56 THE PAINTED GLASS IN

In uoticing the grccat west window of the Antechapel,^ it is not my intention to enlarge on its defects. These have been pithily summed up by a distinguished artist,® to whom I refer the reader. 1 fully admit their existence, and regard this work as a great misapplication of art. Its most unfor- tunate effect has been to produce an unfounded prejudice against the apphcation of art to glass painting, and occasion a revulsion of feeling among amateurs. Every one has felt the justice of Horace Walpole's sneer at the icashy Wrtues of Sir Joshua : but, it cannot be denied, on the opposite side, that the tendency of the present age to dispense with all artistic qualities in the pursuit of windows which shall display an abundance of strong and gaudy colouring, is an error leading to still more pernicious consequences. It is true that certain writers who follow the popular delusion,^ occasionally, and to save appearances, talk about the necessity for a display of art in painted windows, but on examining the examples they indicate as models, we perceive that a display of very low art indeed is sufficient to satisfy their demands. Leaving then these blind guides, let us recollect that though our chmate and habits may forbid the employment of fresco painting to any great extent, yet that there exists in our windows as favourable a field for artistic development, though subject to different conditions, as in an equal breadth of wall. That ancient windows, except in the case of mere restorations, are worthy of being copied only so far as regards the composition and colour of their material. And that so long as we are content to see produced, year after 3'ear, windows immeasurably inferior in all respects to the works of foreign artists, works by the way far from being perfect models themselves, as for instance the window lately erected at Brussels Cathedral, by Capronnier ; those at Cologne, or Munich ; or the specimens

• Gutcli, ia a note to Wood, p. 199, Charity. A little green pot-metnl glass is

states that " for this work, which was used in this group. The rest of the begun about the year 1777, finished car- painting is executed with enamel eoloui's toons were furnished l)y Sir .Josliua and stains. Some of the lower figures Reynolds, and tlien were copied by Mr. have a pearly effect ; but they are not Jervais." I recollect seeing Sir Joshua's sufficiently separated from the ground original sketch some years ago at the of the window, either by colour or by British Institution. It was richly coloured. shadow. The subject consists of the Adoration of •* In the Winchester Volume of the the Shepherds, in the lights of the upper Proceedings of the Archaeological Insti- tier ; with a single figure occupying each tute, " William of Wyl;ehani," p. .'50. light of the lower tier, except the centre '< See, amongst others, the " Ecclesi- one. which contains a group representing ologist," and "Morning Chronicle,'" paasi'm