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+The Project Gutenberg EBook of Stained Glass Tours in England, by 
+Charles Hitchcock Sherrill
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Stained Glass Tours in England
+
+Author: Charles Hitchcock Sherrill
+
+Release Date: January 2, 2011 [EBook #34818]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STAINED GLASS TOURS IN ENGLAND ***
+
+
+
+
+Produced by D Alexander and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+
+
+ STAINED GLASS
+ TOURS IN ENGLAND
+
+ BY CHARLES HITCHCOCK SHERRILL
+ WITH SIXTEEN ILLUSTRATIONS
+
+ LONDON: JOHN LANE, THE BODLEY HEAD
+ NEW YORK: JOHN LANE COMPANY: MCMX
+
+
+
+
+ SECOND EDITION
+
+ Printed by BALLANTYNE &. CO. LIMITED
+ Tavistock Street, Covent Garden, London
+
+
+
+
+ STAINED GLASS TOURS IN
+      ENGLAND
+
+
+
+
+ BY THE SAME AUTHOR
+
+ STAINED GLASS TOURS
+ IN FRANCE. WITH
+ NUMEROUS ILLUSTRATIONS.
+
+
+
+
+[Illustration: KING'S COLLEGE CHAPEL, CAMBRIDGE]
+
+
+
+
+ TO
+
+ LEWIS F. DAY
+
+ FROM ONE
+ WHOM HE TAUGHT
+ TO LOVE
+ STAINED GLASS
+
+
+
+
+FOREWORD
+
+
+Although the purpose of this book is the quest of windows, it happens
+that these very windows are so obligingly disposed throughout the length
+and breadth of England, and light such different sorts of edifices, that
+in the search of them we shall obtain a very comprehensive idea of
+English architecture. Not only shall we visit many noble cathedrals
+(Canterbury, York, Winchester, Wells, &c. &c.), and smaller religious
+edifices (Fairford, St. Neot, Norbury, &c.), but we shall also see
+secular buildings of many types. In this latter category will be
+included both the great universities of Oxford and Cambridge, a civic
+guildhall (Coventry), an ancient hostel for the aged (Guildford), and
+one of the finest of the "stately homes of England" (Knole). Thus it
+will be seen that our tours are more broadly catholic than their title
+would indicate--indeed, we are tempted to promise that by the time the
+pilgrim has completed them he will have obtained a well-rounded
+impression not only of glass, but also of the history as well as the
+ancient manners and customs of England. Unfortunately, no form of
+illustration can hope to reproduce the combination of light and colour
+which makes the beauty of stained glass; those selected for this book
+are the best obtainable, but are chiefly useful in showing how the
+windows are set. This is not a technical book, so scale-drawings would
+be out of place.
+
+                         CHARLES HITCHCOCK SHERRILL.
+
+     20 EAST 65TH STREET,
+          NEW YORK CITY.
+       _March 1, 1909._
+
+
+
+
+CONTENTS
+
+
+ INTRODUCTION                             _Page_            1
+     TOURS                                                 17
+
+ EARLY ENGLISH                                             21
+     EARLY ENGLISH TOUR                                    29
+     SALISBURY                                             30
+     CANTERBURY                                            36
+     LINCOLN                                               51
+     YORK                                                  57
+
+ DECORATED                                                 65
+     DECORATED TOUR                                        75
+     YORK                                                  76
+     NORBURY                                               82
+     SHREWSBURY                                            85
+     LUDLOW                                                92
+     HEREFORD                                              96
+     TEWKESBURY                                           100
+     DEERHURST                                            104
+     BRISTOL                                              107
+     WELLS                                                114
+     EXETER                                               120
+     DORCHESTER                                           124
+     OXFORD                                               129
+
+ PERPENDICULAR                                            135
+     PERPENDICULAR TOUR                                   140
+     OXFORD                                               142
+     FAIRFORD                                             148
+     CIRENCESTER                                          154
+     GLOUCESTER                                           158
+     GREAT MALVERN                                        166
+     LITTLE MALVERN                                       172
+     ROSS                                                 174
+     WARWICK                                              177
+     COVENTRY                                             181
+     YORK                                                 185
+     SALISBURY                                            192
+     WINCHESTER                                           195
+     ST. NEOT                                             203
+
+ RENAISSANCE                                              209
+     RENAISSANCE TOURS                                    214
+     LONDON                                               216
+     CAMBRIDGE                                            223
+     LICHFIELD                                            230
+     GUILDFORD                                            236
+     GATTON                                               239
+     KNOLE                                                242
+
+ ITINERARIES                                              251
+
+ LIST OF TOWNS                                            253
+
+
+
+
+LIST OF ILLUSTRATIONS AND MAPS
+
+
+                                                     _To face
+                                                       page_
+
+ Cambridge, King's College Chapel              _Frontispiece_
+
+ General Map                                               18
+
+ Map of Early English Tour                                 30
+
+ Canterbury, "Becket's Crown"                              36
+   Thirteenth century medallions; notice circular and other
+   forms enclosing the figures. The heavy iron bars needed
+   to support the great weight of lead are skilfully adjusted
+   to the design. The world-famous shrine stood in the centre
+   of this space. Tombof Black Prince in foreground, and above
+   it armour he wore at Cr�cy.
+
+ Lincoln, Rose Window                                      56
+   Tracery unusual in that it does not radiate from centre.
+   Quantity of greenish grisaille used emphasises leaf-like
+   design. Thirteenth century medallions in the tall lancets
+   below.
+
+ York Minster, "Five Sisters"                              62
+   Softly toned grisaille, with delicate patterns in faint
+   colour. Of its type unsurpassed in the world. Note
+   difference between mellow strength of this glass and
+   thinness of modern glazing in upper tier of lancets.
+
+ Map of Decorated Tour                                     76
+
+ York Minster, Chapter-House                               78
+   Note the grouping together in each embrasure of five narrow
+   lights below gracefully elaborated tracery openings. Later
+   on, in the Perpendicular period, these traceries lose their
+   individuality, become stiffly regular, and part of the window
+   below.
+
+ Tewkesbury Abbey, Choir                                  100
+   A rare example of rounded apse, generally replaced in England
+   by a square-ended chancel. Chief charm of these windows is
+   their rich colouring.
+
+ Wells, "Golden Window"                                   116
+   Notice graceful setting, permitting a glimpse through into
+   the Lady chapel beyond. The large Tree of Jesse, rising from
+   the loins of the patriarch, is portrayed in colours of almost
+   barbaric richness.
+
+ Exeter, East Window                                      122
+   Perpendicular stone frame, glazed chiefly with very typically
+   decorated figure-and-canopy glass preserved from the earlier
+   and smaller window. Below and beyond appears the Lady chapel.
+
+ Map of Perpendicular Tour                                140
+
+ Oxford, New College Antechapel                           144
+   Transition window, presented by William of Wykeham, Founder of
+   the College. Stone frames are already Perpendicular: note the
+   "pepper-box" tracery lights. The glazing, as usual, lags behind
+   the architecture, and, because of its strong colour and flat
+   drawing, is more Decorated than Perpendicular.
+
+ Gloucester, Choir                                        162
+   Great east window commemorative of knights who fought at Cr�cy.
+   Backgrounds of pink and soft blue. Tracery lights no longer
+   differentiated from window below, as during Decorated period.
+   Note elaborate masking of earlier walls by later Perpendicular
+     work.
+
+ Coventry, Guildhall                                      182
+   Splendid row of ancient English kings, and, below, a great
+   tapestry. In the centre of the window, and again on the
+   tapestry, appears Henry VI., who was a member of the guild.
+   Handsome example of medi�val hall.
+
+ York Minster, East Window                                188
+   Tremendous sheet of colour, 78 by 32 feet. Lower half of stone
+   frame built in a double plane, and carries a gallery across
+   face of the glass.
+
+ Winchester, Nave                                         200
+   The excellent effect produced by the Fifteenth Century
+   fragments with which this window is glazed proves that colour
+   is more important than design in glass. Note swerving to right
+   and left of two principal mullions, thus relieving a monotony
+   of upright lines.
+
+ Map of Renaissance Tours                                 214
+
+ London, St. George's, Hanover Square                     220
+   A Renaissance Tree of Jesse from Belgium, readjusted to fit its
+   new embrasures. Figures unusually large for this subject. Fine
+   colours and drawing.
+
+ Lichfield, Lady Chapel                                   232
+   Excellent example of Renaissance colouring, freer from applied
+   paint than then customary. This glass was brought from Belgium.
+
+ Guildford, Bishop Abbott's Hospital                      240
+   Charming and complete glazing of a small chapel. Renaissance
+   glass coloured by the process of enamelling, often
+   unsatisfactory because bits are apt to peel off.
+
+
+
+
+ STAINED GLASS TOURS
+ : : IN ENGLAND : :
+
+INTRODUCTION
+
+
+The errand of a window seems always to have been that of beauty,
+although it has more than one way of performing that service. Sometimes
+it seems to have chosen the inspiring manner of recalling ancient wars,
+as would appear from the "Dreme" of Chaucer:
+
+     "And sooth to sayn, my chamber was
+     Full well depainted, and with glass
+     Were all the windows well y-glazed
+     Full clear, and not an hole y-crazed,
+     That to behold it was great joy:
+     For wholly all the story of Troy
+     Was in the glazing y-wrought thus,
+     Of Hector, and of King Priamus;
+     Of Achilles, and of King Laomedon,
+     And eke of Medea, and of Jason;
+     Of Paris, Helen, and of Lavine."
+
+Sometimes the errand is that of beauty alone, so "mystic, wonderful," as
+to make it seem that magic was invoked to yield so fair a result. In
+his "Earthly Paradise" Morris voices this feeling:
+
+     "Folk say, a wizard to a northern king
+     At Christmastide such wondrous things did show,
+     That through one window men beheld the spring,
+     And through another saw the summer glow,
+     And through a third the fruited vines a-row,
+     While still, unheard, but in its wonted way,
+     Piped the drear wind of that December day."
+
+Again, the errand of the window may have been not so much that of a
+story-teller, nor of a beautiful object to regale one's eyes withal, but
+rather to tint and temper the illumination of some holy place like that
+described in the "Lay of the Last Minstrel" (Canto XI.):
+
+     "The silver light, so pale and faint,
+     Show'd many a prophet and many a saint,
+     Whose image on the glass was dyed;
+     Full in the midst, his Cross of Red
+     Triumphant Michael brandished,
+     And trampled the Apostate's pride.
+     The moonbeam kissed the holy pane,
+     And threw on the pavement a bloody stain."
+
+Beyond the enjoyment and artistic refreshment to be obtained from the
+contemplation of stained glass, who shall say that we do not receive
+other benefits, the nature of which are as yet undiscovered? It is only
+recently that our learned brothers, the scientists, have acquainted us
+with the helpful qualities of those rays of light which, in the
+language of the spectrum, are "out beyond the violet." In this
+connection, it may be edifying to quote from the "Anecdotes and
+Traditions" of Aubrey: "The curious oriental reds, yellows, blews, and
+greens in glasse-painting, especially when the sun shines, doe much
+refresh the spirits. After this manner did Dr. R. revive the spirits of
+a poor distracted gentleman, for whereas his former physitian shutt up
+his windows and kept him in utter darknesse, he did open his window
+lids, and let in the light, and filled his windows with glasses of
+curious tinctures, which the distempered person would always be looking
+on, and it did conduce to the quieting of his disturbed spirits."
+(Aubrey in "Anecdotes and Traditions," edited for the Camden Society by
+W. J. Thomas, p. 96.)
+
+Nor is this the only _terra incognita_ still awaiting exploration.
+During some recent French experiments wide differences have been
+observed in the same kind of vegetable when grown under differently
+coloured glass covers. However, these are matters that will not be
+"dreamed of in our philosophy"--our investigations will be confined to a
+geographical search for that with which to delight our eyes.
+
+When one pauses to consider how fragile the beauty of a stained glass
+window, it becomes amazing that even so much as we can now visit has
+survived. Over every European country there has, at one time or
+another, swept a wave of destruction engulfing things artistic. The
+causes for, as well as the agents of, this iconoclasm, differ widely.
+Sometimes it comes from within, and is the result of civil war or of
+religious fanaticism--less often it is the result of foreign invasion.
+
+English windows had the good fortune to escape the destruction by
+foreigners which the French had to suffer during those dreadful
+fourteenth and fifteenth centuries when the Hundred Years' War outlasted
+its title, and when the hot-headed Plantagenet kings kept France
+continually plagued with English soldiery. Although we must record this
+particular immunity, other agencies equally baleful were at work. The
+Puritans made a practice of smashing stained glass, either because they
+regarded it as one of the hated insignia of popery (some of their
+ministers even knocking out the glass in churches under their own
+charge, like "Blue Dick" Culmer at Canterbury Cathedral), or for reasons
+of revenge, as in the case of the troops infuriated by the death of
+their leader in the assault upon Lichfield. Dwellers within the
+precincts of Lincoln made a common practice of shooting with crossbows
+at the windows! At Great Malvern the possible excuse of crossbow
+practice is missing; the villagers quite simply amused themselves by
+throwing stones at the great east window, just from the sheer joy of
+destruction. In some instances, even the mitigating circumstances of
+religious fanaticism, revenge, competitive sport, or even amusement are
+entirely lacking. Aubrey tells us in his "History of Surrey," that "At a
+later date, one Blesse was hired for half-a-crown a day to break the
+painted glass windows of Croydon." Little wonder is it that the citizens
+of York should have voted Fairfax, the leader of the Roundheads, a tun
+of wine, &c., in reward for his protecting care of the cathedral after
+he and his soldiers had captured that city.
+
+In an earlier book ("Stained Glass Tours in France") we observed that
+French windows divided themselves into periods which were practically
+coterminous with the centuries, thus enabling us to designate the styles
+by their century number. In England the development of this craft
+brought about the style-changes at irregular dates; but here also the
+steps of this development are so marked as to separate it into distinct
+epochs. English glass follows its architecture so closely that one
+cannot do better than to accept the period-designation of the latter,
+and especially is this true during the so-called Decorated and
+Perpendicular epochs. For our purpose we will therefore use the
+following sub-divisions: Early English, which will include all the glass
+prior to 1280; Decorated, 1280 to 1380; Perpendicular, 1380 to 1500;
+Renaissance (sometimes styled sixteenth century or Cinque Cento), 1500
+to 1550. There are extremely few examples of the first and of the last
+schools, in marked contrast to the great wealth in France of windows
+contemporary thereto. Edward I. came to the throne in 1272, and it was
+during his reign that the Decorated period began, running through the
+reigns of Edward II. (1307), Edward III. (1327), and Richard II.
+(1377)--all of them Plantagenets. This and the succeeding period
+produced very little glass anywhere in France, because of the Hundred
+Years' War, begun 1337, lasting until 1447, and waged throughout the
+length and breadth of the land. The exact opposite is true in England,
+where during the Decorated and Perpendicular epochs it reached its
+greatest importance and beauty. The Perpendicular period begins in 1380,
+shortly before Richard II., the last of the Plantagenets, was succeeded
+by the representatives of the rival Houses of Lancaster and York, three
+Lancastrians, Henry IV., V., and VI. (1399), (1413), (1422), being
+succeeded by three Yorkists, Edward IV. (1461), Edward V. (1483), and
+Richard III. (1483). This Perpendicular period came to an end at just
+about the same time as that tremendous civil struggle, the War of the
+Roses, was concluded by the accession of the House of Tudor, in the
+person of Henry VII. (1485). Our Renaissance glass period begins under
+him and lasts on through practically all the reigns of the House of
+Tudor--Henry VIII. (1509), Edward VI. (1547), Mary (1553), Elizabeth
+(1558). At the time that the Tudors were succeeded by the Stuarts (James
+I., 1603), there was hardly any English glass being manufactured, save a
+little for domestic use, although many Dutch glaziers were then active
+in this country, as we shall regretfully observe when we visit Oxford
+and Cambridge.
+
+It is clear from many an entry in ancient English church archives that
+French glaziers were often in the early days summoned across the
+Channel, and that it is to them that we owe the beginning of English
+glass; but we shall see that although it owes its origin to this foreign
+assistance, it developed along distinctly original lines, and that
+therefore the English glaziers deserve full credit for the charming
+traits peculiar to them.
+
+Although the period styled Early English has left comparatively few
+examples north of the Channel, and cannot hope to vie with the many and
+rich displays of mosaic glass to be seen in France, we shall be greatly
+consoled by the splendid grisaille (or uncoloured glazing) that fills
+the "Five Sisters" at York, and by the remains of the great series at
+Salisbury. We have just referred to the scarcity of French stained glass
+during the fourteenth and fifteenth centuries, those sorry days during
+which the English occupation of a large part of the country, repeated
+plagues, and uprisings of the lower classes against the nobles (like the
+Jacquerie), vied with each other in the work of devastation. Indeed, it
+is not strange that any art so dependent upon the fostering care of a
+luxury-loving class should have been entirely superseded by the sterner
+requirements of self-defence, to say nothing of the repairs necessitated
+by the ravages of war, pestilence, and famine. Those two centuries, so
+dreadful to France and so discouraging to French glaziers, produced in
+England the greatest flowers of this craft. It is, therefore, clear that
+if one wishes to obtain a comprehensively consecutive knowledge of
+stained glass on both sides of the Channel, he must leave France and
+cross over to England when the thread of his studies has obtained so far
+as the Decorated and the Perpendicular. When, however, he reaches the
+sixteenth century he must return to France, to revel in the wealth of
+Renaissance glass so wofully lacking in England.
+
+After one has observed a sufficient number of windows to provide a basis
+for comparisons, it becomes easy to tell not only the epoch to which
+they belong, but also, in most instances, whether they are early or late
+in that epoch. In England one is assisted by an unusual amount of
+reliable information from two sources, viz., old records and heraldic
+indications from the coats of arms which are so often displayed. There
+is so little sixteenth century glass in this country as to give but
+small opportunity to observe the characteristic Renaissance custom of
+placing the dates on the picture itself, which was then common in
+France. Of earlier windows, however, English records and a knowledge of
+heraldry give us the dates of many more than are obtainable for their
+contemporaries in France. By way of example, the original contracts date
+the glass at Beauchamp Chapel, Warwick, 1447; at King's College,
+Cambridge, 1527; at York, in the nave, 1338, and in the choir, 1405, &c.
+A comparative and historical study of their heraldic blazons gives us a
+date for many of the windows at Bristol and at Wells, and of more still
+in private houses.
+
+The duty of the glazier was to adorn the window embrasures constructed
+for him by the architect, and thus assist in the decoration of the
+church. It is obvious that the size and shape of these apertures must
+necessarily have had considerable, if not controlling, effect upon the
+styles and methods of the glazier. A glance at the conformation of these
+openings often tells the sub-divisions in which its glass belongs.
+During Norman times the window arch was round and the opening wide. In
+the Early English style the arch at the top becomes pointed and the
+embrasures narrower. When the Decorated time arrives several narrow
+lights are grouped together, separated only by slender stone mullions,
+and culminating under the pointed arch at the top in a group of
+gracefully adjusted small apertures called tracery lights. The
+Perpendicular architect did little but straighten out the lines of his
+predecessors, especially in the traceries, so that they, as well as the
+mullions, should produce the effect of upright parallels which gave this
+type its name. In the sixteenth century the Renaissance architect
+provided large windows, and the glazier filled them with great pictures
+of splendid colour.
+
+In our investigation of English glass of the Early English (or mosaic)
+period, we shall often find ourselves regretting the almost entire
+absence of rose windows, so frequent and splendid across the Channel,
+where those great blossoms of Gothic architecture provided such glorious
+opportunities for the decorating hand of the glazier. For this lack we
+shall later on find ample compensation (especially during Decorated and
+Perpendicular times) in the huge sheet of glass filling the great east
+window of many English churches. While the southern architect decided in
+favour of the rounded apse for the east end of his cathedrals, his
+northern neighbour preferred a square ended one, thus permitting a fine
+broad embrasure, broken only by narrow mullions, and providing a golden
+chance for the glazier, which he lost no time in seizing. Therefore, if
+we miss the innumerable rose windows of France, it is but fair to state
+that it possesses nothing that can vie with the great expanse of glowing
+colour found at the east end of York or Gloucester or Malvern.
+
+It is clear that the glass artist, whatever his nationality, had at
+all times to take heed of the architecture which provided the setting
+for his glass, and which his work was to help decorate. It is but
+natural, therefore, that his designs should have been influenced by
+the prevailing architectural style, and this was particularly true
+in England during the prevalence of both the Decorated and the
+Perpendicular schools. When the time arrived to change from the mosaic
+method of constructing stained glass, the whole effort of the Englishman
+seemed to have been devoted to making his new product conform to the new
+Decorated style of building. Not so his neighbour across the Channel,
+for there everything was then being sacrificed to the demand for better
+lighted interiors, even to the extent of filling much of his embrasures
+with grisaille, and using deep colour only in the borders or in bands of
+canopy-framed figures across parts of the windows (S�es, Evreux). The
+need for more illumination did not exist in England, for in that land of
+cloudy skies and infrequent sunshine they had already realised how
+greatly mosaic medallion glass obscured the light, and, therefore, had
+early struck out for themselves, and developed an admirable use of
+grisaille, as one may see at York and Salisbury. They had already solved
+the problem of better illumination, and were that much ahead of their
+French neighbours. In France, because of light-admitting grisaille then
+demanded (either alone or in conjunction with the early canopies), the
+fourteenth century window gives a lighter effect than when later on, in
+the fifteenth century, the artist dispensed with the grisaille, enlarged
+his canopy completely to fill its lancet, and, thanks to the development
+of coated glass--_i.e._, several layers of different colours permitting,
+in combination, a wide range of hues--introduced more varied and richer
+colouring in both figures and costumes. In England, however, where
+light-admitting grisaille had already been freely used during the mosaic
+period, and the glazier began the fourteenth century untrammelled by any
+sudden demand for brilliant illumination, we shall easily observe a
+tendency directly contrary to that just remarked in France. The English
+Decorated windows are much deeper in tone than the Perpendicular ones
+which followed them. These latter seemed to have proved a satisfactory
+solution of the lighting problem for the English climate. Indeed, we
+shall see some at St. Neot, manufactured as late as 1530, that are
+copied after others of the preceding century, and yet the later ones
+are obviously from the hand of an artist so skilful as to have readily
+worked in the contemporary Renaissance manner, had he not deliberately
+preferred the earlier one.
+
+Those who desire to study this subject seriously should read Lewis F.
+Day's excellent "Windows of Stained Glass" (1897).
+
+
+ EARLY ENGLISH                                   BEFORE 1280
+ --------------------------------------------------------------
+ PLANTAGENET {  Edward I. 1272                    1280-1380
+             {  Edward II. 1307                   DECORATED
+             {  Edward III. 1327
+             {      (Cr�cy, 1346)
+             {      (Poitiers, 1356)
+ ------------{-------------------------------------------------
+             {  Richard II. 1377                  1380-1500
+                                                PERPENDICULAR
+ LANCASTER   {  Henry IV. 1399
+             {  Henry V. 1413
+             {      (Agincourt, 1415)
+             {  Henry VI. 1422
+
+ YORK        {  Edward IV. 1461
+             {  Edward V. 1483
+             {  Richard III. 1483
+
+ TUDOR       {  Henry VII. 1485
+ ------------{-------------------------------------------------
+             {  Henry VIII. 1509                  1500-1550
+             {  Edward VI. 1547                  RENAISSANCE
+             {  Mary, 1553
+             {  Elizabeth, 1558
+
+ STUART      {  James I. 1603
+
+
+TOURS
+
+Our glass-hunting tours will take us into almost every part of England.
+We shall go up and down the east coast cathedrals, from York in the
+north to Canterbury in the south-east. We shall also wander through the
+entire range of southern counties, and see the whole coast from
+Winchester, west through Salisbury and Exeter to St. Neot, far off in
+Cornwall, hard by Land's End. But it will be in that corner of England
+which lies between Oxford and the Welsh border, that the greatest wealth
+of windows will be found. We shall arrange the tours so that the order
+in which the windows are viewed will conform chronologically with the
+stages of the craft's development. It will, of course, largely depend on
+whether he elects to travel by rail, by automobile, or by bicycle, just
+how slavishly the pilgrim follows the order in which the towns have been
+set out. The trips have been arranged with an eye to geography rather
+than to railway time-tables--geography is so much more stable than
+"Bradshaw's General Railway Guide"! The omission from the list of sundry
+important cathedrals, like Durham, Ely, Peterborough, Worcester, &c.,
+is caused by the deplorable fact that all their ancient stained glass
+has been destroyed.
+
+The order of towns is as follows:
+
+ Early English Epoch      Salisbury, Canterbury, Lincoln,
+                          York.
+
+ Decorated Epoch          York, Norbury, Shrewsbury,
+                          Ludlow, Hereford,
+                          Tewkesbury, Deerhurst,
+                          Bristol, Wells, Exeter,
+                          Dorchester, Oxford.
+
+ Perpendicular Epoch      Oxford, Fairford, Cirencester,
+                          Gloucester, Great
+                          Malvern, Little Malvern,
+                          Ross, Warwick,
+                          Coventry, York.
+                          Salisbury.
+                          Winchester.
+                          St. Neot.
+
+ Renaissance Epoch        London, Cambridge, Lichfield,
+                          Shrewsbury.
+                          Guildford, Gatton, Knole.
+
+In selecting the order of the above itineraries, we have ended the
+first, or Early English period, at York, because that city is not only
+rich in early mosaic glass, but also in that of the Decorated period,
+thus making it most convenient for us there to begin the second or
+Decorated tour. In the same manner we have concluded the itinerary of
+the Decorated period at Oxford, for there are found not only Decorated,
+but also Perpendicular windows, thus permitting us to commence the
+Perpendicular tour in the same city which ends our Decorated one.
+York is set down as the last of the Perpendicular trip, but if our
+pilgrim has already visited that city on either the Early English
+or the Decorated tour, he will doubtless also have seen all of its
+Perpendicular glass, which will obviate the necessity for again making
+the long journey north. In that event, with York left out of the
+Perpendicular tour, it will prove to be much more condensed, both as to
+territory and distance, than either of the two earlier ones. The last,
+or Renaissance epoch, has but few examples in England, and these are so
+widely separated that it seems best to break them up into two tours. Of
+the seven places cited (London, Cambridge, Lichfield, Shrewsbury,
+Guildford, Gatton, and Knole) the best English glass is at London and
+Cambridge, while that at Lichfield is Flemish, and most of that at
+Shrewsbury German.
+
+For tables of distances, &c., _see_ pp. 251-254.
+
+[Illustration: GENERAL MAP]
+
+
+
+
+EARLY ENGLISH
+
+
+We shall find it more convenient to group all early glass under the
+heading of "Early English," although it will be found not only in its
+own narrow, pointed-arched windows, but also before that, in the
+round-arched ones of the Norman style. So slow was the development
+of our craft during all the time covered by those two schools of
+architecture as to make it hardly proper or necessary that our subject
+be likewise divided into two epochs. During both of them there is found
+richly coloured glass of the "mosaic" type, and also uncoloured windows
+of the sort styled by the French "grisaille." Obviously, uncoloured
+glass admits much more light than that made up of rich dark hues, and,
+therefore, it is but natural that the glazier who dwelt in a cloudy
+northern land should early have realised the need for sufficient light
+in his churches, a need which did not concern his fellow craftsmen in
+the sunny lands of the south. Indeed if he had not appreciated this
+practical side of his craft he would not have been the artist which his
+windows prove him to have been. The glaziers of sunny Italy were never
+confronted with this problem of sufficient illumination--if anything,
+they had too much, no matter how richly they painted the panes. Their
+fellows in France had less sunlight than they, but more than the
+English, and therefore occupied an intermediate ground in the matter of
+church illumination; the result was that the French neglected it so
+entirely during both the twelfth and thirteenth centuries, and so
+darkened their interiors by heavily leaded mosaic glazing as to bring
+about, at the opening of the fourteenth century, a sudden revulsion in
+favour of better lighted interiors, which went so far as to produce the
+excessive light and glare observable at S�es, St. Ouen (Rouen) and
+Evreux. This sudden revulsion did not appear in England where, indeed,
+there were no grounds for it, because, as we have just seen, the
+glaziers had already thoroughly grasped the need for, as well as the
+value of, light-admitting grisaille. That they thoroughly mastered the
+technique of uncoloured glass we will readily conclude from the splendid
+monuments to their genius in the "Five Sisters" at York, and the
+grisaille in the south transept at Salisbury, ideal glazing for a land
+of infrequent sunshine. Turning from these untinted windows to those
+filled with colour, one notices at once that the early examples of the
+latter are made up of very small pieces of different hues bound together
+by winding strips of lead having little sunken channels on both sides
+to hold the glass in place. So small are these pieces that the windows
+seem to have been composed much in the same way that the diminutive
+cubes are assembled to make a mosaic. It is because of this striking
+similarity of method, that this early glazing, constructed of small
+fragments, is frequently referred to as "mosaic" glass. Another name
+which it often receives is also easily explainable. The stories on these
+early windows are told by groups of very small figures, and to prevent a
+chaotic multitude of these little persons spread over the glass, each
+episode or group is separated from the others by a frame of contrasting
+colour, thus breaking up the whole surface into medallions. For this
+reason, early mosaic glazing is sometimes spoken of as "medallion
+glass." Unfortunately for England, it possesses but few remains of this
+delightful product, and therefore suffers sadly by comparison with the
+great wealth of it to be seen in France. We shall find enough, however,
+at Canterbury and Lincoln to kindle our enthusiasm for the splendid
+jewelled glow which the glazier of that time, and of no other, knew how
+to make his windows produce. It will not take long for the intelligent
+observer to notice that this glitter is due partly to the fact that the
+glass is free from paint (except that used to delineate features, folds
+of garments, &c.), and partly because its surface is not regular as is
+ours to-day. Furthermore, the pieces were small, and the constantly
+recurring leadlines (breaking up and combining the rays of light coming
+through the little panes) assisted materially to produce the brilliancy
+and shimmer which so delight the eye. There is no doubt that the glazier
+thoroughly realised this, and availed himself of this mingling of the
+coloured rays to suit the purposes of his picture. We frequently see a
+thirteenth century window that produces a purple effect, and yet a
+closer inspection will reveal that there is only red and blue glass used
+in it, but so cunningly have they been intermingled as to produce a much
+warmer purple than any sheet of purple glass could render. Some writers
+would have us believe that the glazier had no choice but to use these
+small bits in building up his picture, and that therefore the rich
+glowing effect was the result of chance, and not that of intelligent
+deliberation. Any one who has been fortunate enough to visit St.
+Maurice's Cathedral at Angers is amply equipped to refute this theory,
+and will be prepared to give full credit to the glazier of the
+thirteenth century, for, in that church, the twelfth century mosaic
+glass of the nave is readily seen to be composed of much larger
+fragments than were employed in the choir by the thirteenth century man.
+These latter in the choir glisten and glitter, while the earlier ones in
+the nave, composed of larger pieces, do not. This indicates that the
+improvement shown by the thirteenth century windows over those of the
+twelfth century was caused by artistic intelligence, and at the expense
+of more labour to the glazier, because in lessening the size of his
+panes, he greatly increased the work of leading them together. As he
+purposely used smaller fragments, he should receive full credit for his
+splendid results. Those who have been so fortunate as to see the French
+thirteenth century windows will not only regret the fewness of examples
+of that period in England, but will also remark the dearth there of the
+great rose windows so frequent in France. Furthermore, he will notice
+that in the case of English medallion windows, the medallions are
+smaller than those across the Channel; this is caused by the fact that
+the lancets of the Early English school were narrower than contemporary
+French ones, and therefore necessitated a smaller medallion. While it is
+true that it is only at Lincoln that one finds the splendid rose windows
+which reach their greatest perfection in France, compensation for their
+absence is found in the development in their place of a style of window
+almost unknown in France, _i.e._, the great east window, of which such
+superb examples will be seen during the next (or Decorated) period at
+York, Bristol, and many other places. This difference in the development
+of the largest light aperture of a church is due to the architect; in
+France he built the eastern end of his churches round, but in England
+they were square, thereby permitting a large sheet of glazing at the
+east end, which the French rounded apse could not afford. It is
+gratifying to note the way in which the genius of the glazier, no matter
+where he lived, seized upon and developed to the utmost the artistic
+possibilities of his glass, and, furthermore, how cleverly he adapted
+them to the structures prepared for him by his architect. We shall see
+at Canterbury, more clearly even than elsewhere, that in the manufacture
+of this early mosaic glass the English glaziers followed the French
+models. In "Stained Glass Tours in France," p. 17, we have made some
+conjectures as to the beginnings of glass in France and whence it came
+into that country. Indications appear to be in favour of its first steps
+being guided by a group of enamellers in Limoges, who were instructed or
+influenced by a colony of Venetians that settled near by in 979,
+bringing with them their Byzantine art. Whatever opinion we may hold,
+there can be no doubt that a striking similarity in drawing, colouring,
+&c., is to be remarked between stained glass of the twelfth and
+thirteenth centuries, Limoges enamels of those two and the two preceding
+centuries, and the Byzantine mosaics of St. Mark's in Venice, &c.
+
+
+EARLY ENGLISH TOUR
+
+Even though we shall encounter but few examples of this period in
+England, a tour of the towns in which they are to be found will perhaps
+yield us more interesting glimpses into history than our later tours,
+far richer though they may be in glass. Starting at ancient Salisbury
+hard by the site of Druid Stonehenge, we follow the oldest of English
+national roads, the "Pilgrim's Way," through Winchester (for so long
+the English capital) on to Canterbury with its dramatic history of the
+martyred archbishop. Close to Canterbury are Chartham and Willesborough;
+these may be seen _en route_ from Salisbury. Thence we go north to
+Lincoln, and, after an interesting visit to its sanctuary-crowned
+hilltop, we will push on still further north to York, that
+treasure-house of glass of this as well as of all periods. Although we
+end our first tour in that city, we shall also be able there to begin
+our second one, and may also, if we choose, inspect the glass of a
+still later (the Perpendicular) epoch.
+
+[Illustration: MAP OF EARLY ENGLISH TOUR]
+
+
+SALISBURY
+
+There is no country in the world whose ancient history is writ so large
+upon its broad acres as old England. It is full of silent testimonials
+to past events which render those early days and their happenings more
+vivid than any printed page can hope to effect. Many of these remains
+are of such remote antiquity as to long antedate our glass, but
+nevertheless we must not be so prejudiced as to neglect them when
+encountered on our travels. Indeed, it may well be that the existence of
+other attractions of this sort may secure for us the company of certain
+arch�ological friends who at first will have but small interest in
+glass. Nor need we distress ourselves about how small that interest may
+be; for if they, for any reason, accompany us, our charming windows will
+surely make converts of them long before the journey is ended. These
+same arch�ological folk will tell us that few localities in England can
+show more extraordinary historical remains than Stonehenge and Old Sarum
+near Salisbury. The great upright monoliths of Stonehenge, stationed in
+the form of a horse-shoe within a circle, loom up in such a solitary
+and impressive way upon the great reaches of Salisbury Plain as to
+produce a mental picture long to be remembered. Their very isolation
+makes them much more striking than the voluminous remains of a similar
+nature erected also by the Druids on the west coast of Brittany. As
+for Old Sarum, it is now nothing but a lofty fortified camp, but the
+enclosure within its circle of high walls formerly contained a town
+which was the predecessor of Salisbury. The shape of this high truncated
+cone recalls the pictures of the Tower of Babel that used to appear in
+our child's geographies. Whatever may have been the real cause for the
+removal of Salisbury to its present site, the one generally alleged was
+that Sarum lacked water--this certainly cannot be charged against the
+present city, which is so sorely harassed at certain seasons of the year
+by local floods, as well to merit the name often given it of the
+"English Venice." Its vast cathedral is much more regular and balanced
+in its proportions than are most examples of medi�val church
+architecture. The two great twin spires are esteemed the most beautiful
+in England. To one who has become accustomed to the archaic appearance
+of most European cathedrals, Salisbury will prove quite a surprise; in
+the words of Emerson, "The cathedral, which was finished six hundred
+years ago, has even a spruce and modern air." This splendid building,
+even if it were not so impressive as it is, would have been rendered
+sufficiently picturesque because of the setting provided by the shaded
+walks and green swards of its Close. Within the roomy interior are
+examples not only of thirteenth century medallion glass, but also some
+of the best types of English grisaille of that period. Because of the
+belief that the doors, windows and pillars exactly coincide respectively
+with the number of months, days and hours in the year, Thomas Fuller
+said, "All Europe affords not such an almanac of architecture." We are
+concerned only with that portion of the almanac that has to do with the
+days. An old rhyme says:
+
+     "As many days as in one year there be
+     So many windows in this church we see."
+
+Notwithstanding the great number of light apertures thus provided by the
+architect, the glazier was not permitted to make excessive use of the
+light-obscuring coloured mosaic glass, as was then the custom in France.
+Grisaille was plentifully used, and Salisbury was famous for it. Most of
+its remains are found in the upper lancets at the south end of the
+easterly transepts, as well as a little in the west windows of the nave
+aisles, the east one of the choir aisles, and the lower triplet in the
+south end of the small transepts. Two of the easterly clerestory lights
+of the large northern transept also show this early pattern glass.
+Instead of filling the other embrasures with rudely contrasting modern
+glazing, a very intelligent effort has been made throughout the choir
+and transept to model as closely as possible upon these ancient
+examples. The result is very agreeable--at least it contrives to give us
+some idea of how the church must have looked with its original windows
+all complete. Little touches of colour are very judiciously interspersed
+throughout the strapwork, and serve to correct what otherwise might be
+dull-toned. Blue is very extensively used here for this purpose, and to
+a greater extent than is usually found elsewhere. It tones in admirably
+with the greenish hue of the glass, and enriches it without risking too
+striking a contrast. The thirteenth century medallion remains have been
+collected into the three lancets at the western end. Note especially the
+plentiful and interesting fragments of the Tree of Jesse done in mosaic
+style which has been introduced in two parallel columns into the central
+lancet: the borders are contemporary. The side lancets are not so
+satisfactorily filled, for the combination of strips of later glass
+separated by equally wide ones of old grisaille, and all surrounded by
+a rich old border on ruby and blue backgrounds, is not pleasing. The
+medallions are interesting, but nothing like so fine as we shall see
+elsewhere. We shall chiefly remember Salisbury Cathedral for the
+effective glazing of its choir and transepts afforded by thirteenth
+century grisaille eked out with good modern glass copied after it.
+
+One does not have to search far in the records of Salisbury to find why
+there is so little remaining of its ancient glazing. Time has been
+materially aided and abetted in its work of destruction by ruthless
+restorations, of which the worst was Wyatt's in the eighteenth century.
+We read that "whole cartloads of glass, lead, and other rubbish were
+removed from the nave and transepts, and shot into the town ditch, then
+in course of being filled up; whilst a good deal of similar rubbish was
+used to level the ground near the chapter-house." Nor was destruction
+the only means used to get rid of the Salisbury windows, as will appear
+from the following letter written to Mr. Lloyd, of London, in 1788, by
+John Berry, a glazier of Salisbury:
+
+     "SIR.--This day I have sent you a Box full of old Stained &
+     Printed glass, as you desired me to due, which I hope will sute
+     your Purpos, it his the best that I can get at Present. But I
+     expect to Beate to Peceais a great deal very sune, as it his of
+     now use to me, and we do it for the lead. If you want more of
+     the same sorts you may have what thear is, if it will pay you
+     for taking out, as it is a Deal of Truble to what Beating it to
+     Peceais his; you will send me a line as soon as Possable, for
+     we are goain to move our glasing shop to a Nother plase and
+     thin we hope to save a great deal more of the like sort, which
+     I ham your most Omble servent--JOHN BERRY."
+
+There is also later glass to be seen here. St. Thomas's Church, in the
+first embrasure from the east of the north aisle, has the remains of a
+Decorated Tree of Jesse, in which, as well as in other fragments along
+the traceries, there is a good deal of yellow stain observable. In the
+vestry, which is off the north aisle, are three small lancets upon which
+appear figures against quarry backgrounds not as usual ensconced in
+canopies. The wooden ceilings in the north and south aisles are
+especially fine.
+
+For the Perpendicular glass at Salisbury _see_ p. 192.
+
+
+CANTERBURY
+
+Even a careless observer of the life and customs of the Middle Ages will
+have noticed that one of its most extraordinary features is the extent
+to which people of every European country went upon pilgrimages. The
+nature and object of these religious journeys varied widely, running the
+gamut from the Crusades to the visiting of neighbouring shrines. The
+history of the Crusades is well known, but perhaps few of us realise the
+tremendous interest taken in the more domestic and near-by pilgrimages.
+The English were like all the rest of Christendom in this curious craze,
+and for several centuries the most revered, as well as the most popular
+of their many shrines was that of the martyred Thomas � Becket at
+Canterbury. More highly prized than any other similar trophy was the
+small leaden flask hung about the neck of one who had taken that
+journey, and was thus qualified to bear away this pilgrim's token
+filled with water from the holy well beneath the cathedral. A modern
+counterpart is afforded by the value Mohammedans set upon the wearing
+of a green turban, the privilege accorded to one who has visited Mecca.
+Although Canterbury had always since the earliest days possessed many
+saintly relics, a marked increase in the number of pilgrims was noted
+after the martyrdom of � Becket. These pilgrimages steadily grew in
+vogue until when, in the fifteenth century, they had reached their
+height, not only did the stream of travellers continue steadily
+throughout the year, but during the months of December and July
+(anniversaries of the martyrdom and the transference of the relics)
+we read that the numbers swelled to such an extent that the housing
+facilities of the little city were greatly overtaxed. A jubilee was held
+every fifty years, and on these occasions the crowds grew to enormous
+size. During the jubilee of 1420 we are told that over 100,000 pilgrims
+were gathered in the city at the same time. Hay and wood were provided
+gratuitously for them, a bounty which the cathedral could well afford,
+because of the great value of the gifts constantly received from these
+visitors. It is easy to see how important a nationalising influence must
+have resulted from this meeting together of all classes of society from
+different parts of the country. How widely these pilgrims varied in
+station and occupation can be gathered from Chaucer's inimitable
+"Canterbury Tales." Those amusing chronicles also show that while
+religion was doubtless a powerful motive in causing these pilgrimages,
+there was besides a great deal of what is called to-day "the desire for
+foreign travel." In fact, it is difficult to find much religious flavour
+in the tales of merriment and adventure which follow each other in this
+delightful series. Chaucer probably selected a Canterbury pilgrimage
+as the setting for his poem in order to appeal to a great number of
+readers, for he well knew the kingdom to be full of people who had taken
+this journey, and to whom, therefore, his tales would be of peculiar
+interest. Although Chaucer was the son and grandson of vintners, he won
+his way into high favour at Court, a hint of which is obtained from the
+fact that Edward III. paid �16 (then a considerable sum) to ransom him
+after his capture by the French.
+
+ [Illustration: _J. G. Charlton, photo._
+ "BECKET'S CROWN," CANTERBURY CATHEDRAL
+     Thirteenth Century medallions; notice circular and other forms
+     enclosing the figures. The heavy iron bars needed to support the
+     great weight of lead are skilfully adjusted to the design. The
+     world-famous shrine stood in the centre of this space. Tomb of
+     Black Prince in foreground, and above it armour he wore at
+     Cr�cy]
+
+Another group of equally diverting but more whimsical poems are
+inseparably connected with this neighbourhood. Rev. Richard Barham lived
+near Canterbury, and many of his engaging Ingoldsby Legends have their
+scenes laid there, some within the cathedral precincts. The county of
+Kent, of which Canterbury is the chief city, is peopled by a sturdy folk
+who have always been jealous of their rights and insistent upon their
+own interpretation of the law, as, for example, although primogeniture
+existed almost everywhere else in England, Kent always preferred
+gavelkind (an equal division of property among the children of the
+deceased). As illustrating the strength of Kentish traditions, it is
+amusing to note that one must remember carefully to apply the expression
+"Kentish man" to a dweller in the western half of the county, and "Man
+of Kent" to him of the eastern. Confuse these two designations at your
+peril! There is a bit of local history which has a fine heroic flavour,
+and which points our moral excellently. After William the Conqueror had
+won the battle of Hastings, all Kent, headed by the Archbishop of
+Canterbury, gathered to protect its ancient rights against the invader.
+They marched forth to meet William at Swanscourt, each man fully armed,
+and carrying above him a green bough to mask the numbers of their host.
+William's surprise and perplexity at seeing this perambulating forest
+approaching him can well be imagined. When he inquired the reason for
+it, there came the fine reply that Kent demanded its ancient rights, and
+if granted them would live peaceably under his rule, but if they were to
+be denied, then there must be instant war! The politic Norman complied
+with their request, and the Kentish forest marched off.
+
+So beautiful are the distant prospects of Canterbury Cathedral that
+excellent �sthetic reasons may be advanced for the religious custom that
+required all mounted pilgrims to dismount as soon as they could spy the
+Angel Steeple, and complete the last stage of the pilgrimage on foot.
+Proceeding in this more leisurely fashion, the beauties of the
+picturesque grouping of the buildings about the cathedral developed
+slowly before their eyes.
+
+On descending into the town, many interesting sights meet one's view in
+the quaint winding streets and narrow lanes. The name of one of these,
+Watling Street, recalls the fact that through this city ran that great
+Roman road. Another element of the picturesque is added by the
+meandering through the town of the river Stour, over whose narrow stream
+project many of the houses. Finally we arrive at a large gatehouse,
+whose modest portal affords access to the sacred precincts, and
+introduces us to a series of most delightful pictures, for there are few
+cathedrals in the world placed in so charming a setting. An old legend
+gravely narrates that when the walls of the sanctuary were heightened
+about the middle of the tenth century, the building was, perforce,
+roofless for three years, and that during that period no rain fell
+within this favoured enclosure! We need not stop to consider the
+different features of the architecture which have delighted so many eyes
+and are so well known from photographs and other reproductions. We must,
+however, note in passing that during � Becket's exile he chanced to be
+in Sens at the very time that the great French architect, William of
+Sens, was finishing the first attempt in pointed Gothic. This probably
+explains why, when the choir of Canterbury Cathedral was destroyed by
+fire, the monks in 1174 summoned William to rebuild it. During the work
+he fell from the scaffold and received injuries from which he died. The
+selection of that foreign architect assists in explaining why the mosaic
+glass at Canterbury so closely resembles the late twelfth century
+windows at Sens, and permits us to conjecture that with the French
+architect there came over French glaziers. The French Gothic which was
+here introduced by William of Sens was, to a certain extent, copied
+elsewhere. Traces of it at York Cathedral are doubtless due to the fact
+that the Archbishop of York who caused its introduction had been
+Archdeacon at Canterbury during the time that William of Sens was
+working there. We will enter the church and press on to the northern
+transept, where took place that tragic episode resulting from the
+constant strife between Henry II. and the proud churchman � Becket. In
+the dimness of this old-world corner one can almost live over again the
+scene at twilight, December 29, 1170, when the four knights, taunted
+into exasperation by � Becket's hot words, cut down the defenceless
+priest, thinking thus to serve their royal master. Not only did this
+base act bring upon Henry the open shame of being forced to do most
+abject penance before the shrine of his sainted victim, but it also
+produced many extraordinary results of widely differing nature during
+the centuries to follow. Just after the assassination the monks, upon
+removing the garments of their murdered chief, found, to their great
+surprise, that beneath the rich raiment of him whom they had always
+mistrusted as a brilliant courtier, was worn the haircloth shirt of
+their monastic order. Their sudden revulsion of feeling, and the
+religious enthusiasm which overcame them at that sight, seems prophetic
+of other revulsions that were to take place during the Middle Ages in
+the attitude of the public mind towards this bloody page of Church
+history. Just as then their feelings abruptly changed, so after wealth
+and costly gifts had flowed to this shrine for centuries, and almost
+every city in Christendom had an altar or a church dedicated to
+St. Thomas, suddenly men of thought became disgusted by the many
+reprehensible features connected with this cult, which, perhaps, were
+only the natural results of the throngs attending the pilgrimages. The
+pendulum, which had swung too high on one side, swept back to the other
+extreme; and this brings us to one of the strangest parts of this story,
+if not, indeed, the weirdest in all the annals of the law. Henry VIII.
+cast covetous eyes upon the hoard of jewels gathered together in
+Canterbury Cathedral, so he instituted a legal proceeding to enable him
+to lay hold upon them. As royal successor to Henry II. he caused the
+Attorney-General in 1538 to bring suit against � Becket for treason, and
+had the papers duly served upon the famous shrine! Counsel was appointed
+to represent the long dead subject, and the case was argued with all the
+pomp and circumstance of legal warfare. The martyr was found guilty, and
+all the wealth of his shrine was declared escheated to the Crown. We
+read that it was necessary to employ twenty-six carts to carry off the
+booty. Could anything be more strange and fantastic than so material an
+outcome to the wild deed of the four knights!
+
+Of the other tombs here, the most interesting are those of Henry IV. and
+the Black Prince. Above the latter is suspended the armour worn by him
+at the battle of Cr�cy.
+
+Before commencing to examine the stained glass, we must warn the reader
+that it suffered severely at the hands of that arch-ruffian of all glass
+destroyers, Dick Culmer (or "Blue Dick," as he was called), the minister
+in charge of the Abbey during the Commonwealth. So violently opposed
+to his appointment were the townspeople that they locked all the
+cathedral's doors against him, thus forcing him to effect his first
+entrance by breaking in one of the windows--an evil omen! No sooner was
+he installed than he set diligently to work to destroy the stained
+glass, and, furthermore, openly boasted of his energy in that respect.
+In his "Cathedral News from Canterbury," he says, "A minister on top of
+the city ladder, nearly sixty steps high, with a whole pike in his hand,
+rattling down proud Becket's glassie bones when others present would not
+venture so high." This glass, so destroyed, was in the north transept.
+
+There is but little mosaic medallion thirteenth century glass in
+England, and therefore what there is of it at Canterbury would for that
+reason alone have great value, but because the examples there found are
+among the best of that period now extant, its importance is thereby
+greatly enhanced. An ancient supplement to the "Canterbury Tales"
+relates, with amusing conversational detail, how the pilgrims, upon
+entering the church by the south-western door of the nave, at once fell
+to admiring the windows and studying out their legends. The ruthless
+hand of time, assisted by those of Dick Culmer and Co., have made it
+impossible for us to enjoy that same pleasure, but certain fragments of
+that glass gathered together into the western window give a hint of what
+the beauty of the complete series must have been. With this exception
+there is nothing to detain one long in the nave, so we will pass on to
+the eastern end of the church to inspect the remaining contemporary
+windows--they are the finest of their type in England, and will be
+found in the north choir aisle, the circular apse at the extreme
+easterly end (known as Becket's Crown) and Trinity Chapel. There has
+been preserved for us an old Latin list describing and locating all the
+windows in their original order, and from this we learn that the ancient
+panels now in the north choir aisle between the easterly transept and
+the chapel of the Martyrdom (north end of the westerly transepts) were
+formerly in the embrasures of the latter. Their workmanship is very
+fine, and they tell their parables with great distinctness. Proceeding
+eastward to Becket's Crown, we shall be afforded an edifying opportunity
+to observe how much more brilliant and generally delightful are the old
+mosaic medallions than even the best modern copies. The oldest window
+dates from the middle of the thirteenth century, and it takes but a
+glance to betray those of its companions which are modern. The
+improvements of centuries in glass manufacture fail utterly to yield
+us an equivalent for the brilliancy of the crudely constructed panels
+of that time. The most interesting and, for various reasons, the most
+valuable medallions are those filling the six windows of Trinity Chapel
+which retain their original glazing. In those on the north side of where
+the shrine used to stand, are medallions whose groups display miracles
+performed by the saint, or episodes illustrative of his healing power.
+At the top of the second from the east on this side is a medallion of
+very peculiar interest because it depicts Benedict's vision of the saint
+emerging from his shrine in full canonicals and moving toward the high
+altar to say mass. Examine it carefully, for here we have the only
+representation now existing of that world-renowned shrine, whose lavish
+decoration of gold and jewels so roused the cupidity of Henry VIII. as
+to cause its destruction. There is every reason to believe this to be a
+veracious reproduction, for being installed directly opposite and a few
+yards from the shrine of which it was the counterfeit presentment, any
+but a careful copy thereof would have been useless in telling the
+window's story. More of this splendid glass is found filling the lower
+embrasures along the north side between the two sets of transepts, and
+also above in the three upper half-circle windows, both on this and the
+opposite side of the church ambulatory; note the mellow richness of
+their reds and blues. The central embrasure of the most easterly or
+Trinity Chapel retains its early mosaic medallions, easily distinguished
+from the modern imitations on either side. High up in the north wall of
+the easterly transepts is a rose window which retains its thirteenth
+century glazing in the large central circle, but alas! white glass
+replaces all but the borders of the outer circles, thus drowning the old
+glass in a glare of light and utterly extinguishing the splendid glow
+which would otherwise delight our eyes. Although the handsome five-light
+Decorated window on the south side of St. Anselm's Chapel (lying off the
+south choir aisle) has lost its original glass, the records of the cost
+contain features of interest. The contract for its construction is dated
+1336, and the items of expense (which total �42 17_s._ 2_d._) indicate
+that the heavy iron saddle-bars, &c., required to support the great
+quantity of lead used in joining the glass, cost almost as much as the
+glazing; �4 4_s._ 0_d._ was paid for twenty hundredweight of iron, �6
+13_s._ 4_d._ "for glass and the labour of the glaziers."
+
+The chief window of the north-west transept, generally called the chapel
+of the Martyrdom, was presented by Edward IV., and when complete must
+have been a fine example of the Perpendicular school. Its seven tall
+lancets are broken into four tiers, and surmounted by handsome tracery
+lights. Here formerly appeared "The Seven Glorious Appearances of the
+Virgin," with � Becket in the centre, but "Blue Dick" Culmer destroyed
+them all while engaged in his pleasing task of "rattling down proud
+Becket's glassie bones." Notwithstanding the treatment to which this
+window was subjected, it still presents a very attractive appearance.
+The original fragments have been collected within coloured borders and
+throw into bold relief the richly toned kneeling figures of Edward IV.
+and his wife, which are placed facing each other. Behind the queen are
+stationed her five daughters, divided into one group of three and
+another of two, while behind the king are the two little princes, who
+were later murdered in the Tower of London. The backgrounds behind the
+figures are noteworthy because they are composed of repetitions of the
+badge of each individual; behind the king are the white roses and suns
+of York; behind the queen, green thistles; feathers behind the Prince of
+Wales, &c. Above them is a tier of white-robed angels with red wings,
+against backgrounds of blue or green, supporting heraldic shields. Just
+below this window and leading off to the east is the Dean's Chapel,
+lighted on the east by a very pleasant quarry window, upon each of whose
+panes appears in yellow stain the double knot which indicates the donor
+to have been Archbishop Bourchier, whom we shall encounter later on at
+Knole. A relieving note of colour is lent by the shield of arms at the
+bottom of each lancet. Three of the small windows that light the
+picturesque little baptistery contain effigies of ecclesiastical
+dignitaries and saints within richly toned borders, while in the small
+traceries above them are heraldic blazons.
+
+Splendid as this noble cathedral now is, how much more impressive must
+it have been when all its windows were filled with mosaic medallions
+through which a warmly tinted illumination tempered the minster gloom.
+It is difficult to repress the anachronistic wish that the knights who
+came here seeking to slay � Becket might instead have wreaked their lust
+for blood upon "Blue Dick" Culmer!
+
+       *       *       *       *       *
+
+Near Canterbury there are some Early English fragments at Chartham, four
+miles west on the road to Maidstone. They are in the tracery lights on
+the north side of the chancel. In one of these small openings there has
+been inserted a baptismal scene, but because it is upside down the water
+seems like a cross between a shower-bath and the sword of Damocles! The
+chief reason for stopping at this church is the very agreeable lighting
+of its chancel in the Decorated manner. In the two embrasures on the
+north side have been collected all that remains of the original pattern
+glass, but the other lights have been glazed as much like these two as
+possible. A mellow richness, not often seen, is the chief characteristic
+of this low-toned grisaille, overrun with graceful coloured designs. In
+its perfection that style was most attractive. In a south-easterly
+suburb of Ashford called Willesborough there are in the chancel a couple
+of very complete and pleasing Decorated windows. They both have quarry
+backgrounds with coloured borders, but the one to the north is much
+more attractive. Upon its surface are not only the coloured bosses seen
+in the one across the chancel, but also some handsome canopy-framed
+figures. The leaf design on the borders should be noted, and also the
+labels below the figures.
+
+
+LINCOLN
+
+A golden-brown cathedral crowning the summit of a solitary hill rising
+from a wide plain--so Lincoln lingers in one's memory!
+
+Few towns have their situation more clearly described by their names
+than this one, derived, as it is, from "llin" a mere, and "dun" a hill,
+a hill above a mere. The plain is now drained of the marshes which
+formerly overspread it, but the great isolated mount remains always the
+same, and upon the summit is stationed, like a splendid sentinel, the
+mighty bulk of the cathedral. Rarely, indeed, does a great church have
+so dominating and superb a site, nor is it often that so prominent a
+point is crowned by such a noble structure. Near it is the ancient
+castle, built first by the Romans and later strengthened by warriors of
+other races equally quick to appreciate the military strength of its
+commanding position. From the tower at one corner of its perfectly
+preserved ramparts is afforded a most inspiring view in every direction.
+Nor were the great walls of the cathedral less serviceable in affording
+a strong refuge in war. It needs but a glance at the sturdy west front
+to show why Stephen in 1141, during the war of the Barons, finding the
+Earls of Lincoln and Chester in possession of the castle, threw himself
+into the adjacent cathedral and thus secured as strong a fortress as
+they. Not only is the western fa�ade very beautiful, but it is also a
+manifestation, rare in England, of the practice usual in France of
+making this portion of the exterior the most important of all. Here at
+Lincoln it is as if a wide mask of stone had been built on to the end of
+the nave, lending as great an impression of width as one gets of height
+by a similar trick at Peterborough. These two are almost the only
+attempts in England to use this fa�ade for other than simply closing the
+end of the edifice. The result at Lincoln is most imposing, but it
+produces its best effect when seen from a little distance, because then
+one gets the great sweep of the lines, relieved by the galleries of
+statues and warmed by the yellowish brown of the stone. A nearer
+inspection discloses how the later work has been pieced on to the older,
+which tends to distract our attention from the front as a whole. Not
+satisfied with the great strength of the building itself, permission was
+early obtained from the Crown to surround the Close with walls and
+gates, of which the picturesque Exchequer gate survives. This enclosure
+goes by the name of the Minster Yard. When visiting the little hamlet
+of Dorchester we will remark upon how great was once its glory and how
+widely the sway of its Bishop then extended. This glory departed when
+Bishop Remigius (who built the central and oldest part of the Lincoln
+west front) decided about 1072 to remove his seat to the more lofty and
+far safer site upon Lincoln Hill. Before concluding the inspection of
+the cathedral's exterior, it is timely to remark that through all the
+centuries it has been famous in story and song for its chime of bells.
+During the period when that delightful industry, the making of ballads,
+prevailed throughout England, there were many whose scenes were laid at
+Lincoln, and in almost every one of these some reference is made to "The
+bells o' merrie Lincoln."
+
+Sad havoc has been played with the ancient glass, but here we cannot
+blame the Puritans alone. To be sure, they exercised their usual zeal in
+destroying the windows as far up as they could reach, but it must be
+admitted that they only completed the task earlier begun by the
+citizens, who were wont to amuse themselves by shooting with arrows and
+crossbow bolts at the roof and at the windows. This appears in the
+defence set up by the Dean when, during the time of Henry VIII., charges
+had been brought against him for permitting the cathedral to fall into
+such shocking disrepair. Notwithstanding the efforts of the crossbow
+vandals and their successors, the Puritans, there has been preserved for
+us a very considerable amount of old glass, and that, too, of the Early
+English type, a period of which there are so few remains in England.
+These remnants are so placed as to be seen to great advantage. They fill
+the east windows of the north and south aisles of the choir, and the
+large windows in the end of the great northerly transept. The old
+glazing of the eastern windows of the north and south choir aisles is
+complete and very interesting. It is not so beautiful as it would have
+been if the spaces between the brilliant medallions had also been filled
+with colour instead of the greenish grisaille which the practical
+Englishman used so as to admit more light than would have been possible
+through the entirely coloured panes of his more artistic, if less
+utilitarian, French contemporary. He succeeded in getting his
+illumination, but he lost the jewelled shimmer that meets one's eyes at
+Chartres and Reims. Moreover, there is also lacking the richness and
+solidity of tone which is so enjoyable in France. The French system was
+followed at Canterbury, and there is a marked difference in the effect
+of that glass from this at Lincoln. Unfortunately, the great east window
+between these two excellent aisle ones is filled with modern glass that
+suffers sadly by comparison with its ancient neighbours.
+
+Passing to the transepts we shall encounter the pleasant custom so rare
+in England (though common in France) of giving a familiar name to a
+great window. Here the splendid northern rose is called "The Dean's
+Eye," and its sister to the south "The Bishop's Eye," which names they
+have borne for more than six hundred years. Many are the reasons that
+have been advanced for these titles, but probably the practical one is
+correct, viz., the Dean's Eye faces the Deanery and the Bishop's Eye the
+Bishop's palace. Among the many fanciful and more poetic explanations
+there is one which, although it is less reasonable, we must be pardoned
+for finding more attractive, viz., as the north is the region of the
+Evil One, it is proper that the Dean's Eye should look into that
+direction in order to guard against any attempt on his part to invade
+the sanctuary. The Bishop's Eye is turned toward the sunny south, "The
+region of the Holy Spirit whose sweet influence alone can overcome the
+wiles of the wicked one." The older of the pair, the Dean's Eye, was
+probably glazed about 1220. It is best seen from the gallery or from the
+triforium which runs along just below it, and is a fine rose of the
+usual type. Below it there extends a row of five pointed lancets
+containing very light toned grisaille which almost entirely lacks the
+usual touches of colour. Below these are two larger lancets flanking the
+doorway; the one to the east has grisaille quarries as a border and
+within, geometric designs in colour. The westerly lancet shows a vine in
+whose branches are angels playing upon musical instruments, the whole
+surrounded by grisaille touched with colour. Across in the southern end
+of these transepts is one of the most delightful windows to be seen
+anywhere, the Bishop's Eye. Not only is this rose window a jewel of the
+glazier's art, but the mason as well has added a wondrous charm by the
+lightness of his stone traceries and the curious interpenetrated stone
+frame which he has placed about it. The architect, too, has joined in
+beautifying the _ensemble_ by stationing below it four large lancets of
+such harmonious proportions as admirably to balance and set off their
+more important neighbour just above them. In these lancets are found
+some Early English glass--broad borders of grisaille enframing the
+rich-toned medallions within. The Bishop's Eye was glazed about the
+middle of the fourteenth century and yields a warm greenish grey light.
+Instead of having its lines radiate from the centre in the customary
+manner, its gracefully curved mullions tend to flow up and down and
+suggest the fibres of five great leaves standing upright side by side.
+
+ [Illustration: ROSE WINDOW, LINCOLN CATHEDRAL
+     Tracery unusual in that it does not radiate from centre.
+     Quantity of greenish grisaille used emphasises leaf-like design.
+     Thirteenth Century medallions in the tall lancets below]
+
+
+YORK
+
+To one approaching York by road, especially if coming by way of
+Scarcroft Hill, the ancient appearance of the town seems to translate it
+out of the Middle Ages. The dust-grey line of walls along the grassy
+banks that slope down to the moat, sweep far around in unbroken majesty,
+strengthened here and there by bastions or by a sturdy gatehouse. To
+complete the old-world picture, above the walls peep red-tiled gables,
+or occasionally the towers and spires of numerous churches, all
+dominated by the great bulk of the cathedral.
+
+Insignificant historically ever since the days when the city of Eboren
+was the capital of Britain, York is chiefly known for the use of its
+name in two prolonged struggles (fought out, however, on other fields),
+the one between the House of York and Lancaster, called "The War of the
+Roses," and the other the great contest lasting from 601 on till the
+middle of the fourteenth century to decide whether the Archbishop of
+York or he of Canterbury should be the Primate of England. York's
+unimportance in English history may be due partly to its situation too
+far north to have been in the heart of the constant struggle for power,
+and partly to the fact that it was so repeatedly ravaged by Danes and
+other invaders, the worst blow of all being when William the Conqueror
+gave all that neighbourhood such a dreadful harrowing that the lands
+from York to Durham laid untilled for nine years, and did not fully
+recover for centuries. Almost the sole exception to this unimportant
+_r�le_ was the seven years during which Edward I. moved the law courts
+to York and made it his royal capital. Fortunately for the city, its
+connection with the bloody struggle of the rival Roses was almost
+entirely confined to lending its name to one of the Houses, for this
+great drama was chiefly enacted to the south of it. Although the other
+famous contest to which we alluded, and which dragged its weary length
+through nearly eight centuries, had to do only with ecclesiastical
+predominance, yet it exercised a potent influence upon the destinies of
+the generations it concerned. It is impossible to obtain a realising
+sense of men and events in the Middle Ages unless one takes into account
+the tremendous force, and that, too, a militant one, exercised by the
+great ecclesiastics. A striking example is provided by Archbishop Scrope
+of York, who aspired so high that he rebelled against his king and was
+only defeated after the strenuous campaign described in Shakespeare's
+"Henry IV." He was executed at York in 1405. We remarked another
+example at Canterbury in the bloody ending of � Becket's attempt to
+brave Henry II. Because he was Archbishop of Canterbury and opposed to
+the king, it is not surprising to find that the contemporary Archbishop
+of York, Roger Pont l'Ev�que, was a staunch adherent of Henry. It was
+this very Roger who, in 1176, precipitated one of the many disgraceful
+rows that besmirched this struggle for the Primacy. The Papal Legate was
+presiding at the Council of Westminster, and � Becket's successor,
+Richard of Canterbury, was seated on his right. Roger came in late, and,
+declining to accept any but the most honoured seat, sat down on
+Richard's lap, whereupon a brawl ensued, ending in Roger's discomfiture.
+Pitiable as was this scene, at least it was less disastrous to the
+people at large than many another episode of this tedious and
+acrimonious struggle, finally ended by the Bull of Pope Innocent VI.,
+designating the Archbishop of Canterbury as the Primate of all England.
+
+York is by all odds the most important of all English glass
+centres. Although one often finds occasion elsewhere to curse the
+glass-destroying Puritan, at York it must be admitted that the presence
+of so many ancient windows is due to the control exercised by Fairfax
+over his Parliamentary troops after a successful siege of the place. He
+well deserved the butt of sack and tun of French wine voted him by the
+Corporation in recognition of his efforts in restraining the misguided
+enthusiasm of the soldiery. Indeed, his action here almost atones for
+the devilish tricks at Canterbury of "Blue Dick" Culmer.
+
+Even the most casual observer, and one entirely unlearned in our
+beautiful art, cannot fail to notice how large an amount of wall-space
+is given over to ancient glass in York Minster. As a matter of fact it
+covers an area of more than 25,000 square feet, easily double that in
+any other English cathedral, and challenging comparison with any in
+the world. Nor are the examples confined to one epoch, for there are
+fragments of Norman mosaic medallions in the great transepts and the
+vestibule of the chapter-house, Early English in the "Five Sisters" and
+along the nave clerestory, Decorated in the nave and chapter-house, and
+Perpendicular in the choir. Not only are these examples plentiful, but
+they are of the first order. Entering by the door at the southern end of
+the great transepts, one is at once confronted by the five tall lancets
+opposite him in the north wall, filled with the most deliciously soft
+greyish green grisaille. Of their type there is nothing in the world to
+approach them for beauty. From where we stand the lead lines used in
+construction do not exist as lines, but melt away into a dainty film,
+like dew on the grass at morn. This set of lights is gracefully
+grouped, and is known by the pleasantly familiar title of the "Five
+Sisters." Many fanciful tales are told of when and where they were
+constructed and how they received this name. Dickens in his "Nicholas
+Nickleby" relates an engaging legend to explain how the design and the
+name were provided for them. That this legend has no basis in fact
+should not make us forget that his narrative has doubtless caused many
+of his readers to visit these windows--a most excellent justification.
+Dickens tells of five maiden ladies having worked upon a large piece of
+embroidery and how, years later, when four of them met together in York
+(the youngest, Alice, having been buried in the minster's nave), "They
+sent abroad, to artists of great celebrity in those times (Henry IV.),
+and having obtained the church's sanction to their work of piety, caused
+to be executed in five large compartments of richly stained glass, a
+faithful copy of their old embroidery work. These were fitted into a
+large window until that time bare of ornament; and when the sun shone
+brightly, as she had so well loved to see it, the familiar patterns were
+reflected in their original colours, and throwing a stream of brilliant
+light upon the pavement, fell warmly on the name of Alice." Those of our
+company who are by nature critical may point out that the windows date
+from the thirteenth century, not from the reign of Henry IV., and also
+that they contain grisaille, not colour, and further, that being at the
+end of the north transept, they could not very well throw a stream
+of light into the nave! The writer urges leniency of criticism, but
+nevertheless, one is forced to the melancholy conclusion that the great
+Dickens could never have delighted his eyes by this splendid glass, else
+he could not have made the windows coloured, or placed them in the
+nave! As for the four surviving sisters, they are certainly open to the
+severest censure in that they sent abroad for stained glass during the
+reign of Henry IV., because there was then the highest development of
+the art in England, and its product could not be approached by that of
+any foreign contemporaries. Close inspection discloses the design of the
+leads to be that of a graceful adjustment of the foliage of the benet
+plant. At the bottom of the central light is observable a panel of
+highly coloured mosaic glass. The glazing of the five small lancets
+above is modern. We must turn to the nave to see the rest of the Early
+English glass, of which, however, only fragments remain. They are to be
+found along the clerestory, in all of its tracery lights on the south
+side except the third from the west, and also some in its lower panes;
+on the north side they are in the traceries of the second from the west,
+the next five east of it, and also in the lower panels of the fifth and
+seventh.
+
+ [Illustration: _F. Valentine, photo._
+ "FIVE SISTERS," YORK MINSTER
+     Softly-toned grisaille with delicate patterns in faint colour.
+     Of its type unsurpassed in the world. Note difference between
+     mellow strength of this glass and thinness of modern glazing in
+     upper tier of lancets]
+
+The church of St. Dennis, Walmgate, has attractive panels of early
+English glass dating from the latter half of the thirteenth century
+inserted in two Decorated windows on the north side of the church.
+
+An account of the Decorated glass at York will be found at p. 76, and of
+that of the Perpendicular at p. 185.
+
+
+
+
+DECORATED
+
+
+Before crossing the threshold into the two next periods (the Decorated
+and Perpendicular), it is worth pausing to notice that although
+architecture generally tends to elaborate as time goes on, the opposite
+was true in England during the two centuries of which we are about to
+speak. In fact, the work of the earlier of these two epochs obviously
+deserves the title of "Decorated" and the later does not. Its glass,
+too, is much more florid than its successor, and is far more ambitiously
+ornamental. It bears many bits of leafy foliage, twining vine tendrils,
+&c., all drawn as true to life as possible. Later these bits of flora
+are rarely used, and then only in a conventional and, therefore, less
+decorative form. In our introduction we have stated that in England, the
+arrival of the fourteenth century does not show the abrupt difference
+found in France between the light-obscuring mosaic glass of the
+thirteenth century and the fainter tints of the fourteenth, permitting
+the brighter interior then demanded. The explanation seems to be
+that the English, having been early forced by cloudy skies to use
+light-admitting grisaille (either alone, or combined with their early
+medallions) already enjoyed the proper illumination which, at the
+beginning of the fourteenth century, was so lacking in France as to
+bring about a cry for light at any cost. In place of the early
+fourteenth century glare that strikes one at S�es, Evreux, and in St.
+Ouen at Rouen, we have rich strong colour in their contemporaries at
+Tewkesbury, Wells and Bristol. Occasionally grisaille will be found
+pleasantly combined with small coloured scenes, as at Dorchester and in
+Merton Chapel, Oxford, but even then it seems much like a local survival
+of the thirteenth century tradition. So much for the difference between
+the English Decorated and the French fourteenth century windows. Now let
+us briefly consider what it was that succeeded to the mosaic medallion
+style seen at Canterbury, Lincoln, &c., and also what causes must have
+been at work to produce the change. About the end of the thirteenth
+century there chanced to be discovered a method of producing yellow
+which obviated the necessity of cutting out a piece of glass of that
+tint and laboriously leading it into the picture where needed, as was
+still obligatory if they wanted blue or red, &c. Some lucky glazier
+stumbled on the fact that if chloride of silver be put on a sheet of
+glass it would, when exposed to the fire, produce a handsome golden
+stain, and that only at the points to which it was applied. Many
+stories are related to explain this discovery, but as they are all more
+pleasing than convincing, it seems best to credit Dame Fortune with this
+valuable assistant to the glazier. It is obvious that this facility in
+staining a touch of yellow just at the point desired by the artist was
+eagerly seized upon. He at once made use of it to decorate the robes of
+great personages, or to brighten the hair of women and angels, as well
+as to liven any bits of stonework necessary to his drawing. It made
+possible the development of an unimportant detail in the earlier windows
+into the perfected result called the "Canopy window," which we shall
+learn to know as a most useful and satisfactory combination of
+decoration and serviceability. It will be remembered that from the
+earliest times there frequently appeared above the heads of saints
+certain conventional coverings meant to indicate an architectural
+shelter. Upon the arrival of the Decorated period this detail became
+more complete, the roof being fully depicted (although as yet in flat
+drawing, with no attempt at perspective) and columns added at the side
+to support it, thus completely enclosing the little figures in a niche.
+Here we have the first, or Decorated canopy, now complete in form
+although crude. It must be noticed, however, that these canopies,
+generally drawn to a small scale, do not attempt alone to fill the
+embrasures, and either are shown in bands across a ground of grisaille
+or occur alone surrounded by grisaille. Their architectural portion is
+of a strong brassy yellow, that colour being provided by pot metal glass
+leaded in. Now comes the next and final development. The discovery of
+yellow stain did away with the laborious need for leading in the yellow
+bits to simulate stonework, so the limit as to size of the canopy was
+removed, and at once they began to increase in dimensions. The obvious
+result ensued, each canopy was made to fill an entire lancet, its
+simulated stonework occupying as much surface as the enclosed figure,
+and we have the logical whole of a decorative colour panel within
+surrounded by a frame of lighter panes which admit the necessary amount
+of illumination. So satisfactory did this style of window prove that it
+persisted longer than almost any other type of glazing, and we must
+remember it is the discovery of yellow stain that we have to thank for
+making this result possible.
+
+During the period we are now considering, the canopy was, of course,
+rather crude, in fact it looked more like a sentry-box than anything
+else. There was as yet no pedestal beneath it, and the pinnacles at the
+top showed entire ignorance of perspective, as well as of drawing in
+relief. During the Perpendicular period that followed, they did little
+but elaborate this canopy idea, combining and softening the colours so
+as to prevent jarring contrasts, and generally much improving the
+logical combination of a coloured central portion surrounded by
+light-admitting canopy framing. Without the use of yellow stain all this
+would have been difficult, if not impossible, for without the little
+touches of gold livening the grey stonework these canopies would have
+been dull and unconvincing.
+
+Nor was this the only novelty in the method of imparting colour to
+glass. They now began to enrich their palettes by coating one colour
+with another, thus getting a tint not before obtainable. For example,
+red on blue gave a rich purple, blue on yellow a fine green, &c. This
+was effected in a very simple manner. Suppose the glass-blower wanted a
+purple--he dipped his pipe into liquid blue glass, and started to blow
+his bubble. When it began to take shape he dipped the small bubble into
+liquid red glass and then finished his blowing. This last dipping of
+course coated the outside of the blue bubble with red, and when it was
+completely blown, cut and opened out, it produced a sheet which was red
+on one side and blue on the other. Held up to the light, the red and
+blue combined to produce purple. Nor did the glass-blower confine
+himself to combinations of two colours, for the writer knows of an
+instance in France showing six superimposed coats. The French call this
+"verre doubl�" (or lined glass), a very descriptive name. In passing we
+may say that although this manner of colouring glass first reached
+prominence during the Decorated period, it was but an elaboration of the
+way the ruby or red glass had always been made, _i.e._, coated on to the
+colourless glass.
+
+We have said that the earlier canopies did not have pedestals below
+them. This lack was soon noted, and the need was felt for something to
+complete them below; the first expedient hit upon for this purpose was
+shields gay with heraldic tinctures. Not only were these decorative, but
+we shall learn at Tewkesbury and Gloucester how valuable they have
+proved to be in enabling those learned in heraldry definitely to date
+windows whose histories have long since been forgotten.
+
+It must not be overlooked that the architect had much to do with the
+development from the mosaic to the canopy style. He decided to change
+from the wide single windows that one sees at Salisbury, and to
+substitute for them groups of narrower lights separated only by slender
+stone mullions and all bound together at the top and tapered off by a
+pyramid of smaller openings called tracery lights. These latter will be
+particularly enjoyed by the glass-lover while studying this period, for
+the Decorated glazier was singularly happy in his treatment of these
+smaller panes--much more so, in fact, than his successor of the
+Perpendicular era, who was obliged to conform to the stiff little
+pill-boxes provided for him by the architect. The use of vines and
+leaves was of great assistance in this problem of treating small
+irregular openings; nor were these the only motives--at Wells there is a
+very happy use of busts filling small trefoils.
+
+Besides the canopy treatment, the English glazier of the Decorated
+period was very fond of the Tree of Jesse theme, and, as is usually the
+case with congenial tasks, obtained most satisfactory results. He used
+it to great effect in his broad windows made up of several narrow
+lights, separated by slender mullions. The very shape of these windows
+invited this design, because a separate branch of the vine bearing its
+little personages could be run up each lancet without disturbing the
+coherence of the picture. The men of that time used the Tree of Jesse
+nearly as much as did their fellow craftsmen across the Channel during
+the sixteenth century. In France the descendants of Jesse almost always
+appear as blossoms on the vine, but their earlier English prototypes
+usually stand in small cartouches formed by convolutions of the vine.
+This brings us to yet another reason why the Decorated glazier liked the
+Tree of Jesse. We have already stated that he was much given to
+introducing leaves, tendrils, &c., done in the natural manner, which, of
+course, made him entirely at home in delineating the great vine rising
+from the loins of the Patriarch. What success he achieved with this
+style of window we shall judge for ourselves at Ludlow, Bristol, and
+Wells.
+
+A convenient touchstone for deciding whether a window belongs to this or
+the next period is provided by an examination of the manner in which the
+artist executed his shading. It was smeared upon Decorated glass, and a
+close inspection will reveal the streaky lines. During the Perpendicular
+epoch the shading was stippled on with the end of a brush.
+
+To recapitulate, the distinctive features of the Decorated epoch may be
+enumerated as follows:
+
+     1. Windows of several lancets, with tracery lights above them.
+     2. Decorative treatment of tracery lights.
+     3. Yellow stain.
+     4. Coated glass (several layers of different colours).
+     5. Deep rich colouring.
+     6. Canopies.
+     7. Use of leaves, vines, &c., copied closely from nature.
+     8. Tree of Jesse windows.
+     9. Shading which was smeared on.
+
+
+DECORATED TOUR
+
+Our Decorated tour will lead us far afield through the western part of
+the beautiful English country. At the end of the Early English tour we
+found ourselves in the interesting walled city of York. There we shall
+also begin our study of the succeeding, or Decorated, period. We shall
+next strike across to Norbury, in Derbyshire, then on to steep-streeted
+Shrewsbury, and thence down through Ludlow with its church and ancient
+castle, and stately Hereford beside the Wye to Tewkesbury, and its
+ancient neighbour Deerhurst. Gloucester will be passed _en route_, and
+then west to smoky Bristol, where the Severn meets the Bristol Channel.
+From Bristol it is only a short trip south to Wells, then down to
+Exeter, followed by a long one northeasterly to Saxon Dorchester, a few
+miles from Oxford. This tour will end in that famous university town,
+where, in like manner to the ending of the last tour in York, we shall
+find ourselves able to begin the inspection of the next, or
+Perpendicular, glass, without leaving the city.
+
+
+YORK
+
+An account of the Early English glass at York will be found on p. 57.
+
+The Decorated glass in the cathedral is almost entirely confined to the
+nave and the chapter-house (with the vestibule leading thereto).
+Notwithstanding their early date, the nave windows are large and afford
+more illumination than one would expect at that time. So much wall-space
+is used for light apertures that of the entire height of ninety-nine
+feet only thirteen feet of stone intervene between the bottom of the
+clerestory windows and the top of the main arches. All this portion of
+the edifice is dominated by the great west window, given by Archbishop
+Melton in 1338, a splendid sheet (fifty-six feet by twenty-five feet) of
+highly coloured glass, supported by curvilinear stonework. Its eight
+lights retain their original glazing almost intact (as does also the
+head of the door below). It is skilfully fitted to the elaborate pattern
+of the supporting stone frame. First there is a row of archbishops, then
+one of saints, and highest of all a line of smaller personages. The
+
+[Illustration: MAP OF DECORATED TOUR]
+
+windows in the west wall at the end of each aisle are of the same
+period, and also display excellent workmanship, especially the
+Crucifixion in the northern one. It should be remarked that all the
+aisle embrasures but two, and all those of the clerestory but two,
+retain their original glazing, and if to this we add the windows in the
+west wall just described, it is clear that Winston was right in stating
+that this nave contains the most perfect and extensive remains in
+England of the early part of the fourteenth century. His studious
+heraldic analysis of the first window from the east in the north aisle
+yields him the conclusion that it was made in 1306 or 1307. He remarks
+that the yellow stain there used to tint the hair of one of the
+personages is the earliest instance he ever found of the use of that new
+colour. Next this on the west is a very charming window given by Richard
+Tunnoc, Lord Mayor of York, who died in 1330: above his effigy appears a
+small reproduction of this gift window. This is perhaps the finest of
+its type in England. It was in honour of the Bell-Founders' Guild, and
+is appropriately ornamented by numerous bells in the borders as well as
+other parts of the design. For the rest of the Decorated glass we must
+go to the chapter-house and the vestibule which leads thereto. It would
+be difficult to find a spot in which one becomes so thoroughly imbued
+with the feeling of Decorated glazing as in this vestibule. Here we
+have no distracting features from other periods. The tall, slender
+lancets that light this L-shaped hallway are completely filled with
+grisaille overrun with archaic figures and crude canopies, here
+displayed to the greatest advantage. Passing through to the handsome
+octagonal chapter-house, we are at first disappointed to notice that the
+window facing us contains modern glass. Although this first glance is
+unfortunate, one is soon consoled by observing that all the other six
+have excellent Decorated glazing of the time of Edward II. and III.,
+showing four bands of late medallions in colour drawn across a grisaille
+background livened with occasional touches of red and blue. The
+grisaille here leans to grey rather than to the usual greenish hue, and
+moreover, the quarries are cut into irregular shapes, thus relieving the
+monotony of the commoner diamond-shaped panes.
+
+ [Illustration: _F. Valentine, photo._
+ CHAPTER-HOUSE, YORK MINSTER
+     Note the grouping together, in each embrasure, of five narrow
+     lights below gracefully elaborated tracery openings. Later on,
+     in the Perpendicular period, these traceries lose their
+     individuality, become stiffly regular, and part of the window
+     below]
+
+Even if the vast Minster were not one of the world's greatest
+treasure-houses of glass, the many smaller churches of York would
+provide ample grounds for its being included in this book of tours. So
+numerous are these churches that, in several instances, there are found
+to be more than one dedicated to the same saint, and therefore the
+pilgrim will do well to note carefully the name of street or gate placed
+after that of the saint's to indicate which one is intended. The most
+interesting of these modest shrines is All Saints' (or, as it is
+sometimes called, All Hallows'), in North Street. It alone is well worth
+a visit to York. Not only is its Decorated glass in excellent repair and
+in satisfactory quantity, but it evidences such careful attention to the
+little touches which make a window successful that one concludes the
+best artists must have been employed in its manufacture. For example,
+the canopies in the eastern embrasure of the north aisle have pedestals
+beneath them, a most unusual feature at that early date. Furthermore,
+the scenes from the life of the Virgin are depicted in a very careful
+manner, not only appearing in the three lancets below, but in the three
+major lights of the traceries above, although not there surrounded by
+canopies as below. Older than this window, but also typically Decorated,
+is that at the east end of the south aisle. The brassy tint is more
+noticeable in the canopies which run in two bands across its three
+lancets, and the canopies themselves are cruder in drawing than those
+just described, but are excellently illustrative of their period. These
+two windows are assisted in their service of beauty by the fact that the
+embrasures about them are not burdened with modern mistakes, but were
+glazed during the Perpendicular period. Reference will be made to this
+later glass further on (_see_ p. 188); although much more famous than
+its earlier neighbours, it is not a whit more satisfactory. These two
+sets contrive to set each other off in admirable fashion, and together
+they effect a delightful illumination for this interesting church.
+
+St. Dennis (Walmgate) has already been mentioned for its two Early
+English panels (p. 63), but its chief interest lies in the really fine
+Decorated remains. On entering you will not long be detained by the
+fragments of Perpendicular canopies that are gathered into parts of the
+central eastern window and two other embrasures, but will pass on to the
+north aisle. The three most easterly windows in the north wall taken
+with the eastern one of that aisle provide an excellent exposition of
+the glazier's art during the epoch we are now considering. The eastern
+one has a fairly well preserved Tree of Jesse, filling all of its five
+lancets, except just along the lower sill. Note the green vine and the
+use of many green leaves. Turning to the three lights in the north
+wall we find the usual brassy canopies against a quarry background,
+surrounded by a coloured border. The traceries, too, show the most
+approved treatment of leaves, green vines, &c., as well as some small
+heads. The diminutive kneeling donors on the quarry-panes below are very
+interesting; note the pendent sleeves, and especially the tiny gift
+window held up by one of these little people. It is upon the central
+lancet of one of these windows that we find the two Early English
+panels.
+
+St. Martin-cum-Gregory boasts of ten windows of Decorated work, mostly
+small brassy canopies enclosing coloured figures, all placed upon a
+background of quarries. The best is that at the east end of the south
+aisle; across its three lancets is carried a row of canopies larger than
+then generally drawn--in fact, the space usually occupied by quarries at
+the upper parts of the lights is here pre-empted by the lofty pinnacles
+of the canopies; the quarries appear below, as usual, and upon them in
+the two outer lancets are the small kneeling donors. Under the centre
+canopy is St. Martin dividing his cloak with a beggar, and above in the
+flowing tracery lights are kneeling angels. This window is rendered
+especially brilliant by the generous use of red in the backgrounds.
+There is also some unimportant Perpendicular glass in this church (_see_
+p. 185).
+
+
+NORBURY
+
+Tucked away within the Peak of Derbyshire there is a "Happy Valley"
+wherein, embowered in green woods and pleasant pastures, lie Chatsworth
+and Haddon Hall, well known to and well beloved of all industrious
+tourists. Sweeping around this valley as a protecting wall are rolling
+hills, whose bare summits have their sombre treeless austerity clothed
+by a mantle of purple heather. Not very far to the south of this
+protecting girdle lies a little group of houses called Norbury, nestled
+alongside a leaping stream that comes down from above. In the midst of
+this hamlet stands a small church which knows not the industrious
+tourist aforesaid, but to which we counsel the enlightened and eclectic
+pilgrims of our company to repair. The chancel here is a delicious
+morsel preserved for us out of the fourteenth century, complete,
+enchanting. In its midst are stationed two splendid marble tombs, one
+double, and both of the most exquisite workmanship. Upon them are
+stretched the life-size effigies of the deceased, while along the sides
+are sculptured in high relief angels supporting shields. Around the
+walls runs mellow wood panelling, set off by carved oak stalls of great
+beauty. To complete the picture the many windows which light the chancel
+contain some of the finest Decorated pattern glass in England. Nor does
+the quantity of it yield in any respect to the high quality. There are
+four three-lanceted windows on each side, while a larger one of five
+lights completely fills the eastern end. In those few parts of the
+surface which have lost their original glazing, no attempt at modern
+restoration has been made, but the space has been quite simply filled
+with white glass. Across the pattern of the east window have been drawn
+two bands of very light-hued figures (lacking the usual canopies) and
+harmonising agreeably with the decorous tints of the background. Labels
+appear above the heads. The figures in the upper row are slightly larger
+than those below. Turning to the side windows, nothing of their type
+could be more attractive than the graceful grisaille patterns pricked
+out with points of colour and surrounded by broad borders which, in
+diminished scale, are carried up, into and around the tracery lights.
+Very satisfactory use of blue is made, and that, too, in an unusually
+free manner. The heraldic blazons placed upon the panes add materially
+to the charm of the glazing, and in very decorative fashion preserve the
+names of the donors. Although a special emphasis has been deservedly
+laid upon this altogether lovely chancel, the pilgrim must not leave the
+church without a peep into the diminutive chapel that opens off to the
+south. Here we shall see a cross-legged Crusader lying in effigy upon
+his place of last repose. The light that falls upon him streams through
+two small windows, one on the east and the other on the south, both
+having three lancets. These lancets each contain a saint framed in a
+Perpendicular canopy, while below, in the center, an armorial shield
+separates two kneeling groups of donors. The southerly window shows the
+father with two sons on one side, and the mother similarly attended by
+her daughters on the other; while on the easterly lancets the father is
+accompanied by no less than eight sons and the mother by five
+daughters--a goodly company, and one which would have alarmed the
+philosopher Malthus. Note the steeple head-dresses of the women, pendent
+behind. "Tell it not in Gath" that this charming sanctuary lies hidden
+away in Derbyshire, come away privately with us and enjoy its beauties
+undisturbed--"Odi profanum vulgus et arceo."
+
+
+SHREWSBURY
+
+     _"High the vanes of Shrewsbury gleam
+     Islanded in Severn stream;
+     The bridges from the steepled crest
+     Cross the water east and west._
+
+     _The flag of morn in conqueror's state
+     Enters at the English gate;
+     The vanquished eve, as night prevails,
+     Bleeds upon the road to Wales."_
+
+So sang the "Shropshire Lad" (A. E. Housman) concerning that fair city
+of the Welsh Marches, high-perched Shrewsbury. Most picturesque is the
+fashion in which the river Severn knots itself about the foot of the
+high peninsula upon which the town has been built, and to which access
+is given by the two ancient bridges, named English and Welsh from the
+direction in which they lead. The Kirkland Bridge is an addition of
+modern times. Thoroughly medi�val is the impression one receives as he
+approaches and enters Shrewsbury. In the first place, the passage of a
+bridge always affords an excellent adjustment of the traveller's mental
+attitude; it lends a certain aloofness to the town on the other side.
+It seems to say, "We are letting you across the natural barrier
+established for us by this river; but remember, it is a privilege, and
+not a right!" Directly we are arrived on the other side, there commences
+the ascent of the steep streets, and on the way up there is unfolded
+before us a series of old white and black half-timbered houses, which
+will serve to complete the mental picture of those distant days when
+protecting rivers and steep streets were not eschewed on the grounds of
+inconveniencing the city's prospective growth. Safety was then vastly
+more important than commercial convenience. That features hampering to
+modern commerce were exactly suited to a border stronghold was proved by
+the way this town withstood shock after shock of warring tribes, or
+nations, or factions. In his play of _Henry IV._, Shakespeare tells how
+the Prince of Wales here made his sudden transformation from dissolute
+youth to resolute manhood by defeating and slaying Harry Hotspur, thus
+in one day quelling the mutinous combination of the Scotch, the Welsh
+under Owen Glendower, and the rebellious English Archbishop Scrope of
+York. Quaint and ancient to the last degree is the flavour of this old
+city, which has owned, first and last, thirty-one charters. Those
+interested in half-timbered dwellings will do well to come here and
+inspect their number, variety, and excellent state of preservation.
+Perhaps the best are around Wye Cop, passed on the way up the steep
+streets. The remains of the ancient castle and walls add still other
+picturesque features to this artistically noteworthy town. An inspection
+of St. Mary's Church brings home to us the fact that as this was a
+fortress city, ground could not be spared to provide the usual Close
+which so pleasantly surrounds most English churches; in fact, this
+modest sanctuary is so set upon by other buildings that it seems almost
+to shrink from public gaze. An outpost occupying a strategic position on
+an embattled frontier required every foot of ground within its walls,
+and could devote no space to artistic surroundings, even for a church.
+St. Mary's is very rich in glass, and that, too, of varied epochs and
+styles. Fortunately alike for that church and for us, the Rev. W. G.
+Rowlands (Vicar from 1825 to 1850), was a discriminating collector of
+stained glass. He secured not only the great St. Bernard window (of
+which we will speak later), but also much of the other glass that
+decorates the interior. We will begin our examination by inspecting the
+large east window, which displays a fourteenth century Tree of Jesse in
+the usual Decorated manner, of which we shall see prototypes at Ludlow,
+Bristol, and Wells. Jesse is reclining across the bottom of three of the
+lancets, the convolutions of the vine arising from him forming series
+of oval enclosures in which appear his descendants. Note the skilful use
+of the leads in providing the black outlines needed to draw the figure
+of Jesse. In the row of panels below appear small figures of the donors.
+The fine reds and blues are hurt by the use of too much green--a common
+fault at that time. We must look to the nave windows (all of three
+lancets) for the other glazing of that period. The middle embrasure on
+the northerly side is beautified by the tasteful use of written scrolls,
+which wind about the figures and the columns of simulated architecture.
+Scrolls are also used in the next one to the east, but there they are
+not so important a part of the decoration. On the southerly side of the
+nave the embrasures nearest to the west and to the east have single
+figures in canopy. That to the east displays shields below the figures,
+a decoration which is absent in the western one. The central window on
+this side dates from the sixteenth century, and is the best of that
+period here. It contains three subjects in each side lancet, and two in
+the central one. Such intelligent use has been made of the leads that
+one concludes that the men who made the designs, and they who
+constructed the window, were either identical or else worked side by
+side. The result forms a pleasing contrast to the usual disregard during
+the Renaissance for the decorative and useful purposes of the leads.
+The most interesting and pleasing of all the windows is the large one of
+three lancets on the north side of the choir showing fourteen scenes
+from the life of St. Bernard, six in the central lancet, and four in
+each of the side ones. Four more episodes from the same life are to be
+seen in the middle one of the south aisle. This glass, originally in the
+German Abbey of Altenberg, and then for many years in the vaults of St.
+Severin at Cologne, was finally brought to London, where it was secured
+for St. Mary's by the Rev. Mr. Rowlands. The designs are attributed to
+Albrecht D�rer, but this is a common claim for German glass of that
+time. The perspective throughout is good, and the colouring very
+satisfactory. An unusual charm is added to the little figures by the use
+of Latin labels issuing from their mouths. There are also inscriptions
+below most of them, but these are frequently mutilated and misplaced. If
+proof were needed that this glass was not specially constructed for its
+present location, it is provided by the fact that the scenes do not
+follow in their proper order. A field-glass can be had on application to
+the clerk, and the use of it reveals many interesting and amusing
+details. The second window on the east in the chapel, south of the
+choir, has in its tracery-lights written music carried by angels. The
+pilgrim will later observe a great deal of this in the Beauchamp
+Chapel at Warwick. Although rare in England, it is rarer still in
+France. A fine sixteenth-century Crucifixion scene, covering three
+lancets, decorates the north window just off the north transept.
+In the modest-sized east window of this transept are twelve small
+sixteenth-century enamel panels placed on white, a demonstration of yet
+another style of that later period. The rest of the glazing in St.
+Mary's is either modern or so completely repaired with new glass as to
+have lost all its ancient feeling. An inspection of this church would
+not be complete without observing the fine wooden ceilings of both the
+nave and the choir.
+
+Devotees of the Ingoldsby Legends will remember that when the Great Dog
+in the castle of "Bloudie Jacke of Shrewsberrie" was about to seize upon
+Mary Anne, she vicariously appeased him with:
+
+     "A Shrewsbury cake, of Pallin's own make,
+     Which she happened to take
+     Ere her run she begun,
+     She'd been used to a luncheon at One."
+
+Mindful of this dainty's historic existence, the traveller will
+doubtless regale himself therewith, that product of the town being as
+excellent and famous to-day as ever it was of yore.
+
+From Shrewsbury our route lies southward over that centuries-old
+battle-ground, the Welsh Marches. We shall find not only much
+architectural beauty and fine glass, but also many inspiring memories of
+the border warfare whose bitterness lasted so many centuries.
+
+
+LUDLOW
+
+Perched high in a strong position at a bend in the River Teme rises the
+noble ruin of what was once the castle of Ludlow, visible from quite a
+distance, no matter from which direction one approaches it along the
+winding Shropshire lanes. It still retains enough of its ancient walls
+and towers to demonstrate what valiant service it must have rendered in
+keeping the turbulent Welsh back on their own side of the Border. Nor is
+the note of war the only one that echoes from the early history of this
+castle, for in its great hall was enacted for the first time Milton's
+"Comus." After a brief visit to the castle let us wend our way to St.
+Lawrence's Church in the town, for which an effective and judicious
+restoration has revived much of its original charm. A diverting legend
+relates that the arrow at the top of the north transept gable was shot
+hither by Robin Hood from the Old Field two miles away. Although many of
+the parishioners devoutly believe this to be true, it strikes the modern
+traveller that the great outlaw must on that occasion have drawn a very
+"long bow"! The ancient appearance of the fine hexagonal porch with the
+room above it makes a most inviting entrance. We shall find our glass
+in unusual parts of the church, nor is this the only unique feature
+of the edifice. The Lady chapel is not at the east, but at the south
+side of the chancel; in it is an interesting Tree of Jesse in the
+approved Decorated method, very like the one we have just seen at
+Shrewsbury. Unfortunately, the restorer has here been too thorough, but,
+nevertheless, the pattern has been preserved, and also many of the
+figures, for example, those just above the head and feet of Jesse.
+He lies recumbent along the bottom of three of the five lancets
+which compose the window, while above, in compartments formed by the
+convolutions of the vine, are his descendants. In accordance with the
+common practice, too much green was used. Although the chancel does not
+as usual afford the greatest attraction in the way of glazing, we must
+observe an interesting fifteenth century window in the middle of the
+southerly wall. Its five lancets each contain three tiers of figures in
+canopy, the details of which are much elaborated, especially in the
+pedestals. Notice also the jewelled borders to the robes. The red and
+blue glass is free from obscuring paint. Although our principal object
+was the Decorated glass, this church would repay a visit because of the
+Perpendicular glazing of the chapel of St. John which lies north of the
+chancel, from which it is shut off by a beautiful fifteenth century
+screen. The two most easterly windows in the north wall are much lower
+in tone than either the very golden Annunciation which adjoins them on
+the west, or the red, white and blue legend of Edward the Confessor and
+the Palmers, which is round the corner in the east wall. This latter
+dates from about 1430 and has two tiers of canopies across its four
+lancets. There is here illustrated an absurd contradiction into which
+this originally graceful style was developed;--within one of its
+elaborately pinnacled shrines we find a ship! and under another a rural
+scene with trees! most out-of-place substitutes for the customary and
+appropriate saint. Let us return to the two low-toned windows in the
+north wall, of which we have just spoken. The writer does not remember
+ever having seen any similar to them. Each embrasure has three lancets
+subdivided horizontally at the middle, making six spaces. The two
+windows thus afford twelve panels, which are used to display the Twelve
+Apostles. Local tradition says that there is here represented the
+Council at which the Apostolic Creed was composed. Each holy man sits on
+a bench behind a rail, but as they are drawn to a modest scale and
+occupy each the centre of his panel, they are thereby so far removed
+one from the other as to destroy utterly any appearance of a Council.
+There is a great deal of soft-hued architecture throughout, but it is
+used as background and not as a frame, thus differing radically from
+typical canopies. A more satisfactory result would have been attained if
+they had adhered closely to contemporary tradition, for here the
+figures, low-hued as they are, start out too abruptly from the
+over-spacious architectural background. The general effect is not that
+of a series of gracefully framed Apostolic portraits, but of lonely
+figures seated in empty halls. If for no other reason than that they
+have provoked this criticism, these windows should be carefully
+remarked, because they demonstrate how sound was the theory of employing
+the architectural canopy as a light-admitting frame for the coloured
+central figure. The east window of the south transept contains fragments
+of fourteenth and fifteenth century glass from other parts of the
+church. The wooden ceilings are well worthy of inspection.
