I give you a series of Italian ([Figs. 123], [124]), French (Figs. [Figs. 125], [Figs. 126]), German ([Figs. 127], [128], [129]), and English ([Figs. 130], [131], [132], [133], [134], [135]) windows of early date, where you can scarcely distinguish the one from the other; indeed, you would seldom be able to detect an Italian window at all, if divested of the accidental clothing of its non-essential details. This establishes the unity of the style; yet the fact remains that works of the kind are more abundant, larger, and more developed in Italy, and that they may consequently be studied there to great advantage as an aid and expletive to what we learn elsewhere.
| Fig. 125.—Meslay, near Tours, France. | Fig. 126.—From Houses at Cluny. |
| Fig. 127.—The Emperor’s House, Gostar. | Figs. 128, 129.—Houses at Cologne. |
This brings me to the concluding subject of my lecture—the question of what lessons we should learn from what has passed in array before us, and what effect it ought to have on our own artistic practice.
