained much of the life and vigour which makes the medallions of the ,early ,period so delightful1 with an even greater power of expression4 ,plate ,,xxxix4 represents the ,merciful ,man visiting the prisoners in the stocks4 ,i wish ,mr4 ,saint could have found time to have copied the whole of the scene1 of which the humour is1 ,i feel sure1 not unconscious4 ,plates ,,xxxvii4 and ,,xxxviii4 are from the bottom of this window1 and show the donor and his wife with the priest saying mass for them4 ,another window illustrates in a number of scenes the ,last ,fifteen ,days of the ,world1 as described in ,richard ,rolle's ,pricke of ,conscience1 and is well calculated to make the evil-doer take thought and mend his ways4 ,illustration3 ,,plate ,,xlvi ,,head ,,of ,,st4 ,,catherine1 ,,from ,,window ,,above ,,altar ,,in ,,north-,,west ,,corner ,,of ,,st4 ,,vincent',s1 ,,rouen ,fifteenth ,century ,through the energy of the present rector1 a full and careful catalogue and description of all the old glass in the church has been prepared and published4 ,i only wish this were done for the ,cathedral and other churches in ,york1 which is richer1 perhaps1 in the quantity of its old stained glass than any other city in the world4 ,,footnotes3 #af ,perhaps it is unfair to blame ,thornton1 for in the contract he undertakes to work secundum ordinationem ,decani et ,capituli4 #ag ,this is thought by some to be a piece of something else inserted here1 but its effect on the design is very happy4 ,,xv ,,fifteenth ,,century ,,glass ,,in ,,france ,sidenote3 ,the influence of pictorial art4 ,the ,french school1 when it revived in the second half of the fifteenth century1 came1 as ,i have said1 almost at once1 and far earlier than the ,english school1 under the influence of the schools of painting which had been developed in the ,netherlands 7where the ,van ,eycks were working as early as #adbj71 and also1 to an extent which has only been realized comparatively recently1 in ,france itself4 ,there was both advantage and disadvantage in this4 ,the drawing of the ,french is generally a little better than our own1 and there is more variety and enterprise in their colour schemes than in our later ,perpendicular work4 ,on the other hand1 it seems to me that almost from the beginning they were hampered1 if ever so little at first1 by the desire to apply to glasswork the standards of a different medium4 ,the difficulty had not arisen before4 ,the illumination or wall painting of the thirteenth and early fourteenth century in ,england and the north of ,france could be translated into glass with little change1 but1 in the fifteenth century1 the painters of illuminations and panel pictures had learnt all sorts of things about light and shade and landscape and flesh painting that did not come at all easily to the worker in glass and lead1 and were of no help to him in his task of beautifying windows4 ,it was inevitable that he should make some attempt to follow in the cry1 and the extent to which he succeeded is amazing2 but from henceforth1 even where he most succeeds1 it is to some extent by a tour de force1 by a compromise between incompatibilities4 ,illustration3 ,,plate ,,xlvii ,,drapery ,,from ,,sleeve ,,of ,,virgin1 ,,from ,,west ,,end ,,of ,,st4 ,,vincent',s1 ,,rouen ,fifteenth ,century ,sidenote3 ,early fifteenth century work4 ,for the first part of the century1 as ,i have said1 the number of windows produced in ,france seems to have been few4 ,such events as the disaster of ,agincourt1 the conquest of ,france by ,henry ,v41 and its deliverance by ,joan of ,arc can have left little money or thought for stained-glass windows4 ,the names of the matres verriers of the cathedrals show that all through the time there were men who carried on the tradition1 but their output seems to have been small4 ,what windows they have left us do not show the same complete change from the work of the previous century that we