+
+
+HEREFORD
+
+A very charming feature of English country life is the pleasure one can
+derive from boating on the small rivers. Our American watercourses are
+generally too wide or too turbulent to become such a domestic pet as we
+all know the river Thames to be. To one who has not seen Boulter's Lock
+on a bright Sunday, or who has never witnessed a Henley Regatta, that
+most brilliant of all athletic spectacles, it would be difficult to
+explain how thoroughly the Englishman enjoys and how constantly he uses
+the opportunity which Father Thames affords for a short outing. Nor is
+the Thames the only stream thus available. Small watercourses of the
+same sort are to be found all over the country, and afford delightful
+trips for those who are willing to travel in so leisurely a fashion. The
+writer remembers with the keenest pleasure certain canoe trips, one of
+three days from Bedford to Ely on the Ouse, another on the Stour, from
+Sudbury to Manningtree, lasting two days, and a third of similar
+duration from Petworth down the Rother into the Arun at Pullborough and
+thence to Arundel. All the preparation necessary is to buy your canoe a
+third-class ticket, put it into the luggage van at the railway station,
+and set out for the point at which you wish to begin. Jerome K. Jerome
+has immortalised a similar trip taken down the Thames from Oxford to
+London. One of the most charming of all English river journeys is that
+down the Wye. If one wishes to take a long trip, the start can be made
+at Hay, thirty-four miles above Hereford, or perhaps better at Whitney,
+twenty-eight miles above. The next stretch is from Hereford to Ross,
+twenty-seven miles, and, if desired, this can be lengthened by
+continuing on down to Monmouth, Tintern and Chepstow. The charming bits
+of scenery that unfold themselves as this little river lazily winds down
+the Welsh Marches are most varied and delightful. It must, however, be
+admitted that it is only the middle section of this agreeable trip that
+properly concerns one engaged in glass-hunting. We should, therefore,
+content ourselves with the stretch from Hereford to Ross, twenty-seven
+miles, if, indeed, we have the time to devote to this slow method of
+travelling. Over by the river end of the peaceful town of Hereford is
+the lovely green Close which lies about the sturdy reddish brown
+cathedral. Few churches, even those of great size, give such a square
+and solid impression as results here from the combination of the ruddy
+tones of the building material and the early type of its architecture.
+The defacing effects of an earlier restoration are being rectified by
+the erection of a new west front, now almost completed. The massive
+Norman columns that support the nave within, carry out in their grand
+simplicity the sturdy promise of the exterior. Every division of the
+church seems spacious, the ample transepts, wide choir aisles, and large
+Lady chapel, completing the effect begun by the nave and choir. Indeed,
+so commodious is the Lady chapel, that it is used as a parish church.
+The cathedral has a number of interesting possessions, chief among which
+is the large Mappa Mundi made in 1300, and showing the world as then
+known. It hangs in the south choir aisle. The world is represented as
+round like a plate, and in addition to the cities and countries marked
+thereon, there also appear the fabulous animals which were then a part
+of orthodox geography. It was about this time that there was written the
+adventures of that famous traveller, Sir John de Maundeville, whose
+voyages were only exceeded in extent by his imagination. His reports of
+fabulous beasts, &c., are in excellent accord with the pictures on this
+map.
+
+The ancient glass here is somewhat limited, and is all of the Decorated
+period. On the south side of the Lady chapel we shall remark two
+windows, chiefly glazed in greenish grisaille, but each bearing four
+coloured decorations placed one above the other. In one case these prove
+to be geometrical designs outlined in colour, while in the other they
+are small coloured groups, the topmost scene showing Christ, on a red
+background, pointing upward. Glass even more typically Decorated is to
+be seen in the eastern wall of the north-east transept, and again in the
+most easterly embrasure of the south choir ambulatory. These windows
+each contain four lancets surmounted by tracery lights, and in each
+lancet is a coloured figure framed in an unusually lofty canopy--in fact
+the latter is three times as high as the figure it encloses. Note the
+brassy tone of the early golden stain used in the architecture. Modern
+grisaille has replaced its ancient prototype, which, in accordance with
+the conventions, surrounded these early canopies to increase the
+light-admitting power of the embrasures. This glass was formerly in St.
+Peter's Church, but about sixty years ago that church disposed of it for
+�5 to a purchaser who presented it to the cathedral. Limited though it
+be in amount, it will repay a careful examination.
+
+
+TEWKESBURY
+
+As one wanders through the streets of quiet Tewkesbury, the
+half-timbered houses on every side lend it an Old World flavour that
+most suitably prepares us for the sturdy Abbey, the dignity of whose
+recessed west front is all in harmony with the medi�val gravity so
+characteristic of the place. It is as if that eloquently silent edifice
+had never been able to shake off the sombre memories of the sanguinary
+scenes enacted within it May 4, 1471, when, after the defeat of the
+Lancastrians under the Duke of Somerset by Edward IV. in the "Bloody
+Meadow" just outside the town, the slaughter of the wearers of the Red
+Rose was not only carried on through the streets of Tewkesbury, but
+even into the Abbey itself. An echo of this butchery is heard in
+Shakespeare's _Richard III._, when the ghost of the murdered Prince
+Edward (son of Henry VI.) appears to King Richard the night before the
+fatal battle of Bosworth and cries out:
+
+     "Let me sit heavy on thy soul to-morrow!
+     Think, how thou stabb'st me in the prime of youth
+     At Tewkesbury."
+
+With what reproach must not that splendid row of fourteenth century
+knights, victors over the French at Cr�cy, have looked down from the
+windows of the choir clerestory upon this bloody violation of the rights
+of sanctuary by those fifteenth century butchers of the House of York.
+Indeed, these effigies of the earlier warriors were fortunate to have
+escaped those later desperate struggles. The ravages of war do not seem
+to have dealt so harshly with stained glass in this country as
+elsewhere. A learned French contemporary of these tragic events,
+Philippe de Comines, remarked this fact, and spoke of England as a land
+where "there are no buildings destroyed or demolished by war, and where
+the mischief falls on those who make the wars." Although Tewkesbury's
+fame in history rests largely upon its having been the theatre of this
+wild closing scene of the War of the Roses, it is not because of any
+fifteenth century happening that we are moved to come here, but by
+reason of the seven large windows of the preceding, or Decorated, period
+which fill the choir clerestory. This is one of the few instances where
+we shall remark the absence of the square eastern end so usual in
+England. It is here omitted in favour of the rounded apse then prevalent
+in France. Advantage has been taken of this unusual shape to throw out a
+series of chapels around the chancel, which add greatly to the beauty of
+the Decorated choir, and contrast sharply with the sturdy Norman nave.
+The seven large embrasures that light the choir clerestory each contain
+a group of lancets, five in every case, except in the most westerly
+pair, where there are but four. Although the design is the same
+throughout (a large figure in colour surrounded by a canopy frame),
+these frames are differently occupied, those in the westerly pair
+containing armoured knights, while in all the others are saints. The
+depth of their colour scheme is due partly to the great quantity of rich
+greens and reds used, and partly to the opacity of the panes depicting
+the canopies. The figures generally occupy about one half the window
+height, the rest being given over to the canopy. Below the feet of the
+knights are their shields, which serve to provide the artistic balance
+later obtained from pedestals. The same conventional attitude has been
+assumed for all these warriors; each stands with his feet well apart,
+his left hand on the sword by his side, the right hand on the hip,
+holding up a sceptre. The pinnacles of almost all the canopies are
+outlined against red backgrounds. Note the little rose windows
+introduced in the upper part of the canopies. The most easterly window
+provides a variation in that the enshrined saints are higher up on the
+panes, thus making room below them for small groups consisting mostly of
+naked figures, with flesh tints glazed in brown. The right-hand lancet
+shows six kneeling figures praying, doubtless the donors. The borders
+are carried up and around all the tracery lights, which are very
+Decorated in form and do not yet show any hint of the stiffer
+Perpendicular treatment to follow. Perhaps here more effectively than
+anywhere in England shall we feel the warm colour-value of Decorated
+glass, with as yet no tendency toward the paler tints that are to come
+with the Perpendicular style. A similar warmth of tone is to be remarked
+in the east windows of Bristol and Wells Cathedrals, and the writer is
+moved to conjecture that the same glazier had to do with all these
+three. This conjecture is not only based on the still undiminished
+strength of colour throughout them all, but also on the marked
+similarity in the drawing and tinting of a certain white vine decoration
+upon a red ground, to be remarked in the upper tracery lights of
+all three, and also in the traceries of certain transept windows
+at Gloucester. Whoever this workman was, we feel his results so
+satisfactory to-day that it would be small wonder if contemporary
+appreciation caused his employment in these different towns.
+
+ [Illustration: CHOIR, TEWKESBURY ABBEY
+     A rare example of rounded apse, generally replaced in England by
+     a square ended chancel. Chief charm of these windows is their
+     rich colouring]
+
+
+DEERHURST
+
+Possibly some of our travellers are proceeding in so leisurely a fashion
+that they may decide to sojourn a day or two in Tewkesbury. To them we
+address the suggestion that they visit the adjoining town of Deerhurst
+and see its venerable church. It is but a two-mile walk across the
+fields, or a pleasant trip by boat on the Severn. It may, however, by
+means of a small _d�tour_, be visited on the way to Gloucester. Although
+it can boast of but little Decorated glass, that little is lodged in an
+edifice of great interest, because it is the earliest dated one in
+England. The obviously Saxon architecture, with its "herring-bone" and
+"long and short" work, the window-tops composed of two slanting stones,
+or else of arches cut from one piece--these unmistakable signs would
+have told us that it antedated the Normans, but of such buildings there
+are many in this country. Here, however, we have an exact date given us,
+and, furthermore, the earliest known in all the land. A stone found here
+(now preserved at Oxford) relates that this chapel was dedicated in
+1056, and that Earl Odda caused it to be erected "in honour of the Holy
+Trinity and for the good of the soul of his brother, Elfric, which at
+this place quitted the body." It goes on further to say that "Bishop
+Ealdred dedicated it on 12th April in the 14th year of Edward King of
+the English." Two other early Saxon edifices of even more modest
+dimensions lie close at hand. The ancient glass is contained in the four
+small lancets of the west wall on the right as one enters, and is
+obviously of the Decorated period. The most attractive bit is the small
+panel showing St. Catherine framed in a canopy, holding her wheel in one
+hand, and revolving it with the other. The background is red within the
+canopy, but green outside, a very frequent adjustment at that time. In
+both the upper and lower parts of these lancets are groups of three and
+four kneeling donors, about eight inches high, with labels above them.
+This glass has not always remained in its original embrasures, but,
+fortunately, did not stray far. Its travels were cut short by a
+gentleman who purchased it for �5 from an antiquary's shop in a
+neighbouring town, and restored it to its early home. More important and
+more beautiful sanctuaries will be encountered in our travels, but it is
+well to have halted for even a brief time at this ancient Saxon fane, if
+only to ponder upon how tenacious must have been the traits of those
+early ancestors of ours, to have persisted to these modern days with
+such vigour as to have made the adjective "Anglo-Saxon" so significant.
+
+
+BRISTOL
+
+Bristol is connected with London by the Old Bath Road. What memories
+that name arouses of beaux and belles of stage-coach days, gaily
+chatting to while away the fifteen-hour trip from London to Bath, or
+furtively glancing out to see if bold Dick Turpin, or some gentleman of
+his profession, be not lurking in the shadows of the trees, intent on
+relieving the tired horses by lightening the passengers' luggage. This
+stage-coach period is of peculiar interest to visitors from across the
+seas, because it takes one back to old Colony days, and the War of the
+Revolution. In England the improved facilities of travel provided by the
+stage coach had much to do with advancing parliamentary government and
+doing away with the system of "rotten borough" representation in
+Parliament. Bustling and hearty days were those of the four Georges,
+which produced a Prime Minister like William Pitt. In this progressive
+era of railroad construction and stock manipulation, it is interesting
+to read how Richard Palmer besought the Government to establish a
+regular mail-coach service on the Bath Road, alleging the great profits
+they could thereby secure, but really hoping in this way to increase the
+profits of his theatre in Bath. After a long struggle he finally got the
+ear of William Pitt. The service was established, and his subsidy (which
+was to be regulated by the amount saved in carrying the mails) proved so
+large that they cut it down to the lump sum of �50,000! The first coach
+started on August 8, 1784. Nowadays it causes us to smile when we read
+of the tremendous effect produced throughout the country by the news
+that this coach left London at eight o'clock in the morning and arrived
+at Bristol at eleven the same evening! Such unheard-of speed aroused
+wide interest, and had much to do with the great success of Bath as a
+fashionable watering-place. Bowling along this historic road we shall
+only stop long enough at Bath to see the remains of the baths built by
+the Romans, and the famous Pump Room, the scene of the triumphs of Beau
+Nash, and many another. We may also take a peep into the small, but
+fine, church whose great window surface has earned for it the title of
+the "Lantern of the West." It will not detain us long because its glass
+is all modern, except in the second embrasure from the west in the north
+aisle, where seven shields surmounted by elaborately plumed helmets are
+agreeably disposed across the five lancets. On we go out of Bath and
+along the narrow valley of the Avon, twelve miles further to smoky
+Bristol, squatted like a puffing Dutch burgher at the point where the
+Severn empties into the Bristol Channel. Although the great shipping
+industry that gave the town its early importance has of late years
+diminished, it still retains enough to be an active port of trade. To
+some fanciful folk the pall of smoke that hangs over the town may seem a
+gloomy retribution for the fact that from the days of the Saxon and the
+Norman down to the abolition of slavery, Bristol was the greatest port
+in England for that nefarious traffic. Changing to a brighter subject,
+this was the harbour from which John Cabot, the Anglicised Venetian, and
+his son Sebastian (who was born here), sailed upon their voyages of
+discovery across the little-known Atlantic.
+
+The Mayor's Chapel contains some very interesting sixteenth century
+glass, but as it was bought abroad and fetched here, it has not, for us,
+the interest which we shall feel in the home-made Decorated windows of
+the cathedral. Bristol Cathedral lacks the pleasing setting of foliage
+and green lawns which one finds about almost every English church.
+Indeed, in this respect, it is more like the famous French ones, which
+nearly all rely upon architectural charm for their effectiveness.
+Inside, the chief matters of interest are the great Tree of Jesse which
+fills the east window, and the two large lights on each side of the
+chancel. These side windows are glazed in grisaille upon which are
+figures framed in canopy, two tiers, one above the other. The most
+westerly embrasure of the southerly pair has in its upper row three
+canopies which, taken together, show the martyrdom of St. Edmund. He is
+within the central canopy, while those on each side contain archers
+drawing their bows to shoot at him. The bent knees, the awkward pose of
+the heads, &c., show the drawing to be most primitive. The tracery
+lights are glazed in red, with white winding vines, and are remarkably
+like the traceries at Tewkesbury. The Berkeleys, who gave this glass,
+were related to the de Clares of Tewkesbury, so it is more than likely
+that they employed the same glazier. The great east window is in a very
+good state owing to its restoration in 1847 and is a graceful work of
+the Decorated period. The erudite Winston concludes that as it does not
+bear the arms of Piers Gaveston (murdered in 1312), and does show those
+of Humphrey de Bohun, Earl of Hereford (slain in open rebellion against
+his sovereign in 1322), the date of the window is probably about 1320,
+which furthermore is borne out by internal evidence. This great window
+rises above and behind the altar and has its nine lancets subdivided
+into three groups of three each by two mullions which, as was usual at
+that time, curve away from each other when nearing the upper part of the
+embrasure. Although the subject is a Tree of Jesse, the patriarch
+himself does not appear. The various branches of the vine rise
+perpendicularly from the lower sill and are then gracefully intertwined.
+The treatment of the personages is the same throughout, each being
+enclosed by a loop of the vine. The 1847 restoration was so well done
+that except for an occasional harsh note of colour in the robes, it
+conceals its modern substitutions quite successfully. The lancets each
+contain two figures, one above the other. It is fair to comment that the
+encircling vine is rather too light to harmonise well with the figures
+in the background.
+
+After descending the hill, crowned by the cathedral, we cross over into
+the other part of the town to see the fine church of St. Mary Redcliffe,
+where, although there is but little glass, that little is arranged in a
+unique manner. Each of the three easterly windows of the south transept
+consists of three lancets. For each window there is provided a border
+consisting of a series of fifteen small four-pointed openings fitted
+over it in the shape of an inverted U. The glazing of these stars
+reminds one of the ordinary Decorated treatment of tracery lights.
+Within a narrow border is a red field upon the centre of which appears a
+coloured boss from which radiate four leaves. The general effect is a
+yellowish green. These windows date from about 1360. On the way out let
+us stop in the north-west corner of the nave and notice in the north
+wall a window filled with a collection of about eighty-five roundels and
+heads, all helter-skelter, eked out with fragments from other
+embrasures. The effect, though motley, is interesting. A window in the
+westerly wall of this corner also contains _d�bris_, but here it is of
+figures and canopies. This church, called by Queen Elizabeth "the
+fairest, the goodliest, and the most famous parish church in England,"
+is chiefly known for having been the literary browsing-ground of that
+infant prodigy Thomas Chatterton, who announced that it was an old chest
+in its muniment-room that yielded what he alleged to be transcriptions
+from certain ancient Rowley manuscripts. So well were these forgeries
+contrived that it took Horace Walpole, himself the constructor of an
+imitation Gothic romance ("The Castle of Otranto"), to discover the
+fraud. Although but seventeen years old when he committed suicide in
+1770, Chatterton had already published a number of writings. No good
+American should depart without a glance at the monument and armour of
+Admiral Penn, father of our William Penn.
+
+It will be no small relief to emerge from the smoky pall which hangs
+over this enterprising city and escape again into the clearer atmosphere
+of the charming English country.
+
+
+WELLS
+
+Off in Somerset, snugly tucked away at the foot of the Mendip Hills,
+lies one of the most charming cathedrals to be seen anywhere, and, in
+the opinion of Fergusson, certainly the most beautiful in England. The
+fact that it has grouped about it more perfect ecclesiastical buildings
+than any other church of its size, and also that the town which grew up
+around is very interesting, combine to make Wells a peculiarly
+delightful place. The distant prospects of it are very attractive,
+whether you stand upon Moulton Hill and look toward its western fa�ade,
+or view the eastern end with the group of adjoining buildings from the
+top of Thor Hill. Even when you have come down into the quiet town and
+the cathedral is near at hand, the approach to it continues to be most
+picturesque, first through a battlemented gateway in one corner of the
+market square, and then across a lovely lawn shaded by fine trees. The
+ample proportions of the rugged west front are saved from the appearance
+of excessive breadth because of the perpendicular lines lent by the
+buttresses built against it. A most attractive feature of this great
+fa�ade is the unusual collection of carved figures beneath canopies with
+which, at the close of the thirteenth century, it was lavishly adorned.
+There are over six hundred in all, carved of stone from a local quarry,
+and originally gilded and coloured. Nearly all are of life-size, and
+represent not only Biblical characters, but also kings and queens of the
+Saxon, Norman, and Plantagenet dynasties. Within the building the scene
+is one of exceptional splendour and beauty. Even what elsewhere might
+prove ugly is here turned to artistic account, as, for example, when the
+stability of the great central tower demanded a strengthening arch
+across the nave at that point, it was rendered a decorative feature by
+placing above it another arch inverted so that the lines should sweep
+upward as well as downward. An odd and unusual position was selected for
+the chapter-house--above and to the north of the chancel--and nothing
+could be more delightful than the way in which the old stone stairway
+bends gently up to it. East of the chancel is a fine roomy Lady chapel.
+The entrance to this chapel is provided by the removal of the lower
+third of the east wall of the chancel, the middle third being stone wall
+with empty niches, and the upper third a great arched window of seven
+lancets containing a Tree of Jesse in the Decorated manner, above
+which, in the traceries, is shown the Judgment Day. This is known as the
+"Golden Window," and Canon Church calls it "one of the most remarkable
+in England for simplicity and harmony and richness of colouring, for the
+force of character in the faces, and the stately figures in flowing
+mantles of green and ruby and gold, like Arab chiefs; figures such as
+some artists in the last Crusading host under Edward might have seen and
+designed, and so different from the conventional portraiture of Bible
+characters." Although this window is less lofty than the similar one at
+Bristol, it does not seem so incomplete and cut off, because we have
+here the recumbent figure of Jesse across the bottom of the five central
+lancets, a feature lacking at Bristol. Another point of difference is
+that the convolutions of the vine do not here enclose the seventeen
+figures of the descendants, but instead they stand under canopies, of
+which, however, only the topmost ones have pinnacles. The broad borders
+have the same design throughout, viz., gold crowns alternated with
+colour, which changes from red to blue in each successive lancet. The
+backgrounds within the canopies also alternate red and blue, always
+contrasting with the colour outside. Almost all the small personages
+are draped in either green or yellow, and four have undergarments of
+red. Though their colouring is splendid, the figures are rather too
+crowded. The two most easterly lights on each side of the chancel are
+contemporary with the east window--they are each of three lancets
+and contain single figures, occupying about half the height of the
+embrasure, and have no pedestals below them. So similar is the treatment
+here to that at Bristol that it seems safe to assign the same date to
+both (1320). The tracery lights around the choir ambulatory still retain
+their Decorated glazing. To the right and left just before we enter the
+Lady chapel are single windows containing fragments of ancient glass.
+The Lady chapel itself is finely illuminated by five large windows of
+five lancets each containing figure and canopy work. One should remark
+the unique pedestals consisting of golden lions or bears surmounted by
+the characteristic ball-flower ornament. Very interesting, also, are the
+tracery lights, which consist of pyramids of small trefoil openings,
+four at the base, then three, then two, then one. They are reminiscent
+of the tracery lights of the Lichfield Lady chapel, but here the glazier
+has been more adroit in the use of his opportunities. Instead of putting
+a head alone in each opening, he has availed himself of the broader
+space at the bottom to put in the shoulders as well. These little busts
+adjust themselves admirably to the trefoils. Although the glass which
+once filled the octagonal chapter-house is all gone save that up in the
+traceries, those remnants are of interest because the disposal of the
+designs against the red backgrounds is reminiscent of the work at
+Tewkesbury and Gloucester. The great west window of the nave has
+seventeenth and eighteenth century glass at the sides, and in the centre
+a fine sixteenth century French panel showing the beheading of St. John.
+This bears the date 1507 and a Gascon inscription, and was bought by
+Bishop Creyghton during the time that he was sharing the exile of
+Charles II. on the Continent. This provokes the comment that not only
+is there a small amount of sixteenth century glass in England, but
+curiously enough much of it proves upon inspection to have been made
+across the Channel. Before leaving this noble interior one should notice
+a feature of quaint interest. In the south choir aisle stands the
+monument to Bishop Bytton (1524), long renowned for his cures of
+toothache. After his canonisation this tomb was resorted to by pilgrims
+seeking relief from that malady, and so famous were the cures that we
+find carved upon the capitals of piers on the west side of the south
+transept, and again in the north transept, little men whose sufferings
+from toothache are reproduced in the most detailed and dramatic manner.
+
+ [Illustration: "GOLDEN WINDOW," WELLS CATHEDRAL
+     Notice graceful setting, permitting a glimpse through into the
+     Lady Chapel beyond. The large Tree of Jesse rising from the
+     loins of the Patriarch is portrayed in colours of almost
+     barbaric richness]
+
+No matter by which road we leave Wells, one should look back more than
+once to enjoy the charming views of the cathedral and its Close.
+
+
+EXETER
+
+In travelling about England one is struck by how greatly the colour of
+the building-stone varies. One sees greenish grey around Tavistock in
+West Devon; golden brown in the country just north of Oxford;
+silver-grey in many parts of Yorkshire, &c. &c. One might continue to
+enumerate instances, but in the end the most marked of all would surely
+be the red seen about Exeter. Not only are many of the edifices built of
+this ruddy stone, but the earth in any ploughed field thereabouts shows
+the same unusual colouring. The Normans must have been struck by this
+fact, for they called the hill on which they built their castle
+"Rougemont." In view of this marked peculiarity of the Exe Valley, it is
+noteworthy that the exterior of the rugged cathedral, with its mighty
+transeptal towers, is blackish grey. Within, it shows the reddish hue
+which one would expect hereabouts, but outside is similar in tone to
+Westminster Abbey. If one be so whimsically-minded as to group
+cathedrals by colour, one must class Exeter with Peterborough as black,
+while Lincoln will be golden brown, York and Canterbury soft grey, &c.
+&c.
+
+Very fine as well as decorative glass is to be seen in this cathedral.
+It fills the east window, and another near it in the north choir
+clerestory, as well as a large window in each of the chapels that close
+the easterly end of the choir aisles. These charming little chapels are
+each reached by an entrance from the choir ambulatory, and are only
+separated from the Lady chapel between them by a light screen. The east
+window of the northerly chapel has five lancets, although the glass was
+seemingly made for one of six, the number which still exists in that of
+the southerly chapel. The treatment in both is the same, a handsome and
+well-balanced combination of quarry-panes relieved by gaily-tinted
+heraldic shields, and all surrounded by coloured borders. In the
+northerly chapel there has been introduced into the central lancet a
+Decorated panel, showing a kneeling chantry priest within a canopy
+praying for the donor. This appears to have been removed hither from the
+chapter-house, where there still remain a couple of similar panels. The
+two windows just described are excellent examples of one of the glazing
+methods of the epoch, while of still another style (the figure in
+canopy), equally good ones are above in the choir clerestory, the fourth
+from the east on the north side showing in each of its four lancets a
+figure under a canopy with a shield of arms at the feet. It is
+practically complete, except that the shields have lost their heraldic
+bearings.
+
+ [Illustration: EAST WINDOW, EXETER CATHEDRAL
+     Perpendicular stone frame glazed chiefly with very typically
+     decorated figure-and-canopy glass preserved from the earlier and
+     smaller window. Below and beyond appears the Lady chapel]
+
+The archives tell of a large purchase of glass in Rouen in 1301 and
+again in 1317 for use in this cathedral. Much of these purchases is
+still to be seen in the large east window. Here we are struck by a
+strange anomaly of obviously Decorated glass in purely Perpendicular
+masonry. Nothing could be more distinctive of the later period than the
+Perpendicular mullions surmounted by stiffly upright tracery lights,
+and yet the glazing could not be mistaken for anything but Decorated.
+Evidently old wine has been put into new bottles. Although a great deal
+of restoration is noticeable in this window, the strongly brassy tone of
+the canopies in the three outer lancets on each side clearly indicate
+that they antedate the discovery of yellow stain. An explanation of this
+anachronistic clash between the glazing and its framing stonework
+appears upon the rolls of the Chapter. April 21, 1389, one Henry de
+Blakeborn, then Canon, moved by the fine appearance of the newly
+constructed west window, offered 100 marks towards properly enlarging
+the eastern one. This offer was accepted and the work at once put in
+hand. The glazing of the earlier east window was saved to put into the
+new and larger embrasure. As yellow stain was not known at the time of
+glazing the first east window, it is absent from the early glass,
+although it is plentifully used in the heads, &c., of the additions made
+necessary in 1389 by the increased size of the window. One must not
+quarrel with the judicious restoration which has preserved so charming
+an _ensemble_. But this indulgent mood will be abruptly dismissed when
+one examines the lights along the north side walls of the choir aisles,
+for here the colour in the patterns upon the white panes proves to be
+Decorated glass cut up into bits for this purpose by some modern
+glazier! Any further comment upon his taste is unnecessary. It is one of
+the instances which causes one to query if it be always wise to impose a
+punishment for murder!
+
+
+DORCHESTER
+
+Before setting out upon our journeys we stated that although the viewing
+of stained glass was our main purpose, we intended to be broad-minded
+and enjoy whatever other interesting sights might be encountered. When
+we approach the little hamlet that "Dorchester ys ycluped, that bysyde
+Oxenford ys" those of our company learned in arch�ology will doubtless
+point out the Dykes, those two great parallel earthworks twenty feet
+high, separated by a dry fosse twenty yards wide, which run for a
+distance of 900 yards round the south side of the town, from the banks
+of the Thames to those of the little Thame. Our arch�ological friend
+will not need to point out how strong a defence was provided for the
+ancient Briton by these walls and the two rivers, but he will doubtless
+earnestly set forth many arguments for and against the theory that this
+fortification was an outpost of the entrenched camp on Sinodun Hill near
+by. The writer well remembers how strongly these Dykes impressed him
+when he first saw them years ago. In company with two friends he was
+rowing down from Oxford to London, and having arrived at Dorchester
+after sunset, stopped there to spend the night. Early in the morning, on
+our way down to the boat, we came upon these earthworks overgrown with
+yellow wheat and red poppies sparkling with dew. Instantly one forgot
+the dull modern village, and went back in fancy to the days when these
+great lines of earth were thrown up to protect the early owners of this
+land, later to be so often harried by conqueror after conqueror. The
+greatest glory of Dorchester came much later, in fact even after the
+centuries of Roman occupation had come to an end and the last legions
+had left England for ever. It was under the rule of the West Saxons that
+Dorchester became the seat of a Bishop whose See was so important that
+it included all those now known under the names of Winchester,
+Salisbury, Exeter, Bath, Wells, Lichfield, Hereford and several others.
+The exact date of the present long stone church is not known, but it is
+generally believed to be about 1150. The interior will provide but
+little of interest that one does not often see in many another old
+English church, but a glance toward the eastern end reveals that some
+architect of the Decorated period there added a veritable bower of
+light. One must search far and wide to find so pleasing a combination of
+excellent glass, disposed in such light and noteworthy stone traceries.
+The walls which enclose this chancel on the north, east and south are
+nearly of equal length, but the architect's treatment of each is quite
+different. That to the east seems almost entirely of glass, so greatly
+has the builder subordinated his stone structure to the glazing. In
+fact, so much is given over to the glazier as to necessitate the
+erection of a stout buttress which runs up the centre, and without the
+assistance of which the slender mullions would be unable to support so
+great a weight of glass. This buttress stops about three-fourths of the
+way up the window, the explanation of which is that the original roof
+was lowered to this point, and it was not until 1846 that it was again
+elevated to its original height, making necessary the modern glass in
+this restored portion. Very graceful is the adjustment of the cartouches
+into which the stone mullions divide the entire surface, and also the
+way in which they tend to become pointed in the upper part of the
+embrasure. Within each one we find evidence of the beginnings of the
+canopy style which was destined soon to emerge from the cramped methods
+of the glazier here visible. Upon the four lancets of the northern
+window appear large figures displaying much more freedom of drawing. Our
+first criticism tends to be that they would be more attractive if they
+had some background or framing and were not stationed alone upon white
+panes. The reason for this appears from a close inspection of the
+supporting mullions. Along each of these are little carved figures.
+The writer believes this window to be unique in the respect that
+the carvings on the stone and the figures on the panes combine to
+form a Tree of Jesse. Jesse, as usual, is reclining below; the stone
+mullions are used to represent the branches of the vine, and at their
+intersections are disposed the descendants, much as we have often seen
+them depicted on glass. They hold scrolls on which probably their
+names were once painted. The figures on the glass (some of them still
+labelled) supplement those in the carvings. Carved figures are also
+freely introduced at the intersections of the stone mouldings of the
+east window, but here they represent New Testament episodes, such as the
+cutting off of Malchus's ear, the rousing of the sleeping guards, &c.
+So, too, along the transom that runs across the southern window are
+carved figures representing a religious procession. Above are coats
+of arms distributed upon the panes. Below is a handsome Gothic stone
+seat or sedilia which has for us a great interest in that four little
+star-shaped lights are let into the back of it, containing late twelfth
+century medallions. These earliest remains were doubtless preserved from
+the edifice which preceded the present one. One of them shows a scene in
+which appears St. Birinus, who converted the great kingdom of Wessex and
+was the first Bishop of Dorchester (635-49). This little chancel, with
+its delightful glass gracefully supported by the quaintly carved stone
+traceries, will remain in one's memory as one of the loveliest nooks in
+England for the glass-lover.
+
+
+OXFORD
+
+Probably there is no city in all England where the average American
+tourist feels more at home than at Oxford. All of us have read a great
+deal about this city of colleges, and most American boys have perused
+"Tom Brown at Oxford" more than once. Besides, we all feel an interest
+in colleges and college men. While many realise the charms of this
+ancient city of learning, some of us know them in great detail; we have
+wandered in the lovely gardens of Magdalen, of New and of Worcester; we
+have heard the shouting of the multitudes along the banks of the Isis
+when one eight has succeeded in bumping another just ahead; we have
+canoed up the silent tree-shaded windings of the Cherwell--in a word, we
+are familiars of the place. Apart from its life as a university, as a
+city of students, its chief association in history may be said to be
+that it was a refuge and stronghold of the ill-fated Charles I., after
+his defeat at Edgehill. It was admirably suited for this purpose,
+because rendered well-nigh impregnable by the encircling streams of the
+Isis and the Cherwell, the surrounding morass of flooded fens, and,
+last of all, its stout city walls. Right loyally did both townspeople
+and students rally to the support of the unfortunate monarch. The
+colleges even melted down their plate to eke out his military chest. Of
+all the towns of England it can, therefore, best lay claim to having
+been the most loyal to the fortunes of Charles Stuart at a time when
+loyalty meant most. But it is not for reminders of that dreadful civil
+strife, terminated by bloody tragedy, that we are coming to the ancient
+town built on the river near the "ford of the oxen," no, our researches
+lie a couple of centuries earlier than those bitter days. First of all
+we shall enter Merton College to see its windows of the first part of
+the Decorated period. Then we will repair to New College to view its
+glass so instructive of the transition from Decorated to Perpendicular.
+Lastly, All Souls' Chapel must be inspected for its examples of the
+Perpendicular style. In many another college can be seen later glazing,
+but none so good or so important as those just cited. The presence
+here of such fine examples of the two best periods of English glass
+makes easy an instructive comparison of their methods and results.
+Furthermore, it justifies the selection of Oxford as the last stage of
+our second tour, because we have only to step from one college into
+another to begin our third tour.
+
+Not only do the most ancient traditions of all Oxford linger about
+Merton, but it looks the part--it conveys the impression of its extreme
+age to any one who enters its gates. Mob Quad is the oldest quadrangle
+in the whole University. Bishop Walter de Merton, Chancellor of Henry
+III., devised the idea of segregating the students into colleges, so as
+to govern them better, and to render more difficult, if not impossible,
+the general lawlessness and bloody frays between nationalities that used
+to be so frequent. A visit to the chapel will not only show us glass of
+the early part of the Decorated period, but in such quantity and so well
+placed as to give one the best possible impression of it. The large east
+window is filled with modern glazing, only the upper half of the
+traceries above retaining the original red and blue diaper work. In
+addition to this great embrasure, the choir is lighted by seven ample
+three-lanceted windows on each side. These are filled with grisaille
+bordered in colour, while across them, about two-thirds of the way up
+from the bottom, is drawn a band of strongly hued canopied figures.
+Because of their early manufacture we are not surprised to find the
+canopies very crude, lacking pedestals, &c. The enclosed backgrounds are
+generally blue, although a few toward the east are red. In the central
+lancet of each embrasure the canopy usually contains an upright figure,
+while in the side lancets they are almost all kneeling. Each personage
+has a written label which either winds gracefully over his head and down
+behind his back, or runs along beneath him. The borders are not carried
+up into the traceries; their design is sometimes a vine, sometimes
+yellow castles, or fleur-de-lis of white or green. In addition to the
+band of canopies, the duller grisaille is further enlivened by three
+coloured bosses in each lancet, mostly containing heads. The western end
+of the choir opens into the antechapel, which lacks its ancient glazing
+except for the fragments gathered together into the central western
+embrasure, whose original tracery glass, however, remains intact. Before
+leaving Merton mount the stairs to the quaint L-shaped library and
+inspect its attractive remains of Renaissance glass. Along the lower
+side of the east wall of the north wing are seven narrow lancets filled
+with dainty grisaille quarries, bordered in faint colour and bearing a
+brightly toned boss. Of more importance to us, however, is the pleasing
+bay window at the east end of the south wing. Here we find quarries of
+soft grey, each containing a monogram in yellow stain. In the midst of
+these quarry panes are placed little scenes, circular in form and
+decorated with enamel paint in grey and stain, each bearing a German
+inscription. The central embrasure contains six of these, three above
+and three below, and the two side bays have two each, one above the
+other. They bear the date 1598.
+
+An account of the Perpendicular glass at Oxford will be found at p. 142.
+
+
+
+
+PERPENDICULAR
+
+
+Little proof is needed of how greatly the glazier depended upon the
+architect, or of how necessary and proper it was that his glazing should
+harmonise with the prevailing architectural style. The period we are
+about to study affords a striking example of this subserviency of the
+window to the building it lights. In no country can there be found a
+school whose glass was so dominated by its architecture as was that of
+the Perpendicular in England. This Perpendicular style never crossed the
+Channel, for the French Gothic of that time, instead of becoming stiff
+and regular, grew more flamboyant and elaborated. Another marked
+difference is that all the time the English were softening their tints
+and striving for a silvery sheet of low tones (Great Malvern, &c.), the
+fifteenth century French were, on the contrary, using stronger and more
+varied colours than during the century before. To such excellence of
+delicate drawing and tints did the English attain in their Perpendicular
+windows that it may safely be said that in those respects they were
+never surpassed elsewhere. This is particularly noticeable at Ross and
+Cirencester. An opportunity to compare the French with the English glass
+of that time is afforded by the fact that the French windows of the
+Beauchamp Chapel at Warwick will be visited between the distinctively
+English ones of Great Malvern and York. This Warwick glass was brought
+from France because the contract exacted "Glasse from beyond the Seas,"
+and we at once notice the strong hues, which differ so markedly from the
+then prevailing English ones. Nothing could be more convenient than the
+way in which these particular windows enable us to differentiate between
+contemporary glass on opposite sides of the Channel.
+
+When the Perpendicular architect arrived upon the scene, he found the
+canopy window already well developed. The shape of the embrasures which
+he provided were peculiarly suited to this agreeable method of glazing.
+The straight upward sweep of his mullions made easy an effective
+adjustment of the narrow canopy-framed niches, and left the artist
+little to do but elaborate the more modest sentry-box of the Decorated
+period. This he did in a very artistic and pleasing manner. The signs of
+development are easily distinguishable, and chief among them are the
+elaboration of the architectural detail of the canopy (by increasing the
+number of pinnacles and drawing them in relief instead of flat), and
+the completing of the frame effect by adding elaborate pedestals below
+the feet of the figures. We must remember that the earlier glazier
+either placed nothing below the enframed figure or else, in a few
+instances, heraldic shields (as at Tewkesbury). In many instances the
+earlier solitary figures within the canopies now give way to groups,
+although not so frequently as in France. The glazier did well to abstain
+from this change as much as possible, for although it is logical to find
+a saint within a shrine, nothing could be more absurd than to install
+therein a rural scene or a small battle picture. The Perpendicular
+architect, unlike his Decorated predecessor, was not content to leave
+the tracery lights differentiated from the rest of the window below.
+Instead, he tied the upper and lower lights together by carrying his
+mullions straight up through them all, and thus deprived the tracery
+ones of the independence as well as the decorative success they formerly
+enjoyed. In a few instances (as at Great Malvern), the glazier
+accentuates the stiff regularity of these upper lights by filling each
+with a canopy-enclosed figure. Lest the upright parallel lines of the
+mullions lend too monotonous an appearance, care was generally taken to
+make two of them (usually thicker than the others) swerve outward when
+nearing the top of the embrasure, one to the right and the other to the
+left. These two thicker mullions served the further artistic purpose of
+breaking the line of tall lights into groups of two or three each. This
+can be observed in the illustration.
+
+The chief features of this school are as follows:
+
+     (_a_) Increasingly lighter and softer tones;
+     (_b_) Stiff parallel lines of upright mullions;
+     (_c_) Tracery lights lose their independence;
+     (_d_) Greatly elaborated canopies;
+     (_e_) Stipple shading, replacing the earlier smear shading.
+
+It can be said with no fear of contradiction that we have now arrived at
+the finest period of English glazing.
+
+
+PERPENDICULAR TOUR
+
+Our Decorated tour was brought to a close by viewing the glass of that
+period in Merton College at Oxford. Not only shall we be able to begin
+our new tour in that same city, by inspecting the fully developed
+Perpendicular windows at All Souls', but we are also afforded an
+opportunity, thanks to the transition character of the New College
+windows (1386), to learn the intermediate steps through which the change
+of style was effected. On leaving Oxford, we will betake ourselves to
+the famously glazed church at Fairford, and thence journey, _vi�_
+Cirencester, to Gloucester. The next point will be Great Malvern and its
+neighbour Little Malvern, and then over the bold uplift of the Malvern
+Hills to Ross. A northerly _d�tour_ will take us first to Warwick and
+then to Coventry, which will probably conclude this tour, for although
+York appears as the last of this series, it is so placed for the sake
+of regularity, and only for those who may not have taken the first or
+second tours. York was visited on both of those, and occasion was given
+to inspect the Perpendicular glass which there abounds.
+
+[Illustration: MAP OF PERPENDICULAR TOUR]
+
+In addition to the places just mentioned there are three so situated as
+to make it inconvenient to include them in this tour--Salisbury,
+Winchester, and St. Neot (Cornwall). Salisbury has already been visited
+on our Early English tour. Winchester lies well to the south near
+Southampton, while St. Neot is off in the west, a few miles beyond
+Plymouth. These two towns should, however, be on no account omitted,
+even though each require a separate trip.
+
+
+OXFORD
+
+An account of the Decorated glass at Oxford will be found at p. 129.
+
+Having visited Merton, and, by examining its Decorated glass, concluded
+our second tour, we must address ourselves to the third one, devoted to
+the Perpendicular period. Nothing could be easier. We have only to walk
+as far as New College to see how the forces of transition performed
+their work, and then to All Souls' Chapel to study the fully fledged
+product of the Perpendicular glazier.
+
+New College is picturesquely alluring to all who visit Oxford, thanks to
+the agreeable manner in which the college buildings are set off by
+attractive gardens enclosed within remnants of the ancient city walls.
+This corner of the old ramparts owes its preservation to a covenant for
+its upkeep between the Founder and the city. We glass-lovers will remark
+that in similar fashion a very advantageous placing enhances the beauty
+of the glass which we are about to see. It is contained in the
+antechapel, which adjoins the chapel proper on the west and opens into
+it. A dim passage-way leads to the small portal by which one enters,
+admirably preparing our eyes to appreciate the beauty of the glazing.
+There is also some later work in the main chapel, but it is fortunately
+shut off from our observation by a conveniently placed screen, thus
+enabling us to enjoy the antechapel and its glazing without any
+distraction. The original glass that once filled the large window in the
+middle of the antechapel's west wall is now stored in boxes at that
+other foundation of William of Wykeham, Winchester College, Winchester,
+having been removed to make room for an ambitious effort by Sir Joshua
+Reynolds. All the other embrasures retain the original glazing, given
+about 1386 by the Founder, whose name frequently appears thereon. Let us
+not be drawn into the violent discussion which has so long raged on the
+subject of the rival merits of the earlier and later glazing. All
+glaziers condemn the work of the great Sir Joshua, and even most art
+critics agree with Horace Walpole that the painting of this large
+subject is "washy." He has confined himself to the use of browns, greys,
+and some pink in depicting the Virtues and the other figures assembled
+in his composition; but, as was to be expected from one who was only a
+painter, and not also a glazier, he used so much paint as to interfere
+perceptibly with the translucence of the glass. Nevertheless, the
+writer, although he vastly prefers the earlier windows, frankly states
+that he began by liking the west one best. The advantage which stained
+glass windows have over paintings on canvas is that while the latter
+have only colour the former have both colour and light. For this reason
+one should be disposed to admit a great deal on behalf of this picture
+painted by a great artist on a medium which adds light to his colour.
+There is no good reason why we should quarrel with a man who begins by
+preferring Sir Joshua's window, because it may lead him to become
+interested in stained glass. Almost every one unlearned in our subject
+admires this west window;--if he will but come with us we will promise
+sooner or later to open his eyes to far greater beauties, which he will
+grow to love in the seeing! For those who have learned to enjoy the
+Wykeham windows more than their showier neighbour, it is suggested that
+there are two points from which to view them so as to eliminate the
+contrasting presence of the later one--either stand close to the small
+entrance door, or else near the chapel screen so that one of the columns
+comes between you and the west window. Thus one sees only the Wykeham
+glazing, and that, too, in a frame of mind receptive of the Latin
+legends which unceasingly beseech us to pray for him. This glass is
+not only beautiful, but very important, because it clearly illustrates
+the transition from the Decorated to the Perpendicular. The sixty-four
+personages ensconced in their canopies, while possessing traits of both
+schools, demonstrate clearly how naturally one led into the other. The
+figures are not yet well drawn, are rudely posed, and are still strongly
+coloured. Although there is a general flatness in the composition,
+indicative of the earlier school, tapestries are already hung across the
+backs of the little niches, and handsome ones too, with crowned initials
+powdered over them. So, too, pedestals appear below the canopies,
+although, of course, not yet so complete or elaborate as those to be
+seen presently in All Souls' Chapel. The canopies themselves are more
+robust and not so finished as will be later encountered. An examination
+of the method of shading also bears witness to a transition, for there
+is observable both smear and stipple work. The learned Winston makes
+a very interesting argument to the effect that the panels have been
+considerably changed about since their original placing, based on the
+seemingly disordered arrangement of the six varieties of canopies, the
+unusual order of displaying the Apostles, &c. For us who are less
+enlightened, however, the chief interest of this delightful series is
+in the general harmony of the colour scheme, the judgment shown in
+adjusting the figures to the canopies, and both to the embrasures, and
+the graceful use of the written scrolls.
+
+ [Illustration: _Taunt, photo._
+ NEW COLLEGE ANTECHAPEL, OXFORD
+     Transition window presented by William of Wykeham, Founder of
+     the College. Stone frames are already Perpendicular: note the
+     "pepper-box" tracery lights. The glazing, as usual, lags behind
+     the architecture, and, because of its strong colour and flat
+     drawing, is more Decorated than Perpendicular]
+
+The dining-hall possesses some interesting coats of arms glazed into
+seven of its large lights. Half of these are contemporaneous with the
+Founder, among them appearing his arms and those of his See; the other
+half are of the time of Henry VIII.
+
+From "the High" we enter All Souls' College, undaunted by the scathing
+comment of Humphrey Prideaux in 1674, that "All Souls' is a scandalous
+place and full of fast gentlemen." Without stopping to remark the beauty
+of the full-domed Radcliffe Library, rising beyond the graceful stone
+screen that walls in the westerly side of All Souls' inner quadrangle,
+we press on to the chapel at the further end. We shall not spend much
+time over the windows of the chapel proper, for they contain nothing of
+interest, but for this there is ample compensation in the splendid
+display all about the antechapel that opens off to the west. It is true
+that some of the panels have been restored, but this has been done so
+judiciously and patterned so closely after the originals that it is not
+only no detriment, but, on the contrary, enables us to enjoy a completed
+whole. As was to be expected, figures within canopies meet our eyes on
+all sides. Owing to the date of their manufacture, the depicted
+architecture of the shrines is very elaborately worked out. Pedestals
+are provided, and in the westerly embrasures we find small supplemental
+and supporting canopies on each side of the principal ones, which
+latter, however, alone contain figures. These western lights show more
+restoration than the others. There is a great deal of red and blue
+everywhere, not only in the backgrounds, but even in the pedestals
+below. The four large windows (each containing a double row of three
+lancets) in the easterly wall are, perhaps, more interesting than their
+more elaborate neighbours. Especially note, in the one just north of the
+choir entrance, the charming group of Salome and two children in the
+lowest panel on the left. Most pleasing of all is the scene of St. Mary,
+with two children in her arms and two more at her feet, in the
+right-hand lowest panel of the most northerly of these east windows. The
+glass here is so conveniently placed as to afford every facility for
+studying details, thus preparing us admirably for the highly interesting
+tour upon which we are about to set out.
+
+
+FAIRFORD
+
+Lying in the midst of a pleasing but tame countryside the little
+village of Fairford has nothing to recommend it to the seeker after
+the unusual but the windows of its parish church. This glass is not
+only historically famous, but also very complete and beautiful. On the
+outer side of the little church door we are still in the midst of the
+commonplace, nothing rises above the level of the unimportant; once
+inside that modest portal, what a change do we not experience! Around us
+on every side and above in the clerestory opens out a complete series
+of windows--harmonious, excellent, delightful! And to add unneeded
+supplement to the charm that meets the eye, our ears are regaled with
+the strange tale of how these lovely panels found themselves here, and
+why they so perfectly fit the church. This latter query is answered most
+simply--the church was built to provide embrasures for these treasures.
+The records state that Richard Tame caused the building to be erected
+and finished in 1493 expressly for this glass, which had been captured
+at sea from a Dutch vessel. From the same source we also learn that his
+son, who died in 1534, completed the building--a rather anomalous
+statement for, if it was finished in 1493, it would not seem to have
+needed a further completion by the son. It is to the windows themselves
+one must turn for some explanation of this seeming contradiction.
+Although but little comment has hitherto been made upon the subject,
+the writer was struck by the lack of any similarity between the
+figure-and-canopy windows in the western half of the church (including
+the clerestory), and those around the eastern half. The former show a
+conscientious following of Perpendicular conventions and a careful
+attention to the proper use of colours, but the latter enjoy an easy
+victory in style, combination of hues and general artistic appreciation
+of the possibilities of glass. The sexton relates the usual legend about
+Albrecht D�rer having designed this latter series, but it is probably no
+truer here than elsewhere in England, for it is the customary tale one
+hears about German glass. There is no doubt, however, that in
+composition and style it differs noticeably from anything made north of
+the Channel. While the figure-and-canopy work is clearly of the
+fifteenth century, it must be admitted that if the windows in the
+eastern part of the church be likewise of that period, then they
+certainly represent an early manifestation of a style that did not
+generally prevail until the sixteenth century. May not this very
+difference help to explain the second "completion" of the church?
+Suppose we credit Richard Tame with having secured the canopy windows
+for the edifice he completed in 1493, and leave to his son the honour
+of having added the series showing later attributes when he finally
+finished the structure in 1534. The first windows may have been captured
+in the way reported in the legend, and the later ones secured in some
+other manner from the Continent, for it is known that most of the
+sixteenth century glass in England was procured from foreign sources.
+Let us leave this moot point to be conclusively decided by others, and
+turn to observing and enjoying the glass. The shape of the church is
+unusual and requires a brief word of description in order to understand
+the placing of the windows. The westerly half consists of the regulation
+nave with a broad aisle on each side. Above the nave runs a glazed
+clerestory, which, of course, does not extend over the aisles. There are
+no transepts. At the middle of the church just where the nave ends there
+rises the tower, of the same width as the nave. The clerestory stops on
+the nave side of this tower; there is no clerestory above the eastern
+half of the church. This easterly half is the same width as that to the
+west, but it is all open and not separated into aisles like the other
+part. In the southerly wall of the building are six windows and a door,
+and in the northerly, seven windows. The clerestory has four lights of
+three lancets on each side. Canopies containing figures standing upon
+pedestals and with gracefully written scrolls about them are to be found
+in all the clerestory windows, and also below in the four most westerly
+aisle windows on each side. The figures on the north of the clerestory
+represent Roman emperors, and above in the traceries are little devils
+on a red ground. Opposite them on the south appear Martyrs and Prophets
+of the Faith, appropriately attended in the traceries above by angels on
+a blue ground. All the windows thus far described are clearly fifteenth
+century; the workmanship is good but not of such marked excellence as is
+shown in the eastern part of the church. These latter evidence
+remarkably skilful designing, and, furthermore, demonstrate that the
+artist understood the medium in which he had to work out his cartoons.
+They lean strongly towards the Renaissance type: the colours used are
+very good, especially some of the greens. Most of the subjects on the
+north are taken from the life of the Virgin, while opposite, across the
+choir, appear scenes from the life of Christ, such as the Last Supper,
+the Miraculous Draught of Fishes, &c. The sexton delights to tell the
+visitor that the towers in the background of the last-named scene are
+faithful counterfeits of the towers of Nuremburg, thus proving
+conclusively (except to hypercritical cavillers) that Albrecht D�rer
+designed them. The story is picturesque, but it is fortunate that the
+good man never saw Nuremburg, or his conscience might force the
+suppression of this agreeable fiction. It must be admitted, however,
+that some of this glass is sufficiently excellent to have been designed
+by that great master. The five-lanceted window that fills the end of the
+little eastern extension behind the altar has five scenes across its
+lower half, while above them, occupying the entire width of the
+embrasure, is a fine Crucifixion. The original background has been
+replaced by white glass, which enables us to appreciate all the more
+readily how well the picture is composed. The flowing garments and
+certain other details are very German in character, while some of the
+implements displayed are purely Teutonic--_e.g._, the swinging mace,
+showing the spiked ball hanging from the handle by a chain. The
+perspective displayed in all these scenes is noticeably good. We
+must pass to the other end of the church in order to see its most
+entertaining window, at least to all those not deeply interested in the
+intricacies of technique. It fills the western end of the nave just
+above the portal, and is one of the rare sort known as "doom windows."
+There is here set forth a most edifying demonstration in glowing
+colours of what will some day happen to those who are not wise
+enough to be good! Even Foxe's "Book of Martyrs" cannot provide the
+exhilarating horrors that the numerous ingeniously minded devils here
+afford. Most delightful is the enthusiasm and earnestness with which
+they are carrying on their presumably daily toil of keeping Hades up to
+its unpleasant reputation.
+
+
+CIRENCESTER
+
+If the account of this town is not to be read aloud, everything will
+pass off peacefully, but if sound is going to be given to written words,
+then our trouble will begin at once, for the methods of pronouncing its
+name have led to unlimited discussion. All the disputants may be divided
+into two camps, in one the educated and refined citizens of the town,
+who pronounce the word as it is spelt, and are aided and abetted therein
+by all non-residents, while in the other camp we shall find an agreeable
+company, headed by the late William Shakespeare, and consisting of all
+the humbler townspeople and the country folk residing near by. This
+latter group prefer the sound, which, reduced to spelling, approximates
+"Cisseter." Notwithstanding this centuries-long dispute, the town has
+declined in importance since the days of the Romans! Then it was the
+cross-roads of three great highways, and when one reflects that the
+Roman road was even more potential in its developing effect upon
+territory than the modern railway, it is easy to see the advantages that
+Cirencester enjoyed over towns not so favoured. While considering this
+practical feature there must not be forgotten the romantic glamour lent
+by the legend that King Arthur was crowned here. The parish church is
+particularly delightful, not only because of its characteristically
+Perpendicular Gothic exterior, but also because of the logical way in
+which that same style has been carried out within, especially in the
+charming fan tracery of the vaults. The stained glass must be studied in
+detail in order to yield a full appreciation of its beauty, for we must
+not expect to find here the splendid _ensemble_ often seen elsewhere.
+There are few places in the land where Perpendicular glass shows so
+clearly the delicacy of both design and colour which the art achieved in
+England during that epoch. This fact is borne home with marked emphasis
+because we are viewing it immediately after an examination of the much
+better designed but less delicately painted windows of Fairford. As a
+result of this careful treatment of tint and drawing there is derived an
+unexpectedly satisfactory result from the collection of figures in
+canopies assembled in the five tall lancets of the east window. Seen
+from the nave this collection is quite cool and silvery, and does not
+betray its composite nature. Where the ancient heads have been lost or
+destroyed, their space has been frankly filled with white glass. Toward
+the bottom are eight small panels containing kneeling donors. The large
+west window is also a composite one, but here honesty proves to have
+been the worst possible policy, because the original background having
+been lost, they filled in between the canopies with splotches of hideous
+modern blue! Of course this kills any chance for the softly toned effect
+which we have often observed as the chief charm of the perfected canopy
+style. In this instance it is peculiarly unfortunate, because the
+canopies are carefully worked out in detail, showing as many little
+spires above them as we shall find later at Great Malvern. The figures
+which they enclose repay study. The centre three in the lower row are
+almost enveloped by broad written scrolls, which lend a most decorative
+effect. In the pedestals below the figures are little open galleries
+containing diminutive kneeling donors, very modestly and appropriately
+displayed. The colours here are noteworthy, especially the rich deep red
+in the robe of the cardinal at the top of the second lancet from the
+north; in the second to the south notice the combination of the mulberry
+gown, blue cape, and golden halo. The use of the leads to delineate
+folds in the cloth is as good as the colouring. It is evident that no
+mean artist produced these satisfactory results, but it is fortunate for
+him that he cannot see the atrocious blue that now strives to off-set
+his delightful work. In the chapel to the right of the chancel, the
+most easterly embrasure on the north has its three lancets filled with
+agreeably arranged figures and fragments. Being on a level with the eye
+of the observer, this glazing can be examined closely. Note the careful
+adjustment of the leads to suit the drawing of the hands in the
+right-hand lower corner. It is so evident that this glazier thoroughly
+understood his art that we are not surprised at the richness of the reds
+and the blues, or the mellow strength of his yellow stain. It is easy to
+deduce from the Cirencester windows the lesson that design is not so
+important as colour, and that, while excellent effects can be produced
+by a collection of well-toned fragments, the best design done in bad
+colouring is sure to be unsatisfactory.
+
+
+GLOUCESTER
+
+In our wanderings to see glass we have observed how many and varied were
+the reasons for the presentation of those splendid offerings to
+religious edifices, and also that these reasons are often storied upon
+the windows themselves. Wide as is the range of such causes it is
+reserved for Gloucester Cathedral to show us an ancient window erected
+to commemorate the winning of a great battle. Thanks to the painstaking
+studies of Charles Winston (1863), backed by his exhaustive knowledge of
+heraldry, it is now known that the great expanse of coloured glass at
+the eastern end of the Gloucester chancel is a thank-offering for the
+epoch-making victory at Cr�cy of the little army of English over the
+French hosts. How incongruous it seems that such a feat of arms should
+be commemorated in this mild manner! The mind wanders off from this
+glorious wall of colour back to a certain cloudy afternoon in August
+1346. Edward III. and his young son the Black Prince, with a force of
+only eight thousand Englishmen, had swept triumphantly through Normandy
+up to the very gates of Paris. There the presence of a huge army of
+French and mercenaries forced them to turn northward toward the Flemish
+border. Fatigued by their dashing campaign, they were overtaken and
+brought to bay by the French at Cr�cy, about fifteen miles east of
+Abbeville. In the very front of the French hosts was stationed a body of
+15,000 Genoese crossbowmen who, by their discharge of arrows, were to
+disconcert the English, and disorder their ranks preparatory to the
+onslaught of the French knights. Suddenly a great storm breaks upon the
+embattled armies, terrifying the Genoese unaccustomed to the thunder,
+lightning and driving rainbursts of a northern tempest. Nor is this all,
+for when the storm passes and the sun darts out from behind the clouds,
+the Genoese, ordered to discharge their crossbows, find to their dismay
+that the bowstrings are rain-soaked and cannot be drawn. Just at this
+juncture the English archers, taking their bows from water-tight cases,
+loose such a pestilential shower of arrows upon the already harassed
+Genoese that they break and flee, throwing into the wildest confusion
+the ranks of the Frenchmen behind them. Effective as were the bows of
+the English archers, the long knives of the Welshmen prove equally so,
+stabbing the horses of the French and thus placing the riders _hors de
+combat_. Together these two bands of yeomen reverse the verdict of
+centuries of warfare;--they show the armoured knight to be an
+anachronism, and thus in one day feudalism begins to totter to its fall.
+The moment has come for the charge of the English chivalry. On they
+dash, led by the sixteen-year-old Black Prince. They fall upon the
+already panic-stricken French and what has been a battle becomes a rout.
+The king witnessed the conflict from a windmill on a ridge, being
+desirous that his son alone might have the glory of the victory. It is
+doubtful if the annals of chivalry record a finer scene than the meeting
+of the king and the Black Prince after the battle. In the blaze of the
+great camp-fires, and before the whole army, the father embraced his
+son, and would have given him alone the praise, but the Prince "bowed to
+the ground and gave all the honour to the king his father." Ten years
+later we find him of the same generous nature, for, in the evening after
+the great victory at Poitiers, he caused the captured King John of
+France and his son to be seated, and standing behind, served them
+himself, modestly refusing to join in their repast. Long since hushed is
+the din of that ancient strife, unless perhaps an harmonious echo
+thereof comes to us from the great east window. Along its lower panes
+are displayed the shields of the Black Prince and the Earls of Warwick
+and Oxford, who were with him in the 1st Division on that glorious day,
+and of the Earls of Arundel and Northampton who led the 2nd Division
+(the 3rd being in command of King Edward III. himself). In this brave
+array we also find the shields of Thomas Lord de Berkeley, his brother
+Sir Maurice de Berkeley, Richard Lord Talbot, and Thomas Lord Bradeston,
+who all served in this expedition. Here, also, are the arms of the Earls
+of Lancaster and Pembroke, who, although at that time fighting in the
+south at Aiguillon in Guienne, were included as companions-in-arms of
+the same war. In this beautiful manner the glory and gallant memory of
+these knights are preserved within this stately cathedral, far removed
+from the din and carnage, the hissing flight of arrows, the clang of the
+forward dash of knights, the clash of steel on steel, the battle-cries,
+and the mingled roar of retreating hosts hotly pursued by exultant
+victors. Here they dwell for ever in the midst of a great peace: around
+the grey walls and sturdy tower are the quiet walks, the green swards,
+the leafy foliage of a peaceful England--an England preserved inviolate
+from foreign invasion by the splendid deeds of these gallant warriors,
+and many another like them. So modestly are their blazons set out along
+the lower part of the great window that the story of their gift and its
+giving was forgotten, and lay hidden for centuries until rediscovered by
+Mr. Winston. Much as our windows have hitherto revealed to us of quaint
+episode and romantic story, never have we happened upon so portentous a
+memory, nor one which so richly deserved this magnificent tribute. Its
+huge expanse of 72 by 38 feet is only rivalled by that of the east
+window of York (78 by 33 feet). Well did Winston say, "I know of no
+window so likely as this to improve by a long contemplation the taste of
+modern glass-painters and their patrons."
+
+ [Illustration: _J. Valentine, photo._
+ CHOIR, GLOUCESTER CATHEDRAL
+     Great east window commemorative of knights who fought at Cr�cy.
+     Backgrounds of pink and soft blue. Tracery lights no longer
+     differentiated from window below, as during decorated period.
+     Note elaborate masking of earlier walls by later Perpendicular
+     work]
+
+A great deal of really fine glass is so badly placed as to appeal only
+to the student, and not to the sightseer, but at Gloucester this
+masterpiece exhibits itself to the greatest advantage. One should not
+speak of this vast window as being in the eastern wall, for it is so
+large that it takes the place of that wall. In fact it is somewhat wider
+than the interior of the church at that point, which for this reason has
+had its side walls slightly slanted out to receive the window. How great
+is this disparity in size may be estimated if one sights along the
+inside of either side wall, for you will miss entirely the outermost
+tier of glass panels. The superficial area of the glass is also
+increased by a slight bowing outward of the window structure. Behind and
+to the east of this end of the cathedral was later built a Lady chapel
+which, however, opens through into the older church. Of course the
+shadow of this later structure could not help but fall upon the east
+window, and to that extent obscure it, but what might have proved a
+serious defect was avoided by stationing the chapel somewhat to the
+east of the older building, and also by not beginning the coloured
+canopied figures upon the east window until above the line of shadow
+cast by the Lady chapel. The panes below that line are glazed in white
+bordered by colour, here and there relieved by the coats of arms already
+mentioned. Viewed from the crossing this great window is more than
+delightful. Row upon row of canopy-framed personages on red or blue
+backgrounds, are stationed one above another in splendid profusion.
+Many of the books class it with the Decorated period, although always
+explaining that its looks belie that early dating. Our errand is to see
+how windows look, and therefore, because its stone framework is so
+obviously Perpendicular, as is also the delicacy of the tones of its
+glass (particularly in the canopies), it would be unwise for us to
+consider it otherwise than as an early manifestation of the later style.
+It is very Perpendicular in its lines and its colouring, and absolutely
+unlike the deep rich windows at Tewkesbury, Bristol and Wells, which are
+so typically Decorated. We must remember that the glazier had to conform
+to the styles of the architect, and because it was the latter who
+inaugurated the changes he was, perforce, always in advance of the
+glazier, which helps to explain why some of the details of the glass
+design are more archaic than the stone framework.
+
+Looking eastward from the crossing, we can see through below this great
+window and above the altar into the ample Lady chapel beyond. Passing on
+into that chapel, we at once observe its most prominent feature, the
+east window, constructed during the latter part of the fifteenth
+century, a clearly marked example of the Perpendicular. The colouring is
+here much richer than we are accustomed to find in English work of this
+time, in fact it reminds one of contemporary French windows. The figures
+within the canopies are more varied, and occur in groups, thus differing
+widely from the almost monotonous similarity of the softer toned
+solitary figures upon the choir window. In the north aisle of the nave
+the third, fifth and fifteenth embrasures from the west provide us with
+marked examples of the Perpendicular. Double sets of pinnacles,
+two-storeyed pedestals, jewels separately leaded into the borders of
+robes, &c., show a distinct advance upon the earlier and simpler methods
+of the great wall of glazing in the choir. One should remark the
+Decorated work on the easterly side of both transepts. The clerestory
+lights are glazed in quarries with coloured borders, while above them
+the tracery embrasures are not only like those at Tewkesbury, but are
+also glazed in the same fashion, white lines wound about on a red
+ground; we have remarked the same treatment at Bristol and Wells. Even a
+brief glance about this great sanctuary reveals that huge sums must
+have been spent not only in veiling the older walls with the later
+Decorated work, but also in the elaboration which is everywhere
+noticeable. Nor is it difficult to understand how sufficient funds for
+this purpose were collected when one considers the vast store of gold,
+silver, and jewels brought here as offerings by pilgrims to the tomb of
+the murdered King Edward II. We must not depart without having a walk
+about the charming cloisters, which are by many considered the most
+beautiful in England.
+
+
+GREAT MALVERN
+
+Great Malvern lies on the easterly slope of the famous Malvern Hills,
+which run nearly north and south, and form the western barrier of the
+Severn Valley. Its site provides a pleasant and far-reaching prospect
+of smiling country, dotted here and there with the towers of Worcester,
+Gloucester, Tewkesbury and many another town and hamlet. So lofty are
+these hills that the views from their summits are hardly to be equalled
+elsewhere in England; indeed, it is reckoned that on a fine day one can
+look into a dozen counties. The three chief heights have long been known
+as Worcester Beacon, Hereford Beacon, and Gloucester Beacon, each named
+after the county in which it stands. Peaceful as is this delightful
+scene, certain of the memories which it awakens are those of warlike
+strife, for one can see from this vantage-point six of the great
+battlefields of England--Edgehill, Worcester, Evesham, Tewkesbury,
+Shrewsbury, and Mortimer's Cross. Nor are these the only reminders of
+warlike deeds, for about the top of two of those great eminences run
+encircling lines of strong earthworks, known to have existed since
+the time of the early Britons, if, indeed, they do not antedate
+them--eloquently silent proof of how long men have realised that this
+fair land is worth fighting for. Wonderful and inspiring is the view
+that unfolds itself before the eye of the traveller when he has reached
+the topmost point of the road and pauses before descending to Great
+Malvern. No wonder that William Langland selects this site for the
+slumber which yielded him that marvellous dream which he describes in
+his "Vision of Piers Plowman" (1362). He says:
+
+     "On a May mornege � on Malverne hulles,
+       I was wery forwandred � and went me to reste
+     Under a brode banke � bi a bornes side,
+       And as I lay and lened � and loked in ye wateres
+     I slombred in a slepyng."
+
+Tradition tells us that he learned the profession of clerk in Great
+Malvern Priory, and there composed his splendid poem. His attempt to
+correct the abuses of his times accords more readily with the work of
+one contemporary, John Wyclif (who about 1380 gave the people the Bible
+in English), than it does with the merry "Canterbury Tales," written in
+1387 by that Court favourite Chaucer. We have already encountered that
+jovial soul during our visit to the early glass of Canterbury. It is
+significant that in a work which produced such a marked effect upon its
+time as "Piers Plowman," frequent testimony is given to show the esteem
+in which stained glass was then held. Whenever church decoration is
+mentioned by any of his characters, they almost invariably dwell longer
+on this feature than upon any other. The Franciscan monk speaks of his
+church: "With gay glitering glas Glowying as the sunne." In similar
+fashion the Dominican brother is made to say: "Wyde wyndowes y-wrought,
+y-wryten ful thikke, Shynen with shapen sheldes." A severe rap is given
+at those who glaze windows in order "Hevene to have," and vain-glorious
+souls are urged not "To writen in wyndowes Of youre wel dedes."
+
+But let us, like Langland, arouse ourselves from the reverie
+superinduced by this wondrous outlook, and wend our way down the side of
+the great hill to the Priory Church. Although its more famous windows
+date from a century later than Langland's day, it may well be that his
+eye was gladdened by the older glass in the south aisle of the chancel.
+It is certainly fine enough to have attracted his notice, and one may
+safely assume that he loved glass, else his lines would not so
+frequently refer to it. Before observing the Perpendicular glazing in
+which this building abounds, let us consider that of the Decorated epoch
+in the three embrasures that light the southerly wall of the aisle
+chapel south of the choir, and which were there in Langland's time. The
+most westerly of these three is filled with heads and _d�bris_, formerly
+in other parts of the church. We shall have a treat in the two windows
+adjoining this to the east. Each contains a dozen small scenes from the
+Old Testament, the four lancets of each window subdividing these scenes
+into three rows of four each. The backgrounds are diapered red or blue,
+and a crude border of architecture surrounds each. The drawing is crisp
+and the colours are strong and good. Note particularly the red in the
+"Naming of the Fowls"; also observe Noah sending forth the dove, while
+various sorts of animals crowd about his feet. The rich tones, the
+crudeness of the canopy work, and sundry other signs unmistakably mark
+this glazing as Decorated. The corresponding chapel on the north side of
+the chancel has lost all its ancient glass, except a little in the
+tracery lights.
+
+The chief beauty of the interior is the delightful east window, whose
+stout central mullion, two-thirds of the way up, divides and inclines
+outward to right and left until it touches the frame. A charmingly
+soft colour scheme is here used, quite in the best manner of the
+Perpendicular epoch. It is difficult to puzzle out the original order of
+the figures and canopies, for the window was greatly damaged during the
+prevalence of the playful custom, many years ago, of permitting the
+village urchins to throw stones at it! Although the design has been
+injured, nothing could spoil the colour effect. Viewed from a proper
+distance the whole presents an appearance of tender grey, mellowed by
+soft blue, with here and there a note of red. The tracery lights escaped
+practically unscathed, and each contains a complete figure and canopy.
+This great central embrasure is flanked on both the north and the south
+by three large clerestory lights, the glazing of the southerly ones
+being much less complete than that of their neighbours across the
+chancel, where the figure and canopy work is excellent, and the
+combination of tints remarkably good. The side columns of the shrines
+are broader than is customary, while at the top are an unusual number of
+pinnacles, as many as fifteen being noted in one case. These little
+spires are shown to advantage against backgrounds of soft blue and pink.
+At the top of the north-west window is the martyrdom of St. Woerstan, in
+the background of which appear the Malvern Hills. The next most
+important glass occupies the large embrasure at the end of the north
+transept, which, however, is somewhat reduced from its original
+proportions by having the lower panels in some of the side lancets
+walled up. The glass here is not so disarranged as in the east window,
+and we are able to decipher portraits of Henry VII., his queen, and
+members of his family. Something out of the ordinary is the large blue
+corona spread over the central part, serving to tie three of the lancets
+into one picture. Interesting details occur in the "Adoration of the
+Magi" (third from the right in lower row). In the west wall at the
+north-west corner of this transept are single figures in canopy, two
+rows of three each, one above the other. The great west window is filled
+with fragments brought from the nave clerestory, and is mostly figures
+and canopies. Taken as a whole, the glass in this church provides a
+delightful experience. It is very typical of the lighter tones that came
+in with the Perpendicular style, but its greatest service is in teaching
+the lesson that, no matter how much a window's design may have suffered,
+it will carry its message of beauty, if only the original colour scheme
+be sound.
+
+The fine encaustic tiles, not only in the flooring, but also set in the
+walls, are of local make. Some date from the fourteenth century, and
+others from the fifteenth, at which latter time Great Malvern enjoyed a
+wide reputation for their manufacture. Other examples may be seen at
+Little Malvern and at Tewkesbury.
+
+
+LITTLE MALVERN
+
+About three miles from the centre of Great Malvern lies the hamlet of
+Little Malvern, dominated by its priory, now used as a parish church. Of
+the original building, built by the Benedictines, little now remains but
+the chancel and a great perpendicular tower, separated from it by an
+oakwood screen rich with carved vines. The chief attraction, however, is
+the east window, which, on the whole, is well preserved. Its story can
+best be told in the words of that ancient writer Nash: "The windows were
+curiously painted, rivalling those of Great Mal. In the E. wind. of the
+choir are 6 large compartments: in the middle one is represented Edward
+IV. in a robe of ermine with an imperial crown on his head; in the next
+compartment is his queen with a like diadem; in the pane between them is
+painted his oldest son, afterwards Edward V., his surcoat azure and his
+robe gules turned down and lined with ermine; and in the next panel is
+his brother Richard, Duke of York, his surcoat also gules, and his robe
+azure turned down one row to the feet, on his head a Duke's coronet."
+
+
+ROSS
+
+Twenty-seven miles below Hereford on the Wye (but only fifteen by road),
+there rises a small but steep bluff overlooking the sinuous windings of
+the river, and straggling down from its top is built the town of Ross.
+Pope, in his "Moral Essays," would give the credit for every one of the
+town's agreeable features to a certain John Kyrle, who died in 1724 at
+the advanced age of ninety. The elaborately thorough Pope credits him
+with all the civic virtues, and appends an inventory of benefits, which
+includes the benches disposed along the hill's brow for those wishing to
+view the landscape, the causeways, bridges, &c., not omitting minute
+charities to the villagers. Some members of the legal and medical
+professions may join the writer in esteeming the poet fortunate in that
+he did not fall into our clutches after he had penned the following
+lines:
+
+     "Is any sick? the Man of Ross relieves,
+     Prescribes, attends, the med'cine makes, and gives.
+     Is there a variance; enter but his door,
+     Balk'd are the Courts, and contest is no more.
+     Despairing Quacks with curses fled the place,
+     And vile Attorneys, now an useless race."
+
+This public benefactor lies buried in the northern side of the chancel,
+and near by there comes through an opening in the wall a large vine,
+rooted outside but bearing its leaves within the church. The glass here
+is limited in extent but very delicate and charming. It fills the
+eastern end of the chancel, which extends a short distance further to
+the east than do the two ample additions opening out from each side of
+that central portion of the church. These chancel windows are composed
+of four lancets each, and the treatment is the same throughout, viz., a
+single figure within a canopy. The personages are of good size,
+occupying about half of the entire height of the canopy. Because the
+windows are near the ground, Ross affords an excellent opportunity to
+examine the peculiarly delicate drawing on English glass at this time,
+which far excelled any contemporary French work. The architectural
+details of the canopies are carefully worked out, and each is surmounted
+by seven slender pinnacles standing out clearly against their red
+background. Up the sides and into the cusps of each lancet runs a light
+border. A very sober use is made of the tints throughout, yielding a
+harmonious _ensemble_ of colour, well set off by the soft brownish
+shades used in the depicted architecture.
+
+
+WARWICK
+
+Warwick Castle should be visited in order to inspect one of the most
+perfectly preserved strongholds of the Middle Ages, the many features of
+interest which it contains and its picturesque situation on the river
+Avon, rather than for the small amount of domestic stained glass (of the
+grey and yellow stain type) to be found in the long corridor and large
+banquet-room. Although worth seeing if one is there, it is not of
+sufficient importance to cause a special visit. There are also some
+well-preserved panels showing coats of arms at the Leicester Hospital,
+but this is a form of glazing frequent in England, and it is no better
+here than in many other places. There is, however, glass of great value
+and beauty in the famous Beauchamp Chapel which adjoins, on the south,
+the chancel of St. Mary's Church. Much interest is added to this
+glazing, because the contract for it (dated June 23, 1447) is so full of
+details and specifications as to throw valuable light on the conditions
+and requirements of the craft at that time. After one's eyes have become
+accustomed to the soft-hued English Perpendicular glass, then in the
+height of its favour, it is very difficult to realise that these
+windows, with their strong colouring, are of the same period as the
+delicately toned ones which we have seen at Great Malvern and elsewhere.
+The explanation is provided in the contract. It there appears that the
+executors of Richard Earl of Warwick were not satisfied with the then
+prevailing English system of soft tints, and also that they were
+sufficiently advised of the state of the art on the other side of the
+Channel to realise that the richer hues which they demanded could be
+obtained in France, even though it was impossible or difficult in
+England. We read that they required the glazier, John Prudde of
+Westminster, to work "with Glasse beyond the Seas, and with no Glasse of
+England." Again and again they insist on richness of hue; not only must
+he glaze "in most fine and curious colours," but it is specified just
+what he shall use, for they provide him with a selection "of the finest
+colours of blew, yellow, red, purpure, sanguine and violet, and all
+other colours that shall be most necessary." They require that his
+designs be made by another artist, and even those must be "in rich
+colouring." The contract contains another criticism of earlier English
+methods, for they say "of white Glasse, green Glasse, black Glasse, he
+shall put in as little as shall be needful." He complied with his
+requirements pretty strictly, and further, he used a glass so hard and
+tough that its surface has resisted the disintegration which the weather
+so frequently caused in English glass of that period. Unfortunately all
+the ancient panes are not in place. The entire east window is filled
+with them, although a close scrutiny reveals that several of its panels
+are brought from side windows. Along the sides of the chapel the
+original glazing is only to be found in the tracery lights and the upper
+parts of the embrasures, what little there was left in the lower panes
+having been used to eke out the east window. The effect of this latter
+is complete and splendid. The richness of its colours is assisted by the
+golden rays which are so plentiful in the central part of the picture.
+The use of the leads is very elaborated and painstaking, many of the
+folds of the garments being delineated in this laborious manner. Two
+schemes are used for the backgrounds, one, red with lozenge-shaped
+squares enclosed by white and gold strapwork, and the other, blue with
+similarly bordered squares.
+
+Note in the traceries the red angels, poised upon golden wheels. The
+most striking feature of this tracery glazing is the liberal use
+throughout of written music, generally supported by angels. In some
+instances psalms are written on the white sheets, but more often it is
+staves of notes. Above the most easterly pair of windows on each side
+are groups of angels playing musical instruments and walking about on a
+blue sky dotted over with white stars, much resembling the apples on the
+trees of children's storybooks. One should observe what an agreeable use
+is made of these small angels that people the traceries. The glazier has
+skilfully avoided the ugly effect which would have been produced had the
+white sheets of music or psalms been continued in a horizontal line
+around the chapel, and has so waved this white line up and down that it
+becomes as decorative as the labels so common in German glazing. This
+appearance of music on glass is rare in England and rarer still in
+France. The rich colours demanded by the Earl's executors must have
+produced a splendid effect in this chapel when all the embrasures were
+glazed as sumptuously as is the east window. Enough remains, however, to
+make the Beauchamp Chapel an important station in any stained glass
+pilgrimage.
+
+On the other side of the chancel is the vestry, into whose small east
+window have been collected six diminutive panels formerly in the
+chancel's east window. They date from 1370 and contrast markedly with
+some small enamelled scenes in white and yellow stain (dated 1600)
+placed in the same embrasure with them. While the contrast is too sharp
+to be agreeable, we are afforded a comfortable, near-at-hand opportunity
+to observe the great strides which this craft took during that interval
+of time.
+
+
+COVENTRY
+
+An English friend of a flippant turn of mind once remarked to the writer
+that the three most famous rides in English history were undoubtedly the
+Charge of the Light Brigade, John Gilpin's famous infringement of speed
+regulations, and Lady Godiva's effort on behalf of the citizens of
+Coventry--and that the last was the most praiseworthy, because it had
+really accomplished something! Viewed in this light, the episode of Lady
+Godiva passes from a matter of local interest to the higher plane of
+national pride;--upon the equity of this promotion it is certain that
+every citizen of quaint Coventry will agree. If, peradventure, there
+shall have intruded into our company any who love not glass, let us
+protest with Falstaff, "I'll not march through Coventry with them,
+that's flat." The distant prospect of that Warwickshire city is
+beautified by the three famous spires that proudly thrust their red
+sandstone peaks high above the huddled housetops. The ancient flavour of
+the place is preserved for us by the numerous old houses, one of which
+has in its topmost window a wooden figure, "Peeping Tom," that wicked
+exception who proved the rule that the worthy citizens could be relied
+upon to be loyal and true even under the application of that most
+searching test, curiosity. One of the three great spires rises from St.
+Michael's Church, a building of very great size, about whose spacious
+interior are disposed many Perpendicular fragments, some arranged in
+bands along the clerestory, and others filling two windows (each of four
+lancets) that face each other in the chancel. These panels afford a
+useful part of the decoration, even in their present kaleidoscopic
+condition, and their colours put to shame those of the modern windows
+near them.
+
+ [Illustration: GUILDHALL, COVENTRY
+     Splendid row of ancient English Kings, and below, a great
+     tapestry. In the centre of the window and again on the tapestry
+     appears Henry VI, who was a member of the Guild. Handsome
+     example of medi�val hall]
+
+Just across the narrow street is one of the finest examples in England
+of stained glass used to decorate a municipal building devoted to
+secular purposes. It is to be found at the north end of St. Mary's Hall,
+and is as admirably placed as it is excellently composed. Across that
+entire end of the spacious hall is a great window occupying the whole
+upper half of the wall, and broken up into nine wide lancets surmounted
+by tracery lights of the usual Perpendicular form. Across the entire
+lower half of the wall is suspended a long tapestry, which we shall see
+accords with the subjects appearing in the glass above it. Nowhere can
+there be found a great window and a large tapestry used with such
+harmony of purpose and result. History tells us that Henry VI. took so
+pronounced an interest in the Guild of Coventry that he was regularly
+inducted into its membership in 1450, and therefore we are not surprised
+that his effigy occupies the middle lancet of the window. Inspection
+reveals that he is the central figure of a gallery of kings, for he is
+flanked on the left by Henry III., Richard Coeur de Lion, William the
+Conqueror, and King Arthur; and on the right by Edward III., Henry IV.,
+Henry V., and the Emperor Constantine (who was born in Britain). All
+these royalties are in full armour, except their crowned heads, and they
+all stand firmly poised with their feet well apart. The backgrounds are
+unusually interesting, and consist of upright strips of red and blue
+separated by narrow lines of yellow, the strips being sprinkled over
+with the letter M, because St. Mary is the patron saint of the hall.
+These figures all stand beneath canopies, and in the traceries above is
+still other canopy work, serving as background for gaily tinctured coats
+of arms. One, displaying a black eagle upon a yellow field, is said to
+be the blazon of Leofric, Earl of Mercia, Lady Godiva's husband, "that
+grim Earl who ruled in Coventry." This hall was finished in 1414, and
+the glazier is said to have been the same Thornton to whom we are
+indebted for the east window at York Minster. Henry VI. appears again
+in the tapestry below, this time attended by his wife, Queen Margaret of
+Anjou, who shared his interest in Coventry. Nor were these the only
+royalties to feel a kindly interest in this city, for we also read that
+Henry VII. and Elizabeth of York were enrolled as members of the Guild
+in 1499. Upon this tapestry there is gathered a numerous company of
+individuals attending upon Henry VI. and his wife, who are kneeling in
+their midst, while between them is a female figure labelled "Justitia."
+Local tradition says this label is a later substitute for a religious
+name, but whether that be true or not, a tapestry made for a Guild Hall
+in which justice was administered might well have originally had
+"Justitia" as its central figure. The harmony between the splendid
+window and the adjoining tapestry finds an answering note in the ancient
+wooden ceiling with its quaintly carved bosses, and also in the fine
+wooden gallery at the south end, against which are arranged many suits
+of armour. Our visit will not be complete without a peep into the
+spacious kitchen below, and also into a small muniment-room above, which
+is proved by a carefully preserved letter, bearing Queen Elizabeth's
+signature, to have once served as a prison for Mary Queen of Scots.
+
+
+YORK
+
+An account of the Early English glass at York will be found at p. 57,
+and of that of the Decorated period at p. 76.
+
+The huge choir of the cathedral abounds in splendid specimens of the
+glazier's art during the Perpendicular period. Here is collected all
+that the minster possesses of that epoch except a few fragments in the
+east and west aisles of the great south transept. So attractive is the
+manner in which the illumination of the choir is effected, as to inspire
+many poetic descriptions of its windows. One author says that they
+"remind one of particles of sunlight on running water"; another speaks
+of "the glittering screens of colour and soaring shafts of stone." With
+this latter author we are disposed to take issue upon his use of the
+word "glittering" in describing glass of this period, for that
+description more properly belongs to the earlier brightly hued mosaic
+medallions. In fact, so soft and delicate are the colour and design upon
+Perpendicular glass that one is apt to neglect the picture which it
+bears. Indeed, one might say that the service performed at that time by
+the picture was but to lend coherence to the window, or, perhaps better,
+to prevent the colours from being unmeaningly kaleidoscopic when viewed
+from near at hand. Winston says that the earliest windows in the choir
+date from the close of the fourteenth century, and are the third from
+the east in the south aisle, the third and fourth from the east in the
+north clerestory, and the fourth from the east in the south clerestory.
+Note the early Tree of Jesse of this period in the third embrasure from
+the west in the south choir aisle. The other windows of these aisles
+east of the small easterly transepts, as well as the lancets on the east
+side of the great westerly transepts, are from the time of Henry IV.,
+while all the others date from Henry V. and VI., chiefly from the
+latter. These small easterly transepts rejoice in the possession of two
+large windows, one at the north and the other at the south end, the
+former dedicated to St. William and the latter to St. Cuthbert. In the
+latter, which is seventy-three feet by sixteen feet, appear members of
+the House of Lancaster. Beginning at the eastern end of the north aisle,
+we shall find that the first window possesses a few fragments, but that
+the next three are among the finest here, their combination of greys,
+browns and blues being noticeably good. The next three are paler in tone
+and not satisfactory. The Crucifixion at the end of this aisle in the
+east wall is excellent. Its companion at the east end of the south aisle
+is also fine in both colour and design. Observe the drawing of the heads
+in the second window from the east in this aisle. The last one of all is
+French of about the end of the sixteenth century, and was brought here
+from Rouen by Lord Carlisle in 1804. Fine as it undeniably is, its rich
+Renaissance hues do not harmonise with the lower tints of its earlier
+English neighbours. The examination of these minor possessions of this
+part of the edifice now leads us up to its crowning glory, the great
+east window. The nine lofty lights are subdivided into three groups of
+three each by two mullions thicker than the others. All these mullions
+are swerved above and then disposed in accordance with the best
+Perpendicular traditions. Like the large windows of the east transepts
+there is here a double plane of stonework reaching half-way up the face
+of the embrasure. At the point where this double stonework stops there
+is carried across its top a gallery right against the face of the glass.
+So vast is this great surface (seventy-eight feet by thirty-two feet)
+that the gallery would escape notice if it were not pointed out. The two
+hundred panels of figures which here appear depict in the upper half Old
+Testament scenes from the creation of the world to the death of Absalom;
+below are scenes from the Book of Revelations, and lowest of all a
+series of kings and archbishops. The contract for the glazing is dated
+1405 and calls for the completion of the work in three years. Even if
+the rest of its great wealth of windows be disregarded, York Cathedral,
+by virtue of this vast screen of colour and of the exquisite group of
+the "Five Sisters," would rank as one of the most notable points of
+interest in the world for the lover of stained glass.
+
+ [Illustration: EAST WINDOW, YORK MINSTER
+     Tremendous sheet of colour, 78 by 32 feet. Lower half of stone
+     frame built in a double plane, and carries a gallery across face
+     of the glass]
+
+Several churches of this city also contain Perpendicular windows of
+great interest. We have already visited most of these to inspect their
+Decorated remains (_see_ p. 78), and, for the sake of regularity, will
+now take them up in the same order when viewing their Perpendicular
+glazing. All Saints' in North Street, tucked snugly away among its
+surrounding buildings and only accessible by means of a narrow alley, is
+the most interesting of all the smaller churches. It is, fortunately, in
+the possession of a rector (Rev. P. J. Shaw) so keenly alive to its
+store of beauties that he has preserved them in a handsome volume, and
+thus made their enjoyment possible for those who live far away. Fine as
+are the Decorated windows already described, the Perpendicular ones are
+finer still. They fill almost all the embrasures not occupied by the
+earlier glass. Most of them are in the usual figure-and-canopy style,
+although here groups generally replace the figures, and the details of
+the architecture are worked out in a painstaking way. A very fine one
+is the east window with its three lancets containing respectively St.
+Christopher carrying Christ, St. Ann instructing the youthful Mary, and
+John the Baptist, while below and in the side compartments are the
+donors, and in the central one a composition representing the Trinity.
+Still more interesting is the embrasure containing the "Six Corporal
+Acts of Mercy" with its engaging little groups, of which, perhaps, the
+quaintest is the upper central one, "Giving Drink to the Thirsty." But
+the most interesting of all, indeed a famous window, is the eastmost in
+the north aisle. It is of the kind called "Bede" window from its showing
+a bede or prayer for the donors. The fifteen small scenes under their
+squatty canopies are a most interesting representation of the last
+fifteen days of the world as recounted in the "Prick of Conscience" by
+Richard Rolle, a learned and pious writer who died 1349. The story
+begins at the lower left-hand corner and goes to the right. Notice the
+careful realism of the timid worthies in the scene whose label describes
+it as "ye XI day sal men come owt Of their holes and wende abowt."
+
+In St. Dennis (Walmgate) the chief remnants of Perpendicular glass are
+gathered in the central east window, but they are not to be compared
+for excellence with their earlier neighbours. So, too, in St.
+Martin-cum-Gregory the Perpendicular remains cannot vie with the
+Decorated specimens. There is, however, a fine picture of St. George
+killing the dragon in the central lancet of the westmost embrasure in
+the south aisle.
+
+Holy Trinity (Goodram Gate) has a large east window dating from about
+1470, whose five roomy lancets contain single figures in the upper
+canopies and groups within the lower ones. Especially note the central
+lowest panel, for there appear three men intended to represent the
+Trinity. This is said to be the only instance in English glass where the
+Trinity is thus symbolised. On either side of this large window are
+smaller two-lanceted ones containing figures in canopy. All this glass
+is supposed to date from the reign of Henry VI., as does also that at
+St. Martin's (Coney Street). St. Martin's is not only valuable as
+affording an example of the general arrangement of designs throughout an
+interior, but it specially rejoices in a great west window that is a
+real delight. Its five lights set forth the life of St. Martin, and from
+the records we learn that it was erected with funds received from a
+bequest dated 1447. Three splendid tiers of canopies rise one above the
+other across the five lights, while below, where the shadow of an
+adjoining building might have robbed figures of their brilliancy or
+interest, the space is filled with elaborate quarry work. Along the
+clerestory are four-lanceted lights with large saintly figures upon
+white quarries and blazons above them, each lancet bordered in colour.
+Kneeling donors reveal whose piety contributed to these windows. St.
+Michael's (Spurrier's Gate) has quite an amount of Perpendicular glass
+which is in good condition owing to having been recently releaded.
+The windows along the south aisle beginning at the east are each
+four-lanceted; in the first appear the nine choirs of angels, and in the
+next two the genealogy of Christ. In the south-west window are Biblical
+scenes, while in the north-west one there has been collected heads,
+armorial bearings and conventional designs. Fragments have also been
+gathered into the south-east window, including heads of three kings and
+a bishop.
+
+
+SALISBURY
+
+At p. 30 will be found an account of the Early English glass at
+Salisbury.
+
+As one reads history, the kings and nobles are apt to stand out in such
+sharp relief against the background of less illustrious folk that one
+often neglects to inquire into the nature of that background, if,
+indeed, it be not entirely ignored. Nevertheless, the foreign campaigns
+of the English kings could never have been carried on without the
+"sinews of war," which brings us abruptly to the unromantic necessity of
+considering that very large portion of the community who stayed at home
+and paid the taxes and did other unattractive but necessary background
+work. Chief among these useful people were the great merchants of
+England, and of these none were more important than those who dealt in
+wool. Men of their significance in the financial world naturally lived
+in fine houses, so we are not surprised to find such edifices as Crosby
+Hall in London or the hall of John Halle at Salisbury. We read that this
+Halle and one other "merchant of the staple" bought all the wool that
+came from Salisbury Plain, which fact helps to explain how he came to
+be four times chosen Mayor of Salisbury, and also sent to represent the
+Burgesses when the king had occasion to summon Parliament in London. His
+handsome hall is lighted by numerous windows, retaining to this day most
+of their original glazing. Upon them appear sundry heraldic blazons, and
+also the merchant's mark of John Halle, which is repeated again on the
+stone transom of the great fireplace. If we are to venture a date for
+the building, we may select the year 1471, and for the following
+reasons: the records show that John Halle bought the land in 1467; the
+window above the fireplace displays that honest worthy in brave attire
+with motley hose supporting a banner whereon appear the arms of Edward
+IV., but surcharged with the plain label of three points, indicating
+that they belong to his son the Prince of Wales (murdered in the Tower);
+on the other window appear the arms of Warwick, the "kingmaker." Now a
+glance into history reveals that the Prince was born November 4, 1470,
+during the time that his mother was obtaining sanctuary in Westminster
+Abbey, his father having fled the country. Further, we know that his
+father returned and defeated Warwick at the battle of Barnet, April 12,
+1471, which defeat cost the great Earl his life. It is fair to
+conjecture that the Warwick arms would not have been put upon these
+windows after his death, nor those of the Prince of Wales before young
+Edward was born, so there remains to us only the period between his
+birth and Warwick's death (viz., November 4, 1470 to April 12, 1471) as
+the probable time of the hall's erection. The embrasures were glazed in
+uniform manner (except the one over the fireplace already described),
+and they repay close examination. Within coloured borders are quarry
+lights across which are drawn bands slanting downward from left to right
+which bear the word "Drede" often repeated. Up and down the lancets are
+placed gaily tinted shields of arms. These slanting bands, marked with
+motto or single words, were not uncommon at that time; interesting
+examples are to be seen at Ockwell's Manor (Berks), Gatton Chapel
+(Surrey), and Benedict's Chapel (Peterborough), &c. It has been
+suggested that the word "Drede" used here is a rebus composed of the
+initials of the words "dominus rex Edwardus domina Elizabeth," referring
+to Edward IV. and his Queen. The handsome pointed roof assists the
+windows and the fireplace in completing a most pleasing interior, giving
+one a high opinion of the style in which once lived John Halle, the
+great wool merchant of Salisbury.
+
+
+WINCHESTER
+
+The oldest known road in all England is the "Pilgrim's Way" which used
+to run along the southern coast from the neighbourhood of Salisbury to
+Canterbury. In very early times it started from Stonehenge, but when
+that place yielded in importance to the newer settlement of Sarum, and
+it in turn to Salisbury, the section from Stonehenge to Alton was
+abandoned because of the new demands of traffic from Salisbury to Alton.
+Many parts of it are still easily traceable and are worth study by those
+interested in historic national highways. Maurice Hewlett, in that
+charming book in the medi�val manner, "New Canterbury Tales," has his
+pilgrims proceed not from London, as did Chaucer's people, but along
+this very road from Salisbury to Winchester and thence to Canterbury.
+Nothing is known of Stonehenge, the earliest starting-point of this
+road--it lies hidden behind the veil on the hither side of which history
+begins. Likewise, very ancient are the traditions which we shall find at
+Winchester. As we wend our way along this time-worn highway toward the
+latter town, we are (in the words of Le Gallienne) "now entering on a
+region where the names of Saxon kings are still on the lips of peasants,
+where the battlefields have been green for a thousand years, and the
+Norman Conquest is spoken of as elsewhere we speak of the French
+Revolution--a comparatively recent convulsion of politics." To us,
+pondering upon these ancient thoughts, there comes forth to meet us from
+Royal Winchester a strange array of
+
+     "Visions, like Alcestis,
+     Brought from underlands of memory."
+
+We seem to see Alfred the Great and his tutor St. Swithin; King Canute,
+whose imperious sway stopped only at controlling the tide; William of
+Wykeham, the great builder of cathedrals, churches and colleges; Jane
+Austen, friend of us all; the gentle Isaac Walton, and many another.
+Shades and visions of shades! Nay, even the lovely New Forest through
+which we are travelling seems peopled with ghosts from homes destroyed
+to provide space for it by the ruthless Norman conqueror William--ghosts
+that old legends say winged the arrow that here slew his son William
+Rufus. And is not Winchester itself the ghost of the kingly capitals it
+has been--the Saxon capital of Alfred, who here wrote the Anglo-Saxon
+Chronicle; the Danish capital of Canute, whose sway extended far out
+over Scandinavia; the Norman capital of William ruling both sides of the
+Channel? In harmony with this weird ghostliness is a strange story that
+has to do with the building of the cathedral. William's Bishop,
+Walkelin, received a grant from his royal master of all the wood that he
+could cut from the forest of Hannepings during the space of four days.
+When William rode forth to see how much had been removed for the
+purposes of the new building, he at first thought magic had been
+invoked, for lo! the entire forest was gone! The only magic used proved
+to be the great energy shown by the Bishop in collecting such a horde of
+workmen as to perform this tremendous feat in so short a time.
+
+Stately and impressive as is the long grey cathedral, and pregnant as
+are its memories, there are others in Winchester equally potent to
+conjure up the distant past, for in the County Hall we shall see
+suspended against the wall the Table Round of King Arthur and his
+knights. Tennyson, in his description of King Arthur's Hall, shows
+himself a stout advocate of how glorious a part stained glass can play
+in a scheme of decoration. He says:
+
+     "And, brother, had you known our hall within,
+     Broader and higher than any in all the lands!
+     Where twelve great windows blazon Arthur's wars
+     And all the light that falls upon the board
+     Streams thro' the twelve great battles of our King.
+     Nay, one there is, and at the eastern end,
+     Wealthy with wandering lines of mount and mere
+     Where Arthur finds the brand Excalibur."
+
+The cathedral, although giving the impression of spaciousness, does not
+receive full credit for its size--as a matter of fact it is the largest
+in England. According to the delightful English custom, it lies within a
+charming Close of green lawn and trees, while on one side a narrow
+passage called the Slype, quaintly inscribed, gives access to the
+Deanery, Library, &c., close by, which buildings add so much to the
+picturesque effect of the whole. Within the portal we shall find the
+remains of many ancient great ones, some in mortuary chests placed high
+aloft, and others interred in the customary manner beneath slabs of the
+pavement. Walpole justly says, "How much power and ambition under half a
+dozen stones!"
+
+The remains of old glass in this church are more interesting than
+numerous. Cromwell's ruffians here outdid themselves. Not content with
+their usual method of smashing the windows as high up as they could
+thrust their pikes, they broke open the ancient mortuary chests
+containing the remains of early kings and ecclesiastics, and hurled
+through the upper window panes the bones of Canute, William Rufus, and
+many another long dead ruler--a gruesome destruction indeed! The most
+important examples of stained glass date from just after the death of
+William of Wykeham (1404). So interested was this great man in our
+gentle art that he placed in his will minute instructions covering the
+glazing of the windows of his beloved cathedral. He ordains that it be
+commenced in the nave at the first embrasure west of the new work done
+by him and then proceed "bene et honeste et decenter" easterly along the
+south aisle and south clerestory, then, provided any money remains
+unexpended, the north aisle and the north clerestory. There are more
+remains of his beneficence on the north side than on the south. Four of
+his canopied figures have been moved to the first embrasure from the
+east in the choir clerestory. All of this glass is quite similar to that
+which he installed in the antechapel of New College at Oxford. There are
+earlier Perpendicular remains in the great west window, in those at the
+west end of the nave aisles, and in the first of the south aisle. If it
+were not for the west window with its deliciously mellow effect,
+Winchester would hardly have been included in this tour, for the
+remainder of the glass, though of interest, is not important. One should
+proceed eastward as far as the transept before turning to look at the
+west window, for thus he will be able to enjoy its effect without having
+first learned that it is really only a jumble of old glass put together
+every which way, another example of colour outlasting design. Strangely
+enough, its soft grey-greenish tones remind one of the Five Sisters at
+York, earlier by two centuries. A nearer approach not only reveals the
+disordered array of fragments but also permits one to remark a few of
+the original figures and canopies in the upper left-hand corner. The
+nine lofty lights are subdivided into three groups of three each by
+means of two of the mullions which are thicker than the others; these
+two swerve off to the left and right when nearing the top in the usual
+Perpendicular manner. An unusual feature is the fact that the mullions
+of the window have been carried down over the face of the stone wall
+below, thus agreeably tying together the wall of glass and the
+supporting one of stone. In this window there are two circles of
+geometric patterns, made up of early Decorated fragments. Glass dating
+from the end of the reign of Henry VI. is to be seen in the three most
+westerly embrasures of the clerestory on the north, and the two most
+easterly on the south. These latter are from six to ten inches too short
+for the embrasures, thus indicating that they have been transferred from
+elsewhere.
