and methods we have spoken of.

Moulding the whole into a system of composition and execution, tempered
and governed as it goes along by judiciously chosen reading and
reference to examples, ancient or modern.

[9] "Ariadne Florentina," p. 108.

NOTES ON THE COLLOTYPE PLATES

It is obvious that stained-glass cannot be adequately shown in
book-illustration.

For instance, we cannot have either the scale of it or the colour--two
rather vital exceptions. These collotypes are, therefore, put forth as
mere diagrams for the use of students, to call their attention to
certain definite points and questions of treatment, and no more
pretending than if they were black-board drawings to give adequate
pictures of what glass can be or should be.

This is one reason, too, for the omission of all attempt to reproduce
ancient glass. It was felt that it should not be subjected to the
indignity of such very imperfect representation, and especially as so
many much larger books on the subject exist, where at least the _scale_
is not so ill-treated.

But, besides, if one once began illustrating old glass, one would
immediately seem to be setting standards for present-day guidance, and
this could only be done (_if done_) with many annotations and exceptions
and with a much larger range of examples than is possible here.

The following illustrations, therefore, show the attempts of a group of
workers who have endeavoured to carry into practice the principles set
forth in this book. It has not been found possible in all cases to get
photographs from the actual glass--always a very difficult thing to do.
The illustrations can be seen much better by the aid of a moderately
strong reading-lens.

PLATE I.--_Part of East Window, St. Anselm's, Woodridings, Pinner, by
Louis Davis._ The design, cartoons, and cut-line made, all the glass
chosen and painted, and the leading superintended by the artist.

[Illustration: I.--Part of Window. St. Anselm's, Woodridings, Pinner.]

PLATE II.--_Another portion of the same window, by the same. Scenes from
the Life of St. Anselm._ Executed under the same conditions as the
above. The freehand drawing and the varying thickness of the leads in
the quarry work should be noted.

[Illustration: II.--Part of Window. St. Anselm's, Woodridings, Pinner.]

PLATE III.--_Window in St. Peter's Church, Clapham Road--"Blessed are_
_they that Mourn," by Reginald Hallward._ The _whole_ of the work in
this in