ton there are specimens of some of the principal
varieties. These are to be found in the Furniture corridor and the
corridor which leads from it. Close by a fine series of English coats of
arms of the fourteenth century, which are excellent examples of
Heraldry, is placed a fragment of a broad border probably of late
twelfth-century work. The thirteenth century is represented by a
remarkable collection, mostly from the Ste. Chapelle in Paris and
executed about 1248. The most striking of these remnants show a series
of Kings seated amidst bold scrolls of foliage, being parts of a Jesse
Tree, the narrower strips, in which are Prophets, were placed to the
right and left of the Kings, and all three made up the width of one
light in the original window. The deep brilliant colour, the small
pieces of glass used, and the rich backgrounds are all characteristic of
mid-thirteenth-century glazing. Of early fifteenth-century workmanship
are the large single figures standing under canopies, and these are good
examples of English glass of this time. They were removed from
Winchester College Chapel about 1825 by the process known as
restoration.

W. R. LETHABY.

_January 1905._

AUTHOR'S PREFACE

The author must be permitted to explain that he undertook his task with
some reluctance, and to say a word by way of explaining his position.

I have always held that no art can be taught by books, and that an
artist's best way of teaching is directly and personally to his own
pupils, and maintained these things stubbornly and for long to those who
wished this book written. But I have such respect for the good judgment
of those who have, during the last eight years, worked in the teaching
side of the art and craft movement, and, in furtherance of its objects,
have commenced this series of handbooks, and such a belief in the
movement, of which these persons and circumstances form a part, that I
felt bound to yield on the condition of saying just what I liked in my
own way, and addressing myself only to students, speaking as I would
speak to a class or at the bench, careless of the general reader.

You will find yourself, therefore, reader, addressed as "Dear Student."
(I know the term occurs further on.) But because this book is written
for students, it does not therefore mean that it must all be brought
within the comprehension of the youngest apprentice. For it is becoming
the fashion, in our days, for artists of merit--paint