+
+ [Illustration: NAVE, WINCHESTER CATHEDRAL
+     The excellent effect produced by the Fifteenth Century fragments
+     with which this window is glazed proves that colour is more
+     important than design in glass. Note swerving to right and left
+     of two principal mullions, thus relieving a monotony of upright
+     lines]
+
+Our first glance toward the east makes one inclined to quarrel with what
+seems to be the excessive height of the gracefully carved reredos,
+which appears to encroach upon the east window and to leave only so much
+of it visible as to make it too wide for its height. A closer view
+exculpates the reredos, for it turns out that the window is placed so
+unusually high in the wall that none of it is concealed by the great
+altar. Its seven lights separate into a central group of three and two
+side ones of two each. The original glazing has been replaced by some
+given about 1525 by Bishop Fox, which, however, is now much restored;
+there appear upon it his arms and motto, "Est deo Gracia." The top
+central light has some of the earlier Wykeham glass. The manufacture of
+glass had much improved by the time of Bishop Fox, but the effect of
+this window cannot be compared with the larger one to the west. From
+fragments observable in some side windows, and also in the traceries of
+both the north and south aisles of the choir, it seems that the Fox
+glass was also used there. It is to be regretted that there is not on
+view the contents of two boxes in the cloisters of Winchester School,
+where are stored the Wykeham panels taken from the west embrasures of
+New College antechapel to make room for Sir Joshua Reynolds' "Virtues."
+
+Before leaving Winchester one should take time to see the ancient church
+of St. Cross. In 1136 Henry de Blois commanded that every one who
+demanded a piece of bread and a draught of beer at the gate of this
+church should receive it, a quaint echo of medi�val hospitality.
+
+
+ST. NEOT
+
+The earliest appreciation by the outside world of the great natural
+wealth of England was evidenced by those perilous voyages out into the
+unknown sea beyond the Pillars of Hercules, undertaken by the early
+Phoenicians in order to trade for tin with the inhabitants of what we
+now call Cornwall. By one of the odd philological quirks of slang, the
+word "tin" is now endowed with a meaning inclusive of every form of
+wealth--a strange modern acknowledgment of the earliest form of English
+value. Many of these ancient mines are still worked, as we shall see for
+ourselves when we visit St. Neot. This centuries-old continuance of
+tin-mining is strongly in accord with all things Cornish, for in that
+westernmost corner of England change does not intrude, and as things
+have been so they continue to be. We will assume that the pilgrim has
+reached Plymouth, that western outpost of Devon, seated beside her ample
+harbour, whose many bays and estuaries running up into the land seem to
+symbolise Father Neptune laying his mighty hand upon the smiling
+country. Ferrying across to the Cornish side, we proceed by pleasant
+woody roads giving glimpses of Plymouth Harbour, and on to solid
+stone-built Liskeard. Pushing past along the high road that leads to
+Bodmin and the Land's End, we shall be at some pains to notice a little
+road that, four miles beyond Liskeard, turns off to the right up a
+narrow valley. A mile of pretty windings past several ancient but still
+active tin mines, brings us to St. Neot, snugly stowed away among the
+hills. Here, in this small community, which shows no trace of ever
+having been any larger, nor any indication of becoming so in the future,
+stands one of the most interesting glass shrines in England. The church
+has the appearance of many another of the Perpendicular school--a type
+so common throughout the land. One notices that it is lighted by an
+ample number of large windows, each of four lancets. Once inside the
+door, however, and the change from the usual to the extraordinary
+is immediate. The roomy interior is practically unbroken by the
+usual divisions of chancel, nave, &c., and this very appearance of
+spaciousness assists admirably in showing off the windows to the
+greatest advantage. The oldest ones are at diagonally opposite ends of
+the church from each other, and are found in the north-westerly and
+south-easterly corners. The many small groups or scenes (each installed
+in a canopy) into which these are subdivided render their legends all
+the more attractive, because they depict so many different points in the
+story's development. The architecture of their canopy frames shows that
+they date from rather early in the fifteenth century. In addition to
+this more common style of glazing there is another type, which has a
+number of examples here--a saint standing upon a bracket and displayed
+against a quarry background, but lacking a canopy. These date from a
+little later in the Perpendicular period. This bracket feature is very
+English, and may also be seen at Nettlestead and West Wickham in Kent.
+So pleased were the parishioners with these two types that, when some
+new windows were presented in 1528-29-30 (now seen along the north
+wall), the glazier did not work in the then prevailing Renaissance
+method, but designed his story of St. Neot's life after the earlier
+many-scened type, as well as copying some of them after that of the
+bracketed saints. One of these sixteenth century windows was presented
+by the young men of the parish, another by the young women, a third by
+the married women, and the rest by private individuals or families.
+Below the two given by the married and the unmarried women are a row of
+kneeling donors which afford an interesting study of female costume. In
+the south wall is a window given by the Mutton family. Here the glazier
+did not copy earlier types, but struck out along a new line, making a
+very graceful use of winding scrolls. Extremely pleasing as is the
+effect of all these windows, the result would have been even more
+gratifying had it not been for a restoration which befell the church in
+1820, and which, when it subsided, left behind it not only three
+unsatisfactory new windows, but also certain misguided retouchings of
+the old ones. Even this gentle criticism must not be allowed to affect
+the fact that the _ensemble_ of the interior here is delightful and one
+of the most complete in England. Nor is this general effect one whit
+less engaging than the host of quaint details revealed by a close
+investigation of the glass, especially in the case of the Noah window
+(most easterly of the south wall), and that devoted to St. Neot (most
+westerly of the north wall). The medi�val idea of Noah's Ark is very
+diverting, as is also the artist's idea of how most of his wild animals
+must have looked. Then, too, the attention paid by good St. Neot to the
+sacred fish which his over-zealous servant had wickedly roasted and
+broiled is most entertaining. For beauty, and for interest as well,
+this noteworthy set of windows in far-off Cornwall amply repay the
+length of the trip necessary to seek them out.
+
+
+
+
+RENAISSANCE
+
+
+In England there is not to be found the same awakening and change in art
+at the opening of the sixteenth century which is encountered in France,
+and is known to us as the Renaissance. This revival of art reached the
+English at second hand, having been transmitted to them through the
+French. The soldiers of Louis XII. and Francis I., who fought in Italy
+at the close of the fifteenth century, could not help but see and feel
+the new movement in matters artistic then bursting into bloom, and they
+carried home with them not only memories of what they had seen, but also
+many fine examples in their spoils of war. The tales and trophies of
+these soldiers proved a great force in starting the French Renaissance.
+One of its first fruits was the change from the then flamboyant Gothic
+to the classical style in architecture. In glass it was first evidenced
+by substituting canopies of classic form for the Gothic ones which had
+been so much in vogue. The pictures they enclosed were gradually widened
+until it soon became necessary to discard altogether the canopy frame,
+which, on the passing of the narrow Gothic embrasures, was seen to have
+outlived its usefulness. While this awakening in art ultimately reached
+England, it came slowly and never gained the influence it attained in
+France. The English ear and eye were not surprised and delighted as were
+the French by the return of soldiery laden with artistic spoils and
+enthusiastic over the new beauties which they had seen in Italy. Art in
+England developed quietly, steadily, as was but natural, lacking, as it
+did, this sudden impetus from the outside. There is another, and for us,
+a far more regrettable difference between those two countries during the
+sixteenth century, in that very little good glass was then made in
+England, while France was constantly adding to her wealth of windows
+during all of this, her great period of artistic revival. Just as the
+golden age of glass seemed to die in France at the end of the sixteenth
+century, so, in England, it perished at the end of the fifteenth, a
+whole century earlier. There are, however, some fine examples of the
+sixteenth century in England even though much of it (as at Lichfield)
+will prove to have come from abroad. What we shall find at Cambridge is
+delightful, in fact so fine is it that one must deeply regret that there
+are so few towns on the roster of this epoch. A modest amount of glass
+was made in England during the seventeenth century (as, for example,
+the work of the Crabeth Brothers and Von Linge in certain Oxford
+colleges), but as this is only fairly good and was, moreover, made by
+foreigners, we will not take our pilgrim to see it because its lesser
+interest might detract from his delightful memories of the glorious
+Decorated and Perpendicular windows. In English sixteenth century glass
+it is not easy to trace the transition from the Perpendicular canopies
+to the large brilliant pictures, which can be so readily studied in
+France. The English glazier would almost seem to have realised abruptly
+the beauty of the large picture windows, and to have transferred his
+allegiance suddenly to this new method. Delightful examples are to be
+seen at Shrewsbury, but most satisfying of all is the very complete
+series around the chapel of King's College, Cambridge, that gem of
+English architecture. Lichfield must also be visited to view its Flemish
+windows about the Lady chapel, and St. Margaret's Church (close to
+Westminster Abbey) for its east window of the same provenance.
+Concerning English glass of this period it may be said that it possesses
+all the rich colour treatment of its French contemporaries, and,
+moreover, that it has the added advantage of a more careful use of the
+leads in providing outlines for the designs. Almost insignificant as are
+these sixteenth century remains when compared with the innumerable ones
+across the Channel, their great beauty goes far towards compensating us
+for their lack of numbers.
+
+
+RENAISSANCE TOURS
+
+The seven towns containing noteworthy Renaissance glass fall naturally
+into two groups, one to the north and the other to the south.
+Supposing we begin with the one of greater distances, the first stage,
+after viewing the London windows, will be Cambridge. Thence we go
+north-westerly to Lichfield, and, lastly, due west to Shrewsbury. If
+the pilgrim has not already visited Shrewsbury on our Decorated tour,
+he will find an account of its sixteenth century glazing at p. 85. The
+second tour is to the south, and not only are all the points near
+London, but close to each other as well. The first will be Guildford,
+which lies in Surrey, as does also Gatton Park, the next in order.
+Twenty miles to the east, over the Kentish border, is Knole, which
+concludes the tour.
+
+[Illustration: MAP OF RENAISSANCE TOUR]
+
+If a stay of any length is made in Cambridge, occasion may be taken
+to use it as a centre for side-trips to Margaretting, Levrington and
+Lowick. So, too, proximity may serve as an excuse for seeing Nettlestead
+and West Wickham on our way back to London from Knole.
+
+
+LONDON
+
+London, that capital of the world, contains no examples of early glass
+_in situ_, and it is not until we have arrived at the study of
+Renaissance windows that she provides something to engage our attention.
+It must not be overlooked that there is an excellent collection of early
+glass at the Victoria and Albert Museum which, by the way, is most
+advantageously displayed, thanks to the manner in which all light is cut
+off save that coming through the coloured panes: it is unfortunate that
+the same good taste and judgment is not in evidence at the Louvre and
+other great museums. Some of the original mosaic medallions from the
+Sainte Chapelle, Paris, are here preserved. After all, though this South
+Kensington exhibit is undeniably good, glass appeals to one less in a
+museum than when seen in its natural home, a church. Two London churches
+have interesting examples of Renaissance glass, which, however, came
+from abroad, the east window in St. Margaret's, Westminster, and three
+in the east wall of St. George's, Hanover Square.
+
+Westminster Abbey is generally entered by the north transept door, and
+almost every one of its visitors overlooks the modest little parish
+church of St. Margaret, standing only a few paces off, so completely
+dwarfed and rendered almost insignificant is it by the imposing
+proportions of its impressive neighbour. Nevertheless, small as is this
+interior, it possesses a window which the Abbey would be proud to have,
+one of such pre-eminent excellence as to draw from Winston the statement
+that "the harmonious arrangement of the colouring is worthy of
+attention. It is the most beautiful work in this respect that I am
+acquainted with." It completely fills the large eastern embrasure, and
+one needs but a glance to recognise it as a Renaissance work of an
+excellent type. The three central lancets show Christ between the
+thieves, and below, the Holy Women, and soldiers. The drops of blood
+from His wounded side fall into chalices held by three angels. The
+repentant thief has his soul carried away by an angel to heaven, while a
+devil is mocking the other one. On the north side is St. George, and
+below him a kneeling figure which provides the only authentic portrait
+of Arthur Prince of Wales. On the left is Katharine of Aragon, the
+_fianc�e_ of Prince Arthur, and later the first wife of Henry VIII.
+Above her head appears her badge, the pomegranate. As no stranger tale
+could be related of the vicissitudes to which a glass window could be
+subjected than the adventures of this window during the 300 years that
+elapsed between its making and its installation at St. Margaret's, the
+writer is moved to set it out in full in the words of the historian of
+that church, Mrs. J. E. Sinclair:
+
+"The window was ordered in 1499, and took five years to be executed at
+Dordrecht (or, as some authorities state, at Gouda) in Holland. It was
+intended as a gift from King Ferdinand the Catholic and his wife, Queen
+Isabella, to Henry VII. to commemorate the marriage of their children,
+and was originally purposed to be erected in the Lady chapel of
+Westminster Abbey, then in course of construction by Henry VII., and now
+generally designated by his name. As Prince Arthur died in 1502, before
+the arrival of the window in England, and as it was the policy of Henry
+VII. to avoid the repayment of the widow's dowry by her marriage to his
+younger son, for obvious reasons, the window was never erected in the
+Lady chapel of the Abbey of St. Peter. After the vicissitudes of three
+centuries, it has been eventually put up in St. Margaret's Church,
+within a very short distance of its original destination. Henry VIII.,
+after marrying his brother's widow, naturally disliked the window, and
+presented it to the Abbey of Waltham, where it remained till the
+Dissolution of Religious Houses in 1540. Then the Abbot, with a view to
+its preservation, transferred it to his private chapel at New Hall in
+Essex. This property, strange to relate, fell at the Reformation into
+the hands of Sir Thomas Boleyn, Earl of Wiltshire, father of Queen
+Katharine's rival, Anne Boleyn. On the death of Sir Thomas without a
+male heir, Henry VIII. seized New Hall with the rest of the Boleyn
+patrimony, in right of his murdered wife, on behalf of her daughter
+Elizabeth. He then wished to alter the name of New Hall into Beaulieu,
+but the old nomenclature survived. Queen Elizabeth bestowed the estate
+on Ratcliffe, Earl of Essex, who sold it to Villiers, Duke of
+Buckingham. His son, in turn, sold it to General Monk, Duke of
+Albemarle, who caused the window to be taken down and buried in chests,
+thus preserving it from the iconoclastic zeal of the Puritans during the
+Civil War. The next owner of New Hall, John Olmius, offered the window,
+in a letter dated July 30, 1738, preserved in the British Museum, to the
+authorities of Wadham College, Oxford, for their chapel; he terms it
+'one of the finest large windows of painted glass in England.' The
+negotiation apparently fell through, for it was bought from him by Mr.
+John Conyers of Copt Hall, Essex, for fifty guineas. The son of this
+gentleman, on February 8, 1759, sold the 'window with its stone frame,
+ironwork, and other appurtenances' to the Churchwardens of St.
+Margaret's, Westminster, for �420. This sum formed part of the
+Parliamentary Grant of �4500 then voted for the repair of the Parish
+Church of the House of Commons." The parishioners of that small
+sanctuary possess in this much-travelled window as inspiring and
+beautiful a treasure as any of those which attract so great an
+attendance to its mighty neighbour Westminster Abbey.
+
+ [Illustration: ST. GEORGE'S, HANOVER SQUARE, LONDON
+     A Renaissance Tree of Jesse from Belgium, readjusted to fit its
+     new embrasures. Figures unusually large for this subject. Fine
+     colours and drawing]
+
+Certainly one would not visit the Abbey because of its stained glass,
+but equally certain is it that no one who happens into its neighbourhood
+can resist its spell and must enter the portal, if only for a moment of
+old-world inspiration. Let us yield gracefully, and when we have entered
+look about us for what little ancient glazing remains after the visit of
+the Roundhead despoilers. There are fragments in the two small windows
+of the nave's west end, but the most important remains are those in the
+east window above the altar. Here are assembled pieces dating from the
+thirteenth to the eighteenth centuries, which serve as a background for
+Edward the Confessor and his patron saint--these figures are of the
+fifteenth century. Passing on to the east through the maze of kingly
+remains, a few steps lead us up into the magnificent Henry VII. Chapel,
+whose noble proportions seem to mock the modesty of its name. The
+ancient glory of its glass has departed, but those who interest
+themselves in the light which heraldry throws upon history should
+repair to the easternmost chapel and examine the coats of arms set out
+upon its panes. Here are blazoned all the Tudor badges, picturing the
+claims upon which that new house based its right to occupy the throne of
+England. The red rose of Lancaster and the white one of York are there
+alone and in combination. The portcullis of the Beauforts, the family
+of Henry VII.'s mother; the Countess of Richmond's root of daisies; the
+English lions; the fleur-de-lis of France; the Cadwalader dragon, a
+reminder of Henry's descent from the last of the British kings; the
+greyhound of the Nevilles, from whom Elizabeth of York descended through
+her grandmother, and also the badge of her father, Edward IV.--a falcon
+within the open fetterlock; and last, but most significant of all, the
+green bush with its golden crown, emblematic of Henry's hasty coronation
+on Bosworth Field with the diadem of Richard III. picked from off a
+hawthorn bush. In those strenuous days the proof of a legal title was
+not infrequently deferred until after the mailed fist had laid hold upon
+its prey!
+
+St. George's, Hanover Square, has long been famed far and wide for
+the great number of weddings there solemnised. It is perhaps not
+inappropriate that the old glass to be seen here once constituted a
+Tree of Jesse. The spacious window at the back of the chancel, and
+also those which flank it on either side, are filled with it. So large
+are the figures (the largest the writer has ever seen in this favourite
+glass design) that two of them suffice to fill each of these side
+windows, although their embrasures are by no means small. The glass was
+originally made for a church at Mechlin, Belgium, and though its figures
+have been necessarily readjusted to suit their new home, there remain so
+many sections of the vine as well as of the familiar name-labels as to
+make it obvious that the panels as originally combined made up a Tree of
+Jesse. The glazing as a whole is rich in tone, unmistakably Renaissance,
+and, best of all, so agreeably disposed in its present abiding-place as
+to make it seem as if it had always belonged there.
+
+
+CAMBRIDGE
+
+In the mind of most Americans the names of Oxford and Cambridge are
+firmly locked together--a sort of Siamese twins of University education.
+As a matter of fact, they are strangely different--very much more so,
+indeed, than any two American universities. While Oxford has her
+charming quadrangles with their delightful gardens, Cambridge not only
+has them also, but further rejoices in a very special beauty, her
+"Backs," those admirable contrivances for preventing overstudy on
+the part of too zealous students. A "Back" is that portion of a
+college's territory through which meanders the narrow Cam, the scenic
+opportunities of that slender stream being developed to the uttermost
+with green banks, graceful bridges, and shaded walks. The writer never
+pursued a course of study at Cambridge, and, therefore, is not competent
+to judge of the charms of her undergraduate life, but he has spent
+sundry happy hours canoeing on the gentle Cam, which same hours have
+yielded him the impression that, fascinating as the undergraduates
+doubtless find the lecture halls, there is much to be said in favour of
+idling along the delightful "Backs." Hints of the joys of Cambridge
+college life pervade the clever verses of Calverley, and also those of
+his lineal successor, the unfortunate J. K. Stephen. Chief among the
+many victories of the wearers of the "light blue" are those won by the
+oarsmen, and these victories become doubly praiseworthy when we visit
+the miserable little stream on which the crews have to train. That
+a long line of successes have been achieved in the face of such
+disheartening obstacles adds all the more to the credit and glory of men
+like the brothers Close, the giant Muttlebury, Dudley Ward, and many
+another. Most of the colleges follow the quadrangle system like their
+Oxford cousins, but there is an exception in the case of King's College.
+Here a handsome openwork screen of stone shuts off the street, but not
+the view. Through it we are able to see, standing haughtily apart from
+the neighbouring buildings, the beautiful chapel of the college, one of
+the few perfect buildings in existence. Goldwin Smith says, "Cambridge,
+in the Chapel of King's College, has a single glory which Oxford cannot
+match." It is a long, tall edifice, of the same width throughout,
+lighted by high windows of even size, and ceiled by graceful groups of
+fan vaultings of the most exquisite type. The only division of the
+interior is that effected by a wooden screen which runs across the
+middle, but, fortunately, stops before reaching a height which would
+interfere with an uninterrupted view of the sweep of the fan vaultings
+above. A full two-thirds of the wall-height is given over to lighting
+apertures. The records show that the two contracts for glazing the
+windows were dated 1527 and 1528. They require that the "wyndows be
+well, suerly, workmanly, substantyally, curyously, and sufficiently
+glase and sette up." It is said that Holbein drew the cartoons from
+which they were made. The excellence and charm of this complete series
+makes one regret that there are so few examples of their epoch in this
+country; this strikes with peculiar force one coming from France, so
+prodigally rich in sixteenth century windows. At King's College the
+large picture treatment is seen at its best. Not only is the composition
+of the groups of figures carefully studied, but so also is the adroit
+opposing of one colour by another. Particularly daring is the use of
+large masses of the same tint. So little was the artist willing to be
+hampered in the development of his colour scheme that he even made his
+foliage red when he happened to need that hue in a certain part of his
+design. Although the pictures here display careful drawing and elaborate
+composition, the excellence of the general result is certainly due to
+the fact that the artist thought fully as much of colour values as he
+did of his designs, something his contemporaries were prone to forget.
+These windows come as a delightful relief to one accustomed to the
+ill-considered use of Renaissance architecture that so overloads and
+encumbers the sixteenth century stained glass pictures on the Continent.
+
+An exquisite sense of balance seems to prevail throughout the interior,
+and in no feature of the decoration is it so noticeable as in the
+windows. The large expanse of each is broken into two parts by a
+horizontal transom, and both the upper and lower divisions are again
+subdivided, since the central lancet of each contains a figure in
+Renaissance canopy over a similar figure below in the pedestal. This
+leaves a space two lancets wide on either side both above and below, and
+each of these spaces contains a large subject. This method of avoiding
+the monotony which would have been caused by the singlet-lancet
+treatment is carried out along both of the long sides. The nine lancets
+in the large east window permit the introduction of three pictures
+above, each spreading over three lancets, and the same number below.
+The three in the upper row set forth the Crucifixion, the central one
+displaying the usual subject of Christ crucified between the two
+thieves, while to the left is the preparation of the crosses, and to the
+right the taking down from the cross. The blues in these pictures are
+particularly fine. Above in the traceries are red Lancastrian roses, as
+well as some Tudor ones of red and white combined. These roses are
+frequently repeated in the carvings of both stone and wood, as is also
+the portcullis badge of the Tudors. The beautifully carved wooden
+panelling about the walls of the choir is rivalled by the rich stone
+screens that shut off the lateral chapels from the nave.
+
+There is some seventeenth century glass in the chapel of Peterhouse
+College which should be seen, if only to learn how windows should not be
+coloured, for the thick application of blues and other tints have
+rendered the glass here and there almost opaque. There was in England
+about that time a good deal of thickly coloured, and therefore
+unsatisfactory, glass. One does not have to see many examples of it
+before the conclusion becomes inevitable that the English glaziers would
+better have followed the example of the Frenchmen, who, when their art
+became moribund at the end of the sixteenth century, let it die and gave
+it decent burial!
+
+       *       *       *       *       *
+
+Most visitors find it difficult to escape speedily from the fascinations
+of Cambridge, and if some of our pilgrims be minded to make a short stay
+in these erudite surroundings, we will remind them that there are, not
+far away, three pleasing bits of glass, and all of them Trees of
+Jesse--one of the Perpendicular period at Margaretting, about fifty
+miles south-east in Essex, another one of the same period at Levrington,
+thirty-three miles north in Cambridgeshire, and a Decorated example of
+the same subject at Lowick, thirty-six miles west in Cambridgeshire. The
+Margaretting window is of three lancets and displays twenty-two figures,
+each with its own label, and together affording a peculiarly interesting
+study of costume. Don't fail to notice how deftly the glazier has
+concealed the fact that the same cartoon is made to serve for several
+figures by facing them about, or varying the colour in the costumes. The
+handling of the whitish vine and the use of leaves is very artistic.
+
+The Levrington window has five lancets, and its Tree of Jesse is larger
+and has more figures than the one at Margaretting; it shows the marks of
+careful restoration. Including the figures in the tracery lights, there
+are sixty in all--an unusually large number. Each figure is placed
+within a loop of the deep orange-coloured vine, these enclosures being
+about 12 by 8 inches. This great company of personages, and the
+agreeable harmony of colour, make this window well worth a visit.
+
+Lowick Church does not have to rely alone upon its stained glass, but
+has many other attractions, such as its fine tombs, elaborately carved
+pew-heads, wooden ceiling, and last, but not least pleasing, the
+venerable prayer-books, dated 1724 and still in their original bindings,
+ornamented by coloured coats of arms on the covers. There are some
+heraldic panes along the south side of the chancel, but the chief
+interest for us is in the very fine series of sixteen personages
+originally forming a Decorated Tree of Jesse, but now stationed along
+the upper lights on the north side of the nave. The drawing is good and
+the colouring strong, with as yet no trace of stain, the frequent
+touches of yellow being of pot-metal glass. The four most westerly
+figures are kings, and the eastmost is a knight in full armour, his
+head, arms and legs being covered with chain-mail. In his hands he holds
+a model of the church, upon which can be distinctly seen these windows,
+thus clearly indicating that he was the donor.
+
+
+LICHFIELD
+
+There are few cathedrals in the world which, as one approaches, reveal
+themselves more charmingly than does Lichfield; here one feels an almost
+studied coquetry, disclosing new beauties at each stage of our advance.
+When viewed from a distance the three graceful spires, "The Ladies of
+the Vale," seem to beckon one on to a nearer view of the sanctuary over
+which they preside. On entering the town it is temporarily lost from
+view, only promptly to appear again, this time across the little pools
+which lie along the south side of the Close and which, aided by the
+green of the trees, provide so lovely a foreground and setting for the
+full-length picture of the great edifice. Again we lose it, and then the
+last revelation of all comes when one rounds the corner into the green
+Close and there bursts upon you the final and complete aspect of the
+glorious west front, brilliant in its red sandstone, adorned by its army
+of over 150 stone figures of prophets, saints, and English kings, a
+splendid fa�ade, impressively culminated by the towering spires that
+first signalled to us where we should find this lovely picture.
+Unfortunately for the cathedral, Bishop de Langdon, Treasurer of England
+under Edward I., by surrounding the Close with a wall and a fosse, made
+of it a stout fortress. Centuries after this very feature resulted most
+disastrously, for, during the Civil Wars, the military strength of its
+position caused it to sustain three successive sieges. Of these the
+first was the most disastrous, for, when the Roundheads broke in after a
+three days' assault, they revenged the death of their leader, Lord
+Brooke, first upon the Royalist defenders, and next upon the cathedral
+itself, wrecking and destroying ancient tombs, stalls, &c., and, of
+course, the old glass. In addition to their work of destruction they
+carried off all that had been left by Henry VIII.'s Commissioners of the
+rich offerings brought by devout pilgrims to the shrine of St. Chad. To
+this same Lord Brooke Sir Walter Scott pays his respects in the lines
+telling how Lord Marmion's body was brought
+
+     "To moated Lichfield's lofty pile;
+     And there, beneath the southern aisle,
+     A tomb, with Gothic sculpture fair,
+     Did long Lord Marmion's image bear,
+     (Now vainly for its sight you look;
+     'Twas levelled when fanatic Brook
+     The fair cathedral stormed and took;
+     But thanks to Heaven and good St. Chad,
+     A guerdon meet the spoilers had!)"
+
+The interior is of modest dimensions, and is elaborately decorated, the
+richly carved capitals, &c., giving us indications of how gorgeous it
+must all have been before it was looted. An interesting feature is the
+slight inclination of the choir northward from the axis of the nave,
+which is said to be symbolic of the inclination of Christ's head on the
+cross after death. At Troyes and at Quimper in France there is the same
+deviation in orientation and the same poetic explanation, but
+investigation reveals that it was caused by a change in the street line
+in the first instance, and in the other by the annexation of an existing
+chapel standing slightly north of the true axis.
+
+ [Illustration: LADY CHAPEL, LICHFIELD CATHEDRAL
+     Excellent example of Renaissance colouring, freer from applied
+     paint than then customary. This glass was brought from Belgium]
+
+Practically all of the ancient glass which originally adorned the
+embrasures has been destroyed; the north window of the north transept
+has some Early English work much restored, and on the east of the south
+portal of the south transept is a short lower window, in the central
+lancet of which is a richly dressed female figure with arms thrown about
+a cross. Just before entering the Lady chapel we remark two small
+three-lanceted windows, one on each hand, the one to the left having
+donors on each side, and in the middle St. Christopher carrying the
+infant Jesus. But it is to the seven most easterly windows of the Lady
+chapel that we must repair to see the famous Flemish glass, brought
+here in 1803, which is the cause of our visit. The dates which appear
+upon them run from 1534 to 1539, and they were originally made for the
+Abbey of Herckenrode, near Li�ge, Belgium, by Lambert Lombard--the
+earliest and best of those glaziers of the Low Countries who show the
+Italian influence. All are of three lancets, except the most westerly
+pair, which have six. The traceries above them are grouped in pyramids
+of trefoil openings, similar to some in the Lady chapel at Wells.
+The scenes are taken from the life of Christ, and there are as well
+portraits of certain benefactors of the Abbey. The composition as well
+as the grouping of the figures is not so crowded as in the slightly
+earlier (1527) glazing of King's College Chapel, Cambridge, or St.
+Margaret's, Westminster. The artist drew his personages on such a large
+scale that it is evident his work was planned for a more spacious
+interior--this chapel is so narrow that one cannot stand far enough
+away to get the full effect of the pictures. Although now in the fully
+developed picture epoch and passed beyond the conventional trammels of
+the canopy with its imitation stonework, the glazier is not forgetful of
+what his craft had learned during that period, for he has made agreeable
+use of architecture, notably as the background for the Last Supper in
+the east window. Even if the dates were not displayed in the usual
+sixteenth century continental fashion, we would have no difficulty in
+fixing them, not only because of the obviously Renaissance style of the
+architecture depicted, but also by reason of the general breadth and
+style of the treatment. Nor is it difficult to note the effect upon the
+artist of the Italian influence, coming as it did from a land where
+abundant sunshine makes it desirable that the illumination of the
+windows be somewhat reduced by the use of paint. Still, it is only
+fair to say that these particular windows contain much more than was
+then customary of glass coloured during the making and not painted
+afterwards. An excellent impression of the colour effect as a whole can
+be got if we retire to the central aisle of the nave and look east. Now
+the sides of the choir become a graceful frame for the three easterly
+windows. The upper part and the centre show an almost solid expanse of
+blue, while all the rest of the glass yields a golden grey, forming an
+excellent _ensemble_.
+
+Before leaving the town, admirers of English literature will do well
+to visit the house in which Dr. Samuel Johnson was born. It now
+appropriately serves as a museum wherein are exposed a number of
+manuscripts, pictures, and familiar objects in some way related to that
+great scholar. Although the worthy Doctor said that his fellow townsmen
+were "more orthodox in their religion, purer in their language, and
+politer in their manners than any other town in the Kingdom," one must
+be pardoned for taking _his_ opinion upon manners with a pinch of salt!
+
+
+GUILDFORD
+
+In England one is constantly coming upon manifestations only to be
+observed in a land whose civilisation and habits of life were long ago
+settled and have continued stable. One of the most interesting of these
+is the different methods adopted for perpetuating one's memory by a
+benevolent act toward the public--making it worth the public's while to
+act as trustee for the preservation of the said memory, so to speak! A
+very charming instance thereof is afforded by the buildings erected in
+Guildford by Archbishop Abbott in 1619 as a permanent home for ten
+elderly men and eight elderly women, all presided over by a Master:
+according to the fashion of the times it was styled Bishop Abbott's
+Hospital. Built on North Street in the quadrangular form so reminiscent
+of an Oxford or Cambridge college, the rich plum-colour which age has
+lent to the brick needs only the primly demure assistance of the formal
+flower beds to make the altogether charming enclosure which we see
+to-day. Entering this tranquil and ancient quadrangle one seems suddenly
+whisked by some magic wand far from the twentieth century world
+outside. The elderly resident of the establishment who escorts one about
+the premises descants upon each admirable detail in measured phrase that
+is pleasantly appropriate to the ancient flavour of the scene. One is
+shown the old dining-room below and the library above, both of which
+retain their Elizabethan panelling on the walls and the carved
+overmantels, together with much of the original furniture. The large
+table in the library is an interesting piece, the lumpy adornment of its
+legs reminding one of the puffed sleeves and trunk hose then affected by
+gentlemen, while the rail running along the floor and connecting the
+legs prevents us from forgetting that rushes then strewed the floor, and
+that these rails were used to provide a convenient place to put the
+feet. The most interesting part of the building is the small square
+chapel which forms the north-east corner of the quadrangle. It is
+lighted by two large windows dating from the end of the Renaissance
+period (1621) and contemporary with the chapel they adorn. They are
+unusually agreeable examples of the day when colour was applied to glass
+by enamelled painting. The serious technical defect of that method (the
+tendency of the enamel to peel off) is here noticeable in several spots,
+but not to such an extent as to impair seriously their decorative value.
+Of these two ample embrasures, the easterly one is the larger, having
+five lancets surmounted by elaborate tracery lights, while its neighbour
+in the north wall has but four lancets with traceries of more modest
+design. All these lancets contain scenes taken from the life of Jacob,
+the four to the north show Rachel's subterfuge to obtain for Jacob the
+parental blessing that should have been Esau's, while the five easterly
+ones set forth Jacob's dream, and the trick played upon him by Laban in
+substituting Leah for Rebecca, together with Jacob's retaliation by
+marking the cattle. Remark Esau shaking his fist at Jacob for stealing
+his blessing; the solidity of the stairway in Jacob's dream; the unusual
+number of animals shown in all the scenes. There should also be observed
+the very elaborate treatment of the eastern traceries. An examination of
+the outside of these windows indicates that they were probably brought
+from some other edifice, for the wall seems to have been cut away to
+provide sufficient room for them.
+
+ [Illustration: BISHOP ABBOTT'S HOSPITAL, GUILDFORD
+     Charming and complete glazing of a small chapel. Renaissance
+     glass coloured by the process of enamelling, often
+     unsatisfactory because bits are apt to peel off]
+
+
+GATTON
+
+It is not uncommon in England to find the chapel attached to the manor
+house of an estate used as a parish church for the neighbourhood. This
+is true of the family chapel at Gatton Park, Surrey, just north of
+Redhill, off the road leading to London. This chapel stands close to the
+mansion, and is connected with it by a passage. Finer carved wood than
+the wainscotting of this small interior is far to seek. The wooden
+pulpit, too, is of skilful workmanship, and together with the panelling,
+is said to have come from Germany, and to be the work of Albrecht D�rer;
+its beauty is certainly due to some great craftsman, if not to this very
+man. The principal illumination of the narrow edifice is derived from
+two large windows, one over the altar at the east end and the other of
+similar size in the south wall; there is none in the north one. Both
+these embrasures are glazed with Renaissance work of considerable
+excellence; the one to the east dates from about 1500, and the southerly
+one from about eighty years later. This latter, as is to be expected,
+shows a liberal use of enamel painting, something entirely absent in
+the earlier one, and each of its three lancets contains a different
+subject, against elaborate landscape backgrounds. The delicately
+outlined trees in the extreme distance are drawn upon a white field
+instead of upon the light blue then used in France. Such architecture as
+appears in the design is, of course, Renaissance. Across the whole of
+the easterly window is stretched one large picture, the "Eating of the
+Passover," which is pleasantly brightened by the golden staves held by
+the figures who, with their raiment girded up and their feet shod by
+sandals, carry out to the full the Mosaic law, "And thus shall ye eat
+it; with your loins girded, with shoes on your feet and your staff in
+your hand; and ye shall eat it in haste; it is the Lord's Passover"
+(Exodus xii. 2).
+
+When about to leave this beautifully panelled charmingly glazed
+interior, note the small window in the west wall of the entrance
+vestibule. It is of a domestic type familiar during the Perpendicular
+epoch. In the centre are the arms of Henry VII. between two supporters.
+Across the quarry background are bands slanting from the left down to
+the right bearing the motto, "Honi soit qui mal y pense." Some of the
+quarries show small leaves, and others an H surmounted by a crown. This
+window is similar in style to those already remarked at Salisbury, in
+John Halle's hall, and others maybe seen in many private houses dating
+from that time.
+
+Although of modest size and possessing but two windows, Gatton Chapel is
+as delightful a bit of complete Renaissance glazing as one will see in
+England.
+
+
+KNOLE
+
+East and west across almost the whole width of Kent run three parallel
+lines of low hills affording many charming views which, however, are
+only part of the many beauties of that picturesque county. Upon the
+easterly end of one of these ridges lies Sevenoaks. Although the present
+town is by no means an ancient one, it possesses great interest in that
+just below its edge lies the large estate of Knole Park which, if we may
+play upon words, is a series of knolls that together with their
+intersecting glades are shaded by groves of great beeches whose soft
+green foliage has for many a long day sheltered the herds of deer
+wandering to and fro beneath them. Upon an eminence of greater size than
+its fellows stands the ancient dwelling known as "Knole," a great series
+of courts and quadrangles combined into an abode of such size that it is
+said to contain, in addition to its superb state apartments, no fewer
+than 365 bedrooms. Enclosed within a wide sweeping battlemented wall are
+charming old-world gardens that nestle about the ancient grey mansion,
+and soften by their dainty setting of variegated flowers, green lawns
+and trees, the fortress-like appearance of its towers and long stretches
+of stone enclosure. Thanks to a fine combination of patriotism and
+hospitality so often seen in England, a large portion of this house is
+(upon payment of a trifling fee) thrown open to the study and
+appreciation of the public on the afternoons of Thursday and Saturday
+(2-5), as well as all day Friday (10-5). It is because it can be so
+conveniently seen by our glass-hunting pilgrim (owing to the generosity
+of the owners and the fact that it is under an hour by train from
+Charing Cross, London) that Knole has been selected to illustrate in how
+decorative a fashion the sixteenth century glazier could spread the gay
+tints of heraldic story upon his windows. Here can also be remarked one
+or two other minor manifestations of stained glass at that time. One of
+these is to be seen in the first stairway up which visitors are
+conducted. Upon some of its diminutive diamond-shaped panes are
+enamelled armorial crests, much in vogue at the end of the sixteenth
+century and the beginning of the following one. On one of these little
+panes in the chapel of Lullingstone Castle near here appears the date
+1612: these on the Knole staircase are of about the same date. This
+house was long the property of the See of Canterbury; perhaps the
+pilgrim may have one of the rare opportunities to visit the bedroom so
+long occupied by Archbishop Cranmer and observe in the upper lights of
+the bay window the six large ovals containing coats of arms in enamel,
+bits of which have peeled off, as is so often the case with this method
+of applying colour. How mystified that worthy ecclesiastic would be to
+see the modern bathroom which now opens into his old bedroom! While
+speaking of Canterbury, it is of interest that we are enabled to date
+one of the Knole towers by the fact that a morsel of glazing high up in
+the traceries of one window (all that is left of the original equipment)
+bears a double knot, the insignia of Archbishop Bourchier, thus proving
+that it is at least as old as his tenancy here (1456-86). But let us
+come to the main reason for our visit--the Cartoon Gallery. Named after
+the set of Raphael's cartoons especially copied for Charles I., and by
+him presented to the Earl of Dorset to decorate these walls, this long
+room is brilliantly lighted by a series of windows giving off upon the
+delightful gardens. This is no place to dwell upon the sumptuous silver
+furnishings of King James' bedroom that opens out to the south, nor of
+the treasures of English portraiture in the rooms through which we have
+come to this gallery. We are here to enjoy the work of the glazier who
+set upon the windows the arms of the great houses allied to this one by
+marriage. One after another they unfold themselves all along the upper
+lights of this series of embrasures, and tell their story in a far more
+brilliant manner than can ever be attained by any musty tome on
+genealogy. This estate was more than once the property of the Crown, and
+an evidence of one of these periods is provided by the appearance on
+some of the westerly windows of the arms of certain Law Officers of the
+Crown, such as the Lord Chief Justice, Attorney-General, Chief Baron of
+the Exchequer, Master of the Requests, Judge of Admiralty, &c. These are
+somewhat earlier than those first mentioned and are freer from the
+unfortunate enamel painting.
+
+Taking into consideration the dimensions of this superb apartment, and
+the paintings and glass that adorn it, together with the pleasing
+outlook upon the gardens below, it is doubtful if a more impressive
+gallery is to be found in any of the stately homes of England.
+
+The chapel, which was built by Archbishop Cranmer, has an unpleasantly
+smeared east window, but upon its surface high up are a series of
+Apostles done in grey and stain which, if brought down to the level for
+which they were originally intended, would show themselves to be very
+attractive. At the south end of the little gallery used as the "Family
+Pew" are a group of about a dozen scenes in grey and stain of excellent
+execution, and so placed as to permit of a satisfactory examination of
+this agreeable form of Renaissance glass-painting.
+
+       *       *       *       *       *
+
+If one be travelling by bicycle or automobile, a pleasant addition to
+this trip may be made, on the way back to London, by taking one small
+_d�tour_ of about ten miles to visit Nettlestead, and another of about
+three to West Wickham Church. The glass at both these places is
+Perpendicular, but not of sufficient importance to have made them
+stations on that tour. However, they can be so conveniently seen at this
+stage of our rambles that they are here duly mentioned. It is only
+recently that, thanks to the skilful heraldic researches of W. E. Ball,
+LL.D., the date of the Nettlestead windows has been discovered, as well
+as the significance of the many coats of arms scattered over them.
+Recent restoration has made complete the glazing of the entire north
+side and also of the east window. Note the narrow one at the north of
+the small chancel--quarry background with a large figure standing on a
+bracket, very reminiscent of sundry prototypes at St. Neot in Cornwall.
+The other windows on this side (except the westmost) are rich, almost
+florid examples of the elaborated canopy style. Indeed, so deep are the
+tones that one is tempted to suspect that some Frenchman had a hand in
+their manufacture. The smaller chancel light just noted is much lower
+in colour and therefore more typical of the then prevailing English
+taste. This is also true of the westmost or "Becket window," as it is
+called, because it shows scenes from that martyr's life. The south
+windows retain their original glass only in the tracery lights, but it
+is planned to reglaze them as nearly as possible like those on the north
+side. Nettlestead Church is not easily noticed from the road because of
+some farm buildings and an orchard which mask it.
+
+If, when we resume our journey Londonward, it be decided to take a peep
+at the West Wickham glass, one should be careful not to overshoot the
+church, for it lies at least a half-mile nearer the London road than
+does the village whose name it bears. The embrasures on the north and
+east of a chapel opening off the chancel contain examples of a saint
+standing on a bracket against a quarry background, which we have just
+observed in the Nettlestead chancel light and also on a former tour at
+St. Neot. The quarries here each bear the monogram "I.H.S." in stain.
+The supports below the brackets are shorter than is customary. What
+painstaking care was used in the manufacture of these windows is
+revealed by an examination of the central one on the north side, bearing
+the familiar figure of St. Christopher carrying the infant Jesus.
+Notice that the little pool of water in which he stands contains small
+golden fishes; also remark the careful leading of the three tiny red
+trees in the background. This very attention to detail noticeable in all
+the panels has much to do with the satisfactory effect of these windows.
+
+
+
+
+ITINERARIES
+
+SHOWING DISTANCES IN MILES
+
+
+EARLY ENGLISH
+
+(84 miles from London) Salisbury--125--Canterbury--180--Lincoln--135
+--York (197 miles to London)
+
+DECORATED
+
+(197 miles from London) York--84--Norbury--62--Shrewsbury--29--Ludlow
+--24--Hereford--28--Tewkesbury--4--Deerhurst--42--Bristol--20--Wells
+--63--Exeter--130--Dorchester--12--Oxford (54 miles to London)
+
+PERPENDICULAR
+
+(54 miles from London) Oxford--27--Fairford--8--Cirencester--17--
+Gloucester--27--Great Malvern--2--Little Malvern--20--Ross--60--
+Warwick--10--Coventry--128--York (197 miles to London)
+
+Salisbury (84 miles from London)
+
+Winchester (68 miles from London)
+
+St. Neot (257 miles from London)
+
+
+RENAISSANCE
+
+London--53--Cambridge--103--Lichfield--41--Shrewsbury (154 miles to
+London)
+
+(28 miles from London) Guildford--23--Gatton--20--Knole (24 miles to
+London)
+
+
+
+
+LIST OF TOWNS
+
+SHOWING DISTANCES FROM LONDON
+
+
+ MILES FROM
+ LONDON                                                PAGE
+
+ 119 Bristol             Decorated                     107
+  53 Cambridge           Renaissance                   223
+  56 Canterbury          Early English                  36
+  52 Chartham            Decorated                      49
+  90 Cirencester         Perpendicular                 154
+  91 Coventry            Perpendicular                 181
+ 100 Deerhurst           Decorated                     104
+  42 Dorchester          Decorated                     124
+ 169 Exeter              Decorated                     120
+  83 Fairford           {Perpendicular                 148
+                        {Renaissance                   148
+  18 Gatton              Renaissance                   239
+ 102 Gloucester          Perpendicular                 158
+ 117 Great Malvern      {Perpendicular                 166
+                        {Decorated                     166
+  28 Guildford           Renaissance                   236
+ 131 Hereford            Decorated                      96
+  24 Knole               Renaissance                   242
+  91 Levrington          Perpendicular                 228
+ 117 Lichfield           Renaissance                   230
+ 135 Lincoln             Early English                  51
+ 120 Little Malvern      Perpendicular                 172
+  -- London              Renaissance                   216
+  75 Lowick              Decorated                     228
+ 150 Ludlow             {Decorated                      92
+                        {Perpendicular                  92
+  30 Margaretting        Perpendicular                 228
+  32 Nettlestead         Perpendicular                 246
+ 136 Norbury             Decorated                      82
+  54 Oxford              Decorated                     129
+  54 Oxford              Perpendicular                 142
+ 118 Ross                Perpendicular                 174
+ 257 St. Neot            Perpendicular                 203
+  84 Salisbury           Early English                  30
+  84 Salisbury           Perpendicular                 192
+                        {Decorated                      85
+ 154 Shrewsbury         {Perpendicular                  85
+                        {Renaissance                    85
+ 103 Tewkesbury          Decorated                     100
+  92 Warwick             Perpendicular                 177
+ 121 Wells               Decorated                     114
+  17 West Wickham        Perpendicular                 247
+  32 Willesborough       Decorated                      49
+  68 Winchester          Perpendicular                 195
+ 197 York                Early English                  57
+ 197 York                Decorated                      76
+ 197 York                Perpendicular                  58
+
+
+
+
+STAINED GLASS TOURS IN ENGLAND
+
+ _With 16 Full-page Illustrations_
+ BY C. H. SHERRILL
+ Demy 8vo. (9 � 5-3/4 ins.)
+ Price 7s. 6d. net. Postage 6d. extra
+
+
+_Spectator_: "Mr. Sherrill has written a book which not only proves him
+to be a true lover of medi�val glass, but proves also his enlightened
+comprehension of its evolution and its changing style.... A pleasant and
+entertaining instructor."
+
+_Sunday Times_: "The illustrations are delightful, and successfully
+capture the blended notes of opulence and beauty which the medi�val
+designers threw into their work."
+
+_Daily Telegraph_: "Mr. Sherrill leads his fellow-travellers by
+delightful paths.... He is a model guide, and all his illustrations are
+to the point. It is difficult to imagine how any instructor could pack
+more fruitful information into a smaller or more attractive parcel."
+
+_Morning Post_: "Is well written, and in a style which shows that the
+author really feels the attraction of the art he describes."
+
+_Daily Chronicle_: "A distinct triumph to write a book of 250 pages on a
+restricted though very beautiful subject, and never become monotonous;
+this is the triumph Mr. Sherrill has achieved. A really delightful
+volume."
+
+_Literary World_: "All who care for beautiful handiwork, and all
+interested visitors to our old cathedrals, colleges, and churches,
+should possess themselves of this charming book.... The illustrations
+are extremely good."
+
+_Western Morning News_: "The author describes the beauties he has seen
+in a most interesting style, and with exceedingly good taste. This
+volume deserves unstinted praise."
+
+JOHN LANE, THE BODLEY HEAD, VIGO STREET, LONDON, W.
+
+
+
+
+STAINED GLASS TOURS IN FRANCE
+
+ _With Illustrations_
+ BY C. H. SHERRILL
+ Crown 8vo. 6s. net
+
+
+_The Builder_: "A very well-written book, with a very good �sthetic
+perception as to what is best and most to be admired in ancient stained
+glass."
+
+_The Antiquary_: "A well-qualified guide for all who can appreciate the
+loveliness of the old glass in which France is still so rich."
+
+ROGER FRY in _The Burlington Magazine_: "He has really looked, and
+looked lovingly, at the windows he describes. His knowledge is evidently
+adequate, and he rearranges it in a form which he who automobiles may
+read."
+
+_Westminster Gazette_: "Useful and interesting. Mr. Sherrill gives
+just enough information to enable the lay reader to understand the
+difficulties with which the artist in coloured glass had to contend.
+Moreover, he has the eloquence of a true enthusiast, and is able to
+communicate to others his own delight."
+
+_Pall Mall Gazette_: "Exceedingly useful. A work showing much industry,
+enthusiasm, and good taste, it is a really valuable supplementary volume
+to one's Murray or Baedeker. The author has excellent taste."
+
+_Morning Post_: "Mr. Sherrill does feel very sincerely the beauty of
+stained glass, and is able to communicate his feeling in writing. Mr.
+Sherrill pilots us on a pleasant cruise among some of the greatest of
+the French examples of the style."
+
+_British Architect_: "The writer manages to say a good many interesting
+things. Mr. Sherrill's book is written in a most interesting style."
+
+_Architectural Review_: "A useful book. Mr. Sherrill has an acute
+appreciation of the important relationship between the glass and the
+surrounding architecture, and he has brought the fresh mind of the
+amateur to his subject."
+
+JOHN LANE, THE BODLEY HEAD, VIGO STREET, LONDON, W.
+
+
+
+
+TRANSCRIBER'S NOTE:
+
+Minor changes have been made to correct typesetters' errors; otherwise,
+every effort has been made to remain true to the author's words and
+intent.
+
+
+
+
+
+End of the Project Gutenberg EBook of Stained Glass Tours in England, by 
+Charles Hitchcock Sherrill
+
+*** END OF THIS PROJECT GUTENBERG EBOOK STAINED GLASS TOURS IN ENGLAND ***
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+<html xmlns="http://www.w3.org/1999/xhtml">
+  <head>
+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of Stained Glass Tours in England, by Charles Hitchcock Sherrill.
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of Stained Glass Tours in England, by 
+Charles Hitchcock Sherrill
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Stained Glass Tours in England
+
+Author: Charles Hitchcock Sherrill
+
+Release Date: January 2, 2011 [EBook #34818]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STAINED GLASS TOURS IN ENGLAND ***
+
+
+
+
+Produced by D Alexander and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+</pre>
+
+
+<div class="figcenter" style="width: 318px;">
+<img src="images/icover.jpg" width="318" height="500" alt="" title="" />
+</div>
+
+<hr class="large" />
+
+<h1>STAINED GLASS<br />
+TOURS IN ENGLAND</h1>
+
+<h3>BY CHARLES HITCHCOCK SHERRILL<br />
+WITH SIXTEEN ILLUSTRATIONS</h3>
+
+<p class="largegap">&#160;</p>
+
+<h3>LONDON: JOHN LANE, THE BODLEY HEAD<br />
+NEW YORK: JOHN LANE COMPANY: MCMX</h3>
+
+<hr class="large" />
+
+<p class="center">SECOND EDITION<br />
+<br />
+Printed by <span class="smcap">Ballantyne &amp;. Co. Limited</span><br />
+Tavistock Street, Covent Garden, London</p>
+
+<hr class="large" />
+
+<div class="centerbox bbox"><p class="center"><small><span class="smcap">By the Same Author</span></small></p>
+
+<p>STAINED GLASS TOURS<br />
+IN FRANCE. <small><span class="smcap">With</span></small><br />
+<small><span class="smcap">Numerous Illustrations.</span></small></p></div>
+
+<hr class="large" />
+<p><a name="Frontispiece" id="Frontispiece"></a></p><div class="figcenter" style="width: 500px;">
+<img src="images/i005.jpg" width="500" height="310" alt="KING&#39;S COLLEGE CHAPEL, CAMBRIDGE" title="" />
+<span class="caption">KING&#8217;S COLLEGE CHAPEL, CAMBRIDGE</span>
+</div>
+
+<hr class="large" />
+
+<p class="center"><small>TO</small><br />
+LEWIS F. DAY<br />
+<small>FROM ONE</small><br />
+<small>WHOM HE TAUGHT</small><br />
+<small>TO LOVE</small><br />
+<small>STAINED GLASS</small></p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2>FOREWORD</h2>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span>lthough the purpose of this book is the quest of windows, it happens
+that these very windows are so obligingly disposed throughout the length
+and breadth of England, and light such different sorts of edifices, that
+in the search of them we shall obtain a very comprehensive idea of
+English architecture. Not only shall we visit many noble cathedrals
+(Canterbury, York, Winchester, Wells, &amp;c. &amp;c.), and smaller religious
+edifices (Fairford, St. Neot, Norbury, &amp;c.), but we shall also see
+secular buildings of many types. In this latter category will be
+included both the great universities of Oxford and Cambridge, a civic
+guildhall (Coventry), an ancient hostel for the aged (Guildford), and
+one of the finest of the &#8220;stately homes of England&#8221; (Knole). Thus it
+will be seen that our tours are more broadly catholic than their title
+would indicate&mdash;indeed, we are tempted to <span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span>promise that by the time the
+pilgrim has completed them he will have obtained a well-rounded
+impression not only of glass, but also of the history as well as the
+ancient manners and customs of England. Unfortunately, no form of
+illustration can hope to reproduce the combination of light and colour
+which makes the beauty of stained glass; those selected for this book
+are the best obtainable, but are chiefly useful in showing how the
+windows are set. This is not a technical book, so scale-drawings would
+be out of place.</p>
+
+<p class="right"><span style="margin-right: 1.5em;">CHARLES HITCHCOCK SHERRILL.</span></p>
+
+<p><span style="margin-left: 1.5em;"><span class="smcap">20 East 65th Street,</span></span><br />
+<span style="margin-left: 5em;"><span class="smcap">New York City.</span></span><br />
+<span style="margin-left: 3em;"><i>March 1, 1909.</i></span></p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg ix]</a></span></p>
+<h2>CONTENTS</h2>
+
+<div class="centered">
+<table border="0" width="70%" cellpadding="1" cellspacing="1" summary="CONTENTS">
+
+<tr><td align="left">INTRODUCTION</td>
+<td align="right"><i><small>Page</small></i></td>
+<td align="right"><a href="#Page_1">1</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Tours</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_17">17</a></td></tr>
+
+<tr><td align="left">EARLY ENGLISH</td>
+<td align="right">&#160;</td>
+<td align="right"><a href="#Page_23">21</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Early English Tour</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_29">29</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Salisbury</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_30">30</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Canterbury</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_36">36</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Lincoln</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_51">51</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">York</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_57">57</a></td></tr>
+
+<tr><td align="left">DECORATED</td>
+<td align="right">&#160;</td>
+<td align="right"><a href="#Page_67">65</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Decorated Tour</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_75">75</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">York</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_76">76</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Norbury</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_82">82</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Shrewsbury</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_85">85</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Ludlow</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_92">92</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Hereford</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_96">96</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Tewkesbury</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_100">100</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Deerhurst</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_104">104</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Bristol</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_107">107</a></td></tr>
+
+<tr><td align="left"><span class='pagenum'><a name="Page_x" id="Page_x">[Pg x]</a></span><span style="margin-left: 2em;"><span class="smcap">Wells</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_114">114</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Exeter</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_120">120</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Dorchester</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_124">124</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Oxford</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_129">129</a></td></tr>
+
+<tr><td align="left">PERPENDICULAR</td>
+<td align="right">&#160;</td>
+<td align="right"><a href="#Page_137">135</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Perpendicular Tour</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_140">140</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Oxford</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_142">142</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Fairford</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_148">148</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Cirencester</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_154">154</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Gloucester</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_158">158</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Great Malvern</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_166">166</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Little Malvern</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_172">172</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Ross</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_174">174</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Warwick</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_177">177</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Coventry</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_181">181</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">York</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_185">185</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Salisbury</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_192">192</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Winchester</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_195">195</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">St. Neot</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_203">203</a></td></tr>
+
+<tr><td align="left">RENAISSANCE</td>
+<td align="right">&#160;</td>
+<td align="right"><a href="#Page_211">209</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Renaissance Tours</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_214">214</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">London</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_216">216</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Cambridge</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_223">223</a></td></tr>
+
+<tr><td align="left"><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg xi]</a></span><span style="margin-left: 2em;"><span class="smcap">Lichfield</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_230">230</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Guildford</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_236">236</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Gatton</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_239">239</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 2em;"><span class="smcap">Knole</span></span></td>
+<td align="left">&#160;</td>
+<td align="right"><a href="#Page_242">242</a></td></tr>
+
+<tr><td align="left">ITINERARIES</td>
+<td align="right">&#160;</td>
+<td align="right"><a href="#Page_251">251</a></td></tr>
+
+<tr><td align="left">LIST OF TOWNS</td>
+<td align="right">&#160;</td>
+<td align="right"><a href="#Page_253">253</a></td></tr>
+</table></div>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg xii]</a></span></p>
+<h2>LIST OF ILLUSTRATIONS<br /> AND MAPS</h2>
+
+<div class="centered">
+<table border="0" width="70%" cellpadding="1" cellspacing="1" summary="ILLUSTRATIONS">
+
+<tr><td align="left">&#160;</td>
+<td align="right"><small><i>To face</i></small><br />
+<small><i>page</i></small></td></tr>
+
+<tr><td align="left">Cambridge, King&#8217;s College Chapel</td>
+<td align="right"><span style="margin-right: 5em;"><small><i><a href="#Frontispiece">Frontispiece</a></i></small></span></td></tr>
+
+<tr><td align="left">General Map</td>
+<td align="right"><a href="#Illo1">19</a></td></tr>
+
+<tr><td align="left">Map of Early English Tour</td>
+<td align="right"><a href="#Illo2">29</a></td></tr>
+
+<tr><td align="left">Canterbury, &#8220;Becket&#8217;s Crown&#8221;</td>
+<td align="right"><a href="#Illo3">38</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Thirteenth century medallions; notice circular and other forms
+enclosing the figures. The heavy iron bars needed to support
+the great weight of lead are skilfully adjusted to the design.
+The world-famous shrine stood in the centre of this space. Tomb
+of Black Prince in foreground, and above it armour he wore at
+Cr&eacute;cy.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Lincoln, Rose Window</td>
+<td align="right"><a href="#Illo4">56</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Tracery unusual in that it does not radiate from centre.
+Quantity of greenish grisaille used emphasises leaf-like
+design. Thirteenth century medallions in the tall lancets
+below.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">York Minster, &#8220;Five Sisters&#8221;</td>
+<td align="right"><a href="#Illo5">62</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Softly toned grisaille, with delicate patterns in faint colour.
+Of its type unsurpassed in the world. Note difference between
+mellow strength of this glass and thinness of modern glazing in
+upper tier of lancets.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Map of Decorated Tour</td>
+<td align="right"><a href="#Illo6">75</a></td></tr>
+
+<tr><td align="left"><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[Pg xiii]</a></span>York Minster, Chapter-House</td>
+<td align="right"><a href="#Illo7">78</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Note the grouping together in each embrasure of five narrow
+lights below gracefully elaborated tracery openings. Later on,
+in the Perpendicular period, these traceries lose their
+individuality, become stiffly regular, and part of the window
+below.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Tewkesbury Abbey, Choir</td>
+<td align="right"><a href="#Illo8">103</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">A rare example of rounded apse, generally replaced in England
+by a square-ended chancel. Chief charm of these windows is
+their rich colouring.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Wells, &#8220;Golden Window&#8221;</td>
+<td align="right"><a href="#Illo9">119</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Notice graceful setting, permitting a glimpse through into the
+Lady chapel beyond. The large Tree of Jesse, rising from the
+loins of the patriarch, is portrayed in colours of almost
+barbaric richness.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Exeter, East Window</td>
+<td align="right"><a href="#Illo10">122</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Perpendicular stone frame, glazed chiefly with very typically
+decorated figure-and-canopy glass preserved from the earlier
+and smaller window. Below and beyond appears the Lady chapel.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Map of Perpendicular Tour</td>
+<td align="right"><a href="#Illo11">141</a></td></tr>
+
+<tr><td align="left">Oxford, New College Antechapel</td>
+<td align="right"><a href="#Illo12">145</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Transition window, presented by William of Wykeham, Founder of
+the College. Stone frames are already Perpendicular: note the
+&#8220;pepper-box&#8221; tracery lights. The glazing, as usual, lags behind
+the architecture, and, because of its strong colour and flat
+drawing, is more Decorated than Perpendicular.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Gloucester, Choir</td>
+<td align="right"><a href="#Illo13">162</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Great east window commerative of knights
+who fought at Cr�cy. Backgrounds of pink and soft blue. Tracery lights no longer
+differentiated from window below, as during Decorated period. Note elaborate masking
+of earlier walls by later Perpendicular work.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left"><span class='pagenum'><a name="Page_xiv" id="Page_xiv">[Pg xiv]</a></span>Coventry, Guildhall</td>
+<td align="right"><a href="#Illo14">182</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Splendid row of ancient English kings, and, below, a great
+tapestry. In the centre of the window, and again on the
+tapestry, appears Henry VI., who was a member of the guild.
+Handsome example of medi&aelig;val hall.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">York Minster, East Window</td>
+<td align="right"><a href="#Illo15">188</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Tremendous sheet of colour, 78 by 32 feet. Lower half of stone
+frame built in a double plane, and carries a gallery across
+face of the glass.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Winchester, Nave</td>
+<td align="right"><a href="#Illo16">200</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">The excellent effect produced by the Fifteenth Century
+fragments with which this window is glazed proves that colour
+is more important than design in glass. Note swerving to right
+and left of two principal mullions, thus relieving a monotony
+of upright lines.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Map of Renaissance Tours</td>
+<td align="right"><a href="#Illo17">214</a></td></tr>
+
+<tr><td align="left">London, St. George&#8217;s, Hanover Square</td>
+<td align="right"><a href="#Illo18">220</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">A Renaissance Tree of Jesse from Belgium, readjusted to fit its
+new embrasures. Figures unusually large for this subject. Fine
+colours and drawing.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Lichfield, Lady Chapel</td>
+<td align="right"><a href="#Illo19">232</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Excellent example of Renaissance colouring, freer from applied
+paint than then customary. This glass was brought from Belgium.</div></td>
+<td align="right">&#160;</td></tr>
+
+<tr><td align="left">Guildford, Bishop Abbott&#8217;s Hospital</td>
+<td align="right"><a href="#Illo20">238</a></td></tr>
+
+<tr><td align="left"><div class="blockquot2">Charming and complete glazing of a small chapel. Renaissance
+glass coloured by the process of enamelling, often
+unsatisfactory because bits are apt to peel off.</div></td>
+<td align="right">&#160;</td></tr>
+
+</table></div>
+
+<hr class="large" />
+
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg 1-3]</a></span></p>
+<h1>STAINED GLASS TOURS<br />
+: : IN ENGLAND : :</h1>
+
+<h2>INTRODUCTION</h2>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">T</span>he errand of a window seems always to have been that of beauty,
+although it has more than one way of performing that service. Sometimes
+it seems to have chosen the inspiring manner of recalling ancient wars,
+as would appear from the &#8220;Dreme&#8221; of Chaucer:</p>
+
+<div class="centerbox2 bbox2"><p>&#8220;And sooth to sayn, my chamber was<br />
+Full well depainted, and with glass<br />
+Were all the windows well y-glazed<br />
+Full clear, and not an hole y-crazed,<br />
+That to behold it was great joy:<br />
+For wholly all the story of Troy<br />
+Was in the glazing y-wrought thus,<br />
+Of Hector, and of King Priamus;<br />
+Of Achilles, and of King Laomedon,<br />
+And eke of Medea, and of Jason;<br />
+Of Paris, Helen, and of Lavine.&#8221;</p></div>
+
+<p>Sometimes the errand is that of beauty alone, so &#8220;mystic, wonderful,&#8221; as
+to make it seem that magic <span class='pagenum'><a name="Page_4" id="Page_4">[Pg 4]</a></span>was invoked to yield so fair a result. In
+his &#8220;Earthly Paradise&#8221; Morris voices this feeling:</p>
+
+<div class="centerbox3 bbox2"><p>&#8220;Folk say, a wizard to a northern king<br />
+At Christmastide such wondrous things did show,<br />
+That through one window men beheld the spring,<br />
+And through another saw the summer glow,<br />
+And through a third the fruited vines a-row,<br />
+While still, unheard, but in its wonted way,<br />
+Piped the drear wind of that December day.&#8221;</p></div>
+
+<p>Again, the errand of the window may have been not so much that of a
+story-teller, nor of a beautiful object to regale one&#8217;s eyes withal, but
+rather to tint and temper the illumination of some holy place like that
+described in the &#8220;Lay of the Last Minstrel&#8221; (Canto XI.):</p>
+
+<div class="centerbox4 bbox2"><p>&#8220;The silver light, so pale and faint,<br />
+Show&#8217;d many a prophet and many a saint,<br />
+Whose image on the glass was dyed;<br />
+Full in the midst, his Cross of Red<br />
+Triumphant Michael brandished,<br />
+And trampled the Apostate&#8217;s pride.<br />
+The moonbeam kissed the holy pane,<br />
+And threw on the pavement a bloody stain.&#8221;</p></div>
+
+<p>Beyond the enjoyment and artistic refreshment to be obtained from the
+contemplation of stained glass, who shall say that we do not receive
+other benefits, the nature of which are as yet undiscovered? It is only
+recently that our learned brothers, the scientists, have acquainted us
+with the helpful qualities of those <span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span>rays of light which, in the
+language of the spectrum, are &#8220;out beyond the violet.&#8221; In this
+connection, it may be edifying to quote from the &#8220;Anecdotes and
+Traditions&#8221; of Aubrey: &#8220;The curious oriental reds, yellows, blews, and
+greens in glasse-painting, especially when the sun shines, doe much
+refresh the spirits. After this manner did Dr. R. revive the spirits of
+a poor distracted gentleman, for whereas his former physitian shutt up
+his windows and kept him in utter darknesse, he did open his window
+lids, and let in the light, and filled his windows with glasses of
+curious tinctures, which the distempered person would always be looking
+on, and it did conduce to the quieting of his disturbed spirits.&#8221;
+(Aubrey in &#8220;Anecdotes and Traditions,&#8221; edited for the Camden Society by
+W. J. Thomas, p. 96.)</p>
+
+<p>Nor is this the only <i>terra incognita</i> still awaiting exploration.
+During some recent French experiments wide differences have been
+observed in the same kind of vegetable when grown under differently
+coloured glass covers. However, these are matters that will not be
+&#8220;dreamed of in our philosophy&#8221;&mdash;our investigations will be confined to a
+geographical search for that with which to delight our eyes.</p>
+
+<p>When one pauses to consider how fragile the beauty of a stained glass
+window, it becomes amazing that even so much as we can now visit has
+survived. Over every European country there has, at one time <span class='pagenum'><a name="Page_6" id="Page_6">[Pg 6]</a></span>or
+another, swept a wave of destruction engulfing things artistic. The
+causes for, as well as the agents of, this iconoclasm, differ widely.
+Sometimes it comes from within, and is the result of civil war or of
+religious fanaticism&mdash;less often it is the result of foreign invasion.</p>
+
+<p>English windows had the good fortune to escape the destruction by
+foreigners which the French had to suffer during those dreadful
+fourteenth and fifteenth centuries when the Hundred Years&#8217; War outlasted
+its title, and when the hot-headed Plantagenet kings kept France
+continually plagued with English soldiery. Although we must record this
+particular immunity, other agencies equally baleful were at work. The
+Puritans made a practice of smashing stained glass, either because they
+regarded it as one of the hated insignia of popery (some of their
+ministers even knocking out the glass in churches under their own
+charge, like &#8220;Blue Dick&#8221; Culmer at Canterbury Cathedral), or for reasons
+of revenge, as in the case of the troops infuriated by the death of
+their leader in the assault upon Lichfield. Dwellers within the
+precincts of Lincoln made a common practice of shooting with crossbows
+at the windows! At Great Malvern the possible excuse of crossbow
+practice is missing; the villagers quite simply amused themselves by
+throwing stones at the great east window, just from the sheer joy of
+<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 7]</a></span>destruction. In some instances, even the mitigating circumstances of
+religious fanaticism, revenge, competitive sport, or even amusement are
+entirely lacking. Aubrey tells us in his &#8220;History of Surrey,&#8221; that &#8220;At a
+later date, one Blesse was hired for half-a-crown a day to break the
+painted glass windows of Croydon.&#8221; Little wonder is it that the citizens
+of York should have voted Fairfax, the leader of the Roundheads, a tun
+of wine, &amp;c., in reward for his protecting care of the cathedral after
+he and his soldiers had captured that city.</p>
+
+<p>In an earlier book (<a href="https://www.gutenberg.org/ebooks/34772">&#8220;Stained Glass Tours in France&#8221;</a>) we observed that
+French windows divided themselves into periods which were practically
+coterminous with the centuries, thus enabling us to designate the styles
+by their century number. In England the development of this craft
+brought about the style-changes at irregular dates; but here also the
+steps of this development are so marked as to separate it into distinct
+epochs. English glass follows its architecture so closely that one
+cannot do better than to accept the period-designation of the latter,
+and especially is this true during the so-called Decorated and
+Perpendicular epochs. For our purpose we will therefore use the
+following sub-divisions: Early English, which will include all the glass
+prior to 1280; Decorated, 1280 to 1380; Perpendicular, 1380 to 1500;
+Renaissance (sometimes styled <span class='pagenum'><a name="Page_8" id="Page_8">[Pg 8]</a></span>sixteenth century or Cinque Cento), 1500
+to 1550. There are extremely few examples of the first and of the last
+schools, in marked contrast to the great wealth in France of windows
+contemporary thereto. Edward I. came to the throne in 1272, and it was
+during his reign that the Decorated period began, running through the
+reigns of Edward II. (1307), Edward III. (1327), and Richard II.
+(1377)&mdash;all of them Plantagenets. This and the succeeding period
+produced very little glass anywhere in France, because of the Hundred
+Years&#8217; War, begun 1337, lasting until 1447, and waged throughout the
+length and breadth of the land. The exact opposite is true in England,
+where during the Decorated and Perpendicular epochs it reached its
+greatest importance and beauty. The Perpendicular period begins in 1380,
+shortly before Richard II., the last of the Plantagenets, was succeeded
+by the representatives of the rival Houses of Lancaster and York, three
+Lancastrians, Henry IV., V., and VI. (1399), (1413), (1422), being
+succeeded by three Yorkists, Edward IV. (1461), Edward V. (1483), and
+Richard III. (1483). This Perpendicular period came to an end at just
+about the same time as that tremendous civil struggle, the War of the
+Roses, was concluded by the accession of the House of Tudor, in the
+person of Henry VII. (1485). Our Renaissance glass period begins under
+him and lasts on through <span class='pagenum'><a name="Page_9" id="Page_9">[Pg 9]</a></span>practically all the reigns of the House of
+Tudor&mdash;Henry VIII. (1509), Edward VI. (1547), Mary (1553), Elizabeth
+(1558). At the time that the Tudors were succeeded by the Stuarts (James
+I., 1603), there was hardly any English glass being manufactured, save a
+little for domestic use, although many Dutch glaziers were then active
+in this country, as we shall regretfully observe when we visit Oxford
+and Cambridge.</p>
+
+<p>It is clear from many an entry in ancient English church archives that
+French glaziers were often in the early days summoned across the
+Channel, and that it is to them that we owe the beginning of English
+glass; but we shall see that although it owes its origin to this foreign
+assistance, it developed along distinctly original lines, and that
+therefore the English glaziers deserve full credit for the charming
+traits peculiar to them.</p>
+
+<p>Although the period styled Early English has left comparatively few
+examples north of the Channel, and cannot hope to vie with the many and
+rich displays of mosaic glass to be seen in France, we shall be greatly
+consoled by the splendid grisaille (or uncoloured glazing) that fills
+the &#8220;Five Sisters&#8221; at York, and by the remains of the great series at
+Salisbury. We have just referred to the scarcity of French stained glass
+during the fourteenth and fifteenth centuries, those sorry days during
+which <span class='pagenum'><a name="Page_10" id="Page_10">[Pg 10]</a></span>the English occupation of a large part of the country, repeated
+plagues, and uprisings of the lower classes against the nobles (like the
+Jacquerie), vied with each other in the work of devastation. Indeed, it
+is not strange that any art so dependent upon the fostering care of a
+luxury-loving class should have been entirely superseded by the sterner
+requirements of self-defence, to say nothing of the repairs necessitated
+by the ravages of war, pestilence, and famine. Those two centuries, so
+dreadful to France and so discouraging to French glaziers, produced in
+England the greatest flowers of this craft. It is, therefore, clear that
+if one wishes to obtain a comprehensively consecutive knowledge of
+stained glass on both sides of the Channel, he must leave France and
+cross over to England when the thread of his studies has obtained so far
+as the Decorated and the Perpendicular. When, however, he reaches the
+sixteenth century he must return to France, to revel in the wealth of
+Renaissance glass so wofully lacking in England.</p>
+
+<p>After one has observed a sufficient number of windows to provide a basis
+for comparisons, it becomes easy to tell not only the epoch to which
+they belong, but also, in most instances, whether they are early or late
+in that epoch. In England one is assisted by an unusual amount of
+reliable information from two sources, viz., old records and heraldic
+<span class='pagenum'><a name="Page_11" id="Page_11">[Pg 11]</a></span>indications from the coats of arms which are so often displayed. There
+is so little sixteenth century glass in this country as to give but
+small opportunity to observe the characteristic Renaissance custom of
+placing the dates on the picture itself, which was then common in
+France. Of earlier windows, however, English records and a knowledge of
+heraldry give us the dates of many more than are obtainable for their
+contemporaries in France. By way of example, the original contracts date
+the glass at Beauchamp Chapel, Warwick, 1447; at King&#8217;s College,
+Cambridge, 1527; at York, in the nave, 1338, and in the choir, 1405, &amp;c.
+A comparative and historical study of their heraldic blazons gives us a
+date for many of the windows at Bristol and at Wells, and of more still
+in private houses.</p>
+
+<p>The duty of the glazier was to adorn the window embrasures constructed
+for him by the architect, and thus assist in the decoration of the
+church. It is obvious that the size and shape of these apertures must
+necessarily have had considerable, if not controlling, effect upon the
+styles and methods of the glazier. A glance at the conformation of these
+openings often tells the sub-divisions in which its glass belongs.
+During Norman times the window arch was round and the opening wide. In
+the Early English style the arch at the top becomes pointed and the
+embrasures narrower. When the Decorated time <span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span>arrives several narrow
+lights are grouped together, separated only by slender stone mullions,
+and culminating under the pointed arch at the top in a group of
+gracefully adjusted small apertures called tracery lights. The
+Perpendicular architect did little but straighten out the lines of his
+predecessors, especially in the traceries, so that they, as well as the
+mullions, should produce the effect of upright parallels which gave this
+type its name. In the sixteenth century the Renaissance architect
+provided large windows, and the glazier filled them with great pictures
+of splendid colour.</p>
+
+<p>In our investigation of English glass of the Early English (or mosaic)
+period, we shall often find ourselves regretting the almost entire
+absence of rose windows, so frequent and splendid across the Channel,
+where those great blossoms of Gothic architecture provided such glorious
+opportunities for the decorating hand of the glazier. For this lack we
+shall later on find ample compensation (especially during Decorated and
+Perpendicular times) in the huge sheet of glass filling the great east
+window of many English churches. While the southern architect decided in
+favour of the rounded apse for the east end of his cathedrals, his
+northern neighbour preferred a square ended one, thus permitting a fine
+broad embrasure, broken only by narrow mullions, and providing a golden
+chance for the glazier, which he lost no time <span class='pagenum'><a name="Page_13" id="Page_13">[Pg 13]</a></span>in seizing. Therefore, if
+we miss the innumerable rose windows of France, it is but fair to state
+that it possesses nothing that can vie with the great expanse of glowing
+colour found at the east end of York or Gloucester or Malvern.</p>
+
+<p>It is clear that the glass artist, whatever his nationality, had at all
+times to take heed of the architecture which provided the setting for
+his glass, and which his work was to help decorate. It is but natural,
+therefore, that his designs should have been influenced by the
+prevailing architectural style, and this was particularly true in
+England during the prevalence of both the Decorated and the
+Perpendicular schools. When the time arrived to change from the mosaic
+method of constructing stained glass, the whole effort of the Englishman
+seemed to have been devoted to making his new product conform to the new
+Decorated style of building. Not so his neighbour across the Channel,
+for there everything was then being sacrificed to the demand for better
+lighted interiors, even to the extent of filling much of his embrasures
+with grisaille, and using deep colour only in the borders or in bands of
+canopy-framed figures across parts of the windows (S&eacute;es, Evreux). The
+need for more illumination did not exist in England, for in that land of
+cloudy skies and infrequent sunshine they had already realised how
+greatly mosaic medallion glass obscured the light, <span class='pagenum'><a name="Page_14" id="Page_14">[Pg 14]</a></span>and, therefore, had
+early struck out for themselves, and developed an admirable use of
+grisaille, as one may see at York and Salisbury. They had already solved
+the problem of better illumination, and were that much ahead of their
+French neighbours. In France, because of light-admitting grisaille then
+demanded (either alone or in conjunction with the early canopies), the
+fourteenth century window gives a lighter effect than when later on, in
+the fifteenth century, the artist dispensed with the grisaille, enlarged
+his canopy completely to fill its lancet, and, thanks to the development
+of coated glass&mdash;<i>i.e.</i>, several layers of different colours permitting,
+in combination, a wide range of hues&mdash;introduced more varied and richer
+colouring in both figures and costumes. In England, however, where
+light-admitting grisaille had already been freely used during the mosaic
+period, and the glazier began the fourteenth century untrammelled by any
+sudden demand for brilliant illumination, we shall easily observe a
+tendency directly contrary to that just remarked in France. The English
+Decorated windows are much deeper in tone than the Perpendicular ones
+which followed them. These latter seemed to have proved a satisfactory
+solution of the lighting problem for the English climate. Indeed, we
+shall see some at St. Neot, manufactured as late as 1530, that are
+copied after others of the preceding century, and yet <span class='pagenum'><a name="Page_15" id="Page_15">[Pg 15]</a></span>the later ones
+are obviously from the hand of an artist so skilful as to have readily
+worked in the contemporary Renaissance manner, had he not deliberately
+preferred the earlier one.</p>
+
+<p>Those who desire to study this subject seriously should read Lewis F.
+Day&#8217;s excellent &#8220;Windows of Stained Glass&#8221; (1897).</p>
+
+<p><span class='pagenum'><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
+
+<div class="figcenter" style="width: 349px;">
+<img src="images/i029.jpg" class="bbox ispace" width="349" height="500" alt="" title="Chronology" />
+</div>
+
+<p><span class='pagenum'><a name="Page_17" id="Page_17">[Pg 17]</a></span></p><h3>TOURS</h3>
+
+<p>Our glass-hunting tours will take us into almost every part of England.
+We shall go up and down the east coast cathedrals, from York in the
+north to Canterbury in the south-east. We shall also wander through the
+entire range of southern counties, and see the whole coast from
+Winchester, west through Salisbury and Exeter to St. Neot, far off in
+Cornwall, hard by Land&#8217;s End. But it will be in that corner of England
+which lies between Oxford and the Welsh border, that the greatest wealth
+of windows will be found. We shall arrange the tours so that the order
+in which the windows are viewed will conform chronologically with the
+stages of the craft&#8217;s development. It will, of course, largely depend on
+whether he elects to travel by rail, by automobile, or by bicycle, just
+how slavishly the pilgrim follows the order in which the towns have been
+set out. The trips have been arranged with an eye to geography rather
+than to railway time-tables&mdash;geography is so much more stable than
+&#8220;Bradshaw&#8217;s General Railway Guide&#8221;! The omission from the list of sundry
+important cathedrals, like Durham, <span class='pagenum'><a name="Page_18" id="Page_18">[Pg 18]</a></span>Ely, Peterborough, Worcester, &amp;c.,
+is caused by the deplorable fact that all their ancient stained glass
+has been destroyed.</p>
+
+<p>The order of towns is as follows:</p>
+
+<div class="centered">
+<table border="0" width="60%" cellpadding="1" cellspacing="1" summary="TOURS">
+
+<tr><td valign="top" align="left">Early English Epoch</td>
+<td valign="top" align="left"><span style="margin-right: 1em;">&middot;</span></td>
+<td align="left">Salisbury, Canterbury, Lincoln,<br />
+<span style="margin-left: 0.75em;">York.</span></td></tr>
+
+<tr><td valign="top" align="left">Decorated Epoch</td>
+<td valign="top" align="left"><span style="margin-right: 1em;">&middot;</span></td>
+<td>York, Norbury, Shrewsbury,<br />
+<span style="margin-left: 0.75em;">Ludlow, Hereford,</span><br />
+<span style="margin-left: 0.75em;">Tewkesbury, Deerhurst,</span><br />
+<span style="margin-left: 0.75em;">Bristol, Wells, Exeter,</span><br />
+<span style="margin-left: 0.75em;">Dorchester, Oxford.</span></td></tr>
+
+<tr><td valign="top" align="left">Perpendicular Epoch</td>
+<td valign="top" align="left"><span style="margin-right: 1em;">&middot;</span></td>
+<td>Oxford, Fairford, Cirencester,<br />
+<span style="margin-left: 0.75em;">Gloucester, Great</span><br />
+<span style="margin-left: 0.75em;">Malvern, Little Malvern,</span><br />
+<span style="margin-left: 0.75em;">Ross, Warwick,</span><br />
+<span style="margin-left: 0.75em;">Coventry, York.</span><br />
+Salisbury.<br />
+Winchester.<br />
+St. Neot.</td></tr>
+
+<tr><td valign="top" align="left">Renaissance Epoch</td>
+<td valign="top" align="left"><span style="margin-right: 1em;">&middot;</span></td>
+<td>London, Cambridge, Lichfield,<br />
+<span style="margin-left: 0.75em;">Shrewsbury.</span><br />
+<span style="margin-left: 0.75em;">Guildford, Gatton, Knole.</span></td></tr>
+</table></div>
+
+<p>In selecting the order of the above itineraries, we have ended the
+first, or Early English period, at York, because that city is not only
+rich in early<span class='pagenum'><a name="Page_19" id="Page_19">[Pg 19]</a></span> mosaic glass, but also in that of the Decorated period, thus making it
+most convenient for us there to begin the second or Decorated tour. In
+the same manner we have concluded the itinerary of the Decorated period
+at Oxford, for there are found not only Decorated, but also
+Perpendicular windows, thus permitting us to commence the Perpendicular
+tour in the same city which ends our Decorated one. York is set down as
+the last of the Perpendicular trip, but if our pilgrim has already
+visited that city on either the Early English or the Decorated tour, he
+will doubtless also have seen all of its Perpendicular glass, which will
+obviate the necessity for again making the long journey north. In that
+event, with York left out of the Perpendicular tour, it will prove to be
+much more condensed, both as to territory and distance, than either of
+the two earlier ones. The last, or Renaissance epoch, has but few
+examples in England, and these are so widely separated that it seems
+best to break them up into two tours. Of the seven places cited (London,
+Cambridge, Lichfield, Shrewsbury, Guildford, Gatton, and Knole) the best
+English glass is at London and Cambridge, while that at Lichfield is
+Flemish, and most of that at Shrewsbury German.</p>
+
+<p>For tables of distances, &amp;c., <i>see</i> pp. <a href="#Page_251">251-254</a>.</p>
+
+<p><a name="Illo1" id="Illo1"></a></p>
+<div class="figcenter" style="width: 637px;">
+<img src="images/i032merged.jpg" class="ispace bbox3" width="637" height="550" alt="GENERAL MAP" title="" />
+<span class="caption">GENERAL MAP</span>
+</div>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_23" id="Page_23">[Pg 20-23]</a></span></p>
+<h2>EARLY ENGLISH</h2>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">W</span>e shall find it more convenient to group all early glass under the
+heading of &#8220;Early English,&#8221; although it will be found not only in its
+own narrow, pointed-arched windows, but also before that, in the
+round-arched ones of the Norman style. So slow was the development of
+our craft during all the time covered by those two schools of
+architecture as to make it hardly proper or necessary that our subject
+be likewise divided into two epochs. During both of them there is found
+richly coloured glass of the &#8220;mosaic&#8221; type, and also uncoloured windows
+of the sort styled by the French &#8220;grisaille.&#8221; Obviously, uncoloured
+glass admits much more light than that made up of rich dark hues, and,
+therefore, it is but natural that the glazier who dwelt in a cloudy
+northern land should early have realised the need for sufficient light
+in his churches, a need which did not concern his fellow craftsmen in
+the sunny lands of the south. Indeed if he had not appreciated this
+practical side of his craft he would not have been the artist which his
+windows prove him to have been. The glaziers of <span class='pagenum'><a name="Page_24" id="Page_24">[Pg 24]</a></span>sunny Italy were never
+confronted with this problem of sufficient illumination&mdash;if anything,
+they had too much, no matter how richly they painted the panes. Their
+fellows in France had less sunlight than they, but more than the
+English, and therefore occupied an intermediate ground in the matter of
+church illumination; the result was that the French neglected it so
+entirely during both the twelfth and thirteenth centuries, and so
+darkened their interiors by heavily leaded mosaic glazing as to bring
+about, at the opening of the fourteenth century, a sudden revulsion in
+favour of better lighted interiors, which went so far as to produce the
+excessive light and glare observable at S&eacute;es, St. Ouen (Rouen) and
+Evreux. This sudden revulsion did not appear in England where, indeed,
+there were no grounds for it, because, as we have just seen, the
+glaziers had already thoroughly grasped the need for, as well as the
+value of, light-admitting grisaille. That they thoroughly mastered the
+technique of uncoloured glass we will readily conclude from the splendid
+monuments to their genius in the &#8220;Five Sisters&#8221; at York, and the
+grisaille in the south transept at Salisbury, ideal glazing for a land
+of infrequent sunshine. Turning from these untinted windows to those
+filled with colour, one notices at once that the early examples of the
+latter are made up of very small pieces of different hues bound together
+by winding strips of lead having little <span class='pagenum'><a name="Page_25" id="Page_25">[Pg 25]</a></span>sunken channels on both sides
+to hold the glass in place. So small are these pieces that the windows
+seem to have been composed much in the same way that the diminutive
+cubes are assembled to make a mosaic. It is because of this striking
+similarity of method, that this early glazing, constructed of small
+fragments, is frequently referred to as &#8220;mosaic&#8221; glass. Another name
+which it often receives is also easily explainable. The stories on these
+early windows are told by groups of very small figures, and to prevent a
+chaotic multitude of these little persons spread over the glass, each
+episode or group is separated from the others by a frame of contrasting
+colour, thus breaking up the whole surface into medallions. For this
+reason, early mosaic glazing is sometimes spoken of as &#8220;medallion
+glass.&#8221; Unfortunately for England, it possesses but few remains of this
+delightful product, and therefore suffers sadly by comparison with the
+great wealth of it to be seen in France. We shall find enough, however,
+at Canterbury and Lincoln to kindle our enthusiasm for the splendid
+jewelled glow which the glazier of that time, and of no other, knew how
+to make his windows produce. It will not take long for the intelligent
+observer to notice that this glitter is due partly to the fact that the
+glass is free from paint (except that used to delineate features, folds
+of garments, &amp;c.), and partly because its surface is not regular as is
+ours to-day. Furthermore, <span class='pagenum'><a name="Page_26" id="Page_26">[Pg 26]</a></span>the pieces were small, and the constantly
+recurring leadlines (breaking up and combining the rays of light coming
+through the little panes) assisted materially to produce the brilliancy
+and shimmer which so delight the eye. There is no doubt that the glazier
+thoroughly realised this, and availed himself of this mingling of the
+coloured rays to suit the purposes of his picture. We frequently see a
+thirteenth century window that produces a purple effect, and yet a
+closer inspection will reveal that there is only red and blue glass used
+in it, but so cunningly have they been intermingled as to produce a much
+warmer purple than any sheet of purple glass could render. Some writers
+would have us believe that the glazier had no choice but to use these
+small bits in building up his picture, and that therefore the rich
+glowing effect was the result of chance, and not that of intelligent
+deliberation. Any one who has been fortunate enough to visit St.
+Maurice&#8217;s Cathedral at Angers is amply equipped to refute this theory,
+and will be prepared to give full credit to the glazier of the
+thirteenth century, for, in that church, the twelfth century mosaic
+glass of the nave is readily seen to be composed of much larger
+fragments than were employed in the choir by the thirteenth century man.
+These latter in the choir glisten and glitter, while the earlier ones in
+the nave, composed of larger pieces, do not. This indicates that the
+improvement <span class='pagenum'><a name="Page_27" id="Page_27">[Pg 27]</a></span>shown by the thirteenth century windows over those of the
+twelfth century was caused by artistic intelligence, and at the expense
+of more labour to the glazier, because in lessening the size of his
+panes, he greatly increased the work of leading them together. As he
+purposely used smaller fragments, he should receive full credit for his
+splendid results. Those who have been so fortunate as to see the French
+thirteenth century windows will not only regret the fewness of examples
+of that period in England, but will also remark the dearth there of the
+great rose windows so frequent in France. Furthermore, he will notice
+that in the case of English medallion windows, the medallions are
+smaller than those across the Channel; this is caused by the fact that
+the lancets of the Early English school were narrower than contemporary
+French ones, and therefore necessitated a smaller medallion. While it is
+true that it is only at Lincoln that one finds the splendid rose windows
+which reach their greatest perfection in France, compensation for their
+absence is found in the development in their place of a style of window
+almost unknown in France, <i>i.e.</i>, the great east window, of which such
+superb examples will be seen during the next (or Decorated) period at
+York, Bristol, and many other places. This difference in the development
+of the largest light aperture of a church is due to the architect; in
+<span class='pagenum'><a name="Page_28" id="Page_28">[Pg 28]</a></span>France he built the eastern end of his churches round, but in England
+they were square, thereby permitting a large sheet of glazing at the
+east end, which the French rounded apse could not afford. It is
+gratifying to note the way in which the genius of the glazier, no matter
+where he lived, seized upon and developed to the utmost the artistic
+possibilities of his glass, and, furthermore, how cleverly he adapted
+them to the structures prepared for him by his architect. We shall see
+at Canterbury, more clearly even than elsewhere, that in the manufacture
+of this early mosaic glass the English glaziers followed the French
+models. In <a href="https://www.gutenberg.org/ebooks/34772">&#8220;Stained Glass Tours in France,&#8221;</a> p. 17, we have made some
+conjectures as to the beginnings of glass in France and whence it came
+into that country. Indications appear to be in favour of its first steps
+being guided by a group of enamellers in Limoges, who were instructed or
+influenced by a colony of Venetians that settled near by in 979,
+bringing with them their Byzantine art. Whatever opinion we may hold,
+there can be no doubt that a striking similarity in drawing, colouring,
+&amp;c., is to be remarked between stained glass of the twelfth and
+thirteenth centuries, Limoges enamels of those two and the two preceding
+centuries, and the Byzantine mosaics of St. Mark&#8217;s in Venice, &amp;c.</p>
+
+<p><span class='pagenum'><a name="Page_29" id="Page_29">[Pg 29]</a></span></p><h3>EARLY ENGLISH TOUR</h3>
+
+<p>Even though we shall encounter but few examples of this period in
+England, a tour of the towns in which they are to be found will perhaps
+yield us more interesting glimpses into history than our later tours,
+far richer though they may be in glass. Starting at ancient Salisbury
+hard by the site of Druid Stonehenge, we follow the oldest of English
+national roads, the &#8220;Pilgrim&#8217;s Way,&#8221; through Winchester (for so long the
+English capital) on to Canterbury with its dramatic history of the
+martyred archbishop. Close to Canterbury are Chartham and Willesborough;
+these may be seen <i>en route</i> from Salisbury. Thence we go north to
+Lincoln, and, after an interesting visit to its sanctuary-crowned
+hilltop, we will push on still further north to York, that
+treasure-house of glass of this as well as of all periods. Although we
+end our first tour in that city, we shall also be able there to begin
+our second one, and may also, if we choose, inspect the glass of a still
+later (the Perpendicular) epoch.</p>
+
+<p><a name="Illo2" id="Illo2"></a></p>
+<div class="figcenter" style="width: 290px;">
+<img src="images/i046.jpg" class="ispace bbox3" width="290" height="500" alt="MAP OF EARLY ENGLISH TOUR" title="" />
+<span class="caption">MAP OF EARLY ENGLISH TOUR</span>
+</div>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_30" id="Page_30">[Pg 30]</a></span></p><h3>SALISBURY</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">T</span>here is no country in the world whose ancient history is writ so large
+upon its broad acres as old England. It is full of silent testimonials
+to past events which render those early days and their happenings more
+vivid than any printed page can hope to effect. Many of these remains
+are of such remote antiquity as to long antedate our glass, but
+nevertheless we must not be so prejudiced as to neglect them when
+encountered on our travels. Indeed, it may well be that the existence of
+other attractions of this sort may secure for us the company of certain
+arch&aelig;ological friends who at first will have but small interest in
+glass. Nor need we distress ourselves about how small that interest may
+be; for if they, for any reason, accompany us, our charming windows will
+surely make converts of them long before the journey is ended. These
+same arch&aelig;ological folk will tell us that few localities in England can
+show more extraordinary historical remains than Stonehenge and Old Sarum
+near Salisbury. The great upright monoliths of Stonehenge, stationed in
+the form of a horse-shoe within a circle, loom up in<span class='pagenum'><a name="Page_31" id="Page_31">[Pg 31]</a></span> such a solitary and impressive way upon the great reaches of Salisbury
+Plain as to produce a mental picture long to be remembered. Their very
+isolation makes them much more striking than the voluminous remains of a
+similar nature erected also by the Druids on the west coast of Brittany.
+As for Old Sarum, it is now nothing but a lofty fortified camp, but the
+enclosure within its circle of high walls formerly contained a town
+which was the predecessor of Salisbury. The shape of this high truncated
+cone recalls the pictures of the Tower of Babel that used to appear in
+our child&#8217;s geographies. Whatever may have been the real cause for the
+removal of Salisbury to its present site, the one generally alleged was
+that Sarum lacked water&mdash;this certainly cannot be charged against the
+present city, which is so sorely harassed at certain seasons of the year
+by local floods, as well to merit the name often given it of the
+&#8220;English Venice.&#8221; Its vast cathedral is much more regular and balanced
+in its proportions than are most examples of medi&aelig;val church
+architecture. The two great twin spires are esteemed the most beautiful
+in England. To one who has become accustomed to the archaic appearance
+of most European cathedrals, Salisbury will prove quite a surprise; in
+the words of Emerson, &#8220;The cathedral, which was finished six hundred
+years ago, has even a spruce and modern air.&#8221; This splendid building,
+<span class='pagenum'><a name="Page_32" id="Page_32">[Pg 32]</a></span>even if it were not so impressive as it is, would have been rendered
+sufficiently picturesque because of the setting provided by the shaded
+walks and green swards of its Close. Within the roomy interior are
+examples not only of thirteenth century medallion glass, but also some
+of the best types of English grisaille of that period. Because of the
+belief that the doors, windows and pillars exactly coincide respectively
+with the number of months, days and hours in the year, Thomas Fuller
+said, &#8220;All Europe affords not such an almanac of architecture.&#8221; We are
+concerned only with that portion of the almanac that has to do with the
+days. An old rhyme says:</p>
+
+<div class="centerbox4 bbox2"><p>&#8220;As many days as in one year there be<br />
+So many windows in this church we see.&#8221;</p></div>
+
+<p>Notwithstanding the great number of light apertures thus provided by the
+architect, the glazier was not permitted to make excessive use of the
+light-obscuring coloured mosaic glass, as was then the custom in France.
+Grisaille was plentifully used, and Salisbury was famous for it. Most of
+its remains are found in the upper lancets at the south end of the
+easterly transepts, as well as a little in the west windows of the nave
+aisles, the east one of the choir aisles, and the lower triplet in the
+south end of the small transepts. Two of the easterly clerestory lights
+of the large northern transept also show this early <span class='pagenum'><a name="Page_33" id="Page_33">[Pg 33]</a></span>pattern glass.
+Instead of filling the other embrasures with rudely contrasting modern
+glazing, a very intelligent effort has been made throughout the choir
+and transept to model as closely as possible upon these ancient
+examples. The result is very agreeable&mdash;at least it contrives to give us
+some idea of how the church must have looked with its original windows
+all complete. Little touches of colour are very judiciously interspersed
+throughout the strapwork, and serve to correct what otherwise might be
+dull-toned. Blue is very extensively used here for this purpose, and to
+a greater extent than is usually found elsewhere. It tones in admirably
+with the greenish hue of the glass, and enriches it without risking too
+striking a contrast. The thirteenth century medallion remains have been
+collected into the three lancets at the western end. Note especially the
+plentiful and interesting fragments of the Tree of Jesse done in mosaic
+style which has been introduced in two parallel columns into the central
+lancet: the borders are contemporary. The side lancets are not so
+satisfactorily filled, for the combination of strips of later glass
+separated by equally wide ones of old grisaille, and all surrounded by a
+rich old border on ruby and blue backgrounds, is not pleasing. The
+medallions are interesting, but nothing like so fine as we shall see
+elsewhere. We shall chiefly remember Salisbury <span class='pagenum'><a name="Page_34" id="Page_34">[Pg 34]</a></span>Cathedral for the
+effective glazing of its choir and transepts afforded by thirteenth
+century grisaille eked out with good modern glass copied after it.</p>
+
+<p>One does not have to search far in the records of Salisbury to find why
+there is so little remaining of its ancient glazing. Time has been
+materially aided and abetted in its work of destruction by ruthless
+restorations, of which the worst was Wyatt&#8217;s in the eighteenth century.
+We read that &#8220;whole cartloads of glass, lead, and other rubbish were
+removed from the nave and transepts, and shot into the town ditch, then
+in course of being filled up; whilst a good deal of similar rubbish was
+used to level the ground near the chapter-house.&#8221; Nor was destruction
+the only means used to get rid of the Salisbury windows, as will appear
+from the following letter written to Mr. Lloyd, of London, in 1788, by
+John Berry, a glazier of Salisbury:</p>
+
+<div class="blockquot"><p>&#8220;<span class="smcap">Sir.</span>&mdash;This day I have sent you a Box full of old Stained &amp;
+Printed glass, as you desired me to due, which I hope will sute
+your Purpos, it his the best that I can get at Present. But I
+expect to Beate to Peceais a great deal very sune, as it his of
+now use to me, and we do it for the lead. If you want more of
+the same sorts you may have what thear is, if it will pay you
+for taking out, as it is a Deal of Truble to what Beating it to
+Peceais his; you will send me a line as soon as Possable, for
+we are goain to move our <span class='pagenum'><a name="Page_35" id="Page_35">[Pg 35]</a></span>glasing shop to a Nother plase and
+thin we hope to save a great deal more of the like sort, which
+I ham your most Omble servent&mdash;<span class="smcap">John Berry.</span>&#8221;</p></div>
+
+<p>There is also later glass to be seen here. St. Thomas&#8217;s Church, in the
+first embrasure from the east of the north aisle, has the remains of a
+Decorated Tree of Jesse, in which, as well as in other fragments along
+the traceries, there is a good deal of yellow stain observable. In the
+vestry, which is off the north aisle, are three small lancets upon which
+appear figures against quarry backgrounds not as usual ensconced in
+canopies. The wooden ceilings in the north and south aisles are
+especially fine.</p>
+
+<p>For the Perpendicular glass at Salisbury <i>see</i> p. <a href="#Page_192">192</a>.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_36" id="Page_36">[Pg 36]</a></span></p><h3>CANTERBURY</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">E</span>ven a careless observer of the life and customs of the Middle Ages will
+have noticed that one of its most extraordinary features is the extent
+to which people of every European country went upon pilgrimages. The
+nature and object of these religious journeys varied widely, running the
+gamut from the Crusades to the visiting of neighbouring shrines. The
+history of the Crusades is well known, but perhaps few of us realise the
+tremendous interest taken in the more domestic and near-by pilgrimages.
