STAINED aLASS AND GLASS USED FOR DECORATION. 91 



nient in architecture and especially iu the introduction of the early 

 English and Gothic, which succeeded the Saxon and the Norman. 



From the 12th to the 13th centuries, the large expenditure in Eng 

 land and on the Continent on cathedrals, churches, and religious houses, 

 induced a demand for decorated glass windows, and the early archaic 

 style was then generally introduced into windows, which were not only 

 beautiful in themselves, but conferred a beauty upon the interior archi- 

 >3ctural decorations of these ecclesiastical buildings. 



At this period, and for centuries subsequently, the archaic style was 

 adopted ; it consisted of a perfect mosaic of rosettes, flowers, leaves, and 

 other designs. The borders consisted of small pieces of variously 

 coloured glass, secured by lead to the iron framework of the windows, 

 in conformity with the outline of the design. In the centre, secured in 

 a similar manner, were the medallions of a single or group of figures. 

 The borders were usually harmonious and pleasing, the drawing of the 

 figures were often grotesque, and in some cases almost amounting to 

 caricature. The leading of the glass, being arranged to follow the out- 

 lines of the pattern, appears hard when viewed in close proximity ; but, 

 like the severe outlines of Raffaelesque subjects on china, when viewed 

 at a proper distance this harshness nearly or wholly disappears. Many 

 patrons still adhere to this severe archaic style, while others, in keeping 

 with the taste of the present time, admit a modification of more correct 

 outlines of the figures. A good specimen of the coloured mosaic treat- 

 ment, with its borders of a flowery kind, the lesser spandrils being fitted 

 with a flowing ornament of various colours upon a red ground, is to be 

 found in the circular window of the north transept of Lincoln Cathedral 

 as recently restored by Messrs. Ward and Hughes. The lower lights are 

 in contrast with those above, on the gray or grisaille mosaic treatment, 

 the chief parts of the white glass being shaded or worked with brown or 

 black lines of enamel colours, intersected with small portions of coloured 

 mosaics, the gray chiefly predominating. 



The manufacture of coloured glass in small effigies, opaque mosaics, 

 and vessels, dates as far back as the Egyptians, Phoenicians, Romans, 

 &c. Its introduction for windows in the style termed archaic was during 

 the 12th century. The art was considered not merely as decorative, but 

 as a pictorial representation of Scripture history, aiding Christian teach- 

 ing. The repose and solemn subdued effect of light passing through the 

 varied coloured glass contributed to the character of the subject sought 

 to be impressed upon the mind. The first or archaic style commenced 

 at the latter end of the 12th and the beginning of the 13th century. 

 Examples are to be found at St. Denis and Bruges, and in Canterbury, 

 Lincoln, and Salisbury Cathedrals. The second or decorated style was 

 introduced about the end of the 13th century. Good examples may be 

 seen at Strasburg and Gloucester (recently redeaded by Messrs. Ward and 

 Hughes). The third or perpendicular style, from 1380 to 1430. Another 

 style, the cinque-cento, dates from 1500 to 1550 ; examples of which are 