find in ,england2 the style did not as in ,england crystallize into a definite form1 but remained as a transitional style between that of the fourteenth and late fifteenth centuries4 ,in its general outlines the design did not at first differ greatly from that of the fourteenth century1 but1 as in ,england1 the white canopy touched with stain took the place of all others1 and there was a general increase in the amount of white in windows4 ,in detail1 however1 the canopy altered slowly1 and it was never as in ,england reduced to an almost flat pattern by the use of strong line work1 but persisted in the attempt to imitate solid stone-work4 ,it is not till the second half of the century1 when the wars were over1 and ,france had settled down to quiet reconstruction under ,louis ,,xi41 that we find any great revival of the art1 and then it is very different to contemporary work in ,england4 ,sidenote3 ,evreux4 ,there is a good deal of fifteenth century work still remaining at ,rouen1 though there seems to be a gap in the list of matres verriers to the ,cathedral from #achf to #adbf4 ,it was during this gap1 however1 in the year #adjj1 that a window1 which still remains1 was placed in the clerestory of the ,cathedral at ,evreux4 ,the general plan of this window is that of those later fourteenth century windows in which the whole light was filled with towering canopy work4 ,the canopy differs only slightly in detail from the late fourteenth century type1 though there is a more decided attempt at perspective in it1 but1 like the ,english work of the time1 it is all white1 touched with stain1 and the general effect of the window is much whiter than that of earlier work4 ,the drawing of the figures1 which represent the donor1 ,bishop ,guillaume de ,cantier1 presented to the ,virgin by ,st4 ,catherine1 does not show any very great change from late fourteenth century work4 ,sidenote3 ,st4 ,ouen at ,rouen4 ,the fifteenth century windows at ,rouen follow1 for the most part1 the general design of the fourteenth century windows in the same churches4 ,thus the window in the chapel of ,,ss4 ,peter and ,paul in ,st4 ,ouen1 which ,mr4 ,westlake thinks to be the work of ,guillaume ,barbe1 #adei-he1 has much the same arrangement and proportions as the ,s4 ,gervais window in the south choir aisle shown in ,plate ,,xxv42 that is to say1 a small figure panel1 under a big canopy1 is set half-way up each tall light of which the top and bottom is filled with quarries4 ,there is the same coloured background to the canopy1 ending at the top in the same arched shape1 but in the treatment of the canopy itself one finds a difference not only from fourteenth century work but from ,english work of the fifteenth century4 ,the ,french canopy1 as ,i have said1 had never1 like the ,english1 been reduced to an almost flat pattern of intricate line work1 and in these ,rouen windows one finds the artist already trying to imitate stone-work modelled in relief with results that are heavy and unsatisfactory4 ,it is not that1 in ,english work1 individual shafts are not given a light and dark side1 but the canopy is not1 as in ,french work1 modelled as a solid whole1 and the strong line work seems to keep it right4 ,sidenote3 ,the revival4 ,it was not1 however1 till the second half of the century that any new life came into ,french stained-glass work1 and when it came it brought with it a skill in picture-making that was borrowed from contemporary painting4 ,to this period belong1 ,i think1 the fragments from ,rouen shown in ,plates ,,xlv4 to ,,xlix4 ,the heads of ,st4 ,catherine and the old man1 if compared with those from ,york1 show the strong difference in facial type between ,french and ,english work at this time4 ,the stain on the hair of ,st4 ,catherine is very coarse and inartistic as compared with ,english work1 but then no other nation ever equalled the ,english in their delicate and refined use of stain4 ,sidenote3 ,st4 ,maclou4 ,the two heads of ,angels 7,plates ,,xlviii41 ,,xlix471 which are from the north transept of ,st4 ,ouen1 are1 ,i think1 by the same hand as an interesting ,assumption of the ,virgin1 which now occupies two lights of a window in the north aisle of ,st4 ,maclou in the same city4 ,a significant point about this glass is that the picture1 which is enclosed by a wide1 flat-arched canopy1 delicately modelled1 stretches right across both lights1 completely ignoring the intervening mullion1 one of the first hints that stained glass was forgetting its architectural mission4#ah ,the composition is much more ambitious and pictorial1 and the drawing more advanced than in any of the glass we have hitherto considered4 ,in front is a crowd of kneeling saints in robes of blue1 red1 and green1 above whom the ,virgin kneels before the ,almighty1 while the top of the picture is filled with rows of golden-haired angels with red wings on a blue ground1 of a similar type to those illustrated4 ,i should put the date of the window at about #adgj-hj4 ,illustration3 ,,plate ,,xlviii ,,angel',s ,,head1 ,,from ,,great ,,rose ,,window ,,in ,,north ,,transept ,,of ,,st4 ,,ouen',s1 ,,rouen ,fifteenth ,century ,sidenote3 ,the ,lady ,chapel at ,evreux4 ,of about the same date are the side windows of the ,lady ,chapel of the ,cathedral at ,evreux1 of which the building was finished1 ,i believe1 in #adge4 ,i am surprised that ,mr4 ,westlake1 in his notice of the chapel1 only mentions the east window with its ,jesse tree1 which to me is much less beautiful than the others1 and which ,i should be inclined to attribute1 at the earliest1 to the very end of the century1 if not to the following one4 ,the four side windows tell the story of ,christ's ,ministry1 ,passion1 and ,resurrection1 and show ,his second coming4 ,their arrangement is somewhat ,english1 each window having two tiers of lights1 each of which has a subject enclosed in a white canopy1 but the technique is different from the ,english4 ,by far the best is the first window of the series1 which contains eight scenes from the ,ministry of ,christ1 from the ,marriage in ,cana to the ,entry into ,jerusalem4 ,the canopy work with its little figures in niches is modelled as ,van ,eyck might have done it2 the method would not tell well at a distance1 but owing to the narrowness of the chapel one cannot get far away from these windows4 ,the figure panels are very rich in colour1 ,christ being always dressed in a deep purple1 and the other figures in rich greens1 blues1 and reds4 ,the other windows of the series are not quite so good1 being thinner and poorer in effect1 and seem to me to have been executed by another hand1 possibly from the designs of the author of the first window1 who may have died in the interval4 ,there is a good deal of similar work in the church of ,st4 ,taurin in the same town4 ,from the pictorial point of view these windows are much more accomplished than anything that had so far been done in ,england4 ,in comparing ,english and ,french fifteenth century work1 however1 it must always be remembered that the best ,english work was done during the first half of the century1 and is far better than the ,french work of that time1 whereas the best ,french work was done in the second half of the century when the ,english ,perpendicular style had for the most part become stereotyped and dull1 and seemed to resist the introduction of new ideas4 ,these ,evreux windows represent the style which1 under the influence of contemporary picture-painting1 was growing up on the ,continent1 but which did not obtain a foothold in ,england till the advent1 almost at the end of the century1 of the school which produced the ,fairford windows4 ,,footnote3 #ah ,it is true that the glass is not now in its original position1 but ,i think it must always have filled two lights4 ,,xvi ,,malvern ,,and ,,fairford ,so great was the quantity of stained