+The English were like all the rest of Christendom in this curious craze,
+and for several centuries the most revered, as well as the most popular
+of their many shrines was that of the martyred Thomas &agrave; Becket at
+Canterbury. More highly prized than any other similar trophy was the
+small leaden flask hung about the neck of one who had taken that
+journey, and was thus qualified to bear away this pilgrim&#8217;s token filled
+with water from the holy well beneath the cathedral. A modern
+counterpart is afforded by the value Mohammedans set upon the wearing of
+a green turban, the privilege<span class='pagenum'><a name="Page_37" id="Page_37">[Pg 37]</a></span> accorded to one who has visited Mecca. Although Canterbury had always
+since the earliest days possessed many saintly relics, a marked increase
+in the number of pilgrims was noted after the martyrdom of &agrave; Becket.
+These pilgrimages steadily grew in vogue until when, in the fifteenth
+century, they had reached their height, not only did the stream of
+travellers continue steadily throughout the year, but during the months
+of December and July (anniversaries of the martyrdom and the
+transference of the relics) we read that the numbers swelled to such an
+extent that the housing facilities of the little city were greatly
+overtaxed. A jubilee was held every fifty years, and on these occasions
+the crowds grew to enormous size. During the jubilee of 1420 we are told
+that over 100,000 pilgrims were gathered in the city at the same time.
+Hay and wood were provided gratuitously for them, a bounty which the
+cathedral could well afford, because of the great value of the gifts
+constantly received from these visitors. It is easy to see how important
+a nationalising influence must have resulted from this meeting together
+of all classes of society from different parts of the country. How
+widely these pilgrims varied in station and occupation can be gathered
+from Chaucer&#8217;s inimitable &#8220;Canterbury Tales.&#8221; Those amusing chronicles
+also show that while religion was doubtless a powerful motive in causing
+these <span class='pagenum'><a name="Page_38" id="Page_38">[Pg 38]</a></span>pilgrimages, there was besides a great deal of what is called
+to-day &#8220;the desire for foreign travel.&#8221; In fact, it is difficult to find
+much religious flavour in the tales of merriment and adventure which
+follow each other in this delightful series. Chaucer probably selected a
+Canterbury pilgrimage as the setting for his poem in order to appeal to
+a great number of readers, for he well knew the kingdom to be full of
+people who had taken this journey, and to whom, therefore, his tales
+would be of peculiar interest. Although Chaucer was the son and grandson
+of vintners, he won his way into high favour at Court, a hint of which
+is obtained from the fact that Edward III. paid &pound;16 (then a considerable
+sum) to ransom him after his capture by the French.</p>
+
+<p><a href="#Illo3" id="Illo3"></a></p>
+
+<div class="figcenter" style="width: 375px;">
+<img src="images/i053.jpg" class="ispace" width="375" height="500" alt="&#8220;BECKET&#8217;S CROWN,&#8221; CANTERBURY CATHEDRAL" title="" />
+<span class="caption"><span style="margin-left: 15.5em;"><i>J. G. Charlton, photo.</i></span><br />
+
+&#8220;BECKET&#8217;S CROWN,&#8221; CANTERBURY CATHEDRAL</span></div>
+
+<div class="blockquot3"><p>Thirteenth Century medallions; notice circular and other forms enclosing
+the figures. The heavy iron bars needed to support the great weight of
+lead are skilfully adjusted to the design. The world-famous shrine stood
+in the centre of this space. Tomb of Black Prince in foreground, and
+above it armour he wore at Cr&eacute;cy</p></div>
+
+<p>Another group of equally diverting but more whimsical poems are
+inseparably connected with this neighbourhood. Rev. Richard Barham lived
+near Canterbury, and many of his engaging Ingoldsby Legends have their
+scenes laid there, some within the cathedral precincts. The county of
+Kent, of which Canterbury is the chief city, is peopled by a sturdy folk
+who have always been jealous of their rights and insistent upon their
+own interpretation of the law, as, for example, although primogeniture
+existed almost everywhere else in England, Kent always preferred
+gavelkind (an equal division of property among the children of the
+deceased). As illustrating <span class='pagenum'><a name="Page_39" id="Page_39">[Pg 39]</a></span>the strength of Kentish traditions, it is
+amusing to note that one must remember carefully to apply the expression
+&#8220;Kentish man&#8221; to a dweller in the western half of the county, and &#8220;Man
+of Kent&#8221; to him of the eastern. Confuse these two designations at your
+peril! There is a bit of local history which has a fine heroic flavour,
+and which points our moral excellently. After William the Conqueror had
+won the battle of Hastings, all Kent, headed by the Archbishop of
+Canterbury, gathered to protect its ancient rights against the invader.
+They marched forth to meet William at Swanscourt, each man fully armed,
+and carrying above him a green bough to mask the numbers of their host.
+William&#8217;s surprise and perplexity at seeing this perambulating forest
+approaching him can well be imagined. When he inquired the reason for
+it, there came the fine reply that Kent demanded its ancient rights, and
+if granted them would live peaceably under his rule, but if they were to
+be denied, then there must be instant war! The politic Norman complied
+with their request, and the Kentish forest marched off.</p>
+
+<p>So beautiful are the distant prospects of Canterbury Cathedral that
+excellent &aelig;sthetic reasons may be advanced for the religious custom that
+required all mounted pilgrims to dismount as soon as they could spy the
+Angel Steeple, and complete the last <span class='pagenum'><a name="Page_40" id="Page_40">[Pg 40]</a></span>stage of the pilgrimage on foot.
+Proceeding in this more leisurely fashion, the beauties of the
+picturesque grouping of the buildings about the cathedral developed
+slowly before their eyes.</p>
+
+<p>On descending into the town, many interesting sights meet one&#8217;s view in
+the quaint winding streets and narrow lanes. The name of one of these,
+Watling Street, recalls the fact that through this city ran that great
+Roman road. Another element of the picturesque is added by the
+meandering through the town of the river Stour, over whose narrow stream
+project many of the houses. Finally we arrive at a large gatehouse,
+whose modest portal affords access to the sacred precincts, and
+introduces us to a series of most delightful pictures, for there are few
+cathedrals in the world placed in so charming a setting. An old legend
+gravely narrates that when the walls of the sanctuary were heightened
+about the middle of the tenth century, the building was, perforce,
+roofless for three years, and that during that period no rain fell
+within this favoured enclosure! We need not stop to consider the
+different features of the architecture which have delighted so many eyes
+and are so well known from photographs and other reproductions. We must,
+however, note in passing that during &agrave; Becket&#8217;s exile he chanced to be
+in Sens at the very time that the great French architect, William of
+Sens, was finishing the first <span class='pagenum'><a name="Page_41" id="Page_41">[Pg 41]</a></span>attempt in pointed Gothic. This probably
+explains why, when the choir of Canterbury Cathedral was destroyed by
+fire, the monks in 1174 summoned William to rebuild it. During the work
+he fell from the scaffold and received injuries from which he died. The
+selection of that foreign architect assists in explaining why the mosaic
+glass at Canterbury so closely resembles the late twelfth century
+windows at Sens, and permits us to conjecture that with the French
+architect there came over French glaziers. The French Gothic which was
+here introduced by William of Sens was, to a certain extent, copied
+elsewhere. Traces of it at York Cathedral are doubtless due to the fact
+that the Archbishop of York who caused its introduction had been
+Archdeacon at Canterbury during the time that William of Sens was
+working there. We will enter the church and press on to the northern
+transept, where took place that tragic episode resulting from the
+constant strife between Henry II. and the proud churchman &agrave; Becket. In
+the dimness of this old-world corner one can almost live over again the
+scene at twilight, December 29, 1170, when the four knights, taunted
+into exasperation by &agrave; Becket&#8217;s hot words, cut down the defenceless
+priest, thinking thus to serve their royal master. Not only did this
+base act bring upon Henry the open shame of being forced to do most
+abject penance before the shrine of his <span class='pagenum'><a name="Page_42" id="Page_42">[Pg 42]</a></span>sainted victim, but it also
+produced many extraordinary results of widely differing nature during
+the centuries to follow. Just after the assassination the monks, upon
+removing the garments of their murdered chief, found, to their great
+surprise, that beneath the rich raiment of him whom they had always
+mistrusted as a brilliant courtier, was worn the haircloth shirt of
+their monastic order. Their sudden revulsion of feeling, and the
+religious enthusiasm which overcame them at that sight, seems prophetic
+of other revulsions that were to take place during the Middle Ages in
+the attitude of the public mind towards this bloody page of Church
+history. Just as then their feelings abruptly changed, so after wealth
+and costly gifts had flowed to this shrine for centuries, and almost
+every city in Christendom had an altar or a church dedicated to St.
+Thomas, suddenly men of thought became disgusted by the many
+reprehensible features connected with this cult, which, perhaps, were
+only the natural results of the throngs attending the pilgrimages. The
+pendulum, which had swung too high on one side, swept back to the other
+extreme; and this brings us to one of the strangest parts of this story,
+if not, indeed, the weirdest in all the annals of the law. Henry VIII.
+cast covetous eyes upon the hoard of jewels gathered together in
+Canterbury Cathedral, so he instituted a legal proceeding to enable him
+to lay hold <span class='pagenum'><a name="Page_43" id="Page_43">[Pg 43]</a></span>upon them. As royal successor to Henry II. he caused the
+Attorney-General in 1538 to bring suit against &agrave; Becket for treason, and
+had the papers duly served upon the famous shrine! Counsel was appointed
+to represent the long dead subject, and the case was argued with all the
+pomp and circumstance of legal warfare. The martyr was found guilty, and
+all the wealth of his shrine was declared escheated to the Crown. We
+read that it was necessary to employ twenty-six carts to carry off the
+booty. Could anything be more strange and fantastic than so material an
+outcome to the wild deed of the four knights!</p>
+
+<p>Of the other tombs here, the most interesting are those of Henry IV. and
+the Black Prince. Above the latter is suspended the armour worn by him
+at the battle of Cr&eacute;cy.</p>
+
+<p>Before commencing to examine the stained glass, we must warn the reader
+that it suffered severely at the hands of that arch-ruffian of all glass
+destroyers, Dick Culmer (or &#8220;Blue Dick,&#8221; as he was called), the minister
+in charge of the Abbey during the Commonwealth. So violently opposed to
+his appointment were the townspeople that they locked all the
+cathedral&#8217;s doors against him, thus forcing him to effect his first
+entrance by breaking in one of the windows&mdash;an evil omen! No sooner was
+he installed than he set diligently to work to destroy the stained
+<span class='pagenum'><a name="Page_44" id="Page_44">[Pg 44]</a></span>glass, and, furthermore, openly boasted of his energy in that respect.
+In his &#8220;Cathedral News from Canterbury,&#8221; he says, &#8220;A minister on top of
+the city ladder, nearly sixty steps high, with a whole pike in his hand,
+rattling down proud Becket&#8217;s glassie bones when others present would not
+venture so high.&#8221; This glass, so destroyed, was in the north transept.</p>
+
+<p>There is but little mosaic medallion thirteenth century glass in
+England, and therefore what there is of it at Canterbury would for that
+reason alone have great value, but because the examples there found are
+among the best of that period now extant, its importance is thereby
+greatly enhanced. An ancient supplement to the &#8220;Canterbury Tales&#8221;
+relates, with amusing conversational detail, how the pilgrims, upon
+entering the church by the south-western door of the nave, at once fell
+to admiring the windows and studying out their legends. The ruthless
+hand of time, assisted by those of Dick Culmer and Co., have made it
+impossible for us to enjoy that same pleasure, but certain fragments of
+that glass gathered together into the western window give a hint of what
+the beauty of the complete series must have been. With this exception
+there is nothing to detain one long in the nave, so we will pass on to
+the eastern end of the church to inspect the remaining contemporary
+windows&mdash;they are the <span class='pagenum'><a name="Page_45" id="Page_45">[Pg 45]</a></span>finest of their type in England, and will be
+found in the north choir aisle, the circular apse at the extreme
+easterly end (known as Becket&#8217;s Crown) and Trinity Chapel. There has
+been preserved for us an old Latin list describing and locating all the
+windows in their original order, and from this we learn that the ancient
+panels now in the north choir aisle between the easterly transept and
+the chapel of the Martyrdom (north end of the westerly transepts) were
+formerly in the embrasures of the latter. Their workmanship is very
+fine, and they tell their parables with great distinctness. Proceeding
+eastward to Becket&#8217;s Crown, we shall be afforded an edifying opportunity
+to observe how much more brilliant and generally delightful are the old
+mosaic medallions than even the best modern copies. The oldest window
+dates from the middle of the thirteenth century, and it takes but a
+glance to betray those of its companions which are modern. The
+improvements of centuries in glass manufacture fail utterly to yield us
+an equivalent for the brilliancy of the crudely constructed panels of
+that time. The most interesting and, for various reasons, the most
+valuable medallions are those filling the six windows of Trinity Chapel
+which retain their original glazing. In those on the north side of where
+the shrine used to stand, are medallions whose groups display miracles
+performed by the saint, or episodes illustrative of his healing <span class='pagenum'><a name="Page_46" id="Page_46">[Pg 46]</a></span>power.
+At the top of the second from the east on this side is a medallion of
+very peculiar interest because it depicts Benedict&#8217;s vision of the saint
+emerging from his shrine in full canonicals and moving toward the high
+altar to say mass. Examine it carefully, for here we have the only
+representation now existing of that world-renowned shrine, whose lavish
+decoration of gold and jewels so roused the cupidity of Henry VIII. as
+to cause its destruction. There is every reason to believe this to be a
+veracious reproduction, for being installed directly opposite and a few
+yards from the shrine of which it was the counterfeit presentment, any
+but a careful copy thereof would have been useless in telling the
+window&#8217;s story. More of this splendid glass is found filling the lower
+embrasures along the north side between the two sets of transepts, and
+also above in the three upper half-circle windows, both on this and the
+opposite side of the church ambulatory; note the mellow richness of
+their reds and blues. The central embrasure of the most easterly or
+Trinity Chapel retains its early mosaic medallions, easily distinguished
+from the modern imitations on either side. High up in the north wall of
+the easterly transepts is a rose window which retains its thirteenth
+century glazing in the large central circle, but alas! white glass
+replaces all but the borders of the outer circles, thus drowning the old
+glass in a glare of light <span class='pagenum'><a name="Page_47" id="Page_47">[Pg 47]</a></span>and utterly extinguishing the splendid glow
+which would otherwise delight our eyes. Although the handsome five-light
+Decorated window on the south side of St. Anselm&#8217;s Chapel (lying off the
+south choir aisle) has lost its original glass, the records of the cost
+contain features of interest. The contract for its construction is dated
+1336, and the items of expense (which total &pound;42 17<i>s.</i> 2<i>d.</i>) indicate
+that the heavy iron saddle-bars, &amp;c., required to support the great
+quantity of lead used in joining the glass, cost almost as much as the
+glazing; &pound;4 4<i>s.</i> 0<i>d.</i> was paid for twenty hundredweight of iron, &pound;6
+13<i>s.</i> 4<i>d.</i> &#8220;for glass and the labour of the glaziers.&#8221;</p>
+
+<p>The chief window of the north-west transept, generally called the chapel
+of the Martyrdom, was presented by Edward IV., and when complete must
+have been a fine example of the Perpendicular school. Its seven tall
+lancets are broken into four tiers, and surmounted by handsome tracery
+lights. Here formerly appeared &#8220;The Seven Glorious Appearances of the
+Virgin,&#8221; with &agrave; Becket in the centre, but &#8220;Blue Dick&#8221; Culmer destroyed
+them all while engaged in his pleasing task of &#8220;rattling down proud
+Becket&#8217;s glassie bones.&#8221; Notwithstanding the treatment to which this
+window was subjected, it still presents a very attractive appearance.
+The original fragments have been collected within coloured borders and
+throw into bold relief the richly toned kneeling <span class='pagenum'><a name="Page_48" id="Page_48">[Pg 48]</a></span>figures of Edward IV.
+and his wife, which are placed facing each other. Behind the queen are
+stationed her five daughters, divided into one group of three and
+another of two, while behind the king are the two little princes, who
+were later murdered in the Tower of London. The backgrounds behind the
+figures are noteworthy because they are composed of repetitions of the
+badge of each individual; behind the king are the white roses and suns
+of York; behind the queen, green thistles; feathers behind the Prince of
+Wales, &amp;c. Above them is a tier of white-robed angels with red wings,
+against backgrounds of blue or green, supporting heraldic shields. Just
+below this window and leading off to the east is the Dean&#8217;s Chapel,
+lighted on the east by a very pleasant quarry window, upon each of whose
+panes appears in yellow stain the double knot which indicates the donor
+to have been Archbishop Bourchier, whom we shall encounter later on at
+Knole. A relieving note of colour is lent by the shield of arms at the
+bottom of each lancet. Three of the small windows that light the
+picturesque little baptistery contain effigies of ecclesiastical
+dignitaries and saints within richly toned borders, while in the small
+traceries above them are heraldic blazons.</p>
+
+<p>Splendid as this noble cathedral now is, how much more impressive must
+it have been when all its <span class='pagenum'><a name="Page_49" id="Page_49">[Pg 49]</a></span>windows were filled with mosaic medallions
+through which a warmly tinted illumination tempered the minster gloom.
+It is difficult to repress the anachronistic wish that the knights who
+came here seeking to slay &agrave; Becket might instead have wreaked their lust
+for blood upon &#8220;Blue Dick&#8221; Culmer!</p>
+
+<hr class="medium" />
+
+<p>Near Canterbury there are some Early English fragments at Chartham, four
+miles west on the road to Maidstone. They are in the tracery lights on
+the north side of the chancel. In one of these small openings there has
+been inserted a baptismal scene, but because it is upside down the water
+seems like a cross between a shower-bath and the sword of Damocles! The
+chief reason for stopping at this church is the very agreeable lighting
+of its chancel in the Decorated manner. In the two embrasures on the
+north side have been collected all that remains of the original pattern
+glass, but the other lights have been glazed as much like these two as
+possible. A mellow richness, not often seen, is the chief characteristic
+of this low-toned grisaille, overrun with graceful coloured designs. In
+its perfection that style was most attractive. In a south-easterly
+suburb of Ashford called Willesborough there are in the chancel a couple
+of very complete and pleasing Decorated windows. They both have quarry
+backgrounds with coloured borders, but the one to the <span class='pagenum'><a name="Page_50" id="Page_50">[Pg 50]</a></span>north is much
+more attractive. Upon its surface are not only the coloured bosses seen
+in the one across the chancel, but also some handsome canopy-framed
+figures. The leaf design on the borders should be noted, and also the
+labels below the figures.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_51" id="Page_51">[Pg 51]</a></span></p><h3>LINCOLN</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span> golden-brown cathedral crowning the summit of a solitary hill rising
+from a wide plain&mdash;so Lincoln lingers in one&#8217;s memory!</p>
+
+<p>Few towns have their situation more clearly described by their names
+than this one, derived, as it is, from &#8220;llin&#8221; a mere, and &#8220;dun&#8221; a hill,
+a hill above a mere. The plain is now drained of the marshes which
+formerly overspread it, but the great isolated mount remains always the
+same, and upon the summit is stationed, like a splendid sentinel, the
+mighty bulk of the cathedral. Rarely, indeed, does a great church have
+so dominating and superb a site, nor is it often that so prominent a
+point is crowned by such a noble structure. Near it is the ancient
+castle, built first by the Romans and later strengthened by warriors of
+other races equally quick to appreciate the military strength of its
+commanding position. From the tower at one corner of its perfectly
+preserved ramparts is afforded a most inspiring view in every direction.
+Nor were the great walls of the cathedral less serviceable in <span class='pagenum'><a name="Page_52" id="Page_52">[Pg 52]</a></span>affording
+a strong refuge in war. It needs but a glance at the sturdy west front
+to show why Stephen in 1141, during the war of the Barons, finding the
+Earls of Lincoln and Chester in possession of the castle, threw himself
+into the adjacent cathedral and thus secured as strong a fortress as
+they. Not only is the western fa&ccedil;ade very beautiful, but it is also a
+manifestation, rare in England, of the practice usual in France of
+making this portion of the exterior the most important of all. Here at
+Lincoln it is as if a wide mask of stone had been built on to the end of
+the nave, lending as great an impression of width as one gets of height
+by a similar trick at Peterborough. These two are almost the only
+attempts in England to use this fa&ccedil;ade for other than simply closing the
+end of the edifice. The result at Lincoln is most imposing, but it
+produces its best effect when seen from a little distance, because then
+one gets the great sweep of the lines, relieved by the galleries of
+statues and warmed by the yellowish brown of the stone. A nearer
+inspection discloses how the later work has been pieced on to the older,
+which tends to distract our attention from the front as a whole. Not
+satisfied with the great strength of the building itself, permission was
+early obtained from the Crown to surround the Close with walls and
+gates, of which the picturesque Exchequer gate survives. This enclosure
+goes by the name of the Minster Yard. <span class='pagenum'><a name="Page_53" id="Page_53">[Pg 53]</a></span>When visiting the little hamlet
+of Dorchester we will remark upon how great was once its glory and how
+widely the sway of its Bishop then extended. This glory departed when
+Bishop Remigius (who built the central and oldest part of the Lincoln
+west front) decided about 1072 to remove his seat to the more lofty and
+far safer site upon Lincoln Hill. Before concluding the inspection of
+the cathedral&#8217;s exterior, it is timely to remark that through all the
+centuries it has been famous in story and song for its chime of bells.
+During the period when that delightful industry, the making of ballads,
+prevailed throughout England, there were many whose scenes were laid at
+Lincoln, and in almost every one of these some reference is made to &#8220;The
+bells o&#8217; merrie Lincoln.&#8221;</p>
+
+<p>Sad havoc has been played with the ancient glass, but here we cannot
+blame the Puritans alone. To be sure, they exercised their usual zeal in
+destroying the windows as far up as they could reach, but it must be
+admitted that they only completed the task earlier begun by the
+citizens, who were wont to amuse themselves by shooting with arrows and
+crossbow bolts at the roof and at the windows. This appears in the
+defence set up by the Dean when, during the time of Henry VIII., charges
+had been brought against him for permitting the cathedral to fall into
+such shocking disrepair. Notwithstanding <span class='pagenum'><a name="Page_54" id="Page_54">[Pg 54]</a></span>the efforts of the crossbow
+vandals and their successors, the Puritans, there has been preserved for
+us a very considerable amount of old glass, and that, too, of the Early
+English type, a period of which there are so few remains in England.
+These remnants are so placed as to be seen to great advantage. They fill
+the east windows of the north and south aisles of the choir, and the
+large windows in the end of the great northerly transept. The old
+glazing of the eastern windows of the north and south choir aisles is
+complete and very interesting. It is not so beautiful as it would have
+been if the spaces between the brilliant medallions had also been filled
+with colour instead of the greenish grisaille which the practical
+Englishman used so as to admit more light than would have been possible
+through the entirely coloured panes of his more artistic, if less
+utilitarian, French contemporary. He succeeded in getting his
+illumination, but he lost the jewelled shimmer that meets one&#8217;s eyes at
+Chartres and Reims. Moreover, there is also lacking the richness and
+solidity of tone which is so enjoyable in France. The French system was
+followed at Canterbury, and there is a marked difference in the effect
+of that glass from this at Lincoln. Unfortunately, the great east window
+between these two excellent aisle ones is filled with modern glass that
+suffers sadly by comparison with its ancient neighbours.</p>
+
+<p><span class='pagenum'><a name="Page_55" id="Page_55">[Pg 55]</a></span></p><p>Passing to the transepts we shall encounter the pleasant custom so rare
+in England (though common in France) of giving a familiar name to a
+great window. Here the splendid northern rose is called &#8220;The Dean&#8217;s
+Eye,&#8221; and its sister to the south &#8220;The Bishop&#8217;s Eye,&#8221; which names they
+have borne for more than six hundred years. Many are the reasons that
+have been advanced for these titles, but probably the practical one is
+correct, viz., the Dean&#8217;s Eye faces the Deanery and the Bishop&#8217;s Eye the
+Bishop&#8217;s palace. Among the many fanciful and more poetic explanations
+there is one which, although it is less reasonable, we must be pardoned
+for finding more attractive, viz., as the north is the region of the
+Evil One, it is proper that the Dean&#8217;s Eye should look into that
+direction in order to guard against any attempt on his part to invade
+the sanctuary. The Bishop&#8217;s Eye is turned toward the sunny south, &#8220;The
+region of the Holy Spirit whose sweet influence alone can overcome the
+wiles of the wicked one.&#8221; The older of the pair, the Dean&#8217;s Eye, was
+probably glazed about 1220. It is best seen from the gallery or from the
+triforium which runs along just below it, and is a fine rose of the
+usual type. Below it there extends a row of five pointed lancets
+containing very light toned grisaille which almost entirely lacks the
+usual touches of colour. Below these are two larger lancets flanking the
+doorway; the one to the east has <span class='pagenum'><a name="Page_56" id="Page_56">[Pg 56]</a></span>grisaille quarries as a border and
+within, geometric designs in colour. The westerly lancet shows a vine in
+whose branches are angels playing upon musical instruments, the whole
+surrounded by grisaille touched with colour. Across in the southern end
+of these transepts is one of the most delightful windows to be seen
+anywhere, the Bishop&#8217;s Eye. Not only is this rose window a jewel of the
+glazier&#8217;s art, but the mason as well has added a wondrous charm by the
+lightness of his stone traceries and the curious interpenetrated stone
+frame which he has placed about it. The architect, too, has joined in
+beautifying the <i>ensemble</i> by stationing below it four large lancets of
+such harmonious proportions as admirably to balance and set off their
+more important neighbour just above them. In these lancets are found
+some Early English glass&mdash;broad borders of grisaille enframing the
+rich-toned medallions within. The Bishop&#8217;s Eye was glazed about the
+middle of the fourteenth century and yields a warm greenish grey light.
+Instead of having its lines radiate from the centre in the customary
+manner, its gracefully curved mullions tend to flow up and down and
+suggest the fibres of five great leaves standing upright side by side.</p>
+
+<p><a name="Illo4" id="Illo4"></a></p>
+<div class="figcenter" style="width: 304px;">
+<img src="images/i074.jpg" class="ispace" width="304" height="500" alt="ROSE WINDOW, LINCOLN CATHEDRAL" title="" />
+<span class="caption">ROSE WINDOW, LINCOLN CATHEDRAL</span></div>
+
+<div class="blockquot3"><p>Tracery unusual in that it does not radiate from centre. Quantity of
+greenish grisaille used emphasises leaf-like design. Thirteenth Century
+medallions in the tall lancets below</p></div>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_57" id="Page_57">[Pg 57]</a></span></p><h3>YORK</h3>
+
+<p>To one approaching York by road, especially if coming by way of
+Scarcroft Hill, the ancient appearance of the town seems to translate it
+out of the Middle Ages. The dust-grey line of walls along the grassy
+banks that slope down to the moat, sweep far around in unbroken majesty,
+strengthened here and there by bastions or by a sturdy gatehouse. To
+complete the old-world picture, above the walls peep red-tiled gables,
+or occasionally the towers and spires of numerous churches, all
+dominated by the great bulk of the cathedral.</p>
+
+<p>Insignificant historically ever since the days when the city of Eboren
+was the capital of Britain, York is chiefly known for the use of its
+name in two prolonged struggles (fought out, however, on other fields),
+the one between the House of York and Lancaster, called &#8220;The War of the
+Roses,&#8221; and the other the great contest lasting from 601 on till the
+middle of the fourteenth century to decide whether the Archbishop of
+York or he of Canterbury should be the Primate of England. York&#8217;s
+unimportance in English <span class='pagenum'><a name="Page_58" id="Page_58">[Pg 58]</a></span>history may be due partly to its situation too
+far north to have been in the heart of the constant struggle for power,
+and partly to the fact that it was so repeatedly ravaged by Danes and
+other invaders, the worst blow of all being when William the Conqueror
+gave all that neighbourhood such a dreadful harrowing that the lands
+from York to Durham laid untilled for nine years, and did not fully
+recover for centuries. Almost the sole exception to this unimportant
+<i>r&ocirc;le</i> was the seven years during which Edward I. moved the law courts
+to York and made it his royal capital. Fortunately for the city, its
+connection with the bloody struggle of the rival Roses was almost
+entirely confined to lending its name to one of the Houses, for this
+great drama was chiefly enacted to the south of it. Although the other
+famous contest to which we alluded, and which dragged its weary length
+through nearly eight centuries, had to do only with ecclesiastical
+predominance, yet it exercised a potent influence upon the destinies of
+the generations it concerned. It is impossible to obtain a realising
+sense of men and events in the Middle Ages unless one takes into account
+the tremendous force, and that, too, a militant one, exercised by the
+great ecclesiastics. A striking example is provided by Archbishop Scrope
+of York, who aspired so high that he rebelled against his king and was
+only defeated after the strenuous campaign described in Shakespeare&#8217;s
+&#8220;Henry IV.&#8221; <span class='pagenum'><a name="Page_59" id="Page_59">[Pg 59]</a></span>He was executed at York in 1405. We remarked another
+example at Canterbury in the bloody ending of &agrave; Becket&#8217;s attempt to
+brave Henry II. Because he was Archbishop of Canterbury and opposed to
+the king, it is not surprising to find that the contemporary Archbishop
+of York, Roger Pont l&#8217;Ev&ecirc;que, was a staunch adherent of Henry. It was
+this very Roger who, in 1176, precipitated one of the many disgraceful
+rows that besmirched this struggle for the Primacy. The Papal Legate was
+presiding at the Council of Westminster, and &agrave; Becket&#8217;s successor,
+Richard of Canterbury, was seated on his right. Roger came in late, and,
+declining to accept any but the most honoured seat, sat down on
+Richard&#8217;s lap, whereupon a brawl ensued, ending in Roger&#8217;s discomfiture.
+Pitiable as was this scene, at least it was less disastrous to the
+people at large than many another episode of this tedious and
+acrimonious struggle, finally ended by the Bull of Pope Innocent VI.,
+designating the Archbishop of Canterbury as the Primate of all England.</p>
+
+<p>York is by all odds the most important of all English glass centres.
+Although one often finds occasion elsewhere to curse the
+glass-destroying Puritan, at York it must be admitted that the presence
+of so many ancient windows is due to the control exercised by Fairfax
+over his Parliamentary troops after a successful siege of the place. He
+well <span class='pagenum'><a name="Page_60" id="Page_60">[Pg 60]</a></span>deserved the butt of sack and tun of French wine voted him by the
+Corporation in recognition of his efforts in restraining the misguided
+enthusiasm of the soldiery. Indeed, his action here almost atones for
+the devilish tricks at Canterbury of &#8220;Blue Dick&#8221; Culmer.</p>
+
+<p>Even the most casual observer, and one entirely unlearned in our
+beautiful art, cannot fail to notice how large an amount of wall-space
+is given over to ancient glass in York Minster. As a matter of fact it
+covers an area of more than 25,000 square feet, easily double that in
+any other English cathedral, and challenging comparison with any in the
+world. Nor are the examples confined to one epoch, for there are
+fragments of Norman mosaic medallions in the great transepts and the
+vestibule of the chapter-house, Early English in the &#8220;Five Sisters&#8221; and
+along the nave clerestory, Decorated in the nave and chapter-house, and
+Perpendicular in the choir. Not only are these examples plentiful, but
+they are of the first order. Entering by the door at the southern end of
+the great transepts, one is at once confronted by the five tall lancets
+opposite him in the north wall, filled with the most deliciously soft
+greyish green grisaille. Of their type there is nothing in the world to
+approach them for beauty. From where we stand the lead lines used in
+construction do not exist as lines, but melt away into a dainty film,
+like dew on the grass <span class='pagenum'><a name="Page_61" id="Page_61">[Pg 61]</a></span>at morn. This set of lights is gracefully
+grouped, and is known by the pleasantly familiar title of the &#8220;Five
+Sisters.&#8221; Many fanciful tales are told of when and where they were
+constructed and how they received this name. Dickens in his &#8220;Nicholas
+Nickleby&#8221; relates an engaging legend to explain how the design and the
+name were provided for them. That this legend has no basis in fact
+should not make us forget that his narrative has doubtless caused many
+of his readers to visit these windows&mdash;a most excellent justification.
+Dickens tells of five maiden ladies having worked upon a large piece of
+embroidery and how, years later, when four of them met together in York
+(the youngest, Alice, having been buried in the minster&#8217;s nave), &#8220;They
+sent abroad, to artists of great celebrity in those times (Henry IV.),
+and having obtained the church&#8217;s sanction to their work of piety, caused
+to be executed in five large compartments of richly stained glass, a
+faithful copy of their old embroidery work. These were fitted into a
+large window until that time bare of ornament; and when the sun shone
+brightly, as she had so well loved to see it, the familiar patterns were
+reflected in their original colours, and throwing a stream of brilliant
+light upon the pavement, fell warmly on the name of Alice.&#8221; Those of our
+company who are by nature critical may point out that the windows date
+from the thirteenth century, not <span class='pagenum'><a name="Page_62" id="Page_62">[Pg 62]</a></span>from the reign of Henry IV., and also
+that they contain grisaille, not colour, and further, that being at the
+end of the north transept, they could not very well throw a stream of
+light into the nave! The writer urges leniency of criticism, but
+nevertheless, one is forced to the melancholy conclusion that the great
+Dickens could never have delighted his eyes by this splendid glass, else
+he could not have made the windows coloured, or placed them in the nave!
+As for the four surviving sisters, they are certainly open to the
+severest censure in that they sent abroad for stained glass during the
+reign of Henry IV., because there was then the highest development of
+the art in England, and its product could not be approached by that of
+any foreign contemporaries. Close inspection discloses the design of the
+leads to be that of a graceful adjustment of the foliage of the benet
+plant. At the bottom of the central light is observable a panel of
+highly coloured mosaic glass. The glazing of the five small lancets
+above is modern. We must turn to the nave to see the rest of the Early
+English glass, of which, however, only fragments remain. They are to be
+found along the clerestory, in all of its tracery lights on the south
+side except the third from the west, and also some in its lower panes;
+on the north side they are in the traceries of the second from the west,
+the next five east of it, and also in the lower panels of the fifth and
+seventh.</p>
+
+<p><a name="Illo5" id="Illo5"></a></p>
+<div class="figcenter" style="width: 302px;">
+<img src="images/i081.jpg" class="ispace" width="302" height="500" alt="&#8220;FIVE SISTERS,&#8221; YORK MINSTER" title="" />
+<span class="caption"><span style="margin-left: 11em;"><i>F. Valentine, photo.</i></span><br />
+&#8220;FIVE SISTERS,&#8221; YORK MINSTER</span></div>
+
+<div class="blockquot3"><p>Softly-toned grisaille with delicate patterns in faint colour. Of its
+type unsurpassed in the world. Note difference between mellow strength
+of this glass and thinness of modern glazing in upper tier of lancets</p></div>
+
+<p><span class='pagenum'><a name="Page_63" id="Page_63">[Pg 63]</a></span></p><p>The church of St. Dennis, Walmgate, has attractive panels of early
+English glass dating from the latter half of the thirteenth century
+inserted in two Decorated windows on the north side of the church.</p>
+
+<p>An account of the Decorated glass at York will be found at p. <a href="#Page_76">76</a>, and of
+that of the Perpendicular at p. <a href="#Page_185">185</a>.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_67" id="Page_67">[Pg 64-67]</a></span></p>
+<h2>DECORATED</h2>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">B</span>efore crossing the threshold into the two next periods (the Decorated
+and Perpendicular), it is worth pausing to notice that although
+architecture generally tends to elaborate as time goes on, the opposite
+was true in England during the two centuries of which we are about to
+speak. In fact, the work of the earlier of these two epochs obviously
+deserves the title of &#8220;Decorated&#8221; and the later does not. Its glass,
+too, is much more florid than its successor, and is far more ambitiously
+ornamental. It bears many bits of leafy foliage, twining vine tendrils,
+&amp;c., all drawn as true to life as possible. Later these bits of flora
+are rarely used, and then only in a conventional and, therefore, less
+decorative form. In our introduction we have stated that in England, the
+arrival of the fourteenth century does not show the abrupt difference
+found in France between the light-obscuring mosaic glass of the
+thirteenth century and the fainter tints of the fourteenth, permitting
+the brighter interior then demanded. The explanation seems to be that
+the English, having been early forced by cloudy skies to <span class='pagenum'><a name="Page_68" id="Page_68">[Pg 68]</a></span>use
+light-admitting grisaille (either alone, or combined with their early
+medallions) already enjoyed the proper illumination which, at the
+beginning of the fourteenth century, was so lacking in France as to
+bring about a cry for light at any cost. In place of the early
+fourteenth century glare that strikes one at S&eacute;es, Evreux, and in St.
+Ouen at Rouen, we have rich strong colour in their contemporaries at
+Tewkesbury, Wells and Bristol. Occasionally grisaille will be found
+pleasantly combined with small coloured scenes, as at Dorchester and in
+Merton Chapel, Oxford, but even then it seems much like a local survival
+of the thirteenth century tradition. So much for the difference between
+the English Decorated and the French fourteenth century windows. Now let
+us briefly consider what it was that succeeded to the mosaic medallion
+style seen at Canterbury, Lincoln, &amp;c., and also what causes must have
+been at work to produce the change. About the end of the thirteenth
+century there chanced to be discovered a method of producing yellow
+which obviated the necessity of cutting out a piece of glass of that
+tint and laboriously leading it into the picture where needed, as was
+still obligatory if they wanted blue or red, &amp;c. Some lucky glazier
+stumbled on the fact that if chloride of silver be put on a sheet of
+glass it would, when exposed to the fire, produce a handsome golden
+stain, and that only at the points to which it <span class='pagenum'><a name="Page_69" id="Page_69">[Pg 69]</a></span>was applied. Many
+stories are related to explain this discovery, but as they are all more
+pleasing than convincing, it seems best to credit Dame Fortune with this
+valuable assistant to the glazier. It is obvious that this facility in
+staining a touch of yellow just at the point desired by the artist was
+eagerly seized upon. He at once made use of it to decorate the robes of
+great personages, or to brighten the hair of women and angels, as well
+as to liven any bits of stonework necessary to his drawing. It made
+possible the development of an unimportant detail in the earlier windows
+into the perfected result called the &#8220;Canopy window,&#8221; which we shall
+learn to know as a most useful and satisfactory combination of
+decoration and serviceability. It will be remembered that from the
+earliest times there frequently appeared above the heads of saints
+certain conventional coverings meant to indicate an architectural
+shelter. Upon the arrival of the Decorated period this detail became
+more complete, the roof being fully depicted (although as yet in flat
+drawing, with no attempt at perspective) and columns added at the side
+to support it, thus completely enclosing the little figures in a niche.
+Here we have the first, or Decorated canopy, now complete in form
+although crude. It must be noticed, however, that these canopies,
+generally drawn to a small scale, do not attempt alone to fill the
+embrasures, and either are shown in <span class='pagenum'><a name="Page_70" id="Page_70">[Pg 70]</a></span>bands across a ground of grisaille
+or occur alone surrounded by grisaille. Their architectural portion is
+of a strong brassy yellow, that colour being provided by pot metal glass
+leaded in. Now comes the next and final development. The discovery of
+yellow stain did away with the laborious need for leading in the yellow
+bits to simulate stonework, so the limit as to size of the canopy was
+removed, and at once they began to increase in dimensions. The obvious
+result ensued, each canopy was made to fill an entire lancet, its
+simulated stonework occupying as much surface as the enclosed figure,
+and we have the logical whole of a decorative colour panel within
+surrounded by a frame of lighter panes which admit the necessary amount
+of illumination. So satisfactory did this style of window prove that it
+persisted longer than almost any other type of glazing, and we must
+remember it is the discovery of yellow stain that we have to thank for
+making this result possible.</p>
+
+<p>During the period we are now considering, the canopy was, of course,
+rather crude, in fact it looked more like a sentry-box than anything
+else. There was as yet no pedestal beneath it, and the pinnacles at the
+top showed entire ignorance of perspective, as well as of drawing in
+relief. During the Perpendicular period that followed, they did little
+but elaborate this canopy idea, combining and softening the colours so
+as to prevent jarring contrasts, and generally <span class='pagenum'><a name="Page_71" id="Page_71">[Pg 71]</a></span>much improving the
+logical combination of a coloured central portion surrounded by
+light-admitting canopy framing. Without the use of yellow stain all this
+would have been difficult, if not impossible, for without the little
+touches of gold livening the grey stonework these canopies would have
+been dull and unconvincing.</p>
+
+<p>Nor was this the only novelty in the method of imparting colour to
+glass. They now began to enrich their palettes by coating one colour
+with another, thus getting a tint not before obtainable. For example,
+red on blue gave a rich purple, blue on yellow a fine green, &amp;c. This
+was effected in a very simple manner. Suppose the glass-blower wanted a
+purple&mdash;he dipped his pipe into liquid blue glass, and started to blow
+his bubble. When it began to take shape he dipped the small bubble into
+liquid red glass and then finished his blowing. This last dipping of
+course coated the outside of the blue bubble with red, and when it was
+completely blown, cut and opened out, it produced a sheet which was red
+on one side and blue on the other. Held up to the light, the red and
+blue combined to produce purple. Nor did the glass-blower confine
+himself to combinations of two colours, for the writer knows of an
+instance in France showing six superimposed coats. The French call this
+&#8220;verre doubl&eacute;&#8221; (or lined glass), a very descriptive name. In <span class='pagenum'><a name="Page_72" id="Page_72">[Pg 72]</a></span>passing we
+may say that although this manner of colouring glass first reached
+prominence during the Decorated period, it was but an elaboration of the
+way the ruby or red glass had always been made, <i>i.e.</i>, coated on to the
+colourless glass.</p>
+
+<p>We have said that the earlier canopies did not have pedestals below
+them. This lack was soon noted, and the need was felt for something to
+complete them below; the first expedient hit upon for this purpose was
+shields gay with heraldic tinctures. Not only were these decorative, but
+we shall learn at Tewkesbury and Gloucester how valuable they have
+proved to be in enabling those learned in heraldry definitely to date
+windows whose histories have long since been forgotten.</p>
+
+<p>It must not be overlooked that the architect had much to do with the
+development from the mosaic to the canopy style. He decided to change
+from the wide single windows that one sees at Salisbury, and to
+substitute for them groups of narrower lights separated only by slender
+stone mullions and all bound together at the top and tapered off by a
+pyramid of smaller openings called tracery lights. These latter will be
+particularly enjoyed by the glass-lover while studying this period, for
+the Decorated glazier was singularly happy in his treatment of these
+smaller panes&mdash;much more so, in fact, than his successor of the
+Perpendicular era, who was obliged <span class='pagenum'><a name="Page_73" id="Page_73">[Pg 73]</a></span>to conform to the stiff little
+pill-boxes provided for him by the architect. The use of vines and
+leaves was of great assistance in this problem of treating small
+irregular openings; nor were these the only motives&mdash;at Wells there is a
+very happy use of busts filling small trefoils.</p>
+
+<p>Besides the canopy treatment, the English glazier of the Decorated
+period was very fond of the Tree of Jesse theme, and, as is usually the
+case with congenial tasks, obtained most satisfactory results. He used
+it to great effect in his broad windows made up of several narrow
+lights, separated by slender mullions. The very shape of these windows
+invited this design, because a separate branch of the vine bearing its
+little personages could be run up each lancet without disturbing the
+coherence of the picture. The men of that time used the Tree of Jesse
+nearly as much as did their fellow craftsmen across the Channel during
+the sixteenth century. In France the descendants of Jesse almost always
+appear as blossoms on the vine, but their earlier English prototypes
+usually stand in small cartouches formed by convolutions of the vine.
+This brings us to yet another reason why the Decorated glazier liked the
+Tree of Jesse. We have already stated that he was much given to
+introducing leaves, tendrils, &amp;c., done in the natural manner, which, of
+course, made him entirely at home in delineating the great vine <span class='pagenum'><a name="Page_74" id="Page_74">[Pg 74]</a></span>rising
+from the loins of the Patriarch. What success he achieved with this
+style of window we shall judge for ourselves at Ludlow, Bristol, and
+Wells.</p>
+
+<p>A convenient touchstone for deciding whether a window belongs to this or
+the next period is provided by an examination of the manner in which the
+artist executed his shading. It was smeared upon Decorated glass, and a
+close inspection will reveal the streaky lines. During the Perpendicular
+epoch the shading was stippled on with the end of a brush.</p>
+
+<p>To recapitulate, the distinctive features of the Decorated epoch may be
+enumerated as follows:</p>
+
+<div class="blockquot"><p>1. Windows of several lancets, with tracery lights above them.<br />
+2. Decorative treatment of tracery lights.<br />
+3. Yellow stain.<br />
+4. Coated glass (several layers of different colours).<br />
+5. Deep rich colouring.<br />
+6. Canopies.<br />
+7. Use of leaves, vines, &amp;c., copied closely from nature.<br />
+8. Tree of Jesse windows.<br />
+9. Shading which was smeared on.</p></div>
+
+<p><span class='pagenum'><a name="Page_75" id="Page_75">[Pg 75]</a></span></p><h3>DECORATED TOUR</h3>
+
+<p>Our Decorated tour will lead us far afield through the western part of
+the beautiful English country. At the end of the Early English tour we
+found ourselves in the interesting walled city of York. There we shall
+also begin our study of the succeeding, or Decorated, period. We shall
+next strike across to Norbury, in Derbyshire, then on to steep-streeted
+Shrewsbury, and thence down through Ludlow with its church and ancient
+castle, and stately Hereford beside the Wye to Tewkesbury, and its
+ancient neighbour Deerhurst. Gloucester will be passed <i>en route</i>, and
+then west to smoky Bristol, where the Severn meets the Bristol Channel.
+From Bristol it is only a short trip south to Wells, then down to
+Exeter, followed by a long one northeasterly to Saxon Dorchester, a few
+miles from Oxford. This tour will end in that famous university town,
+where, in like manner to the ending of the last tour in York, we shall
+find ourselves able to begin the inspection of the next, or
+Perpendicular, glass, without leaving the city.</p>
+
+<p><a name="Illo6" id="Illo6"></a></p>
+<div class="figcenter" style="width: 287px;">
+<img src="images/i096.jpg" class="ispace bbox3" width="287" height="500" alt="MAP OF DECORATED TOUR" title="" />
+<span class="caption">MAP OF DECORATED TOUR</span>
+</div>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_76" id="Page_76">[Pg 76]</a></span></p><h3>YORK</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span>n account of the Early English glass at York will be found on p. <a href="#Page_57">57</a>.</p>
+
+<p>The Decorated glass in the cathedral is almost entirely confined to the
+nave and the chapter-house (with the vestibule leading thereto).
+Notwithstanding their early date, the nave windows are large and afford
+more illumination than one would expect at that time. So much wall-space
+is used for light apertures that of the entire height of ninety-nine
+feet only thirteen feet of stone intervene between the bottom of the
+clerestory windows and the top of the main arches. All this portion of
+the edifice is dominated by the great west window, given by Archbishop
+Melton in 1338, a splendid sheet (fifty-six feet by twenty-five feet) of
+highly coloured glass, supported by curvilinear stonework. Its eight
+lights retain their original glazing almost intact (as does also the
+head of the door below). It is skilfully fitted to the elaborate pattern
+of the supporting stone frame. First there is a row of archbishops, then
+one of saints, and highest of all a line of smaller personages. The
+<span class='pagenum'><a name="Page_77" id="Page_77">[Pg 77]</a></span> windows in the west wall at the end of each aisle are of the same
+period, and also display excellent workmanship, especially the
+Crucifixion in the northern one. It should be remarked that all the
+aisle embrasures but two, and all those of the clerestory but two,
+retain their original glazing, and if to this we add the windows in the
+west wall just described, it is clear that Winston was right in stating
+that this nave contains the most perfect and extensive remains in
+England of the early part of the fourteenth century. His studious
+heraldic analysis of the first window from the east in the north aisle
+yields him the conclusion that it was made in 1306 or 1307. He remarks
+that the yellow stain there used to tint the hair of one of the
+personages is the earliest instance he ever found of the use of that new
+colour. Next this on the west is a very charming window given by Richard
+Tunnoc, Lord Mayor of York, who died in 1330: above his effigy appears a
+small reproduction of this gift window. This is perhaps the finest of
+its type in England. It was in honour of the Bell-Founders&#8217; Guild, and
+is appropriately ornamented by numerous bells in the borders as well as
+other parts of the design. For the rest of the Decorated glass we must
+go to the chapter-house and the vestibule which leads thereto. It would
+be difficult to find a spot in which one becomes so thoroughly imbued
+<span class='pagenum'><a name="Page_78" id="Page_78">[Pg 78]</a></span>with the feeling of Decorated glazing as in this vestibule. Here we
+have no distracting features from other periods. The tall, slender
+lancets that light this L-shaped hallway are completely filled with
+grisaille overrun with archaic figures and crude canopies, here
+displayed to the greatest advantage. Passing through to the handsome
+octagonal chapter-house, we are at first disappointed to notice that the
+window facing us contains modern glass. Although this first glance is
+unfortunate, one is soon consoled by observing that all the other six
+have excellent Decorated glazing of the time of Edward II. and III.,
+showing four bands of late medallions in colour drawn across a grisaille
+background livened with occasional touches of red and blue. The
+grisaille here leans to grey rather than to the usual greenish hue, and
+moreover, the quarries are cut into irregular shapes, thus relieving the
+monotony of the commoner diamond-shaped panes.</p>
+
+<p><a name="Illo7" id="Illo7"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/i099.jpg" class="ispace" width="500" height="316" alt="CHAPTER-HOUSE, YORK MINSTER" title="" />
+<span class="caption"><span style="margin-left: 23em;"><i>J. Valentine, photo.</i></span><br />
+CHAPTER-HOUSE, YORK MINSTER</span>
+</div>
+
+<div class="blockquot3"><p>Note the grouping together, in each embrasure, of five narrow lights
+below gracefully elaborated tracery openings. Later on, in the
+Perpendicular period, these traceries lose their individuality, become
+stiffly regular, and part of the window below</p></div>
+
+<p>Even if the vast Minster were not one of the world&#8217;s greatest
+treasure-houses of glass, the many smaller churches of York would
+provide ample grounds for its being included in this book of tours. So
+numerous are these churches that, in several instances, there are found
+to be more than one dedicated to the same saint, and therefore the
+pilgrim will do well to note carefully the name of street or gate placed
+after that of the saint&#8217;s to<span class='pagenum'><a name="Page_79" id="Page_79">[Pg 79]</a></span> indicate which one is intended. The most interesting of these modest
+shrines is All Saints&#8217; (or, as it is sometimes called, All Hallows&#8217;), in
+North Street. It alone is well worth a visit to York. Not only is its
+Decorated glass in excellent repair and in satisfactory quantity, but it
+evidences such careful attention to the little touches which make a
+window successful that one concludes the best artists must have been
+employed in its manufacture. For example, the canopies in the eastern
+embrasure of the north aisle have pedestals beneath them, a most unusual
+feature at that early date. Furthermore, the scenes from the life of the
+Virgin are depicted in a very careful manner, not only appearing in the
+three lancets below, but in the three major lights of the traceries
+above, although not there surrounded by canopies as below. Older than
+this window, but also typically Decorated, is that at the east end of
+the south aisle. The brassy tint is more noticeable in the canopies
+which run in two bands across its three lancets, and the canopies
+themselves are cruder in drawing than those just described, but are
+excellently illustrative of their period. These two windows are assisted
+in their service of beauty by the fact that the embrasures about them
+are not burdened with modern mistakes, but were glazed during the
+Perpendicular period. Reference will be made to this later glass further
+on (<i>see</i> p. <a href="#Page_188">188</a>); <span class='pagenum'><a name="Page_80" id="Page_80">[Pg 80]</a></span>although much more famous than its earlier
+neighbours, it is not a whit more satisfactory. These two sets contrive
+to set each other off in admirable fashion, and together they effect a
+delightful illumination for this interesting church.</p>
+
+<p>St. Dennis (Walmgate) has already been mentioned for its two Early
+English panels (p. <a href="#Page_63">63</a>), but its chief interest lies in the really fine
+Decorated remains. On entering you will not long be detained by the
+fragments of Perpendicular canopies that are gathered into parts of the
+central eastern window and two other embrasures, but will pass on to the
+north aisle. The three most easterly windows in the north wall taken
+with the eastern one of that aisle provide an excellent exposition of
+the glazier&#8217;s art during the epoch we are now considering. The eastern
+one has a fairly well preserved Tree of Jesse, filling all of its five
+lancets, except just along the lower sill. Note the green vine and the
+use of many green leaves. Turning to the three lights in the north wall
+we find the usual brassy canopies against a quarry background,
+surrounded by a coloured border. The traceries, too, show the most
+approved treatment of leaves, green vines, &amp;c., as well as some small
+heads. The diminutive kneeling donors on the quarry-panes below are very
+interesting; note the pendent sleeves, and especially the tiny gift
+window held up by one of these little people. It is <span class='pagenum'><a name="Page_81" id="Page_81">[Pg 81]</a></span>upon the central
+lancet of one of these windows that we find the two Early English
+panels.</p>
+
+<p>St. Martin-cum-Gregory boasts of ten windows of Decorated work, mostly
+small brassy canopies enclosing coloured figures, all placed upon a
+background of quarries. The best is that at the east end of the south
+aisle; across its three lancets is carried a row of canopies larger than
+then generally drawn&mdash;in fact, the space usually occupied by quarries at
+the upper parts of the lights is here pre-empted by the lofty pinnacles
+of the canopies; the quarries appear below, as usual, and upon them in
+the two outer lancets are the small kneeling donors. Under the centre
+canopy is St. Martin dividing his cloak with a beggar, and above in the
+flowing tracery lights are kneeling angels. This window is rendered
+especially brilliant by the generous use of red in the backgrounds.
+There is also some unimportant Perpendicular glass in this church (<i>see</i>
+p. <a href="#Page_185">185</a>).</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_82" id="Page_82">[Pg 82]</a></span></p><h3>NORBURY</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">T</span>ucked away within the Peak of Derbyshire there is a &#8220;Happy Valley&#8221;
+wherein, embowered in green woods and pleasant pastures, lie Chatsworth
+and Haddon Hall, well known to and well beloved of all industrious
+tourists. Sweeping around this valley as a protecting wall are rolling
+hills, whose bare summits have their sombre treeless austerity clothed
+by a mantle of purple heather. Not very far to the south of this
+protecting girdle lies a little group of houses called Norbury, nestled
+alongside a leaping stream that comes down from above. In the midst of
+this hamlet stands a small church which knows not the industrious
+tourist aforesaid, but to which we counsel the enlightened and eclectic
+pilgrims of our company to repair. The chancel here is a delicious
+morsel preserved for us out of the fourteenth century, complete,
+enchanting. In its midst are stationed two splendid marble tombs, one
+double, and both of the most exquisite workmanship. Upon them are
+stretched the life-size effigies of the deceased, while along the sides
+are sculptured in <span class='pagenum'><a name="Page_83" id="Page_83">[Pg 83]</a></span>high relief angels supporting shields. Around the
+walls runs mellow wood panelling, set off by carved oak stalls of great
+beauty. To complete the picture the many windows which light the chancel
+contain some of the finest Decorated pattern glass in England. Nor does
+the quantity of it yield in any respect to the high quality. There are
+four three-lanceted windows on each side, while a larger one of five
+lights completely fills the eastern end. In those few parts of the
+surface which have lost their original glazing, no attempt at modern
+restoration has been made, but the space has been quite simply filled
+with white glass. Across the pattern of the east window have been drawn
+two bands of very light-hued figures (lacking the usual canopies) and
+harmonising agreeably with the decorous tints of the background. Labels
+appear above the heads. The figures in the upper row are slightly larger
+than those below. Turning to the side windows, nothing of their type
+could be more attractive than the graceful grisaille patterns pricked
+out with points of colour and surrounded by broad borders which, in
+diminished scale, are carried up, into and around the tracery lights.
+Very satisfactory use of blue is made, and that, too, in an unusually
+free manner. The heraldic blazons placed upon the panes add materially
+to the charm of the glazing, and in very decorative fashion preserve the
+names <span class='pagenum'><a name="Page_84" id="Page_84">[Pg 84]</a></span>of the donors. Although a special emphasis has been deservedly
+laid upon this altogether lovely chancel, the pilgrim must not leave the
+church without a peep into the diminutive chapel that opens off to the
+south. Here we shall see a cross-legged Crusader lying in effigy upon
+his place of last repose. The light that falls upon him streams through
+two small windows, one on the east and the other on the south, both
+having three lancets. These lancets each contain a saint framed in a
+Perpendicular canopy, while below, in the center, an armorial shield
+separates two kneeling groups of donors. The southerly window shows the
+father with two sons on one side, and the mother similarly attended by
+her daughters on the other; while on the easterly lancets the father is
+accompanied by no less than eight sons and the mother by five
+daughters&mdash;a goodly company, and one which would have alarmed the
+philosopher Malthus. Note the steeple head-dresses of the women, pendent
+behind. &#8220;Tell it not in Gath&#8221; that this charming sanctuary lies hidden
+away in Derbyshire, come away privately with us and enjoy its beauties
+undisturbed&mdash;&#8220;Odi profanum vulgus et arceo.&#8221;</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_85" id="Page_85">[Pg 85]</a></span></p><h3>SHREWSBURY</h3>
+
+<div class="centerbox4 bbox2"><p><i>&#8220;High the vanes of Shrewsbury gleam<br />
+Islanded in Severn stream;<br />
+The bridges from the steepled crest<br />
+Cross the water east and west.</i><br />
+<br />
+<i>The flag of morn in conqueror&#8217;s state<br />
+Enters at the English gate;<br />
+The vanquished eve, as night prevails,<br />
+Bleeds upon the road to Wales.&#8221;</i></p></div>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">S</span>o sang the &#8220;Shropshire Lad&#8221; (A. E. Housman) concerning that fair city
+of the Welsh Marches, high-perched Shrewsbury. Most picturesque is the
+fashion in which the river Severn knots itself about the foot of the
+high peninsula upon which the town has been built, and to which access
+is given by the two ancient bridges, named English and Welsh from the
+direction in which they lead. The Kirkland Bridge is an addition of
+modern times. Thoroughly medi&aelig;val is the impression one receives as he
+approaches and enters Shrewsbury. In the first place, the passage of a
+bridge always affords an excellent adjustment of the traveller&#8217;s mental
+attitude; it lends a certain aloofness <span class='pagenum'><a name="Page_86" id="Page_86">[Pg 86]</a></span>to the town on the other side.
+It seems to say, &#8220;We are letting you across the natural barrier
+established for us by this river; but remember, it is a privilege, and
+not a right!&#8221; Directly we are arrived on the other side, there commences
+the ascent of the steep streets, and on the way up there is unfolded
+before us a series of old white and black half-timbered houses, which
+will serve to complete the mental picture of those distant days when
+protecting rivers and steep streets were not eschewed on the grounds of
+inconveniencing the city&#8217;s prospective growth. Safety was then vastly
+more important than commercial convenience. That features hampering to
+modern commerce were exactly suited to a border stronghold was proved by
+the way this town withstood shock after shock of warring tribes, or
+nations, or factions. In his play of <i>Henry IV.</i>, Shakespeare tells how
+the Prince of Wales here made his sudden transformation from dissolute
+youth to resolute manhood by defeating and slaying Harry Hotspur, thus
+in one day quelling the mutinous combination of the Scotch, the Welsh
+under Owen Glendower, and the rebellious English Archbishop Scrope of
+York. Quaint and ancient to the last degree is the flavour of this old
+city, which has owned, first and last, thirty-one charters. Those
+interested in half-timbered dwellings will do well to come here and
+inspect their number, variety, <span class='pagenum'><a name="Page_87" id="Page_87">[Pg 87]</a></span>and excellent state of preservation.
+Perhaps the best are around Wye Cop, passed on the way up the steep
+streets. The remains of the ancient castle and walls add still other
+picturesque features to this artistically noteworthy town. An inspection
+of St. Mary&#8217;s Church brings home to us the fact that as this was a
+fortress city, ground could not be spared to provide the usual Close
+which so pleasantly surrounds most English churches; in fact, this
+modest sanctuary is so set upon by other buildings that it seems almost
+to shrink from public gaze. An outpost occupying a strategic position on
+an embattled frontier required every foot of ground within its walls,
+and could devote no space to artistic surroundings, even for a church.
+St. Mary&#8217;s is very rich in glass, and that, too, of varied epochs and
+styles. Fortunately alike for that church and for us, the Rev. W. G.
+Rowlands (Vicar from 1825 to 1850), was a discriminating collector of
+stained glass. He secured not only the great St. Bernard window (of
+which we will speak later), but also much of the other glass that
+decorates the interior. We will begin our examination by inspecting the
+large east window, which displays a fourteenth century Tree of Jesse in
+the usual Decorated manner, of which we shall see prototypes at Ludlow,
+Bristol, and Wells. Jesse is reclining across the bottom of three of the
+lancets, the convolutions of the vine <span class='pagenum'><a name="Page_88" id="Page_88">[Pg 88]</a></span>arising from him forming series
+of oval enclosures in which appear his descendants. Note the skilful use
+of the leads in providing the black outlines needed to draw the figure
+of Jesse. In the row of panels below appear small figures of the donors.
+The fine reds and blues are hurt by the use of too much green&mdash;a common
+fault at that time. We must look to the nave windows (all of three
+lancets) for the other glazing of that period. The middle embrasure on
+the northerly side is beautified by the tasteful use of written scrolls,
+which wind about the figures and the columns of simulated architecture.
+Scrolls are also used in the next one to the east, but there they are
+not so important a part of the decoration. On the southerly side of the
+nave the embrasures nearest to the west and to the east have single
+figures in canopy. That to the east displays shields below the figures,
+a decoration which is absent in the western one. The central window on
+this side dates from the sixteenth century, and is the best of that
+period here. It contains three subjects in each side lancet, and two in
+the central one. Such intelligent use has been made of the leads that
+one concludes that the men who made the designs, and they who
+constructed the window, were either identical or else worked side by
+side. The result forms a pleasing contrast to the usual disregard during
+the Renaissance for the decorative <span class='pagenum'><a name="Page_89" id="Page_89">[Pg 89]</a></span>and useful purposes of the leads.
+The most interesting and pleasing of all the windows is the large one of
+three lancets on the north side of the choir showing fourteen scenes
+from the life of St. Bernard, six in the central lancet, and four in
+each of the side ones. Four more episodes from the same life are to be
+seen in the middle one of the south aisle. This glass, originally in the
+German Abbey of Altenberg, and then for many years in the vaults of St.
+Severin at Cologne, was finally brought to London, where it was secured
+for St. Mary&#8217;s by the Rev. Mr. Rowlands. The designs are attributed to
+Albrecht D&uuml;rer, but this is a common claim for German glass of that
+time. The perspective throughout is good, and the colouring very
+satisfactory. An unusual charm is added to the little figures by the use
+of Latin labels issuing from their mouths. There are also inscriptions
+below most of them, but these are frequently mutilated and misplaced. If
+proof were needed that this glass was not specially constructed for its
+present location, it is provided by the fact that the scenes do not
+follow in their proper order. A field-glass can be had on application to
+the clerk, and the use of it reveals many interesting and amusing
+details. The second window on the east in the chapel, south of the
+choir, has in its tracery-lights written music carried by angels. The
+pilgrim will later observe a great deal of this <span class='pagenum'><a name="Page_90" id="Page_90">[Pg 90]</a></span>in the Beauchamp Chapel
+at Warwick. Although rare in England, it is rarer still in France. A
+fine sixteenth-century Crucifixion scene, covering three lancets,
+decorates the north window just off the north transept. In the
+modest-sized east window of this transept are twelve small
+sixteenth-century enamel panels placed on white, a demonstration of yet
+another style of that later period. The rest of the glazing in St.
+Mary&#8217;s is either modern or so completely repaired with new glass as to
+have lost all its ancient feeling. An inspection of this church would
+not be complete without observing the fine wooden ceilings of both the
+nave and the choir.</p>
+
+<p>Devotees of the Ingoldsby Legends will remember that when the Great Dog
+in the castle of &#8220;Bloudie Jacke of Shrewsberrie&#8221; was about to seize upon
+Mary Anne, she vicariously appeased him with:</p>
+
+<div class="centerbox4 bbox2"><p>&#8220;A Shrewsbury cake, of Pallin&#8217;s own make,<br />
+Which she happened to take<br />
+Ere her run she begun,<br />
+She&#8217;d been used to a luncheon at One.&#8221;</p></div>
+
+<p>Mindful of this dainty&#8217;s historic existence, the traveller will
+doubtless regale himself therewith, that product of the town being as
+excellent and famous to-day as ever it was of yore.</p>
+
+<p>From Shrewsbury our route lies southward over <span class='pagenum'><a name="Page_91" id="Page_91">[Pg 91]</a></span>that centuries-old
+battle-ground, the Welsh Marches. We shall find not only much
+architectural beauty and fine glass, but also many inspiring memories of
+the border warfare whose bitterness lasted so many centuries.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_92" id="Page_92">[Pg 92]</a></span></p><h3>LUDLOW</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">P</span>erched high in a strong position at a bend in the River Teme rises the
+noble ruin of what was once the castle of Ludlow, visible from quite a
+distance, no matter from which direction one approaches it along the
+winding Shropshire lanes. It still retains enough of its ancient walls
+and towers to demonstrate what valiant service it must have rendered in
+keeping the turbulent Welsh back on their own side of the Border. Nor is
+the note of war the only one that echoes from the early history of this
+castle, for in its great hall was enacted for the first time Milton&#8217;s
+&#8220;Comus.&#8221; After a brief visit to the castle let us wend our way to St.
+Lawrence&#8217;s Church in the town, for which an effective and judicious
+restoration has revived much of its original charm. A diverting legend
+relates that the arrow at the top of the north transept gable was shot
+hither by Robin Hood from the Old Field two miles away. Although many of
+the parishioners devoutly believe this to be true, it strikes the modern
+traveller that the great outlaw must on that <span class='pagenum'><a name="Page_93" id="Page_93">[Pg 93]</a></span>occasion have drawn a very
+&#8220;long bow&#8221;! The ancient appearance of the fine hexagonal porch with the
+room above it makes a most inviting entrance. We shall find our glass in
+unusual parts of the church, nor is this the only unique feature of the
+edifice. The Lady chapel is not at the east, but at the south side of
+the chancel; in it is an interesting Tree of Jesse in the approved
+Decorated method, very like the one we have just seen at Shrewsbury.
+Unfortunately, the restorer has here been too thorough, but,
+nevertheless, the pattern has been preserved, and also many of the
+figures, for example, those just above the head and feet of Jesse. He
+lies recumbent along the bottom of three of the five lancets which
+compose the window, while above, in compartments formed by the
+convolutions of the vine, are his descendants. In accordance with the
+common practice, too much green was used. Although the chancel does not
+as usual afford the greatest attraction in the way of glazing, we must
+observe an interesting fifteenth century window in the middle of the
+southerly wall. Its five lancets each contain three tiers of figures in
+canopy, the details of which are much elaborated, especially in the
+pedestals. Notice also the jewelled borders to the robes. The red and
+blue glass is free from obscuring paint. Although our principal object
+was the Decorated glass, this <span class='pagenum'><a name="Page_94" id="Page_94">[Pg 94]</a></span>church would repay a visit because of the
+Perpendicular glazing of the chapel of St. John which lies north of the
+chancel, from which it is shut off by a beautiful fifteenth century
+screen. The two most easterly windows in the north wall are much lower
+in tone than either the very golden Annunciation which adjoins them on
+the west, or the red, white and blue legend of Edward the Confessor and
+the Palmers, which is round the corner in the east wall. This latter
+dates from about 1430 and has two tiers of canopies across its four
+lancets. There is here illustrated an absurd contradiction into which
+this originally graceful style was developed;&mdash;within one of its
+elaborately pinnacled shrines we find a ship! and under another a rural
+scene with trees! most out-of-place substitutes for the customary and
+appropriate saint. Let us return to the two low-toned windows in the
+north wall, of which we have just spoken. The writer does not remember
+ever having seen any similar to them. Each embrasure has three lancets
+subdivided horizontally at the middle, making six spaces. The two
+windows thus afford twelve panels, which are used to display the Twelve
+Apostles. Local tradition says that there is here represented the
+Council at which the Apostolic Creed was composed. Each holy man sits on
+a bench behind a rail, but as they are drawn to a modest scale and
+<span class='pagenum'><a name="Page_95" id="Page_95">[Pg 95]</a></span>occupy each the centre of his panel, they are thereby so far removed
+one from the other as to destroy utterly any appearance of a Council.
+There is a great deal of soft-hued architecture throughout, but it is
+used as background and not as a frame, thus differing radically from
+typical canopies. A more satisfactory result would have been attained if
+they had adhered closely to contemporary tradition, for here the
+figures, low-hued as they are, start out too abruptly from the
+over-spacious architectural background. The general effect is not that
+of a series of gracefully framed Apostolic portraits, but of lonely
+figures seated in empty halls. If for no other reason than that they
+have provoked this criticism, these windows should be carefully
+remarked, because they demonstrate how sound was the theory of employing
+the architectural canopy as a light-admitting frame for the coloured
+central figure. The east window of the south transept contains fragments
+of fourteenth and fifteenth century glass from other parts of the
+church. The wooden ceilings are well worthy of inspection.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_96" id="Page_96">[Pg 96]</a></span></p><h3>HEREFORD</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span> very charming feature of English country life is the pleasure one can
+derive from boating on the small rivers. Our American watercourses are
+generally too wide or too turbulent to become such a domestic pet as we
+all know the river Thames to be. To one who has not seen Boulter&#8217;s Lock
+on a bright Sunday, or who has never witnessed a Henley Regatta, that
+most brilliant of all athletic spectacles, it would be difficult to
+explain how thoroughly the Englishman enjoys and how constantly he uses
+the opportunity which Father Thames affords for a short outing. Nor is
+the Thames the only stream thus available. Small watercourses of the
+same sort are to be found all over the country, and afford delightful
+trips for those who are willing to travel in so leisurely a fashion. The
+writer remembers with the keenest pleasure certain canoe trips, one of
+three days from Bedford to Ely on the Ouse, another on the Stour, from
+Sudbury to Manningtree, lasting two days, and a third of similar
+duration from Petworth down the <span class='pagenum'><a name="Page_97" id="Page_97">[Pg 97]</a></span>Rother into the Arun at Pullborough and
+thence to Arundel. All the preparation necessary is to buy your canoe a
+third-class ticket, put it into the luggage van at the railway station,
+and set out for the point at which you wish to begin. Jerome K. Jerome
+has immortalised a similar trip taken down the Thames from Oxford to
+London. One of the most charming of all English river journeys is that
+down the Wye. If one wishes to take a long trip, the start can be made
+at Hay, thirty-four miles above Hereford, or perhaps better at Whitney,
+twenty-eight miles above. The next stretch is from Hereford to Ross,
+twenty-seven miles, and, if desired, this can be lengthened by
+continuing on down to Monmouth, Tintern and Chepstow. The charming bits
+of scenery that unfold themselves as this little river lazily winds down
+the Welsh Marches are most varied and delightful. It must, however, be
+admitted that it is only the middle section of this agreeable trip that
+properly concerns one engaged in glass-hunting. We should, therefore,
+content ourselves with the stretch from Hereford to Ross, twenty-seven
+miles, if, indeed, we have the time to devote to this slow method of
+travelling. Over by the river end of the peaceful town of Hereford is
+the lovely green Close which lies about the sturdy reddish brown
+cathedral. Few churches, even those of great size, give such a square
+and solid impression <span class='pagenum'><a name="Page_98" id="Page_98">[Pg 98]</a></span>as results here from the combination of the ruddy
+tones of the building material and the early type of its architecture.
+The defacing effects of an earlier restoration are being rectified by
+the erection of a new west front, now almost completed. The massive
+Norman columns that support the nave within, carry out in their grand
+simplicity the sturdy promise of the exterior. Every division of the
+church seems spacious, the ample transepts, wide choir aisles, and large
+Lady chapel, completing the effect begun by the nave and choir. Indeed,
+so commodious is the Lady chapel, that it is used as a parish church.
+The cathedral has a number of interesting possessions, chief among which
+is the large Mappa Mundi made in 1300, and showing the world as then
+known. It hangs in the south choir aisle. The world is represented as
+round like a plate, and in addition to the cities and countries marked
+thereon, there also appear the fabulous animals which were then a part
+of orthodox geography. It was about this time that there was written the
+adventures of that famous traveller, Sir John de Maundeville, whose
+voyages were only exceeded in extent by his imagination. His reports of
+fabulous beasts, &amp;c., are in excellent accord with the pictures on this
+map.</p>
+
+<p>The ancient glass here is somewhat limited, and is all of the Decorated
+period. On the south side of <span class='pagenum'><a name="Page_99" id="Page_99">[Pg 99]</a></span>the Lady chapel we shall remark two
+windows, chiefly glazed in greenish grisaille, but each bearing four
+coloured decorations placed one above the other. In one case these prove
+to be geometrical designs outlined in colour, while in the other they
+are small coloured groups, the topmost scene showing Christ, on a red
+background, pointing upward. Glass even more typically Decorated is to
+be seen in the eastern wall of the north-east transept, and again in the
+most easterly embrasure of the south choir ambulatory. These windows
+each contain four lancets surmounted by tracery lights, and in each
+lancet is a coloured figure framed in an unusually lofty canopy&mdash;in fact
+the latter is three times as high as the figure it encloses. Note the
+brassy tone of the early golden stain used in the architecture. Modern
+grisaille has replaced its ancient prototype, which, in accordance with
+the conventions, surrounded these early canopies to increase the
+light-admitting power of the embrasures. This glass was formerly in St.
+Peter&#8217;s Church, but about sixty years ago that church disposed of it for
+&pound;5 to a purchaser who presented it to the cathedral. Limited though it
+be in amount, it will repay a careful examination.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_100" id="Page_100">[Pg 100]</a></span></p><h3>TEWKESBURY</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span>s one wanders through the streets of quiet Tewkesbury, the
+half-timbered houses on every side lend it an Old World flavour that
+most suitably prepares us for the sturdy Abbey, the dignity of whose
+recessed west front is all in harmony with the medi&aelig;val gravity so
+characteristic of the place. It is as if that eloquently silent edifice
+had never been able to shake off the sombre memories of the sanguinary
+scenes enacted within it May 4, 1471, when, after the defeat of the
+Lancastrians under the Duke of Somerset by Edward IV. in the &#8220;Bloody
+Meadow&#8221; just outside the town, the slaughter of the wearers of the Red
+Rose was not only carried on through the streets of Tewkesbury, but even
+into the Abbey itself. An echo of this butchery is heard in
+Shakespeare&#8217;s <i>Richard III.</i>, when the ghost of the murdered Prince
+Edward (son of Henry VI.) appears to King Richard the night before the
+fatal battle of Bosworth and cries out:</p>
+
+<div class="centerbox3 bbox2"><p>&#8220;Let me sit heavy on thy soul to-morrow!<br />
+Think, how thou stabb&#8217;st me in the prime of youth<br />
+At Tewkesbury.&#8221;</p></div>
+
+<p><span class='pagenum'><a name="Page_101" id="Page_101">[Pg 101]</a></span></p><p>With what reproach must not that splendid row of fourteenth century
+knights, victors over the French at Cr&eacute;cy, have looked down from the
+windows of the choir clerestory upon this bloody violation of the rights
+of sanctuary by those fifteenth century butchers of the House of York.
+Indeed, these effigies of the earlier warriors were fortunate to have
+escaped those later desperate struggles. The ravages of war do not seem
+to have dealt so harshly with stained glass in this country as
+elsewhere. A learned French contemporary of these tragic events,
+Philippe de Comines, remarked this fact, and spoke of England as a land
+where &#8220;there are no buildings destroyed or demolished by war, and where
+the mischief falls on those who make the wars.&#8221; Although Tewkesbury&#8217;s
+fame in history rests largely upon its having been the theatre of this
+wild closing scene of the War of the Roses, it is not because of any
+fifteenth century happening that we are moved to come here, but by
+reason of the seven large windows of the preceding, or Decorated, period
+which fill the choir clerestory. This is one of the few instances where
+we shall remark the absence of the square eastern end so usual in
+England. It is here omitted in favour of the rounded apse then prevalent
+in France. Advantage has been taken of this unusual shape to throw out a
+series of chapels around the chancel, which add greatly to the beauty of
+the <span class='pagenum'><a name="Page_102" id="Page_102">[Pg 102]</a></span>Decorated choir, and contrast sharply with the sturdy Norman nave.
+The seven large embrasures that light the choir clerestory each contain
+a group of lancets, five in every case, except in the most westerly
+pair, where there are but four. Although the design is the same
+throughout (a large figure in colour surrounded by a canopy frame),
+these frames are differently occupied, those in the westerly pair
+containing armoured knights, while in all the others are saints. The
+depth of their colour scheme is due partly to the great quantity of rich
+greens and reds used, and partly to the opacity of the panes depicting
+the canopies. The figures generally occupy about one half the window
+height, the rest being given over to the canopy. Below the feet of the
+knights are their shields, which serve to provide the artistic balance
+later obtained from pedestals. The same conventional attitude has been
+assumed for all these warriors; each stands with his feet well apart,
+his left hand on the sword by his side, the right hand on the hip,
+holding up a sceptre. The pinnacles of almost all the canopies are
+outlined against red backgrounds. Note the little rose windows
+introduced in the upper part of the canopies. The most easterly window
+provides a variation in that the enshrined saints are higher up on the
+panes, thus making room below them for small groups consisting mostly of
+naked figures, with flesh tints glazed <span class='pagenum'><a name="Page_103" id="Page_103">[Pg 103]</a></span>in brown. The right-hand lancet
+shows six kneeling figures praying, doubtless the donors. The borders
+are carried up and around all the tracery lights, which are very
+Decorated in form and do not yet show any hint of the stiffer
+Perpendicular treatment to follow. Perhaps here more effectively than
+anywhere in England shall we feel the warm colour-value of Decorated
+glass, with as yet no tendency toward the paler tints that are to come
+with the Perpendicular style. A similar warmth of tone is to be remarked
+in the east windows of Bristol and Wells Cathedrals, and the writer is
+moved to conjecture that the same glazier had to do with all these
+three. This conjecture is not only based on the still undiminished
+strength of colour throughout them all, but also on the marked
+similarity in the drawing and tinting of a certain white vine decoration
+upon a red ground, to be remarked in the upper tracery lights of all
+three, and also in the traceries of certain transept windows at
+Gloucester. Whoever this workman was, we feel his results so
+satisfactory to-day that it would be small wonder if contemporary
+appreciation caused his employment in these different towns.</p>
+
+<p><a name="Illo8" id="Illo8"></a></p>
+<div class="figcenter" style="width: 313px;">
+<img src="images/i122.jpg" class="ispace" width="313" height="500" alt="CHOIR, TEWKESBURY ABBEY" title="" />
+<span class="caption">CHOIR, TEWKESBURY ABBEY</span></div>
+
+<div class="blockquot3"><p>A rare example of rounded apse, generally replaced in England by a
+square ended chancel. Chief charm of these windows is their rich
+colouring</p></div>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_104" id="Page_104">[Pg 104]</a></span></p><h3>DEERHURST</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">P</span>ossibly some of our travellers are proceeding in so leisurely a fashion
+that they may decide to sojourn a day or two in Tewkesbury. To them we
+address the suggestion that they visit the adjoining town of Deerhurst
+and see its venerable church. It is but a two-mile walk across the
+fields, or a pleasant trip by boat on the Severn. It may, however, by
+means of a small <i>d&eacute;tour</i>, be visited on the way to Gloucester. Although
+it can boast of but little Decorated glass, that little is lodged in an
+edifice of great interest, because it is the earliest dated one in
+England. The obviously Saxon architecture, with its &#8220;herring-bone&#8221; and
+&#8220;long and short&#8221; work, the window-tops composed of two slanting stones,
+or else of arches cut from one piece&mdash;these unmistakable signs would
+have told us that it antedated the Normans, but of such buildings there
+are many in this country. Here, however, we have an exact date given us,
+and, furthermore, the earliest known in all the land. A stone found here
+(now preserved at Oxford) relates that this chapel <span class='pagenum'><a name="Page_105" id="Page_105">[Pg 105]</a></span>was dedicated in
+1056, and that Earl Odda caused it to be erected &#8220;in honour of the Holy
+Trinity and for the good of the soul of his brother, Elfric, which at
+this place quitted the body.&#8221; It goes on further to say that &#8220;Bishop
+Ealdred dedicated it on 12th April in the 14th year of Edward King of
+the English.&#8221; Two other early Saxon edifices of even more modest
+dimensions lie close at hand. The ancient glass is contained in the four
+small lancets of the west wall on the right as one enters, and is
+obviously of the Decorated period. The most attractive bit is the small
+panel showing St. Catherine framed in a canopy, holding her wheel in one
+hand, and revolving it with the other. The background is red within the
+canopy, but green outside, a very frequent adjustment at that time. In
+both the upper and lower parts of these lancets are groups of three and
+four kneeling donors, about eight inches high, with labels above them.
+This glass has not always remained in its original embrasures, but,
+fortunately, did not stray far. Its travels were cut short by a
+gentleman who purchased it for &pound;5 from an antiquary&#8217;s shop in a
+neighbouring town, and restored it to its early home. More important and
+more beautiful sanctuaries will be encountered in our travels, but it is
+well to have halted for even a brief time at this ancient Saxon fane, if
+only to <span class='pagenum'><a name="Page_106" id="Page_106">[Pg 106]</a></span>ponder upon how tenacious must have been the traits of those
+early ancestors of ours, to have persisted to these modern days with
+such vigour as to have made the adjective &#8220;Anglo-Saxon&#8221; so significant.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_107" id="Page_107">[Pg 107]</a></span></p><h3>BRISTOL</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">B</span>ristol is connected with London by the Old Bath Road. What memories
+that name arouses of beaux and belles of stage-coach days, gaily
+chatting to while away the fifteen-hour trip from London to Bath, or
+furtively glancing out to see if bold Dick Turpin, or some gentleman of
+his profession, be not lurking in the shadows of the trees, intent on
+relieving the tired horses by lightening the passengers&#8217; luggage. This
+stage-coach period is of peculiar interest to visitors from across the
+seas, because it takes one back to old Colony days, and the War of the
+Revolution. In England the improved facilities of travel provided by the
+stage coach had much to do with advancing parliamentary government and
+doing away with the system of &#8220;rotten borough&#8221; representation in
+Parliament. Bustling and hearty days were those of the four Georges,
+which produced a Prime Minister like William Pitt. In this progressive
+era of railroad construction and stock manipulation, it is interesting
+to read how Richard Palmer besought <span class='pagenum'><a name="Page_108" id="Page_108">[Pg 108]</a></span>the Government to establish a
+regular mail-coach service on the Bath Road, alleging the great profits
+they could thereby secure, but really hoping in this way to increase the
+profits of his theatre in Bath. After a long struggle he finally got the
+ear of William Pitt. The service was established, and his subsidy (which
+was to be regulated by the amount saved in carrying the mails) proved so
+large that they cut it down to the lump sum of &pound;50,000! The first coach
+started on August 8, 1784. Nowadays it causes us to smile when we read
+of the tremendous effect produced throughout the country by the news
+that this coach left London at eight o&#8217;clock in the morning and arrived
+at Bristol at eleven the same evening! Such unheard-of speed aroused
+wide interest, and had much to do with the great success of Bath as a
+fashionable watering-place. Bowling along this historic road we shall
+only stop long enough at Bath to see the remains of the baths built by
+the Romans, and the famous Pump Room, the scene of the triumphs of Beau
+Nash, and many another. We may also take a peep into the small, but
+fine, church whose great window surface has earned for it the title of
+the &#8220;Lantern of the West.&#8221; It will not detain us long because its glass
+is all modern, except in the second embrasure from the west in the north
+aisle, where seven shields surmounted by elaborately plumed helmets are
+agreeably <span class='pagenum'><a name="Page_109" id="Page_109">[Pg 109]</a></span>disposed across the five lancets. On we go out of Bath and
+along the narrow valley of the Avon, twelve miles further to smoky
+Bristol, squatted like a puffing Dutch burgher at the point where the
+Severn empties into the Bristol Channel. Although the great shipping
+industry that gave the town its early importance has of late years
+diminished, it still retains enough to be an active port of trade. To
+some fanciful folk the pall of smoke that hangs over the town may seem a
+gloomy retribution for the fact that from the days of the Saxon and the
+Norman down to the abolition of slavery, Bristol was the greatest port
+in England for that nefarious traffic. Changing to a brighter subject,
+this was the harbour from which John Cabot, the Anglicised Venetian, and
+his son Sebastian (who was born here), sailed upon their voyages of
+discovery across the little-known Atlantic.</p>
+
+<p>The Mayor&#8217;s Chapel contains some very interesting sixteenth century
+glass, but as it was bought abroad and fetched here, it has not, for us,
+the interest which we shall feel in the home-made Decorated windows of
+the cathedral. Bristol Cathedral lacks the pleasing setting of foliage
+and green lawns which one finds about almost every English church.
+Indeed, in this respect, it is more like the famous French ones, which
+nearly all rely upon architectural charm for their effectiveness.
+<span class='pagenum'><a name="Page_110" id="Page_110">[Pg 110]</a></span>Inside, the chief matters of interest are the great Tree of Jesse which
+fills the east window, and the two large lights on each side of the
+chancel. These side windows are glazed in grisaille upon which are
+figures framed in canopy, two tiers, one above the other. The most
+westerly embrasure of the southerly pair has in its upper row three
+canopies which, taken together, show the martyrdom of St. Edmund. He is
+within the central canopy, while those on each side contain archers
+drawing their bows to shoot at him. The bent knees, the awkward pose of
+the heads, &amp;c., show the drawing to be most primitive. The tracery
+lights are glazed in red, with white winding vines, and are remarkably
+like the traceries at Tewkesbury. The Berkeleys, who gave this glass,
+were related to the de Clares of Tewkesbury, so it is more than likely
+that they employed the same glazier. The great east window is in a very
+good state owing to its restoration in 1847 and is a graceful work of
+the Decorated period. The erudite Winston concludes that as it does not
+bear the arms of Piers Gaveston (murdered in 1312), and does show those
+of Humphrey de Bohun, Earl of Hereford (slain in open rebellion against
+his sovereign in 1322), the date of the window is probably about 1320,
+which furthermore is borne out by internal evidence. This great window
+rises above and behind the altar and <span class='pagenum'><a name="Page_111" id="Page_111">[Pg 111]</a></span>has its nine lancets subdivided
+into three groups of three each by two mullions which, as was usual at
+that time, curve away from each other when nearing the upper part of the
+embrasure. Although the subject is a Tree of Jesse, the patriarch
+himself does not appear. The various branches of the vine rise
+perpendicularly from the lower sill and are then gracefully intertwined.
+The treatment of the personages is the same throughout, each being
+enclosed by a loop of the vine. The 1847 restoration was so well done
+that except for an occasional harsh note of colour in the robes, it
+conceals its modern substitutions quite successfully. The lancets each
+contain two figures, one above the other. It is fair to comment that the
+encircling vine is rather too light to harmonise well with the figures
+in the background.</p>
+
+<p>After descending the hill, crowned by the cathedral, we cross over into
+the other part of the town to see the fine church of St. Mary Redcliffe,
+where, although there is but little glass, that little is arranged in a
+unique manner. Each of the three easterly windows of the south transept
+consists of three lancets. For each window there is provided a border
+consisting of a series of fifteen small four-pointed openings fitted
+over it in the shape of an inverted <strong>&#65333;</strong>. The glazing of
+these stars reminds one of the ordinary Decorated treatment of tracery
+<span class='pagenum'><a name="Page_112" id="Page_112">[Pg 112]</a></span>lights. Within a narrow border is a red field upon the centre of which
+appears a coloured boss from which radiate four leaves. The general
+effect is a yellowish green. These windows date from about 1360. On the
+way out let us stop in the north-west corner of the nave and notice in
+the north wall a window filled with a collection of about eighty-five
+roundels and heads, all helter-skelter, eked out with fragments from
+other embrasures. The effect, though motley, is interesting. A window in
+the westerly wall of this corner also contains <i>d&eacute;bris</i>, but here it is
+of figures and canopies. This church, called by Queen Elizabeth &#8220;the
+fairest, the goodliest, and the most famous parish church in England,&#8221;
+is chiefly known for having been the literary browsing-ground of that
+infant prodigy Thomas Chatterton, who announced that it was an old chest
+in its muniment-room that yielded what he alleged to be transcriptions
+from certain ancient Rowley manuscripts. So well were these forgeries
+contrived that it took Horace Walpole, himself the constructor of an
+imitation Gothic romance (&#8220;The Castle of Otranto&#8221;), to discover the
+fraud. Although but seventeen years old when he committed suicide in
+1770, Chatterton had already published a number of writings. No good
+American should depart without a glance at the monument <span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span>and armour of
+Admiral Penn, father of our William Penn.</p>
+
+<p>It will be no small relief to emerge from the smoky pall which hangs
+over this enterprising city and escape again into the clearer atmosphere
+of the charming English country.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_114" id="Page_114">[Pg 114]</a></span></p><h3>WELLS</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">O</span>ff in Somerset, snugly tucked away at the foot of the Mendip Hills,
+lies one of the most charming cathedrals to be seen anywhere, and, in
+the opinion of Fergusson, certainly the most beautiful in England. The
+fact that it has grouped about it more perfect ecclesiastical buildings
+than any other church of its size, and also that the town which grew up
+around is very interesting, combine to make Wells a peculiarly
+delightful place. The distant prospects of it are very attractive,
+whether you stand upon Moulton Hill and look toward its western fa&ccedil;ade,
+or view the eastern end with the group of adjoining buildings from the
+top of Thor Hill. Even when you have come down into the quiet town and
+the cathedral is near at hand, the approach to it continues to be most
+picturesque, first through a battlemented gateway in one corner of the
+market square, and then across a lovely lawn shaded by fine trees. The
+ample proportions of the rugged west front are saved from the appearance
+of excessive breadth because of the perpendicular lines <span class='pagenum'><a name="Page_115" id="Page_115">[Pg 115]</a></span>lent by the
+buttresses built against it. A most attractive feature of this great
+fa&ccedil;ade is the unusual collection of carved figures beneath canopies with
+which, at the close of the thirteenth century, it was lavishly adorned.
+There are over six hundred in all, carved of stone from a local quarry,
+and originally gilded and coloured. Nearly all are of life-size, and
+represent not only Biblical characters, but also kings and queens of the
+Saxon, Norman, and Plantagenet dynasties. Within the building the scene
+is one of exceptional splendour and beauty. Even what elsewhere might
+prove ugly is here turned to artistic account, as, for example, when the
+stability of the great central tower demanded a strengthening arch
+across the nave at that point, it was rendered a decorative feature by
+placing above it another arch inverted so that the lines should sweep
+upward as well as downward. An odd and unusual position was selected for
+the chapter-house&mdash;above and to the north of the chancel&mdash;and nothing
+could be more delightful than the way in which the old stone stairway
+bends gently up to it. East of the chancel is a fine roomy Lady chapel.
+The entrance to this chapel is provided by the removal of the lower
+third of the east wall of the chancel, the middle third being stone wall
+with empty niches, and the upper third a great arched window of seven
+<span class='pagenum'><a name="Page_116" id="Page_116">[Pg 116]</a></span>lancets containing a Tree of Jesse in the Decorated manner, above
+which, in the traceries, is shown the Judgment Day. This is known as the
+&#8220;Golden Window,&#8221; and Canon Church calls it &#8220;one of the most remarkable
+in England for simplicity and harmony and richness of colouring, for the
+force of character in the faces, and the stately figures in flowing
+mantles of green and ruby and gold, like Arab chiefs; figures such as
+some artists in the last Crusading host under Edward might have seen and
+designed, and so different from the conventional portraiture of Bible
+characters.&#8221; Although this window is less lofty than the similar one at
+Bristol, it does not seem so incomplete and cut off, because we have
+here the recumbent figure of Jesse across the bottom of the five central
+lancets, a feature lacking at Bristol. Another point of difference is
+that the convolutions of the vine do not here enclose the seventeen
+figures of the descendants, but instead they stand under canopies, of
+which, however, only the topmost ones have pinnacles. The broad borders
+have the same design throughout, viz., gold crowns alternated with
+colour, which changes from red to blue in each successive lancet. The
+backgrounds within the canopies also alternate red and blue, always
+contrasting with the colour outside. Almost all the small personages are
+draped in either<span class='pagenum'><a name="Page_117" id="Page_117">[Pg 117]</a></span> green or yellow, and four have undergarments of red. Though their
+colouring is splendid, the figures are rather too crowded. The two most
+easterly lights on each side of the chancel are contemporary with the
+east window&mdash;they are each of three lancets and contain single figures,
+occupying about half the height of the embrasure, and have no pedestals
+below them. So similar is the treatment here to that at Bristol that it
+seems safe to assign the same date to both (1320). The tracery lights
+around the choir ambulatory still retain their Decorated glazing. To the
+right and left just before we enter the Lady chapel are single windows
+containing fragments of ancient glass. The Lady chapel itself is finely
+illuminated by five large windows of five lancets each containing figure
+and canopy work. One should remark the unique pedestals consisting of
+golden lions or bears surmounted by the characteristic ball-flower
+ornament. Very interesting, also, are the tracery lights, which consist
+of pyramids of small trefoil openings, four at the base, then three,
+then two, then one. They are reminiscent of the tracery lights of the
+Lichfield Lady chapel, but here the glazier has been more adroit in the
+use of his opportunities. Instead of putting a head alone in each
+opening, he has availed himself of the broader space at the bottom to
+put in the shoulders as well. <span class='pagenum'><a name="Page_118" id="Page_118">[Pg 118]</a></span>These little busts adjust themselves
+admirably to the trefoils. Although the glass which once filled the
+octagonal chapter-house is all gone save that up in the traceries, those
+remnants are of interest because the disposal of the designs against the
+red backgrounds is reminiscent of the work at Tewkesbury and Gloucester.
+The great west window of the nave has seventeenth and eighteenth century
+glass at the sides, and in the centre a fine sixteenth century French
+panel showing the beheading of St. John. This bears the date 1507 and a
+Gascon inscription, and was bought by Bishop Creyghton during the time
+that he was sharing the exile of Charles II. on the Continent. This
+provokes the comment that not only is there a small amount of sixteenth
+century glass in England, but curiously enough much of it proves upon
+inspection to have been made across the Channel. Before leaving this
+noble interior one should notice a feature of quaint interest. In the
+south choir aisle stands the monument to Bishop Bytton (1524), long
+renowned for his cures of toothache. After his canonisation this tomb
+was resorted to by pilgrims seeking relief from that malady, and so
+famous were the cures that we find carved upon the capitals of piers on
+the west side of the south transept, and again in the north transept,
+little men whose sufferings from toothache <span class='pagenum'><a name="Page_119" id="Page_119">[Pg 119]</a></span>are reproduced in the most
+detailed and dramatic manner.</p>
+
+<p><a name="Illo9" id="Illo9"></a></p>
+<div class="figcenter" style="width: 336px;">
+<img src="images/i139.jpg" class="ispace" width="336" height="500" alt="&#8220;GOLDEN WINDOW,&#8221; WELLS CATHEDRAL" title="" />
+<span class="caption">&#8220;GOLDEN WINDOW,&#8221; WELLS CATHEDRAL</span></div>
+
+<div class="blockquot3"><p>Notice graceful setting, permitting a glimpse through into the Lady
+Chapel beyond. The large Tree of Jesse rising from the loins of the
+Patriarch is portrayed in colours of almost barbaric richness</p></div>
+
+<p>No matter by which road we leave Wells, one should look back more than
+once to enjoy the charming views of the cathedral and its Close.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_120" id="Page_120">[Pg 120]</a></span></p><h3>EXETER</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">I</span>n travelling about England one is struck by how greatly the colour of
+the building-stone varies. One sees greenish grey around Tavistock in
+West Devon; golden brown in the country just north of Oxford;
+silver-grey in many parts of Yorkshire, &amp;c. &amp;c. One might continue to
+enumerate instances, but in the end the most marked of all would surely
+be the red seen about Exeter. Not only are many of the edifices built of
+this ruddy stone, but the earth in any ploughed field thereabouts shows
+the same unusual colouring. The Normans must have been struck by this
+fact, for they called the hill on which they built their castle
+&#8220;Rougemont.&#8221; In view of this marked peculiarity of the Exe Valley, it is
+noteworthy that the exterior of the rugged cathedral, with its mighty
+transeptal towers, is blackish grey. Within, it shows the reddish hue
+which one would expect hereabouts, but outside is similar in tone to
+Westminster Abbey. If one be so whimsically-minded as to group
+cathedrals by colour, one must class Exeter with Peterborough as black,
+while Lincoln will be <span class='pagenum'><a name="Page_121" id="Page_121">[Pg 121]</a></span>golden brown, York and Canterbury soft grey, &amp;c.
+&amp;c.</p>
+
+<p>Very fine as well as decorative glass is to be seen in this cathedral.
+It fills the east window, and another near it in the north choir
+clerestory, as well as a large window in each of the chapels that close
+the easterly end of the choir aisles. These charming little chapels are
+each reached by an entrance from the choir ambulatory, and are only
+separated from the Lady chapel between them by a light screen. The east
+window of the northerly chapel has five lancets, although the glass was
+seemingly made for one of six, the number which still exists in that of
+the southerly chapel. The treatment in both is the same, a handsome and
+well-balanced combination of quarry-panes relieved by gaily-tinted
+heraldic shields, and all surrounded by coloured borders. In the
+northerly chapel there has been introduced into the central lancet a
+Decorated panel, showing a kneeling chantry priest within a canopy
+praying for the donor. This appears to have been removed hither from the
+chapter-house, where there still remain a couple of similar panels. The
+two windows just described are excellent examples of one of the glazing
+methods of the epoch, while of still another style (the figure in
+canopy), equally good ones are above in the choir clerestory, the fourth
+from the <span class='pagenum'><a name="Page_122" id="Page_122">[Pg 122]</a></span>east on the north side showing in each of its four lancets a
+figure under a canopy with a shield of arms at the feet. It is
+practically complete, except that the shields have lost their heraldic
+bearings.</p>
+
+<p><a name="Illo10" id="Illo10"></a></p>
+<div class="figcenter" style="width: 312px;">
+<img src="images/i146.jpg" class="ispace" width="312" height="500" alt="EAST WINDOW, EXETER CATHEDRAL" title="" />
+<span class="caption">EAST WINDOW, EXETER CATHEDRAL</span></div>
+
+<div class="blockquot3"><p>Perpendicular stone frame glazed chiefly with very typically decorated
+figure-and-canopy glass preserved from the earlier and smaller window.
+Below and beyond appears the Lady chapel</p></div>
+
+<p>The archives tell of a large purchase of glass in Rouen in 1301 and
+again in 1317 for use in this cathedral. Much of these purchases is
+still to be seen in the large east window. Here we are struck by a
+strange anomaly of obviously Decorated glass in purely Perpendicular
+masonry. Nothing could be more distinctive of the later period than the
+Perpendicular mullions surmounted by stiffly upright tracery lights, and
+yet the glazing could not be mistaken for anything but Decorated.
