ould be
brought back into the productive crafts: there are more than enough of
us "in the city," and it is probable that more consideration will be
given in this century than in the last to Design and Workmanship.

* * * * *

Our last volume dealt with one of the branches of sculpture, the present
treats of one of the chief forms of painting. Glass-painting has been,
and is capable of again becoming, one of the most noble forms of Art.
Because of its subjection to strict conditions, and its special glory of
illuminated colour, it holds a supreme position in its association with
architecture, a position higher than any other art, except, perhaps,
mosaic and sculpture.

The conditions and aptitudes of the Art are most suggestively discussed
in the present volume by one who is not only an artist, but also a
master craftsman. The great question of colour has been here opened up
for the first time in our series, and it is well that it should be so,
in connection with this, the pre-eminent colour-art.

Windows of coloured glass were used by the Romans. The thick lattices
found in Arab art, in which brightly-coloured morsels of glass are set,
and upon which the idea of the jewelled windows in the story of Aladdin
is doubtless based, are Eastern off-shoots from this root.

Painting in line and shade on glass was probably invented in the West
not later than the year 1100, and there are in France many examples, at
Chartres, Le Mans, and other places, which date back to the middle of
the twelfth century.

Theophilus, the twelfth-century writer on Art, tells us that the French
glass was the most famous. In England the first notice of stained glass
is in connection with Bishop Hugh's work at Durham, of which we are told
that around the altar he placed several glazed windows remarkable for
the beauty of the figures which they contained; this was about 1175.

In the Fabric Accounts of our national monuments many interesting facts
as to mediaeval stained glass are preserved. The accounts of the building
of St. Stephen's Chapel, in the middle of the fourteenth century, make
known to us the procedure of the mediaeval craftsmen. We find in these
first a workman preparing white boards, and then the master glazier
drawing the cartoons on the whitened boards, and many other details as
to customs, prices, and wages.

There is not much old glass to be studied in London, but in the museum
at South Kensing