glass produced in ,england in the fifteenth century1 and so much still remains1 that it is impossible1 in this book1 even to mention all the more important examples4 ,we have seen the growth and perfection of the ,perpendicular style at ,york4 ,at ,great ,malvern ,priory you may study its gradual decadence4 ,sidenote3 ,great ,malvern3 the ,creation4 ,the best of the windows there are undoubtedly the earliest1 namely1 those in ,st4 ,anne's ,chapel which include the famous ,creation1 of which the date is perhaps #addj-ej4 ,it cannot1 ,i think1 compare with ,john ,thornton's ,creation in the east window of ,york ,minster1--the colour scheme is so much more conventional and less expressive1--but it is nevertheless very beautiful4 ,the resemblance of some of the scenes to those in ,thornton's window is perhaps no more than one would expect to find in two representations of the same subject in the same period1 but at the same time the ,malvern ,creation is very much akin to ,york work1 though rather to the later phase represented by the ,st4 ,cuthbert and the ,all ,saints' windows1 than to the work of ,thornton4 ,i may be wrong1 but ,i sometimes suspect that the inhabitants of the ,severn and ,avon valleys had more intercourse with the ,north of ,england--to which access would be easy by the ,avon and ,trent1 navigable most of the way--than with the ,thames ,valley and ,south of ,england1 from which they were cut off by the wild and inhospitable ,cotswolds4 ,sidenote3 ,the north transept window4 ,in comparing the later windows in ,malvern ,priory with the ,creation and its neighbours in ,st4 ,anne's ,chapel1 one can trace a decided and increasing decadence4 ,the forms are the same but stereotyped and dull1 the artists seem timid in their use of colour1 and all the life seems to go out of the style4 ,the great north transept window1 given in #aeja-b by ,henry ,,vii4 7it once contained his portrait and still has that of his son ,prince ,arthur and the architect1 ,sir ,reginald ,bray71 is1 compared with the earlier work1 a very poor affair4 ,the yellow stain in particular is very coarse and overdone1 yet such was the hold which this style had got on our countrymen that in spite of the late date of the window there is not a hint in it of the new ideas which were then coming in1 although it is probable that before it was finished1 the famous windows of ,fairford1 not forty miles away across the ,cotswolds1 had at least been begun4 ,sidenote3 ,fairford4 ,the old church of ,fairford with its square central tower1 standing on a green slope above a rushing trout stream1 which1 a few miles below1 unites with the baby ,thames and makes it a navigable river1 occupies a unique position1 not merely as the only village church in ,england--one may1 perhaps1 say in the world--which still retains the whole of its original set of stained-glass windows almost intact1 but from the quality of the windows themselves4 ,some1 it is true1 have suffered damage1 but there is not a subject unrecognizable1 nor a window missing4 ,sidenote3 ,the new style4 ,the church was begun by ,john ,tame1 merchant of ,london1 and finished by his son1 ,sir ,edward2 but since ,john ,tame's will1 dated #adif1 while bequeathing various sums for ornaments to the church1 makes no mention of the glass1 it is argued that the glass had been already ordered4 ,the ,fairford windows are usually classed as ,perpendicular on the strength of their association with ,perpendicular architecture and the presence of ,perpendicular detail in the canopies and elsewhere1 but it is a wholly different style to the ,perpendicular of ,york1 of ,malvern1 of ,warwick2 the style which1 with little change1 had held the field in ,england since the beginning of the century4 ,fairford1 in fact1 marks a revolution in ,english stained glass4 ,it is an early1 if not the first work of a new school which1 throwing away the old native tradition1 based its style on