+Evidently old wine has been put into new bottles. Although a great deal
+of restoration is noticeable in this window, the strongly brassy tone of
+the canopies in the three outer lancets on each side clearly indicate
+that they antedate the discovery of yellow stain. An explanation of this
+anachronistic clash between the glazing and its framing stonework
+appears upon the rolls of the Chapter. April 21, 1389, one Henry de
+Blakeborn, then Canon, moved by the fine appearance of the newly
+constructed west window, offered 100 marks towards properly enlarging
+the eastern one. This offer was accepted and the work at once put in
+hand. The glazing of the earlier east window was saved to put into the
+new and<span class='pagenum'><a name="Page_123" id="Page_123">[Pg 123]</a></span> larger embrasure. As yellow stain was not known at the time of glazing
+the first east window, it is absent from the early glass, although it is
+plentifully used in the heads, &amp;c., of the additions made necessary in
+1389 by the increased size of the window. One must not quarrel with the
+judicious restoration which has preserved so charming an <i>ensemble</i>. But
+this indulgent mood will be abruptly dismissed when one examines the
+lights along the north side walls of the choir aisles, for here the
+colour in the patterns upon the white panes proves to be Decorated glass
+cut up into bits for this purpose by some modern glazier! Any further
+comment upon his taste is unnecessary. It is one of the instances which
+causes one to query if it be always wise to impose a punishment for
+murder!</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_124" id="Page_124">[Pg 124]</a></span></p><h3>DORCHESTER</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">B</span>efore setting out upon our journeys we stated that although the viewing
+of stained glass was our main purpose, we intended to be broad-minded
+and enjoy whatever other interesting sights might be encountered. When
+we approach the little hamlet that &#8220;Dorchester ys ycluped, that bysyde
+Oxenford ys&#8221; those of our company learned in arch&aelig;ology will doubtless
+point out the Dykes, those two great parallel earthworks twenty feet
+high, separated by a dry fosse twenty yards wide, which run for a
+distance of 900 yards round the south side of the town, from the banks
+of the Thames to those of the little Thame. Our arch&aelig;ological friend
+will not need to point out how strong a defence was provided for the
+ancient Briton by these walls and the two rivers, but he will doubtless
+earnestly set forth many arguments for and against the theory that this
+fortification was an outpost of the entrenched camp on Sinodun Hill near
+by. The writer well remembers how strongly these Dykes impressed him
+when he first saw them years ago. In company with two friends he was
+rowing down from Oxford to London, <span class='pagenum'><a name="Page_125" id="Page_125">[Pg 125]</a></span>and having arrived at Dorchester
+after sunset, stopped there to spend the night. Early in the morning, on
+our way down to the boat, we came upon these earthworks overgrown with
+yellow wheat and red poppies sparkling with dew. Instantly one forgot
+the dull modern village, and went back in fancy to the days when these
+great lines of earth were thrown up to protect the early owners of this
+land, later to be so often harried by conqueror after conqueror. The
+greatest glory of Dorchester came much later, in fact even after the
+centuries of Roman occupation had come to an end and the last legions
+had left England for ever. It was under the rule of the West Saxons that
+Dorchester became the seat of a Bishop whose See was so important that
+it included all those now known under the names of Winchester,
+Salisbury, Exeter, Bath, Wells, Lichfield, Hereford and several others.
+The exact date of the present long stone church is not known, but it is
+generally believed to be about 1150. The interior will provide but
+little of interest that one does not often see in many another old
+English church, but a glance toward the eastern end reveals that some
+architect of the Decorated period there added a veritable bower of
+light. One must search far and wide to find so pleasing a combination of
+excellent glass, disposed in such light and noteworthy stone traceries.
+The walls which enclose this chancel on the north, east <span class='pagenum'><a name="Page_126" id="Page_126">[Pg 126]</a></span>and south are
+nearly of equal length, but the architect&#8217;s treatment of each is quite
+different. That to the east seems almost entirely of glass, so greatly
+has the builder subordinated his stone structure to the glazing. In
+fact, so much is given over to the glazier as to necessitate the
+erection of a stout buttress which runs up the centre, and without the
+assistance of which the slender mullions would be unable to support so
+great a weight of glass. This buttress stops about three-fourths of the
+way up the window, the explanation of which is that the original roof
+was lowered to this point, and it was not until 1846 that it was again
+elevated to its original height, making necessary the modern glass in
+this restored portion. Very graceful is the adjustment of the cartouches
+into which the stone mullions divide the entire surface, and also the
+way in which they tend to become pointed in the upper part of the
+embrasure. Within each one we find evidence of the beginnings of the
+canopy style which was destined soon to emerge from the cramped methods
+of the glazier here visible. Upon the four lancets of the northern
+window appear large figures displaying much more freedom of drawing. Our
+first criticism tends to be that they would be more attractive if they
+had some background or framing and were not stationed alone upon white
+panes. The reason for this appears from a close inspection <span class='pagenum'><a name="Page_127" id="Page_127">[Pg 127]</a></span>of the
+supporting mullions. Along each of these are little carved figures. The
+writer believes this window to be unique in the respect that the
+carvings on the stone and the figures on the panes combine to form a
+Tree of Jesse. Jesse, as usual, is reclining below; the stone mullions
+are used to represent the branches of the vine, and at their
+intersections are disposed the descendants, much as we have often seen
+them depicted on glass. They hold scrolls on which probably their names
+were once painted. The figures on the glass (some of them still
+labelled) supplement those in the carvings. Carved figures are also
+freely introduced at the intersections of the stone mouldings of the
+east window, but here they represent New Testament episodes, such as the
+cutting off of Malchus&#8217;s ear, the rousing of the sleeping guards, &amp;c.
+So, too, along the transom that runs across the southern window are
+carved figures representing a religious procession. Above are coats of
+arms distributed upon the panes. Below is a handsome Gothic stone seat
+or sedilia which has for us a great interest in that four little
+star-shaped lights are let into the back of it, containing late twelfth
+century medallions. These earliest remains were doubtless preserved from
+the edifice which preceded the present one. One of them shows a scene in
+which appears St. Birinus, who converted the great kingdom of Wessex and
+was the first <span class='pagenum'><a name="Page_128" id="Page_128">[Pg 128]</a></span>Bishop of Dorchester (635-49). This little chancel, with
+its delightful glass gracefully supported by the quaintly carved stone
+traceries, will remain in one&#8217;s memory as one of the loveliest nooks in
+England for the glass-lover.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_129" id="Page_129">[Pg 129]</a></span></p><h3>OXFORD</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">P</span>robably there is no city in all England where the average American
+tourist feels more at home than at Oxford. All of us have read a great
+deal about this city of colleges, and most American boys have perused
+&#8220;Tom Brown at Oxford&#8221; more than once. Besides, we all feel an interest
+in colleges and college men. While many realise the charms of this
+ancient city of learning, some of us know them in great detail; we have
+wandered in the lovely gardens of Magdalen, of New and of Worcester; we
+have heard the shouting of the multitudes along the banks of the Isis
+when one eight has succeeded in bumping another just ahead; we have
+canoed up the silent tree-shaded windings of the Cherwell&mdash;in a word, we
+are familiars of the place. Apart from its life as a university, as a
+city of students, its chief association in history may be said to be
+that it was a refuge and stronghold of the ill-fated Charles I., after
+his defeat at Edgehill. It was admirably suited for this purpose,
+because rendered well-nigh impregnable by the encircling streams of the
+Isis and the Cherwell, <span class='pagenum'><a name="Page_130" id="Page_130">[Pg 130]</a></span>the surrounding morass of flooded fens, and,
+last of all, its stout city walls. Right loyally did both townspeople
+and students rally to the support of the unfortunate monarch. The
+colleges even melted down their plate to eke out his military chest. Of
+all the towns of England it can, therefore, best lay claim to having
+been the most loyal to the fortunes of Charles Stuart at a time when
+loyalty meant most. But it is not for reminders of that dreadful civil
+strife, terminated by bloody tragedy, that we are coming to the ancient
+town built on the river near the &#8220;ford of the oxen,&#8221; no, our researches
+lie a couple of centuries earlier than those bitter days. First of all
+we shall enter Merton College to see its windows of the first part of
+the Decorated period. Then we will repair to New College to view its
+glass so instructive of the transition from Decorated to Perpendicular.
+Lastly, All Souls&#8217; Chapel must be inspected for its examples of the
+Perpendicular style. In many another college can be seen later glazing,
+but none so good or so important as those just cited. The presence here
+of such fine examples of the two best periods of English glass makes
+easy an instructive comparison of their methods and results.
+Furthermore, it justifies the selection of Oxford as the last stage of
+our second tour, because we have only to step from one college into
+another to begin our third tour.</p>
+
+<p><span class='pagenum'><a name="Page_131" id="Page_131">[Pg 131]</a></span></p><p>Not only do the most ancient traditions of all Oxford linger about
+Merton, but it looks the part&mdash;it conveys the impression of its extreme
+age to any one who enters its gates. Mob Quad is the oldest quadrangle
+in the whole University. Bishop Walter de Merton, Chancellor of Henry
+III., devised the idea of segregating the students into colleges, so as
+to govern them better, and to render more difficult, if not impossible,
+the general lawlessness and bloody frays between nationalities that used
+to be so frequent. A visit to the chapel will not only show us glass of
+the early part of the Decorated period, but in such quantity and so well
+placed as to give one the best possible impression of it. The large east
+window is filled with modern glazing, only the upper half of the
+traceries above retaining the original red and blue diaper work. In
+addition to this great embrasure, the choir is lighted by seven ample
+three-lanceted windows on each side. These are filled with grisaille
+bordered in colour, while across them, about two-thirds of the way up
+from the bottom, is drawn a band of strongly hued canopied figures.
+Because of their early manufacture we are not surprised to find the
+canopies very crude, lacking pedestals, &amp;c. The enclosed backgrounds are
+generally blue, although a few toward the east are red. In the central
+lancet of each embrasure the canopy usually contains an upright figure,
+while in <span class='pagenum'><a name="Page_132" id="Page_132">[Pg 132]</a></span>the side lancets they are almost all kneeling. Each personage
+has a written label which either winds gracefully over his head and down
+behind his back, or runs along beneath him. The borders are not carried
+up into the traceries; their design is sometimes a vine, sometimes
+yellow castles, or fleur-de-lis of white or green. In addition to the
+band of canopies, the duller grisaille is further enlivened by three
+coloured bosses in each lancet, mostly containing heads. The western end
+of the choir opens into the antechapel, which lacks its ancient glazing
+except for the fragments gathered together into the central western
+embrasure, whose original tracery glass, however, remains intact. Before
+leaving Merton mount the stairs to the quaint <strong>&#65324;</strong>-shaped
+library and inspect its attractive remains of Renaissance glass. Along
+the lower side of the east wall of the north wing are seven narrow
+lancets filled with dainty grisaille quarries, bordered in faint colour
+and bearing a brightly toned boss. Of more importance to us, however, is
+the pleasing bay window at the east end of the south wing. Here we find
+quarries of soft grey, each containing a monogram in yellow stain. In
+the midst of these quarry panes are placed little scenes, circular in
+form and decorated with enamel paint in grey and stain, each bearing a
+German inscription. The central embrasure contains six of these, three
+<span class='pagenum'><a name="Page_133" id="Page_133">[Pg 133]</a></span>above and three below, and the two side bays have two each, one above
+the other. They bear the date 1598.</p>
+
+<p>An account of the Perpendicular glass at Oxford will be found at p. <a href="#Page_142">142</a>.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_137" id="Page_137">[Pg 134-7]</a></span></p>
+<h2>PERPENDICULAR</h2>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">L</span>ittle proof is needed of how greatly the glazier depended upon the
+architect, or of how necessary and proper it was that his glazing should
+harmonise with the prevailing architectural style. The period we are
+about to study affords a striking example of this subserviency of the
+window to the building it lights. In no country can there be found a
+school whose glass was so dominated by its architecture as was that of
+the Perpendicular in England. This Perpendicular style never crossed the
+Channel, for the French Gothic of that time, instead of becoming stiff
+and regular, grew more flamboyant and elaborated. Another marked
+difference is that all the time the English were softening their tints
+and striving for a silvery sheet of low tones (Great Malvern, &amp;c.), the
+fifteenth century French were, on the contrary, using stronger and more
+varied colours than during the century before. To such excellence of
+delicate drawing and tints did the English attain in their Perpendicular
+windows that it may safely be said that in those respects they were
+never surpassed <span class='pagenum'><a name="Page_138" id="Page_138">[Pg 138]</a></span>elsewhere. This is particularly noticeable at Ross and
+Cirencester. An opportunity to compare the French with the English glass
+of that time is afforded by the fact that the French windows of the
+Beauchamp Chapel at Warwick will be visited between the distinctively
+English ones of Great Malvern and York. This Warwick glass was brought
+from France because the contract exacted &#8220;Glasse from beyond the Seas,&#8221;
+and we at once notice the strong hues, which differ so markedly from the
+then prevailing English ones. Nothing could be more convenient than the
+way in which these particular windows enable us to differentiate between
+contemporary glass on opposite sides of the Channel.</p>
+
+<p>When the Perpendicular architect arrived upon the scene, he found the
+canopy window already well developed. The shape of the embrasures which
+he provided were peculiarly suited to this agreeable method of glazing.
+The straight upward sweep of his mullions made easy an effective
+adjustment of the narrow canopy-framed niches, and left the artist
+little to do but elaborate the more modest sentry-box of the Decorated
+period. This he did in a very artistic and pleasing manner. The signs of
+development are easily distinguishable, and chief among them are the
+elaboration of the architectural detail of the canopy (by increasing the
+number of pinnacles <span class='pagenum'><a name="Page_139" id="Page_139">[Pg 139]</a></span>and drawing them in relief instead of flat), and
+the completing of the frame effect by adding elaborate pedestals below
+the feet of the figures. We must remember that the earlier glazier
+either placed nothing below the enframed figure or else, in a few
+instances, heraldic shields (as at Tewkesbury). In many instances the
+earlier solitary figures within the canopies now give way to groups,
+although not so frequently as in France. The glazier did well to abstain
+from this change as much as possible, for although it is logical to find
+a saint within a shrine, nothing could be more absurd than to install
+therein a rural scene or a small battle picture. The Perpendicular
+architect, unlike his Decorated predecessor, was not content to leave
+the tracery lights differentiated from the rest of the window below.
+Instead, he tied the upper and lower lights together by carrying his
+mullions straight up through them all, and thus deprived the tracery
+ones of the independence as well as the decorative success they formerly
+enjoyed. In a few instances (as at Great Malvern), the glazier
+accentuates the stiff regularity of these upper lights by filling each
+with a canopy-enclosed figure. Lest the upright parallel lines of the
+mullions lend too monotonous an appearance, care was generally taken to
+make two of them (usually thicker than the others) swerve outward when
+nearing the top of the embrasure, one to the right and the other to the
+left. <span class='pagenum'><a name="Page_140" id="Page_140">[Pg 140]</a></span>These two thicker mullions served the further artistic purpose of
+breaking the line of tall lights into groups of two or three each. This
+can be observed in the illustration.</p>
+
+<p>The chief features of this school are as follows:</p>
+
+<div class="blockquot"><p>(<i>a</i>) Increasingly lighter and softer tones;<br />
+(<i>b</i>) Stiff parallel lines of upright mullions;<br />
+(<i>c</i>) Tracery lights lose their independence;<br />
+(<i>d</i>) Greatly elaborated canopies;<br />
+(<i>e</i>) Stipple shading, replacing the earlier smear shading.</p></div>
+
+<p>It can be said with no fear of contradiction that we have now arrived at
+the finest period of English glazing.</p>
+
+<h3>PERPENDICULAR TOUR</h3>
+
+<p>Our Decorated tour was brought to a close by viewing the glass of that
+period in Merton College at Oxford. Not only shall we be able to begin
+our new tour in that same city, by inspecting the fully developed
+Perpendicular windows at All Souls&#8217;, but we are also afforded an
+opportunity, thanks to the transition character of the New College
+windows (1386), to learn the intermediate steps through which the change
+of style was effected. On leaving Oxford,<span class='pagenum'><a name="Page_141" id="Page_141">[Pg 141]</a></span> we will betake ourselves to the famously glazed church at Fairford, and
+thence journey, <i>vi&acirc;</i> Cirencester, to Gloucester. The next point will be
+Great Malvern and its neighbour Little Malvern, and then over the bold
+uplift of the Malvern Hills to Ross. A northerly <i>d&eacute;tour</i> will take us
+first to Warwick and then to Coventry, which will probably conclude this
+tour, for although York appears as the last of this series, it is so
+placed for the sake of regularity, and only for those who may not have
+taken the first or second tours. York was visited on both of those, and
+occasion was given to inspect the Perpendicular glass which there
+abounds.</p>
+
+<p><a name="Illo11" id="Illo11"></a></p>
+<div class="figcenter" style="width: 345px;">
+<img src="images/i165.jpg" class="bbox3 ispace" width="345" height="496" alt="MAP OF PERPENDICULAR TOUR" title="" />
+<span class="caption">MAP OF PERPENDICULAR TOUR</span>
+</div>
+
+<p>In addition to the places just mentioned there are three so situated as
+to make it inconvenient to include them in this tour&mdash;Salisbury,
+Winchester, and St. Neot (Cornwall). Salisbury has already been visited
+on our Early English tour. Winchester lies well to the south near
+Southampton, while St. Neot is off in the west, a few miles beyond
+Plymouth. These two towns should, however, be on no account omitted,
+even though each require a separate trip.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_142" id="Page_142">[Pg 142]</a></span></p><h3>OXFORD</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span>n account of the Decorated glass at Oxford will be found at p. <a href="#Page_129">129</a>.</p>
+
+<p>Having visited Merton, and, by examining its Decorated glass, concluded
+our second tour, we must address ourselves to the third one, devoted to
+the Perpendicular period. Nothing could be easier. We have only to walk
+as far as New College to see how the forces of transition performed
+their work, and then to All Souls&#8217; Chapel to study the fully fledged
+product of the Perpendicular glazier.</p>
+
+<p>New College is picturesquely alluring to all who visit Oxford, thanks to
+the agreeable manner in which the college buildings are set off by
+attractive gardens enclosed within remnants of the ancient city walls.
+This corner of the old ramparts owes its preservation to a covenant for
+its upkeep between the Founder and the city. We glass-lovers will remark
+that in similar fashion a very advantageous placing enhances the beauty
+of the glass which we are about to see. It is contained in the
+antechapel, which adjoins the chapel proper on the west and opens into
+it. A dim passage-way leads to the <span class='pagenum'><a name="Page_143" id="Page_143">[Pg 143]</a></span>small portal by which one enters,
+admirably preparing our eyes to appreciate the beauty of the glazing.
+There is also some later work in the main chapel, but it is fortunately
+shut off from our observation by a conveniently placed screen, thus
+enabling us to enjoy the antechapel and its glazing without any
+distraction. The original glass that once filled the large window in the
+middle of the antechapel&#8217;s west wall is now stored in boxes at that
+other foundation of William of Wykeham, Winchester College, Winchester,
+having been removed to make room for an ambitious effort by Sir Joshua
+Reynolds. All the other embrasures retain the original glazing, given
+about 1386 by the Founder, whose name frequently appears thereon. Let us
+not be drawn into the violent discussion which has so long raged on the
+subject of the rival merits of the earlier and later glazing. All
+glaziers condemn the work of the great Sir Joshua, and even most art
+critics agree with Horace Walpole that the painting of this large
+subject is &#8220;washy.&#8221; He has confined himself to the use of browns, greys,
+and some pink in depicting the Virtues and the other figures assembled
+in his composition; but, as was to be expected from one who was only a
+painter, and not also a glazier, he used so much paint as to interfere
+perceptibly with the translucence of the glass. Nevertheless, the
+writer, although he vastly prefers the earlier windows, <span class='pagenum'><a name="Page_144" id="Page_144">[Pg 144]</a></span>frankly states
+that he began by liking the west one best. The advantage which stained
+glass windows have over paintings on canvas is that while the latter
+have only colour the former have both colour and light. For this reason
+one should be disposed to admit a great deal on behalf of this picture
+painted by a great artist on a medium which adds light to his colour.
+There is no good reason why we should quarrel with a man who begins by
+preferring Sir Joshua&#8217;s window, because it may lead him to become
+interested in stained glass. Almost every one unlearned in our subject
+admires this west window;&mdash;if he will but come with us we will promise
+sooner or later to open his eyes to far greater beauties, which he will
+grow to love in the seeing! For those who have learned to enjoy the
+Wykeham windows more than their showier neighbour, it is suggested that
+there are two points from which to view them so as to eliminate the
+contrasting presence of the later one&mdash;either stand close to the small
+entrance door, or else near the chapel screen so that one of the columns
+comes between you and the west window. Thus one sees only the Wykeham
+glazing, and that, too, in a frame of mind receptive of the Latin
+legends which unceasingly beseech us to pray for him. This glass is not
+only beautiful, but very important, because it clearly illustrates the
+transition from the Decorated to the Perpendicular. The sixty-four<span class='pagenum'><a name="Page_145" id="Page_145">[Pg 145]</a></span> personages ensconced in their canopies, while possessing traits of both
+schools, demonstrate clearly how naturally one led into the other. The
+figures are not yet well drawn, are rudely posed, and are still strongly
+coloured. Although there is a general flatness in the composition,
+indicative of the earlier school, tapestries are already hung across the
+backs of the little niches, and handsome ones too, with crowned initials
+powdered over them. So, too, pedestals appear below the canopies,
+although, of course, not yet so complete or elaborate as those to be
+seen presently in All Souls&#8217; Chapel. The canopies themselves are more
+robust and not so finished as will be later encountered. An examination
+of the method of shading also bears witness to a transition, for there
+is observable both smear and stipple work. The learned Winston makes a
+very interesting argument to the effect that the panels have been
+considerably changed about since their original placing, based on the
+seemingly disordered arrangement of the six varieties of canopies, the
+unusual order of displaying the Apostles, &amp;c. For us who are less
+enlightened, however, the chief interest of this delightful series is in
+the general harmony of the colour scheme, the judgment shown in
+adjusting the figures to the canopies, and both to the embrasures, and
+the graceful use of the written scrolls.</p>
+
+<p><a name="Illo12" id="Illo12"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/i170.jpg" class="ispace" width="500" height="345" alt="NEW COLLEGE ANTECHAPEL, OXFORD" title="" />
+<span class="caption"><span style="margin-left: 26em;"><i>Taunt, photo.</i></span><br />
+NEW COLLEGE ANTECHAPEL, OXFORD</span></div>
+
+<div class="blockquot3"><p>Transition window presented by William of Wykeham, Founder of the
+College. Stone frames are already Perpendicular: note the &#8220;pepper-box&#8221;
+tracery lights. The glazing, as usual, lags behind the architecture,
+and, because of its strong colour and flat drawing, is more Decorated
+than Perpendicular</p></div>
+
+<p><span class='pagenum'><a name="Page_146" id="Page_146">[Pg 146]</a></span></p><p>The dining-hall possesses some interesting coats of arms glazed into
+seven of its large lights. Half of these are contemporaneous with the
+Founder, among them appearing his arms and those of his See; the other
+half are of the time of Henry VIII.</p>
+
+<p>From &#8220;the High&#8221; we enter All Souls&#8217; College, undaunted by the scathing
+comment of Humphrey Prideaux in 1674, that &#8220;All Souls&#8217; is a scandalous
+place and full of fast gentlemen.&#8221; Without stopping to remark the beauty
+of the full-domed Radcliffe Library, rising beyond the graceful stone
+screen that walls in the westerly side of All Souls&#8217; inner quadrangle,
+we press on to the chapel at the further end. We shall not spend much
+time over the windows of the chapel proper, for they contain nothing of
+interest, but for this there is ample compensation in the splendid
+display all about the antechapel that opens off to the west. It is true
+that some of the panels have been restored, but this has been done so
+judiciously and patterned so closely after the originals that it is not
+only no detriment, but, on the contrary, enables us to enjoy a completed
+whole. As was to be expected, figures within canopies meet our eyes on
+all sides. Owing to the date of their manufacture, the depicted
+architecture of the shrines is very elaborately worked out. Pedestals
+are provided, and in the westerly embrasures we find small supplemental
+and supporting canopies on each side <span class='pagenum'><a name="Page_147" id="Page_147">[Pg 147]</a></span>of the principal ones, which
+latter, however, alone contain figures. These western lights show more
+restoration than the others. There is a great deal of red and blue
+everywhere, not only in the backgrounds, but even in the pedestals
+below. The four large windows (each containing a double row of three
+lancets) in the easterly wall are, perhaps, more interesting than their
+more elaborate neighbours. Especially note, in the one just north of the
+choir entrance, the charming group of Salome and two children in the
+lowest panel on the left. Most pleasing of all is the scene of St. Mary,
+with two children in her arms and two more at her feet, in the
+right-hand lowest panel of the most northerly of these east windows. The
+glass here is so conveniently placed as to afford every facility for
+studying details, thus preparing us admirably for the highly interesting
+tour upon which we are about to set out.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_148" id="Page_148">[Pg 148]</a></span></p><h3>FAIRFORD</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">L</span>ying in the midst of a pleasing but tame countryside the little village
+of Fairford has nothing to recommend it to the seeker after the unusual
+but the windows of its parish church. This glass is not only
+historically famous, but also very complete and beautiful. On the outer
+side of the little church door we are still in the midst of the
+commonplace, nothing rises above the level of the unimportant; once
+inside that modest portal, what a change do we not experience! Around us
+on every side and above in the clerestory opens out a complete series of
+windows&mdash;harmonious, excellent, delightful! And to add unneeded
+supplement to the charm that meets the eye, our ears are regaled with
+the strange tale of how these lovely panels found themselves here, and
+why they so perfectly fit the church. This latter query is answered most
+simply&mdash;the church was built to provide embrasures for these treasures.
+The records state that Richard Tame caused the building to be erected
+and finished in 1493 expressly for this glass, which had been captured
+at sea from a Dutch vessel. From the <span class='pagenum'><a name="Page_149" id="Page_149">[Pg 149]</a></span>same source we also learn that his
+son, who died in 1534, completed the building&mdash;a rather anomalous
+statement for, if it was finished in 1493, it would not seem to have
+needed a further completion by the son. It is to the windows themselves
+one must turn for some explanation of this seeming contradiction.
+Although but little comment has hitherto been made upon the subject, the
+writer was struck by the lack of any similarity between the
+figure-and-canopy windows in the western half of the church (including
+the clerestory), and those around the eastern half. The former show a
+conscientious following of Perpendicular conventions and a careful
+attention to the proper use of colours, but the latter enjoy an easy
+victory in style, combination of hues and general artistic appreciation
+of the possibilities of glass. The sexton relates the usual legend about
+Albrecht D&uuml;rer having designed this latter series, but it is probably no
+truer here than elsewhere in England, for it is the customary tale one
+hears about German glass. There is no doubt, however, that in
+composition and style it differs noticeably from anything made north of
+the Channel. While the figure-and-canopy work is clearly of the
+fifteenth century, it must be admitted that if the windows in the
+eastern part of the church be likewise of that period, then they
+certainly represent an early manifestation of a style that did not
+generally prevail until the <span class='pagenum'><a name="Page_150" id="Page_150">[Pg 150]</a></span>sixteenth century. May not this very
+difference help to explain the second &#8220;completion&#8221; of the church?
+Suppose we credit Richard Tame with having secured the canopy windows
+for the edifice he completed in 1493, and leave to his son the honour of
+having added the series showing later attributes when he finally
+finished the structure in 1534. The first windows may have been captured
+in the way reported in the legend, and the later ones secured in some
+other manner from the Continent, for it is known that most of the
+sixteenth century glass in England was procured from foreign sources.
+Let us leave this moot point to be conclusively decided by others, and
+turn to observing and enjoying the glass. The shape of the church is
+unusual and requires a brief word of description in order to understand
+the placing of the windows. The westerly half consists of the regulation
+nave with a broad aisle on each side. Above the nave runs a glazed
+clerestory, which, of course, does not extend over the aisles. There are
+no transepts. At the middle of the church just where the nave ends there
+rises the tower, of the same width as the nave. The clerestory stops on
+the nave side of this tower; there is no clerestory above the eastern
+half of the church. This easterly half is the same width as that to the
+west, but it is all open and not separated into aisles like the other
+part. In the southerly wall of the <span class='pagenum'><a name="Page_151" id="Page_151">[Pg 151]</a></span>building are six windows and a door,
+and in the northerly, seven windows. The clerestory has four lights of
+three lancets on each side. Canopies containing figures standing upon
+pedestals and with gracefully written scrolls about them are to be found
+in all the clerestory windows, and also below in the four most westerly
+aisle windows on each side. The figures on the north of the clerestory
+represent Roman emperors, and above in the traceries are little devils
+on a red ground. Opposite them on the south appear Martyrs and Prophets
+of the Faith, appropriately attended in the traceries above by angels on
+a blue ground. All the windows thus far described are clearly fifteenth
+century; the workmanship is good but not of such marked excellence as is
+shown in the eastern part of the church. These latter evidence
+remarkably skilful designing, and, furthermore, demonstrate that the
+artist understood the medium in which he had to work out his cartoons.
+They lean strongly towards the Renaissance type: the colours used are
+very good, especially some of the greens. Most of the subjects on the
+north are taken from the life of the Virgin, while opposite, across the
+choir, appear scenes from the life of Christ, such as the Last Supper,
+the Miraculous Draught of Fishes, &amp;c. The sexton delights to tell the
+visitor that the towers in the background of the last-named scene <span class='pagenum'><a name="Page_152" id="Page_152">[Pg 152]</a></span>are
+faithful counterfeits of the towers of Nuremburg, thus proving
+conclusively (except to hypercritical cavillers) that Albrecht D&uuml;rer
+designed them. The story is picturesque, but it is fortunate that the
+good man never saw Nuremburg, or his conscience might force the
+suppression of this agreeable fiction. It must be admitted, however,
+that some of this glass is sufficiently excellent to have been designed
+by that great master. The five-lanceted window that fills the end of the
+little eastern extension behind the altar has five scenes across its
+lower half, while above them, occupying the entire width of the
+embrasure, is a fine Crucifixion. The original background has been
+replaced by white glass, which enables us to appreciate all the more
+readily how well the picture is composed. The flowing garments and
+certain other details are very German in character, while some of the
+implements displayed are purely Teutonic&mdash;<i>e.g.</i>, the swinging mace,
+showing the spiked ball hanging from the handle by a chain. The
+perspective displayed in all these scenes is noticeably good. We must
+pass to the other end of the church in order to see its most
+entertaining window, at least to all those not deeply interested in the
+intricacies of technique. It fills the western end of the nave just
+above the portal, and is one of the rare sort known as &#8220;doom windows.&#8221;
+There is here set forth a most edifying demonstration in glowing
+<span class='pagenum'><a name="Page_153" id="Page_153">[Pg 153]</a></span>colours of what will some day happen to those who are not wise enough
+to be good! Even Foxe&#8217;s &#8220;Book of Martyrs&#8221; cannot provide the
+exhilarating horrors that the numerous ingeniously minded devils here
+afford. Most delightful is the enthusiasm and earnestness with which
+they are carrying on their presumably daily toil of keeping Hades up to
+its unpleasant reputation.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_154" id="Page_154">[Pg 154]</a></span></p><h3>CIRENCESTER</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">I</span>f the account of this town is not to be read aloud, everything will
+pass off peacefully, but if sound is going to be given to written words,
+then our trouble will begin at once, for the methods of pronouncing its
+name have led to unlimited discussion. All the disputants may be divided
+into two camps, in one the educated and refined citizens of the town,
+who pronounce the word as it is spelt, and are aided and abetted therein
+by all non-residents, while in the other camp we shall find an agreeable
+company, headed by the late William Shakespeare, and consisting of all
+the humbler townspeople and the country folk residing near by. This
+latter group prefer the sound, which, reduced to spelling, approximates
+&#8220;Cisseter.&#8221; Notwithstanding this centuries-long dispute, the town has
+declined in importance since the days of the Romans! Then it was the
+cross-roads of three great highways, and when one reflects that the
+Roman road was even more potential in its developing effect upon
+territory than the modern railway, it is easy to see the advantages that
+Cirencester enjoyed <span class='pagenum'><a name="Page_155" id="Page_155">[Pg 155]</a></span>over towns not so favoured. While considering this
+practical feature there must not be forgotten the romantic glamour lent
+by the legend that King Arthur was crowned here. The parish church is
+particularly delightful, not only because of its characteristically
+Perpendicular Gothic exterior, but also because of the logical way in
+which that same style has been carried out within, especially in the
+charming fan tracery of the vaults. The stained glass must be studied in
+detail in order to yield a full appreciation of its beauty, for we must
+not expect to find here the splendid <i>ensemble</i> often seen elsewhere.
+There are few places in the land where Perpendicular glass shows so
+clearly the delicacy of both design and colour which the art achieved in
+England during that epoch. This fact is borne home with marked emphasis
+because we are viewing it immediately after an examination of the much
+better designed but less delicately painted windows of Fairford. As a
+result of this careful treatment of tint and drawing there is derived an
+unexpectedly satisfactory result from the collection of figures in
+canopies assembled in the five tall lancets of the east window. Seen
+from the nave this collection is quite cool and silvery, and does not
+betray its composite nature. Where the ancient heads have been lost or
+destroyed, their space has been frankly filled with white glass. Toward
+the bottom are eight small <span class='pagenum'><a name="Page_156" id="Page_156">[Pg 156]</a></span>panels containing kneeling donors. The large
+west window is also a composite one, but here honesty proves to have
+been the worst possible policy, because the original background having
+been lost, they filled in between the canopies with splotches of hideous
+modern blue! Of course this kills any chance for the softly toned effect
+which we have often observed as the chief charm of the perfected canopy
+style. In this instance it is peculiarly unfortunate, because the
+canopies are carefully worked out in detail, showing as many little
+spires above them as we shall find later at Great Malvern. The figures
+which they enclose repay study. The centre three in the lower row are
+almost enveloped by broad written scrolls, which lend a most decorative
+effect. In the pedestals below the figures are little open galleries
+containing diminutive kneeling donors, very modestly and appropriately
+displayed. The colours here are noteworthy, especially the rich deep red
+in the robe of the cardinal at the top of the second lancet from the
+north; in the second to the south notice the combination of the mulberry
+gown, blue cape, and golden halo. The use of the leads to delineate
+folds in the cloth is as good as the colouring. It is evident that no
+mean artist produced these satisfactory results, but it is fortunate for
+him that he cannot see the atrocious blue that now strives to off-set
+his delightful work. In the chapel to the <span class='pagenum'><a name="Page_157" id="Page_157">[Pg 157]</a></span>right of the chancel, the
+most easterly embrasure on the north has its three lancets filled with
+agreeably arranged figures and fragments. Being on a level with the eye
+of the observer, this glazing can be examined closely. Note the careful
+adjustment of the leads to suit the drawing of the hands in the
+right-hand lower corner. It is so evident that this glazier thoroughly
+understood his art that we are not surprised at the richness of the reds
+and the blues, or the mellow strength of his yellow stain. It is easy to
+deduce from the Cirencester windows the lesson that design is not so
+important as colour, and that, while excellent effects can be produced
+by a collection of well-toned fragments, the best design done in bad
+colouring is sure to be unsatisfactory.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_158" id="Page_158">[Pg 158]</a></span></p><h3>GLOUCESTER</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">I</span>n our wanderings to see glass we have observed how many and varied were
+the reasons for the presentation of those splendid offerings to
+religious edifices, and also that these reasons are often storied upon
+the windows themselves. Wide as is the range of such causes it is
+reserved for Gloucester Cathedral to show us an ancient window erected
+to commemorate the winning of a great battle. Thanks to the painstaking
+studies of Charles Winston (1863), backed by his exhaustive knowledge of
+heraldry, it is now known that the great expanse of coloured glass at
+the eastern end of the Gloucester chancel is a thank-offering for the
+epoch-making victory at Cr&eacute;cy of the little army of English over the
+French hosts. How incongruous it seems that such a feat of arms should
+be commemorated in this mild manner! The mind wanders off from this
+glorious wall of colour back to a certain cloudy afternoon in August
+1346. Edward III. and his young son the Black Prince, with a force of
+only eight thousand Englishmen, had swept triumphantly through Normandy
+up to the very gates of Paris. <span class='pagenum'><a name="Page_159" id="Page_159">[Pg 159]</a></span>There the presence of a huge army of
+French and mercenaries forced them to turn northward toward the Flemish
+border. Fatigued by their dashing campaign, they were overtaken and
+brought to bay by the French at Cr&eacute;cy, about fifteen miles east of
+Abbeville. In the very front of the French hosts was stationed a body of
+15,000 Genoese crossbowmen who, by their discharge of arrows, were to
+disconcert the English, and disorder their ranks preparatory to the
+onslaught of the French knights. Suddenly a great storm breaks upon the
+embattled armies, terrifying the Genoese unaccustomed to the thunder,
+lightning and driving rainbursts of a northern tempest. Nor is this all,
+for when the storm passes and the sun darts out from behind the clouds,
+the Genoese, ordered to discharge their crossbows, find to their dismay
+that the bowstrings are rain-soaked and cannot be drawn. Just at this
+juncture the English archers, taking their bows from water-tight cases,
+loose such a pestilential shower of arrows upon the already harassed
+Genoese that they break and flee, throwing into the wildest confusion
+the ranks of the Frenchmen behind them. Effective as were the bows of
+the English archers, the long knives of the Welshmen prove equally so,
+stabbing the horses of the French and thus placing the riders <i>hors de
+combat</i>. Together these two bands of yeomen reverse the verdict of
+centuries of warfare;&mdash;they <span class='pagenum'><a name="Page_160" id="Page_160">[Pg 160]</a></span>show the armoured knight to be an
+anachronism, and thus in one day feudalism begins to totter to its fall.
+The moment has come for the charge of the English chivalry. On they
+dash, led by the sixteen-year-old Black Prince. They fall upon the
+already panic-stricken French and what has been a battle becomes a rout.
+The king witnessed the conflict from a windmill on a ridge, being
+desirous that his son alone might have the glory of the victory. It is
+doubtful if the annals of chivalry record a finer scene than the meeting
+of the king and the Black Prince after the battle. In the blaze of the
+great camp-fires, and before the whole army, the father embraced his
+son, and would have given him alone the praise, but the Prince &#8220;bowed to
+the ground and gave all the honour to the king his father.&#8221; Ten years
+later we find him of the same generous nature, for, in the evening after
+the great victory at Poitiers, he caused the captured King John of
+France and his son to be seated, and standing behind, served them
+himself, modestly refusing to join in their repast. Long since hushed is
+the din of that ancient strife, unless perhaps an harmonious echo
+thereof comes to us from the great east window. Along its lower panes
+are displayed the shields of the Black Prince and the Earls of Warwick
+and Oxford, who were with him in the 1st Division on that glorious day,
+and of the Earls of Arundel <span class='pagenum'><a name="Page_161" id="Page_161">[Pg 161]</a></span>and Northampton who led the 2nd Division
+(the 3rd being in command of King Edward III. himself). In this brave
+array we also find the shields of Thomas Lord de Berkeley, his brother
+Sir Maurice de Berkeley, Richard Lord Talbot, and Thomas Lord Bradeston,
+who all served in this expedition. Here, also, are the arms of the Earls
+of Lancaster and Pembroke, who, although at that time fighting in the
+south at Aiguillon in Guienne, were included as companions-in-arms of
+the same war. In this beautiful manner the glory and gallant memory of
+these knights are preserved within this stately cathedral, far removed
+from the din and carnage, the hissing flight of arrows, the clang of the
+forward dash of knights, the clash of steel on steel, the battle-cries,
+and the mingled roar of retreating hosts hotly pursued by exultant
+victors. Here they dwell for ever in the midst of a great peace: around
+the grey walls and sturdy tower are the quiet walks, the green swards,
+the leafy foliage of a peaceful England&mdash;an England preserved inviolate
+from foreign invasion by the splendid deeds of these gallant warriors,
+and many another like them. So modestly are their blazons set out along
+the lower part of the great window that the story of their gift and its
+giving was forgotten, and lay hidden for centuries until rediscovered by
+Mr. Winston. Much as our windows have hitherto revealed to us of <span class='pagenum'><a name="Page_162" id="Page_162">[Pg 162]</a></span>quaint
+episode and romantic story, never have we happened upon so portentous a
+memory, nor one which so richly deserved this magnificent tribute. Its
+huge expanse of 72 by 38 feet is only rivalled by that of the east
+window of York (78 by 33 feet). Well did Winston say, &#8220;I know of no
+window so likely as this to improve by a long contemplation the taste of
+modern glass-painters and their patrons.&#8221;</p>
+
+<p><a name="Illo13" id="Illo13"></a></p>
+<div class="figcenter" style="width: 303px;">
+<img src="images/i189.jpg" class="ispace" width="303" height="500" alt="CHOIR, GLOUCESTER CATHEDRAL" title="" />
+<span class="caption"><span style="margin-left: 11em;"><i>J. Valentine, photo.</i></span><br />
+CHOIR, GLOUCESTER CATHEDRAL</span></div>
+
+<div class="blockquot3"><p>Great east window commemorative of knights who fought at Cr&eacute;cy.
+Backgrounds of pink and soft blue. Tracery lights no longer
+differentiated from window below, as during decorated period. Note
+elaborate masking of earlier walls by later Perpendicular work</p></div>
+
+<p>A great deal of really fine glass is so badly placed as to appeal only
+to the student, and not to the sightseer, but at Gloucester this
+masterpiece exhibits itself to the greatest advantage. One should not
+speak of this vast window as being in the eastern wall, for it is so
+large that it takes the place of that wall. In fact it is somewhat wider
+than the interior of the church at that point, which for this reason has
+had its side walls slightly slanted out to receive the window. How great
+is this disparity in size may be estimated if one sights along the
+inside of either side wall, for you will miss entirely the outermost
+tier of glass panels. The superficial area of the glass is also
+increased by a slight bowing outward of the window structure. Behind and
+to the east of this end of the cathedral was later built a Lady chapel
+which, however, opens through into the older church. Of course the
+shadow of this later structure could not help but fall upon the east
+window, and to that extent obscure it, but what might have proved a
+serious defect was<span class='pagenum'><a name="Page_163" id="Page_163">[Pg 163]</a></span> avoided by stationing the chapel somewhat to the east of the older
+building, and also by not beginning the coloured canopied figures upon
+the east window until above the line of shadow cast by the Lady chapel.
+The panes below that line are glazed in white bordered by colour, here
+and there relieved by the coats of arms already mentioned. Viewed from
+the crossing this great window is more than delightful. Row upon row of
+canopy-framed personages on red or blue backgrounds, are stationed one
+above another in splendid profusion. Many of the books class it with the
+Decorated period, although always explaining that its looks belie that
+early dating. Our errand is to see how windows look, and therefore,
+because its stone framework is so obviously Perpendicular, as is also
+the delicacy of the tones of its glass (particularly in the canopies),
+it would be unwise for us to consider it otherwise than as an early
+manifestation of the later style. It is very Perpendicular in its lines
+and its colouring, and absolutely unlike the deep rich windows at
+Tewkesbury, Bristol and Wells, which are so typically Decorated. We must
+remember that the glazier had to conform to the styles of the architect,
+and because it was the latter who inaugurated the changes he was,
+perforce, always in advance of the glazier, which helps to explain why
+some of the details of the glass design are more archaic than the stone
+framework.</p>
+
+<p><span class='pagenum'><a name="Page_164" id="Page_164">[Pg 164]</a></span></p><p>Looking eastward from the crossing, we can see through below this great
+window and above the altar into the ample Lady chapel beyond. Passing on
+into that chapel, we at once observe its most prominent feature, the
+east window, constructed during the latter part of the fifteenth
+century, a clearly marked example of the Perpendicular. The colouring is
+here much richer than we are accustomed to find in English work of this
+time, in fact it reminds one of contemporary French windows. The figures
+within the canopies are more varied, and occur in groups, thus differing
+widely from the almost monotonous similarity of the softer toned
+solitary figures upon the choir window. In the north aisle of the nave
+the third, fifth and fifteenth embrasures from the west provide us with
+marked examples of the Perpendicular. Double sets of pinnacles,
+two-storeyed pedestals, jewels separately leaded into the borders of
+robes, &amp;c., show a distinct advance upon the earlier and simpler methods
+of the great wall of glazing in the choir. One should remark the
+Decorated work on the easterly side of both transepts. The clerestory
+lights are glazed in quarries with coloured borders, while above them
+the tracery embrasures are not only like those at Tewkesbury, but are
+also glazed in the same fashion, white lines wound about on a red
+ground; we have remarked the same treatment at Bristol and Wells. Even a
+brief <span class='pagenum'><a name="Page_165" id="Page_165">[Pg 165]</a></span>glance about this great sanctuary reveals that huge sums must
+have been spent not only in veiling the older walls with the later
+Decorated work, but also in the elaboration which is everywhere
+noticeable. Nor is it difficult to understand how sufficient funds for
+this purpose were collected when one considers the vast store of gold,
+silver, and jewels brought here as offerings by pilgrims to the tomb of
+the murdered King Edward II. We must not depart without having a walk
+about the charming cloisters, which are by many considered the most
+beautiful in England.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_166" id="Page_166">[Pg 166]</a></span></p><h3>GREAT MALVERN</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">G</span>reat Malvern lies on the easterly slope of the famous Malvern Hills,
+which run nearly north and south, and form the western barrier of the
+Severn Valley. Its site provides a pleasant and far-reaching prospect of
+smiling country, dotted here and there with the towers of Worcester,
+Gloucester, Tewkesbury and many another town and hamlet. So lofty are
+these hills that the views from their summits are hardly to be equalled
+elsewhere in England; indeed, it is reckoned that on a fine day one can
+look into a dozen counties. The three chief heights have long been known
+as Worcester Beacon, Hereford Beacon, and Gloucester Beacon, each named
+after the county in which it stands. Peaceful as is this delightful
+scene, certain of the memories which it awakens are those of warlike
+strife, for one can see from this vantage-point six of the great
+battlefields of England&mdash;Edgehill, Worcester, Evesham, Tewkesbury,
+Shrewsbury, and Mortimer&#8217;s Cross. Nor are these the only reminders of
+warlike deeds, for about the top of two of those great eminences run
+encircling <span class='pagenum'><a name="Page_167" id="Page_167">[Pg 167]</a></span>lines of strong earthworks, known to have existed since the
+time of the early Britons, if, indeed, they do not antedate
+them&mdash;eloquently silent proof of how long men have realised that this
+fair land is worth fighting for. Wonderful and inspiring is the view
+that unfolds itself before the eye of the traveller when he has reached
+the topmost point of the road and pauses before descending to Great
+Malvern. No wonder that William Langland selects this site for the
+slumber which yielded him that marvellous dream which he describes in
+his &#8220;Vision of Piers Plowman&#8221; (1362). He says:</p>
+
+<div class="centerbox5 bbox2"><p>&#8220;On a May mornege &middot; on Malverne hulles,<br />
+<span style="margin-left: 1em;">I was wery forwandred &middot; and went me to reste</span><br />
+Under a brode banke &middot; bi a bornes side,<br />
+<span style="margin-left: 1em;">And as I lay and lened &middot; and loked in ye wateres</span><br />
+I slombred in a slepyng.&#8221;</p></div>
+
+<p>Tradition tells us that he learned the profession of clerk in Great
+Malvern Priory, and there composed his splendid poem. His attempt to
+correct the abuses of his times accords more readily with the work of
+one contemporary, John Wyclif (who about 1380 gave the people the Bible
+in English), than it does with the merry &#8220;Canterbury Tales,&#8221; written in
+1387 by that Court favourite Chaucer. We have already encountered that
+jovial soul during our visit to the early glass of Canterbury. It is
+significant <span class='pagenum'><a name="Page_168" id="Page_168">[Pg 168]</a></span>that in a work which produced such a marked effect upon its
+time as &#8220;Piers Plowman,&#8221; frequent testimony is given to show the esteem
+in which stained glass was then held. Whenever church decoration is
+mentioned by any of his characters, they almost invariably dwell longer
+on this feature than upon any other. The Franciscan monk speaks of his
+church: &#8220;With gay glitering glas Glowying as the sunne.&#8221; In similar
+fashion the Dominican brother is made to say: &#8220;Wyde wyndowes y-wrought,
+y-wryten ful thikke, Shynen with shapen sheldes.&#8221; A severe rap is given
+at those who glaze windows in order &#8220;Hevene to have,&#8221; and vain-glorious
+souls are urged not &#8220;To writen in wyndowes Of youre wel dedes.&#8221;</p>
+
+<p>But let us, like Langland, arouse ourselves from the reverie
+superinduced by this wondrous outlook, and wend our way down the side of
+the great hill to the Priory Church. Although its more famous windows
+date from a century later than Langland&#8217;s day, it may well be that his
+eye was gladdened by the older glass in the south aisle of the chancel.
+It is certainly fine enough to have attracted his notice, and one may
+safely assume that he loved glass, else his lines would not so
+frequently refer to it. Before observing the Perpendicular glazing in
+which this building abounds, let us consider that of the Decorated epoch
+in the three embrasures that light the <span class='pagenum'><a name="Page_169" id="Page_169">[Pg 169]</a></span>southerly wall of the aisle
+chapel south of the choir, and which were there in Langland&#8217;s time. The
+most westerly of these three is filled with heads and <i>d&eacute;bris</i>, formerly
+in other parts of the church. We shall have a treat in the two windows
+adjoining this to the east. Each contains a dozen small scenes from the
+Old Testament, the four lancets of each window subdividing these scenes
+into three rows of four each. The backgrounds are diapered red or blue,
+and a crude border of architecture surrounds each. The drawing is crisp
+and the colours are strong and good. Note particularly the red in the
+&#8220;Naming of the Fowls&#8221;; also observe Noah sending forth the dove, while
+various sorts of animals crowd about his feet. The rich tones, the
+crudeness of the canopy work, and sundry other signs unmistakably mark
+this glazing as Decorated. The corresponding chapel on the north side of
+the chancel has lost all its ancient glass, except a little in the
+tracery lights.</p>
+
+<p>The chief beauty of the interior is the delightful east window, whose
+stout central mullion, two-thirds of the way up, divides and inclines
+outward to right and left until it touches the frame. A charmingly soft
+colour scheme is here used, quite in the best manner of the
+Perpendicular epoch. It is difficult to puzzle out the original order of
+the figures and canopies, for the window was greatly damaged during the
+prevalence of the playful custom, many years ago, <span class='pagenum'><a name="Page_170" id="Page_170">[Pg 170]</a></span>of permitting the
+village urchins to throw stones at it! Although the design has been
+injured, nothing could spoil the colour effect. Viewed from a proper
+distance the whole presents an appearance of tender grey, mellowed by
+soft blue, with here and there a note of red. The tracery lights escaped
+practically unscathed, and each contains a complete figure and canopy.
+This great central embrasure is flanked on both the north and the south
+by three large clerestory lights, the glazing of the southerly ones
+being much less complete than that of their neighbours across the
+chancel, where the figure and canopy work is excellent, and the
+combination of tints remarkably good. The side columns of the shrines
+are broader than is customary, while at the top are an unusual number of
+pinnacles, as many as fifteen being noted in one case. These little
+spires are shown to advantage against backgrounds of soft blue and pink.
+At the top of the north-west window is the martyrdom of St. Woerstan, in
+the background of which appear the Malvern Hills. The next most
+important glass occupies the large embrasure at the end of the north
+transept, which, however, is somewhat reduced from its original
+proportions by having the lower panels in some of the side lancets
+walled up. The glass here is not so disarranged as in the east window,
+and we are able to decipher portraits of Henry VII., his queen, and
+members of his family. <span class='pagenum'><a name="Page_171" id="Page_171">[Pg 171]</a></span>Something out of the ordinary is the large blue
+corona spread over the central part, serving to tie three of the lancets
+into one picture. Interesting details occur in the &#8220;Adoration of the
+Magi&#8221; (third from the right in lower row). In the west wall at the
+north-west corner of this transept are single figures in canopy, two
+rows of three each, one above the other. The great west window is filled
+with fragments brought from the nave clerestory, and is mostly figures
+and canopies. Taken as a whole, the glass in this church provides a
+delightful experience. It is very typical of the lighter tones that came
+in with the Perpendicular style, but its greatest service is in teaching
+the lesson that, no matter how much a window&#8217;s design may have suffered,
+it will carry its message of beauty, if only the original colour scheme
+be sound.</p>
+
+<p>The fine encaustic tiles, not only in the flooring, but also set in the
+walls, are of local make. Some date from the fourteenth century, and
+others from the fifteenth, at which latter time Great Malvern enjoyed a
+wide reputation for their manufacture. Other examples may be seen at
+Little Malvern and at Tewkesbury.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_172" id="Page_172">[Pg 172]</a></span></p><h3>LITTLE MALVERN</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span>bout three miles from the centre of Great Malvern lies the hamlet of
+Little Malvern, dominated by its priory, now used as a parish church. Of
+the original building, built by the Benedictines, little now remains but
+the chancel and a great perpendicular tower, separated from it by an
+oakwood screen rich with carved vines. The chief attraction, however, is
+the east window, which, on the whole, is well preserved. Its story can
+best be told in the words of that ancient writer Nash: &#8220;The windows were
+curiously painted, rivalling those of Great Mal. In the E. wind. of the
+choir are 6 large compartments: in the middle one is represented Edward
+IV. in a robe of ermine with an imperial crown on his head; in the next
+compartment is his queen with a like diadem; in the pane between them is
+painted his oldest son, afterwards Edward V., his surcoat azure and his
+robe gules turned down and lined with ermine; <span class='pagenum'><a name="Page_173" id="Page_173">[Pg 173]</a></span>and in the next panel is
+his brother Richard, Duke of York, his surcoat also gules, and his robe
+azure turned down one row to the feet, on his head a Duke&#8217;s coronet.&#8221;</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_174" id="Page_174">[Pg 174]</a></span></p><h3>ROSS</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">T</span>wenty-seven miles below Hereford on the Wye (but only fifteen by road),
+there rises a small but steep bluff overlooking the sinuous windings of
+the river, and straggling down from its top is built the town of Ross.
+Pope, in his &#8220;Moral Essays,&#8221; would give the credit for every one of the
+town&#8217;s agreeable features to a certain John Kyrle, who died in 1724 at
+the advanced age of ninety. The elaborately thorough Pope credits him
+with all the civic virtues, and appends an inventory of benefits, which
+includes the benches disposed along the hill&#8217;s brow for those wishing to
+view the landscape, the causeways, bridges, &amp;c., not omitting minute
+charities to the villagers. Some members of the legal and medical
+professions may join the writer in esteeming the poet fortunate in that
+he did not fall into our clutches after he had penned the following
+lines:</p>
+
+<div class="centerbox5 bbox2"><p>&#8220;Is any sick? the Man of Ross relieves,<br />
+Prescribes, attends, the med&#8217;cine makes, and gives.<br />
+<span class='pagenum'><a name="Page_175" id="Page_175">[Pg 175]</a></span>Is there a variance; enter but his door,<br />
+Balk&#8217;d are the Courts, and contest is no more.<br />
+Despairing Quacks with curses fled the place,<br />
+And vile Attorneys, now an useless race.&#8221;</p></div>
+
+<p>This public benefactor lies buried in the northern side of the chancel,
+and near by there comes through an opening in the wall a large vine,
+rooted outside but bearing its leaves within the church. The glass here
+is limited in extent but very delicate and charming. It fills the
+eastern end of the chancel, which extends a short distance further to
+the east than do the two ample additions opening out from each side of
+that central portion of the church. These chancel windows are composed
+of four lancets each, and the treatment is the same throughout, viz., a
+single figure within a canopy. The personages are of good size,
+occupying about half of the entire height of the canopy. Because the
+windows are near the ground, Ross affords an excellent opportunity to
+examine the peculiarly delicate drawing on English glass at this time,
+which far excelled any contemporary French work. The architectural
+details of the canopies are carefully worked out, and each is surmounted
+by seven slender pinnacles standing out clearly against their red
+background. Up the sides and into the cusps of each lancet runs a light
+border. A very <span class='pagenum'><a name="Page_176" id="Page_176">[Pg 176]</a></span>sober use is made of the tints throughout, yielding a
+harmonious <i>ensemble</i> of colour, well set off by the soft brownish
+shades used in the depicted architecture.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_177" id="Page_177">[Pg 177]</a></span></p><h3>WARWICK</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">W</span>arwick Castle should be visited in order to inspect one of the most
+perfectly preserved strongholds of the Middle Ages, the many features of
+interest which it contains and its picturesque situation on the river
+Avon, rather than for the small amount of domestic stained glass (of the
+grey and yellow stain type) to be found in the long corridor and large
+banquet-room. Although worth seeing if one is there, it is not of
+sufficient importance to cause a special visit. There are also some
+well-preserved panels showing coats of arms at the Leicester Hospital,
+but this is a form of glazing frequent in England, and it is no better
+here than in many other places. There is, however, glass of great value
+and beauty in the famous Beauchamp Chapel which adjoins, on the south,
+the chancel of St. Mary&#8217;s Church. Much interest is added to this
+glazing, because the contract for it (dated June 23, 1447) is so full of
+details and specifications as to throw valuable light on the conditions
+and requirements of the craft at that time. After one&#8217;s eyes have become
+accustomed to the soft-hued English Perpendicular <span class='pagenum'><a name="Page_178" id="Page_178">[Pg 178]</a></span>glass, then in the
+height of its favour, it is very difficult to realise that these
+windows, with their strong colouring, are of the same period as the
+delicately toned ones which we have seen at Great Malvern and elsewhere.
+The explanation is provided in the contract. It there appears that the
+executors of Richard Earl of Warwick were not satisfied with the then
+prevailing English system of soft tints, and also that they were
+sufficiently advised of the state of the art on the other side of the
+Channel to realise that the richer hues which they demanded could be
+obtained in France, even though it was impossible or difficult in
+England. We read that they required the glazier, John Prudde of
+Westminster, to work &#8220;with Glasse beyond the Seas, and with no Glasse of
+England.&#8221; Again and again they insist on richness of hue; not only must
+he glaze &#8220;in most fine and curious colours,&#8221; but it is specified just
+what he shall use, for they provide him with a selection &#8220;of the finest
+colours of blew, yellow, red, purpure, sanguine and violet, and all
+other colours that shall be most necessary.&#8221; They require that his
+designs be made by another artist, and even those must be &#8220;in rich
+colouring.&#8221; The contract contains another criticism of earlier English
+methods, for they say &#8220;of white Glasse, green Glasse, black Glasse, he
+shall put in as little as shall be needful.&#8221; He complied with his
+requirements pretty strictly, and further, he used a glass so hard <span class='pagenum'><a name="Page_179" id="Page_179">[Pg 179]</a></span>and
+tough that its surface has resisted the disintegration which the weather
+so frequently caused in English glass of that period. Unfortunately all
+the ancient panes are not in place. The entire east window is filled
+with them, although a close scrutiny reveals that several of its panels
+are brought from side windows. Along the sides of the chapel the
+original glazing is only to be found in the tracery lights and the upper
+parts of the embrasures, what little there was left in the lower panes
+having been used to eke out the east window. The effect of this latter
+is complete and splendid. The richness of its colours is assisted by the
+golden rays which are so plentiful in the central part of the picture.
+The use of the leads is very elaborated and painstaking, many of the
+folds of the garments being delineated in this laborious manner. Two
+schemes are used for the backgrounds, one, red with lozenge-shaped
+squares enclosed by white and gold strapwork, and the other, blue with
+similarly bordered squares.</p>
+
+<p>Note in the traceries the red angels, poised upon golden wheels. The
+most striking feature of this tracery glazing is the liberal use
+throughout of written music, generally supported by angels. In some
+instances psalms are written on the white sheets, but more often it is
+staves of notes. Above the most easterly pair of windows on each side
+are groups of angels playing musical instruments and walking about <span class='pagenum'><a name="Page_180" id="Page_180">[Pg 180]</a></span>on a
+blue sky dotted over with white stars, much resembling the apples on the
+trees of children&#8217;s storybooks. One should observe what an agreeable use
+is made of these small angels that people the traceries. The glazier has
+skilfully avoided the ugly effect which would have been produced had the
+white sheets of music or psalms been continued in a horizontal line
+around the chapel, and has so waved this white line up and down that it
+becomes as decorative as the labels so common in German glazing. This
+appearance of music on glass is rare in England and rarer still in
+France. The rich colours demanded by the Earl&#8217;s executors must have
+produced a splendid effect in this chapel when all the embrasures were
+glazed as sumptuously as is the east window. Enough remains, however, to
+make the Beauchamp Chapel an important station in any stained glass
+pilgrimage.</p>
+
+<p>On the other side of the chancel is the vestry, into whose small east
+window have been collected six diminutive panels formerly in the
+chancel&#8217;s east window. They date from 1370 and contrast markedly with
+some small enamelled scenes in white and yellow stain (dated 1600)
+placed in the same embrasure with them. While the contrast is too sharp
+to be agreeable, we are afforded a comfortable, near-at-hand opportunity
+to observe the great strides which this craft took during that interval
+of time.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_181" id="Page_181">[Pg 181]</a></span></p><h3>COVENTRY</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span>n English friend of a flippant turn of mind once remarked to the writer
+that the three most famous rides in English history were undoubtedly the
+Charge of the Light Brigade, John Gilpin&#8217;s famous infringement of speed
+regulations, and Lady Godiva&#8217;s effort on behalf of the citizens of
+Coventry&mdash;and that the last was the most praiseworthy, because it had
+really accomplished something! Viewed in this light, the episode of Lady
+Godiva passes from a matter of local interest to the higher plane of
+national pride;&mdash;upon the equity of this promotion it is certain that
+every citizen of quaint Coventry will agree. If, peradventure, there
+shall have intruded into our company any who love not glass, let us
+protest with Falstaff, &#8220;I&#8217;ll not march through Coventry with them,
+that&#8217;s flat.&#8221; The distant prospect of that Warwickshire city is
+beautified by the three famous spires that proudly thrust their red
+sandstone peaks high above the huddled housetops. The ancient flavour of
+the place is preserved for us by the numerous old houses, one of which
+has in its topmost window a wooden <span class='pagenum'><a name="Page_182" id="Page_182">[Pg 182]</a></span>figure, &#8220;Peeping Tom,&#8221; that wicked
+exception who proved the rule that the worthy citizens could be relied
+upon to be loyal and true even under the application of that most
+searching test, curiosity. One of the three great spires rises from St.
+Michael&#8217;s Church, a building of very great size, about whose spacious
+interior are disposed many Perpendicular fragments, some arranged in
+bands along the clerestory, and others filling two windows (each of four
+lancets) that face each other in the chancel. These panels afford a
+useful part of the decoration, even in their present kaleidoscopic
+condition, and their colours put to shame those of the modern windows
+near them.</p>
+
+<p><a name="Illo14" id="Illo14"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/i210.jpg" class="ispace" width="500" height="311" alt="GUILDHALL, COVENTRY" title="" />
+<span class="caption">GUILDHALL, COVENTRY</span></div>
+
+<div class="blockquot3"><p>Splendid row of ancient English Kings, and below, a great tapestry. In
+the centre of the window and again on the tapestry appears Henry VI, who
+was a member of the Guild. Handsome example of medi&aelig;val hall</p></div>
+
+<p>Just across the narrow street is one of the finest examples in England
+of stained glass used to decorate a municipal building devoted to
+secular purposes. It is to be found at the north end of St. Mary&#8217;s Hall,
+and is as admirably placed as it is excellently composed. Across that
+entire end of the spacious hall is a great window occupying the whole
+upper half of the wall, and broken up into nine wide lancets surmounted
+by tracery lights of the usual Perpendicular form. Across the entire
+lower half of the wall is suspended a long tapestry, which we shall see
+accords with the subjects appearing in the glass above it. Nowhere can
+there be found a great window and a large tapestry used with such<span class='pagenum'><a name="Page_183" id="Page_183">[Pg 183]</a></span> harmony of purpose and result. History tells us that Henry VI. took so
+pronounced an interest in the Guild of Coventry that he was regularly
+inducted into its membership in 1450, and therefore we are not surprised
+that his effigy occupies the middle lancet of the window. Inspection
+reveals that he is the central figure of a gallery of kings, for he is
+flanked on the left by Henry III., Richard C&oelig;ur de Lion, William the
+Conqueror, and King Arthur; and on the right by Edward III., Henry IV.,
+Henry V., and the Emperor Constantine (who was born in Britain). All
+these royalties are in full armour, except their crowned heads, and they
+all stand firmly poised with their feet well apart. The backgrounds are
+unusually interesting, and consist of upright strips of red and blue
+separated by narrow lines of yellow, the strips being sprinkled over
+with the letter M, because St. Mary is the patron saint of the hall.
+These figures all stand beneath canopies, and in the traceries above is
+still other canopy work, serving as background for gaily tinctured coats
+of arms. One, displaying a black eagle upon a yellow field, is said to
+be the blazon of Leofric, Earl of Mercia, Lady Godiva&#8217;s husband, &#8220;that
+grim Earl who ruled in Coventry.&#8221; This hall was finished in 1414, and
+the glazier is said to have been the same Thornton to whom we are
+indebted for the east window at York Minster. Henry VI. appears <span class='pagenum'><a name="Page_184" id="Page_184">[Pg 184]</a></span>again
+in the tapestry below, this time attended by his wife, Queen Margaret of
+Anjou, who shared his interest in Coventry. Nor were these the only
+royalties to feel a kindly interest in this city, for we also read that
+Henry VII. and Elizabeth of York were enrolled as members of the Guild
+in 1499. Upon this tapestry there is gathered a numerous company of
+individuals attending upon Henry VI. and his wife, who are kneeling in
+their midst, while between them is a female figure labelled &#8220;Justitia.&#8221;
+Local tradition says this label is a later substitute for a religious
+name, but whether that be true or not, a tapestry made for a Guild Hall
+in which justice was administered might well have originally had
+&#8220;Justitia&#8221; as its central figure. The harmony between the splendid
+window and the adjoining tapestry finds an answering note in the ancient
+wooden ceiling with its quaintly carved bosses, and also in the fine
+wooden gallery at the south end, against which are arranged many suits
+of armour. Our visit will not be complete without a peep into the
+spacious kitchen below, and also into a small muniment-room above, which
+is proved by a carefully preserved letter, bearing Queen Elizabeth&#8217;s
+signature, to have once served as a prison for Mary Queen of Scots.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_185" id="Page_185">[Pg 185]</a></span></p><h3>YORK</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span>n account of the Early English glass at York will be found at p. <a href="#Page_57">57</a>,
+and of that of the Decorated period at p. <a href="#Page_76">76</a>.</p>
+
+<p>The huge choir of the cathedral abounds in splendid specimens of the
+glazier&#8217;s art during the Perpendicular period. Here is collected all
+that the minster possesses of that epoch except a few fragments in the
+east and west aisles of the great south transept. So attractive is the
+manner in which the illumination of the choir is effected, as to inspire
+many poetic descriptions of its windows. One author says that they
+&#8220;remind one of particles of sunlight on running water&#8221;; another speaks
+of &#8220;the glittering screens of colour and soaring shafts of stone.&#8221; With
+this latter author we are disposed to take issue upon his use of the
+word &#8220;glittering&#8221; in describing glass of this period, for that
+description more properly belongs to the earlier brightly hued mosaic
+medallions. In fact, so soft and delicate are the colour and design upon
+Perpendicular glass that one is apt to neglect the picture which it
+bears. Indeed, one might say that the service <span class='pagenum'><a name="Page_186" id="Page_186">[Pg 186]</a></span>performed at that time by
+the picture was but to lend coherence to the window, or, perhaps better,
+to prevent the colours from being unmeaningly kaleidoscopic when viewed
+from near at hand. Winston says that the earliest windows in the choir
+date from the close of the fourteenth century, and are the third from
+the east in the south aisle, the third and fourth from the east in the
+north clerestory, and the fourth from the east in the south clerestory.
+Note the early Tree of Jesse of this period in the third embrasure from
+the west in the south choir aisle. The other windows of these aisles
+east of the small easterly transepts, as well as the lancets on the east
+side of the great westerly transepts, are from the time of Henry IV.,
+while all the others date from Henry V. and VI., chiefly from the
+latter. These small easterly transepts rejoice in the possession of two
+large windows, one at the north and the other at the south end, the
+former dedicated to St. William and the latter to St. Cuthbert. In the
+latter, which is seventy-three feet by sixteen feet, appear members of
+the House of Lancaster. Beginning at the eastern end of the north aisle,
+we shall find that the first window possesses a few fragments, but that
+the next three are among the finest here, their combination of greys,
+browns and blues being noticeably good. The next three are paler in tone
+and not satisfactory. The Crucifixion <span class='pagenum'><a name="Page_187" id="Page_187">[Pg 187]</a></span>at the end of this aisle in the
+east wall is excellent. Its companion at the east end of the south aisle
+is also fine in both colour and design. Observe the drawing of the heads
+in the second window from the east in this aisle. The last one of all is
+French of about the end of the sixteenth century, and was brought here
+from Rouen by Lord Carlisle in 1804. Fine as it undeniably is, its rich
+Renaissance hues do not harmonise with the lower tints of its earlier
+English neighbours. The examination of these minor possessions of this
+part of the edifice now leads us up to its crowning glory, the great
+east window. The nine lofty lights are subdivided into three groups of
+three each by two mullions thicker than the others. All these mullions
+are swerved above and then disposed in accordance with the best
+Perpendicular traditions. Like the large windows of the east transepts
+there is here a double plane of stonework reaching half-way up the face
+of the embrasure. At the point where this double stonework stops there
+is carried across its top a gallery right against the face of the glass.
+So vast is this great surface (seventy-eight feet by thirty-two feet)
+that the gallery would escape notice if it were not pointed out. The two
+hundred panels of figures which here appear depict in the upper half Old
+Testament scenes from the creation of the world to the death of Absalom;
+below are scenes from the Book of <span class='pagenum'><a name="Page_188" id="Page_188">[Pg 188]</a></span>Revelations, and lowest of all a
+series of kings and archbishops. The contract for the glazing is dated
+1405 and calls for the completion of the work in three years. Even if
+the rest of its great wealth of windows be disregarded, York Cathedral,
+by virtue of this vast screen of colour and of the exquisite group of
+the &#8220;Five Sisters,&#8221; would rank as one of the most notable points of
+interest in the world for the lover of stained glass.</p>
+
+<p><a name="Illo15" id="Illo15"></a></p>
+<div class="figcenter" style="width: 316px;">
+<img src="images/i217.jpg" class="ispace" width="316" height="500" alt="EAST WINDOW, YORK MINSTER" title="" />
+<span class="caption">EAST WINDOW, YORK MINSTER</span></div>
+
+<div class="blockquot3"><p>Tremendous sheet of colour, 78 by 32 feet. Lower half of stone frame
+built in a double plane, and carries a gallery across face of the glass</p></div>
+
+<p>Several churches of this city also contain Perpendicular windows of
+great interest. We have already visited most of these to inspect their
+Decorated remains (<i>see</i> p. <a href="#Page_78">78</a>), and, for the sake of regularity, will
+now take them up in the same order when viewing their Perpendicular
+glazing. All Saints&#8217; in North Street, tucked snugly away among its
+surrounding buildings and only accessible by means of a narrow alley, is
+the most interesting of all the smaller churches. It is, fortunately, in
+the possession of a rector (Rev. P. J. Shaw) so keenly alive to its
+store of beauties that he has preserved them in a handsome volume, and
+thus made their enjoyment possible for those who live far away. Fine as
+are the Decorated windows already described, the Perpendicular ones are
+finer still. They fill almost all the embrasures not occupied by the
+earlier glass. Most of them are in the usual figure-and-canopy style,
+although here groups generally replace the<span class='pagenum'><a name="Page_189" id="Page_189">[Pg 189]</a></span> figures, and the details of the architecture are worked out in a
+painstaking way. A very fine one is the east window with its three
+lancets containing respectively St. Christopher carrying Christ, St. Ann
+instructing the youthful Mary, and John the Baptist, while below and in
+the side compartments are the donors, and in the central one a
+composition representing the Trinity. Still more interesting is the
+embrasure containing the &#8220;Six Corporal Acts of Mercy&#8221; with its engaging
+little groups, of which, perhaps, the quaintest is the upper central
+one, &#8220;Giving Drink to the Thirsty.&#8221; But the most interesting of all,
+indeed a famous window, is the eastmost in the north aisle. It is of the
+kind called &#8220;Bede&#8221; window from its showing a bede or prayer for the
+donors. The fifteen small scenes under their squatty canopies are a most
+interesting representation of the last fifteen days of the world as
+recounted in the &#8220;Prick of Conscience&#8221; by Richard Rolle, a learned and
+pious writer who died 1349. The story begins at the lower left-hand
+corner and goes to the right. Notice the careful realism of the timid
+worthies in the scene whose label describes it as &#8220;ye XI day sal men
+come owt Of their holes and wende abowt.&#8221;</p>
+
+<p>In St. Dennis (Walmgate) the chief remnants of Perpendicular glass are
+gathered in the central east window, but they are not to be compared
+<span class='pagenum'><a name="Page_190" id="Page_190">[Pg 190]</a></span>for excellence with their earlier neighbours. So, too, in St.
+Martin-cum-Gregory the Perpendicular remains cannot vie with the
+Decorated specimens. There is, however, a fine picture of St. George
+killing the dragon in the central lancet of the westmost embrasure in
+the south aisle.</p>
+
+<p>Holy Trinity (Goodram Gate) has a large east window dating from about
+1470, whose five roomy lancets contain single figures in the upper
+canopies and groups within the lower ones. Especially note the central
+lowest panel, for there appear three men intended to represent the
+Trinity. This is said to be the only instance in English glass where the
+Trinity is thus symbolised. On either side of this large window are
+smaller two-lanceted ones containing figures in canopy. All this glass
+is supposed to date from the reign of Henry VI., as does also that at
+St. Martin&#8217;s (Coney Street). St. Martin&#8217;s is not only valuable as
+affording an example of the general arrangement of designs throughout an
+interior, but it specially rejoices in a great west window that is a
+real delight. Its five lights set forth the life of St. Martin, and from
+the records we learn that it was erected with funds received from a
+bequest dated 1447. Three splendid tiers of canopies rise one above the
+other across the five lights, while below, where the shadow of an
+adjoining building might have robbed figures of their <span class='pagenum'><a name="Page_191" id="Page_191">[Pg 191]</a></span>brilliancy or
+interest, the space is filled with elaborate quarry work. Along the
+clerestory are four-lanceted lights with large saintly figures upon
+white quarries and blazons above them, each lancet bordered in colour.
+Kneeling donors reveal whose piety contributed to these windows. St.
+Michael&#8217;s (Spurrier&#8217;s Gate) has quite an amount of Perpendicular glass
+which is in good condition owing to having been recently releaded. The
+windows along the south aisle beginning at the east are each
+four-lanceted; in the first appear the nine choirs of angels, and in the
+next two the genealogy of Christ. In the south-west window are Biblical
+scenes, while in the north-west one there has been collected heads,
+armorial bearings and conventional designs. Fragments have also been
+gathered into the south-east window, including heads of three kings and
+a bishop.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_192" id="Page_192">[Pg 192]</a></span></p><h3>SALISBURY</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">A</span>t p. <a href="#Page_30">30</a> will be found an account of the Early English glass at
+Salisbury.</p>
+
+<p>As one reads history, the kings and nobles are apt to stand out in such
+sharp relief against the background of less illustrious folk that one
+often neglects to inquire into the nature of that background, if,
+indeed, it be not entirely ignored. Nevertheless, the foreign campaigns
+of the English kings could never have been carried on without the
+&#8220;sinews of war,&#8221; which brings us abruptly to the unromantic necessity of
+considering that very large portion of the community who stayed at home
+and paid the taxes and did other unattractive but necessary background
+work. Chief among these useful people were the great merchants of
+England, and of these none were more important than those who dealt in
+wool. Men of their significance in the financial world naturally lived
+in fine houses, so we are not surprised to find such edifices as Crosby
+Hall in London or the hall of John Halle at Salisbury. We read that this
+Halle and one other &#8220;merchant of the staple&#8221; bought all the wool that
+<span class='pagenum'><a name="Page_193" id="Page_193">[Pg 193]</a></span>came from Salisbury Plain, which fact helps to explain how he came to
+be four times chosen Mayor of Salisbury, and also sent to represent the
+Burgesses when the king had occasion to summon Parliament in London. His
+handsome hall is lighted by numerous windows, retaining to this day most
+of their original glazing. Upon them appear sundry heraldic blazons, and
+also the merchant&#8217;s mark of John Halle, which is repeated again on the
+stone transom of the great fireplace. If we are to venture a date for
+the building, we may select the year 1471, and for the following
+reasons: the records show that John Halle bought the land in 1467; the
+window above the fireplace displays that honest worthy in brave attire
+with motley hose supporting a banner whereon appear the arms of Edward
+IV., but surcharged with the plain label of three points, indicating
+that they belong to his son the Prince of Wales (murdered in the Tower);
+on the other window appear the arms of Warwick, the &#8220;kingmaker.&#8221; Now a
+glance into history reveals that the Prince was born November 4, 1470,
+during the time that his mother was obtaining sanctuary in Westminster
+Abbey, his father having fled the country. Further, we know that his
+father returned and defeated Warwick at the battle of Barnet, April 12,
+1471, which defeat cost the great Earl his life. It is fair to
+conjecture that the <span class='pagenum'><a name="Page_194" id="Page_194">[Pg 194]</a></span>Warwick arms would not have been put upon these
+windows after his death, nor those of the Prince of Wales before young
+Edward was born, so there remains to us only the period between his
+birth and Warwick&#8217;s death (viz., November 4, 1470 to April 12, 1471) as
+the probable time of the hall&#8217;s erection. The embrasures were glazed in
+uniform manner (except the one over the fireplace already described),
+and they repay close examination. Within coloured borders are quarry
+lights across which are drawn bands slanting downward from left to right
+which bear the word &#8220;Drede&#8221; often repeated. Up and down the lancets are
+placed gaily tinted shields of arms. These slanting bands, marked with
+motto or single words, were not uncommon at that time; interesting
+examples are to be seen at Ockwell&#8217;s Manor (Berks), Gatton Chapel
+(Surrey), and Benedict&#8217;s Chapel (Peterborough), &amp;c. It has been
+suggested that the word &#8220;Drede&#8221; used here is a rebus composed of the
+initials of the words &#8220;dominus rex Edwardus domina Elizabeth,&#8221; referring
+to Edward IV. and his Queen. The handsome pointed roof assists the
+windows and the fireplace in completing a most pleasing interior, giving
+one a high opinion of the style in which once lived John Halle, the
+great wool merchant of Salisbury.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_195" id="Page_195">[Pg 195]</a></span></p><h3>WINCHESTER</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">T</span>he oldest known road in all England is the &#8220;Pilgrim&#8217;s Way&#8221; which used
+to run along the southern coast from the neighbourhood of Salisbury to
+Canterbury. In very early times it started from Stonehenge, but when
+that place yielded in importance to the newer settlement of Sarum, and
+it in turn to Salisbury, the section from Stonehenge to Alton was
+abandoned because of the new demands of traffic from Salisbury to Alton.
+Many parts of it are still easily traceable and are worth study by those
+interested in historic national highways. Maurice Hewlett, in that
+charming book in the medi&aelig;val manner, &#8220;New Canterbury Tales,&#8221; has his
+pilgrims proceed not from London, as did Chaucer&#8217;s people, but along
+this very road from Salisbury to Winchester and thence to Canterbury.
+Nothing is known of Stonehenge, the earliest starting-point of this
+road&mdash;it lies hidden behind the veil on the hither side of which history
+begins. Likewise, very ancient are the traditions which we shall find at
+Winchester. As we wend our way along this time-worn highway toward the
+latter <span class='pagenum'><a name="Page_196" id="Page_196">[Pg 196]</a></span>town, we are (in the words of Le Gallienne) &#8220;now entering on a
+region where the names of Saxon kings are still on the lips of peasants,
+where the battlefields have been green for a thousand years, and the
+Norman Conquest is spoken of as elsewhere we speak of the French
+Revolution&mdash;a comparatively recent convulsion of politics.&#8221; To us,
+pondering upon these ancient thoughts, there comes forth to meet us from
+Royal Winchester a strange array of</p>
+
+<div class="centerbox2 bbox2"><p>&#8220;Visions, like Alcestis,<br />
+Brought from underlands of memory.&#8221;</p></div>
+
+<p>We seem to see Alfred the Great and his tutor St. Swithin; King Canute,
+whose imperious sway stopped only at controlling the tide; William of
+Wykeham, the great builder of cathedrals, churches and colleges; Jane
+Austen, friend of us all; the gentle Isaac Walton, and many another.
+Shades and visions of shades! Nay, even the lovely New Forest through
+which we are travelling seems peopled with ghosts from homes destroyed
+to provide space for it by the ruthless Norman conqueror William&mdash;ghosts
+that old legends say winged the arrow that here slew his son William
+Rufus. And is not Winchester itself the ghost of the kingly capitals it
+has been&mdash;the Saxon capital of Alfred, who here wrote the Anglo-Saxon
+Chronicle; the Danish capital of Canute, whose sway extended <span class='pagenum'><a name="Page_197" id="Page_197">[Pg 197]</a></span>far out
+over Scandinavia; the Norman capital of William ruling both sides of the
+Channel? In harmony with this weird ghostliness is a strange story that
+has to do with the building of the cathedral. William&#8217;s Bishop,
+Walkelin, received a grant from his royal master of all the wood that he
+could cut from the forest of Hannepings during the space of four days.
+When William rode forth to see how much had been removed for the
+purposes of the new building, he at first thought magic had been
+invoked, for lo! the entire forest was gone! The only magic used proved
+to be the great energy shown by the Bishop in collecting such a horde of
+workmen as to perform this tremendous feat in so short a time.</p>
+
+<p>Stately and impressive as is the long grey cathedral, and pregnant as
+are its memories, there are others in Winchester equally potent to
+conjure up the distant past, for in the County Hall we shall see
+suspended against the wall the Table Round of King Arthur and his
+knights. Tennyson, in his description of King Arthur&#8217;s Hall, shows
+himself a stout advocate of how glorious a part stained glass can play
+in a scheme of decoration. He says:</p>
+
+<div class="centerbox5 bbox2"><p>&#8220;And, brother, had you known our hall within,<br />
+Broader and higher than any in all the lands!<br />
+Where twelve great windows blazon Arthur&#8217;s wars<br />
+And all the light that falls upon the board<br />
+<span class='pagenum'><a name="Page_198" id="Page_198">[Pg 198]</a></span>Streams thro&#8217; the twelve great battles of our King.<br />
+Nay, one there is, and at the eastern end,<br />
+Wealthy with wandering lines of mount and mere<br />
+Where Arthur finds the brand Excalibur.&#8221;</p></div>
+
+<p>The cathedral, although giving the impression of spaciousness, does not
+receive full credit for its size&mdash;as a matter of fact it is the largest
+in England. According to the delightful English custom, it lies within a
+charming Close of green lawn and trees, while on one side a narrow
+passage called the Slype, quaintly inscribed, gives access to the
+Deanery, Library, &amp;c., close by, which buildings add so much to the
+picturesque effect of the whole. Within the portal we shall find the
+remains of many ancient great ones, some in mortuary chests placed high
+aloft, and others interred in the customary manner beneath slabs of the
+pavement. Walpole justly says, &#8220;How much power and ambition under half a
+dozen stones!&#8221;</p>
+
+<p>The remains of old glass in this church are more interesting than
+numerous. Cromwell&#8217;s ruffians here outdid themselves. Not content with
+their usual method of smashing the windows as high up as they could
+thrust their pikes, they broke open the ancient mortuary chests
+containing the remains of early kings and ecclesiastics, and hurled
+through the upper window panes the bones of Canute, William Rufus, and
+many another long dead ruler&mdash;a <span class='pagenum'><a name="Page_199" id="Page_199">[Pg 199]</a></span>gruesome destruction indeed! The most
+important examples of stained glass date from just after the death of
+William of Wykeham (1404). So interested was this great man in our
+gentle art that he placed in his will minute instructions covering the
+glazing of the windows of his beloved cathedral. He ordains that it be
+commenced in the nave at the first embrasure west of the new work done
+by him and then proceed &#8220;bene et honeste et decenter&#8221; easterly along the
+south aisle and south clerestory, then, provided any money remains
+unexpended, the north aisle and the north clerestory. There are more
+remains of his beneficence on the north side than on the south. Four of
+his canopied figures have been moved to the first embrasure from the
+east in the choir clerestory. All of this glass is quite similar to that
+which he installed in the antechapel of New College at Oxford. There are
+earlier Perpendicular remains in the great west window, in those at the
+west end of the nave aisles, and in the first of the south aisle. If it
+were not for the west window with its deliciously mellow effect,
+Winchester would hardly have been included in this tour, for the
+remainder of the glass, though of interest, is not important. One should
+proceed eastward as far as the transept before turning to look at the
+west window, for thus he will be able to enjoy its effect without having
+first learned that it <span class='pagenum'><a name="Page_200" id="Page_200">[Pg 200]</a></span>is really only a jumble of old glass put together
+every which way, another example of colour outlasting design. Strangely
+enough, its soft grey-greenish tones remind one of the Five Sisters at
+York, earlier by two centuries. A nearer approach not only reveals the
+disordered array of fragments but also permits one to remark a few of
+the original figures and canopies in the upper left-hand corner. The
+nine lofty lights are subdivided into three groups of three each by
+means of two of the mullions which are thicker than the others; these
+two swerve off to the left and right when nearing the top in the usual
+Perpendicular manner. An unusual feature is the fact that the mullions
+of the window have been carried down over the face of the stone wall
+below, thus agreeably tying together the wall of glass and the
+supporting one of stone. In this window there are two circles of
+geometric patterns, made up of early Decorated fragments. Glass dating
+from the end of the reign of Henry VI. is to be seen in the three most
+westerly embrasures of the clerestory on the north, and the two most
+easterly on the south. These latter are from six to ten inches too short
+for the embrasures, thus indicating that they have been transferred from
+elsewhere.</p>
+
+<p><a name="Illo16" id="Illo16"></a></p>
+<div class="figcenter" style="width: 291px;">
+<img src="images/i230.jpg" class="ispace" width="291" height="500" alt="NAVE, WINCHESTER CATHEDRAL" title="" />
+<span class="caption">NAVE, WINCHESTER CATHEDRAL</span></div>
+
+<div class="blockquot3"><p>The excellent effect produced by the Fifteenth Century fragments with
+which this window is glazed proves that colour is more important than
+design in glass. Note swerving to right and left of two principal
+mullions, thus relieving a monotony of upright lines</p></div>
+
+<p>Our first glance toward the east makes one inclined to quarrel with what
+seems to be the <span class='pagenum'><a name="Page_201" id="Page_201">[Pg 201]</a></span>excessive height of the gracefully carved reredos, which appears to
+encroach upon the east window and to leave only so much of it visible as
+to make it too wide for its height. A closer view exculpates the
+reredos, for it turns out that the window is placed so unusually high in
+the wall that none of it is concealed by the great altar. Its seven
+lights separate into a central group of three and two side ones of two
+each. The original glazing has been replaced by some given about 1525 by
+Bishop Fox, which, however, is now much restored; there appear upon it
+his arms and motto, &#8220;Est deo Gracia.&#8221; The top central light has some of
+the earlier Wykeham glass. The manufacture of glass had much improved by
+the time of Bishop Fox, but the effect of this window cannot be compared
+with the larger one to the west. From fragments observable in some side
+windows, and also in the traceries of both the north and south aisles of
+the choir, it seems that the Fox glass was also used there. It is to be
+regretted that there is not on view the contents of two boxes in the
+cloisters of Winchester School, where are stored the Wykeham panels
+taken from the west embrasures of New College antechapel to make room
+for Sir Joshua Reynolds&#8217; &#8220;Virtues.&#8221;</p>
+
+<p>Before leaving Winchester one should take time to see the ancient church
+of St. Cross. In 1136 <span class='pagenum'><a name="Page_202" id="Page_202">[Pg 202]</a></span>Henry de Blois commanded that every one who
+demanded a piece of bread and a draught of beer at the gate of this
+church should receive it, a quaint echo of medi&aelig;val hospitality.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_203" id="Page_203">[Pg 203]</a></span></p><h3>ST. NEOT</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">T</span>he earliest appreciation by the outside world of the great natural
+wealth of England was evidenced by those perilous voyages out into the
+unknown sea beyond the Pillars of Hercules, undertaken by the early
+Ph&oelig;nicians in order to trade for tin with the inhabitants of what we
+now call Cornwall. By one of the odd philological quirks of slang, the
+word &#8220;tin&#8221; is now endowed with a meaning inclusive of every form of
+wealth&mdash;a strange modern acknowledgment of the earliest form of English
+value. Many of these ancient mines are still worked, as we shall see for
+ourselves when we visit St. Neot. This centuries-old continuance of
+tin-mining is strongly in accord with all things Cornish, for in that
+westernmost corner of England change does not intrude, and as things
+have been so they continue to be. We will assume that the pilgrim has
+reached Plymouth, that western outpost of Devon, seated beside her ample
+harbour, whose many bays and estuaries running up into the land <span class='pagenum'><a name="Page_204" id="Page_204">[Pg 204]</a></span>seem to
+symbolise Father Neptune laying his mighty hand upon the smiling
+country. Ferrying across to the Cornish side, we proceed by pleasant
+woody roads giving glimpses of Plymouth Harbour, and on to solid
+stone-built Liskeard. Pushing past along the high road that leads to
+Bodmin and the Land&#8217;s End, we shall be at some pains to notice a little
+road that, four miles beyond Liskeard, turns off to the right up a
+narrow valley. A mile of pretty windings past several ancient but still
+active tin mines, brings us to St. Neot, snugly stowed away among the
+hills. Here, in this small community, which shows no trace of ever
+having been any larger, nor any indication of becoming so in the future,
+stands one of the most interesting glass shrines in England. The church
+has the appearance of many another of the Perpendicular school&mdash;a type
+so common throughout the land. One notices that it is lighted by an
+ample number of large windows, each of four lancets. Once inside the
+door, however, and the change from the usual to the extraordinary is
+immediate. The roomy interior is practically unbroken by the usual
+divisions of chancel, nave, &amp;c., and this very appearance of
+spaciousness assists admirably in showing off the windows to the
+greatest advantage. The oldest ones are at diagonally opposite ends of
+the church <span class='pagenum'><a name="Page_205" id="Page_205">[Pg 205]</a></span>from each other, and are found in the north-westerly and
+south-easterly corners. The many small groups or scenes (each installed
+in a canopy) into which these are subdivided render their legends all
+the more attractive, because they depict so many different points in the
+story&#8217;s development. The architecture of their canopy frames shows that
+they date from rather early in the fifteenth century. In addition to
+this more common style of glazing there is another type, which has a
+number of examples here&mdash;a saint standing upon a bracket and displayed
+against a quarry background, but lacking a canopy. These date from a
+little later in the Perpendicular period. This bracket feature is very
+English, and may also be seen at Nettlestead and West Wickham in Kent.
+So pleased were the parishioners with these two types that, when some
+new windows were presented in 1528-29-30 (now seen along the north
+wall), the glazier did not work in the then prevailing Renaissance
+method, but designed his story of St. Neot&#8217;s life after the earlier
+many-scened type, as well as copying some of them after that of the
+bracketed saints. One of these sixteenth century windows was presented
+by the young men of the parish, another by the young women, a third by
+the married women, and the rest by private individuals or families.
+Below the two <span class='pagenum'><a name="Page_206" id="Page_206">[Pg 206]</a></span>given by the married and the unmarried women are a row of
+kneeling donors which afford an interesting study of female costume. In
+the south wall is a window given by the Mutton family. Here the glazier
+did not copy earlier types, but struck out along a new line, making a
+very graceful use of winding scrolls. Extremely pleasing as is the
+effect of all these windows, the result would have been even more
+gratifying had it not been for a restoration which befell the church in
+1820, and which, when it subsided, left behind it not only three
+unsatisfactory new windows, but also certain misguided retouchings of
+the old ones. Even this gentle criticism must not be allowed to affect
+the fact that the <i>ensemble</i> of the interior here is delightful and one
+of the most complete in England. Nor is this general effect one whit
+less engaging than the host of quaint details revealed by a close
+investigation of the glass, especially in the case of the Noah window
+(most easterly of the south wall), and that devoted to St. Neot (most
+westerly of the north wall). The medi&aelig;val idea of Noah&#8217;s Ark is very
+diverting, as is also the artist&#8217;s idea of how most of his wild animals
+must have looked. Then, too, the attention paid by good St. Neot to the
+sacred fish which his over-zealous servant had wickedly roasted and
+<span class='pagenum'><a name="Page_207" id="Page_207">[Pg 207]</a></span>broiled is most entertaining. For beauty, and for interest as well,
+this noteworthy set of windows in far-off Cornwall amply repay the
+length of the trip necessary to seek them out.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_211" id="Page_211">[Pg 208-11]</a></span></p>
+<h2>RENAISSANCE</h2>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">I</span>n England there is not to be found the same awakening and change in art
+at the opening of the sixteenth century which is encountered in France,
+and is known to us as the Renaissance. This revival of art reached the
+English at second hand, having been transmitted to them through the
+French. The soldiers of Louis XII. and Francis I., who fought in Italy
+at the close of the fifteenth century, could not help but see and feel
+the new movement in matters artistic then bursting into bloom, and they
+carried home with them not only memories of what they had seen, but also
+many fine examples in their spoils of war. The tales and trophies of
+these soldiers proved a great force in starting the French Renaissance.
+One of its first fruits was the change from the then flamboyant Gothic
+to the classical style in architecture. In glass it was first evidenced
+by substituting canopies of classic form for the Gothic ones which had
+been so much in vogue. The pictures they enclosed were gradually widened
+until it soon became necessary to discard altogether the canopy <span class='pagenum'><a name="Page_212" id="Page_212">[Pg 212]</a></span>frame,
+which, on the passing of the narrow Gothic embrasures, was seen to have
+outlived its usefulness. While this awakening in art ultimately reached
+England, it came slowly and never gained the influence it attained in
+France. The English ear and eye were not surprised and delighted as were
+the French by the return of soldiery laden with artistic spoils and
+enthusiastic over the new beauties which they had seen in Italy. Art in
+England developed quietly, steadily, as was but natural, lacking, as it
+did, this sudden impetus from the outside. There is another, and for us,
+a far more regrettable difference between those two countries during the
+sixteenth century, in that very little good glass was then made in
+England, while France was constantly adding to her wealth of windows
+during all of this, her great period of artistic revival. Just as the
+golden age of glass seemed to die in France at the end of the sixteenth
+century, so, in England, it perished at the end of the fifteenth, a
+whole century earlier. There are, however, some fine examples of the
+sixteenth century in England even though much of it (as at Lichfield)
+will prove to have come from abroad. What we shall find at Cambridge is
+delightful, in fact so fine is it that one must deeply regret that there
+are so few towns on the roster of this epoch. A modest amount of glass
+was made in England during the seventeenth <span class='pagenum'><a name="Page_213" id="Page_213">[Pg 213]</a></span>century (as, for example,
+the work of the Crabeth Brothers and Von Linge in certain Oxford
+colleges), but as this is only fairly good and was, moreover, made by
+foreigners, we will not take our pilgrim to see it because its lesser
+interest might detract from his delightful memories of the glorious
+Decorated and Perpendicular windows. In English sixteenth century glass
+it is not easy to trace the transition from the Perpendicular canopies
+to the large brilliant pictures, which can be so readily studied in
+France. The English glazier would almost seem to have realised abruptly
+the beauty of the large picture windows, and to have transferred his
+allegiance suddenly to this new method. Delightful examples are to be
+seen at Shrewsbury, but most satisfying of all is the very complete
+series around the chapel of King&#8217;s College, Cambridge, that gem of
+English architecture. Lichfield must also be visited to view its Flemish
+windows about the Lady chapel, and St. Margaret&#8217;s Church (close to
+Westminster Abbey) for its east window of the same provenance.
+Concerning English glass of this period it may be said that it possesses
+all the rich colour treatment of its French contemporaries, and,
+moreover, that it has the added advantage of a more careful use of the
+leads in providing outlines for the designs. Almost insignificant as are
+these sixteenth <span class='pagenum'><a name="Page_214" id="Page_214">[Pg 214]</a></span>century remains when compared with the innumerable ones
+across the Channel, their great beauty goes far towards compensating us
+for their lack of numbers.</p>
+
+<h3>RENAISSANCE TOURS</h3>
+
+<p>The seven towns containing noteworthy Renaissance glass fall naturally
+into two groups, one to the north and the other to the south. Supposing
+we begin with the one of greater distances, the first stage, after
+viewing the London windows, will be Cambridge. Thence we go
+north-westerly to Lichfield, and, lastly, due west to Shrewsbury. If the
+pilgrim has not already visited Shrewsbury on our Decorated tour, he
+will find an account of its sixteenth century glazing at p. 85. The
+second tour is to the south, and not only are all the points near
+London, but close to each other as well. The first will be Guildford,
+which lies in Surrey, as does also Gatton Park, the next in order.
+Twenty miles to the east, over the Kentish border, is Knole, which
+concludes the tour.</p>
+
+<p><a name="Illo17" id="Illo17"></a></p>
+<div class="figcenter" style="width: 287px;">
+<img src="images/i245.jpg" class="ispace bbox3" width="287" height="500" alt="MAP OF RENAISSANCE TOUR" title="" />
+<span class="caption">MAP OF RENAISSANCE TOUR</span>
+</div>
+
+<p>If a stay of any length is made in Cambridge, occasion may be taken to
+use it as a centre for side-trips <span class='pagenum'><a name="Page_215" id="Page_215">[Pg 215]</a></span>to Margaretting, Levrington and Lowick. So, too, proximity may serve as
+an excuse for seeing Nettlestead and West Wickham on our way back to
+London from Knole.</p>
+
+<hr class="medium" />
+<p><span class='pagenum'><a name="Page_216" id="Page_216">[Pg 216]</a></span></p><h3>LONDON</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">L</span>ondon, that capital of the world, contains no examples of early glass
+<i>in situ</i>, and it is not until we have arrived at the study of
+Renaissance windows that she provides something to engage our attention.
+It must not be overlooked that there is an excellent collection of early
+glass at the Victoria and Albert Museum which, by the way, is most
+advantageously displayed, thanks to the manner in which all light is cut
+off save that coming through the coloured panes: it is unfortunate that
+the same good taste and judgment is not in evidence at the Louvre and
+other great museums. Some of the original mosaic medallions from the
+Sainte Chapelle, Paris, are here preserved. After all, though this South
+Kensington exhibit is undeniably good, glass appeals to one less in a
+museum than when seen in its natural home, a church. Two London churches
+have interesting examples of Renaissance glass, which, however, came
+from abroad, the east window in St. Margaret&#8217;s, Westminster, and three
+in the east wall of St. George&#8217;s, Hanover Square.</p>
+
+<p>Westminster Abbey is generally entered by the <span class='pagenum'><a name="Page_217" id="Page_217">[Pg 217]</a></span>north transept door, and
+almost every one of its visitors overlooks the modest little parish
+church of St. Margaret, standing only a few paces off, so completely
+dwarfed and rendered almost insignificant is it by the imposing
+proportions of its impressive neighbour. Nevertheless, small as is this
+interior, it possesses a window which the Abbey would be proud to have,
+one of such pre-eminent excellence as to draw from Winston the statement
+that &#8220;the harmonious arrangement of the colouring is worthy of
+attention. It is the most beautiful work in this respect that I am
+acquainted with.&#8221; It completely fills the large eastern embrasure, and
+one needs but a glance to recognise it as a Renaissance work of an
+excellent type. The three central lancets show Christ between the
+thieves, and below, the Holy Women, and soldiers. The drops of blood
+from His wounded side fall into chalices held by three angels. The
+repentant thief has his soul carried away by an angel to heaven, while a
+devil is mocking the other one. On the north side is St. George, and
+below him a kneeling figure which provides the only authentic portrait
+of Arthur Prince of Wales. On the left is Katharine of Aragon, the
+<i>fianc&eacute;e</i> of Prince Arthur, and later the first wife of Henry VIII.
