Concerning Stained Glass.

full of beauty and repose , may be obtained by the proper use of the most brilliant colours , at the disposal of the artist . That it requires much greater knowledge ancl taste to treat these rich colours than the low-toned tints and dingy neutrals now so much used , no one , I believe , will deny ;

but until they are adopted , and the requisite skill in their grouping acquired , we need not hope to rival the effect of ancient glass , or to do anything . that cannot be pronounced " loud and flaring . " At the present day there are too many colours aud tints usedand some of these are very

objec-, tionable , such as bottle-green , brown-purple , claret , brown , neutral tint , & c . How can these dingy tints , which absorb all the light that attempts to pass through them hold their own when associated with such colours as ruby , blue , yellow , ancl green ? or how can these last escape being pronounced

loud and flaring when surrounded by tints which are positively discordant and dead ? I believe if our artists would take one or two hints from ancient glass , and use fewer colours , and those well balanced and of similiar intensity , we should soon have a marked improvement in stained glass

—at least , as far as colouring is concerned . In stained glass , as in all branches of decoi-ative art , a perfect uniformity of effect is required : this can only be obtained by the use of properly balanced colours properly distributed ancl arranged . I hold that a window may be composed of rubyblue

, , yellow , green , purple , and grey glass ( or white very sparingly used ) , ancl yet present a beautiful quiet bloom to the eye . The three windows of the twelfth century in Chartres Cathedral are constructed of these colours , and their effect is superb .

3 . Is it advisable to place figures coloured on broad spaces of white glass , as in perpendicular glass ? Does not this get a quiet , cool effect ? To the first question I unhesitatingly reply that it is not advisable to work figures in colour upon spaces of white glass ; ancl to the latter question I

must reply that I am convinced that such a practice is not well calculated to produce a cool , much less a quiet effect . White glass should be used very sparingly in windows where positive or deep-toned colours are introduced , for the simple reason that , by admitting a direct and powerful light , it destroys the brilliancy and effect of all colours placed near it .

As an illustration of this , take two strips of rich blue glass of similar tint : place one across a pane of white glass in a common window , and place the other edge to edge between two pieces of rich ruby over another pane , so as to cover it . When this is doneit will be observed that the

, strips of blue glass appear quite different in tint , that over the white glass being dark and dead , while that which is in contact with the rub y appears in its proper tint , and full of brilliancy . Modern windows are more frequently destroyed

by the practice of using large quantities of white glass along with rich-coloured glass than by any other means . In the fine twelfth and thirteenth century windows in Chartres , and in the superb glass of Bourges Cathedral , we find white glass used more sparingly than any colour .

4 . " Ought canopies to be much coloured , or in simple white and black , to get quiet effect ; and libw drawn , with reference to next paragraph ? " 5 . " Ought geometrical diagrams to be drawn with absolute mechanical accuracy , or to be freely drawn ? "

As the last query in your list alludes to the question of canopies , I shall add it to the above , ancl treat the three together . 7 . "What is the difference between a thinlydesigned and richly-designed canopy ? " I am decidedly of the opinion that canopy work

in glass is a great mistake , and that it is an inartistic and clumsy way of filling up spaces over the heads of figures . Canopies are purely architectural features peculiar to stone and wood construction , ancl are , therefore , out of place in stained lass . If anything in the shape of

canopyg work is used , it should be introduced in great moderation , ancl in colours to harmonise with the rest of the window . Some of the windows in the choir of Rheims Cathedral present valuable studies in this respect .

The query No . 7 is somewhat difficult to answer in a few words ; but I believe that a thinly designed canopy may be understood to signify that which is composed of representations of meagre tracery , wire-drawn pinnacles , impossible flyingbuttresses , & c . ; while a richly-designed canopy

may be understood to be one in which a proper conventional treatment , suitable to the material in which it is wrought , is more observed in the attempt to represent cast-iron Gothic , and in which the . colouring is in perfect harmony with the rest of the composition . With regard to

query No . 5 , I am of opinion that canopies and all geometrical patterns should be drawn correctly , and at the same time the freedom of curves ancl other lines of beauty , which cannot be truly drawn

by mere mechanical means , should be carefully studied and sought after . We are not called upon in any way to forego our skill in drawing , much less , at the present clay , to copy the imperfections of old work . We have ample proof that the ancient artists did not draw badly on purpose , or

make crooked curves because they considered them more beautiful than true ones . 6 . "How ought draperies to be drawn—thinly or richly , a la Durer ? " In the treatment of draperies in stained glass , I am of opinion that severity and simplicity should

in all cases be observed . Rich drapery demands a great amount of shading , and that is certain destruction to the brilliancy which is the greatest charm of stained glass . The question of shading , as applied to glass , is