that which had grown up on the ,continent and1 still more1 upon ,flemish painting4 ,the ,fairford windows represent a phase of their art which did not last very long1 for their style soon began to assimilate itself to that of the ,renaissance4 ,in the windows of ,king's ,college ,chapel at ,cambridge you may see the change happening1 and in the latest windows there you may also1 alas6 see the rapid setting in of decadence4 ,it was1 indeed1 a style which contained in itself the seeds of decay1 which germinated all too rapidly2 but these1 its first-fruits1 at ,fairford are magnificent1 and disarm criticism4 ,illustration3 ,,plate ,,xlix ,,angel',s ,,head1 ,,from ,,great ,,rose ,,window ,,in ,,north ,,transept ,,of ,,st4 ,,ouen',s1 ,,rouen ,fifteenth ,century ,they mark1 as ,i say1 a complete departure from the older standards of ,english fifteenth century glass4 ,it is the same story1 once more repeated1 of old conventions of drawing becoming out of date1 and failing to satisfy a newer generation4 ,of the more advanced schools of painting1 the ,flemish was the one that ,englishmen were most in touch with1 and it was thence that the new school of ,english glass-workers took their inspiration1 with the result that a ,flemish feeling is traceable in all their work4 ,one immediate result of the more pictorial standard now expected of the artist was that he came to depend in quite a different way on the painting of his glass as distinct from the glazing4 ,at ,fairford1 elaborate landscape backgrounds are put in with the brown enamel alone1 helped by yellow stain1 sometimes on white1 sometimes on grey-blue glass1 to which latter the stain gives a green for grass and trees4 ,not as yet1 however1 does the painting take precedence of the glazing1 the balance being for a time held equal between the two4 ,indeed the craft of glazing1 as well as that of painting1 was now at its height2 the artist had all the resources of both at his command and used them to the full1 but as yet the limits of the medium were not overstepped4 ,another result of the pictorial standard now arrived at1 was that the artist began to feel cramped by the narrow lights he had to fill1 and to let his subjects spread through more than one of them1 ignoring the intervening mullion4 ,at ,fairford many of the subjects occupy two lights1 and the ,crucifixion at the east end and the ,doom at the west spread right across the whole width of the window4 ,as yet this is not so done that one loses the sense of the design decorating the stone-work2 but both these developments are indications of a tendency which was to increase as time went on1 and eventually to ruin the art4 ,the new point of view naturally affected the canopy1 which is shaded like solid stone-work1 giving it a heavy and clumsy effect4 ,in many of the subject windows1 however1 the canopy is omitted altogether1 the sky of the picture1 which is sometimes white1 with clouds and circling swifts painted on it1 continuing right up to the stone-work4 ,sidenote3 ,the problem of the authorship of the windows4 ,i agree with ,mr4 ,westlake in finding the work of more than one hand in the windows4 ,two there are certainly1 and possibly four4 ,the east window is certainly by a different1 and1 ,i think1 an older hand than the west1 and the windows of the north aisle1 though they may be by the same hand as the west windows1 are certainly by a different one to the ,apostles opposite them1 which are the poorest windows in the church4 ,i think the differences are greater than could be accounted for by any development that might take place in the same man's style during the execution of the windows4 ,the west windows are the work of a different temperament to the east windows4 ,the forms are fuller1 stronger1 and more rounded1 and show a much stronger sense for the decorative placing of a line4 ,there is no record to tell us who these men were1 and there has been much discussion as