+Above her head appears her badge, the pomegranate. As no stranger tale
+could be related of the vicissitudes to which a glass window could be
+subjected <span class='pagenum'><a name="Page_218" id="Page_218">[Pg 218]</a></span>than the adventures of this window during the 300 years that
+elapsed between its making and its installation at St. Margaret&#8217;s, the
+writer is moved to set it out in full in the words of the historian of
+that church, Mrs. J. E. Sinclair:</p>
+
+<p>&#8220;The window was ordered in 1499, and took five years to be executed at
+Dordrecht (or, as some authorities state, at Gouda) in Holland. It was
+intended as a gift from King Ferdinand the Catholic and his wife, Queen
+Isabella, to Henry VII. to commemorate the marriage of their children,
+and was originally purposed to be erected in the Lady chapel of
+Westminster Abbey, then in course of construction by Henry VII., and now
+generally designated by his name. As Prince Arthur died in 1502, before
+the arrival of the window in England, and as it was the policy of Henry
+VII. to avoid the repayment of the widow&#8217;s dowry by her marriage to his
+younger son, for obvious reasons, the window was never erected in the
+Lady chapel of the Abbey of St. Peter. After the vicissitudes of three
+centuries, it has been eventually put up in St. Margaret&#8217;s Church,
+within a very short distance of its original destination. Henry VIII.,
+after marrying his brother&#8217;s widow, naturally disliked the window, and
+presented it to the Abbey of Waltham, where it remained till the
+Dissolution of Religious Houses in 1540. Then the Abbot, with a view to
+its preservation, <span class='pagenum'><a name="Page_219" id="Page_219">[Pg 219]</a></span>transferred it to his private chapel at New Hall in
+Essex. This property, strange to relate, fell at the Reformation into
+the hands of Sir Thomas Boleyn, Earl of Wiltshire, father of Queen
+Katharine&#8217;s rival, Anne Boleyn. On the death of Sir Thomas without a
+male heir, Henry VIII. seized New Hall with the rest of the Boleyn
+patrimony, in right of his murdered wife, on behalf of her daughter
+Elizabeth. He then wished to alter the name of New Hall into Beaulieu,
+but the old nomenclature survived. Queen Elizabeth bestowed the estate
+on Ratcliffe, Earl of Essex, who sold it to Villiers, Duke of
+Buckingham. His son, in turn, sold it to General Monk, Duke of
+Albemarle, who caused the window to be taken down and buried in chests,
+thus preserving it from the iconoclastic zeal of the Puritans during the
+Civil War. The next owner of New Hall, John Olmius, offered the window,
+in a letter dated July 30, 1738, preserved in the British Museum, to the
+authorities of Wadham College, Oxford, for their chapel; he terms it
+&#8216;one of the finest large windows of painted glass in England.&#8217; The
+negotiation apparently fell through, for it was bought from him by Mr.
+John Conyers of Copt Hall, Essex, for fifty guineas. The son of this
+gentleman, on February 8, 1759, sold the &#8216;window with its stone frame,
+ironwork, and other appurtenances&#8217; to the Churchwardens of St.
+Margaret&#8217;s, <span class='pagenum'><a name="Page_220" id="Page_220">[Pg 220]</a></span>Westminster, for &pound;420. This sum formed part of the
+Parliamentary Grant of &pound;4500 then voted for the repair of the Parish
+Church of the House of Commons.&#8221; The parishioners of that small
+sanctuary possess in this much-travelled window as inspiring and
+beautiful a treasure as any of those which attract so great an
+attendance to its mighty neighbour Westminster Abbey.</p>
+
+<p><a name="Illo18" id="Illo18"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/i252.jpg" class="ispace" width="500" height="314" alt="ST. GEORGE&#8217;S, HANOVER SQUARE, LONDON" title="" />
+<span class="caption">ST. GEORGE&#8217;S, HANOVER SQUARE, LONDON</span></div>
+
+<div class="blockquot3"><p>A Renaissance Tree of Jesse from Belgium, readjusted to fit its new
+embrasures. Figures unusually large for this subject. Fine colours and
+drawing</p></div>
+
+<p>Certainly one would not visit the Abbey because of its stained glass,
+but equally certain is it that no one who happens into its neighbourhood
+can resist its spell and must enter the portal, if only for a moment of
+old-world inspiration. Let us yield gracefully, and when we have entered
+look about us for what little ancient glazing remains after the visit of
+the Roundhead despoilers. There are fragments in the two small windows
+of the nave&#8217;s west end, but the most important remains are those in the
+east window above the altar. Here are assembled pieces dating from the
+thirteenth to the eighteenth centuries, which serve as a background for
+Edward the Confessor and his patron saint&mdash;these figures are of the
+fifteenth century. Passing on to the east through the maze of kingly
+remains, a few steps lead us up into the magnificent Henry VII. Chapel,
+whose noble proportions seem to mock the modesty of its name. The
+ancient glory of its glass has departed, but those who interest
+themselves in the <span class='pagenum'><a name="Page_221" id="Page_221">[Pg 221]</a></span>light which heraldry throws upon history should repair to the
+easternmost chapel and examine the coats of arms set out upon its panes.
+Here are blazoned all the Tudor badges, picturing the claims upon which
+that new house based its right to occupy the throne of England. The red
+rose of Lancaster and the white one of York are there alone and in
+combination. The portcullis of the Beauforts, the family of Henry VII.&#8217;s
+mother; the Countess of Richmond&#8217;s root of daisies; the English lions;
+the fleur-de-lis of France; the Cadwalader dragon, a reminder of Henry&#8217;s
+descent from the last of the British kings; the greyhound of the
+Nevilles, from whom Elizabeth of York descended through her grandmother,
+and also the badge of her father, Edward IV.&mdash;a falcon within the open
+fetterlock; and last, but most significant of all, the green bush with
+its golden crown, emblematic of Henry&#8217;s hasty coronation on Bosworth
+Field with the diadem of Richard III. picked from off a hawthorn bush.
+In those strenuous days the proof of a legal title was not infrequently
+deferred until after the mailed fist had laid hold upon its prey!</p>
+
+<p>St. George&#8217;s, Hanover Square, has long been famed far and wide for the
+great number of weddings there solemnised. It is perhaps not
+inappropriate that the old glass to be seen here once constituted a Tree
+of Jesse. The spacious window at the back of the <span class='pagenum'><a name="Page_222" id="Page_222">[Pg 222]</a></span>chancel, and also
+those which flank it on either side, are filled with it. So large are
+the figures (the largest the writer has ever seen in this favourite
+glass design) that two of them suffice to fill each of these side
+windows, although their embrasures are by no means small. The glass was
+originally made for a church at Mechlin, Belgium, and though its figures
+have been necessarily readjusted to suit their new home, there remain so
+many sections of the vine as well as of the familiar name-labels as to
+make it obvious that the panels as originally combined made up a Tree of
+Jesse. The glazing as a whole is rich in tone, unmistakably Renaissance,
+and, best of all, so agreeably disposed in its present abiding-place as
+to make it seem as if it had always belonged there.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_223" id="Page_223">[Pg 223]</a></span></p><h3>CAMBRIDGE</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">I</span>n the mind of most Americans the names of Oxford and Cambridge are
+firmly locked together&mdash;a sort of Siamese twins of University education.
+As a matter of fact, they are strangely different&mdash;very much more so,
+indeed, than any two American universities. While Oxford has her
+charming quadrangles with their delightful gardens, Cambridge not only
+has them also, but further rejoices in a very special beauty, her
+&#8220;Backs,&#8221; those admirable contrivances for preventing overstudy on the
+part of too zealous students. A &#8220;Back&#8221; is that portion of a college&#8217;s
+territory through which meanders the narrow Cam, the scenic
+opportunities of that slender stream being developed to the uttermost
+with green banks, graceful bridges, and shaded walks. The writer never
+pursued a course of study at Cambridge, and, therefore, is not competent
+to judge of the charms of her undergraduate life, but he has spent
+sundry happy hours canoeing on the gentle Cam, which same hours have
+yielded him the impression that, fascinating as the undergraduates
+doubtless find the lecture halls, there is much to be <span class='pagenum'><a name="Page_224" id="Page_224">[Pg 224]</a></span>said in favour of
+idling along the delightful &#8220;Backs.&#8221; Hints of the joys of Cambridge
+college life pervade the clever verses of Calverley, and also those of
+his lineal successor, the unfortunate J. K. Stephen. Chief among the
+many victories of the wearers of the &#8220;light blue&#8221; are those won by the
+oarsmen, and these victories become doubly praiseworthy when we visit
+the miserable little stream on which the crews have to train. That a
+long line of successes have been achieved in the face of such
+disheartening obstacles adds all the more to the credit and glory of men
+like the brothers Close, the giant Muttlebury, Dudley Ward, and many
+another. Most of the colleges follow the quadrangle system like their
+Oxford cousins, but there is an exception in the case of King&#8217;s College.
+Here a handsome openwork screen of stone shuts off the street, but not
+the view. Through it we are able to see, standing haughtily apart from
+the neighbouring buildings, the beautiful chapel of the college, one of
+the few perfect buildings in existence. Goldwin Smith says, &#8220;Cambridge,
+in the Chapel of King&#8217;s College, has a single glory which Oxford cannot
+match.&#8221; It is a long, tall edifice, of the same width throughout,
+lighted by high windows of even size, and ceiled by graceful groups of
+fan vaultings of the most exquisite type. The only division of the
+interior is that effected by a wooden screen which runs across <span class='pagenum'><a name="Page_225" id="Page_225">[Pg 225]</a></span>the
+middle, but, fortunately, stops before reaching a height which would
+interfere with an uninterrupted view of the sweep of the fan vaultings
+above. A full two-thirds of the wall-height is given over to lighting
+apertures. The records show that the two contracts for glazing the
+windows were dated 1527 and 1528. They require that the &#8220;wyndows be
+well, suerly, workmanly, substantyally, curyously, and sufficiently
+glase and sette up.&#8221; It is said that Holbein drew the cartoons from
+which they were made. The excellence and charm of this complete series
+makes one regret that there are so few examples of their epoch in this
+country; this strikes with peculiar force one coming from France, so
+prodigally rich in sixteenth century windows. At King&#8217;s College the
+large picture treatment is seen at its best. Not only is the composition
+of the groups of figures carefully studied, but so also is the adroit
+opposing of one colour by another. Particularly daring is the use of
+large masses of the same tint. So little was the artist willing to be
+hampered in the development of his colour scheme that he even made his
+foliage red when he happened to need that hue in a certain part of his
+design. Although the pictures here display careful drawing and elaborate
+composition, the excellence of the general result is certainly due to
+the fact that the artist thought fully as much of colour values as he
+<span class='pagenum'><a name="Page_226" id="Page_226">[Pg 226]</a></span>did of his designs, something his contemporaries were prone to forget.
+These windows come as a delightful relief to one accustomed to the
+ill-considered use of Renaissance architecture that so overloads and
+encumbers the sixteenth century stained glass pictures on the Continent.</p>
+
+<p>An exquisite sense of balance seems to prevail throughout the interior,
+and in no feature of the decoration is it so noticeable as in the
+windows. The large expanse of each is broken into two parts by a
+horizontal transom, and both the upper and lower divisions are again
+subdivided, since the central lancet of each contains a figure in
+Renaissance canopy over a similar figure below in the pedestal. This
+leaves a space two lancets wide on either side both above and below, and
+each of these spaces contains a large subject. This method of avoiding
+the monotony which would have been caused by the singlet-lancet
+treatment is carried out along both of the long sides. The nine lancets
+in the large east window permit the introduction of three pictures
+above, each spreading over three lancets, and the same number below. The
+three in the upper row set forth the Crucifixion, the central one
+displaying the usual subject of Christ crucified between the two
+thieves, while to the left is the preparation of the crosses, and to the
+right the taking down from the cross. The blues in these pictures are
+particularly <span class='pagenum'><a name="Page_227" id="Page_227">[Pg 227]</a></span>fine. Above in the traceries are red Lancastrian roses, as
+well as some Tudor ones of red and white combined. These roses are
+frequently repeated in the carvings of both stone and wood, as is also
+the portcullis badge of the Tudors. The beautifully carved wooden
+panelling about the walls of the choir is rivalled by the rich stone
+screens that shut off the lateral chapels from the nave.</p>
+
+<p>There is some seventeenth century glass in the chapel of Peterhouse
+College which should be seen, if only to learn how windows should not be
+coloured, for the thick application of blues and other tints have
+rendered the glass here and there almost opaque. There was in England
+about that time a good deal of thickly coloured, and therefore
+unsatisfactory, glass. One does not have to see many examples of it
+before the conclusion becomes inevitable that the English glaziers would
+better have followed the example of the Frenchmen, who, when their art
+became moribund at the end of the sixteenth century, let it die and gave
+it decent burial!</p>
+
+<hr class="medium" />
+
+<p>Most visitors find it difficult to escape speedily from the fascinations
+of Cambridge, and if some of our pilgrims be minded to make a short stay
+in these erudite surroundings, we will remind them that there are, not
+far away, three pleasing bits of glass, and <span class='pagenum'><a name="Page_228" id="Page_228">[Pg 228]</a></span>all of them Trees of
+Jesse&mdash;one of the Perpendicular period at Margaretting, about fifty
+miles south-east in Essex, another one of the same period at Levrington,
+thirty-three miles north in Cambridgeshire, and a Decorated example of
+the same subject at Lowick, thirty-six miles west in Cambridgeshire. The
+Margaretting window is of three lancets and displays twenty-two figures,
+each with its own label, and together affording a peculiarly interesting
+study of costume. Don&#8217;t fail to notice how deftly the glazier has
+concealed the fact that the same cartoon is made to serve for several
+figures by facing them about, or varying the colour in the costumes. The
+handling of the whitish vine and the use of leaves is very artistic.</p>
+
+<p>The Levrington window has five lancets, and its Tree of Jesse is larger
+and has more figures than the one at Margaretting; it shows the marks of
+careful restoration. Including the figures in the tracery lights, there
+are sixty in all&mdash;an unusually large number. Each figure is placed
+within a loop of the deep orange-coloured vine, these enclosures being
+about 12 by 8 inches. This great company of personages, and the
+agreeable harmony of colour, make this window well worth a visit.</p>
+
+<p>Lowick Church does not have to rely alone upon its stained glass, but
+has many other attractions, such as its fine tombs, elaborately carved
+<span class='pagenum'><a name="Page_229" id="Page_229">[Pg 229]</a></span>pew-heads, wooden ceiling, and last, but not least pleasing, the
+venerable prayer-books, dated 1724 and still in their original bindings,
+ornamented by coloured coats of arms on the covers. There are some
+heraldic panes along the south side of the chancel, but the chief
+interest for us is in the very fine series of sixteen personages
+originally forming a Decorated Tree of Jesse, but now stationed along
+the upper lights on the north side of the nave. The drawing is good and
+the colouring strong, with as yet no trace of stain, the frequent
+touches of yellow being of pot-metal glass. The four most westerly
+figures are kings, and the eastmost is a knight in full armour, his
+head, arms and legs being covered with chain-mail. In his hands he holds
+a model of the church, upon which can be distinctly seen these windows,
+thus clearly indicating that he was the donor.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_230" id="Page_230">[Pg 230]</a></span></p><h3>LICHFIELD</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">T</span>here are few cathedrals in the world which, as one approaches, reveal
+themselves more charmingly than does Lichfield; here one feels an almost
+studied coquetry, disclosing new beauties at each stage of our advance.
+When viewed from a distance the three graceful spires, &#8220;The Ladies of
+the Vale,&#8221; seem to beckon one on to a nearer view of the sanctuary over
+which they preside. On entering the town it is temporarily lost from
+view, only promptly to appear again, this time across the little pools
+which lie along the south side of the Close and which, aided by the
+green of the trees, provide so lovely a foreground and setting for the
+full-length picture of the great edifice. Again we lose it, and then the
+last revelation of all comes when one rounds the corner into the green
+Close and there bursts upon you the final and complete aspect of the
+glorious west front, brilliant in its red sandstone, adorned by its army
+of over 150 stone figures of prophets, saints, and English kings, a
+splendid fa&ccedil;ade, impressively culminated by the towering spires that
+first signalled to us where we should find <span class='pagenum'><a name="Page_231" id="Page_231">[Pg 231]</a></span>this lovely picture.
+Unfortunately for the cathedral, Bishop de Langdon, Treasurer of England
+under Edward I., by surrounding the Close with a wall and a fosse, made
+of it a stout fortress. Centuries after this very feature resulted most
+disastrously, for, during the Civil Wars, the military strength of its
+position caused it to sustain three successive sieges. Of these the
+first was the most disastrous, for, when the Roundheads broke in after a
+three days&#8217; assault, they revenged the death of their leader, Lord
+Brooke, first upon the Royalist defenders, and next upon the cathedral
+itself, wrecking and destroying ancient tombs, stalls, &amp;c., and, of
+course, the old glass. In addition to their work of destruction they
+carried off all that had been left by Henry VIII.&#8217;s Commissioners of the
+rich offerings brought by devout pilgrims to the shrine of St. Chad. To
+this same Lord Brooke Sir Walter Scott pays his respects in the lines
+telling how Lord Marmion&#8217;s body was brought</p>
+
+<div class="centerbox4 bbox2"><p>&#8220;To moated Lichfield&#8217;s lofty pile;<br />
+And there, beneath the southern aisle,<br />
+A tomb, with Gothic sculpture fair,<br />
+Did long Lord Marmion&#8217;s image bear,<br />
+(Now vainly for its sight you look;<br />
+&#8217;Twas levelled when fanatic Brook<br />
+The fair cathedral stormed and took;<br />
+But thanks to Heaven and good St. Chad,<br />
+A guerdon meet the spoilers had!)&#8221;</p></div>
+
+<p><span class='pagenum'><a name="Page_232" id="Page_232">[Pg 232]</a></span></p><p>The interior is of modest dimensions, and is elaborately decorated, the
+richly carved capitals, &amp;c., giving us indications of how gorgeous it
+must all have been before it was looted. An interesting feature is the
+slight inclination of the choir northward from the axis of the nave,
+which is said to be symbolic of the inclination of Christ&#8217;s head on the
+cross after death. At Troyes and at Quimper in France there is the same
+deviation in orientation and the same poetic explanation, but
+investigation reveals that it was caused by a change in the street line
+in the first instance, and in the other by the annexation of an existing
+chapel standing slightly north of the true axis.</p>
+
+<p><a name="Illo19" id="Illo19"></a></p>
+<div class="figcenter" style="width: 293px;">
+<img src="images/i265.jpg" class="ispace" width="293" height="500" alt="LADY CHAPEL, LICHFIELD CATHEDRAL" title="" />
+<span class="caption">LADY CHAPEL, LICHFIELD CATHEDRAL</span></div>
+
+<div class="blockquot3"><p>Excellent example of Renaissance colouring, freer from applied paint
+than then customary. This glass was brought from Belgium</p></div>
+
+<p>Practically all of the ancient glass which originally adorned the
+embrasures has been destroyed; the north window of the north transept
+has some Early English work much restored, and on the east of the south
+portal of the south transept is a short lower window, in the central
+lancet of which is a richly dressed female figure with arms thrown about
+a cross. Just before entering the Lady chapel we remark two small
+three-lanceted windows, one on each hand, the one to the left having
+donors on each side, and in the middle St. Christopher carrying the
+infant Jesus. But it is to the seven most easterly windows of the Lady
+chapel that we must repair to <span class='pagenum'><a name="Page_233" id="Page_233">[Pg 233]</a></span>see the famous Flemish glass, brought here in 1803, which is the cause
+of our visit. The dates which appear upon them run from 1534 to 1539,
+and they were originally made for the Abbey of Herckenrode, near Li&eacute;ge,
+Belgium, by Lambert Lombard&mdash;the earliest and best of those glaziers of
+the Low Countries who show the Italian influence. All are of three
+lancets, except the most westerly pair, which have six. The traceries
+above them are grouped in pyramids of trefoil openings, similar to some
+in the Lady chapel at Wells. The scenes are taken from the life of
+Christ, and there are as well portraits of certain benefactors of the
+Abbey. The composition as well as the grouping of the figures is not so
+crowded as in the slightly earlier (1527) glazing of King&#8217;s College
+Chapel, Cambridge, or St. Margaret&#8217;s, Westminster. The artist drew his
+personages on such a large scale that it is evident his work was planned
+for a more spacious interior&mdash;this chapel is so narrow that one cannot
+stand far enough away to get the full effect of the pictures. Although
+now in the fully developed picture epoch and passed beyond the
+conventional trammels of the canopy with its imitation stonework, the
+glazier is not forgetful of what his craft had learned during that
+period, for he has made agreeable use of architecture, notably as the
+background for the Last Supper in the east window. Even if the dates
+were not <span class='pagenum'><a name="Page_234" id="Page_234">[Pg 234]</a></span>displayed in the usual sixteenth century continental fashion,
+we would have no difficulty in fixing them, not only because of the
+obviously Renaissance style of the architecture depicted, but also by
+reason of the general breadth and style of the treatment. Nor is it
+difficult to note the effect upon the artist of the Italian influence,
+coming as it did from a land where abundant sunshine makes it desirable
+that the illumination of the windows be somewhat reduced by the use of
+paint. Still, it is only fair to say that these particular windows
+contain much more than was then customary of glass coloured during the
+making and not painted afterwards. An excellent impression of the colour
+effect as a whole can be got if we retire to the central aisle of the
+nave and look east. Now the sides of the choir become a graceful frame
+for the three easterly windows. The upper part and the centre show an
+almost solid expanse of blue, while all the rest of the glass yields a
+golden grey, forming an excellent <i>ensemble</i>.</p>
+
+<p>Before leaving the town, admirers of English literature will do well to
+visit the house in which Dr. Samuel Johnson was born. It now
+appropriately serves as a museum wherein are exposed a number of
+manuscripts, pictures, and familiar objects in some way related to that
+great scholar. Although the worthy Doctor said that his fellow townsmen
+<span class='pagenum'><a name="Page_235" id="Page_235">[Pg 235]</a></span>were &#8220;more orthodox in their religion, purer in their language, and
+politer in their manners than any other town in the Kingdom,&#8221; one must
+be pardoned for taking <i>his</i> opinion upon manners with a pinch of salt!</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_236" id="Page_236">[Pg 236]</a></span></p><h3>GUILDFORD</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">I</span>n England one is constantly coming upon manifestations only to be
+observed in a land whose civilisation and habits of life were long ago
+settled and have continued stable. One of the most interesting of these
+is the different methods adopted for perpetuating one&#8217;s memory by a
+benevolent act toward the public&mdash;making it worth the public&#8217;s while to
+act as trustee for the preservation of the said memory, so to speak! A
+very charming instance thereof is afforded by the buildings erected in
+Guildford by Archbishop Abbott in 1619 as a permanent home for ten
+elderly men and eight elderly women, all presided over by a Master:
+according to the fashion of the times it was styled Bishop Abbott&#8217;s
+Hospital. Built on North Street in the quadrangular form so reminiscent
+of an Oxford or Cambridge college, the rich plum-colour which age has
+lent to the brick needs only the primly demure assistance of the formal
+flower beds to make the altogether charming enclosure which we see
+to-day. Entering this tranquil and ancient quadrangle one seems suddenly
+whisked by some <span class='pagenum'><a name="Page_237" id="Page_237">[Pg 237]</a></span>magic wand far from the twentieth century world
+outside. The elderly resident of the establishment who escorts one about
+the premises descants upon each admirable detail in measured phrase that
+is pleasantly appropriate to the ancient flavour of the scene. One is
+shown the old dining-room below and the library above, both of which
+retain their Elizabethan panelling on the walls and the carved
+overmantels, together with much of the original furniture. The large
+table in the library is an interesting piece, the lumpy adornment of its
+legs reminding one of the puffed sleeves and trunk hose then affected by
+gentlemen, while the rail running along the floor and connecting the
+legs prevents us from forgetting that rushes then strewed the floor, and
+that these rails were used to provide a convenient place to put the
+feet. The most interesting part of the building is the small square
+chapel which forms the north-east corner of the quadrangle. It is
+lighted by two large windows dating from the end of the Renaissance
+period (1621) and contemporary with the chapel they adorn. They are
+unusually agreeable examples of the day when colour was applied to glass
+by enamelled painting. The serious technical defect of that method (the
+tendency of the enamel to peel off) is here noticeable in several spots,
+but not to such an extent as to impair seriously their decorative value.
+Of these <span class='pagenum'><a name="Page_238" id="Page_238">[Pg 238]</a></span>two ample embrasures, the easterly one is the larger, having
+five lancets surmounted by elaborate tracery lights, while its neighbour
+in the north wall has but four lancets with traceries of more modest
+design. All these lancets contain scenes taken from the life of Jacob,
+the four to the north show Rachel&#8217;s subterfuge to obtain for Jacob the
+parental blessing that should have been Esau&#8217;s, while the five easterly
+ones set forth Jacob&#8217;s dream, and the trick played upon him by Laban in
+substituting Leah for Rebecca, together with Jacob&#8217;s retaliation by
+marking the cattle. Remark Esau shaking his fist at Jacob for stealing
+his blessing; the solidity of the stairway in Jacob&#8217;s dream; the unusual
+number of animals shown in all the scenes. There should also be observed
+the very elaborate treatment of the eastern traceries. An examination of
+the outside of these windows indicates that they were probably brought
+from some other edifice, for the wall seems to have been cut away to
+provide sufficient room for them.</p>
+
+<p><a name="Illo20" id="Illo20"></a></p>
+<div class="figcenter" style="width: 500px;">
+<img src="images/i274.jpg" class="ispace" width="500" height="333" alt="BISHOP ABBOTT&#8217;S HOSPITAL, GUILDFORD" title="" />
+<span class="caption">BISHOP ABBOTT&#8217;S HOSPITAL, GUILDFORD</span></div>
+
+<div class="blockquot3"><p>Charming and complete glazing of a small chapel. Renaissance glass
+coloured by the process of enamelling, often unsatisfactory because bits
+are apt to peel off</p></div>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_239" id="Page_239">[Pg 239]</a></span></p><h3>GATTON</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">I</span>t is not uncommon in England to find the chapel attached to the manor
+house of an estate used as a parish church for the neighbourhood. This
+is true of the family chapel at Gatton Park, Surrey, just north of
+Redhill, off the road leading to London. This chapel stands close to the
+mansion, and is connected with it by a passage. Finer carved wood than
+the wainscotting of this small interior is far to seek. The wooden
+pulpit, too, is of skilful workmanship, and together with the panelling,
+is said to have come from Germany, and to be the work of Albrecht D&uuml;rer;
+its beauty is certainly due to some great craftsman, if not to this very
+man. The principal illumination of the narrow edifice is derived from
+two large windows, one over the altar at the east end and the other of
+similar size in the south wall; there is none in the north one. Both
+these embrasures are glazed with Renaissance work of considerable
+excellence; the one to the east dates from about 1500, and the southerly
+one from about eighty years later. This latter, as is to be expected,
+shows a liberal use of enamel <span class='pagenum'><a name="Page_240" id="Page_240">[Pg 240]</a></span>painting, something entirely absent in
+the earlier one, and each of its three lancets contains a different
+subject, against elaborate landscape backgrounds. The delicately
+outlined trees in the extreme distance are drawn upon a white field
+instead of upon the light blue then used in France. Such architecture as
+appears in the design is, of course, Renaissance. Across the whole of
+the easterly window is stretched one large picture, the &#8220;Eating of the
+Passover,&#8221; which is pleasantly brightened by the golden staves held by
+the figures who, with their raiment girded up and their feet shod by
+sandals, carry out to the full the Mosaic law, &#8220;And thus shall ye eat
+it; with your loins girded, with shoes on your feet and your staff in
+your hand; and ye shall eat it in haste; it is the Lord&#8217;s Passover&#8221;
+(Exodus xii. 2).</p>
+
+<p>When about to leave this beautifully panelled charmingly glazed
+interior, note the small window in the west wall of the entrance
+vestibule. It is of a domestic type familiar during the Perpendicular
+epoch. In the centre are the arms of Henry VII. between two supporters.
+Across the quarry background are bands slanting from the left down to
+the right bearing the motto, &#8220;Honi soit qui mal y pense.&#8221; Some of the
+quarries show small leaves, and others an H surmounted by a crown. This
+window is similar in style to those already remarked at Salisbury, in
+John Halle&#8217;s hall, and others may <span class='pagenum'><a name="Page_241" id="Page_241">[Pg 241]</a></span>be seen in many private houses dating from that time.</p>
+
+<p>Although of modest size and possessing but two windows, Gatton Chapel is
+as delightful a bit of complete Renaissance glazing as one will see in
+England.</p>
+
+<hr class="medium" />
+
+<p><span class='pagenum'><a name="Page_242" id="Page_242">[Pg 242]</a></span></p><h3>KNOLE</h3>
+
+<p class="n"><span style="float:left;font-size:40px;line-height:25px;padding-top:2px;padding-bottom:1px;">E</span>ast and west across almost the whole width of Kent run three parallel
+lines of low hills affording many charming views which, however, are
+only part of the many beauties of that picturesque county. Upon the
+easterly end of one of these ridges lies Sevenoaks. Although the present
+town is by no means an ancient one, it possesses great interest in that
+just below its edge lies the large estate of Knole Park which, if we may
+play upon words, is a series of knolls that together with their
+intersecting glades are shaded by groves of great beeches whose soft
+green foliage has for many a long day sheltered the herds of deer
+wandering to and fro beneath them. Upon an eminence of greater size than
+its fellows stands the ancient dwelling known as &#8220;Knole,&#8221; a great series
+of courts and quadrangles combined into an abode of such size that it is
+said to contain, in addition to its superb state apartments, no fewer
+than 365 bedrooms. Enclosed within a wide sweeping battlemented wall are
+charming old-world gardens that nestle about the ancient grey mansion,
+and <span class='pagenum'><a name="Page_243" id="Page_243">[Pg 243]</a></span>soften by their dainty setting of variegated flowers, green lawns
+and trees, the fortress-like appearance of its towers and long stretches
+of stone enclosure. Thanks to a fine combination of patriotism and
+hospitality so often seen in England, a large portion of this house is
+(upon payment of a trifling fee) thrown open to the study and
+appreciation of the public on the afternoons of Thursday and Saturday
+(2-5), as well as all day Friday (10-5). It is because it can be so
+conveniently seen by our glass-hunting pilgrim (owing to the generosity
+of the owners and the fact that it is under an hour by train from
+Charing Cross, London) that Knole has been selected to illustrate in how
+decorative a fashion the sixteenth century glazier could spread the gay
+tints of heraldic story upon his windows. Here can also be remarked one
+or two other minor manifestations of stained glass at that time. One of
+these is to be seen in the first stairway up which visitors are
+conducted. Upon some of its diminutive diamond-shaped panes are
+enamelled armorial crests, much in vogue at the end of the sixteenth
+century and the beginning of the following one. On one of these little
+panes in the chapel of Lullingstone Castle near here appears the date
+1612: these on the Knole staircase are of about the same date. This
+house was long the property of the See of Canterbury; perhaps the
+pilgrim may have one of the rare <span class='pagenum'><a name="Page_244" id="Page_244">[Pg 244]</a></span>opportunities to visit the bedroom so
+long occupied by Archbishop Cranmer and observe in the upper lights of
+the bay window the six large ovals containing coats of arms in enamel,
+bits of which have peeled off, as is so often the case with this method
+of applying colour. How mystified that worthy ecclesiastic would be to
+see the modern bathroom which now opens into his old bedroom! While
+speaking of Canterbury, it is of interest that we are enabled to date
+one of the Knole towers by the fact that a morsel of glazing high up in
+the traceries of one window (all that is left of the original equipment)
+bears a double knot, the insignia of Archbishop Bourchier, thus proving
+that it is at least as old as his tenancy here (1456-86). But let us
+come to the main reason for our visit&mdash;the Cartoon Gallery. Named after
+the set of Raphael&#8217;s cartoons especially copied for Charles I., and by
+him presented to the Earl of Dorset to decorate these walls, this long
+room is brilliantly lighted by a series of windows giving off upon the
+delightful gardens. This is no place to dwell upon the sumptuous silver
+furnishings of King James&#8217; bedroom that opens out to the south, nor of
+the treasures of English portraiture in the rooms through which we have
+come to this gallery. We are here to enjoy the work of the glazier who
+set upon the windows the arms of the great houses allied to this one <span class='pagenum'><a name="Page_245" id="Page_245">[Pg 245]</a></span>by
+marriage. One after another they unfold themselves all along the upper
+lights of this series of embrasures, and tell their story in a far more
+brilliant manner than can ever be attained by any musty tome on
+genealogy. This estate was more than once the property of the Crown, and
+an evidence of one of these periods is provided by the appearance on
+some of the westerly windows of the arms of certain Law Officers of the
+Crown, such as the Lord Chief Justice, Attorney-General, Chief Baron of
+the Exchequer, Master of the Requests, Judge of Admiralty, &amp;c. These are
+somewhat earlier than those first mentioned and are freer from the
+unfortunate enamel painting.</p>
+
+<p>Taking into consideration the dimensions of this superb apartment, and
+the paintings and glass that adorn it, together with the pleasing
+outlook upon the gardens below, it is doubtful if a more impressive
+gallery is to be found in any of the stately homes of England.</p>
+
+<p>The chapel, which was built by Archbishop Cranmer, has an unpleasantly
+smeared east window, but upon its surface high up are a series of
+Apostles done in grey and stain which, if brought down to the level for
+which they were originally intended, would show themselves to be very
+attractive. At the south end of the little gallery used as the &#8220;Family
+Pew&#8221; are a group of about a dozen scenes in grey <span class='pagenum'><a name="Page_246" id="Page_246">[Pg 246]</a></span>and stain of excellent
+execution, and so placed as to permit of a satisfactory examination of
+this agreeable form of Renaissance glass-painting.</p>
+
+<hr class="medium" />
+
+<p>If one be travelling by bicycle or automobile, a pleasant addition to
+this trip may be made, on the way back to London, by taking one small
+<i>d&eacute;tour</i> of about ten miles to visit Nettlestead, and another of about
+three to West Wickham Church. The glass at both these places is
+Perpendicular, but not of sufficient importance to have made them
+stations on that tour. However, they can be so conveniently seen at this
+stage of our rambles that they are here duly mentioned. It is only
+recently that, thanks to the skilful heraldic researches of W. E. Ball,
+LL.D., the date of the Nettlestead windows has been discovered, as well
+as the significance of the many coats of arms scattered over them.
+Recent restoration has made complete the glazing of the entire north
+side and also of the east window. Note the narrow one at the north of
+the small chancel&mdash;quarry background with a large figure standing on a
+bracket, very reminiscent of sundry prototypes at St. Neot in Cornwall.
+The other windows on this side (except the westmost) are rich, almost
+florid examples of the elaborated canopy style. Indeed, so deep are the
+tones that one is tempted to suspect that some Frenchman had a hand in
+their manufacture. The <span class='pagenum'><a name="Page_247" id="Page_247">[Pg 247]</a></span>smaller chancel light just noted is much lower
+in colour and therefore more typical of the then prevailing English
+taste. This is also true of the westmost or &#8220;Becket window,&#8221; as it is
+called, because it shows scenes from that martyr&#8217;s life. The south
+windows retain their original glass only in the tracery lights, but it
+is planned to reglaze them as nearly as possible like those on the north
+side. Nettlestead Church is not easily noticed from the road because of
+some farm buildings and an orchard which mask it.</p>
+
+<p>If, when we resume our journey Londonward, it be decided to take a peep
+at the West Wickham glass, one should be careful not to overshoot the
+church, for it lies at least a half-mile nearer the London road than
+does the village whose name it bears. The embrasures on the north and
+east of a chapel opening off the chancel contain examples of a saint
+standing on a bracket against a quarry background, which we have just
+observed in the Nettlestead chancel light and also on a former tour at
+St. Neot. The quarries here each bear the monogram &#8220;I.H.S.&#8221; in stain.
+The supports below the brackets are shorter than is customary. What
+painstaking care was used in the manufacture of these windows is
+revealed by an examination of the central one on the north side, bearing
+the familiar figure of St. Christopher carrying the infant Jesus.
+<span class='pagenum'><a name="Page_248" id="Page_248">[Pg 248]</a></span>Notice that the little pool of water in which he stands contains small
+golden fishes; also remark the careful leading of the three tiny red
+trees in the background. This very attention to detail noticeable in all
+the panels has much to do with the satisfactory effect of these windows.</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_251" id="Page_251">[Pg 249-51]</a></span></p>
+<h2><a name="ITINERARIES" id="ITINERARIES"></a>ITINERARIES</h2>
+
+<h3>SHOWING DISTANCES IN MILES</h3>
+
+<h3>EARLY ENGLISH</h3>
+
+<p>(84 miles from London) Salisbury&mdash;125&mdash;Canterbury&mdash;180&mdash;Lincoln&mdash;135
+&mdash;York (197 miles to London)</p>
+
+<h3>DECORATED</h3>
+
+<p>(197 miles from London) York&mdash;84&mdash;Norbury&mdash;62&mdash;Shrewsbury&mdash;29&mdash;Ludlow&mdash;24
+&mdash;Hereford&mdash;28&mdash;Tewkesbury&mdash;4&mdash;Deerhurst&mdash;42&mdash;Bristol&mdash;20&mdash;Wells&mdash;63
+&mdash;Exeter&mdash;130&mdash;Dorchester&mdash;12&mdash;Oxford (54 miles to London)</p>
+
+<h3>PERPENDICULAR</h3>
+
+<p>(54 miles from London)
+Oxford&mdash;27&mdash;Fairford&mdash;8&mdash;Cirencester&mdash;17&mdash;Gloucester&mdash;27&mdash;Great
+Malvern&mdash;2&mdash;Little
+Malvern&mdash;20&mdash;Ross&mdash;60&mdash;Warwick&mdash;10&mdash;Coventry&mdash;128&mdash;York (197 miles to
+London)</p>
+
+<p class="center">Salisbury (84 miles from London)<br />
+Winchester (68 miles from London)<br />
+St. Neot (257 miles from London)</p>
+
+<p><span class='pagenum'><a name="Page_252" id="Page_252">[Pg 252]</a></span></p><h3>RENAISSANCE</h3>
+
+<p>London&mdash;53&mdash;Cambridge&mdash;103&mdash;Lichfield&mdash;41&mdash;Shrewsbury (154 miles to
+London)</p>
+
+<p>(28 miles from London) Guildford&mdash;23&mdash;Gatton&mdash;20&mdash;Knole (24 miles to
+London)</p>
+
+<hr class="large" /><p><span class='pagenum'><a name="Page_253" id="Page_253">[Pg 253]</a></span></p>
+<h2>LIST OF TOWNS</h2>
+
+<h3>SHOWING DISTANCES FROM LONDON</h3>
+
+<div class="centered">
+<table border="0" width="70%" cellpadding="1" cellspacing="1" summary="List of Towns">
+
+<colgroup span="5">
+<col width="10"></col>
+<col width="35"></col>
+<col width="5"></col>
+<col width="40"></col>
+<col width="10"></col>
+<col align="left"></col>
+</colgroup>
+
+<tr><td align="left"><small><span class="smcap">Miles from<br />
+London</span></small></td>
+<td colspan="2">&#160;</td>
+<td align="left">&#160;</td>
+<td align="right"><span class="smcap"><small>Page</small></span></td></tr>
+
+<tr><td align="left">119</td>
+<td align="left">Bristol</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_107">107</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">53</span></td>
+<td align="left">Cambridge</td>
+<td>&#160;</td>
+<td>Renaissance</td>
+<td align="right"><a href="#Page_223">223</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">56</span></td>
+<td align="left">Canterbury</td>
+<td>&#160;</td>
+<td>Early English</td>
+<td align="right"><a href="#Page_36">36</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">52</span></td>
+<td align="left">Chartham</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_49">49</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">90</span></td>
+<td align="left">Cirencester</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_154">154</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">91</span></td>
+<td align="left">Coventry</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_181">181</a></td></tr>
+
+<tr><td align="left">100</td>
+<td align="left">Deerhurst</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_104">104</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">42</span></td>
+<td align="left">Dorchester</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_124">124</a></td></tr>
+
+<tr><td align="left">169</td>
+<td align="left">Exeter</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_120">120</a></td></tr>
+
+<tr><td valign="middle" align="left"><span style="margin-left: 0.5em;">83</span></td>
+<td valign="middle" align="left">Fairford</td>
+<td valign="middle" align="left" style="white-space: nowrap; font-size: 30pt">{</td>
+<td>Perpendicular<br />
+Renaissance</td>
+<td align="right"><a href="#Page_148">148</a><br />
+<a href="#Page_148">148</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">18</span></td>
+<td align="left">Gatton</td>
+<td>&#160;</td>
+<td>Renaissance</td>
+<td align="right"><a href="#Page_239">239</a></td></tr>
+
+<tr><td align="left">102</td>
+<td align="left">Gloucester</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_158">158</a></td></tr>
+
+<tr><td valign="middle" align="left">117</td>
+<td valign="middle" align="left">Great Malvern</td>
+<td valign="middle" align="left" style="white-space: nowrap; font-size: 30pt">{</td>
+<td>Perpendicular<br />
+Decorated</td>
+<td align="right"><a href="#Page_166">166</a><br />
+<a href="#Page_166">166</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">28</span></td>
+<td align="left">Guildford</td>
+<td>&#160;</td>
+<td>Renaissance</td>
+<td align="right"><a href="#Page_236">236</a></td></tr>
+
+<tr><td align="left">131</td>
+<td align="left">Hereford</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_96">96</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">24</span></td>
+<td align="left">Knole</td>
+<td>&#160;</td>
+<td>Renaissance</td>
+<td align="right"><a href="#Page_242">242</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">91</span></td>
+<td align="left">Levrington</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_228">228</a></td></tr>
+
+<tr><td align="left">117</td>
+<td align="left">Lichfield</td>
+<td>&#160;</td>
+<td>Renaissance</td>
+<td align="right"><a href="#Page_230">230</a></td></tr>
+
+<tr><td align="left">135</td>
+<td align="left">Lincoln</td>
+<td>&#160;</td>
+<td>Early English</td>
+<td align="right"><a href="#Page_51">51</a></td></tr>
+
+<tr><td align="left">120</td>
+<td align="left">Little Malvern</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_172">172</a></td></tr>
+
+<tr><td align="left"><span class='pagenum'><a name="Page_254" id="Page_254">[Pg 254]</a></span><span style="margin-left: 0.5em;">&mdash;</span></td>
+<td align="left">London</td>
+<td>&#160;</td>
+<td>Renaissance</td>
+<td align="right"><a href="#Page_216">216</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">75</span></td>
+<td align="left">Lowick</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_228">228</a></td></tr>
+
+<tr><td valign="middle" align="left">150</td>
+<td valign="middle" align="left">Ludlow</td>
+<td valign="middle" align="left" style="white-space: nowrap; font-size: 30pt">{</td>
+<td>Decorated<br />
+Perpendicular</td>
+<td align="right"><a href="#Page_92">92</a><br />
+<a href="#Page_92">92</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">30</span></td>
+<td align="left">Margaretting</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_228">228</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">32</span></td>
+<td align="left">Nettlestead</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_228">228</a></td></tr>
+
+<tr><td align="left">136</td>
+<td align="left">Norbury</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_82">82</a></td></tr>
+
+<tr><td valign="middle" align="left"><span style="margin-left: 0.5em;">54</span></td>
+<td valign="middle" align="left">Oxford</td>
+<td valign="middle" align="left" style="white-space: nowrap; font-size: 30pt">{</td>
+<td>Decorated<br />
+Perpendicular</td>
+<td align="right"><a href="#Page_129">129</a><br />
+<a href="#Page_142">142</a></td></tr>
+
+<tr><td align="left">118</td>
+<td align="left">Ross</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_174">174</a></td></tr>
+
+<tr><td align="left">257</td>
+<td align="left">St. Neot</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_203">203</a></td></tr>
+
+<tr><td valign="middle" align="left"><span style="margin-left: 0.5em;">84</span></td>
+<td valign="middle" align="left">Salisbury</td>
+<td valign="middle" align="left" style="white-space: nowrap; font-size: 30pt">{</td>
+<td>Early English<br />
+Perpendicular</td>
+<td align="right"><a href="#Page_30">30</a><br />
+<a href="#Page_192">192</a></td></tr>
+
+<tr><td valign="middle" align="left">154</td>
+<td valign="middle" align="left">Shrewsbury</td>
+<td valign="middle" align="left" style="white-space: nowrap; font-size: 30pt">{</td>
+<td>Decorated<br />
+Perpendicular<br />
+Renaissance</td>
+<td align="right"><a href="#Page_85">85</a><br />
+<a href="#Page_85">85</a><br />
+<a href="#Page_85">85</a></td></tr>
+
+<tr><td align="left">103</td>
+<td align="left">Tewkesbury</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_100">100</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">92</span></td>
+<td align="left">Warwick</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_177">177</a></td></tr>
+
+<tr><td align="left">121</td>
+<td align="left">Wells</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_114">114</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">17</span></td>
+<td align="left">West Wickham</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_247">247</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">32</span></td>
+<td align="left">Willesborough</td>
+<td>&#160;</td>
+<td>Decorated</td>
+<td align="right"><a href="#Page_49">49</a></td></tr>
+
+<tr><td align="left"><span style="margin-left: 0.5em;">68</span></td>
+<td align="left">Winchester</td>
+<td>&#160;</td>
+<td>Perpendicular</td>
+<td align="right"><a href="#Page_195">195</a></td></tr>
+
+<tr><td valign="middle" align="left">197</td>
+<td valign="middle" align="left">York</td>
+<td valign="middle" align="left" style="white-space: nowrap; font-size: 30pt">{</td>
+<td>Early English<br />
+Decorated<br />
+Perpendicular</td>
+<td align="right"><a href="#Page_57">57</a><br />
+<a href="#Page_76">76</a><br />
+<a href="#Page_58">58</a></td></tr>
+
+</table></div>
+
+<hr class="large" />
+<div class="centerbox6 bbox2"><h2>STAINED GLASS TOURS<br />
+IN ENGLAND</h2>
+
+<p class="center"><i>With 16 Full-page Illustrations</i></p>
+
+<h3><span class="smcap">By</span> C. H. SHERRILL</h3>
+
+<p class="center">Demy 8vo. (9 &times; 5-� ins.)</p>
+
+<p class="center">Price 7s. 6d. net. Postage 6d. extra</p>
+
+<p><i>Spectator</i>: &#8220;Mr. Sherrill has written a book which not only proves him
+to be a true lover of medi&aelig;val glass, but proves also his enlightened
+comprehension of its evolution and its changing style.... A pleasant and
+entertaining instructor.&#8221;</p>
+
+<p><i>Sunday Times</i>: &#8220;The illustrations are delightful, and successfully
+capture the blended notes of opulence and beauty which the medi&aelig;val
+designers threw into their work.&#8221;</p>
+
+<p><i>Daily Telegraph</i>: &#8220;Mr. Sherrill leads his fellow-travellers by
+delightful paths.... He is a model guide, and all his illustrations are
+to the point. It is difficult to imagine how any instructor could pack
+more fruitful information into a smaller or more attractive parcel.&#8221;</p>
+
+<p><i>Morning Post</i>: &#8220;Is well written, and in a style which shows that the
+author really feels the attraction of the art he describes.&#8221;</p>
+
+<p><i>Daily Chronicle</i>: &#8220;A distinct triumph to write a book of 250 pages on a
+restricted though very beautiful subject, and never become monotonous;
+this is the triumph Mr. Sherrill has achieved. A really delightful
+volume.&#8221;</p>
+
+<p><i>Literary World</i>: &#8220;All who care for beautiful handiwork, and all
+interested visitors to our old cathedrals, colleges, and churches,
+should possess themselves of this charming book.... The illustrations
+are extremely good.&#8221;</p>
+
+<p><i>Western Morning News</i>: &#8220;The author describes the beauties he has seen
+in a most interesting style, and with exceedingly good taste. This
+volume deserves unstinted praise.&#8221;</p>
+
+<h4>JOHN LANE, <span class="smcap">The Bodley Head, Vigo Street, London, W.</span></h4></div>
+
+<hr class="large" />
+<div class="centerbox6 bbox2"><h2>STAINED GLASS TOURS<br />
+IN FRANCE</h2>
+
+<p class="center"><i>With Illustrations</i></p>
+
+<h3><span class="smcap">By</span> C. H. SHERRILL</h3>
+
+<p class="center">Crown 8vo. 6s. net</p>
+
+<p><i>The Builder</i>: &#8220;A very well-written book, with a very good &aelig;sthetic
+perception as to what is best and most to be admired in ancient stained
+glass.&#8221;</p>
+
+<p><i>The Antiquary</i>: &#8220;A well-qualified guide for all who can appreciate the
+loveliness of the old glass in which France is still so rich.&#8221;</p>
+
+<p><span class="smcap">Roger Fry</span> in <i>The Burlington Magazine</i>: &#8220;He has really looked, and
+looked lovingly, at the windows he describes. His knowledge is evidently
+adequate, and he rearranges it in a form which he who automobiles may
+read.&#8221;</p>
+
+<p><i>Westminster Gazette</i>: &#8220;Useful and interesting. Mr. Sherrill gives just
+enough information to enable the lay reader to understand the
+difficulties with which the artist in coloured glass had to contend.
+Moreover, he has the eloquence of a true enthusiast, and is able to
+communicate to others his own delight.&#8221;</p>
+
+<p><i>Pall Mall Gazette</i>: &#8220;Exceedingly useful. A work showing much industry,
+enthusiasm, and good taste, it is a really valuable supplementary volume
+to one&#8217;s Murray or Baedeker. The author has excellent taste.&#8221;</p>
+
+<p><i>Morning Post</i>: &#8220;Mr. Sherrill does feel very sincerely the beauty of
+stained glass, and is able to communicate his feeling in writing. Mr.
+Sherrill pilots us on a pleasant cruise among some of the greatest of
+the French examples of the style.&#8221;</p>
+
+<p><i>British Architect</i>: &#8220;The writer manages to say a good many interesting
+things. Mr. Sherrill&#8217;s book is written in a most interesting style.&#8221;</p>
+
+<p><i>Architectural Review</i>: &#8220;A useful book. Mr. Sherrill has an acute
+appreciation of the important relationship between the glass and the
+surrounding architecture, and he has brought the fresh mind of the
+amateur to his subject.&#8221;</p>
+
+<h4>JOHN LANE, <span class="smcap">The Bodley Head, Vigo Street, London, W.</span></h4></div>
+
+<hr class="large" />
+
+<h3><span class="smcap">Transcriber&#8217;s Notes:</span></h3>
+
+<p>1. Minor changes have been made to correct typesetters&#8217; errors; otherwise,
+every effort has been made to remain true to the author&#8217;s words and
+intent.</p>
+
+<p>2. Page numbering in the List of Illustrations has been changed from the original book
+to reflect the final placement of the illustration in this e-text.</p>
+
+<p>3. Formatting on the List of Towns on pages 253 and 254 has been altered slightly to make it consistent
+throughout.</p>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Stained Glass Tours in England, by 
+Charles Hitchcock Sherrill
+
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@@ -0,0 +1,5420 @@
+The Project Gutenberg EBook of Stained Glass Tours in England, by
+Charles Hitchcock Sherrill
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Stained Glass Tours in England
+
+Author: Charles Hitchcock Sherrill
+
+Release Date: January 2, 2011 [EBook #34818]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK STAINED GLASS TOURS IN ENGLAND ***
+
+
+
+
+Produced by D Alexander and the Online Distributed
+Proofreading Team at https://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive)
+
+
+
+
+
+
+
+
+
+ STAINED GLASS
+ TOURS IN ENGLAND
+
+ BY CHARLES HITCHCOCK SHERRILL
+ WITH SIXTEEN ILLUSTRATIONS
+
+ LONDON: JOHN LANE, THE BODLEY HEAD
+ NEW YORK: JOHN LANE COMPANY: MCMX
+
+
+
+
+ SECOND EDITION
+
+ Printed by BALLANTYNE &. CO. LIMITED
+ Tavistock Street, Covent Garden, London
+
+
+
+
+ STAINED GLASS TOURS IN
+      ENGLAND
+
+
+
+
+ BY THE SAME AUTHOR
+
+ STAINED GLASS TOURS
+ IN FRANCE. WITH
+ NUMEROUS ILLUSTRATIONS.
+
+
+
+
+[Illustration: KING'S COLLEGE CHAPEL, CAMBRIDGE]
+
+
+
+
+ TO
+
+ LEWIS F. DAY
+
+ FROM ONE
+ WHOM HE TAUGHT
+ TO LOVE
+ STAINED GLASS
+
+
+
+
+FOREWORD
+
+
+Although the purpose of this book is the quest of windows, it happens
+that these very windows are so obligingly disposed throughout the length
+and breadth of England, and light such different sorts of edifices, that
+in the search of them we shall obtain a very comprehensive idea of
+English architecture. Not only shall we visit many noble cathedrals
+(Canterbury, York, Winchester, Wells, &c. &c.), and smaller religious
+edifices (Fairford, St. Neot, Norbury, &c.), but we shall also see
+secular buildings of many types. In this latter category will be
+included both the great universities of Oxford and Cambridge, a civic
+guildhall (Coventry), an ancient hostel for the aged (Guildford), and
+one of the finest of the "stately homes of England" (Knole). Thus it
+will be seen that our tours are more broadly catholic than their title
+would indicate--indeed, we are tempted to promise that by the time the
+pilgrim has completed them he will have obtained a well-rounded
+impression not only of glass, but also of the history as well as the
+ancient manners and customs of England. Unfortunately, no form of
+illustration can hope to reproduce the combination of light and colour
+which makes the beauty of stained glass; those selected for this book
+are the best obtainable, but are chiefly useful in showing how the
+windows are set. This is not a technical book, so scale-drawings would
+be out of place.
+
+                         CHARLES HITCHCOCK SHERRILL.
+
+     20 EAST 65TH STREET,
+          NEW YORK CITY.
+       _March 1, 1909._
+
+
+
+
+CONTENTS
+
+
+ INTRODUCTION                             _Page_            1
+     TOURS                                                 17
+
+ EARLY ENGLISH                                             21
+     EARLY ENGLISH TOUR                                    29
+     SALISBURY                                             30
+     CANTERBURY                                            36
+     LINCOLN                                               51
+     YORK                                                  57
+
+ DECORATED                                                 65
+     DECORATED TOUR                                        75
+     YORK                                                  76
+     NORBURY                                               82
+     SHREWSBURY                                            85
+     LUDLOW                                                92
+     HEREFORD                                              96
+     TEWKESBURY                                           100
+     DEERHURST                                            104
+     BRISTOL                                              107
+     WELLS                                                114
+     EXETER                                               120
+     DORCHESTER                                           124
+     OXFORD                                               129
+
+ PERPENDICULAR                                            135
+     PERPENDICULAR TOUR                                   140
+     OXFORD                                               142
+     FAIRFORD                                             148
+     CIRENCESTER                                          154
+     GLOUCESTER                                           158
+     GREAT MALVERN                                        166
+     LITTLE MALVERN                                       172
+     ROSS                                                 174
+     WARWICK                                              177
+     COVENTRY                                             181
+     YORK                                                 185
+     SALISBURY                                            192
+     WINCHESTER                                           195
+     ST. NEOT                                             203
+
+ RENAISSANCE                                              209
+     RENAISSANCE TOURS                                    214
+     LONDON                                               216
+     CAMBRIDGE                                            223
+     LICHFIELD                                            230
+     GUILDFORD                                            236
+     GATTON                                               239
+     KNOLE                                                242
+
+ ITINERARIES                                              251
+
+ LIST OF TOWNS                                            253
+
+
+
+
+LIST OF ILLUSTRATIONS AND MAPS
+
+
+                                                     _To face
+                                                       page_
+
+ Cambridge, King's College Chapel              _Frontispiece_
+
+ General Map                                               18
+
+ Map of Early English Tour                                 30
+
+ Canterbury, "Becket's Crown"                              36
+   Thirteenth century medallions; notice circular and other
+   forms enclosing the figures. The heavy iron bars needed
+   to support the great weight of lead are skilfully adjusted
+   to the design. The world-famous shrine stood in the centre
+   of this space. Tombof Black Prince in foreground, and above
+   it armour he wore at Crecy.
+
+ Lincoln, Rose Window                                      56
+   Tracery unusual in that it does not radiate from centre.
+   Quantity of greenish grisaille used emphasises leaf-like
+   design. Thirteenth century medallions in the tall lancets
+   below.
+
+ York Minster, "Five Sisters"                              62
+   Softly toned grisaille, with delicate patterns in faint
+   colour. Of its type unsurpassed in the world. Note
+   difference between mellow strength of this glass and
+   thinness of modern glazing in upper tier of lancets.
+
+ Map of Decorated Tour                                     76
+
+ York Minster, Chapter-House                               78
+   Note the grouping together in each embrasure of five narrow
+   lights below gracefully elaborated tracery openings. Later
+   on, in the Perpendicular period, these traceries lose their
+   individuality, become stiffly regular, and part of the window
+   below.
+
+ Tewkesbury Abbey, Choir                                  100
+   A rare example of rounded apse, generally replaced in England
+   by a square-ended chancel. Chief charm of these windows is
+   their rich colouring.
+
+ Wells, "Golden Window"                                   116
+   Notice graceful setting, permitting a glimpse through into
+   the Lady chapel beyond. The large Tree of Jesse, rising from
+   the loins of the patriarch, is portrayed in colours of almost
+   barbaric richness.
+
+ Exeter, East Window                                      122
+   Perpendicular stone frame, glazed chiefly with very typically
+   decorated figure-and-canopy glass preserved from the earlier
+   and smaller window. Below and beyond appears the Lady chapel.
+
+ Map of Perpendicular Tour                                140
+
+ Oxford, New College Antechapel                           144
+   Transition window, presented by William of Wykeham, Founder of
+   the College. Stone frames are already Perpendicular: note the
+   "pepper-box" tracery lights. The glazing, as usual, lags behind
+   the architecture, and, because of its strong colour and flat
+   drawing, is more Decorated than Perpendicular.
+
+ Gloucester, Choir                                        162
+   Great east window commemorative of knights who fought at Crecy.
+   Backgrounds of pink and soft blue. Tracery lights no longer
+   differentiated from window below, as during Decorated period.
+   Note elaborate masking of earlier walls by later Perpendicular
+     work.
+
+ Coventry, Guildhall                                      182
+   Splendid row of ancient English kings, and, below, a great
+   tapestry. In the centre of the window, and again on the
+   tapestry, appears Henry VI., who was a member of the guild.
+   Handsome example of mediaeval hall.
+
+ York Minster, East Window                                188
+   Tremendous sheet of colour, 78 by 32 feet. Lower half of stone
+   frame built in a double plane, and carries a gallery across
+   face of the glass.
+
+ Winchester, Nave                                         200
+   The excellent effect produced by the Fifteenth Century
+   fragments with which this window is glazed proves that colour
+   is more important than design in glass. Note swerving to right
+   and left of two principal mullions, thus relieving a monotony
+   of upright lines.
+
+ Map of Renaissance Tours                                 214
+
+ London, St. George's, Hanover Square                     220
+   A Renaissance Tree of Jesse from Belgium, readjusted to fit its
+   new embrasures. Figures unusually large for this subject. Fine
+   colours and drawing.
+
+ Lichfield, Lady Chapel                                   232
+   Excellent example of Renaissance colouring, freer from applied
+   paint than then customary. This glass was brought from Belgium.
+
+ Guildford, Bishop Abbott's Hospital                      240
+   Charming and complete glazing of a small chapel. Renaissance
+   glass coloured by the process of enamelling, often
+   unsatisfactory because bits are apt to peel off.
+
+
+
+
+ STAINED GLASS TOURS
+ : : IN ENGLAND : :
+
+INTRODUCTION
+
+
+The errand of a window seems always to have been that of beauty,
+although it has more than one way of performing that service. Sometimes
+it seems to have chosen the inspiring manner of recalling ancient wars,
+as would appear from the "Dreme" of Chaucer:
+
+     "And sooth to sayn, my chamber was
+     Full well depainted, and with glass
+     Were all the windows well y-glazed
+     Full clear, and not an hole y-crazed,
+     That to behold it was great joy:
+     For wholly all the story of Troy
+     Was in the glazing y-wrought thus,
+     Of Hector, and of King Priamus;
+     Of Achilles, and of King Laomedon,
+     And eke of Medea, and of Jason;
+     Of Paris, Helen, and of Lavine."
+
+Sometimes the errand is that of beauty alone, so "mystic, wonderful," as
+to make it seem that magic was invoked to yield so fair a result. In
+his "Earthly Paradise" Morris voices this feeling:
+
+     "Folk say, a wizard to a northern king
+     At Christmastide such wondrous things did show,
+     That through one window men beheld the spring,
+     And through another saw the summer glow,
+     And through a third the fruited vines a-row,
+     While still, unheard, but in its wonted way,
+     Piped the drear wind of that December day."
+
+Again, the errand of the window may have been not so much that of a
+story-teller, nor of a beautiful object to regale one's eyes withal, but
+rather to tint and temper the illumination of some holy place like that
+described in the "Lay of the Last Minstrel" (Canto XI.):
+
+     "The silver light, so pale and faint,
+     Show'd many a prophet and many a saint,
+     Whose image on the glass was dyed;
+     Full in the midst, his Cross of Red
+     Triumphant Michael brandished,
+     And trampled the Apostate's pride.
+     The moonbeam kissed the holy pane,
+     And threw on the pavement a bloody stain."
+
+Beyond the enjoyment and artistic refreshment to be obtained from the
+contemplation of stained glass, who shall say that we do not receive
+other benefits, the nature of which are as yet undiscovered? It is only
+recently that our learned brothers, the scientists, have acquainted us
+with the helpful qualities of those rays of light which, in the
+language of the spectrum, are "out beyond the violet." In this
+connection, it may be edifying to quote from the "Anecdotes and
+Traditions" of Aubrey: "The curious oriental reds, yellows, blews, and
+greens in glasse-painting, especially when the sun shines, doe much
+refresh the spirits. After this manner did Dr. R. revive the spirits of
+a poor distracted gentleman, for whereas his former physitian shutt up
+his windows and kept him in utter darknesse, he did open his window
+lids, and let in the light, and filled his windows with glasses of
+curious tinctures, which the distempered person would always be looking
+on, and it did conduce to the quieting of his disturbed spirits."
+(Aubrey in "Anecdotes and Traditions," edited for the Camden Society by
+W. J. Thomas, p. 96.)
+
+Nor is this the only _terra incognita_ still awaiting exploration.
+During some recent French experiments wide differences have been
+observed in the same kind of vegetable when grown under differently
+coloured glass covers. However, these are matters that will not be
+"dreamed of in our philosophy"--our investigations will be confined to a
+geographical search for that with which to delight our eyes.
+
+When one pauses to consider how fragile the beauty of a stained glass
+window, it becomes amazing that even so much as we can now visit has
+survived. Over every European country there has, at one time or
+another, swept a wave of destruction engulfing things artistic. The
+causes for, as well as the agents of, this iconoclasm, differ widely.
+Sometimes it comes from within, and is the result of civil war or of
+religious fanaticism--less often it is the result of foreign invasion.
+
+English windows had the good fortune to escape the destruction by
+foreigners which the French had to suffer during those dreadful
+fourteenth and fifteenth centuries when the Hundred Years' War outlasted
+its title, and when the hot-headed Plantagenet kings kept France
+continually plagued with English soldiery. Although we must record this
+particular immunity, other agencies equally baleful were at work. The
+Puritans made a practice of smashing stained glass, either because they
+regarded it as one of the hated insignia of popery (some of their
+ministers even knocking out the glass in churches under their own
+charge, like "Blue Dick" Culmer at Canterbury Cathedral), or for reasons
+of revenge, as in the case of the troops infuriated by the death of
+their leader in the assault upon Lichfield. Dwellers within the
+precincts of Lincoln made a common practice of shooting with crossbows
+at the windows! At Great Malvern the possible excuse of crossbow
+practice is missing; the villagers quite simply amused themselves by
+throwing stones at the great east window, just from the sheer joy of
+destruction. In some instances, even the mitigating circumstances of
+religious fanaticism, revenge, competitive sport, or even amusement are
+entirely lacking. Aubrey tells us in his "History of Surrey," that "At a
+later date, one Blesse was hired for half-a-crown a day to break the
+painted glass windows of Croydon." Little wonder is it that the citizens
+of York should have voted Fairfax, the leader of the Roundheads, a tun
+of wine, &c., in reward for his protecting care of the cathedral after
+he and his soldiers had captured that city.
+
+In an earlier book ("Stained Glass Tours in France") we observed that
+French windows divided themselves into periods which were practically
+coterminous with the centuries, thus enabling us to designate the styles
+by their century number. In England the development of this craft
+brought about the style-changes at irregular dates; but here also the
+steps of this development are so marked as to separate it into distinct
+epochs. English glass follows its architecture so closely that one
+cannot do better than to accept the period-designation of the latter,
+and especially is this true during the so-called Decorated and
+Perpendicular epochs. For our purpose we will therefore use the
+following sub-divisions: Early English, which will include all the glass
+prior to 1280; Decorated, 1280 to 1380; Perpendicular, 1380 to 1500;
+Renaissance (sometimes styled sixteenth century or Cinque Cento), 1500
+to 1550. There are extremely few examples of the first and of the last
+schools, in marked contrast to the great wealth in France of windows
+contemporary thereto. Edward I. came to the throne in 1272, and it was
+during his reign that the Decorated period began, running through the
+reigns of Edward II. (1307), Edward III. (1327), and Richard II.
+(1377)--all of them Plantagenets. This and the succeeding period
+produced very little glass anywhere in France, because of the Hundred
+Years' War, begun 1337, lasting until 1447, and waged throughout the
+length and breadth of the land. The exact opposite is true in England,
+where during the Decorated and Perpendicular epochs it reached its
+greatest importance and beauty. The Perpendicular period begins in 1380,
+shortly before Richard II., the last of the Plantagenets, was succeeded
+by the representatives of the rival Houses of Lancaster and York, three
+Lancastrians, Henry IV., V., and VI. (1399), (1413), (1422), being
+succeeded by three Yorkists, Edward IV. (1461), Edward V. (1483), and
+Richard III. (1483). This Perpendicular period came to an end at just
+about the same time as that tremendous civil struggle, the War of the
+Roses, was concluded by the accession of the House of Tudor, in the
+person of Henry VII. (1485). Our Renaissance glass period begins under
+him and lasts on through practically all the reigns of the House of
+Tudor--Henry VIII. (1509), Edward VI. (1547), Mary (1553), Elizabeth
+(1558). At the time that the Tudors were succeeded by the Stuarts (James
+I., 1603), there was hardly any English glass being manufactured, save a
+little for domestic use, although many Dutch glaziers were then active
+in this country, as we shall regretfully observe when we visit Oxford
+and Cambridge.
+
+It is clear from many an entry in ancient English church archives that
+French glaziers were often in the early days summoned across the
+Channel, and that it is to them that we owe the beginning of English
+glass; but we shall see that although it owes its origin to this foreign
+assistance, it developed along distinctly original lines, and that
+therefore the English glaziers deserve full credit for the charming
+traits peculiar to them.
+
+Although the period styled Early English has left comparatively few
+examples north of the Channel, and cannot hope to vie with the many and
+rich displays of mosaic glass to be seen in France, we shall be greatly
+consoled by the splendid grisaille (or uncoloured glazing) that fills
+the "Five Sisters" at York, and by the remains of the great series at
+Salisbury. We have just referred to the scarcity of French stained glass
+during the fourteenth and fifteenth centuries, those sorry days during
+which the English occupation of a large part of the country, repeated
+plagues, and uprisings of the lower classes against the nobles (like the
+Jacquerie), vied with each other in the work of devastation. Indeed, it
+is not strange that any art so dependent upon the fostering care of a
+luxury-loving class should have been entirely superseded by the sterner
+requirements of self-defence, to say nothing of the repairs necessitated
+by the ravages of war, pestilence, and famine. Those two centuries, so
+dreadful to France and so discouraging to French glaziers, produced in
+England the greatest flowers of this craft. It is, therefore, clear that
+if one wishes to obtain a comprehensively consecutive knowledge of
+stained glass on both sides of the Channel, he must leave France and
+cross over to England when the thread of his studies has obtained so far
+as the Decorated and the Perpendicular. When, however, he reaches the
+sixteenth century he must return to France, to revel in the wealth of
+Renaissance glass so wofully lacking in England.
+
+After one has observed a sufficient number of windows to provide a basis
+for comparisons, it becomes easy to tell not only the epoch to which
+they belong, but also, in most instances, whether they are early or late
+in that epoch. In England one is assisted by an unusual amount of
+reliable information from two sources, viz., old records and heraldic
+indications from the coats of arms which are so often displayed. There
+is so little sixteenth century glass in this country as to give but
+small opportunity to observe the characteristic Renaissance custom of
+placing the dates on the picture itself, which was then common in
+France. Of earlier windows, however, English records and a knowledge of
+heraldry give us the dates of many more than are obtainable for their
+contemporaries in France. By way of example, the original contracts date
+the glass at Beauchamp Chapel, Warwick, 1447; at King's College,
+Cambridge, 1527; at York, in the nave, 1338, and in the choir, 1405, &c.
+A comparative and historical study of their heraldic blazons gives us a
+date for many of the windows at Bristol and at Wells, and of more still
+in private houses.
+
+The duty of the glazier was to adorn the window embrasures constructed
+for him by the architect, and thus assist in the decoration of the
+church. It is obvious that the size and shape of these apertures must
+necessarily have had considerable, if not controlling, effect upon the
+styles and methods of the glazier. A glance at the conformation of these
+openings often tells the sub-divisions in which its glass belongs.
+During Norman times the window arch was round and the opening wide. In
+the Early English style the arch at the top becomes pointed and the
+embrasures narrower. When the Decorated time arrives several narrow
+lights are grouped together, separated only by slender stone mullions,
+and culminating under the pointed arch at the top in a group of
+gracefully adjusted small apertures called tracery lights. The
+Perpendicular architect did little but straighten out the lines of his
+predecessors, especially in the traceries, so that they, as well as the
+mullions, should produce the effect of upright parallels which gave this
+type its name. In the sixteenth century the Renaissance architect
+provided large windows, and the glazier filled them with great pictures
+of splendid colour.
+
+In our investigation of English glass of the Early English (or mosaic)
+period, we shall often find ourselves regretting the almost entire
+absence of rose windows, so frequent and splendid across the Channel,
+where those great blossoms of Gothic architecture provided such glorious
+opportunities for the decorating hand of the glazier. For this lack we
+shall later on find ample compensation (especially during Decorated and
+Perpendicular times) in the huge sheet of glass filling the great east
+window of many English churches. While the southern architect decided in
+favour of the rounded apse for the east end of his cathedrals, his
+northern neighbour preferred a square ended one, thus permitting a fine
+broad embrasure, broken only by narrow mullions, and providing a golden
+chance for the glazier, which he lost no time in seizing. Therefore, if
+we miss the innumerable rose windows of France, it is but fair to state
+that it possesses nothing that can vie with the great expanse of glowing
+colour found at the east end of York or Gloucester or Malvern.
+
+It is clear that the glass artist, whatever his nationality, had at
+all times to take heed of the architecture which provided the setting
+for his glass, and which his work was to help decorate. It is but
+natural, therefore, that his designs should have been influenced by
+the prevailing architectural style, and this was particularly true
+in England during the prevalence of both the Decorated and the
+Perpendicular schools. When the time arrived to change from the mosaic
+method of constructing stained glass, the whole effort of the Englishman
+seemed to have been devoted to making his new product conform to the new
+Decorated style of building. Not so his neighbour across the Channel,
+for there everything was then being sacrificed to the demand for better
+lighted interiors, even to the extent of filling much of his embrasures
+with grisaille, and using deep colour only in the borders or in bands of
+canopy-framed figures across parts of the windows (Sees, Evreux). The
+need for more illumination did not exist in England, for in that land of
+cloudy skies and infrequent sunshine they had already realised how
+greatly mosaic medallion glass obscured the light, and, therefore, had
+early struck out for themselves, and developed an admirable use of
+grisaille, as one may see at York and Salisbury. They had already solved
+the problem of better illumination, and were that much ahead of their
+French neighbours. In France, because of light-admitting grisaille then
+demanded (either alone or in conjunction with the early canopies), the
+fourteenth century window gives a lighter effect than when later on, in
+the fifteenth century, the artist dispensed with the grisaille, enlarged
+his canopy completely to fill its lancet, and, thanks to the development
+of coated glass--_i.e._, several layers of different colours permitting,
+in combination, a wide range of hues--introduced more varied and richer
+colouring in both figures and costumes. In England, however, where
+light-admitting grisaille had already been freely used during the mosaic
+period, and the glazier began the fourteenth century untrammelled by any
+sudden demand for brilliant illumination, we shall easily observe a
+tendency directly contrary to that just remarked in France. The English
+Decorated windows are much deeper in tone than the Perpendicular ones
+which followed them. These latter seemed to have proved a satisfactory
+solution of the lighting problem for the English climate. Indeed, we
+shall see some at St. Neot, manufactured as late as 1530, that are
+copied after others of the preceding century, and yet the later ones
+are obviously from the hand of an artist so skilful as to have readily
+worked in the contemporary Renaissance manner, had he not deliberately
+preferred the earlier one.
+
+Those who desire to study this subject seriously should read Lewis F.
+Day's excellent "Windows of Stained Glass" (1897).
+
+
+ EARLY ENGLISH                                   BEFORE 1280
+ --------------------------------------------------------------
+ PLANTAGENET {  Edward I. 1272                    1280-1380
+             {  Edward II. 1307                   DECORATED
+             {  Edward III. 1327
+             {      (Crecy, 1346)
+             {      (Poitiers, 1356)
+ ------------{-------------------------------------------------
+             {  Richard II. 1377                  1380-1500
+                                                PERPENDICULAR
+ LANCASTER   {  Henry IV. 1399
+             {  Henry V. 1413
+             {      (Agincourt, 1415)
+             {  Henry VI. 1422
+
+ YORK        {  Edward IV. 1461
+             {  Edward V. 1483
+             {  Richard III. 1483
+
+ TUDOR       {  Henry VII. 1485
+ ------------{-------------------------------------------------
+             {  Henry VIII. 1509                  1500-1550
+             {  Edward VI. 1547                  RENAISSANCE
+             {  Mary, 1553
+             {  Elizabeth, 1558
+
+ STUART      {  James I. 1603
+
+
+TOURS
+
+Our glass-hunting tours will take us into almost every part of England.
+We shall go up and down the east coast cathedrals, from York in the
+north to Canterbury in the south-east. We shall also wander through the
+entire range of southern counties, and see the whole coast from
+Winchester, west through Salisbury and Exeter to St. Neot, far off in
+Cornwall, hard by Land's End. But it will be in that corner of England
+which lies between Oxford and the Welsh border, that the greatest wealth
+of windows will be found. We shall arrange the tours so that the order
+in which the windows are viewed will conform chronologically with the
+stages of the craft's development. It will, of course, largely depend on
+whether he elects to travel by rail, by automobile, or by bicycle, just
+how slavishly the pilgrim follows the order in which the towns have been
+set out. The trips have been arranged with an eye to geography rather
+than to railway time-tables--geography is so much more stable than
+"Bradshaw's General Railway Guide"! The omission from the list of sundry
+important cathedrals, like Durham, Ely, Peterborough, Worcester, &c.,
+is caused by the deplorable fact that all their ancient stained glass
+has been destroyed.
+
+The order of towns is as follows:
+
+ Early English Epoch      Salisbury, Canterbury, Lincoln,
+                          York.
+
+ Decorated Epoch          York, Norbury, Shrewsbury,
+                          Ludlow, Hereford,
+                          Tewkesbury, Deerhurst,
+                          Bristol, Wells, Exeter,
+                          Dorchester, Oxford.
+
+ Perpendicular Epoch      Oxford, Fairford, Cirencester,
+                          Gloucester, Great
+                          Malvern, Little Malvern,
+                          Ross, Warwick,
+                          Coventry, York.
+                          Salisbury.
+                          Winchester.
+                          St. Neot.
+
+ Renaissance Epoch        London, Cambridge, Lichfield,
+                          Shrewsbury.
+                          Guildford, Gatton, Knole.
+
+In selecting the order of the above itineraries, we have ended the
+first, or Early English period, at York, because that city is not only
+rich in early mosaic glass, but also in that of the Decorated period,
+thus making it most convenient for us there to begin the second or
+Decorated tour. In the same manner we have concluded the itinerary of
+the Decorated period at Oxford, for there are found not only Decorated,
+but also Perpendicular windows, thus permitting us to commence the
+Perpendicular tour in the same city which ends our Decorated one.
+York is set down as the last of the Perpendicular trip, but if our
+pilgrim has already visited that city on either the Early English
+or the Decorated tour, he will doubtless also have seen all of its
+Perpendicular glass, which will obviate the necessity for again making
+the long journey north. In that event, with York left out of the
+Perpendicular tour, it will prove to be much more condensed, both as to
+territory and distance, than either of the two earlier ones. The last,
+or Renaissance epoch, has but few examples in England, and these are so
+widely separated that it seems best to break them up into two tours. Of
+the seven places cited (London, Cambridge, Lichfield, Shrewsbury,
+Guildford, Gatton, and Knole) the best English glass is at London and
+Cambridge, while that at Lichfield is Flemish, and most of that at
+Shrewsbury German.
+
+For tables of distances, &c., _see_ pp. 251-254.
+
+[Illustration: GENERAL MAP]
+
+
+
+
+EARLY ENGLISH
+
+
+We shall find it more convenient to group all early glass under the
+heading of "Early English," although it will be found not only in its
+own narrow, pointed-arched windows, but also before that, in the
+round-arched ones of the Norman style. So slow was the development
+of our craft during all the time covered by those two schools of
+architecture as to make it hardly proper or necessary that our subject
+be likewise divided into two epochs. During both of them there is found
+richly coloured glass of the "mosaic" type, and also uncoloured windows
+of the sort styled by the French "grisaille." Obviously, uncoloured
+glass admits much more light than that made up of rich dark hues, and,
+therefore, it is but natural that the glazier who dwelt in a cloudy
+northern land should early have realised the need for sufficient light
+in his churches, a need which did not concern his fellow craftsmen in
+the sunny lands of the south. Indeed if he had not appreciated this
+practical side of his craft he would not have been the artist which his
+windows prove him to have been. The glaziers of sunny Italy were never
+confronted with this problem of sufficient illumination--if anything,
+they had too much, no matter how richly they painted the panes. Their
+fellows in France had less sunlight than they, but more than the
+English, and therefore occupied an intermediate ground in the matter of
+church illumination; the result was that the French neglected it so
+entirely during both the twelfth and thirteenth centuries, and so
+darkened their interiors by heavily leaded mosaic glazing as to bring
+about, at the opening of the fourteenth century, a sudden revulsion in
+favour of better lighted interiors, which went so far as to produce the
+excessive light and glare observable at Sees, St. Ouen (Rouen) and
+Evreux. This sudden revulsion did not appear in England where, indeed,
+there were no grounds for it, because, as we have just seen, the
+glaziers had already thoroughly grasped the need for, as well as the
+value of, light-admitting grisaille. That they thoroughly mastered the
+technique of uncoloured glass we will readily conclude from the splendid
+monuments to their genius in the "Five Sisters" at York, and the
+grisaille in the south transept at Salisbury, ideal glazing for a land
+of infrequent sunshine. Turning from these untinted windows to those
+filled with colour, one notices at once that the early examples of the
+latter are made up of very small pieces of different hues bound together
+by winding strips of lead having little sunken channels on both sides
+to hold the glass in place. So small are these pieces that the windows
+seem to have been composed much in the same way that the diminutive
+cubes are assembled to make a mosaic. It is because of this striking
+similarity of method, that this early glazing, constructed of small
+fragments, is frequently referred to as "mosaic" glass. Another name
+which it often receives is also easily explainable. The stories on these
+early windows are told by groups of very small figures, and to prevent a
+chaotic multitude of these little persons spread over the glass, each
+episode or group is separated from the others by a frame of contrasting
+colour, thus breaking up the whole surface into medallions. For this
+reason, early mosaic glazing is sometimes spoken of as "medallion
+glass." Unfortunately for England, it possesses but few remains of this
+delightful product, and therefore suffers sadly by comparison with the
+great wealth of it to be seen in France. We shall find enough, however,
+at Canterbury and Lincoln to kindle our enthusiasm for the splendid
+jewelled glow which the glazier of that time, and of no other, knew how
+to make his windows produce. It will not take long for the intelligent
+observer to notice that this glitter is due partly to the fact that the
+glass is free from paint (except that used to delineate features, folds
+of garments, &c.), and partly because its surface is not regular as is
+ours to-day. Furthermore, the pieces were small, and the constantly
+recurring leadlines (breaking up and combining the rays of light coming
+through the little panes) assisted materially to produce the brilliancy
+and shimmer which so delight the eye. There is no doubt that the glazier
+thoroughly realised this, and availed himself of this mingling of the
+coloured rays to suit the purposes of his picture. We frequently see a
+thirteenth century window that produces a purple effect, and yet a
+closer inspection will reveal that there is only red and blue glass used
+in it, but so cunningly have they been intermingled as to produce a much
+warmer purple than any sheet of purple glass could render. Some writers
+would have us believe that the glazier had no choice but to use these
+small bits in building up his picture, and that therefore the rich
+glowing effect was the result of chance, and not that of intelligent
+deliberation. Any one who has been fortunate enough to visit St.
+Maurice's Cathedral at Angers is amply equipped to refute this theory,
+and will be prepared to give full credit to the glazier of the
+thirteenth century, for, in that church, the twelfth century mosaic
+glass of the nave is readily seen to be composed of much larger
+fragments than were employed in the choir by the thirteenth century man.
+These latter in the choir glisten and glitter, while the earlier ones in
+the nave, composed of larger pieces, do not. This indicates that the
+improvement shown by the thirteenth century windows over those of the
+twelfth century was caused by artistic intelligence, and at the expense
+of more labour to the glazier, because in lessening the size of his
+panes, he greatly increased the work of leading them together. As he
+purposely used smaller fragments, he should receive full credit for his
+splendid results. Those who have been so fortunate as to see the French
+thirteenth century windows will not only regret the fewness of examples
+of that period in England, but will also remark the dearth there of the
+great rose windows so frequent in France. Furthermore, he will notice
+that in the case of English medallion windows, the medallions are
+smaller than those across the Channel; this is caused by the fact that
+the lancets of the Early English school were narrower than contemporary
+French ones, and therefore necessitated a smaller medallion. While it is
+true that it is only at Lincoln that one finds the splendid rose windows
+which reach their greatest perfection in France, compensation for their
+absence is found in the development in their place of a style of window
+almost unknown in France, _i.e._, the great east window, of which such
+superb examples will be seen during the next (or Decorated) period at
+York, Bristol, and many other places. This difference in the development
+of the largest light aperture of a church is due to the architect; in
+France he built the eastern end of his churches round, but in England
+they were square, thereby permitting a large sheet of glazing at the
+east end, which the French rounded apse could not afford. It is
+gratifying to note the way in which the genius of the glazier, no matter
+where he lived, seized upon and developed to the utmost the artistic
+possibilities of his glass, and, furthermore, how cleverly he adapted
+them to the structures prepared for him by his architect. We shall see
+at Canterbury, more clearly even than elsewhere, that in the manufacture
+of this early mosaic glass the English glaziers followed the French
+models. In "Stained Glass Tours in France," p. 17, we have made some
+conjectures as to the beginnings of glass in France and whence it came
+into that country. Indications appear to be in favour of its first steps
+being guided by a group of enamellers in Limoges, who were instructed or
+influenced by a colony of Venetians that settled near by in 979,
+bringing with them their Byzantine art. Whatever opinion we may hold,
+there can be no doubt that a striking similarity in drawing, colouring,
+&c., is to be remarked between stained glass of the twelfth and
+thirteenth centuries, Limoges enamels of those two and the two preceding
+centuries, and the Byzantine mosaics of St. Mark's in Venice, &c.
+
+
+EARLY ENGLISH TOUR
+
+Even though we shall encounter but few examples of this period in
+England, a tour of the towns in which they are to be found will perhaps
+yield us more interesting glimpses into history than our later tours,
+far richer though they may be in glass. Starting at ancient Salisbury
+hard by the site of Druid Stonehenge, we follow the oldest of English
+national roads, the "Pilgrim's Way," through Winchester (for so long
+the English capital) on to Canterbury with its dramatic history of the
+martyred archbishop. Close to Canterbury are Chartham and Willesborough;
+these may be seen _en route_ from Salisbury. Thence we go north to
+Lincoln, and, after an interesting visit to its sanctuary-crowned
+hilltop, we will push on still further north to York, that
+treasure-house of glass of this as well as of all periods. Although we
+end our first tour in that city, we shall also be able there to begin
+our second one, and may also, if we choose, inspect the glass of a
+still later (the Perpendicular) epoch.
+
+[Illustration: MAP OF EARLY ENGLISH TOUR]
+
+
+SALISBURY
+
+There is no country in the world whose ancient history is writ so large
+upon its broad acres as old England. It is full of silent testimonials
+to past events which render those early days and their happenings more
+vivid than any printed page can hope to effect. Many of these remains
+are of such remote antiquity as to long antedate our glass, but
+nevertheless we must not be so prejudiced as to neglect them when
+encountered on our travels. Indeed, it may well be that the existence of
+other attractions of this sort may secure for us the company of certain
+archaeological friends who at first will have but small interest in
+glass. Nor need we distress ourselves about how small that interest may
+be; for if they, for any reason, accompany us, our charming windows will
+surely make converts of them long before the journey is ended. These
+same archaeological folk will tell us that few localities in England can
+show more extraordinary historical remains than Stonehenge and Old Sarum
+near Salisbury. The great upright monoliths of Stonehenge, stationed in
+the form of a horse-shoe within a circle, loom up in such a solitary
+and impressive way upon the great reaches of Salisbury Plain as to
+produce a mental picture long to be remembered. Their very isolation
+makes them much more striking than the voluminous remains of a similar
+nature erected also by the Druids on the west coast of Brittany. As
+for Old Sarum, it is now nothing but a lofty fortified camp, but the
+enclosure within its circle of high walls formerly contained a town
+which was the predecessor of Salisbury. The shape of this high truncated
+cone recalls the pictures of the Tower of Babel that used to appear in
+our child's geographies. Whatever may have been the real cause for the
+removal of Salisbury to its present site, the one generally alleged was
+that Sarum lacked water--this certainly cannot be charged against the
+present city, which is so sorely harassed at certain seasons of the year
+by local floods, as well to merit the name often given it of the
+"English Venice." Its vast cathedral is much more regular and balanced
+in its proportions than are most examples of mediaeval church
+architecture. The two great twin spires are esteemed the most beautiful
+in England. To one who has become accustomed to the archaic appearance
+of most European cathedrals, Salisbury will prove quite a surprise; in
+the words of Emerson, "The cathedral, which was finished six hundred
+years ago, has even a spruce and modern air." This splendid building,
+even if it were not so impressive as it is, would have been rendered
+sufficiently picturesque because of the setting provided by the shaded
+walks and green swards of its Close. Within the roomy interior are
+examples not only of thirteenth century medallion glass, but also some
+of the best types of English grisaille of that period. Because of the
+belief that the doors, windows and pillars exactly coincide respectively
+with the number of months, days and hours in the year, Thomas Fuller
+said, "All Europe affords not such an almanac of architecture." We are
+concerned only with that portion of the almanac that has to do with the
+days. An old rhyme says:
+
+     "As many days as in one year there be
+     So many windows in this church we see."
+
+Notwithstanding the great number of light apertures thus provided by the
+architect, the glazier was not permitted to make excessive use of the
+light-obscuring coloured mosaic glass, as was then the custom in France.
+Grisaille was plentifully used, and Salisbury was famous for it. Most of
+its remains are found in the upper lancets at the south end of the
+easterly transepts, as well as a little in the west windows of the nave
+aisles, the east one of the choir aisles, and the lower triplet in the
+south end of the small transepts. Two of the easterly clerestory lights
+of the large northern transept also show this early pattern glass.
+Instead of filling the other embrasures with rudely contrasting modern
+glazing, a very intelligent effort has been made throughout the choir
+and transept to model as closely as possible upon these ancient
+examples. The result is very agreeable--at least it contrives to give us
+some idea of how the church must have looked with its original windows
+all complete. Little touches of colour are very judiciously interspersed
+throughout the strapwork, and serve to correct what otherwise might be
+dull-toned. Blue is very extensively used here for this purpose, and to
+a greater extent than is usually found elsewhere. It tones in admirably
+with the greenish hue of the glass, and enriches it without risking too
+striking a contrast. The thirteenth century medallion remains have been
+collected into the three lancets at the western end. Note especially the
+plentiful and interesting fragments of the Tree of Jesse done in mosaic
+style which has been introduced in two parallel columns into the central
+lancet: the borders are contemporary. The side lancets are not so
+satisfactorily filled, for the combination of strips of later glass
+separated by equally wide ones of old grisaille, and all surrounded by
+a rich old border on ruby and blue backgrounds, is not pleasing. The
+medallions are interesting, but nothing like so fine as we shall see
+elsewhere. We shall chiefly remember Salisbury Cathedral for the
+effective glazing of its choir and transepts afforded by thirteenth
+century grisaille eked out with good modern glass copied after it.
+
+One does not have to search far in the records of Salisbury to find why
+there is so little remaining of its ancient glazing. Time has been
+materially aided and abetted in its work of destruction by ruthless
+restorations, of which the worst was Wyatt's in the eighteenth century.
+We read that "whole cartloads of glass, lead, and other rubbish were
+removed from the nave and transepts, and shot into the town ditch, then
+in course of being filled up; whilst a good deal of similar rubbish was
+used to level the ground near the chapter-house." Nor was destruction
+the only means used to get rid of the Salisbury windows, as will appear
+from the following letter written to Mr. Lloyd, of London, in 1788, by
+John Berry, a glazier of Salisbury:
+
+     "SIR.--This day I have sent you a Box full of old Stained &
+     Printed glass, as you desired me to due, which I hope will sute
+     your Purpos, it his the best that I can get at Present. But I
+     expect to Beate to Peceais a great deal very sune, as it his of
+     now use to me, and we do it for the lead. If you want more of
+     the same sorts you may have what thear is, if it will pay you
+     for taking out, as it is a Deal of Truble to what Beating it to
+     Peceais his; you will send me a line as soon as Possable, for
+     we are goain to move our glasing shop to a Nother plase and
+     thin we hope to save a great deal more of the like sort, which
+     I ham your most Omble servent--JOHN BERRY."
+
+There is also later glass to be seen here. St. Thomas's Church, in the
+first embrasure from the east of the north aisle, has the remains of a
+Decorated Tree of Jesse, in which, as well as in other fragments along
+the traceries, there is a good deal of yellow stain observable. In the
+vestry, which is off the north aisle, are three small lancets upon which
+appear figures against quarry backgrounds not as usual ensconced in
+canopies. The wooden ceilings in the north and south aisles are
+especially fine.
+
+For the Perpendicular glass at Salisbury _see_ p. 192.
+
+
+CANTERBURY
+
+Even a careless observer of the life and customs of the Middle Ages will
+have noticed that one of its most extraordinary features is the extent
+to which people of every European country went upon pilgrimages. The
+nature and object of these religious journeys varied widely, running the
+gamut from the Crusades to the visiting of neighbouring shrines. The
+history of the Crusades is well known, but perhaps few of us realise the
+tremendous interest taken in the more domestic and near-by pilgrimages.
+The English were like all the rest of Christendom in this curious craze,
+and for several centuries the most revered, as well as the most popular
+of their many shrines was that of the martyred Thomas a Becket at
+Canterbury. More highly prized than any other similar trophy was the
+small leaden flask hung about the neck of one who had taken that
+journey, and was thus qualified to bear away this pilgrim's token
+filled with water from the holy well beneath the cathedral. A modern
+counterpart is afforded by the value Mohammedans set upon the wearing
+of a green turban, the privilege accorded to one who has visited Mecca.
+Although Canterbury had always since the earliest days possessed many
+saintly relics, a marked increase in the number of pilgrims was noted
+after the martyrdom of a Becket. These pilgrimages steadily grew in
+vogue until when, in the fifteenth century, they had reached their
+height, not only did the stream of travellers continue steadily
+throughout the year, but during the months of December and July
+(anniversaries of the martyrdom and the transference of the relics)
+we read that the numbers swelled to such an extent that the housing
+facilities of the little city were greatly overtaxed. A jubilee was held
+every fifty years, and on these occasions the crowds grew to enormous
+size. During the jubilee of 1420 we are told that over 100,000 pilgrims
+were gathered in the city at the same time. Hay and wood were provided
+gratuitously for them, a bounty which the cathedral could well afford,
+because of the great value of the gifts constantly received from these
+visitors. It is easy to see how important a nationalising influence must
+have resulted from this meeting together of all classes of society from
+different parts of the country. How widely these pilgrims varied in
+station and occupation can be gathered from Chaucer's inimitable
+"Canterbury Tales." Those amusing chronicles also show that while
+religion was doubtless a powerful motive in causing these pilgrimages,
+there was besides a great deal of what is called to-day "the desire for
+foreign travel." In fact, it is difficult to find much religious flavour
+in the tales of merriment and adventure which follow each other in this
+delightful series. Chaucer probably selected a Canterbury pilgrimage
+as the setting for his poem in order to appeal to a great number of
+readers, for he well knew the kingdom to be full of people who had taken
+this journey, and to whom, therefore, his tales would be of peculiar
+interest. Although Chaucer was the son and grandson of vintners, he won
+his way into high favour at Court, a hint of which is obtained from the
+fact that Edward III. paid L16 (then a considerable sum) to ransom him
+after his capture by the French.
+
+ [Illustration: _J. G. Charlton, photo._
+ "BECKET'S CROWN," CANTERBURY CATHEDRAL
+     Thirteenth Century medallions; notice circular and other forms
+     enclosing the figures. The heavy iron bars needed to support the
+     great weight of lead are skilfully adjusted to the design. The
+     world-famous shrine stood in the centre of this space. Tomb of
+     Black Prince in foreground, and above it armour he wore at
+     Crecy]
+
+Another group of equally diverting but more whimsical poems are
+inseparably connected with this neighbourhood. Rev. Richard Barham lived
+near Canterbury, and many of his engaging Ingoldsby Legends have their
+scenes laid there, some within the cathedral precincts. The county of
+Kent, of which Canterbury is the chief city, is peopled by a sturdy folk
+who have always been jealous of their rights and insistent upon their
+own interpretation of the law, as, for example, although primogeniture
+existed almost everywhere else in England, Kent always preferred
+gavelkind (an equal division of property among the children of the
+deceased). As illustrating the strength of Kentish traditions, it is
+amusing to note that one must remember carefully to apply the expression
+"Kentish man" to a dweller in the western half of the county, and "Man
+of Kent" to him of the eastern. Confuse these two designations at your
+peril! There is a bit of local history which has a fine heroic flavour,
+and which points our moral excellently. After William the Conqueror had
+won the battle of Hastings, all Kent, headed by the Archbishop of
+Canterbury, gathered to protect its ancient rights against the invader.
+They marched forth to meet William at Swanscourt, each man fully armed,
+and carrying above him a green bough to mask the numbers of their host.
+William's surprise and perplexity at seeing this perambulating forest
+approaching him can well be imagined. When he inquired the reason for
+it, there came the fine reply that Kent demanded its ancient rights, and
+if granted them would live peaceably under his rule, but if they were to
+be denied, then there must be instant war! The politic Norman complied
+with their request, and the Kentish forest marched off.
+
+So beautiful are the distant prospects of Canterbury Cathedral that
+excellent aesthetic reasons may be advanced for the religious custom that
+required all mounted pilgrims to dismount as soon as they could spy the
+Angel Steeple, and complete the last stage of the pilgrimage on foot.
+Proceeding in this more leisurely fashion, the beauties of the
+picturesque grouping of the buildings about the cathedral developed
+slowly before their eyes.
+
+On descending into the town, many interesting sights meet one's view in
+the quaint winding streets and narrow lanes. The name of one of these,
+Watling Street, recalls the fact that through this city ran that great
+Roman road. Another element of the picturesque is added by the
+meandering through the town of the river Stour, over whose narrow stream
+project many of the houses. Finally we arrive at a large gatehouse,
+whose modest portal affords access to the sacred precincts, and
+introduces us to a series of most delightful pictures, for there are few
+cathedrals in the world placed in so charming a setting. An old legend
+gravely narrates that when the walls of the sanctuary were heightened
+about the middle of the tenth century, the building was, perforce,
+roofless for three years, and that during that period no rain fell
+within this favoured enclosure! We need not stop to consider the
+different features of the architecture which have delighted so many eyes
+and are so well known from photographs and other reproductions. We must,
+however, note in passing that during a Becket's exile he chanced to be
+in Sens at the very time that the great French architect, William of
+Sens, was finishing the first attempt in pointed Gothic. This probably
+explains why, when the choir of Canterbury Cathedral was destroyed by
+fire, the monks in 1174 summoned William to rebuild it. During the work
+he fell from the scaffold and received injuries from which he died. The
+selection of that foreign architect assists in explaining why the mosaic
+glass at Canterbury so closely resembles the late twelfth century
+windows at Sens, and permits us to conjecture that with the French
+architect there came over French glaziers. The French Gothic which was
+here introduced by William of Sens was, to a certain extent, copied
+elsewhere. Traces of it at York Cathedral are doubtless due to the fact
+that the Archbishop of York who caused its introduction had been
+Archdeacon at Canterbury during the time that William of Sens was
+working there. We will enter the church and press on to the northern
+transept, where took place that tragic episode resulting from the
+constant strife between Henry II. and the proud churchman a Becket. In
+the dimness of this old-world corner one can almost live over again the
+scene at twilight, December 29, 1170, when the four knights, taunted
+into exasperation by a Becket's hot words, cut down the defenceless
+priest, thinking thus to serve their royal master. Not only did this
+base act bring upon Henry the open shame of being forced to do most
+abject penance before the shrine of his sainted victim, but it also
+produced many extraordinary results of widely differing nature during
+the centuries to follow. Just after the assassination the monks, upon
+removing the garments of their murdered chief, found, to their great
+surprise, that beneath the rich raiment of him whom they had always
+mistrusted as a brilliant courtier, was worn the haircloth shirt of
+their monastic order. Their sudden revulsion of feeling, and the
+religious enthusiasm which overcame them at that sight, seems prophetic
+of other revulsions that were to take place during the Middle Ages in
+the attitude of the public mind towards this bloody page of Church
+history. Just as then their feelings abruptly changed, so after wealth
+and costly gifts had flowed to this shrine for centuries, and almost
+every city in Christendom had an altar or a church dedicated to
+St. Thomas, suddenly men of thought became disgusted by the many
+reprehensible features connected with this cult, which, perhaps, were
+only the natural results of the throngs attending the pilgrimages. The
+pendulum, which had swung too high on one side, swept back to the other
+extreme; and this brings us to one of the strangest parts of this story,
+if not, indeed, the weirdest in all the annals of the law. Henry VIII.
+cast covetous eyes upon the hoard of jewels gathered together in
+Canterbury Cathedral, so he instituted a legal proceeding to enable him
+to lay hold upon them. As royal successor to Henry II. he caused the
+Attorney-General in 1538 to bring suit against a Becket for treason, and
+had the papers duly served upon the famous shrine! Counsel was appointed
+to represent the long dead subject, and the case was argued with all the
+pomp and circumstance of legal warfare. The martyr was found guilty, and
+all the wealth of his shrine was declared escheated to the Crown. We
+read that it was necessary to employ twenty-six carts to carry off the
+booty. Could anything be more strange and fantastic than so material an
+outcome to the wild deed of the four knights!
+
+Of the other tombs here, the most interesting are those of Henry IV. and
+the Black Prince. Above the latter is suspended the armour worn by him
+at the battle of Crecy.
+
+Before commencing to examine the stained glass, we must warn the reader
+that it suffered severely at the hands of that arch-ruffian of all glass
+destroyers, Dick Culmer (or "Blue Dick," as he was called), the minister
+in charge of the Abbey during the Commonwealth. So violently opposed
+to his appointment were the townspeople that they locked all the
+cathedral's doors against him, thus forcing him to effect his first
+entrance by breaking in one of the windows--an evil omen! No sooner was
+he installed than he set diligently to work to destroy the stained
+glass, and, furthermore, openly boasted of his energy in that respect.
+In his "Cathedral News from Canterbury," he says, "A minister on top of
+the city ladder, nearly sixty steps high, with a whole pike in his hand,
+rattling down proud Becket's glassie bones when others present would not
+venture so high." This glass, so destroyed, was in the north transept.
