e.

_How to Fix a Window in its Place._--There is, almost always, a groove
in the stonework to receive the glass; and, except in the case of an
unfinished building, this is, of course, occupied by some form of plain
glazing. You must remove this by chipping out with a small mason's
chisel the cement with which it is fixed in the groove, and common sense
will tell you to begin at the bottom and work upwards. This done,
untwist the copper bands from the bars and put your own glass in its
place, re-fixing the bars (or new ones) in the places you have
determined on to suit your design and to support the glass, and fixing
your glass to them in the way described, and pointing the whole with
good cement. The method of inserting the new glass is described at p.
135.

[Illustration: FIG. 62.]

But that it is good for a man to feel the satisfaction of knowing his
craft thoroughly there would be no need to go into this, which, after
all, is partly masons' work. But I, for my part, cannot understand the
spirit of an artist who applies his art to a craft purpose and has not,
at least, a strong _wish_ to know all that pertains to it.

PART II

CHAPTER XII

Introductory--The Great Questions--Colour--Light--Architectural
Fitness--Limitations--Thought--Imagination--Allegory.

The foregoing has been written as a handbook to use at the bench, and
therefore I have tried to keep myself strictly to describing the actual
processes and the ordinary practice and routine of stained-glass work.

But can we leave the subject here?

If we were speaking of even the smallest of the minor arts and crafts,
we should wish to say something of why they are practised and how they
should be practised, of the principles that guide them, of the spirit in
which they should be undertaken, of the place they occupy in human
affairs and in our life on earth. How much more then in an Art like
this, which soars to the highest themes, which dares to treat, which is
required to treat, of things Heavenly and Earthly, of the laws of God,
and of the nature, duty, and destinies of man; and not only so, but must
treat of these things in connection with, and in subservience to, the
great and dominant Art of Architecture?

We must not shrink, then, from saying all that is in our mind: we must
ask ourselves the great questions of all art. We must investigate the
How of them, and even face the Why.

Therefore here (however hard it be to do it)