to whether they were ,englishmen or ,flemings4 ,indeed the wildest theories have been advanced as to the origin of the windows4 ,they have been attributed to ,drer1 without the slightest internal or external evidence except the presence of an ,a which does not resemble his signature4 ,another story which1 though not heard of1 ,i believe1 till the eighteenth century1 has obtained wide credence1 is that they were captured at sea1 bound for ,rome1 by ,edward ,tame1 and the church built to contain them2 but the most casual examination of the windows ought to convince any one that they were made for the church and not the church for them4#ai ,as to the question of the ,english or ,flemish authorship of the windows1 it is true that ,flemish details crop up here and there both in architecture and the costumes2 but this is not surprising1 for the style1 new then to ,england1 was largely based on ,flemish art1 and on the other hand the ,english characteristics are in excess of the ,flemish4 ,sidenote3 ,barnard ,flower4 ,in ,henry ,,vii4's ,chapel at ,westminster1 high up in the central clerestory window of the apse1 is a single figure under a canopy which bears a most striking resemblance to the series of the ,prophets at ,fairford 7,plate ,l474 ,in the figure1 in the scroll he holds1 in the canopy1 in the treatment of the drapery1 and even in the queer drawing of the hands1 the resemblance is so close that ,i for one cannot doubt their common authorship4 ,now it is on record that the windows of ,henry ,,vii4's ,chapel were glazed by one ,barnard ,flower1 the king's glazier1 who also is the glazier named in the first contract for the windows in ,king's ,college ,chapel at ,cambridge1 but who died in #aebe-bf before they were finished4 ,a comparison of those windows at ,cambridge which are believed to be his work1 especially that over the north door1 with the ,fairford windows1 reveals many points of resemblance1 and1 allowing for the twenty years which probably separate the execution of the two works1 ,i think we should not be far wrong in assigning to ,flower the whole of the north aisle at ,fairford1 and perhaps the ,latin ,fathers in the south aisle4 ,whether the west windows are his work too ,i do not feel sure1 and to the names of the other artists who took part in the work we have no clue4 ,illustration3 ,,plate ,l ,,the ,,prophets ,,joel1 ,,zephaniah1 ,,amos1 ,,and ,,hosea1 ,,from ,,the ,,north ,,aisle ,,of ,,the ,,nave1 ,,fairford ,late ,fifteenth ,century ,sidenote3 ,the general scheme4 ,sidenote3 ,the ,doom4 ,yet though one may thus trace various hands in the work1 the windows form a connected whole1 the planning of which must have been the work of one mind4 ,the arrangement is the traditional one whereby the whole church forms an exposition of the foundations of the ,christian faith4 ,the windows of the nave contain single figures1 the ,prophets on the north side 7,plate ,l47 facing the ,apostles on the south4 ,each ,apostle holds a verse of the creed1 and the ,prophet opposite him a corresponding verse from his writings4 ,the four ,evangelists face the four ,latin ,fathers4 ,farther east1 within the now vanished screen1 the windows unfold the ,gospel story1 those on the north leading up to the ,passion in the east window1 those on the south showing the ,descent into ,hell1 the ,resurrection1 and the events that followed4 ,then1 as the spectator turns to the west1 there faces him1 in the great west window1 the tremendous ,doom or ,last ,judgment4 ,do not look at the upper half where ,christ sits enthroned as ,judge1 surrounded by saints and angels2 it has suffered the fate of the ,winchester ,college glass4 ,blown in by a storm in #agjc1 it was restored in the middle of the nineteenth century1 which means that the old glass was removed and a bad copy substituted4 ,where the blue ring of ,heaven passes through the tracery lights the original glass remains1 and the difference