+
+There is but little mosaic medallion thirteenth century glass in
+England, and therefore what there is of it at Canterbury would for that
+reason alone have great value, but because the examples there found are
+among the best of that period now extant, its importance is thereby
+greatly enhanced. An ancient supplement to the "Canterbury Tales"
+relates, with amusing conversational detail, how the pilgrims, upon
+entering the church by the south-western door of the nave, at once fell
+to admiring the windows and studying out their legends. The ruthless
+hand of time, assisted by those of Dick Culmer and Co., have made it
+impossible for us to enjoy that same pleasure, but certain fragments of
+that glass gathered together into the western window give a hint of what
+the beauty of the complete series must have been. With this exception
+there is nothing to detain one long in the nave, so we will pass on to
+the eastern end of the church to inspect the remaining contemporary
+windows--they are the finest of their type in England, and will be
+found in the north choir aisle, the circular apse at the extreme
+easterly end (known as Becket's Crown) and Trinity Chapel. There has
+been preserved for us an old Latin list describing and locating all the
+windows in their original order, and from this we learn that the ancient
+panels now in the north choir aisle between the easterly transept and
+the chapel of the Martyrdom (north end of the westerly transepts) were
+formerly in the embrasures of the latter. Their workmanship is very
+fine, and they tell their parables with great distinctness. Proceeding
+eastward to Becket's Crown, we shall be afforded an edifying opportunity
+to observe how much more brilliant and generally delightful are the old
+mosaic medallions than even the best modern copies. The oldest window
+dates from the middle of the thirteenth century, and it takes but a
+glance to betray those of its companions which are modern. The
+improvements of centuries in glass manufacture fail utterly to yield
+us an equivalent for the brilliancy of the crudely constructed panels
+of that time. The most interesting and, for various reasons, the most
+valuable medallions are those filling the six windows of Trinity Chapel
+which retain their original glazing. In those on the north side of where
+the shrine used to stand, are medallions whose groups display miracles
+performed by the saint, or episodes illustrative of his healing power.
+At the top of the second from the east on this side is a medallion of
+very peculiar interest because it depicts Benedict's vision of the saint
+emerging from his shrine in full canonicals and moving toward the high
+altar to say mass. Examine it carefully, for here we have the only
+representation now existing of that world-renowned shrine, whose lavish
+decoration of gold and jewels so roused the cupidity of Henry VIII. as
+to cause its destruction. There is every reason to believe this to be a
+veracious reproduction, for being installed directly opposite and a few
+yards from the shrine of which it was the counterfeit presentment, any
+but a careful copy thereof would have been useless in telling the
+window's story. More of this splendid glass is found filling the lower
+embrasures along the north side between the two sets of transepts, and
+also above in the three upper half-circle windows, both on this and the
+opposite side of the church ambulatory; note the mellow richness of
+their reds and blues. The central embrasure of the most easterly or
+Trinity Chapel retains its early mosaic medallions, easily distinguished
+from the modern imitations on either side. High up in the north wall of
+the easterly transepts is a rose window which retains its thirteenth
+century glazing in the large central circle, but alas! white glass
+replaces all but the borders of the outer circles, thus drowning the old
+glass in a glare of light and utterly extinguishing the splendid glow
+which would otherwise delight our eyes. Although the handsome five-light
+Decorated window on the south side of St. Anselm's Chapel (lying off the
+south choir aisle) has lost its original glass, the records of the cost
+contain features of interest. The contract for its construction is dated
+1336, and the items of expense (which total L42 17_s._ 2_d._) indicate
+that the heavy iron saddle-bars, &c., required to support the great
+quantity of lead used in joining the glass, cost almost as much as the
+glazing; L4 4_s._ 0_d._ was paid for twenty hundredweight of iron, L6
+13_s._ 4_d._ "for glass and the labour of the glaziers."
+
+The chief window of the north-west transept, generally called the chapel
+of the Martyrdom, was presented by Edward IV., and when complete must
+have been a fine example of the Perpendicular school. Its seven tall
+lancets are broken into four tiers, and surmounted by handsome tracery
+lights. Here formerly appeared "The Seven Glorious Appearances of the
+Virgin," with a Becket in the centre, but "Blue Dick" Culmer destroyed
+them all while engaged in his pleasing task of "rattling down proud
+Becket's glassie bones." Notwithstanding the treatment to which this
+window was subjected, it still presents a very attractive appearance.
+The original fragments have been collected within coloured borders and
+throw into bold relief the richly toned kneeling figures of Edward IV.
+and his wife, which are placed facing each other. Behind the queen are
+stationed her five daughters, divided into one group of three and
+another of two, while behind the king are the two little princes, who
+were later murdered in the Tower of London. The backgrounds behind the
+figures are noteworthy because they are composed of repetitions of the
+badge of each individual; behind the king are the white roses and suns
+of York; behind the queen, green thistles; feathers behind the Prince of
+Wales, &c. Above them is a tier of white-robed angels with red wings,
+against backgrounds of blue or green, supporting heraldic shields. Just
+below this window and leading off to the east is the Dean's Chapel,
+lighted on the east by a very pleasant quarry window, upon each of whose
+panes appears in yellow stain the double knot which indicates the donor
+to have been Archbishop Bourchier, whom we shall encounter later on at
+Knole. A relieving note of colour is lent by the shield of arms at the
+bottom of each lancet. Three of the small windows that light the
+picturesque little baptistery contain effigies of ecclesiastical
+dignitaries and saints within richly toned borders, while in the small
+traceries above them are heraldic blazons.
+
+Splendid as this noble cathedral now is, how much more impressive must
+it have been when all its windows were filled with mosaic medallions
+through which a warmly tinted illumination tempered the minster gloom.
+It is difficult to repress the anachronistic wish that the knights who
+came here seeking to slay a Becket might instead have wreaked their lust
+for blood upon "Blue Dick" Culmer!
+
+       *       *       *       *       *
+
+Near Canterbury there are some Early English fragments at Chartham, four
+miles west on the road to Maidstone. They are in the tracery lights on
+the north side of the chancel. In one of these small openings there has
+been inserted a baptismal scene, but because it is upside down the water
+seems like a cross between a shower-bath and the sword of Damocles! The
+chief reason for stopping at this church is the very agreeable lighting
+of its chancel in the Decorated manner. In the two embrasures on the
+north side have been collected all that remains of the original pattern
+glass, but the other lights have been glazed as much like these two as
+possible. A mellow richness, not often seen, is the chief characteristic
+of this low-toned grisaille, overrun with graceful coloured designs. In
+its perfection that style was most attractive. In a south-easterly
+suburb of Ashford called Willesborough there are in the chancel a couple
+of very complete and pleasing Decorated windows. They both have quarry
+backgrounds with coloured borders, but the one to the north is much
+more attractive. Upon its surface are not only the coloured bosses seen
+in the one across the chancel, but also some handsome canopy-framed
+figures. The leaf design on the borders should be noted, and also the
+labels below the figures.
+
+
+LINCOLN
+
+A golden-brown cathedral crowning the summit of a solitary hill rising
+from a wide plain--so Lincoln lingers in one's memory!
+
+Few towns have their situation more clearly described by their names
+than this one, derived, as it is, from "llin" a mere, and "dun" a hill,
+a hill above a mere. The plain is now drained of the marshes which
+formerly overspread it, but the great isolated mount remains always the
+same, and upon the summit is stationed, like a splendid sentinel, the
+mighty bulk of the cathedral. Rarely, indeed, does a great church have
+so dominating and superb a site, nor is it often that so prominent a
+point is crowned by such a noble structure. Near it is the ancient
+castle, built first by the Romans and later strengthened by warriors of
+other races equally quick to appreciate the military strength of its
+commanding position. From the tower at one corner of its perfectly
+preserved ramparts is afforded a most inspiring view in every direction.
+Nor were the great walls of the cathedral less serviceable in affording
+a strong refuge in war. It needs but a glance at the sturdy west front
+to show why Stephen in 1141, during the war of the Barons, finding the
+Earls of Lincoln and Chester in possession of the castle, threw himself
+into the adjacent cathedral and thus secured as strong a fortress as
+they. Not only is the western facade very beautiful, but it is also a
+manifestation, rare in England, of the practice usual in France of
+making this portion of the exterior the most important of all. Here at
+Lincoln it is as if a wide mask of stone had been built on to the end of
+the nave, lending as great an impression of width as one gets of height
+by a similar trick at Peterborough. These two are almost the only
+attempts in England to use this facade for other than simply closing the
+end of the edifice. The result at Lincoln is most imposing, but it
+produces its best effect when seen from a little distance, because then
+one gets the great sweep of the lines, relieved by the galleries of
+statues and warmed by the yellowish brown of the stone. A nearer
+inspection discloses how the later work has been pieced on to the older,
+which tends to distract our attention from the front as a whole. Not
+satisfied with the great strength of the building itself, permission was
+early obtained from the Crown to surround the Close with walls and
+gates, of which the picturesque Exchequer gate survives. This enclosure
+goes by the name of the Minster Yard. When visiting the little hamlet
+of Dorchester we will remark upon how great was once its glory and how
+widely the sway of its Bishop then extended. This glory departed when
+Bishop Remigius (who built the central and oldest part of the Lincoln
+west front) decided about 1072 to remove his seat to the more lofty and
+far safer site upon Lincoln Hill. Before concluding the inspection of
+the cathedral's exterior, it is timely to remark that through all the
+centuries it has been famous in story and song for its chime of bells.
+During the period when that delightful industry, the making of ballads,
+prevailed throughout England, there were many whose scenes were laid at
+Lincoln, and in almost every one of these some reference is made to "The
+bells o' merrie Lincoln."
+
+Sad havoc has been played with the ancient glass, but here we cannot
+blame the Puritans alone. To be sure, they exercised their usual zeal in
+destroying the windows as far up as they could reach, but it must be
+admitted that they only completed the task earlier begun by the
+citizens, who were wont to amuse themselves by shooting with arrows and
+crossbow bolts at the roof and at the windows. This appears in the
+defence set up by the Dean when, during the time of Henry VIII., charges
+had been brought against him for permitting the cathedral to fall into
+such shocking disrepair. Notwithstanding the efforts of the crossbow
+vandals and their successors, the Puritans, there has been preserved for
+us a very considerable amount of old glass, and that, too, of the Early
+English type, a period of which there are so few remains in England.
+These remnants are so placed as to be seen to great advantage. They fill
+the east windows of the north and south aisles of the choir, and the
+large windows in the end of the great northerly transept. The old
+glazing of the eastern windows of the north and south choir aisles is
+complete and very interesting. It is not so beautiful as it would have
+been if the spaces between the brilliant medallions had also been filled
+with colour instead of the greenish grisaille which the practical
+Englishman used so as to admit more light than would have been possible
+through the entirely coloured panes of his more artistic, if less
+utilitarian, French contemporary. He succeeded in getting his
+illumination, but he lost the jewelled shimmer that meets one's eyes at
+Chartres and Reims. Moreover, there is also lacking the richness and
+solidity of tone which is so enjoyable in France. The French system was
+followed at Canterbury, and there is a marked difference in the effect
+of that glass from this at Lincoln. Unfortunately, the great east window
+between these two excellent aisle ones is filled with modern glass that
+suffers sadly by comparison with its ancient neighbours.
+
+Passing to the transepts we shall encounter the pleasant custom so rare
+in England (though common in France) of giving a familiar name to a
+great window. Here the splendid northern rose is called "The Dean's
+Eye," and its sister to the south "The Bishop's Eye," which names they
+have borne for more than six hundred years. Many are the reasons that
+have been advanced for these titles, but probably the practical one is
+correct, viz., the Dean's Eye faces the Deanery and the Bishop's Eye the
+Bishop's palace. Among the many fanciful and more poetic explanations
+there is one which, although it is less reasonable, we must be pardoned
+for finding more attractive, viz., as the north is the region of the
+Evil One, it is proper that the Dean's Eye should look into that
+direction in order to guard against any attempt on his part to invade
+the sanctuary. The Bishop's Eye is turned toward the sunny south, "The
+region of the Holy Spirit whose sweet influence alone can overcome the
+wiles of the wicked one." The older of the pair, the Dean's Eye, was
+probably glazed about 1220. It is best seen from the gallery or from the
+triforium which runs along just below it, and is a fine rose of the
+usual type. Below it there extends a row of five pointed lancets
+containing very light toned grisaille which almost entirely lacks the
+usual touches of colour. Below these are two larger lancets flanking the
+doorway; the one to the east has grisaille quarries as a border and
+within, geometric designs in colour. The westerly lancet shows a vine in
+whose branches are angels playing upon musical instruments, the whole
+surrounded by grisaille touched with colour. Across in the southern end
+of these transepts is one of the most delightful windows to be seen
+anywhere, the Bishop's Eye. Not only is this rose window a jewel of the
+glazier's art, but the mason as well has added a wondrous charm by the
+lightness of his stone traceries and the curious interpenetrated stone
+frame which he has placed about it. The architect, too, has joined in
+beautifying the _ensemble_ by stationing below it four large lancets of
+such harmonious proportions as admirably to balance and set off their
+more important neighbour just above them. In these lancets are found
+some Early English glass--broad borders of grisaille enframing the
+rich-toned medallions within. The Bishop's Eye was glazed about the
+middle of the fourteenth century and yields a warm greenish grey light.
+Instead of having its lines radiate from the centre in the customary
+manner, its gracefully curved mullions tend to flow up and down and
+suggest the fibres of five great leaves standing upright side by side.
+
+ [Illustration: ROSE WINDOW, LINCOLN CATHEDRAL
+     Tracery unusual in that it does not radiate from centre.
+     Quantity of greenish grisaille used emphasises leaf-like design.
+     Thirteenth Century medallions in the tall lancets below]
+
+
+YORK
+
+To one approaching York by road, especially if coming by way of
+Scarcroft Hill, the ancient appearance of the town seems to translate it
+out of the Middle Ages. The dust-grey line of walls along the grassy
+banks that slope down to the moat, sweep far around in unbroken majesty,
+strengthened here and there by bastions or by a sturdy gatehouse. To
+complete the old-world picture, above the walls peep red-tiled gables,
+or occasionally the towers and spires of numerous churches, all
+dominated by the great bulk of the cathedral.
+
+Insignificant historically ever since the days when the city of Eboren
+was the capital of Britain, York is chiefly known for the use of its
+name in two prolonged struggles (fought out, however, on other fields),
+the one between the House of York and Lancaster, called "The War of the
+Roses," and the other the great contest lasting from 601 on till the
+middle of the fourteenth century to decide whether the Archbishop of
+York or he of Canterbury should be the Primate of England. York's
+unimportance in English history may be due partly to its situation too
+far north to have been in the heart of the constant struggle for power,
+and partly to the fact that it was so repeatedly ravaged by Danes and
+other invaders, the worst blow of all being when William the Conqueror
+gave all that neighbourhood such a dreadful harrowing that the lands
+from York to Durham laid untilled for nine years, and did not fully
+recover for centuries. Almost the sole exception to this unimportant
+_role_ was the seven years during which Edward I. moved the law courts
+to York and made it his royal capital. Fortunately for the city, its
+connection with the bloody struggle of the rival Roses was almost
+entirely confined to lending its name to one of the Houses, for this
+great drama was chiefly enacted to the south of it. Although the other
+famous contest to which we alluded, and which dragged its weary length
+through nearly eight centuries, had to do only with ecclesiastical
+predominance, yet it exercised a potent influence upon the destinies of
+the generations it concerned. It is impossible to obtain a realising
+sense of men and events in the Middle Ages unless one takes into account
+the tremendous force, and that, too, a militant one, exercised by the
+great ecclesiastics. A striking example is provided by Archbishop Scrope
+of York, who aspired so high that he rebelled against his king and was
+only defeated after the strenuous campaign described in Shakespeare's
+"Henry IV." He was executed at York in 1405. We remarked another
+example at Canterbury in the bloody ending of a Becket's attempt to
+brave Henry II. Because he was Archbishop of Canterbury and opposed to
+the king, it is not surprising to find that the contemporary Archbishop
+of York, Roger Pont l'Eveque, was a staunch adherent of Henry. It was
+this very Roger who, in 1176, precipitated one of the many disgraceful
+rows that besmirched this struggle for the Primacy. The Papal Legate was
+presiding at the Council of Westminster, and a Becket's successor,
+Richard of Canterbury, was seated on his right. Roger came in late, and,
+declining to accept any but the most honoured seat, sat down on
+Richard's lap, whereupon a brawl ensued, ending in Roger's discomfiture.
+Pitiable as was this scene, at least it was less disastrous to the
+people at large than many another episode of this tedious and
+acrimonious struggle, finally ended by the Bull of Pope Innocent VI.,
+designating the Archbishop of Canterbury as the Primate of all England.
+
+York is by all odds the most important of all English glass
+centres. Although one often finds occasion elsewhere to curse the
+glass-destroying Puritan, at York it must be admitted that the presence
+of so many ancient windows is due to the control exercised by Fairfax
+over his Parliamentary troops after a successful siege of the place. He
+well deserved the butt of sack and tun of French wine voted him by the
+Corporation in recognition of his efforts in restraining the misguided
+enthusiasm of the soldiery. Indeed, his action here almost atones for
+the devilish tricks at Canterbury of "Blue Dick" Culmer.
+
+Even the most casual observer, and one entirely unlearned in our
+beautiful art, cannot fail to notice how large an amount of wall-space
+is given over to ancient glass in York Minster. As a matter of fact it
+covers an area of more than 25,000 square feet, easily double that in
+any other English cathedral, and challenging comparison with any in
+the world. Nor are the examples confined to one epoch, for there are
+fragments of Norman mosaic medallions in the great transepts and the
+vestibule of the chapter-house, Early English in the "Five Sisters" and
+along the nave clerestory, Decorated in the nave and chapter-house, and
+Perpendicular in the choir. Not only are these examples plentiful, but
+they are of the first order. Entering by the door at the southern end of
+the great transepts, one is at once confronted by the five tall lancets
+opposite him in the north wall, filled with the most deliciously soft
+greyish green grisaille. Of their type there is nothing in the world to
+approach them for beauty. From where we stand the lead lines used in
+construction do not exist as lines, but melt away into a dainty film,
+like dew on the grass at morn. This set of lights is gracefully
+grouped, and is known by the pleasantly familiar title of the "Five
+Sisters." Many fanciful tales are told of when and where they were
+constructed and how they received this name. Dickens in his "Nicholas
+Nickleby" relates an engaging legend to explain how the design and the
+name were provided for them. That this legend has no basis in fact
+should not make us forget that his narrative has doubtless caused many
+of his readers to visit these windows--a most excellent justification.
+Dickens tells of five maiden ladies having worked upon a large piece of
+embroidery and how, years later, when four of them met together in York
+(the youngest, Alice, having been buried in the minster's nave), "They
+sent abroad, to artists of great celebrity in those times (Henry IV.),
+and having obtained the church's sanction to their work of piety, caused
+to be executed in five large compartments of richly stained glass, a
+faithful copy of their old embroidery work. These were fitted into a
+large window until that time bare of ornament; and when the sun shone
+brightly, as she had so well loved to see it, the familiar patterns were
+reflected in their original colours, and throwing a stream of brilliant
+light upon the pavement, fell warmly on the name of Alice." Those of our
+company who are by nature critical may point out that the windows date
+from the thirteenth century, not from the reign of Henry IV., and also
+that they contain grisaille, not colour, and further, that being at the
+end of the north transept, they could not very well throw a stream
+of light into the nave! The writer urges leniency of criticism, but
+nevertheless, one is forced to the melancholy conclusion that the great
+Dickens could never have delighted his eyes by this splendid glass, else
+he could not have made the windows coloured, or placed them in the
+nave! As for the four surviving sisters, they are certainly open to the
+severest censure in that they sent abroad for stained glass during the
+reign of Henry IV., because there was then the highest development of
+the art in England, and its product could not be approached by that of
+any foreign contemporaries. Close inspection discloses the design of the
+leads to be that of a graceful adjustment of the foliage of the benet
+plant. At the bottom of the central light is observable a panel of
+highly coloured mosaic glass. The glazing of the five small lancets
+above is modern. We must turn to the nave to see the rest of the Early
+English glass, of which, however, only fragments remain. They are to be
+found along the clerestory, in all of its tracery lights on the south
+side except the third from the west, and also some in its lower panes;
+on the north side they are in the traceries of the second from the west,
+the next five east of it, and also in the lower panels of the fifth and
+seventh.
+
+ [Illustration: _F. Valentine, photo._
+ "FIVE SISTERS," YORK MINSTER
+     Softly-toned grisaille with delicate patterns in faint colour.
+     Of its type unsurpassed in the world. Note difference between
+     mellow strength of this glass and thinness of modern glazing in
+     upper tier of lancets]
+
+The church of St. Dennis, Walmgate, has attractive panels of early
+English glass dating from the latter half of the thirteenth century
+inserted in two Decorated windows on the north side of the church.
+
+An account of the Decorated glass at York will be found at p. 76, and of
+that of the Perpendicular at p. 185.
+
+
+
+
+DECORATED
+
+
+Before crossing the threshold into the two next periods (the Decorated
+and Perpendicular), it is worth pausing to notice that although
+architecture generally tends to elaborate as time goes on, the opposite
+was true in England during the two centuries of which we are about to
+speak. In fact, the work of the earlier of these two epochs obviously
+deserves the title of "Decorated" and the later does not. Its glass,
+too, is much more florid than its successor, and is far more ambitiously
+ornamental. It bears many bits of leafy foliage, twining vine tendrils,
+&c., all drawn as true to life as possible. Later these bits of flora
+are rarely used, and then only in a conventional and, therefore, less
+decorative form. In our introduction we have stated that in England, the
+arrival of the fourteenth century does not show the abrupt difference
+found in France between the light-obscuring mosaic glass of the
+thirteenth century and the fainter tints of the fourteenth, permitting
+the brighter interior then demanded. The explanation seems to be
+that the English, having been early forced by cloudy skies to use
+light-admitting grisaille (either alone, or combined with their early
+medallions) already enjoyed the proper illumination which, at the
+beginning of the fourteenth century, was so lacking in France as to
+bring about a cry for light at any cost. In place of the early
+fourteenth century glare that strikes one at Sees, Evreux, and in St.
+Ouen at Rouen, we have rich strong colour in their contemporaries at
+Tewkesbury, Wells and Bristol. Occasionally grisaille will be found
+pleasantly combined with small coloured scenes, as at Dorchester and in
+Merton Chapel, Oxford, but even then it seems much like a local survival
+of the thirteenth century tradition. So much for the difference between
+the English Decorated and the French fourteenth century windows. Now let
+us briefly consider what it was that succeeded to the mosaic medallion
+style seen at Canterbury, Lincoln, &c., and also what causes must have
+been at work to produce the change. About the end of the thirteenth
+century there chanced to be discovered a method of producing yellow
+which obviated the necessity of cutting out a piece of glass of that
+tint and laboriously leading it into the picture where needed, as was
+still obligatory if they wanted blue or red, &c. Some lucky glazier
+stumbled on the fact that if chloride of silver be put on a sheet of
+glass it would, when exposed to the fire, produce a handsome golden
+stain, and that only at the points to which it was applied. Many
+stories are related to explain this discovery, but as they are all more
+pleasing than convincing, it seems best to credit Dame Fortune with this
+valuable assistant to the glazier. It is obvious that this facility in
+staining a touch of yellow just at the point desired by the artist was
+eagerly seized upon. He at once made use of it to decorate the robes of
+great personages, or to brighten the hair of women and angels, as well
+as to liven any bits of stonework necessary to his drawing. It made
+possible the development of an unimportant detail in the earlier windows
+into the perfected result called the "Canopy window," which we shall
+learn to know as a most useful and satisfactory combination of
+decoration and serviceability. It will be remembered that from the
+earliest times there frequently appeared above the heads of saints
+certain conventional coverings meant to indicate an architectural
+shelter. Upon the arrival of the Decorated period this detail became
+more complete, the roof being fully depicted (although as yet in flat
+drawing, with no attempt at perspective) and columns added at the side
+to support it, thus completely enclosing the little figures in a niche.
+Here we have the first, or Decorated canopy, now complete in form
+although crude. It must be noticed, however, that these canopies,
+generally drawn to a small scale, do not attempt alone to fill the
+embrasures, and either are shown in bands across a ground of grisaille
+or occur alone surrounded by grisaille. Their architectural portion is
+of a strong brassy yellow, that colour being provided by pot metal glass
+leaded in. Now comes the next and final development. The discovery of
+yellow stain did away with the laborious need for leading in the yellow
+bits to simulate stonework, so the limit as to size of the canopy was
+removed, and at once they began to increase in dimensions. The obvious
+result ensued, each canopy was made to fill an entire lancet, its
+simulated stonework occupying as much surface as the enclosed figure,
+and we have the logical whole of a decorative colour panel within
+surrounded by a frame of lighter panes which admit the necessary amount
+of illumination. So satisfactory did this style of window prove that it
+persisted longer than almost any other type of glazing, and we must
+remember it is the discovery of yellow stain that we have to thank for
+making this result possible.
+
+During the period we are now considering, the canopy was, of course,
+rather crude, in fact it looked more like a sentry-box than anything
+else. There was as yet no pedestal beneath it, and the pinnacles at the
+top showed entire ignorance of perspective, as well as of drawing in
+relief. During the Perpendicular period that followed, they did little
+but elaborate this canopy idea, combining and softening the colours so
+as to prevent jarring contrasts, and generally much improving the
+logical combination of a coloured central portion surrounded by
+light-admitting canopy framing. Without the use of yellow stain all this
+would have been difficult, if not impossible, for without the little
+touches of gold livening the grey stonework these canopies would have
+been dull and unconvincing.
+
+Nor was this the only novelty in the method of imparting colour to
+glass. They now began to enrich their palettes by coating one colour
+with another, thus getting a tint not before obtainable. For example,
+red on blue gave a rich purple, blue on yellow a fine green, &c. This
+was effected in a very simple manner. Suppose the glass-blower wanted a
+purple--he dipped his pipe into liquid blue glass, and started to blow
+his bubble. When it began to take shape he dipped the small bubble into
+liquid red glass and then finished his blowing. This last dipping of
+course coated the outside of the blue bubble with red, and when it was
+completely blown, cut and opened out, it produced a sheet which was red
+on one side and blue on the other. Held up to the light, the red and
+blue combined to produce purple. Nor did the glass-blower confine
+himself to combinations of two colours, for the writer knows of an
+instance in France showing six superimposed coats. The French call this
+"verre double" (or lined glass), a very descriptive name. In passing we
+may say that although this manner of colouring glass first reached
+prominence during the Decorated period, it was but an elaboration of the
+way the ruby or red glass had always been made, _i.e._, coated on to the
+colourless glass.
+
+We have said that the earlier canopies did not have pedestals below
+them. This lack was soon noted, and the need was felt for something to
+complete them below; the first expedient hit upon for this purpose was
+shields gay with heraldic tinctures. Not only were these decorative, but
+we shall learn at Tewkesbury and Gloucester how valuable they have
+proved to be in enabling those learned in heraldry definitely to date
+windows whose histories have long since been forgotten.
+
+It must not be overlooked that the architect had much to do with the
+development from the mosaic to the canopy style. He decided to change
+from the wide single windows that one sees at Salisbury, and to
+substitute for them groups of narrower lights separated only by slender
+stone mullions and all bound together at the top and tapered off by a
+pyramid of smaller openings called tracery lights. These latter will be
+particularly enjoyed by the glass-lover while studying this period, for
+the Decorated glazier was singularly happy in his treatment of these
+smaller panes--much more so, in fact, than his successor of the
+Perpendicular era, who was obliged to conform to the stiff little
+pill-boxes provided for him by the architect. The use of vines and
+leaves was of great assistance in this problem of treating small
+irregular openings; nor were these the only motives--at Wells there is a
+very happy use of busts filling small trefoils.
+
+Besides the canopy treatment, the English glazier of the Decorated
+period was very fond of the Tree of Jesse theme, and, as is usually the
+case with congenial tasks, obtained most satisfactory results. He used
+it to great effect in his broad windows made up of several narrow
+lights, separated by slender mullions. The very shape of these windows
+invited this design, because a separate branch of the vine bearing its
+little personages could be run up each lancet without disturbing the
+coherence of the picture. The men of that time used the Tree of Jesse
+nearly as much as did their fellow craftsmen across the Channel during
+the sixteenth century. In France the descendants of Jesse almost always
+appear as blossoms on the vine, but their earlier English prototypes
+usually stand in small cartouches formed by convolutions of the vine.
+This brings us to yet another reason why the Decorated glazier liked the
+Tree of Jesse. We have already stated that he was much given to
+introducing leaves, tendrils, &c., done in the natural manner, which, of
+course, made him entirely at home in delineating the great vine rising
+from the loins of the Patriarch. What success he achieved with this
+style of window we shall judge for ourselves at Ludlow, Bristol, and
+Wells.
+
+A convenient touchstone for deciding whether a window belongs to this or
+the next period is provided by an examination of the manner in which the
+artist executed his shading. It was smeared upon Decorated glass, and a
+close inspection will reveal the streaky lines. During the Perpendicular
+epoch the shading was stippled on with the end of a brush.
+
+To recapitulate, the distinctive features of the Decorated epoch may be
+enumerated as follows:
+
+     1. Windows of several lancets, with tracery lights above them.
+     2. Decorative treatment of tracery lights.
+     3. Yellow stain.
+     4. Coated glass (several layers of different colours).
+     5. Deep rich colouring.
+     6. Canopies.
+     7. Use of leaves, vines, &c., copied closely from nature.
+     8. Tree of Jesse windows.
+     9. Shading which was smeared on.
+
+
+DECORATED TOUR
+
+Our Decorated tour will lead us far afield through the western part of
+the beautiful English country. At the end of the Early English tour we
+found ourselves in the interesting walled city of York. There we shall
+also begin our study of the succeeding, or Decorated, period. We shall
+next strike across to Norbury, in Derbyshire, then on to steep-streeted
+Shrewsbury, and thence down through Ludlow with its church and ancient
+castle, and stately Hereford beside the Wye to Tewkesbury, and its
+ancient neighbour Deerhurst. Gloucester will be passed _en route_, and
+then west to smoky Bristol, where the Severn meets the Bristol Channel.
+From Bristol it is only a short trip south to Wells, then down to
+Exeter, followed by a long one northeasterly to Saxon Dorchester, a few
+miles from Oxford. This tour will end in that famous university town,
+where, in like manner to the ending of the last tour in York, we shall
+find ourselves able to begin the inspection of the next, or
+Perpendicular, glass, without leaving the city.
+
+
+YORK
+
+An account of the Early English glass at York will be found on p. 57.
+
+The Decorated glass in the cathedral is almost entirely confined to the
+nave and the chapter-house (with the vestibule leading thereto).
+Notwithstanding their early date, the nave windows are large and afford
+more illumination than one would expect at that time. So much wall-space
+is used for light apertures that of the entire height of ninety-nine
+feet only thirteen feet of stone intervene between the bottom of the
+clerestory windows and the top of the main arches. All this portion of
+the edifice is dominated by the great west window, given by Archbishop
+Melton in 1338, a splendid sheet (fifty-six feet by twenty-five feet) of
+highly coloured glass, supported by curvilinear stonework. Its eight
+lights retain their original glazing almost intact (as does also the
+head of the door below). It is skilfully fitted to the elaborate pattern
+of the supporting stone frame. First there is a row of archbishops, then
+one of saints, and highest of all a line of smaller personages. The
+
+[Illustration: MAP OF DECORATED TOUR]
+
+windows in the west wall at the end of each aisle are of the same
+period, and also display excellent workmanship, especially the
+Crucifixion in the northern one. It should be remarked that all the
+aisle embrasures but two, and all those of the clerestory but two,
+retain their original glazing, and if to this we add the windows in the
+west wall just described, it is clear that Winston was right in stating
+that this nave contains the most perfect and extensive remains in
+England of the early part of the fourteenth century. His studious
+heraldic analysis of the first window from the east in the north aisle
+yields him the conclusion that it was made in 1306 or 1307. He remarks
+that the yellow stain there used to tint the hair of one of the
+personages is the earliest instance he ever found of the use of that new
+colour. Next this on the west is a very charming window given by Richard
+Tunnoc, Lord Mayor of York, who died in 1330: above his effigy appears a
+small reproduction of this gift window. This is perhaps the finest of
+its type in England. It was in honour of the Bell-Founders' Guild, and
+is appropriately ornamented by numerous bells in the borders as well as
+other parts of the design. For the rest of the Decorated glass we must
+go to the chapter-house and the vestibule which leads thereto. It would
+be difficult to find a spot in which one becomes so thoroughly imbued
+with the feeling of Decorated glazing as in this vestibule. Here we
+have no distracting features from other periods. The tall, slender
+lancets that light this L-shaped hallway are completely filled with
+grisaille overrun with archaic figures and crude canopies, here
+displayed to the greatest advantage. Passing through to the handsome
+octagonal chapter-house, we are at first disappointed to notice that the
+window facing us contains modern glass. Although this first glance is
+unfortunate, one is soon consoled by observing that all the other six
+have excellent Decorated glazing of the time of Edward II. and III.,
+showing four bands of late medallions in colour drawn across a grisaille
+background livened with occasional touches of red and blue. The
+grisaille here leans to grey rather than to the usual greenish hue, and
+moreover, the quarries are cut into irregular shapes, thus relieving the
+monotony of the commoner diamond-shaped panes.
+
+ [Illustration: _F. Valentine, photo._
+ CHAPTER-HOUSE, YORK MINSTER
+     Note the grouping together, in each embrasure, of five narrow
+     lights below gracefully elaborated tracery openings. Later on,
+     in the Perpendicular period, these traceries lose their
+     individuality, become stiffly regular, and part of the window
+     below]
+
+Even if the vast Minster were not one of the world's greatest
+treasure-houses of glass, the many smaller churches of York would
+provide ample grounds for its being included in this book of tours. So
+numerous are these churches that, in several instances, there are found
+to be more than one dedicated to the same saint, and therefore the
+pilgrim will do well to note carefully the name of street or gate placed
+after that of the saint's to indicate which one is intended. The most
+interesting of these modest shrines is All Saints' (or, as it is
+sometimes called, All Hallows'), in North Street. It alone is well worth
+a visit to York. Not only is its Decorated glass in excellent repair and
+in satisfactory quantity, but it evidences such careful attention to the
+little touches which make a window successful that one concludes the
+best artists must have been employed in its manufacture. For example,
+the canopies in the eastern embrasure of the north aisle have pedestals
+beneath them, a most unusual feature at that early date. Furthermore,
+the scenes from the life of the Virgin are depicted in a very careful
+manner, not only appearing in the three lancets below, but in the three
+major lights of the traceries above, although not there surrounded by
+canopies as below. Older than this window, but also typically Decorated,
+is that at the east end of the south aisle. The brassy tint is more
+noticeable in the canopies which run in two bands across its three
+lancets, and the canopies themselves are cruder in drawing than those
+just described, but are excellently illustrative of their period. These
+two windows are assisted in their service of beauty by the fact that the
+embrasures about them are not burdened with modern mistakes, but were
+glazed during the Perpendicular period. Reference will be made to this
+later glass further on (_see_ p. 188); although much more famous than
+its earlier neighbours, it is not a whit more satisfactory. These two
+sets contrive to set each other off in admirable fashion, and together
+they effect a delightful illumination for this interesting church.
+
+St. Dennis (Walmgate) has already been mentioned for its two Early
+English panels (p. 63), but its chief interest lies in the really fine
+Decorated remains. On entering you will not long be detained by the
+fragments of Perpendicular canopies that are gathered into parts of the
+central eastern window and two other embrasures, but will pass on to the
+north aisle. The three most easterly windows in the north wall taken
+with the eastern one of that aisle provide an excellent exposition of
+the glazier's art during the epoch we are now considering. The eastern
+one has a fairly well preserved Tree of Jesse, filling all of its five
+lancets, except just along the lower sill. Note the green vine and the
+use of many green leaves. Turning to the three lights in the north
+wall we find the usual brassy canopies against a quarry background,
+surrounded by a coloured border. The traceries, too, show the most
+approved treatment of leaves, green vines, &c., as well as some small
+heads. The diminutive kneeling donors on the quarry-panes below are very
+interesting; note the pendent sleeves, and especially the tiny gift
+window held up by one of these little people. It is upon the central
+lancet of one of these windows that we find the two Early English
+panels.
+
+St. Martin-cum-Gregory boasts of ten windows of Decorated work, mostly
+small brassy canopies enclosing coloured figures, all placed upon a
+background of quarries. The best is that at the east end of the south
+aisle; across its three lancets is carried a row of canopies larger than
+then generally drawn--in fact, the space usually occupied by quarries at
+the upper parts of the lights is here pre-empted by the lofty pinnacles
+of the canopies; the quarries appear below, as usual, and upon them in
+the two outer lancets are the small kneeling donors. Under the centre
+canopy is St. Martin dividing his cloak with a beggar, and above in the
+flowing tracery lights are kneeling angels. This window is rendered
+especially brilliant by the generous use of red in the backgrounds.
+There is also some unimportant Perpendicular glass in this church (_see_
+p. 185).
+
+
+NORBURY
+
+Tucked away within the Peak of Derbyshire there is a "Happy Valley"
+wherein, embowered in green woods and pleasant pastures, lie Chatsworth
+and Haddon Hall, well known to and well beloved of all industrious
+tourists. Sweeping around this valley as a protecting wall are rolling
+hills, whose bare summits have their sombre treeless austerity clothed
+by a mantle of purple heather. Not very far to the south of this
+protecting girdle lies a little group of houses called Norbury, nestled
+alongside a leaping stream that comes down from above. In the midst of
+this hamlet stands a small church which knows not the industrious
+tourist aforesaid, but to which we counsel the enlightened and eclectic
+pilgrims of our company to repair. The chancel here is a delicious
+morsel preserved for us out of the fourteenth century, complete,
+enchanting. In its midst are stationed two splendid marble tombs, one
+double, and both of the most exquisite workmanship. Upon them are
+stretched the life-size effigies of the deceased, while along the sides
+are sculptured in high relief angels supporting shields. Around the
+walls runs mellow wood panelling, set off by carved oak stalls of great
+beauty. To complete the picture the many windows which light the chancel
+contain some of the finest Decorated pattern glass in England. Nor does
+the quantity of it yield in any respect to the high quality. There are
+four three-lanceted windows on each side, while a larger one of five
+lights completely fills the eastern end. In those few parts of the
+surface which have lost their original glazing, no attempt at modern
+restoration has been made, but the space has been quite simply filled
+with white glass. Across the pattern of the east window have been drawn
+two bands of very light-hued figures (lacking the usual canopies) and
+harmonising agreeably with the decorous tints of the background. Labels
+appear above the heads. The figures in the upper row are slightly larger
+than those below. Turning to the side windows, nothing of their type
+could be more attractive than the graceful grisaille patterns pricked
+out with points of colour and surrounded by broad borders which, in
+diminished scale, are carried up, into and around the tracery lights.
+Very satisfactory use of blue is made, and that, too, in an unusually
+free manner. The heraldic blazons placed upon the panes add materially
+to the charm of the glazing, and in very decorative fashion preserve the
+names of the donors. Although a special emphasis has been deservedly
+laid upon this altogether lovely chancel, the pilgrim must not leave the
+church without a peep into the diminutive chapel that opens off to the
+south. Here we shall see a cross-legged Crusader lying in effigy upon
+his place of last repose. The light that falls upon him streams through
+two small windows, one on the east and the other on the south, both
+having three lancets. These lancets each contain a saint framed in a
+Perpendicular canopy, while below, in the center, an armorial shield
+separates two kneeling groups of donors. The southerly window shows the
+father with two sons on one side, and the mother similarly attended by
+her daughters on the other; while on the easterly lancets the father is
+accompanied by no less than eight sons and the mother by five
+daughters--a goodly company, and one which would have alarmed the
+philosopher Malthus. Note the steeple head-dresses of the women, pendent
+behind. "Tell it not in Gath" that this charming sanctuary lies hidden
+away in Derbyshire, come away privately with us and enjoy its beauties
+undisturbed--"Odi profanum vulgus et arceo."
+
+
+SHREWSBURY
+
+     _"High the vanes of Shrewsbury gleam
+     Islanded in Severn stream;
+     The bridges from the steepled crest
+     Cross the water east and west._
+
+     _The flag of morn in conqueror's state
+     Enters at the English gate;
+     The vanquished eve, as night prevails,
+     Bleeds upon the road to Wales."_
+
+So sang the "Shropshire Lad" (A. E. Housman) concerning that fair city
+of the Welsh Marches, high-perched Shrewsbury. Most picturesque is the
+fashion in which the river Severn knots itself about the foot of the
+high peninsula upon which the town has been built, and to which access
+is given by the two ancient bridges, named English and Welsh from the
+direction in which they lead. The Kirkland Bridge is an addition of
+modern times. Thoroughly mediaeval is the impression one receives as he
+approaches and enters Shrewsbury. In the first place, the passage of a
+bridge always affords an excellent adjustment of the traveller's mental
+attitude; it lends a certain aloofness to the town on the other side.
+It seems to say, "We are letting you across the natural barrier
+established for us by this river; but remember, it is a privilege, and
+not a right!" Directly we are arrived on the other side, there commences
+the ascent of the steep streets, and on the way up there is unfolded
+before us a series of old white and black half-timbered houses, which
+will serve to complete the mental picture of those distant days when
+protecting rivers and steep streets were not eschewed on the grounds of
+inconveniencing the city's prospective growth. Safety was then vastly
+more important than commercial convenience. That features hampering to
+modern commerce were exactly suited to a border stronghold was proved by
+the way this town withstood shock after shock of warring tribes, or
+nations, or factions. In his play of _Henry IV._, Shakespeare tells how
+the Prince of Wales here made his sudden transformation from dissolute
+youth to resolute manhood by defeating and slaying Harry Hotspur, thus
+in one day quelling the mutinous combination of the Scotch, the Welsh
+under Owen Glendower, and the rebellious English Archbishop Scrope of
+York. Quaint and ancient to the last degree is the flavour of this old
+city, which has owned, first and last, thirty-one charters. Those
+interested in half-timbered dwellings will do well to come here and
+inspect their number, variety, and excellent state of preservation.
+Perhaps the best are around Wye Cop, passed on the way up the steep
+streets. The remains of the ancient castle and walls add still other
+picturesque features to this artistically noteworthy town. An inspection
+of St. Mary's Church brings home to us the fact that as this was a
+fortress city, ground could not be spared to provide the usual Close
+which so pleasantly surrounds most English churches; in fact, this
+modest sanctuary is so set upon by other buildings that it seems almost
+to shrink from public gaze. An outpost occupying a strategic position on
+an embattled frontier required every foot of ground within its walls,
+and could devote no space to artistic surroundings, even for a church.
+St. Mary's is very rich in glass, and that, too, of varied epochs and
+styles. Fortunately alike for that church and for us, the Rev. W. G.
+Rowlands (Vicar from 1825 to 1850), was a discriminating collector of
+stained glass. He secured not only the great St. Bernard window (of
+which we will speak later), but also much of the other glass that
+decorates the interior. We will begin our examination by inspecting the
+large east window, which displays a fourteenth century Tree of Jesse in
+the usual Decorated manner, of which we shall see prototypes at Ludlow,
+Bristol, and Wells. Jesse is reclining across the bottom of three of the
+lancets, the convolutions of the vine arising from him forming series
+of oval enclosures in which appear his descendants. Note the skilful use
+of the leads in providing the black outlines needed to draw the figure
+of Jesse. In the row of panels below appear small figures of the donors.
+The fine reds and blues are hurt by the use of too much green--a common
+fault at that time. We must look to the nave windows (all of three
+lancets) for the other glazing of that period. The middle embrasure on
+the northerly side is beautified by the tasteful use of written scrolls,
+which wind about the figures and the columns of simulated architecture.
+Scrolls are also used in the next one to the east, but there they are
+not so important a part of the decoration. On the southerly side of the
+nave the embrasures nearest to the west and to the east have single
+figures in canopy. That to the east displays shields below the figures,
+a decoration which is absent in the western one. The central window on
+this side dates from the sixteenth century, and is the best of that
+period here. It contains three subjects in each side lancet, and two in
+the central one. Such intelligent use has been made of the leads that
+one concludes that the men who made the designs, and they who
+constructed the window, were either identical or else worked side by
+side. The result forms a pleasing contrast to the usual disregard during
+the Renaissance for the decorative and useful purposes of the leads.
+The most interesting and pleasing of all the windows is the large one of
+three lancets on the north side of the choir showing fourteen scenes
+from the life of St. Bernard, six in the central lancet, and four in
+each of the side ones. Four more episodes from the same life are to be
+seen in the middle one of the south aisle. This glass, originally in the
+German Abbey of Altenberg, and then for many years in the vaults of St.
+Severin at Cologne, was finally brought to London, where it was secured
+for St. Mary's by the Rev. Mr. Rowlands. The designs are attributed to
+Albrecht Duerer, but this is a common claim for German glass of that
+time. The perspective throughout is good, and the colouring very
+satisfactory. An unusual charm is added to the little figures by the use
+of Latin labels issuing from their mouths. There are also inscriptions
+below most of them, but these are frequently mutilated and misplaced. If
+proof were needed that this glass was not specially constructed for its
+present location, it is provided by the fact that the scenes do not
+follow in their proper order. A field-glass can be had on application to
+the clerk, and the use of it reveals many interesting and amusing
+details. The second window on the east in the chapel, south of the
+choir, has in its tracery-lights written music carried by angels. The
+pilgrim will later observe a great deal of this in the Beauchamp
+Chapel at Warwick. Although rare in England, it is rarer still in
+France. A fine sixteenth-century Crucifixion scene, covering three
+lancets, decorates the north window just off the north transept.
+In the modest-sized east window of this transept are twelve small
+sixteenth-century enamel panels placed on white, a demonstration of yet
+another style of that later period. The rest of the glazing in St.
+Mary's is either modern or so completely repaired with new glass as to
+have lost all its ancient feeling. An inspection of this church would
+not be complete without observing the fine wooden ceilings of both the
+nave and the choir.
+
+Devotees of the Ingoldsby Legends will remember that when the Great Dog
+in the castle of "Bloudie Jacke of Shrewsberrie" was about to seize upon
+Mary Anne, she vicariously appeased him with:
+
+     "A Shrewsbury cake, of Pallin's own make,
+     Which she happened to take
+     Ere her run she begun,
+     She'd been used to a luncheon at One."
+
+Mindful of this dainty's historic existence, the traveller will
+doubtless regale himself therewith, that product of the town being as
+excellent and famous to-day as ever it was of yore.
+
+From Shrewsbury our route lies southward over that centuries-old
+battle-ground, the Welsh Marches. We shall find not only much
+architectural beauty and fine glass, but also many inspiring memories of
+the border warfare whose bitterness lasted so many centuries.
+
+
+LUDLOW
+
+Perched high in a strong position at a bend in the River Teme rises the
+noble ruin of what was once the castle of Ludlow, visible from quite a
+distance, no matter from which direction one approaches it along the
+winding Shropshire lanes. It still retains enough of its ancient walls
+and towers to demonstrate what valiant service it must have rendered in
+keeping the turbulent Welsh back on their own side of the Border. Nor is
+the note of war the only one that echoes from the early history of this
+castle, for in its great hall was enacted for the first time Milton's
+"Comus." After a brief visit to the castle let us wend our way to St.
+Lawrence's Church in the town, for which an effective and judicious
+restoration has revived much of its original charm. A diverting legend
+relates that the arrow at the top of the north transept gable was shot
+hither by Robin Hood from the Old Field two miles away. Although many of
+the parishioners devoutly believe this to be true, it strikes the modern
+traveller that the great outlaw must on that occasion have drawn a very
+"long bow"! The ancient appearance of the fine hexagonal porch with the
+room above it makes a most inviting entrance. We shall find our glass
+in unusual parts of the church, nor is this the only unique feature
+of the edifice. The Lady chapel is not at the east, but at the south
+side of the chancel; in it is an interesting Tree of Jesse in the
+approved Decorated method, very like the one we have just seen at
+Shrewsbury. Unfortunately, the restorer has here been too thorough, but,
+nevertheless, the pattern has been preserved, and also many of the
+figures, for example, those just above the head and feet of Jesse.
+He lies recumbent along the bottom of three of the five lancets
+which compose the window, while above, in compartments formed by the
+convolutions of the vine, are his descendants. In accordance with the
+common practice, too much green was used. Although the chancel does not
+as usual afford the greatest attraction in the way of glazing, we must
+observe an interesting fifteenth century window in the middle of the
+southerly wall. Its five lancets each contain three tiers of figures in
+canopy, the details of which are much elaborated, especially in the
+pedestals. Notice also the jewelled borders to the robes. The red and
+blue glass is free from obscuring paint. Although our principal object
+was the Decorated glass, this church would repay a visit because of the
+Perpendicular glazing of the chapel of St. John which lies north of the
+chancel, from which it is shut off by a beautiful fifteenth century
+screen. The two most easterly windows in the north wall are much lower
+in tone than either the very golden Annunciation which adjoins them on
+the west, or the red, white and blue legend of Edward the Confessor and
+the Palmers, which is round the corner in the east wall. This latter
+dates from about 1430 and has two tiers of canopies across its four
+lancets. There is here illustrated an absurd contradiction into which
+this originally graceful style was developed;--within one of its
+elaborately pinnacled shrines we find a ship! and under another a rural
+scene with trees! most out-of-place substitutes for the customary and
+appropriate saint. Let us return to the two low-toned windows in the
+north wall, of which we have just spoken. The writer does not remember
+ever having seen any similar to them. Each embrasure has three lancets
+subdivided horizontally at the middle, making six spaces. The two
+windows thus afford twelve panels, which are used to display the Twelve
+Apostles. Local tradition says that there is here represented the
+Council at which the Apostolic Creed was composed. Each holy man sits on
+a bench behind a rail, but as they are drawn to a modest scale and
+occupy each the centre of his panel, they are thereby so far removed
+one from the other as to destroy utterly any appearance of a Council.
+There is a great deal of soft-hued architecture throughout, but it is
+used as background and not as a frame, thus differing radically from
+typical canopies. A more satisfactory result would have been attained if
+they had adhered closely to contemporary tradition, for here the
+figures, low-hued as they are, start out too abruptly from the
+over-spacious architectural background. The general effect is not that
+of a series of gracefully framed Apostolic portraits, but of lonely
+figures seated in empty halls. If for no other reason than that they
+have provoked this criticism, these windows should be carefully
+remarked, because they demonstrate how sound was the theory of employing
+the architectural canopy as a light-admitting frame for the coloured
+central figure. The east window of the south transept contains fragments
+of fourteenth and fifteenth century glass from other parts of the
+church. The wooden ceilings are well worthy of inspection.
+
+
+HEREFORD
+
+A very charming feature of English country life is the pleasure one can
+derive from boating on the small rivers. Our American watercourses are
+generally too wide or too turbulent to become such a domestic pet as we
+all know the river Thames to be. To one who has not seen Boulter's Lock
+on a bright Sunday, or who has never witnessed a Henley Regatta, that
+most brilliant of all athletic spectacles, it would be difficult to
+explain how thoroughly the Englishman enjoys and how constantly he uses
+the opportunity which Father Thames affords for a short outing. Nor is
+the Thames the only stream thus available. Small watercourses of the
+same sort are to be found all over the country, and afford delightful
+trips for those who are willing to travel in so leisurely a fashion. The
+writer remembers with the keenest pleasure certain canoe trips, one of
+three days from Bedford to Ely on the Ouse, another on the Stour, from
+Sudbury to Manningtree, lasting two days, and a third of similar
+duration from Petworth down the Rother into the Arun at Pullborough and
+thence to Arundel. All the preparation necessary is to buy your canoe a
+third-class ticket, put it into the luggage van at the railway station,
+and set out for the point at which you wish to begin. Jerome K. Jerome
+has immortalised a similar trip taken down the Thames from Oxford to
+London. One of the most charming of all English river journeys is that
+down the Wye. If one wishes to take a long trip, the start can be made
+at Hay, thirty-four miles above Hereford, or perhaps better at Whitney,
+twenty-eight miles above. The next stretch is from Hereford to Ross,
+twenty-seven miles, and, if desired, this can be lengthened by
+continuing on down to Monmouth, Tintern and Chepstow. The charming bits
+of scenery that unfold themselves as this little river lazily winds down
+the Welsh Marches are most varied and delightful. It must, however, be
+admitted that it is only the middle section of this agreeable trip that
+properly concerns one engaged in glass-hunting. We should, therefore,
+content ourselves with the stretch from Hereford to Ross, twenty-seven
+miles, if, indeed, we have the time to devote to this slow method of
+travelling. Over by the river end of the peaceful town of Hereford is
+the lovely green Close which lies about the sturdy reddish brown
+cathedral. Few churches, even those of great size, give such a square
+and solid impression as results here from the combination of the ruddy
+tones of the building material and the early type of its architecture.
+The defacing effects of an earlier restoration are being rectified by
+the erection of a new west front, now almost completed. The massive
+Norman columns that support the nave within, carry out in their grand
+simplicity the sturdy promise of the exterior. Every division of the
+church seems spacious, the ample transepts, wide choir aisles, and large
+Lady chapel, completing the effect begun by the nave and choir. Indeed,
+so commodious is the Lady chapel, that it is used as a parish church.
+The cathedral has a number of interesting possessions, chief among which
+is the large Mappa Mundi made in 1300, and showing the world as then
+known. It hangs in the south choir aisle. The world is represented as
+round like a plate, and in addition to the cities and countries marked
+thereon, there also appear the fabulous animals which were then a part
+of orthodox geography. It was about this time that there was written the
+adventures of that famous traveller, Sir John de Maundeville, whose
+voyages were only exceeded in extent by his imagination. His reports of
+fabulous beasts, &c., are in excellent accord with the pictures on this
+map.
+
+The ancient glass here is somewhat limited, and is all of the Decorated
+period. On the south side of the Lady chapel we shall remark two
+windows, chiefly glazed in greenish grisaille, but each bearing four
+coloured decorations placed one above the other. In one case these prove
+to be geometrical designs outlined in colour, while in the other they
+are small coloured groups, the topmost scene showing Christ, on a red
+background, pointing upward. Glass even more typically Decorated is to
+be seen in the eastern wall of the north-east transept, and again in the
+most easterly embrasure of the south choir ambulatory. These windows
+each contain four lancets surmounted by tracery lights, and in each
+lancet is a coloured figure framed in an unusually lofty canopy--in fact
+the latter is three times as high as the figure it encloses. Note the
+brassy tone of the early golden stain used in the architecture. Modern
+grisaille has replaced its ancient prototype, which, in accordance with
+the conventions, surrounded these early canopies to increase the
+light-admitting power of the embrasures. This glass was formerly in St.
+Peter's Church, but about sixty years ago that church disposed of it for
+L5 to a purchaser who presented it to the cathedral. Limited though it
+be in amount, it will repay a careful examination.
+
+
+TEWKESBURY
+
+As one wanders through the streets of quiet Tewkesbury, the
+half-timbered houses on every side lend it an Old World flavour that
+most suitably prepares us for the sturdy Abbey, the dignity of whose
+recessed west front is all in harmony with the mediaeval gravity so
+characteristic of the place. It is as if that eloquently silent edifice
+had never been able to shake off the sombre memories of the sanguinary
+scenes enacted within it May 4, 1471, when, after the defeat of the
+Lancastrians under the Duke of Somerset by Edward IV. in the "Bloody
+Meadow" just outside the town, the slaughter of the wearers of the Red
+Rose was not only carried on through the streets of Tewkesbury, but
+even into the Abbey itself. An echo of this butchery is heard in
+Shakespeare's _Richard III._, when the ghost of the murdered Prince
+Edward (son of Henry VI.) appears to King Richard the night before the
+fatal battle of Bosworth and cries out:
+
+     "Let me sit heavy on thy soul to-morrow!
+     Think, how thou stabb'st me in the prime of youth
+     At Tewkesbury."
+
+With what reproach must not that splendid row of fourteenth century
+knights, victors over the French at Crecy, have looked down from the
+windows of the choir clerestory upon this bloody violation of the rights
+of sanctuary by those fifteenth century butchers of the House of York.
+Indeed, these effigies of the earlier warriors were fortunate to have
+escaped those later desperate struggles. The ravages of war do not seem
+to have dealt so harshly with stained glass in this country as
+elsewhere. A learned French contemporary of these tragic events,
+Philippe de Comines, remarked this fact, and spoke of England as a land
+where "there are no buildings destroyed or demolished by war, and where
+the mischief falls on those who make the wars." Although Tewkesbury's
+fame in history rests largely upon its having been the theatre of this
+wild closing scene of the War of the Roses, it is not because of any
+fifteenth century happening that we are moved to come here, but by
+reason of the seven large windows of the preceding, or Decorated, period
+which fill the choir clerestory. This is one of the few instances where
+we shall remark the absence of the square eastern end so usual in
+England. It is here omitted in favour of the rounded apse then prevalent
+in France. Advantage has been taken of this unusual shape to throw out a
+series of chapels around the chancel, which add greatly to the beauty of
+the Decorated choir, and contrast sharply with the sturdy Norman nave.
+The seven large embrasures that light the choir clerestory each contain
+a group of lancets, five in every case, except in the most westerly
+pair, where there are but four. Although the design is the same
+throughout (a large figure in colour surrounded by a canopy frame),
+these frames are differently occupied, those in the westerly pair
+containing armoured knights, while in all the others are saints. The
+depth of their colour scheme is due partly to the great quantity of rich
+greens and reds used, and partly to the opacity of the panes depicting
+the canopies. The figures generally occupy about one half the window
+height, the rest being given over to the canopy. Below the feet of the
+knights are their shields, which serve to provide the artistic balance
+later obtained from pedestals. The same conventional attitude has been
+assumed for all these warriors; each stands with his feet well apart,
+his left hand on the sword by his side, the right hand on the hip,
+holding up a sceptre. The pinnacles of almost all the canopies are
+outlined against red backgrounds. Note the little rose windows
+introduced in the upper part of the canopies. The most easterly window
+provides a variation in that the enshrined saints are higher up on the
+panes, thus making room below them for small groups consisting mostly of
+naked figures, with flesh tints glazed in brown. The right-hand lancet
+shows six kneeling figures praying, doubtless the donors. The borders
+are carried up and around all the tracery lights, which are very
+Decorated in form and do not yet show any hint of the stiffer
+Perpendicular treatment to follow. Perhaps here more effectively than
+anywhere in England shall we feel the warm colour-value of Decorated
+glass, with as yet no tendency toward the paler tints that are to come
+with the Perpendicular style. A similar warmth of tone is to be remarked
+in the east windows of Bristol and Wells Cathedrals, and the writer is
+moved to conjecture that the same glazier had to do with all these
+three. This conjecture is not only based on the still undiminished
+strength of colour throughout them all, but also on the marked
+similarity in the drawing and tinting of a certain white vine decoration
+upon a red ground, to be remarked in the upper tracery lights of
+all three, and also in the traceries of certain transept windows
+at Gloucester. Whoever this workman was, we feel his results so
+satisfactory to-day that it would be small wonder if contemporary
+appreciation caused his employment in these different towns.
+
+ [Illustration: CHOIR, TEWKESBURY ABBEY
+     A rare example of rounded apse, generally replaced in England by
+     a square ended chancel. Chief charm of these windows is their
+     rich colouring]
+
+
+DEERHURST
+
+Possibly some of our travellers are proceeding in so leisurely a fashion
+that they may decide to sojourn a day or two in Tewkesbury. To them we
+address the suggestion that they visit the adjoining town of Deerhurst
+and see its venerable church. It is but a two-mile walk across the
+fields, or a pleasant trip by boat on the Severn. It may, however, by
+means of a small _detour_, be visited on the way to Gloucester. Although
+it can boast of but little Decorated glass, that little is lodged in an
+edifice of great interest, because it is the earliest dated one in
+England. The obviously Saxon architecture, with its "herring-bone" and
+"long and short" work, the window-tops composed of two slanting stones,
+or else of arches cut from one piece--these unmistakable signs would
+have told us that it antedated the Normans, but of such buildings there
+are many in this country. Here, however, we have an exact date given us,
+and, furthermore, the earliest known in all the land. A stone found here
+(now preserved at Oxford) relates that this chapel was dedicated in
+1056, and that Earl Odda caused it to be erected "in honour of the Holy
+Trinity and for the good of the soul of his brother, Elfric, which at
+this place quitted the body." It goes on further to say that "Bishop
+Ealdred dedicated it on 12th April in the 14th year of Edward King of
+the English." Two other early Saxon edifices of even more modest
+dimensions lie close at hand. The ancient glass is contained in the four
+small lancets of the west wall on the right as one enters, and is
+obviously of the Decorated period. The most attractive bit is the small
+panel showing St. Catherine framed in a canopy, holding her wheel in one
+hand, and revolving it with the other. The background is red within the
+canopy, but green outside, a very frequent adjustment at that time. In
+both the upper and lower parts of these lancets are groups of three and
+four kneeling donors, about eight inches high, with labels above them.
+This glass has not always remained in its original embrasures, but,
+fortunately, did not stray far. Its travels were cut short by a
+gentleman who purchased it for L5 from an antiquary's shop in a
+neighbouring town, and restored it to its early home. More important and
+more beautiful sanctuaries will be encountered in our travels, but it is
+well to have halted for even a brief time at this ancient Saxon fane, if
+only to ponder upon how tenacious must have been the traits of those
+early ancestors of ours, to have persisted to these modern days with
+such vigour as to have made the adjective "Anglo-Saxon" so significant.
+
+
+BRISTOL
+
+Bristol is connected with London by the Old Bath Road. What memories
+that name arouses of beaux and belles of stage-coach days, gaily
+chatting to while away the fifteen-hour trip from London to Bath, or
+furtively glancing out to see if bold Dick Turpin, or some gentleman of
+his profession, be not lurking in the shadows of the trees, intent on
+relieving the tired horses by lightening the passengers' luggage. This
+stage-coach period is of peculiar interest to visitors from across the
+seas, because it takes one back to old Colony days, and the War of the
+Revolution. In England the improved facilities of travel provided by the
+stage coach had much to do with advancing parliamentary government and
+doing away with the system of "rotten borough" representation in
+Parliament. Bustling and hearty days were those of the four Georges,
+which produced a Prime Minister like William Pitt. In this progressive
+era of railroad construction and stock manipulation, it is interesting
+to read how Richard Palmer besought the Government to establish a
+regular mail-coach service on the Bath Road, alleging the great profits
+they could thereby secure, but really hoping in this way to increase the
+profits of his theatre in Bath. After a long struggle he finally got the
+ear of William Pitt. The service was established, and his subsidy (which
+was to be regulated by the amount saved in carrying the mails) proved so
+large that they cut it down to the lump sum of L50,000! The first coach
+started on August 8, 1784. Nowadays it causes us to smile when we read
+of the tremendous effect produced throughout the country by the news
+that this coach left London at eight o'clock in the morning and arrived
+at Bristol at eleven the same evening! Such unheard-of speed aroused
+wide interest, and had much to do with the great success of Bath as a
+fashionable watering-place. Bowling along this historic road we shall
+only stop long enough at Bath to see the remains of the baths built by
+the Romans, and the famous Pump Room, the scene of the triumphs of Beau
+Nash, and many another. We may also take a peep into the small, but
+fine, church whose great window surface has earned for it the title of
+the "Lantern of the West." It will not detain us long because its glass
+is all modern, except in the second embrasure from the west in the north
+aisle, where seven shields surmounted by elaborately plumed helmets are
+agreeably disposed across the five lancets. On we go out of Bath and
+along the narrow valley of the Avon, twelve miles further to smoky
+Bristol, squatted like a puffing Dutch burgher at the point where the
+Severn empties into the Bristol Channel. Although the great shipping
+industry that gave the town its early importance has of late years
+diminished, it still retains enough to be an active port of trade. To
+some fanciful folk the pall of smoke that hangs over the town may seem a
+gloomy retribution for the fact that from the days of the Saxon and the
+Norman down to the abolition of slavery, Bristol was the greatest port
+in England for that nefarious traffic. Changing to a brighter subject,
+this was the harbour from which John Cabot, the Anglicised Venetian, and
+his son Sebastian (who was born here), sailed upon their voyages of
+discovery across the little-known Atlantic.
+
+The Mayor's Chapel contains some very interesting sixteenth century
+glass, but as it was bought abroad and fetched here, it has not, for us,
+the interest which we shall feel in the home-made Decorated windows of
+the cathedral. Bristol Cathedral lacks the pleasing setting of foliage
+and green lawns which one finds about almost every English church.
+Indeed, in this respect, it is more like the famous French ones, which
+nearly all rely upon architectural charm for their effectiveness.
+Inside, the chief matters of interest are the great Tree of Jesse which
+fills the east window, and the two large lights on each side of the
+chancel. These side windows are glazed in grisaille upon which are
+figures framed in canopy, two tiers, one above the other. The most
+westerly embrasure of the southerly pair has in its upper row three
+canopies which, taken together, show the martyrdom of St. Edmund. He is
+within the central canopy, while those on each side contain archers
+drawing their bows to shoot at him. The bent knees, the awkward pose of
+the heads, &c., show the drawing to be most primitive. The tracery
+lights are glazed in red, with white winding vines, and are remarkably
+like the traceries at Tewkesbury. The Berkeleys, who gave this glass,
+were related to the de Clares of Tewkesbury, so it is more than likely
+that they employed the same glazier. The great east window is in a very
+good state owing to its restoration in 1847 and is a graceful work of
+the Decorated period. The erudite Winston concludes that as it does not
+bear the arms of Piers Gaveston (murdered in 1312), and does show those
+of Humphrey de Bohun, Earl of Hereford (slain in open rebellion against
+his sovereign in 1322), the date of the window is probably about 1320,
+which furthermore is borne out by internal evidence. This great window
+rises above and behind the altar and has its nine lancets subdivided
+into three groups of three each by two mullions which, as was usual at
+that time, curve away from each other when nearing the upper part of the
+embrasure. Although the subject is a Tree of Jesse, the patriarch
+himself does not appear. The various branches of the vine rise
+perpendicularly from the lower sill and are then gracefully intertwined.
+The treatment of the personages is the same throughout, each being
+enclosed by a loop of the vine. The 1847 restoration was so well done
+that except for an occasional harsh note of colour in the robes, it
+conceals its modern substitutions quite successfully. The lancets each
+contain two figures, one above the other. It is fair to comment that the
+encircling vine is rather too light to harmonise well with the figures
+in the background.
+
+After descending the hill, crowned by the cathedral, we cross over into
+the other part of the town to see the fine church of St. Mary Redcliffe,
+where, although there is but little glass, that little is arranged in a
+unique manner. Each of the three easterly windows of the south transept
+consists of three lancets. For each window there is provided a border
+consisting of a series of fifteen small four-pointed openings fitted
+over it in the shape of an inverted U. The glazing of these stars
+reminds one of the ordinary Decorated treatment of tracery lights.
+Within a narrow border is a red field upon the centre of which appears a
+coloured boss from which radiate four leaves. The general effect is a
+yellowish green. These windows date from about 1360. On the way out let
+us stop in the north-west corner of the nave and notice in the north
+wall a window filled with a collection of about eighty-five roundels and
+heads, all helter-skelter, eked out with fragments from other
+embrasures. The effect, though motley, is interesting. A window in the
+westerly wall of this corner also contains _debris_, but here it is of
+figures and canopies. This church, called by Queen Elizabeth "the
+fairest, the goodliest, and the most famous parish church in England,"
+is chiefly known for having been the literary browsing-ground of that
+infant prodigy Thomas Chatterton, who announced that it was an old chest
+in its muniment-room that yielded what he alleged to be transcriptions
+from certain ancient Rowley manuscripts. So well were these forgeries
+contrived that it took Horace Walpole, himself the constructor of an
+imitation Gothic romance ("The Castle of Otranto"), to discover the
+fraud. Although but seventeen years old when he committed suicide in
+1770, Chatterton had already published a number of writings. No good
+American should depart without a glance at the monument and armour of
+Admiral Penn, father of our William Penn.
+
+It will be no small relief to emerge from the smoky pall which hangs
+over this enterprising city and escape again into the clearer atmosphere
+of the charming English country.
+
+
+WELLS
+
+Off in Somerset, snugly tucked away at the foot of the Mendip Hills,
+lies one of the most charming cathedrals to be seen anywhere, and, in
+the opinion of Fergusson, certainly the most beautiful in England. The
+fact that it has grouped about it more perfect ecclesiastical buildings
+than any other church of its size, and also that the town which grew up
+around is very interesting, combine to make Wells a peculiarly
+delightful place. The distant prospects of it are very attractive,
+whether you stand upon Moulton Hill and look toward its western facade,
+or view the eastern end with the group of adjoining buildings from the
+top of Thor Hill. Even when you have come down into the quiet town and
+the cathedral is near at hand, the approach to it continues to be most
+picturesque, first through a battlemented gateway in one corner of the
+market square, and then across a lovely lawn shaded by fine trees. The
+ample proportions of the rugged west front are saved from the appearance
+of excessive breadth because of the perpendicular lines lent by the
+buttresses built against it. A most attractive feature of this great
+facade is the unusual collection of carved figures beneath canopies with
+which, at the close of the thirteenth century, it was lavishly adorned.
+There are over six hundred in all, carved of stone from a local quarry,
+and originally gilded and coloured. Nearly all are of life-size, and
+represent not only Biblical characters, but also kings and queens of the
+Saxon, Norman, and Plantagenet dynasties. Within the building the scene
+is one of exceptional splendour and beauty. Even what elsewhere might
+prove ugly is here turned to artistic account, as, for example, when the
+stability of the great central tower demanded a strengthening arch
+across the nave at that point, it was rendered a decorative feature by
+placing above it another arch inverted so that the lines should sweep
+upward as well as downward. An odd and unusual position was selected for
+the chapter-house--above and to the north of the chancel--and nothing
+could be more delightful than the way in which the old stone stairway
+bends gently up to it. East of the chancel is a fine roomy Lady chapel.
+The entrance to this chapel is provided by the removal of the lower
+third of the east wall of the chancel, the middle third being stone wall
+with empty niches, and the upper third a great arched window of seven
+lancets containing a Tree of Jesse in the Decorated manner, above
+which, in the traceries, is shown the Judgment Day. This is known as the
+"Golden Window," and Canon Church calls it "one of the most remarkable
+in England for simplicity and harmony and richness of colouring, for the
+force of character in the faces, and the stately figures in flowing
+mantles of green and ruby and gold, like Arab chiefs; figures such as
+some artists in the last Crusading host under Edward might have seen and
+designed, and so different from the conventional portraiture of Bible
+characters." Although this window is less lofty than the similar one at
+Bristol, it does not seem so incomplete and cut off, because we have
+here the recumbent figure of Jesse across the bottom of the five central
+lancets, a feature lacking at Bristol. Another point of difference is
+that the convolutions of the vine do not here enclose the seventeen
+figures of the descendants, but instead they stand under canopies, of
+which, however, only the topmost ones have pinnacles. The broad borders
+have the same design throughout, viz., gold crowns alternated with
+colour, which changes from red to blue in each successive lancet. The
+backgrounds within the canopies also alternate red and blue, always
+contrasting with the colour outside. Almost all the small personages
+are draped in either green or yellow, and four have undergarments of
+red. Though their colouring is splendid, the figures are rather too
+crowded. The two most easterly lights on each side of the chancel are
+contemporary with the east window--they are each of three lancets
+and contain single figures, occupying about half the height of the
+embrasure, and have no pedestals below them. So similar is the treatment
+here to that at Bristol that it seems safe to assign the same date to
+both (1320). The tracery lights around the choir ambulatory still retain
+their Decorated glazing. To the right and left just before we enter the
+Lady chapel are single windows containing fragments of ancient glass.
+The Lady chapel itself is finely illuminated by five large windows of
+five lancets each containing figure and canopy work. One should remark
+the unique pedestals consisting of golden lions or bears surmounted by
+the characteristic ball-flower ornament. Very interesting, also, are the
+tracery lights, which consist of pyramids of small trefoil openings,
+four at the base, then three, then two, then one. They are reminiscent
+of the tracery lights of the Lichfield Lady chapel, but here the glazier
+has been more adroit in the use of his opportunities. Instead of putting
+a head alone in each opening, he has availed himself of the broader
+space at the bottom to put in the shoulders as well. These little busts
+adjust themselves admirably to the trefoils. Although the glass which
+once filled the octagonal chapter-house is all gone save that up in the
+traceries, those remnants are of interest because the disposal of the
+designs against the red backgrounds is reminiscent of the work at
+Tewkesbury and Gloucester. The great west window of the nave has
+seventeenth and eighteenth century glass at the sides, and in the centre
+a fine sixteenth century French panel showing the beheading of St. John.
+This bears the date 1507 and a Gascon inscription, and was bought by
+Bishop Creyghton during the time that he was sharing the exile of
+Charles II. on the Continent. This provokes the comment that not only
+is there a small amount of sixteenth century glass in England, but
+curiously enough much of it proves upon inspection to have been made
+across the Channel. Before leaving this noble interior one should notice
+a feature of quaint interest. In the south choir aisle stands the
+monument to Bishop Bytton (1524), long renowned for his cures of
+toothache. After his canonisation this tomb was resorted to by pilgrims
+seeking relief from that malady, and so famous were the cures that we
+find carved upon the capitals of piers on the west side of the south
+transept, and again in the north transept, little men whose sufferings
+from toothache are reproduced in the most detailed and dramatic manner.
+
+ [Illustration: "GOLDEN WINDOW," WELLS CATHEDRAL
+     Notice graceful setting, permitting a glimpse through into the
+     Lady Chapel beyond. The large Tree of Jesse rising from the
+     loins of the Patriarch is portrayed in colours of almost
+     barbaric richness]
+
+No matter by which road we leave Wells, one should look back more than
+once to enjoy the charming views of the cathedral and its Close.
+
+
+EXETER
+
+In travelling about England one is struck by how greatly the colour of
+the building-stone varies. One sees greenish grey around Tavistock in
+West Devon; golden brown in the country just north of Oxford;
+silver-grey in many parts of Yorkshire, &c. &c. One might continue to
+enumerate instances, but in the end the most marked of all would surely
+be the red seen about Exeter. Not only are many of the edifices built of
+this ruddy stone, but the earth in any ploughed field thereabouts shows
+the same unusual colouring. The Normans must have been struck by this
+fact, for they called the hill on which they built their castle
+"Rougemont." In view of this marked peculiarity of the Exe Valley, it is
+noteworthy that the exterior of the rugged cathedral, with its mighty
+transeptal towers, is blackish grey. Within, it shows the reddish hue
+which one would expect hereabouts, but outside is similar in tone to
+Westminster Abbey. If one be so whimsically-minded as to group
+cathedrals by colour, one must class Exeter with Peterborough as black,
+while Lincoln will be golden brown, York and Canterbury soft grey, &c.
+&c.
+
+Very fine as well as decorative glass is to be seen in this cathedral.
+It fills the east window, and another near it in the north choir
+clerestory, as well as a large window in each of the chapels that close
+the easterly end of the choir aisles. These charming little chapels are
+each reached by an entrance from the choir ambulatory, and are only
+separated from the Lady chapel between them by a light screen. The east
+window of the northerly chapel has five lancets, although the glass was
+seemingly made for one of six, the number which still exists in that of
+the southerly chapel. The treatment in both is the same, a handsome and
+well-balanced combination of quarry-panes relieved by gaily-tinted
+heraldic shields, and all surrounded by coloured borders. In the
+northerly chapel there has been introduced into the central lancet a
+Decorated panel, showing a kneeling chantry priest within a canopy
+praying for the donor. This appears to have been removed hither from the
+chapter-house, where there still remain a couple of similar panels. The
+two windows just described are excellent examples of one of the glazing
+methods of the epoch, while of still another style (the figure in
+canopy), equally good ones are above in the choir clerestory, the fourth
+from the east on the north side showing in each of its four lancets a
+figure under a canopy with a shield of arms at the feet. It is
+practically complete, except that the shields have lost their heraldic
+bearings.
+
+ [Illustration: EAST WINDOW, EXETER CATHEDRAL
+     Perpendicular stone frame glazed chiefly with very typically
+     decorated figure-and-canopy glass preserved from the earlier and
+     smaller window. Below and beyond appears the Lady chapel]
+
+The archives tell of a large purchase of glass in Rouen in 1301 and
+again in 1317 for use in this cathedral. Much of these purchases is
+still to be seen in the large east window. Here we are struck by a
+strange anomaly of obviously Decorated glass in purely Perpendicular
+masonry. Nothing could be more distinctive of the later period than the
+Perpendicular mullions surmounted by stiffly upright tracery lights,
+and yet the glazing could not be mistaken for anything but Decorated.
+Evidently old wine has been put into new bottles. Although a great deal
+of restoration is noticeable in this window, the strongly brassy tone of
+the canopies in the three outer lancets on each side clearly indicate
+that they antedate the discovery of yellow stain. An explanation of this
+anachronistic clash between the glazing and its framing stonework
+appears upon the rolls of the Chapter. April 21, 1389, one Henry de
+Blakeborn, then Canon, moved by the fine appearance of the newly
+constructed west window, offered 100 marks towards properly enlarging
+the eastern one. This offer was accepted and the work at once put in
+hand. The glazing of the earlier east window was saved to put into the
+new and larger embrasure. As yellow stain was not known at the time of
+glazing the first east window, it is absent from the early glass,
+although it is plentifully used in the heads, &c., of the additions made
+necessary in 1389 by the increased size of the window. One must not
+quarrel with the judicious restoration which has preserved so charming
+an _ensemble_. But this indulgent mood will be abruptly dismissed when
+one examines the lights along the north side walls of the choir aisles,
+for here the colour in the patterns upon the white panes proves to be
+Decorated glass cut up into bits for this purpose by some modern
+glazier! Any further comment upon his taste is unnecessary. It is one of
+the instances which causes one to query if it be always wise to impose a
+punishment for murder!
+
+
+DORCHESTER
+
+Before setting out upon our journeys we stated that although the viewing
+of stained glass was our main purpose, we intended to be broad-minded
+and enjoy whatever other interesting sights might be encountered. When
+we approach the little hamlet that "Dorchester ys ycluped, that bysyde
+Oxenford ys" those of our company learned in archaeology will doubtless
+point out the Dykes, those two great parallel earthworks twenty feet
+high, separated by a dry fosse twenty yards wide, which run for a
+distance of 900 yards round the south side of the town, from the banks
+of the Thames to those of the little Thame. Our archaeological friend
+will not need to point out how strong a defence was provided for the
+ancient Briton by these walls and the two rivers, but he will doubtless
+earnestly set forth many arguments for and against the theory that this
+fortification was an outpost of the entrenched camp on Sinodun Hill near
+by. The writer well remembers how strongly these Dykes impressed him
+when he first saw them years ago. In company with two friends he was
+rowing down from Oxford to London, and having arrived at Dorchester
+after sunset, stopped there to spend the night. Early in the morning, on
+our way down to the boat, we came upon these earthworks overgrown with
+yellow wheat and red poppies sparkling with dew. Instantly one forgot
+the dull modern village, and went back in fancy to the days when these
+great lines of earth were thrown up to protect the early owners of this
+land, later to be so often harried by conqueror after conqueror. The
+greatest glory of Dorchester came much later, in fact even after the
+centuries of Roman occupation had come to an end and the last legions
+had left England for ever. It was under the rule of the West Saxons that
+Dorchester became the seat of a Bishop whose See was so important that
+it included all those now known under the names of Winchester,
+Salisbury, Exeter, Bath, Wells, Lichfield, Hereford and several others.
+The exact date of the present long stone church is not known, but it is
+generally believed to be about 1150. The interior will provide but
+little of interest that one does not often see in many another old
+English church, but a glance toward the eastern end reveals that some
+architect of the Decorated period there added a veritable bower of
+light. One must search far and wide to find so pleasing a combination of
+excellent glass, disposed in such light and noteworthy stone traceries.
+The walls which enclose this chancel on the north, east and south are
+nearly of equal length, but the architect's treatment of each is quite
+different. That to the east seems almost entirely of glass, so greatly
+has the builder subordinated his stone structure to the glazing. In
+fact, so much is given over to the glazier as to necessitate the
+erection of a stout buttress which runs up the centre, and without the
+assistance of which the slender mullions would be unable to support so
+great a weight of glass. This buttress stops about three-fourths of the
+way up the window, the explanation of which is that the original roof
+was lowered to this point, and it was not until 1846 that it was again
+elevated to its original height, making necessary the modern glass in
+this restored portion. Very graceful is the adjustment of the cartouches
+into which the stone mullions divide the entire surface, and also the
+way in which they tend to become pointed in the upper part of the
+embrasure. Within each one we find evidence of the beginnings of the
+canopy style which was destined soon to emerge from the cramped methods
+of the glazier here visible. Upon the four lancets of the northern
+window appear large figures displaying much more freedom of drawing. Our
+first criticism tends to be that they would be more attractive if they
+had some background or framing and were not stationed alone upon white
+panes. The reason for this appears from a close inspection of the
+supporting mullions. Along each of these are little carved figures.
+The writer believes this window to be unique in the respect that
+the carvings on the stone and the figures on the panes combine to
+form a Tree of Jesse. Jesse, as usual, is reclining below; the stone
+mullions are used to represent the branches of the vine, and at their
+intersections are disposed the descendants, much as we have often seen
+them depicted on glass. They hold scrolls on which probably their
+names were once painted. The figures on the glass (some of them still
+labelled) supplement those in the carvings. Carved figures are also
+freely introduced at the intersections of the stone mouldings of the
+east window, but here they represent New Testament episodes, such as the
+cutting off of Malchus's ear, the rousing of the sleeping guards, &c.
+So, too, along the transom that runs across the southern window are
+carved figures representing a religious procession. Above are coats
+of arms distributed upon the panes. Below is a handsome Gothic stone
+seat or sedilia which has for us a great interest in that four little
+star-shaped lights are let into the back of it, containing late twelfth
+century medallions. These earliest remains were doubtless preserved from
+the edifice which preceded the present one. One of them shows a scene in
+which appears St. Birinus, who converted the great kingdom of Wessex and
+was the first Bishop of Dorchester (635-49). This little chancel, with
+its delightful glass gracefully supported by the quaintly carved stone
+traceries, will remain in one's memory as one of the loveliest nooks in
+England for the glass-lover.
+
+
+OXFORD
+
+Probably there is no city in all England where the average American
+tourist feels more at home than at Oxford. All of us have read a great
+deal about this city of colleges, and most American boys have perused
+"Tom Brown at Oxford" more than once. Besides, we all feel an interest
+in colleges and college men. While many realise the charms of this
+ancient city of learning, some of us know them in great detail; we have
+wandered in the lovely gardens of Magdalen, of New and of Worcester; we
+have heard the shouting of the multitudes along the banks of the Isis
+when one eight has succeeded in bumping another just ahead; we have
+canoed up the silent tree-shaded windings of the Cherwell--in a word, we
+are familiars of the place. Apart from its life as a university, as a
+city of students, its chief association in history may be said to be
+that it was a refuge and stronghold of the ill-fated Charles I., after
+his defeat at Edgehill. It was admirably suited for this purpose,
+because rendered well-nigh impregnable by the encircling streams of the
+Isis and the Cherwell, the surrounding morass of flooded fens, and,
+last of all, its stout city walls. Right loyally did both townspeople
+and students rally to the support of the unfortunate monarch. The
+colleges even melted down their plate to eke out his military chest. Of
+all the towns of England it can, therefore, best lay claim to having
+been the most loyal to the fortunes of Charles Stuart at a time when
+loyalty meant most. But it is not for reminders of that dreadful civil
+strife, terminated by bloody tragedy, that we are coming to the ancient
+town built on the river near the "ford of the oxen," no, our researches
+lie a couple of centuries earlier than those bitter days. First of all
+we shall enter Merton College to see its windows of the first part of
+the Decorated period. Then we will repair to New College to view its
+glass so instructive of the transition from Decorated to Perpendicular.
+Lastly, All Souls' Chapel must be inspected for its examples of the
+Perpendicular style. In many another college can be seen later glazing,
+but none so good or so important as those just cited. The presence
+here of such fine examples of the two best periods of English glass
+makes easy an instructive comparison of their methods and results.
+Furthermore, it justifies the selection of Oxford as the last stage of
+our second tour, because we have only to step from one college into
+another to begin our third tour.
+
+Not only do the most ancient traditions of all Oxford linger about
+Merton, but it looks the part--it conveys the impression of its extreme
+age to any one who enters its gates. Mob Quad is the oldest quadrangle
+in the whole University. Bishop Walter de Merton, Chancellor of Henry
+III., devised the idea of segregating the students into colleges, so as
+to govern them better, and to render more difficult, if not impossible,
+the general lawlessness and bloody frays between nationalities that used
+to be so frequent. A visit to the chapel will not only show us glass of
+the early part of the Decorated period, but in such quantity and so well
+placed as to give one the best possible impression of it. The large east
+window is filled with modern glazing, only the upper half of the
+traceries above retaining the original red and blue diaper work. In
+addition to this great embrasure, the choir is lighted by seven ample
+three-lanceted windows on each side. These are filled with grisaille
+bordered in colour, while across them, about two-thirds of the way up
+from the bottom, is drawn a band of strongly hued canopied figures.
+Because of their early manufacture we are not surprised to find the
+canopies very crude, lacking pedestals, &c. The enclosed backgrounds are
+generally blue, although a few toward the east are red. In the central
+lancet of each embrasure the canopy usually contains an upright figure,
+while in the side lancets they are almost all kneeling. Each personage
+has a written label which either winds gracefully over his head and down
+behind his back, or runs along beneath him. The borders are not carried
+up into the traceries; their design is sometimes a vine, sometimes
+yellow castles, or fleur-de-lis of white or green. In addition to the
+band of canopies, the duller grisaille is further enlivened by three
+coloured bosses in each lancet, mostly containing heads. The western end
+of the choir opens into the antechapel, which lacks its ancient glazing
+except for the fragments gathered together into the central western
+embrasure, whose original tracery glass, however, remains intact. Before
+leaving Merton mount the stairs to the quaint L-shaped library and
+inspect its attractive remains of Renaissance glass. Along the lower
+side of the east wall of the north wing are seven narrow lancets filled
+with dainty grisaille quarries, bordered in faint colour and bearing a
+brightly toned boss. Of more importance to us, however, is the pleasing
+bay window at the east end of the south wing. Here we find quarries of
+soft grey, each containing a monogram in yellow stain. In the midst of
+these quarry panes are placed little scenes, circular in form and
+decorated with enamel paint in grey and stain, each bearing a German
+inscription. The central embrasure contains six of these, three above
+and three below, and the two side bays have two each, one above the
+other. They bear the date 1598.
+
+An account of the Perpendicular glass at Oxford will be found at p. 142.
+
+
+
+
+PERPENDICULAR
+
+
+Little proof is needed of how greatly the glazier depended upon the
+architect, or of how necessary and proper it was that his glazing should
+harmonise with the prevailing architectural style. The period we are
+about to study affords a striking example of this subserviency of the
+window to the building it lights. In no country can there be found a
+school whose glass was so dominated by its architecture as was that of
+the Perpendicular in England. This Perpendicular style never crossed the
+Channel, for the French Gothic of that time, instead of becoming stiff
+and regular, grew more flamboyant and elaborated. Another marked
+difference is that all the time the English were softening their tints
+and striving for a silvery sheet of low tones (Great Malvern, &c.), the
+fifteenth century French were, on the contrary, using stronger and more
+varied colours than during the century before. To such excellence of
+delicate drawing and tints did the English attain in their Perpendicular
+windows that it may safely be said that in those respects they were
+never surpassed elsewhere. This is particularly noticeable at Ross and
+Cirencester. An opportunity to compare the French with the English glass
+of that time is afforded by the fact that the French windows of the
+Beauchamp Chapel at Warwick will be visited between the distinctively
+English ones of Great Malvern and York. This Warwick glass was brought
+from France because the contract exacted "Glasse from beyond the Seas,"
+and we at once notice the strong hues, which differ so markedly from the
+then prevailing English ones. Nothing could be more convenient than the
+way in which these particular windows enable us to differentiate between
+contemporary glass on opposite sides of the Channel.
+
+When the Perpendicular architect arrived upon the scene, he found the
+canopy window already well developed. The shape of the embrasures which
+he provided were peculiarly suited to this agreeable method of glazing.
+The straight upward sweep of his mullions made easy an effective
+adjustment of the narrow canopy-framed niches, and left the artist
+little to do but elaborate the more modest sentry-box of the Decorated
+period. This he did in a very artistic and pleasing manner. The signs of
+development are easily distinguishable, and chief among them are the
+elaboration of the architectural detail of the canopy (by increasing the
+number of pinnacles and drawing them in relief instead of flat), and
+the completing of the frame effect by adding elaborate pedestals below
+the feet of the figures. We must remember that the earlier glazier
+either placed nothing below the enframed figure or else, in a few
+instances, heraldic shields (as at Tewkesbury). In many instances the
+earlier solitary figures within the canopies now give way to groups,
+although not so frequently as in France. The glazier did well to abstain
+from this change as much as possible, for although it is logical to find
+a saint within a shrine, nothing could be more absurd than to install
+therein a rural scene or a small battle picture. The Perpendicular
+architect, unlike his Decorated predecessor, was not content to leave
+the tracery lights differentiated from the rest of the window below.
+Instead, he tied the upper and lower lights together by carrying his
+mullions straight up through them all, and thus deprived the tracery
+ones of the independence as well as the decorative success they formerly
+enjoyed. In a few instances (as at Great Malvern), the glazier
+accentuates the stiff regularity of these upper lights by filling each
+with a canopy-enclosed figure. Lest the upright parallel lines of the
+mullions lend too monotonous an appearance, care was generally taken to
+make two of them (usually thicker than the others) swerve outward when
+nearing the top of the embrasure, one to the right and the other to the
+left. These two thicker mullions served the further artistic purpose of
+breaking the line of tall lights into groups of two or three each. This
+can be observed in the illustration.
+
+The chief features of this school are as follows:
+
+     (_a_) Increasingly lighter and softer tones;
+     (_b_) Stiff parallel lines of upright mullions;
+     (_c_) Tracery lights lose their independence;
+     (_d_) Greatly elaborated canopies;
+     (_e_) Stipple shading, replacing the earlier smear shading.
+
+It can be said with no fear of contradiction that we have now arrived at
+the finest period of English glazing.
+
+
+PERPENDICULAR TOUR
+
+Our Decorated tour was brought to a close by viewing the glass of that
+period in Merton College at Oxford. Not only shall we be able to begin
+our new tour in that same city, by inspecting the fully developed
+Perpendicular windows at All Souls', but we are also afforded an
+opportunity, thanks to the transition character of the New College
+windows (1386), to learn the intermediate steps through which the change
+of style was effected. On leaving Oxford, we will betake ourselves to
+the famously glazed church at Fairford, and thence journey, _via_
+Cirencester, to Gloucester. The next point will be Great Malvern and its
+neighbour Little Malvern, and then over the bold uplift of the Malvern
+Hills to Ross. A northerly _detour_ will take us first to Warwick and
+then to Coventry, which will probably conclude this tour, for although
+York appears as the last of this series, it is so placed for the sake
+of regularity, and only for those who may not have taken the first or
+second tours. York was visited on both of those, and occasion was given
+to inspect the Perpendicular glass which there abounds.
+
+[Illustration: MAP OF PERPENDICULAR TOUR]
+
+In addition to the places just mentioned there are three so situated as
+to make it inconvenient to include them in this tour--Salisbury,
+Winchester, and St. Neot (Cornwall). Salisbury has already been visited
+on our Early English tour. Winchester lies well to the south near
+Southampton, while St. Neot is off in the west, a few miles beyond
+Plymouth. These two towns should, however, be on no account omitted,
+even though each require a separate trip.
+
+
+OXFORD
+
+An account of the Decorated glass at Oxford will be found at p. 129.
+
+Having visited Merton, and, by examining its Decorated glass, concluded
+our second tour, we must address ourselves to the third one, devoted to
+the Perpendicular period. Nothing could be easier. We have only to walk
+as far as New College to see how the forces of transition performed
+their work, and then to All Souls' Chapel to study the fully fledged
+product of the Perpendicular glazier.
+
+New College is picturesquely alluring to all who visit Oxford, thanks to
+the agreeable manner in which the college buildings are set off by
+attractive gardens enclosed within remnants of the ancient city walls.
+This corner of the old ramparts owes its preservation to a covenant for
+its upkeep between the Founder and the city. We glass-lovers will remark
+that in similar fashion a very advantageous placing enhances the beauty
+of the glass which we are about to see. It is contained in the
+antechapel, which adjoins the chapel proper on the west and opens into
+it. A dim passage-way leads to the small portal by which one enters,
+admirably preparing our eyes to appreciate the beauty of the glazing.
+There is also some later work in the main chapel, but it is fortunately
+shut off from our observation by a conveniently placed screen, thus
+enabling us to enjoy the antechapel and its glazing without any
+distraction. The original glass that once filled the large window in the
+middle of the antechapel's west wall is now stored in boxes at that
+other foundation of William of Wykeham, Winchester College, Winchester,
+having been removed to make room for an ambitious effort by Sir Joshua
+Reynolds. All the other embrasures retain the original glazing, given
+about 1386 by the Founder, whose name frequently appears thereon. Let us
+not be drawn into the violent discussion which has so long raged on the
+subject of the rival merits of the earlier and later glazing. All
+glaziers condemn the work of the great Sir Joshua, and even most art
+critics agree with Horace Walpole that the painting of this large
+subject is "washy." He has confined himself to the use of browns, greys,
+and some pink in depicting the Virtues and the other figures assembled
+in his composition; but, as was to be expected from one who was only a
+painter, and not also a glazier, he used so much paint as to interfere
+perceptibly with the translucence of the glass. Nevertheless, the
+writer, although he vastly prefers the earlier windows, frankly states
+that he began by liking the west one best. The advantage which stained
+glass windows have over paintings on canvas is that while the latter
+have only colour the former have both colour and light. For this reason
+one should be disposed to admit a great deal on behalf of this picture
+painted by a great artist on a medium which adds light to his colour.
+There is no good reason why we should quarrel with a man who begins by
+preferring Sir Joshua's window, because it may lead him to become
+interested in stained glass. Almost every one unlearned in our subject
+admires this west window;--if he will but come with us we will promise
+sooner or later to open his eyes to far greater beauties, which he will
+grow to love in the seeing! For those who have learned to enjoy the
+Wykeham windows more than their showier neighbour, it is suggested that
+there are two points from which to view them so as to eliminate the
+contrasting presence of the later one--either stand close to the small
+entrance door, or else near the chapel screen so that one of the columns
+comes between you and the west window. Thus one sees only the Wykeham
+glazing, and that, too, in a frame of mind receptive of the Latin
+legends which unceasingly beseech us to pray for him. This glass is
+not only beautiful, but very important, because it clearly illustrates
+the transition from the Decorated to the Perpendicular. The sixty-four
+personages ensconced in their canopies, while possessing traits of both
+schools, demonstrate clearly how naturally one led into the other. The
+figures are not yet well drawn, are rudely posed, and are still strongly
+coloured. Although there is a general flatness in the composition,
+indicative of the earlier school, tapestries are already hung across the
+backs of the little niches, and handsome ones too, with crowned initials
+powdered over them. So, too, pedestals appear below the canopies,
+although, of course, not yet so complete or elaborate as those to be
+seen presently in All Souls' Chapel. The canopies themselves are more
+robust and not so finished as will be later encountered. An examination
+of the method of shading also bears witness to a transition, for there
+is observable both smear and stipple work. The learned Winston makes
+a very interesting argument to the effect that the panels have been
+considerably changed about since their original placing, based on the
+seemingly disordered arrangement of the six varieties of canopies, the
+unusual order of displaying the Apostles, &c. For us who are less
+enlightened, however, the chief interest of this delightful series is
+in the general harmony of the colour scheme, the judgment shown in
+adjusting the figures to the canopies, and both to the embrasures, and
+the graceful use of the written scrolls.
+
+ [Illustration: _Taunt, photo._
+ NEW COLLEGE ANTECHAPEL, OXFORD
+     Transition window presented by William of Wykeham, Founder of
+     the College. Stone frames are already Perpendicular: note the
+     "pepper-box" tracery lights. The glazing, as usual, lags behind
+     the architecture, and, because of its strong colour and flat
+     drawing, is more Decorated than Perpendicular]
+
+The dining-hall possesses some interesting coats of arms glazed into
+seven of its large lights. Half of these are contemporaneous with the
+Founder, among them appearing his arms and those of his See; the other
+half are of the time of Henry VIII.
+
+From "the High" we enter All Souls' College, undaunted by the scathing
+comment of Humphrey Prideaux in 1674, that "All Souls' is a scandalous
+place and full of fast gentlemen." Without stopping to remark the beauty
+of the full-domed Radcliffe Library, rising beyond the graceful stone
+screen that walls in the westerly side of All Souls' inner quadrangle,
+we press on to the chapel at the further end. We shall not spend much
+time over the windows of the chapel proper, for they contain nothing of
+interest, but for this there is ample compensation in the splendid
+display all about the antechapel that opens off to the west. It is true
+that some of the panels have been restored, but this has been done so
+judiciously and patterned so closely after the originals that it is not
+only no detriment, but, on the contrary, enables us to enjoy a completed
+whole. As was to be expected, figures within canopies meet our eyes on
+all sides. Owing to the date of their manufacture, the depicted
+architecture of the shrines is very elaborately worked out. Pedestals
+are provided, and in the westerly embrasures we find small supplemental
+and supporting canopies on each side of the principal ones, which
+latter, however, alone contain figures. These western lights show more
+restoration than the others. There is a great deal of red and blue
+everywhere, not only in the backgrounds, but even in the pedestals
+below. The four large windows (each containing a double row of three
+lancets) in the easterly wall are, perhaps, more interesting than their
+more elaborate neighbours. Especially note, in the one just north of the
+choir entrance, the charming group of Salome and two children in the
+lowest panel on the left. Most pleasing of all is the scene of St. Mary,
+with two children in her arms and two more at her feet, in the
+right-hand lowest panel of the most northerly of these east windows. The
+glass here is so conveniently placed as to afford every facility for
+studying details, thus preparing us admirably for the highly interesting
+tour upon which we are about to set out.
+
+
+FAIRFORD
+
+Lying in the midst of a pleasing but tame countryside the little
+village of Fairford has nothing to recommend it to the seeker after
+the unusual but the windows of its parish church. This glass is not
+only historically famous, but also very complete and beautiful. On the
+outer side of the little church door we are still in the midst of the
+commonplace, nothing rises above the level of the unimportant; once
+inside that modest portal, what a change do we not experience! Around us
+on every side and above in the clerestory opens out a complete series
+of windows--harmonious, excellent, delightful! And to add unneeded
+supplement to the charm that meets the eye, our ears are regaled with
+the strange tale of how these lovely panels found themselves here, and
+why they so perfectly fit the church. This latter query is answered most
+simply--the church was built to provide embrasures for these treasures.
+The records state that Richard Tame caused the building to be erected
+and finished in 1493 expressly for this glass, which had been captured
+at sea from a Dutch vessel. From the same source we also learn that his
+son, who died in 1534, completed the building--a rather anomalous
+statement for, if it was finished in 1493, it would not seem to have
+needed a further completion by the son. It is to the windows themselves
+one must turn for some explanation of this seeming contradiction.
+Although but little comment has hitherto been made upon the subject,
+the writer was struck by the lack of any similarity between the
+figure-and-canopy windows in the western half of the church (including
+the clerestory), and those around the eastern half. The former show a
+conscientious following of Perpendicular conventions and a careful
+attention to the proper use of colours, but the latter enjoy an easy
+victory in style, combination of hues and general artistic appreciation
+of the possibilities of glass. The sexton relates the usual legend about
+Albrecht Duerer having designed this latter series, but it is probably no
+truer here than elsewhere in England, for it is the customary tale one
+hears about German glass. There is no doubt, however, that in
+composition and style it differs noticeably from anything made north of
+the Channel. While the figure-and-canopy work is clearly of the
+fifteenth century, it must be admitted that if the windows in the
+eastern part of the church be likewise of that period, then they
+certainly represent an early manifestation of a style that did not
+generally prevail until the sixteenth century. May not this very
+difference help to explain the second "completion" of the church?
+Suppose we credit Richard Tame with having secured the canopy windows
+for the edifice he completed in 1493, and leave to his son the honour
+of having added the series showing later attributes when he finally
+finished the structure in 1534. The first windows may have been captured
+in the way reported in the legend, and the later ones secured in some
+other manner from the Continent, for it is known that most of the
+sixteenth century glass in England was procured from foreign sources.