between it and the new is an object lesson in good and bad stained-glass work4 ,but below the transom the window is still unspoilt4 ,in the midst stands ,michael with sword and scales1 and below him the dead are rising naked from their graves4 ,michael himself1 it must be confessed1 is a somewhat lackadaisical figure2 it was not possible for an artist of that time and school to give a figure the arresting quality of the ,methuselah in ,plate ,,iii42 neither does one's eye linger long over the ,saved1 who troop up the golden stairs on ,michael's right1 but is irresistibly attracted to the other side of the picture1 where in a great glow of ruby glass are seen the ,flames of ,hell1 to which devils--grey and blue at the outer edge of the fire1 but darker and more purple as they are farther in--are carrying the wretched souls of the ,lost4 ,just outside the flames an angel and a devil are fighting in mid-air for the possession of a soul1 and a comparison of these figures with the similar ones in the ,descent into ,limbo or ,harrying of ,hell1 which is by the same hand as the east window1 shows at once the difference between the work of the two men4 ,sidenote3 ,the west windows of the aisles4 ,on either side the west windows of the aisles contain1 as types of the ,last ,judgment1 on the north1 the ,judgment of ,solomon1 which protected the innocent2 on the south1 that of ,david on the ,amalekite1 which condemned the guilty4 ,it seems to me not unlikely that the position of these windows was originally reversed1 ,solomon's judgment being on the side of the ,saved in the ,doom and ,david's on that of the ,lost4 ,they have both suffered greatly in the storm of #agjc and contain many blank spaces1 but from what remains they seem to me1 together with the ,doom1 the most accomplished work in the church4 ,sidenote3 ,the clerestory4 ,very splendid1 too1 are the ,persecutors of the ,church1 who1 clad in all the bravery of wickedness1 fill the north side of the clerestory1 fronting the somewhat insipid row of ,martyrs on the other side4 ,here is ,herod transfixing an ,innocent2 ,nero1 if it is he1 with the head of ,st4 ,paul2 the ,king of the ,huns1 and ,diocletian1 perhaps1 with bows and arrows2 and1 in a dark blue robe1 ,judas1 with the halter round his neck and the bag in his hand1 between ,annas and ,caiaphas4 ,in the tracery lights above the ,martyrs are rather commonplace white and gold angels1 but over the ,persecutors are fascinating little figures of devils1 grey1 blue1 and green1 on a background of ruby flames4 ,i am afraid there is no question which series the artist enjoyed doing most6 ,fairford marks the end of medival stained glass in ,england4 ,conservative artists might still1 as at ,malvern and at ,st4 ,neots in ,cornwall1 try to carry on the older tradition1 but their works are isolated survivals4 ,the ,fairford windows themselves represent1 as ,i have said1 a very short-lived phase in ,english glass1 of which they are the most complete example1 others being the fragments in ,henry ,,vii4's ,chapel at ,westminster and the remains of ,bishop ,fox's glazing in ,winchester ,cathedral1 now collected into the east clerestory window there4 ,flower's own work at ,king's ,college1 ,cambridge1 twenty years later than ,fairford1 shows signs of change1 and that of his successors in the same building1 as at ,basingstoke1 at ,balliol ,college and elsewhere must be classed as wholly of the ,renaissance4 ,with ,fairford1 then1 these notes on ,stained ,glass of the ,middle ,ages may fitly end4 ,,footnote3 #ai ,this is fully gone into by ,canon ,carbonel in an article in ,memorials of ,old ,gloucestershire4 ,another theory he examines and rejects is that they were the work of the ,dutch painter ,aeps4 ,,index ,abrasion1 #h1 #bbd ,angers-- #abth century1 #ee ,grisaille1 #aah ,becket1 ,st4 ,thomas1 #fi1 #gd1 #hj1 #hg1 #ia ,blue ,dick ,culmer1 #ef ,bourges1 #aab ,brabourne1 #bd ,byzantine ,influence1 #bd1 #eb1 #fi ,canopy-- #acth century1 #ajg #adth #acf #aeth #bae ,canterbury ,cathedral-- #abth century1 #de1 #ef #acth #fi ,chalons1 #ee ,chartres ,cathedral-- #abth century-- ,west windows1 #dh ,la ,belle ,verrire1 #ea #acth century-- ,rebuilding1 #ib ,guild windows1 #ih ,north ,rose1 #aja ,south ,rose1 #ajb ,apse1 #ajd ,grisaille1 #aah #adth century1 #ahh ,chartres1 ,church of ,st4 ,pierre1 #ahe ,chartres1 ,clement of1 #df1 #ie ,his work at ,rouen1 #aad ,chartres1 ,st4 ,denis and ,canterbury1 school of1 #dd ,cloisonn enamel1 #bc ,denis1 ,st41 ,abbey of-- #abth century medallions1 #de1 #ec ,gryphon windows1 #aaf ,designs1 method of drawing1 #hi ,diaper1 mosaic1 #gf1 #hj1 #if1 #ajc painted1 #ei1 #gg1 #adi ,egyptian glass1 #af ,enamel1 brown1 #e1 #ba coloured1 #f ,evreux ,cathedral-- #adth century1 #ahi #aeth century-- ,clerestory1 #bdf ,lady ,chapel1 #bdi ,evreux1 ,church of ,st4 ,taurin1 #bej ,exeter ,cathedral-- ,east window-- ,earliest work1 #aeh ,lyen's work1 #bbg ,grisaille1 #afj ,fairford1 #bee ,flower1 ,barnard1 #bfj ,glass-- ,blowing1 #ad ,colour and quality-- #abth and #acth centuries1 #cb #adth century1 #adg #aeth #bbc ,flashed1 #h1 #bbd ,making1 #ac ,cutting1 #ae ,painting-- ,general1 #e ,beginning of1 #ba #abth and #acth centuries1 #cg #adth century1 #add #aeth #bbj ,gloucester ,cathedral1 #aig ,grisaille-- #acth century1 #aae #adth #acb #aeth #bbb ,combination with figures1 #abb1 #acb ,iron-work-- ,necessity of1 #g ,early1 influence of1 #ce ,bent1 #cg1 #fj #adth century1 #abi ,irradiation1 #ch ,jesse1 ,tree of1 #ej1 #ec1 #gb1 #afh1 #agh1 #bce ,king's ,college ,chapel1 ,cambridge1 #bef1 #bfd ,leading-- ,general1 #e #aeth century1 #bai ,lincoln ,cathedral1 #gg ,line work1 #ch ,louis1 ,st41 #ic1 #ajj ,lyen1 ,robert1 #bbg ,mahommedan windows1 #ai ,malvern1 ,great1 #bec ,mans1 ,le1 ,cathedral-- ,earliest glass1 #bd #abth century1 #dg ,matt shading-- ,beginning of1 #ci #aeth century1 #bbj ,mauclerc1 ,pierre1 #ii ,medallion windows1 #cf ,merton ,college ,chapel1 ,oxford1 #aec ,monkwearmouth1 #bb ,montfort1 ,amaury de1 #ii ,mosaic character of early glass1 #cd loss of1 #bah ,natural plant forms in ornament1 #ade abandonment of1 #bba ,new ,college ,antechapel1 ,oxford1 #bja ,periods-- ,the three1 #ca ,the ,first1 #cb ,the ,second1 #abe ,the ,third1 #bac ,peterborough1 #aaa ,pictures1 influence of1 #bdc ,pliny's story1 #ae ,poitiers-- #abth century1 #bf1 #dc1 #fd #acth #abb1 #aff ,process1 the1 #d ,quarries-- #acth century1 #aba #adth #ace #aeth #bbb ,rheims1 ,cathedral1 #aab ,church of ,st4 ,remi1 #aah ,roman windows1 #ag ,rouen-- ,cathedral1 #aad ,church of ,st4 ,maclou1 #bdh ,church of ,st4 ,ouen-- #adth century1 #aia #aeth century1 #bdf whether ,exeter glass bought at1 #aei ,ruby glass1 #cc1 #di1 #bbc ,s-like pose of figures1 #ada ,sainte ,chapelle1 #aab ,salisbury1 #aai ,selling1 #afg ,sens1 #hg ,shrewsbury1 #aih ,soissons1 #aah ,sophia1 ,st41 #ah ,stain1 silver1 #h1 #acj1 #bdj ,suger1 ,abbot1 #de1 #ec1 #ih ,tewkesbury1 #aih1 #bjg ,thomas the ,glazier1 #bja ,thornton1 ,john1 #bbh ,troyes1 #gg1 #aff ,type and antitype windows1 #fa1 #gc1 #hh ,vendme1 #fd ,venetian enamellers1 #bb ,wells1 #aih1 #bjj ,westminster ,abbey-- #acth century grisaille1 #aai ,henry ,,vii4's ,chapel1 #bfj ,westwell1 #aab ,william of ,sens1 #eg1 #hg ,william of ,wykeham1 #bja1 #bjg ,winchester ,cathedral-- ,west window and nave1 #bji ,east window of clerestory1 #bfd ,winchester ,college ,chapel1 #bjh ,york1 ,cathedral-- #abth century1 #ee1 #afh #acth century-- ,five ,sisters1 #abj #adth century-- ,chapter ,house1 #afd ,vestibule of ,chapter ,house1 #afg ,nave1 clerestory1 #afg ,north aisle1 #afi ,south aisle1 #agf ,west end1 #agi ,east window1 #bbi ,lady ,chapel1 #bcc ,choir1 #bce ,york1 ,all ,saints'1 ,north ,street-- #adth century1 #aha #aeth #bcg ,york1 ,st4 ,martin's1 ,coney ,st41 #bcg ,st4 ,martin's1 ,micklegate1 #aha ,,the ,,end ,printed by ,r4 ,r4 ,,clark1 ,,limited1 ,edinburgh4