+Let us leave this moot point to be conclusively decided by others, and
+turn to observing and enjoying the glass. The shape of the church is
+unusual and requires a brief word of description in order to understand
+the placing of the windows. The westerly half consists of the regulation
+nave with a broad aisle on each side. Above the nave runs a glazed
+clerestory, which, of course, does not extend over the aisles. There are
+no transepts. At the middle of the church just where the nave ends there
+rises the tower, of the same width as the nave. The clerestory stops on
+the nave side of this tower; there is no clerestory above the eastern
+half of the church. This easterly half is the same width as that to the
+west, but it is all open and not separated into aisles like the other
+part. In the southerly wall of the building are six windows and a door,
+and in the northerly, seven windows. The clerestory has four lights of
+three lancets on each side. Canopies containing figures standing upon
+pedestals and with gracefully written scrolls about them are to be found
+in all the clerestory windows, and also below in the four most westerly
+aisle windows on each side. The figures on the north of the clerestory
+represent Roman emperors, and above in the traceries are little devils
+on a red ground. Opposite them on the south appear Martyrs and Prophets
+of the Faith, appropriately attended in the traceries above by angels on
+a blue ground. All the windows thus far described are clearly fifteenth
+century; the workmanship is good but not of such marked excellence as is
+shown in the eastern part of the church. These latter evidence
+remarkably skilful designing, and, furthermore, demonstrate that the
+artist understood the medium in which he had to work out his cartoons.
+They lean strongly towards the Renaissance type: the colours used are
+very good, especially some of the greens. Most of the subjects on the
+north are taken from the life of the Virgin, while opposite, across the
+choir, appear scenes from the life of Christ, such as the Last Supper,
+the Miraculous Draught of Fishes, &c. The sexton delights to tell the
+visitor that the towers in the background of the last-named scene are
+faithful counterfeits of the towers of Nuremburg, thus proving
+conclusively (except to hypercritical cavillers) that Albrecht Duerer
+designed them. The story is picturesque, but it is fortunate that the
+good man never saw Nuremburg, or his conscience might force the
+suppression of this agreeable fiction. It must be admitted, however,
+that some of this glass is sufficiently excellent to have been designed
+by that great master. The five-lanceted window that fills the end of the
+little eastern extension behind the altar has five scenes across its
+lower half, while above them, occupying the entire width of the
+embrasure, is a fine Crucifixion. The original background has been
+replaced by white glass, which enables us to appreciate all the more
+readily how well the picture is composed. The flowing garments and
+certain other details are very German in character, while some of the
+implements displayed are purely Teutonic--_e.g._, the swinging mace,
+showing the spiked ball hanging from the handle by a chain. The
+perspective displayed in all these scenes is noticeably good. We
+must pass to the other end of the church in order to see its most
+entertaining window, at least to all those not deeply interested in the
+intricacies of technique. It fills the western end of the nave just
+above the portal, and is one of the rare sort known as "doom windows."
+There is here set forth a most edifying demonstration in glowing
+colours of what will some day happen to those who are not wise
+enough to be good! Even Foxe's "Book of Martyrs" cannot provide the
+exhilarating horrors that the numerous ingeniously minded devils here
+afford. Most delightful is the enthusiasm and earnestness with which
+they are carrying on their presumably daily toil of keeping Hades up to
+its unpleasant reputation.
+
+
+CIRENCESTER
+
+If the account of this town is not to be read aloud, everything will
+pass off peacefully, but if sound is going to be given to written words,
+then our trouble will begin at once, for the methods of pronouncing its
+name have led to unlimited discussion. All the disputants may be divided
+into two camps, in one the educated and refined citizens of the town,
+who pronounce the word as it is spelt, and are aided and abetted therein
+by all non-residents, while in the other camp we shall find an agreeable
+company, headed by the late William Shakespeare, and consisting of all
+the humbler townspeople and the country folk residing near by. This
+latter group prefer the sound, which, reduced to spelling, approximates
+"Cisseter." Notwithstanding this centuries-long dispute, the town has
+declined in importance since the days of the Romans! Then it was the
+cross-roads of three great highways, and when one reflects that the
+Roman road was even more potential in its developing effect upon
+territory than the modern railway, it is easy to see the advantages that
+Cirencester enjoyed over towns not so favoured. While considering this
+practical feature there must not be forgotten the romantic glamour lent
+by the legend that King Arthur was crowned here. The parish church is
+particularly delightful, not only because of its characteristically
+Perpendicular Gothic exterior, but also because of the logical way in
+which that same style has been carried out within, especially in the
+charming fan tracery of the vaults. The stained glass must be studied in
+detail in order to yield a full appreciation of its beauty, for we must
+not expect to find here the splendid _ensemble_ often seen elsewhere.
+There are few places in the land where Perpendicular glass shows so
+clearly the delicacy of both design and colour which the art achieved in
+England during that epoch. This fact is borne home with marked emphasis
+because we are viewing it immediately after an examination of the much
+better designed but less delicately painted windows of Fairford. As a
+result of this careful treatment of tint and drawing there is derived an
+unexpectedly satisfactory result from the collection of figures in
+canopies assembled in the five tall lancets of the east window. Seen
+from the nave this collection is quite cool and silvery, and does not
+betray its composite nature. Where the ancient heads have been lost or
+destroyed, their space has been frankly filled with white glass. Toward
+the bottom are eight small panels containing kneeling donors. The large
+west window is also a composite one, but here honesty proves to have
+been the worst possible policy, because the original background having
+been lost, they filled in between the canopies with splotches of hideous
+modern blue! Of course this kills any chance for the softly toned effect
+which we have often observed as the chief charm of the perfected canopy
+style. In this instance it is peculiarly unfortunate, because the
+canopies are carefully worked out in detail, showing as many little
+spires above them as we shall find later at Great Malvern. The figures
+which they enclose repay study. The centre three in the lower row are
+almost enveloped by broad written scrolls, which lend a most decorative
+effect. In the pedestals below the figures are little open galleries
+containing diminutive kneeling donors, very modestly and appropriately
+displayed. The colours here are noteworthy, especially the rich deep red
+in the robe of the cardinal at the top of the second lancet from the
+north; in the second to the south notice the combination of the mulberry
+gown, blue cape, and golden halo. The use of the leads to delineate
+folds in the cloth is as good as the colouring. It is evident that no
+mean artist produced these satisfactory results, but it is fortunate for
+him that he cannot see the atrocious blue that now strives to off-set
+his delightful work. In the chapel to the right of the chancel, the
+most easterly embrasure on the north has its three lancets filled with
+agreeably arranged figures and fragments. Being on a level with the eye
+of the observer, this glazing can be examined closely. Note the careful
+adjustment of the leads to suit the drawing of the hands in the
+right-hand lower corner. It is so evident that this glazier thoroughly
+understood his art that we are not surprised at the richness of the reds
+and the blues, or the mellow strength of his yellow stain. It is easy to
+deduce from the Cirencester windows the lesson that design is not so
+important as colour, and that, while excellent effects can be produced
+by a collection of well-toned fragments, the best design done in bad
+colouring is sure to be unsatisfactory.
+
+
+GLOUCESTER
+
+In our wanderings to see glass we have observed how many and varied were
+the reasons for the presentation of those splendid offerings to
+religious edifices, and also that these reasons are often storied upon
+the windows themselves. Wide as is the range of such causes it is
+reserved for Gloucester Cathedral to show us an ancient window erected
+to commemorate the winning of a great battle. Thanks to the painstaking
+studies of Charles Winston (1863), backed by his exhaustive knowledge of
+heraldry, it is now known that the great expanse of coloured glass at
+the eastern end of the Gloucester chancel is a thank-offering for the
+epoch-making victory at Crecy of the little army of English over the
+French hosts. How incongruous it seems that such a feat of arms should
+be commemorated in this mild manner! The mind wanders off from this
+glorious wall of colour back to a certain cloudy afternoon in August
+1346. Edward III. and his young son the Black Prince, with a force of
+only eight thousand Englishmen, had swept triumphantly through Normandy
+up to the very gates of Paris. There the presence of a huge army of
+French and mercenaries forced them to turn northward toward the Flemish
+border. Fatigued by their dashing campaign, they were overtaken and
+brought to bay by the French at Crecy, about fifteen miles east of
+Abbeville. In the very front of the French hosts was stationed a body of
+15,000 Genoese crossbowmen who, by their discharge of arrows, were to
+disconcert the English, and disorder their ranks preparatory to the
+onslaught of the French knights. Suddenly a great storm breaks upon the
+embattled armies, terrifying the Genoese unaccustomed to the thunder,
+lightning and driving rainbursts of a northern tempest. Nor is this all,
+for when the storm passes and the sun darts out from behind the clouds,
+the Genoese, ordered to discharge their crossbows, find to their dismay
+that the bowstrings are rain-soaked and cannot be drawn. Just at this
+juncture the English archers, taking their bows from water-tight cases,
+loose such a pestilential shower of arrows upon the already harassed
+Genoese that they break and flee, throwing into the wildest confusion
+the ranks of the Frenchmen behind them. Effective as were the bows of
+the English archers, the long knives of the Welshmen prove equally so,
+stabbing the horses of the French and thus placing the riders _hors de
+combat_. Together these two bands of yeomen reverse the verdict of
+centuries of warfare;--they show the armoured knight to be an
+anachronism, and thus in one day feudalism begins to totter to its fall.
+The moment has come for the charge of the English chivalry. On they
+dash, led by the sixteen-year-old Black Prince. They fall upon the
+already panic-stricken French and what has been a battle becomes a rout.
+The king witnessed the conflict from a windmill on a ridge, being
+desirous that his son alone might have the glory of the victory. It is
+doubtful if the annals of chivalry record a finer scene than the meeting
+of the king and the Black Prince after the battle. In the blaze of the
+great camp-fires, and before the whole army, the father embraced his
+son, and would have given him alone the praise, but the Prince "bowed to
+the ground and gave all the honour to the king his father." Ten years
+later we find him of the same generous nature, for, in the evening after
+the great victory at Poitiers, he caused the captured King John of
+France and his son to be seated, and standing behind, served them
+himself, modestly refusing to join in their repast. Long since hushed is
+the din of that ancient strife, unless perhaps an harmonious echo
+thereof comes to us from the great east window. Along its lower panes
+are displayed the shields of the Black Prince and the Earls of Warwick
+and Oxford, who were with him in the 1st Division on that glorious day,
+and of the Earls of Arundel and Northampton who led the 2nd Division
+(the 3rd being in command of King Edward III. himself). In this brave
+array we also find the shields of Thomas Lord de Berkeley, his brother
+Sir Maurice de Berkeley, Richard Lord Talbot, and Thomas Lord Bradeston,
+who all served in this expedition. Here, also, are the arms of the Earls
+of Lancaster and Pembroke, who, although at that time fighting in the
+south at Aiguillon in Guienne, were included as companions-in-arms of
+the same war. In this beautiful manner the glory and gallant memory of
+these knights are preserved within this stately cathedral, far removed
+from the din and carnage, the hissing flight of arrows, the clang of the
+forward dash of knights, the clash of steel on steel, the battle-cries,
+and the mingled roar of retreating hosts hotly pursued by exultant
+victors. Here they dwell for ever in the midst of a great peace: around
+the grey walls and sturdy tower are the quiet walks, the green swards,
+the leafy foliage of a peaceful England--an England preserved inviolate
+from foreign invasion by the splendid deeds of these gallant warriors,
+and many another like them. So modestly are their blazons set out along
+the lower part of the great window that the story of their gift and its
+giving was forgotten, and lay hidden for centuries until rediscovered by
+Mr. Winston. Much as our windows have hitherto revealed to us of quaint
+episode and romantic story, never have we happened upon so portentous a
+memory, nor one which so richly deserved this magnificent tribute. Its
+huge expanse of 72 by 38 feet is only rivalled by that of the east
+window of York (78 by 33 feet). Well did Winston say, "I know of no
+window so likely as this to improve by a long contemplation the taste of
+modern glass-painters and their patrons."
+
+ [Illustration: _J. Valentine, photo._
+ CHOIR, GLOUCESTER CATHEDRAL
+     Great east window commemorative of knights who fought at Crecy.
+     Backgrounds of pink and soft blue. Tracery lights no longer
+     differentiated from window below, as during decorated period.
+     Note elaborate masking of earlier walls by later Perpendicular
+     work]
+
+A great deal of really fine glass is so badly placed as to appeal only
+to the student, and not to the sightseer, but at Gloucester this
+masterpiece exhibits itself to the greatest advantage. One should not
+speak of this vast window as being in the eastern wall, for it is so
+large that it takes the place of that wall. In fact it is somewhat wider
+than the interior of the church at that point, which for this reason has
+had its side walls slightly slanted out to receive the window. How great
+is this disparity in size may be estimated if one sights along the
+inside of either side wall, for you will miss entirely the outermost
+tier of glass panels. The superficial area of the glass is also
+increased by a slight bowing outward of the window structure. Behind and
+to the east of this end of the cathedral was later built a Lady chapel
+which, however, opens through into the older church. Of course the
+shadow of this later structure could not help but fall upon the east
+window, and to that extent obscure it, but what might have proved a
+serious defect was avoided by stationing the chapel somewhat to the
+east of the older building, and also by not beginning the coloured
+canopied figures upon the east window until above the line of shadow
+cast by the Lady chapel. The panes below that line are glazed in white
+bordered by colour, here and there relieved by the coats of arms already
+mentioned. Viewed from the crossing this great window is more than
+delightful. Row upon row of canopy-framed personages on red or blue
+backgrounds, are stationed one above another in splendid profusion.
+Many of the books class it with the Decorated period, although always
+explaining that its looks belie that early dating. Our errand is to see
+how windows look, and therefore, because its stone framework is so
+obviously Perpendicular, as is also the delicacy of the tones of its
+glass (particularly in the canopies), it would be unwise for us to
+consider it otherwise than as an early manifestation of the later style.
+It is very Perpendicular in its lines and its colouring, and absolutely
+unlike the deep rich windows at Tewkesbury, Bristol and Wells, which are
+so typically Decorated. We must remember that the glazier had to conform
+to the styles of the architect, and because it was the latter who
+inaugurated the changes he was, perforce, always in advance of the
+glazier, which helps to explain why some of the details of the glass
+design are more archaic than the stone framework.
+
+Looking eastward from the crossing, we can see through below this great
+window and above the altar into the ample Lady chapel beyond. Passing on
+into that chapel, we at once observe its most prominent feature, the
+east window, constructed during the latter part of the fifteenth
+century, a clearly marked example of the Perpendicular. The colouring is
+here much richer than we are accustomed to find in English work of this
+time, in fact it reminds one of contemporary French windows. The figures
+within the canopies are more varied, and occur in groups, thus differing
+widely from the almost monotonous similarity of the softer toned
+solitary figures upon the choir window. In the north aisle of the nave
+the third, fifth and fifteenth embrasures from the west provide us with
+marked examples of the Perpendicular. Double sets of pinnacles,
+two-storeyed pedestals, jewels separately leaded into the borders of
+robes, &c., show a distinct advance upon the earlier and simpler methods
+of the great wall of glazing in the choir. One should remark the
+Decorated work on the easterly side of both transepts. The clerestory
+lights are glazed in quarries with coloured borders, while above them
+the tracery embrasures are not only like those at Tewkesbury, but are
+also glazed in the same fashion, white lines wound about on a red
+ground; we have remarked the same treatment at Bristol and Wells. Even a
+brief glance about this great sanctuary reveals that huge sums must
+have been spent not only in veiling the older walls with the later
+Decorated work, but also in the elaboration which is everywhere
+noticeable. Nor is it difficult to understand how sufficient funds for
+this purpose were collected when one considers the vast store of gold,
+silver, and jewels brought here as offerings by pilgrims to the tomb of
+the murdered King Edward II. We must not depart without having a walk
+about the charming cloisters, which are by many considered the most
+beautiful in England.
+
+
+GREAT MALVERN
+
+Great Malvern lies on the easterly slope of the famous Malvern Hills,
+which run nearly north and south, and form the western barrier of the
+Severn Valley. Its site provides a pleasant and far-reaching prospect
+of smiling country, dotted here and there with the towers of Worcester,
+Gloucester, Tewkesbury and many another town and hamlet. So lofty are
+these hills that the views from their summits are hardly to be equalled
+elsewhere in England; indeed, it is reckoned that on a fine day one can
+look into a dozen counties. The three chief heights have long been known
+as Worcester Beacon, Hereford Beacon, and Gloucester Beacon, each named
+after the county in which it stands. Peaceful as is this delightful
+scene, certain of the memories which it awakens are those of warlike
+strife, for one can see from this vantage-point six of the great
+battlefields of England--Edgehill, Worcester, Evesham, Tewkesbury,
+Shrewsbury, and Mortimer's Cross. Nor are these the only reminders of
+warlike deeds, for about the top of two of those great eminences run
+encircling lines of strong earthworks, known to have existed since
+the time of the early Britons, if, indeed, they do not antedate
+them--eloquently silent proof of how long men have realised that this
+fair land is worth fighting for. Wonderful and inspiring is the view
+that unfolds itself before the eye of the traveller when he has reached
+the topmost point of the road and pauses before descending to Great
+Malvern. No wonder that William Langland selects this site for the
+slumber which yielded him that marvellous dream which he describes in
+his "Vision of Piers Plowman" (1362). He says:
+
+     "On a May mornege . on Malverne hulles,
+       I was wery forwandred . and went me to reste
+     Under a brode banke . bi a bornes side,
+       And as I lay and lened . and loked in ye wateres
+     I slombred in a slepyng."
+
+Tradition tells us that he learned the profession of clerk in Great
+Malvern Priory, and there composed his splendid poem. His attempt to
+correct the abuses of his times accords more readily with the work of
+one contemporary, John Wyclif (who about 1380 gave the people the Bible
+in English), than it does with the merry "Canterbury Tales," written in
+1387 by that Court favourite Chaucer. We have already encountered that
+jovial soul during our visit to the early glass of Canterbury. It is
+significant that in a work which produced such a marked effect upon its
+time as "Piers Plowman," frequent testimony is given to show the esteem
+in which stained glass was then held. Whenever church decoration is
+mentioned by any of his characters, they almost invariably dwell longer
+on this feature than upon any other. The Franciscan monk speaks of his
+church: "With gay glitering glas Glowying as the sunne." In similar
+fashion the Dominican brother is made to say: "Wyde wyndowes y-wrought,
+y-wryten ful thikke, Shynen with shapen sheldes." A severe rap is given
+at those who glaze windows in order "Hevene to have," and vain-glorious
+souls are urged not "To writen in wyndowes Of youre wel dedes."
+
+But let us, like Langland, arouse ourselves from the reverie
+superinduced by this wondrous outlook, and wend our way down the side of
+the great hill to the Priory Church. Although its more famous windows
+date from a century later than Langland's day, it may well be that his
+eye was gladdened by the older glass in the south aisle of the chancel.
+It is certainly fine enough to have attracted his notice, and one may
+safely assume that he loved glass, else his lines would not so
+frequently refer to it. Before observing the Perpendicular glazing in
+which this building abounds, let us consider that of the Decorated epoch
+in the three embrasures that light the southerly wall of the aisle
+chapel south of the choir, and which were there in Langland's time. The
+most westerly of these three is filled with heads and _debris_, formerly
+in other parts of the church. We shall have a treat in the two windows
+adjoining this to the east. Each contains a dozen small scenes from the
+Old Testament, the four lancets of each window subdividing these scenes
+into three rows of four each. The backgrounds are diapered red or blue,
+and a crude border of architecture surrounds each. The drawing is crisp
+and the colours are strong and good. Note particularly the red in the
+"Naming of the Fowls"; also observe Noah sending forth the dove, while
+various sorts of animals crowd about his feet. The rich tones, the
+crudeness of the canopy work, and sundry other signs unmistakably mark
+this glazing as Decorated. The corresponding chapel on the north side of
+the chancel has lost all its ancient glass, except a little in the
+tracery lights.
+
+The chief beauty of the interior is the delightful east window, whose
+stout central mullion, two-thirds of the way up, divides and inclines
+outward to right and left until it touches the frame. A charmingly
+soft colour scheme is here used, quite in the best manner of the
+Perpendicular epoch. It is difficult to puzzle out the original order of
+the figures and canopies, for the window was greatly damaged during the
+prevalence of the playful custom, many years ago, of permitting the
+village urchins to throw stones at it! Although the design has been
+injured, nothing could spoil the colour effect. Viewed from a proper
+distance the whole presents an appearance of tender grey, mellowed by
+soft blue, with here and there a note of red. The tracery lights escaped
+practically unscathed, and each contains a complete figure and canopy.
+This great central embrasure is flanked on both the north and the south
+by three large clerestory lights, the glazing of the southerly ones
+being much less complete than that of their neighbours across the
+chancel, where the figure and canopy work is excellent, and the
+combination of tints remarkably good. The side columns of the shrines
+are broader than is customary, while at the top are an unusual number of
+pinnacles, as many as fifteen being noted in one case. These little
+spires are shown to advantage against backgrounds of soft blue and pink.
+At the top of the north-west window is the martyrdom of St. Woerstan, in
+the background of which appear the Malvern Hills. The next most
+important glass occupies the large embrasure at the end of the north
+transept, which, however, is somewhat reduced from its original
+proportions by having the lower panels in some of the side lancets
+walled up. The glass here is not so disarranged as in the east window,
+and we are able to decipher portraits of Henry VII., his queen, and
+members of his family. Something out of the ordinary is the large blue
+corona spread over the central part, serving to tie three of the lancets
+into one picture. Interesting details occur in the "Adoration of the
+Magi" (third from the right in lower row). In the west wall at the
+north-west corner of this transept are single figures in canopy, two
+rows of three each, one above the other. The great west window is filled
+with fragments brought from the nave clerestory, and is mostly figures
+and canopies. Taken as a whole, the glass in this church provides a
+delightful experience. It is very typical of the lighter tones that came
+in with the Perpendicular style, but its greatest service is in teaching
+the lesson that, no matter how much a window's design may have suffered,
+it will carry its message of beauty, if only the original colour scheme
+be sound.
+
+The fine encaustic tiles, not only in the flooring, but also set in the
+walls, are of local make. Some date from the fourteenth century, and
+others from the fifteenth, at which latter time Great Malvern enjoyed a
+wide reputation for their manufacture. Other examples may be seen at
+Little Malvern and at Tewkesbury.
+
+
+LITTLE MALVERN
+
+About three miles from the centre of Great Malvern lies the hamlet of
+Little Malvern, dominated by its priory, now used as a parish church. Of
+the original building, built by the Benedictines, little now remains but
+the chancel and a great perpendicular tower, separated from it by an
+oakwood screen rich with carved vines. The chief attraction, however, is
+the east window, which, on the whole, is well preserved. Its story can
+best be told in the words of that ancient writer Nash: "The windows were
+curiously painted, rivalling those of Great Mal. In the E. wind. of the
+choir are 6 large compartments: in the middle one is represented Edward
+IV. in a robe of ermine with an imperial crown on his head; in the next
+compartment is his queen with a like diadem; in the pane between them is
+painted his oldest son, afterwards Edward V., his surcoat azure and his
+robe gules turned down and lined with ermine; and in the next panel is
+his brother Richard, Duke of York, his surcoat also gules, and his robe
+azure turned down one row to the feet, on his head a Duke's coronet."
+
+
+ROSS
+
+Twenty-seven miles below Hereford on the Wye (but only fifteen by road),
+there rises a small but steep bluff overlooking the sinuous windings of
+the river, and straggling down from its top is built the town of Ross.
+Pope, in his "Moral Essays," would give the credit for every one of the
+town's agreeable features to a certain John Kyrle, who died in 1724 at
+the advanced age of ninety. The elaborately thorough Pope credits him
+with all the civic virtues, and appends an inventory of benefits, which
+includes the benches disposed along the hill's brow for those wishing to
+view the landscape, the causeways, bridges, &c., not omitting minute
+charities to the villagers. Some members of the legal and medical
+professions may join the writer in esteeming the poet fortunate in that
+he did not fall into our clutches after he had penned the following
+lines:
+
+     "Is any sick? the Man of Ross relieves,
+     Prescribes, attends, the med'cine makes, and gives.
+     Is there a variance; enter but his door,
+     Balk'd are the Courts, and contest is no more.
+     Despairing Quacks with curses fled the place,
+     And vile Attorneys, now an useless race."
+
+This public benefactor lies buried in the northern side of the chancel,
+and near by there comes through an opening in the wall a large vine,
+rooted outside but bearing its leaves within the church. The glass here
+is limited in extent but very delicate and charming. It fills the
+eastern end of the chancel, which extends a short distance further to
+the east than do the two ample additions opening out from each side of
+that central portion of the church. These chancel windows are composed
+of four lancets each, and the treatment is the same throughout, viz., a
+single figure within a canopy. The personages are of good size,
+occupying about half of the entire height of the canopy. Because the
+windows are near the ground, Ross affords an excellent opportunity to
+examine the peculiarly delicate drawing on English glass at this time,
+which far excelled any contemporary French work. The architectural
+details of the canopies are carefully worked out, and each is surmounted
+by seven slender pinnacles standing out clearly against their red
+background. Up the sides and into the cusps of each lancet runs a light
+border. A very sober use is made of the tints throughout, yielding a
+harmonious _ensemble_ of colour, well set off by the soft brownish
+shades used in the depicted architecture.
+
+
+WARWICK
+
+Warwick Castle should be visited in order to inspect one of the most
+perfectly preserved strongholds of the Middle Ages, the many features of
+interest which it contains and its picturesque situation on the river
+Avon, rather than for the small amount of domestic stained glass (of the
+grey and yellow stain type) to be found in the long corridor and large
+banquet-room. Although worth seeing if one is there, it is not of
+sufficient importance to cause a special visit. There are also some
+well-preserved panels showing coats of arms at the Leicester Hospital,
+but this is a form of glazing frequent in England, and it is no better
+here than in many other places. There is, however, glass of great value
+and beauty in the famous Beauchamp Chapel which adjoins, on the south,
+the chancel of St. Mary's Church. Much interest is added to this
+glazing, because the contract for it (dated June 23, 1447) is so full of
+details and specifications as to throw valuable light on the conditions
+and requirements of the craft at that time. After one's eyes have become
+accustomed to the soft-hued English Perpendicular glass, then in the
+height of its favour, it is very difficult to realise that these
+windows, with their strong colouring, are of the same period as the
+delicately toned ones which we have seen at Great Malvern and elsewhere.
+The explanation is provided in the contract. It there appears that the
+executors of Richard Earl of Warwick were not satisfied with the then
+prevailing English system of soft tints, and also that they were
+sufficiently advised of the state of the art on the other side of the
+Channel to realise that the richer hues which they demanded could be
+obtained in France, even though it was impossible or difficult in
+England. We read that they required the glazier, John Prudde of
+Westminster, to work "with Glasse beyond the Seas, and with no Glasse of
+England." Again and again they insist on richness of hue; not only must
+he glaze "in most fine and curious colours," but it is specified just
+what he shall use, for they provide him with a selection "of the finest
+colours of blew, yellow, red, purpure, sanguine and violet, and all
+other colours that shall be most necessary." They require that his
+designs be made by another artist, and even those must be "in rich
+colouring." The contract contains another criticism of earlier English
+methods, for they say "of white Glasse, green Glasse, black Glasse, he
+shall put in as little as shall be needful." He complied with his
+requirements pretty strictly, and further, he used a glass so hard and
+tough that its surface has resisted the disintegration which the weather
+so frequently caused in English glass of that period. Unfortunately all
+the ancient panes are not in place. The entire east window is filled
+with them, although a close scrutiny reveals that several of its panels
+are brought from side windows. Along the sides of the chapel the
+original glazing is only to be found in the tracery lights and the upper
+parts of the embrasures, what little there was left in the lower panes
+having been used to eke out the east window. The effect of this latter
+is complete and splendid. The richness of its colours is assisted by the
+golden rays which are so plentiful in the central part of the picture.
+The use of the leads is very elaborated and painstaking, many of the
+folds of the garments being delineated in this laborious manner. Two
+schemes are used for the backgrounds, one, red with lozenge-shaped
+squares enclosed by white and gold strapwork, and the other, blue with
+similarly bordered squares.
+
+Note in the traceries the red angels, poised upon golden wheels. The
+most striking feature of this tracery glazing is the liberal use
+throughout of written music, generally supported by angels. In some
+instances psalms are written on the white sheets, but more often it is
+staves of notes. Above the most easterly pair of windows on each side
+are groups of angels playing musical instruments and walking about on a
+blue sky dotted over with white stars, much resembling the apples on the
+trees of children's storybooks. One should observe what an agreeable use
+is made of these small angels that people the traceries. The glazier has
+skilfully avoided the ugly effect which would have been produced had the
+white sheets of music or psalms been continued in a horizontal line
+around the chapel, and has so waved this white line up and down that it
+becomes as decorative as the labels so common in German glazing. This
+appearance of music on glass is rare in England and rarer still in
+France. The rich colours demanded by the Earl's executors must have
+produced a splendid effect in this chapel when all the embrasures were
+glazed as sumptuously as is the east window. Enough remains, however, to
+make the Beauchamp Chapel an important station in any stained glass
+pilgrimage.
+
+On the other side of the chancel is the vestry, into whose small east
+window have been collected six diminutive panels formerly in the
+chancel's east window. They date from 1370 and contrast markedly with
+some small enamelled scenes in white and yellow stain (dated 1600)
+placed in the same embrasure with them. While the contrast is too sharp
+to be agreeable, we are afforded a comfortable, near-at-hand opportunity
+to observe the great strides which this craft took during that interval
+of time.
+
+
+COVENTRY
+
+An English friend of a flippant turn of mind once remarked to the writer
+that the three most famous rides in English history were undoubtedly the
+Charge of the Light Brigade, John Gilpin's famous infringement of speed
+regulations, and Lady Godiva's effort on behalf of the citizens of
+Coventry--and that the last was the most praiseworthy, because it had
+really accomplished something! Viewed in this light, the episode of Lady
+Godiva passes from a matter of local interest to the higher plane of
+national pride;--upon the equity of this promotion it is certain that
+every citizen of quaint Coventry will agree. If, peradventure, there
+shall have intruded into our company any who love not glass, let us
+protest with Falstaff, "I'll not march through Coventry with them,
+that's flat." The distant prospect of that Warwickshire city is
+beautified by the three famous spires that proudly thrust their red
+sandstone peaks high above the huddled housetops. The ancient flavour of
+the place is preserved for us by the numerous old houses, one of which
+has in its topmost window a wooden figure, "Peeping Tom," that wicked
+exception who proved the rule that the worthy citizens could be relied
+upon to be loyal and true even under the application of that most
+searching test, curiosity. One of the three great spires rises from St.
+Michael's Church, a building of very great size, about whose spacious
+interior are disposed many Perpendicular fragments, some arranged in
+bands along the clerestory, and others filling two windows (each of four
+lancets) that face each other in the chancel. These panels afford a
+useful part of the decoration, even in their present kaleidoscopic
+condition, and their colours put to shame those of the modern windows
+near them.
+
+ [Illustration: GUILDHALL, COVENTRY
+     Splendid row of ancient English Kings, and below, a great
+     tapestry. In the centre of the window and again on the tapestry
+     appears Henry VI, who was a member of the Guild. Handsome
+     example of mediaeval hall]
+
+Just across the narrow street is one of the finest examples in England
+of stained glass used to decorate a municipal building devoted to
+secular purposes. It is to be found at the north end of St. Mary's Hall,
+and is as admirably placed as it is excellently composed. Across that
+entire end of the spacious hall is a great window occupying the whole
+upper half of the wall, and broken up into nine wide lancets surmounted
+by tracery lights of the usual Perpendicular form. Across the entire
+lower half of the wall is suspended a long tapestry, which we shall see
+accords with the subjects appearing in the glass above it. Nowhere can
+there be found a great window and a large tapestry used with such
+harmony of purpose and result. History tells us that Henry VI. took so
+pronounced an interest in the Guild of Coventry that he was regularly
+inducted into its membership in 1450, and therefore we are not surprised
+that his effigy occupies the middle lancet of the window. Inspection
+reveals that he is the central figure of a gallery of kings, for he is
+flanked on the left by Henry III., Richard Coeur de Lion, William the
+Conqueror, and King Arthur; and on the right by Edward III., Henry IV.,
+Henry V., and the Emperor Constantine (who was born in Britain). All
+these royalties are in full armour, except their crowned heads, and they
+all stand firmly poised with their feet well apart. The backgrounds are
+unusually interesting, and consist of upright strips of red and blue
+separated by narrow lines of yellow, the strips being sprinkled over
+with the letter M, because St. Mary is the patron saint of the hall.
+These figures all stand beneath canopies, and in the traceries above is
+still other canopy work, serving as background for gaily tinctured coats
+of arms. One, displaying a black eagle upon a yellow field, is said to
+be the blazon of Leofric, Earl of Mercia, Lady Godiva's husband, "that
+grim Earl who ruled in Coventry." This hall was finished in 1414, and
+the glazier is said to have been the same Thornton to whom we are
+indebted for the east window at York Minster. Henry VI. appears again
+in the tapestry below, this time attended by his wife, Queen Margaret of
+Anjou, who shared his interest in Coventry. Nor were these the only
+royalties to feel a kindly interest in this city, for we also read that
+Henry VII. and Elizabeth of York were enrolled as members of the Guild
+in 1499. Upon this tapestry there is gathered a numerous company of
+individuals attending upon Henry VI. and his wife, who are kneeling in
+their midst, while between them is a female figure labelled "Justitia."
+Local tradition says this label is a later substitute for a religious
+name, but whether that be true or not, a tapestry made for a Guild Hall
+in which justice was administered might well have originally had
+"Justitia" as its central figure. The harmony between the splendid
+window and the adjoining tapestry finds an answering note in the ancient
+wooden ceiling with its quaintly carved bosses, and also in the fine
+wooden gallery at the south end, against which are arranged many suits
+of armour. Our visit will not be complete without a peep into the
+spacious kitchen below, and also into a small muniment-room above, which
+is proved by a carefully preserved letter, bearing Queen Elizabeth's
+signature, to have once served as a prison for Mary Queen of Scots.
+
+
+YORK
+
+An account of the Early English glass at York will be found at p. 57,
+and of that of the Decorated period at p. 76.
+
+The huge choir of the cathedral abounds in splendid specimens of the
+glazier's art during the Perpendicular period. Here is collected all
+that the minster possesses of that epoch except a few fragments in the
+east and west aisles of the great south transept. So attractive is the
+manner in which the illumination of the choir is effected, as to inspire
+many poetic descriptions of its windows. One author says that they
+"remind one of particles of sunlight on running water"; another speaks
+of "the glittering screens of colour and soaring shafts of stone." With
+this latter author we are disposed to take issue upon his use of the
+word "glittering" in describing glass of this period, for that
+description more properly belongs to the earlier brightly hued mosaic
+medallions. In fact, so soft and delicate are the colour and design upon
+Perpendicular glass that one is apt to neglect the picture which it
+bears. Indeed, one might say that the service performed at that time by
+the picture was but to lend coherence to the window, or, perhaps better,
+to prevent the colours from being unmeaningly kaleidoscopic when viewed
+from near at hand. Winston says that the earliest windows in the choir
+date from the close of the fourteenth century, and are the third from
+the east in the south aisle, the third and fourth from the east in the
+north clerestory, and the fourth from the east in the south clerestory.
+Note the early Tree of Jesse of this period in the third embrasure from
+the west in the south choir aisle. The other windows of these aisles
+east of the small easterly transepts, as well as the lancets on the east
+side of the great westerly transepts, are from the time of Henry IV.,
+while all the others date from Henry V. and VI., chiefly from the
+latter. These small easterly transepts rejoice in the possession of two
+large windows, one at the north and the other at the south end, the
+former dedicated to St. William and the latter to St. Cuthbert. In the
+latter, which is seventy-three feet by sixteen feet, appear members of
+the House of Lancaster. Beginning at the eastern end of the north aisle,
+we shall find that the first window possesses a few fragments, but that
+the next three are among the finest here, their combination of greys,
+browns and blues being noticeably good. The next three are paler in tone
+and not satisfactory. The Crucifixion at the end of this aisle in the
+east wall is excellent. Its companion at the east end of the south aisle
+is also fine in both colour and design. Observe the drawing of the heads
+in the second window from the east in this aisle. The last one of all is
+French of about the end of the sixteenth century, and was brought here
+from Rouen by Lord Carlisle in 1804. Fine as it undeniably is, its rich
+Renaissance hues do not harmonise with the lower tints of its earlier
+English neighbours. The examination of these minor possessions of this
+part of the edifice now leads us up to its crowning glory, the great
+east window. The nine lofty lights are subdivided into three groups of
+three each by two mullions thicker than the others. All these mullions
+are swerved above and then disposed in accordance with the best
+Perpendicular traditions. Like the large windows of the east transepts
+there is here a double plane of stonework reaching half-way up the face
+of the embrasure. At the point where this double stonework stops there
+is carried across its top a gallery right against the face of the glass.
+So vast is this great surface (seventy-eight feet by thirty-two feet)
+that the gallery would escape notice if it were not pointed out. The two
+hundred panels of figures which here appear depict in the upper half Old
+Testament scenes from the creation of the world to the death of Absalom;
+below are scenes from the Book of Revelations, and lowest of all a
+series of kings and archbishops. The contract for the glazing is dated
+1405 and calls for the completion of the work in three years. Even if
+the rest of its great wealth of windows be disregarded, York Cathedral,
+by virtue of this vast screen of colour and of the exquisite group of
+the "Five Sisters," would rank as one of the most notable points of
+interest in the world for the lover of stained glass.
+
+ [Illustration: EAST WINDOW, YORK MINSTER
+     Tremendous sheet of colour, 78 by 32 feet. Lower half of stone
+     frame built in a double plane, and carries a gallery across face
+     of the glass]
+
+Several churches of this city also contain Perpendicular windows of
+great interest. We have already visited most of these to inspect their
+Decorated remains (_see_ p. 78), and, for the sake of regularity, will
+now take them up in the same order when viewing their Perpendicular
+glazing. All Saints' in North Street, tucked snugly away among its
+surrounding buildings and only accessible by means of a narrow alley, is
+the most interesting of all the smaller churches. It is, fortunately, in
+the possession of a rector (Rev. P. J. Shaw) so keenly alive to its
+store of beauties that he has preserved them in a handsome volume, and
+thus made their enjoyment possible for those who live far away. Fine as
+are the Decorated windows already described, the Perpendicular ones are
+finer still. They fill almost all the embrasures not occupied by the
+earlier glass. Most of them are in the usual figure-and-canopy style,
+although here groups generally replace the figures, and the details of
+the architecture are worked out in a painstaking way. A very fine one
+is the east window with its three lancets containing respectively St.
+Christopher carrying Christ, St. Ann instructing the youthful Mary, and
+John the Baptist, while below and in the side compartments are the
+donors, and in the central one a composition representing the Trinity.
+Still more interesting is the embrasure containing the "Six Corporal
+Acts of Mercy" with its engaging little groups, of which, perhaps, the
+quaintest is the upper central one, "Giving Drink to the Thirsty." But
+the most interesting of all, indeed a famous window, is the eastmost in
+the north aisle. It is of the kind called "Bede" window from its showing
+a bede or prayer for the donors. The fifteen small scenes under their
+squatty canopies are a most interesting representation of the last
+fifteen days of the world as recounted in the "Prick of Conscience" by
+Richard Rolle, a learned and pious writer who died 1349. The story
+begins at the lower left-hand corner and goes to the right. Notice the
+careful realism of the timid worthies in the scene whose label describes
+it as "ye XI day sal men come owt Of their holes and wende abowt."
+
+In St. Dennis (Walmgate) the chief remnants of Perpendicular glass are
+gathered in the central east window, but they are not to be compared
+for excellence with their earlier neighbours. So, too, in St.
+Martin-cum-Gregory the Perpendicular remains cannot vie with the
+Decorated specimens. There is, however, a fine picture of St. George
+killing the dragon in the central lancet of the westmost embrasure in
+the south aisle.
+
+Holy Trinity (Goodram Gate) has a large east window dating from about
+1470, whose five roomy lancets contain single figures in the upper
+canopies and groups within the lower ones. Especially note the central
+lowest panel, for there appear three men intended to represent the
+Trinity. This is said to be the only instance in English glass where the
+Trinity is thus symbolised. On either side of this large window are
+smaller two-lanceted ones containing figures in canopy. All this glass
+is supposed to date from the reign of Henry VI., as does also that at
+St. Martin's (Coney Street). St. Martin's is not only valuable as
+affording an example of the general arrangement of designs throughout an
+interior, but it specially rejoices in a great west window that is a
+real delight. Its five lights set forth the life of St. Martin, and from
+the records we learn that it was erected with funds received from a
+bequest dated 1447. Three splendid tiers of canopies rise one above the
+other across the five lights, while below, where the shadow of an
+adjoining building might have robbed figures of their brilliancy or
+interest, the space is filled with elaborate quarry work. Along the
+clerestory are four-lanceted lights with large saintly figures upon
+white quarries and blazons above them, each lancet bordered in colour.
+Kneeling donors reveal whose piety contributed to these windows. St.
+Michael's (Spurrier's Gate) has quite an amount of Perpendicular glass
+which is in good condition owing to having been recently releaded.
+The windows along the south aisle beginning at the east are each
+four-lanceted; in the first appear the nine choirs of angels, and in the
+next two the genealogy of Christ. In the south-west window are Biblical
+scenes, while in the north-west one there has been collected heads,
+armorial bearings and conventional designs. Fragments have also been
+gathered into the south-east window, including heads of three kings and
+a bishop.
+
+
+SALISBURY
+
+At p. 30 will be found an account of the Early English glass at
+Salisbury.
+
+As one reads history, the kings and nobles are apt to stand out in such
+sharp relief against the background of less illustrious folk that one
+often neglects to inquire into the nature of that background, if,
+indeed, it be not entirely ignored. Nevertheless, the foreign campaigns
+of the English kings could never have been carried on without the
+"sinews of war," which brings us abruptly to the unromantic necessity of
+considering that very large portion of the community who stayed at home
+and paid the taxes and did other unattractive but necessary background
+work. Chief among these useful people were the great merchants of
+England, and of these none were more important than those who dealt in
+wool. Men of their significance in the financial world naturally lived
+in fine houses, so we are not surprised to find such edifices as Crosby
+Hall in London or the hall of John Halle at Salisbury. We read that this
+Halle and one other "merchant of the staple" bought all the wool that
+came from Salisbury Plain, which fact helps to explain how he came to
+be four times chosen Mayor of Salisbury, and also sent to represent the
+Burgesses when the king had occasion to summon Parliament in London. His
+handsome hall is lighted by numerous windows, retaining to this day most
+of their original glazing. Upon them appear sundry heraldic blazons, and
+also the merchant's mark of John Halle, which is repeated again on the
+stone transom of the great fireplace. If we are to venture a date for
+the building, we may select the year 1471, and for the following
+reasons: the records show that John Halle bought the land in 1467; the
+window above the fireplace displays that honest worthy in brave attire
+with motley hose supporting a banner whereon appear the arms of Edward
+IV., but surcharged with the plain label of three points, indicating
+that they belong to his son the Prince of Wales (murdered in the Tower);
+on the other window appear the arms of Warwick, the "kingmaker." Now a
+glance into history reveals that the Prince was born November 4, 1470,
+during the time that his mother was obtaining sanctuary in Westminster
+Abbey, his father having fled the country. Further, we know that his
+father returned and defeated Warwick at the battle of Barnet, April 12,
+1471, which defeat cost the great Earl his life. It is fair to
+conjecture that the Warwick arms would not have been put upon these
+windows after his death, nor those of the Prince of Wales before young
+Edward was born, so there remains to us only the period between his
+birth and Warwick's death (viz., November 4, 1470 to April 12, 1471) as
+the probable time of the hall's erection. The embrasures were glazed in
+uniform manner (except the one over the fireplace already described),
+and they repay close examination. Within coloured borders are quarry
+lights across which are drawn bands slanting downward from left to right
+which bear the word "Drede" often repeated. Up and down the lancets are
+placed gaily tinted shields of arms. These slanting bands, marked with
+motto or single words, were not uncommon at that time; interesting
+examples are to be seen at Ockwell's Manor (Berks), Gatton Chapel
+(Surrey), and Benedict's Chapel (Peterborough), &c. It has been
+suggested that the word "Drede" used here is a rebus composed of the
+initials of the words "dominus rex Edwardus domina Elizabeth," referring
+to Edward IV. and his Queen. The handsome pointed roof assists the
+windows and the fireplace in completing a most pleasing interior, giving
+one a high opinion of the style in which once lived John Halle, the
+great wool merchant of Salisbury.
+
+
+WINCHESTER
+
+The oldest known road in all England is the "Pilgrim's Way" which used
+to run along the southern coast from the neighbourhood of Salisbury to
+Canterbury. In very early times it started from Stonehenge, but when
+that place yielded in importance to the newer settlement of Sarum, and
+it in turn to Salisbury, the section from Stonehenge to Alton was
+abandoned because of the new demands of traffic from Salisbury to Alton.
+Many parts of it are still easily traceable and are worth study by those
+interested in historic national highways. Maurice Hewlett, in that
+charming book in the mediaeval manner, "New Canterbury Tales," has his
+pilgrims proceed not from London, as did Chaucer's people, but along
+this very road from Salisbury to Winchester and thence to Canterbury.
+Nothing is known of Stonehenge, the earliest starting-point of this
+road--it lies hidden behind the veil on the hither side of which history
+begins. Likewise, very ancient are the traditions which we shall find at
+Winchester. As we wend our way along this time-worn highway toward the
+latter town, we are (in the words of Le Gallienne) "now entering on a
+region where the names of Saxon kings are still on the lips of peasants,
+where the battlefields have been green for a thousand years, and the
+Norman Conquest is spoken of as elsewhere we speak of the French
+Revolution--a comparatively recent convulsion of politics." To us,
+pondering upon these ancient thoughts, there comes forth to meet us from
+Royal Winchester a strange array of
+
+     "Visions, like Alcestis,
+     Brought from underlands of memory."
+
+We seem to see Alfred the Great and his tutor St. Swithin; King Canute,
+whose imperious sway stopped only at controlling the tide; William of
+Wykeham, the great builder of cathedrals, churches and colleges; Jane
+Austen, friend of us all; the gentle Isaac Walton, and many another.
+Shades and visions of shades! Nay, even the lovely New Forest through
+which we are travelling seems peopled with ghosts from homes destroyed
+to provide space for it by the ruthless Norman conqueror William--ghosts
+that old legends say winged the arrow that here slew his son William
+Rufus. And is not Winchester itself the ghost of the kingly capitals it
+has been--the Saxon capital of Alfred, who here wrote the Anglo-Saxon
+Chronicle; the Danish capital of Canute, whose sway extended far out
+over Scandinavia; the Norman capital of William ruling both sides of the
+Channel? In harmony with this weird ghostliness is a strange story that
+has to do with the building of the cathedral. William's Bishop,
+Walkelin, received a grant from his royal master of all the wood that he
+could cut from the forest of Hannepings during the space of four days.
+When William rode forth to see how much had been removed for the
+purposes of the new building, he at first thought magic had been
+invoked, for lo! the entire forest was gone! The only magic used proved
+to be the great energy shown by the Bishop in collecting such a horde of
+workmen as to perform this tremendous feat in so short a time.
+
+Stately and impressive as is the long grey cathedral, and pregnant as
+are its memories, there are others in Winchester equally potent to
+conjure up the distant past, for in the County Hall we shall see
+suspended against the wall the Table Round of King Arthur and his
+knights. Tennyson, in his description of King Arthur's Hall, shows
+himself a stout advocate of how glorious a part stained glass can play
+in a scheme of decoration. He says:
+
+     "And, brother, had you known our hall within,
+     Broader and higher than any in all the lands!
+     Where twelve great windows blazon Arthur's wars
+     And all the light that falls upon the board
+     Streams thro' the twelve great battles of our King.
+     Nay, one there is, and at the eastern end,
+     Wealthy with wandering lines of mount and mere
+     Where Arthur finds the brand Excalibur."
+
+The cathedral, although giving the impression of spaciousness, does not
+receive full credit for its size--as a matter of fact it is the largest
+in England. According to the delightful English custom, it lies within a
+charming Close of green lawn and trees, while on one side a narrow
+passage called the Slype, quaintly inscribed, gives access to the
+Deanery, Library, &c., close by, which buildings add so much to the
+picturesque effect of the whole. Within the portal we shall find the
+remains of many ancient great ones, some in mortuary chests placed high
+aloft, and others interred in the customary manner beneath slabs of the
+pavement. Walpole justly says, "How much power and ambition under half a
+dozen stones!"
+
+The remains of old glass in this church are more interesting than
+numerous. Cromwell's ruffians here outdid themselves. Not content with
+their usual method of smashing the windows as high up as they could
+thrust their pikes, they broke open the ancient mortuary chests
+containing the remains of early kings and ecclesiastics, and hurled
+through the upper window panes the bones of Canute, William Rufus, and
+many another long dead ruler--a gruesome destruction indeed! The most
+important examples of stained glass date from just after the death of
+William of Wykeham (1404). So interested was this great man in our
+gentle art that he placed in his will minute instructions covering the
+glazing of the windows of his beloved cathedral. He ordains that it be
+commenced in the nave at the first embrasure west of the new work done
+by him and then proceed "bene et honeste et decenter" easterly along the
+south aisle and south clerestory, then, provided any money remains
+unexpended, the north aisle and the north clerestory. There are more
+remains of his beneficence on the north side than on the south. Four of
+his canopied figures have been moved to the first embrasure from the
+east in the choir clerestory. All of this glass is quite similar to that
+which he installed in the antechapel of New College at Oxford. There are
+earlier Perpendicular remains in the great west window, in those at the
+west end of the nave aisles, and in the first of the south aisle. If it
+were not for the west window with its deliciously mellow effect,
+Winchester would hardly have been included in this tour, for the
+remainder of the glass, though of interest, is not important. One should
+proceed eastward as far as the transept before turning to look at the
+west window, for thus he will be able to enjoy its effect without having
+first learned that it is really only a jumble of old glass put together
+every which way, another example of colour outlasting design. Strangely
+enough, its soft grey-greenish tones remind one of the Five Sisters at
+York, earlier by two centuries. A nearer approach not only reveals the
+disordered array of fragments but also permits one to remark a few of
+the original figures and canopies in the upper left-hand corner. The
+nine lofty lights are subdivided into three groups of three each by
+means of two of the mullions which are thicker than the others; these
+two swerve off to the left and right when nearing the top in the usual
+Perpendicular manner. An unusual feature is the fact that the mullions
+of the window have been carried down over the face of the stone wall
+below, thus agreeably tying together the wall of glass and the
+supporting one of stone. In this window there are two circles of
+geometric patterns, made up of early Decorated fragments. Glass dating
+from the end of the reign of Henry VI. is to be seen in the three most
+westerly embrasures of the clerestory on the north, and the two most
+easterly on the south. These latter are from six to ten inches too short
+for the embrasures, thus indicating that they have been transferred from
+elsewhere.
+
+ [Illustration: NAVE, WINCHESTER CATHEDRAL
+     The excellent effect produced by the Fifteenth Century fragments
+     with which this window is glazed proves that colour is more
+     important than design in glass. Note swerving to right and left
+     of two principal mullions, thus relieving a monotony of upright
+     lines]
+
+Our first glance toward the east makes one inclined to quarrel with what
+seems to be the excessive height of the gracefully carved reredos,
+which appears to encroach upon the east window and to leave only so much
+of it visible as to make it too wide for its height. A closer view
+exculpates the reredos, for it turns out that the window is placed so
+unusually high in the wall that none of it is concealed by the great
+altar. Its seven lights separate into a central group of three and two
+side ones of two each. The original glazing has been replaced by some
+given about 1525 by Bishop Fox, which, however, is now much restored;
+there appear upon it his arms and motto, "Est deo Gracia." The top
+central light has some of the earlier Wykeham glass. The manufacture of
+glass had much improved by the time of Bishop Fox, but the effect of
+this window cannot be compared with the larger one to the west. From
+fragments observable in some side windows, and also in the traceries of
+both the north and south aisles of the choir, it seems that the Fox
+glass was also used there. It is to be regretted that there is not on
+view the contents of two boxes in the cloisters of Winchester School,
+where are stored the Wykeham panels taken from the west embrasures of
+New College antechapel to make room for Sir Joshua Reynolds' "Virtues."
+
+Before leaving Winchester one should take time to see the ancient church
+of St. Cross. In 1136 Henry de Blois commanded that every one who
+demanded a piece of bread and a draught of beer at the gate of this
+church should receive it, a quaint echo of mediaeval hospitality.
+
+
+ST. NEOT
+
+The earliest appreciation by the outside world of the great natural
+wealth of England was evidenced by those perilous voyages out into the
+unknown sea beyond the Pillars of Hercules, undertaken by the early
+Phoenicians in order to trade for tin with the inhabitants of what we
+now call Cornwall. By one of the odd philological quirks of slang, the
+word "tin" is now endowed with a meaning inclusive of every form of
+wealth--a strange modern acknowledgment of the earliest form of English
+value. Many of these ancient mines are still worked, as we shall see for
+ourselves when we visit St. Neot. This centuries-old continuance of
+tin-mining is strongly in accord with all things Cornish, for in that
+westernmost corner of England change does not intrude, and as things
+have been so they continue to be. We will assume that the pilgrim has
+reached Plymouth, that western outpost of Devon, seated beside her ample
+harbour, whose many bays and estuaries running up into the land seem to
+symbolise Father Neptune laying his mighty hand upon the smiling
+country. Ferrying across to the Cornish side, we proceed by pleasant
+woody roads giving glimpses of Plymouth Harbour, and on to solid
+stone-built Liskeard. Pushing past along the high road that leads to
+Bodmin and the Land's End, we shall be at some pains to notice a little
+road that, four miles beyond Liskeard, turns off to the right up a
+narrow valley. A mile of pretty windings past several ancient but still
+active tin mines, brings us to St. Neot, snugly stowed away among the
+hills. Here, in this small community, which shows no trace of ever
+having been any larger, nor any indication of becoming so in the future,
+stands one of the most interesting glass shrines in England. The church
+has the appearance of many another of the Perpendicular school--a type
+so common throughout the land. One notices that it is lighted by an
+ample number of large windows, each of four lancets. Once inside the
+door, however, and the change from the usual to the extraordinary
+is immediate. The roomy interior is practically unbroken by the
+usual divisions of chancel, nave, &c., and this very appearance of
+spaciousness assists admirably in showing off the windows to the
+greatest advantage. The oldest ones are at diagonally opposite ends of
+the church from each other, and are found in the north-westerly and
+south-easterly corners. The many small groups or scenes (each installed
+in a canopy) into which these are subdivided render their legends all
+the more attractive, because they depict so many different points in the
+story's development. The architecture of their canopy frames shows that
+they date from rather early in the fifteenth century. In addition to
+this more common style of glazing there is another type, which has a
+number of examples here--a saint standing upon a bracket and displayed
+against a quarry background, but lacking a canopy. These date from a
+little later in the Perpendicular period. This bracket feature is very
+English, and may also be seen at Nettlestead and West Wickham in Kent.
+So pleased were the parishioners with these two types that, when some
+new windows were presented in 1528-29-30 (now seen along the north
+wall), the glazier did not work in the then prevailing Renaissance
+method, but designed his story of St. Neot's life after the earlier
+many-scened type, as well as copying some of them after that of the
+bracketed saints. One of these sixteenth century windows was presented
+by the young men of the parish, another by the young women, a third by
+the married women, and the rest by private individuals or families.
+Below the two given by the married and the unmarried women are a row of
+kneeling donors which afford an interesting study of female costume. In
+the south wall is a window given by the Mutton family. Here the glazier
+did not copy earlier types, but struck out along a new line, making a
+very graceful use of winding scrolls. Extremely pleasing as is the
+effect of all these windows, the result would have been even more
+gratifying had it not been for a restoration which befell the church in
+1820, and which, when it subsided, left behind it not only three
+unsatisfactory new windows, but also certain misguided retouchings of
+the old ones. Even this gentle criticism must not be allowed to affect
+the fact that the _ensemble_ of the interior here is delightful and one
+of the most complete in England. Nor is this general effect one whit
+less engaging than the host of quaint details revealed by a close
+investigation of the glass, especially in the case of the Noah window
+(most easterly of the south wall), and that devoted to St. Neot (most
+westerly of the north wall). The mediaeval idea of Noah's Ark is very
+diverting, as is also the artist's idea of how most of his wild animals
+must have looked. Then, too, the attention paid by good St. Neot to the
+sacred fish which his over-zealous servant had wickedly roasted and
+broiled is most entertaining. For beauty, and for interest as well,
+this noteworthy set of windows in far-off Cornwall amply repay the
+length of the trip necessary to seek them out.
+
+
+
+
+RENAISSANCE
+
+
+In England there is not to be found the same awakening and change in art
+at the opening of the sixteenth century which is encountered in France,
+and is known to us as the Renaissance. This revival of art reached the
+English at second hand, having been transmitted to them through the
+French. The soldiers of Louis XII. and Francis I., who fought in Italy
+at the close of the fifteenth century, could not help but see and feel
+the new movement in matters artistic then bursting into bloom, and they
+carried home with them not only memories of what they had seen, but also
+many fine examples in their spoils of war. The tales and trophies of
+these soldiers proved a great force in starting the French Renaissance.
+One of its first fruits was the change from the then flamboyant Gothic
+to the classical style in architecture. In glass it was first evidenced
+by substituting canopies of classic form for the Gothic ones which had
+been so much in vogue. The pictures they enclosed were gradually widened
+until it soon became necessary to discard altogether the canopy frame,
+which, on the passing of the narrow Gothic embrasures, was seen to have
+outlived its usefulness. While this awakening in art ultimately reached
+England, it came slowly and never gained the influence it attained in
+France. The English ear and eye were not surprised and delighted as were
+the French by the return of soldiery laden with artistic spoils and
+enthusiastic over the new beauties which they had seen in Italy. Art in
+England developed quietly, steadily, as was but natural, lacking, as it
+did, this sudden impetus from the outside. There is another, and for us,
+a far more regrettable difference between those two countries during the
+sixteenth century, in that very little good glass was then made in
+England, while France was constantly adding to her wealth of windows
+during all of this, her great period of artistic revival. Just as the
+golden age of glass seemed to die in France at the end of the sixteenth
+century, so, in England, it perished at the end of the fifteenth, a
+whole century earlier. There are, however, some fine examples of the
+sixteenth century in England even though much of it (as at Lichfield)
+will prove to have come from abroad. What we shall find at Cambridge is
+delightful, in fact so fine is it that one must deeply regret that there
+are so few towns on the roster of this epoch. A modest amount of glass
+was made in England during the seventeenth century (as, for example,
+the work of the Crabeth Brothers and Von Linge in certain Oxford
+colleges), but as this is only fairly good and was, moreover, made by
+foreigners, we will not take our pilgrim to see it because its lesser
+interest might detract from his delightful memories of the glorious
+Decorated and Perpendicular windows. In English sixteenth century glass
+it is not easy to trace the transition from the Perpendicular canopies
+to the large brilliant pictures, which can be so readily studied in
+France. The English glazier would almost seem to have realised abruptly
+the beauty of the large picture windows, and to have transferred his
+allegiance suddenly to this new method. Delightful examples are to be
+seen at Shrewsbury, but most satisfying of all is the very complete
+series around the chapel of King's College, Cambridge, that gem of
+English architecture. Lichfield must also be visited to view its Flemish
+windows about the Lady chapel, and St. Margaret's Church (close to
+Westminster Abbey) for its east window of the same provenance.
+Concerning English glass of this period it may be said that it possesses
+all the rich colour treatment of its French contemporaries, and,
+moreover, that it has the added advantage of a more careful use of the
+leads in providing outlines for the designs. Almost insignificant as are
+these sixteenth century remains when compared with the innumerable ones
+across the Channel, their great beauty goes far towards compensating us
+for their lack of numbers.
+
+
+RENAISSANCE TOURS
+
+The seven towns containing noteworthy Renaissance glass fall naturally
+into two groups, one to the north and the other to the south.
+Supposing we begin with the one of greater distances, the first stage,
+after viewing the London windows, will be Cambridge. Thence we go
+north-westerly to Lichfield, and, lastly, due west to Shrewsbury. If
+the pilgrim has not already visited Shrewsbury on our Decorated tour,
+he will find an account of its sixteenth century glazing at p. 85. The
+second tour is to the south, and not only are all the points near
+London, but close to each other as well. The first will be Guildford,
+which lies in Surrey, as does also Gatton Park, the next in order.
+Twenty miles to the east, over the Kentish border, is Knole, which
+concludes the tour.
+
+[Illustration: MAP OF RENAISSANCE TOUR]
+
+If a stay of any length is made in Cambridge, occasion may be taken
+to use it as a centre for side-trips to Margaretting, Levrington and
+Lowick. So, too, proximity may serve as an excuse for seeing Nettlestead
+and West Wickham on our way back to London from Knole.
+
+
+LONDON
+
+London, that capital of the world, contains no examples of early glass
+_in situ_, and it is not until we have arrived at the study of
+Renaissance windows that she provides something to engage our attention.
+It must not be overlooked that there is an excellent collection of early
+glass at the Victoria and Albert Museum which, by the way, is most
+advantageously displayed, thanks to the manner in which all light is cut
+off save that coming through the coloured panes: it is unfortunate that
+the same good taste and judgment is not in evidence at the Louvre and
+other great museums. Some of the original mosaic medallions from the
+Sainte Chapelle, Paris, are here preserved. After all, though this South
+Kensington exhibit is undeniably good, glass appeals to one less in a
+museum than when seen in its natural home, a church. Two London churches
+have interesting examples of Renaissance glass, which, however, came
+from abroad, the east window in St. Margaret's, Westminster, and three
+in the east wall of St. George's, Hanover Square.
+
+Westminster Abbey is generally entered by the north transept door, and
+almost every one of its visitors overlooks the modest little parish
+church of St. Margaret, standing only a few paces off, so completely
+dwarfed and rendered almost insignificant is it by the imposing
+proportions of its impressive neighbour. Nevertheless, small as is this
+interior, it possesses a window which the Abbey would be proud to have,
+one of such pre-eminent excellence as to draw from Winston the statement
+that "the harmonious arrangement of the colouring is worthy of
+attention. It is the most beautiful work in this respect that I am
+acquainted with." It completely fills the large eastern embrasure, and
+one needs but a glance to recognise it as a Renaissance work of an
+excellent type. The three central lancets show Christ between the
+thieves, and below, the Holy Women, and soldiers. The drops of blood
+from His wounded side fall into chalices held by three angels. The
+repentant thief has his soul carried away by an angel to heaven, while a
+devil is mocking the other one. On the north side is St. George, and
+below him a kneeling figure which provides the only authentic portrait
+of Arthur Prince of Wales. On the left is Katharine of Aragon, the
+_fiancee_ of Prince Arthur, and later the first wife of Henry VIII.
+Above her head appears her badge, the pomegranate. As no stranger tale
+could be related of the vicissitudes to which a glass window could be
+subjected than the adventures of this window during the 300 years that
+elapsed between its making and its installation at St. Margaret's, the
+writer is moved to set it out in full in the words of the historian of
+that church, Mrs. J. E. Sinclair:
+
+"The window was ordered in 1499, and took five years to be executed at
+Dordrecht (or, as some authorities state, at Gouda) in Holland. It was
+intended as a gift from King Ferdinand the Catholic and his wife, Queen
+Isabella, to Henry VII. to commemorate the marriage of their children,
+and was originally purposed to be erected in the Lady chapel of
+Westminster Abbey, then in course of construction by Henry VII., and now
+generally designated by his name. As Prince Arthur died in 1502, before
+the arrival of the window in England, and as it was the policy of Henry
+VII. to avoid the repayment of the widow's dowry by her marriage to his
+younger son, for obvious reasons, the window was never erected in the
+Lady chapel of the Abbey of St. Peter. After the vicissitudes of three
+centuries, it has been eventually put up in St. Margaret's Church,
+within a very short distance of its original destination. Henry VIII.,
+after marrying his brother's widow, naturally disliked the window, and
+presented it to the Abbey of Waltham, where it remained till the
+Dissolution of Religious Houses in 1540. Then the Abbot, with a view to
+its preservation, transferred it to his private chapel at New Hall in
+Essex. This property, strange to relate, fell at the Reformation into
+the hands of Sir Thomas Boleyn, Earl of Wiltshire, father of Queen
+Katharine's rival, Anne Boleyn. On the death of Sir Thomas without a
+male heir, Henry VIII. seized New Hall with the rest of the Boleyn
+patrimony, in right of his murdered wife, on behalf of her daughter
+Elizabeth. He then wished to alter the name of New Hall into Beaulieu,
+but the old nomenclature survived. Queen Elizabeth bestowed the estate
+on Ratcliffe, Earl of Essex, who sold it to Villiers, Duke of
+Buckingham. His son, in turn, sold it to General Monk, Duke of
+Albemarle, who caused the window to be taken down and buried in chests,
+thus preserving it from the iconoclastic zeal of the Puritans during the
+Civil War. The next owner of New Hall, John Olmius, offered the window,
+in a letter dated July 30, 1738, preserved in the British Museum, to the
+authorities of Wadham College, Oxford, for their chapel; he terms it
+'one of the finest large windows of painted glass in England.' The
+negotiation apparently fell through, for it was bought from him by Mr.
+John Conyers of Copt Hall, Essex, for fifty guineas. The son of this
+gentleman, on February 8, 1759, sold the 'window with its stone frame,
+ironwork, and other appurtenances' to the Churchwardens of St.
+Margaret's, Westminster, for L420. This sum formed part of the
+Parliamentary Grant of L4500 then voted for the repair of the Parish
+Church of the House of Commons." The parishioners of that small
+sanctuary possess in this much-travelled window as inspiring and
+beautiful a treasure as any of those which attract so great an
+attendance to its mighty neighbour Westminster Abbey.
+
+ [Illustration: ST. GEORGE'S, HANOVER SQUARE, LONDON
+     A Renaissance Tree of Jesse from Belgium, readjusted to fit its
+     new embrasures. Figures unusually large for this subject. Fine
+     colours and drawing]
+
+Certainly one would not visit the Abbey because of its stained glass,
+but equally certain is it that no one who happens into its neighbourhood
+can resist its spell and must enter the portal, if only for a moment of
+old-world inspiration. Let us yield gracefully, and when we have entered
+look about us for what little ancient glazing remains after the visit of
+the Roundhead despoilers. There are fragments in the two small windows
+of the nave's west end, but the most important remains are those in the
+east window above the altar. Here are assembled pieces dating from the
+thirteenth to the eighteenth centuries, which serve as a background for
+Edward the Confessor and his patron saint--these figures are of the
+fifteenth century. Passing on to the east through the maze of kingly
+remains, a few steps lead us up into the magnificent Henry VII. Chapel,
+whose noble proportions seem to mock the modesty of its name. The
+ancient glory of its glass has departed, but those who interest
+themselves in the light which heraldry throws upon history should
+repair to the easternmost chapel and examine the coats of arms set out
+upon its panes. Here are blazoned all the Tudor badges, picturing the
+claims upon which that new house based its right to occupy the throne of
+England. The red rose of Lancaster and the white one of York are there
+alone and in combination. The portcullis of the Beauforts, the family
+of Henry VII.'s mother; the Countess of Richmond's root of daisies; the
+English lions; the fleur-de-lis of France; the Cadwalader dragon, a
+reminder of Henry's descent from the last of the British kings; the
+greyhound of the Nevilles, from whom Elizabeth of York descended through
+her grandmother, and also the badge of her father, Edward IV.--a falcon
+within the open fetterlock; and last, but most significant of all, the
+green bush with its golden crown, emblematic of Henry's hasty coronation
+on Bosworth Field with the diadem of Richard III. picked from off a
+hawthorn bush. In those strenuous days the proof of a legal title was
+not infrequently deferred until after the mailed fist had laid hold upon
+its prey!
+
+St. George's, Hanover Square, has long been famed far and wide for
+the great number of weddings there solemnised. It is perhaps not
+inappropriate that the old glass to be seen here once constituted a
+Tree of Jesse. The spacious window at the back of the chancel, and
+also those which flank it on either side, are filled with it. So large
+are the figures (the largest the writer has ever seen in this favourite
+glass design) that two of them suffice to fill each of these side
+windows, although their embrasures are by no means small. The glass was
+originally made for a church at Mechlin, Belgium, and though its figures
+have been necessarily readjusted to suit their new home, there remain so
+many sections of the vine as well as of the familiar name-labels as to
+make it obvious that the panels as originally combined made up a Tree of
+Jesse. The glazing as a whole is rich in tone, unmistakably Renaissance,
+and, best of all, so agreeably disposed in its present abiding-place as
+to make it seem as if it had always belonged there.
+
+
+CAMBRIDGE
+
+In the mind of most Americans the names of Oxford and Cambridge are
+firmly locked together--a sort of Siamese twins of University education.
+As a matter of fact, they are strangely different--very much more so,
+indeed, than any two American universities. While Oxford has her
+charming quadrangles with their delightful gardens, Cambridge not only
+has them also, but further rejoices in a very special beauty, her
+"Backs," those admirable contrivances for preventing overstudy on
+the part of too zealous students. A "Back" is that portion of a
+college's territory through which meanders the narrow Cam, the scenic
+opportunities of that slender stream being developed to the uttermost
+with green banks, graceful bridges, and shaded walks. The writer never
+pursued a course of study at Cambridge, and, therefore, is not competent
+to judge of the charms of her undergraduate life, but he has spent
+sundry happy hours canoeing on the gentle Cam, which same hours have
+yielded him the impression that, fascinating as the undergraduates
+doubtless find the lecture halls, there is much to be said in favour of
+idling along the delightful "Backs." Hints of the joys of Cambridge
+college life pervade the clever verses of Calverley, and also those of
+his lineal successor, the unfortunate J. K. Stephen. Chief among the
+many victories of the wearers of the "light blue" are those won by the
+oarsmen, and these victories become doubly praiseworthy when we visit
+the miserable little stream on which the crews have to train. That
+a long line of successes have been achieved in the face of such
+disheartening obstacles adds all the more to the credit and glory of men
+like the brothers Close, the giant Muttlebury, Dudley Ward, and many
+another. Most of the colleges follow the quadrangle system like their
+Oxford cousins, but there is an exception in the case of King's College.
+Here a handsome openwork screen of stone shuts off the street, but not
+the view. Through it we are able to see, standing haughtily apart from
+the neighbouring buildings, the beautiful chapel of the college, one of
+the few perfect buildings in existence. Goldwin Smith says, "Cambridge,
+in the Chapel of King's College, has a single glory which Oxford cannot
+match." It is a long, tall edifice, of the same width throughout,
+lighted by high windows of even size, and ceiled by graceful groups of
+fan vaultings of the most exquisite type. The only division of the
+interior is that effected by a wooden screen which runs across the
+middle, but, fortunately, stops before reaching a height which would
+interfere with an uninterrupted view of the sweep of the fan vaultings
+above. A full two-thirds of the wall-height is given over to lighting
+apertures. The records show that the two contracts for glazing the
+windows were dated 1527 and 1528. They require that the "wyndows be
+well, suerly, workmanly, substantyally, curyously, and sufficiently
+glase and sette up." It is said that Holbein drew the cartoons from
+which they were made. The excellence and charm of this complete series
+makes one regret that there are so few examples of their epoch in this
+country; this strikes with peculiar force one coming from France, so
+prodigally rich in sixteenth century windows. At King's College the
+large picture treatment is seen at its best. Not only is the composition
+of the groups of figures carefully studied, but so also is the adroit
+opposing of one colour by another. Particularly daring is the use of
+large masses of the same tint. So little was the artist willing to be
+hampered in the development of his colour scheme that he even made his
+foliage red when he happened to need that hue in a certain part of his
+design. Although the pictures here display careful drawing and elaborate
+composition, the excellence of the general result is certainly due to
+the fact that the artist thought fully as much of colour values as he
+did of his designs, something his contemporaries were prone to forget.
+These windows come as a delightful relief to one accustomed to the
+ill-considered use of Renaissance architecture that so overloads and
+encumbers the sixteenth century stained glass pictures on the Continent.
+
+An exquisite sense of balance seems to prevail throughout the interior,
+and in no feature of the decoration is it so noticeable as in the
+windows. The large expanse of each is broken into two parts by a
+horizontal transom, and both the upper and lower divisions are again
+subdivided, since the central lancet of each contains a figure in
+Renaissance canopy over a similar figure below in the pedestal. This
+leaves a space two lancets wide on either side both above and below, and
+each of these spaces contains a large subject. This method of avoiding
+the monotony which would have been caused by the singlet-lancet
+treatment is carried out along both of the long sides. The nine lancets
+in the large east window permit the introduction of three pictures
+above, each spreading over three lancets, and the same number below.
+The three in the upper row set forth the Crucifixion, the central one
+displaying the usual subject of Christ crucified between the two
+thieves, while to the left is the preparation of the crosses, and to the
+right the taking down from the cross. The blues in these pictures are
+particularly fine. Above in the traceries are red Lancastrian roses, as
+well as some Tudor ones of red and white combined. These roses are
+frequently repeated in the carvings of both stone and wood, as is also
+the portcullis badge of the Tudors. The beautifully carved wooden
+panelling about the walls of the choir is rivalled by the rich stone
+screens that shut off the lateral chapels from the nave.
+
+There is some seventeenth century glass in the chapel of Peterhouse
+College which should be seen, if only to learn how windows should not be
+coloured, for the thick application of blues and other tints have
+rendered the glass here and there almost opaque. There was in England
+about that time a good deal of thickly coloured, and therefore
+unsatisfactory, glass. One does not have to see many examples of it
+before the conclusion becomes inevitable that the English glaziers would
+better have followed the example of the Frenchmen, who, when their art
+became moribund at the end of the sixteenth century, let it die and gave
+it decent burial!
+
+       *       *       *       *       *
+
+Most visitors find it difficult to escape speedily from the fascinations
+of Cambridge, and if some of our pilgrims be minded to make a short stay
+in these erudite surroundings, we will remind them that there are, not
+far away, three pleasing bits of glass, and all of them Trees of
+Jesse--one of the Perpendicular period at Margaretting, about fifty
+miles south-east in Essex, another one of the same period at Levrington,
+thirty-three miles north in Cambridgeshire, and a Decorated example of
+the same subject at Lowick, thirty-six miles west in Cambridgeshire. The
+Margaretting window is of three lancets and displays twenty-two figures,
+each with its own label, and together affording a peculiarly interesting
+study of costume. Don't fail to notice how deftly the glazier has
+concealed the fact that the same cartoon is made to serve for several
+figures by facing them about, or varying the colour in the costumes. The
+handling of the whitish vine and the use of leaves is very artistic.
+
+The Levrington window has five lancets, and its Tree of Jesse is larger
+and has more figures than the one at Margaretting; it shows the marks of
+careful restoration. Including the figures in the tracery lights, there
+are sixty in all--an unusually large number. Each figure is placed
+within a loop of the deep orange-coloured vine, these enclosures being
+about 12 by 8 inches. This great company of personages, and the
+agreeable harmony of colour, make this window well worth a visit.
+
+Lowick Church does not have to rely alone upon its stained glass, but
+has many other attractions, such as its fine tombs, elaborately carved
+pew-heads, wooden ceiling, and last, but not least pleasing, the
+venerable prayer-books, dated 1724 and still in their original bindings,
+ornamented by coloured coats of arms on the covers. There are some
+heraldic panes along the south side of the chancel, but the chief
+interest for us is in the very fine series of sixteen personages
+originally forming a Decorated Tree of Jesse, but now stationed along
+the upper lights on the north side of the nave. The drawing is good and
+the colouring strong, with as yet no trace of stain, the frequent
+touches of yellow being of pot-metal glass. The four most westerly
+figures are kings, and the eastmost is a knight in full armour, his
+head, arms and legs being covered with chain-mail. In his hands he holds
+a model of the church, upon which can be distinctly seen these windows,
+thus clearly indicating that he was the donor.
+
+
+LICHFIELD
+
+There are few cathedrals in the world which, as one approaches, reveal
+themselves more charmingly than does Lichfield; here one feels an almost
+studied coquetry, disclosing new beauties at each stage of our advance.
+When viewed from a distance the three graceful spires, "The Ladies of
+the Vale," seem to beckon one on to a nearer view of the sanctuary over
+which they preside. On entering the town it is temporarily lost from
+view, only promptly to appear again, this time across the little pools
+which lie along the south side of the Close and which, aided by the
+green of the trees, provide so lovely a foreground and setting for the
+full-length picture of the great edifice. Again we lose it, and then the
+last revelation of all comes when one rounds the corner into the green
+Close and there bursts upon you the final and complete aspect of the
+glorious west front, brilliant in its red sandstone, adorned by its army
+of over 150 stone figures of prophets, saints, and English kings, a
+splendid facade, impressively culminated by the towering spires that
+first signalled to us where we should find this lovely picture.
+Unfortunately for the cathedral, Bishop de Langdon, Treasurer of England
+under Edward I., by surrounding the Close with a wall and a fosse, made
+of it a stout fortress. Centuries after this very feature resulted most
+disastrously, for, during the Civil Wars, the military strength of its
+position caused it to sustain three successive sieges. Of these the
+first was the most disastrous, for, when the Roundheads broke in after a
+three days' assault, they revenged the death of their leader, Lord
+Brooke, first upon the Royalist defenders, and next upon the cathedral
+itself, wrecking and destroying ancient tombs, stalls, &c., and, of
+course, the old glass. In addition to their work of destruction they
+carried off all that had been left by Henry VIII.'s Commissioners of the
+rich offerings brought by devout pilgrims to the shrine of St. Chad. To
+this same Lord Brooke Sir Walter Scott pays his respects in the lines
+telling how Lord Marmion's body was brought
+
+     "To moated Lichfield's lofty pile;
+     And there, beneath the southern aisle,
+     A tomb, with Gothic sculpture fair,
+     Did long Lord Marmion's image bear,
+     (Now vainly for its sight you look;
+     'Twas levelled when fanatic Brook
+     The fair cathedral stormed and took;
+     But thanks to Heaven and good St. Chad,
+     A guerdon meet the spoilers had!)"
+
+The interior is of modest dimensions, and is elaborately decorated, the
+richly carved capitals, &c., giving us indications of how gorgeous it
+must all have been before it was looted. An interesting feature is the
+slight inclination of the choir northward from the axis of the nave,
+which is said to be symbolic of the inclination of Christ's head on the
+cross after death. At Troyes and at Quimper in France there is the same
+deviation in orientation and the same poetic explanation, but
+investigation reveals that it was caused by a change in the street line
+in the first instance, and in the other by the annexation of an existing
+chapel standing slightly north of the true axis.
+
+ [Illustration: LADY CHAPEL, LICHFIELD CATHEDRAL
+     Excellent example of Renaissance colouring, freer from applied
+     paint than then customary. This glass was brought from Belgium]
+
+Practically all of the ancient glass which originally adorned the
+embrasures has been destroyed; the north window of the north transept
+has some Early English work much restored, and on the east of the south
+portal of the south transept is a short lower window, in the central
+lancet of which is a richly dressed female figure with arms thrown about
+a cross. Just before entering the Lady chapel we remark two small
+three-lanceted windows, one on each hand, the one to the left having
+donors on each side, and in the middle St. Christopher carrying the
+infant Jesus. But it is to the seven most easterly windows of the Lady
+chapel that we must repair to see the famous Flemish glass, brought
+here in 1803, which is the cause of our visit. The dates which appear
+upon them run from 1534 to 1539, and they were originally made for the
+Abbey of Herckenrode, near Liege, Belgium, by Lambert Lombard--the
+earliest and best of those glaziers of the Low Countries who show the
+Italian influence. All are of three lancets, except the most westerly
+pair, which have six. The traceries above them are grouped in pyramids
+of trefoil openings, similar to some in the Lady chapel at Wells.
+The scenes are taken from the life of Christ, and there are as well
+portraits of certain benefactors of the Abbey. The composition as well
+as the grouping of the figures is not so crowded as in the slightly
+earlier (1527) glazing of King's College Chapel, Cambridge, or St.
+Margaret's, Westminster. The artist drew his personages on such a large
+scale that it is evident his work was planned for a more spacious
+interior--this chapel is so narrow that one cannot stand far enough
+away to get the full effect of the pictures. Although now in the fully
+developed picture epoch and passed beyond the conventional trammels of
+the canopy with its imitation stonework, the glazier is not forgetful of
+what his craft had learned during that period, for he has made agreeable
+use of architecture, notably as the background for the Last Supper in
+the east window. Even if the dates were not displayed in the usual
+sixteenth century continental fashion, we would have no difficulty in
+fixing them, not only because of the obviously Renaissance style of the
+architecture depicted, but also by reason of the general breadth and
+style of the treatment. Nor is it difficult to note the effect upon the
+artist of the Italian influence, coming as it did from a land where
+abundant sunshine makes it desirable that the illumination of the
+windows be somewhat reduced by the use of paint. Still, it is only
+fair to say that these particular windows contain much more than was
+then customary of glass coloured during the making and not painted
+afterwards. An excellent impression of the colour effect as a whole can
+be got if we retire to the central aisle of the nave and look east. Now
+the sides of the choir become a graceful frame for the three easterly
+windows. The upper part and the centre show an almost solid expanse of
+blue, while all the rest of the glass yields a golden grey, forming an
+excellent _ensemble_.
+
+Before leaving the town, admirers of English literature will do well
+to visit the house in which Dr. Samuel Johnson was born. It now
+appropriately serves as a museum wherein are exposed a number of
+manuscripts, pictures, and familiar objects in some way related to that
+great scholar. Although the worthy Doctor said that his fellow townsmen
+were "more orthodox in their religion, purer in their language, and
+politer in their manners than any other town in the Kingdom," one must
+be pardoned for taking _his_ opinion upon manners with a pinch of salt!
+
+
+GUILDFORD
+
+In England one is constantly coming upon manifestations only to be
+observed in a land whose civilisation and habits of life were long ago
+settled and have continued stable. One of the most interesting of these
+is the different methods adopted for perpetuating one's memory by a
+benevolent act toward the public--making it worth the public's while to
+act as trustee for the preservation of the said memory, so to speak! A
+very charming instance thereof is afforded by the buildings erected in
+Guildford by Archbishop Abbott in 1619 as a permanent home for ten
+elderly men and eight elderly women, all presided over by a Master:
+according to the fashion of the times it was styled Bishop Abbott's
+Hospital. Built on North Street in the quadrangular form so reminiscent
+of an Oxford or Cambridge college, the rich plum-colour which age has
+lent to the brick needs only the primly demure assistance of the formal
+flower beds to make the altogether charming enclosure which we see
+to-day. Entering this tranquil and ancient quadrangle one seems suddenly
+whisked by some magic wand far from the twentieth century world
+outside. The elderly resident of the establishment who escorts one about
+the premises descants upon each admirable detail in measured phrase that
+is pleasantly appropriate to the ancient flavour of the scene. One is
+shown the old dining-room below and the library above, both of which
+retain their Elizabethan panelling on the walls and the carved
+overmantels, together with much of the original furniture. The large
+table in the library is an interesting piece, the lumpy adornment of its
+legs reminding one of the puffed sleeves and trunk hose then affected by
+gentlemen, while the rail running along the floor and connecting the
+legs prevents us from forgetting that rushes then strewed the floor, and
+that these rails were used to provide a convenient place to put the
+feet. The most interesting part of the building is the small square
+chapel which forms the north-east corner of the quadrangle. It is
+lighted by two large windows dating from the end of the Renaissance
+period (1621) and contemporary with the chapel they adorn. They are
+unusually agreeable examples of the day when colour was applied to glass
+by enamelled painting. The serious technical defect of that method (the
+tendency of the enamel to peel off) is here noticeable in several spots,
+but not to such an extent as to impair seriously their decorative value.
+Of these two ample embrasures, the easterly one is the larger, having
+five lancets surmounted by elaborate tracery lights, while its neighbour
+in the north wall has but four lancets with traceries of more modest
+design. All these lancets contain scenes taken from the life of Jacob,
+the four to the north show Rachel's subterfuge to obtain for Jacob the
+parental blessing that should have been Esau's, while the five easterly
+ones set forth Jacob's dream, and the trick played upon him by Laban in
+substituting Leah for Rebecca, together with Jacob's retaliation by
+marking the cattle. Remark Esau shaking his fist at Jacob for stealing
+his blessing; the solidity of the stairway in Jacob's dream; the unusual
+number of animals shown in all the scenes. There should also be observed
+the very elaborate treatment of the eastern traceries. An examination of
+the outside of these windows indicates that they were probably brought
+from some other edifice, for the wall seems to have been cut away to
+provide sufficient room for them.
+
+ [Illustration: BISHOP ABBOTT'S HOSPITAL, GUILDFORD
+     Charming and complete glazing of a small chapel. Renaissance
+     glass coloured by the process of enamelling, often
+     unsatisfactory because bits are apt to peel off]
+
+
+GATTON
+
+It is not uncommon in England to find the chapel attached to the manor
+house of an estate used as a parish church for the neighbourhood. This
+is true of the family chapel at Gatton Park, Surrey, just north of
+Redhill, off the road leading to London. This chapel stands close to the
+mansion, and is connected with it by a passage. Finer carved wood than
+the wainscotting of this small interior is far to seek. The wooden
+pulpit, too, is of skilful workmanship, and together with the panelling,
+is said to have come from Germany, and to be the work of Albrecht Duerer;
+its beauty is certainly due to some great craftsman, if not to this very
+man. The principal illumination of the narrow edifice is derived from
+two large windows, one over the altar at the east end and the other of
+similar size in the south wall; there is none in the north one. Both
+these embrasures are glazed with Renaissance work of considerable
+excellence; the one to the east dates from about 1500, and the southerly
+one from about eighty years later. This latter, as is to be expected,
+shows a liberal use of enamel painting, something entirely absent in
+the earlier one, and each of its three lancets contains a different
+subject, against elaborate landscape backgrounds. The delicately
+outlined trees in the extreme distance are drawn upon a white field
+instead of upon the light blue then used in France. Such architecture as
+appears in the design is, of course, Renaissance. Across the whole of
+the easterly window is stretched one large picture, the "Eating of the
+Passover," which is pleasantly brightened by the golden staves held by
+the figures who, with their raiment girded up and their feet shod by
+sandals, carry out to the full the Mosaic law, "And thus shall ye eat
+it; with your loins girded, with shoes on your feet and your staff in
+your hand; and ye shall eat it in haste; it is the Lord's Passover"
+(Exodus xii. 2).
+
+When about to leave this beautifully panelled charmingly glazed
+interior, note the small window in the west wall of the entrance
+vestibule. It is of a domestic type familiar during the Perpendicular
+epoch. In the centre are the arms of Henry VII. between two supporters.
+Across the quarry background are bands slanting from the left down to
+the right bearing the motto, "Honi soit qui mal y pense." Some of the
+quarries show small leaves, and others an H surmounted by a crown. This
+window is similar in style to those already remarked at Salisbury, in
+John Halle's hall, and others maybe seen in many private houses dating
+from that time.
+
+Although of modest size and possessing but two windows, Gatton Chapel is
+as delightful a bit of complete Renaissance glazing as one will see in
+England.
+
+
+KNOLE
+
+East and west across almost the whole width of Kent run three parallel
+lines of low hills affording many charming views which, however, are
+only part of the many beauties of that picturesque county. Upon the
+easterly end of one of these ridges lies Sevenoaks. Although the present
+town is by no means an ancient one, it possesses great interest in that
+just below its edge lies the large estate of Knole Park which, if we may
+play upon words, is a series of knolls that together with their
+intersecting glades are shaded by groves of great beeches whose soft
+green foliage has for many a long day sheltered the herds of deer
+wandering to and fro beneath them. Upon an eminence of greater size than
+its fellows stands the ancient dwelling known as "Knole," a great series
+of courts and quadrangles combined into an abode of such size that it is
+said to contain, in addition to its superb state apartments, no fewer
+than 365 bedrooms. Enclosed within a wide sweeping battlemented wall are
+charming old-world gardens that nestle about the ancient grey mansion,
+and soften by their dainty setting of variegated flowers, green lawns
+and trees, the fortress-like appearance of its towers and long stretches
+of stone enclosure. Thanks to a fine combination of patriotism and
+hospitality so often seen in England, a large portion of this house is
+(upon payment of a trifling fee) thrown open to the study and
+appreciation of the public on the afternoons of Thursday and Saturday
+(2-5), as well as all day Friday (10-5). It is because it can be so
+conveniently seen by our glass-hunting pilgrim (owing to the generosity
+of the owners and the fact that it is under an hour by train from
+Charing Cross, London) that Knole has been selected to illustrate in how
+decorative a fashion the sixteenth century glazier could spread the gay
+tints of heraldic story upon his windows. Here can also be remarked one
+or two other minor manifestations of stained glass at that time. One of
+these is to be seen in the first stairway up which visitors are
+conducted. Upon some of its diminutive diamond-shaped panes are
+enamelled armorial crests, much in vogue at the end of the sixteenth
+century and the beginning of the following one. On one of these little
+panes in the chapel of Lullingstone Castle near here appears the date
+1612: these on the Knole staircase are of about the same date. This
+house was long the property of the See of Canterbury; perhaps the
+pilgrim may have one of the rare opportunities to visit the bedroom so
+long occupied by Archbishop Cranmer and observe in the upper lights of
+the bay window the six large ovals containing coats of arms in enamel,
+bits of which have peeled off, as is so often the case with this method
+of applying colour. How mystified that worthy ecclesiastic would be to
+see the modern bathroom which now opens into his old bedroom! While
+speaking of Canterbury, it is of interest that we are enabled to date
+one of the Knole towers by the fact that a morsel of glazing high up in
+the traceries of one window (all that is left of the original equipment)
+bears a double knot, the insignia of Archbishop Bourchier, thus proving
+that it is at least as old as his tenancy here (1456-86). But let us
+come to the main reason for our visit--the Cartoon Gallery. Named after
+the set of Raphael's cartoons especially copied for Charles I., and by
+him presented to the Earl of Dorset to decorate these walls, this long
+room is brilliantly lighted by a series of windows giving off upon the
+delightful gardens. This is no place to dwell upon the sumptuous silver
+furnishings of King James' bedroom that opens out to the south, nor of
+the treasures of English portraiture in the rooms through which we have
+come to this gallery. We are here to enjoy the work of the glazier who
+set upon the windows the arms of the great houses allied to this one by
+marriage. One after another they unfold themselves all along the upper
+lights of this series of embrasures, and tell their story in a far more
+brilliant manner than can ever be attained by any musty tome on
+genealogy. This estate was more than once the property of the Crown, and
+an evidence of one of these periods is provided by the appearance on
+some of the westerly windows of the arms of certain Law Officers of the
+Crown, such as the Lord Chief Justice, Attorney-General, Chief Baron of
+the Exchequer, Master of the Requests, Judge of Admiralty, &c. These are
+somewhat earlier than those first mentioned and are freer from the
+unfortunate enamel painting.
+
+Taking into consideration the dimensions of this superb apartment, and
+the paintings and glass that adorn it, together with the pleasing
+outlook upon the gardens below, it is doubtful if a more impressive
+gallery is to be found in any of the stately homes of England.
+
+The chapel, which was built by Archbishop Cranmer, has an unpleasantly
+smeared east window, but upon its surface high up are a series of
+Apostles done in grey and stain which, if brought down to the level for
+which they were originally intended, would show themselves to be very
+attractive. At the south end of the little gallery used as the "Family
+Pew" are a group of about a dozen scenes in grey and stain of excellent
+execution, and so placed as to permit of a satisfactory examination of
+this agreeable form of Renaissance glass-painting.
+
+       *       *       *       *       *
+
+If one be travelling by bicycle or automobile, a pleasant addition to
+this trip may be made, on the way back to London, by taking one small
+_detour_ of about ten miles to visit Nettlestead, and another of about
+three to West Wickham Church. The glass at both these places is
+Perpendicular, but not of sufficient importance to have made them
+stations on that tour. However, they can be so conveniently seen at this
+stage of our rambles that they are here duly mentioned. It is only
+recently that, thanks to the skilful heraldic researches of W. E. Ball,
+LL.D., the date of the Nettlestead windows has been discovered, as well
+as the significance of the many coats of arms scattered over them.
+Recent restoration has made complete the glazing of the entire north
+side and also of the east window. Note the narrow one at the north of
+the small chancel--quarry background with a large figure standing on a
+bracket, very reminiscent of sundry prototypes at St. Neot in Cornwall.
+The other windows on this side (except the westmost) are rich, almost
+florid examples of the elaborated canopy style. Indeed, so deep are the
+tones that one is tempted to suspect that some Frenchman had a hand in
+their manufacture. The smaller chancel light just noted is much lower
+in colour and therefore more typical of the then prevailing English
+taste. This is also true of the westmost or "Becket window," as it is
+called, because it shows scenes from that martyr's life. The south
+windows retain their original glass only in the tracery lights, but it
+is planned to reglaze them as nearly as possible like those on the north
+side. Nettlestead Church is not easily noticed from the road because of
+some farm buildings and an orchard which mask it.
+
+If, when we resume our journey Londonward, it be decided to take a peep
+at the West Wickham glass, one should be careful not to overshoot the
+church, for it lies at least a half-mile nearer the London road than
+does the village whose name it bears. The embrasures on the north and
+east of a chapel opening off the chancel contain examples of a saint
+standing on a bracket against a quarry background, which we have just
+observed in the Nettlestead chancel light and also on a former tour at
+St. Neot. The quarries here each bear the monogram "I.H.S." in stain.
+The supports below the brackets are shorter than is customary. What
+painstaking care was used in the manufacture of these windows is
+revealed by an examination of the central one on the north side, bearing
+the familiar figure of St. Christopher carrying the infant Jesus.
+Notice that the little pool of water in which he stands contains small
+golden fishes; also remark the careful leading of the three tiny red
+trees in the background. This very attention to detail noticeable in all
+the panels has much to do with the satisfactory effect of these windows.
+
+
+
+
+ITINERARIES
+
+SHOWING DISTANCES IN MILES
+
+
+EARLY ENGLISH
+
+(84 miles from London) Salisbury--125--Canterbury--180--Lincoln--135
+--York (197 miles to London)
+
+DECORATED
+
+(197 miles from London) York--84--Norbury--62--Shrewsbury--29--Ludlow
+--24--Hereford--28--Tewkesbury--4--Deerhurst--42--Bristol--20--Wells
+--63--Exeter--130--Dorchester--12--Oxford (54 miles to London)
+
+PERPENDICULAR
+
+(54 miles from London) Oxford--27--Fairford--8--Cirencester--17--
+Gloucester--27--Great Malvern--2--Little Malvern--20--Ross--60--
+Warwick--10--Coventry--128--York (197 miles to London)
+
+Salisbury (84 miles from London)
+
+Winchester (68 miles from London)
+
+St. Neot (257 miles from London)
+
+
+RENAISSANCE
+
+London--53--Cambridge--103--Lichfield--41--Shrewsbury (154 miles to
+London)
+
+(28 miles from London) Guildford--23--Gatton--20--Knole (24 miles to
+London)
+
+
+
+
+LIST OF TOWNS
+
+SHOWING DISTANCES FROM LONDON
+
+
+ MILES FROM
+ LONDON                                                PAGE
+
+ 119 Bristol             Decorated                     107
+  53 Cambridge           Renaissance                   223
+  56 Canterbury          Early English                  36
+  52 Chartham            Decorated                      49
+  90 Cirencester         Perpendicular                 154
+  91 Coventry            Perpendicular                 181
+ 100 Deerhurst           Decorated                     104
+  42 Dorchester          Decorated                     124
+ 169 Exeter              Decorated                     120
+  83 Fairford           {Perpendicular                 148
+                        {Renaissance                   148
+  18 Gatton              Renaissance                   239
+ 102 Gloucester          Perpendicular                 158
+ 117 Great Malvern      {Perpendicular                 166
+                        {Decorated                     166
+  28 Guildford           Renaissance                   236
+ 131 Hereford            Decorated                      96
+  24 Knole               Renaissance                   242
+  91 Levrington          Perpendicular                 228
+ 117 Lichfield           Renaissance                   230
+ 135 Lincoln             Early English                  51
+ 120 Little Malvern      Perpendicular                 172
+  -- London              Renaissance                   216
+  75 Lowick              Decorated                     228
+ 150 Ludlow             {Decorated                      92
+                        {Perpendicular                  92
+  30 Margaretting        Perpendicular                 228
+  32 Nettlestead         Perpendicular                 246
+ 136 Norbury             Decorated                      82
+  54 Oxford              Decorated                     129
+  54 Oxford              Perpendicular                 142
+ 118 Ross                Perpendicular                 174
+ 257 St. Neot            Perpendicular                 203
+  84 Salisbury           Early English                  30
+  84 Salisbury           Perpendicular                 192
+                        {Decorated                      85
+ 154 Shrewsbury         {Perpendicular                  85
+                        {Renaissance                    85
+ 103 Tewkesbury          Decorated                     100
+  92 Warwick             Perpendicular                 177
+ 121 Wells               Decorated                     114
+  17 West Wickham        Perpendicular                 247
+  32 Willesborough       Decorated                      49
+  68 Winchester          Perpendicular                 195
+ 197 York                Early English                  57
+ 197 York                Decorated                      76
+ 197 York                Perpendicular                  58
+
+
+
+
+STAINED GLASS TOURS IN ENGLAND
+
+ _With 16 Full-page Illustrations_
+ BY C. H. SHERRILL
+ Demy 8vo. (9 x 5-3/4 ins.)
+ Price 7s. 6d. net. Postage 6d. extra
+
+
+_Spectator_: "Mr. Sherrill has written a book which not only proves him
+to be a true lover of mediaeval glass, but proves also his enlightened
+comprehension of its evolution and its changing style.... A pleasant and
+entertaining instructor."
+
+_Sunday Times_: "The illustrations are delightful, and successfully
+capture the blended notes of opulence and beauty which the mediaeval
+designers threw into their work."
+
+_Daily Telegraph_: "Mr. Sherrill leads his fellow-travellers by
+delightful paths.... He is a model guide, and all his illustrations are
+to the point. It is difficult to imagine how any instructor could pack
+more fruitful information into a smaller or more attractive parcel."
+
+_Morning Post_: "Is well written, and in a style which shows that the
+author really feels the attraction of the art he describes."
+
+_Daily Chronicle_: "A distinct triumph to write a book of 250 pages on a
+restricted though very beautiful subject, and never become monotonous;
+this is the triumph Mr. Sherrill has achieved. A really delightful
+volume."
+
+_Literary World_: "All who care for beautiful handiwork, and all
+interested visitors to our old cathedrals, colleges, and churches,
+should possess themselves of this charming book.... The illustrations
+are extremely good."
+
+_Western Morning News_: "The author describes the beauties he has seen
+in a most interesting style, and with exceedingly good taste. This
+volume deserves unstinted praise."
+
+JOHN LANE, THE BODLEY HEAD, VIGO STREET, LONDON, W.
+
+
+
+
+STAINED GLASS TOURS IN FRANCE
+
+ _With Illustrations_
+ BY C. H. SHERRILL
+ Crown 8vo. 6s. net
+
+
+_The Builder_: "A very well-written book, with a very good aesthetic
+perception as to what is best and most to be admired in ancient stained
+glass."
+
+_The Antiquary_: "A well-qualified guide for all who can appreciate the
+loveliness of the old glass in which France is still so rich."
+
+ROGER FRY in _The Burlington Magazine_: "He has really looked, and
+looked lovingly, at the windows he describes. His knowledge is evidently
+adequate, and he rearranges it in a form which he who automobiles may
+read."
+
+_Westminster Gazette_: "Useful and interesting. Mr. Sherrill gives
+just enough information to enable the lay reader to understand the
+difficulties with which the artist in coloured glass had to contend.
+Moreover, he has the eloquence of a true enthusiast, and is able to
+communicate to others his own delight."
+
+_Pall Mall Gazette_: "Exceedingly useful. A work showing much industry,
+enthusiasm, and good taste, it is a really valuable supplementary volume
+to one's Murray or Baedeker. The author has excellent taste."
+
+_Morning Post_: "Mr. Sherrill does feel very sincerely the beauty of
+stained glass, and is able to communicate his feeling in writing. Mr.
+Sherrill pilots us on a pleasant cruise among some of the greatest of
+the French examples of the style."
+
+_British Architect_: "The writer manages to say a good many interesting
+things. Mr. Sherrill's book is written in a most interesting style."
+
+_Architectural Review_: "A useful book. Mr. Sherrill has an acute
+appreciation of the important relationship between the glass and the
+surrounding architecture, and he has brought the fresh mind of the
+amateur to his subject."
+
+JOHN LANE, THE BODLEY HEAD, VIGO STREET, LONDON, W.
+
+
+
+
+TRANSCRIBER'S NOTE:
+
+Minor changes have been made to correct typesetters' errors; otherwise,
+every effort has been made to remain true to the author's words and
+intent.
+
+
+
+
+
+End of the Project Gutenberg EBook of Stained Glass Tours in England, by
+Charles Hitchcock Sherrill
+
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