"The first pure style of pointed windows is called the Early English[65], which prevailed from about A.D. 1200 to A.D. 1300. It is often very simple, the plain lancet-shaped window being the most common; it frequently has the same ornaments as the Norman, but its peculiar ornament is a flower, almost round, called the ball-flower. This was followed, up to about A.D. 1400, by a more graceful flowing style, called the Decorated or Florid, and it is chiefly to be distinguished by the waving flame-like character of the stone-work in the upper part of the window. Then next we have quite a different style, which is called the Perpendicular, so named from its upright or perpendicular lines, some of which run up uninterruptedly from the bottom to the top of the window. This style is peculiar to England, and windows of this character are very rarely to be found elsewhere. In the sixteenth and seventeenth centuries, the arch of the window gradually becomes depressed, first sinking to the Tudor arch, and then losing its pointed character altogether and becoming quite flat; and this introduced what, from its comparative want of beauty, is called the Debased style. The windows of this period were usually square-headed, and possessed, like the other parts of the building, little ornament. It prevailed till the middle of the seventeenth century, and may be considered the second childhood of Church Architecture; and it was certainly far inferior to the first. Succeeding to this period came all those hideous semi-classical erections, most of which, I believe, were built in the reign of Queen Anne, though some were before and some after; and those still more unsightly parodies on Gothic architecture which were erected at the close of the last and commencement of the present century. In our own day we have far advanced by a complete retrogression, and churches are mostly copies of one or other of the styles I have mentioned. If, however, our present age may boast of a church architecture of its own, it will undoubtedly be that of those most beautiful brick churches which have been but lately erected, such as All Saints' and St. Alban's, London, and St. James', Oxford."
"You have not told us any thing about the round windows, Mr. Ambrose," said Constance; "you know we have a very pretty one in our church."
"Yes, I ought to have told you that these circular windows are to be found in all styles of architecture, usually at the west end of the church. They are called rose windows and marigold windows, from their supposed likeness to those flowers; and St. Catherine's windows, from their resemblance to the wheel on which she suffered martyrdom. It is likely that this window was placed in our church because it is dedicated to St. Catherine."
"That leads me to ask," said Mr. Acres, "what symbolism there may be in the windows of a church; for in your sermon last Sunday you said that there was a lesson to be learnt from all the speechless stones of the sanctuary."
"Yes; and every window in the church should remind us of certain Christian truths. The light which they admit should make us think of Him who is the 'Light of the world,' 'a Light to lighten the Gentiles,' 'the Day-spring from on high,' 'the Sun of Righteousness,' 'that lighteth every man that cometh into the world.' The window with its double compartments reminds us of the two natures of Christ; the triple window, and the many triple forms in it, of the Trinity[66]. But it is of course most chiefly in its storied panes that the church window becomes our teacher."
"Certainly; I see that: and, by-the-by, as I am as ignorant as my children about the history of stained glass, please tell us something about that before we part."
"I will, gladly. As far as we know, stained glass was never used before about the year 850; but when it once came into general use, it would appear that no church was considered complete unless every window was furnished with it. At first, it probably consisted of rude imitations of old mosaic patterns[67]. Then figures were introduced, which depended for their general effect upon broad black lines either produced by lead or colour. The old stained glass may always be known by the deep richness of its colours, especially of the blue and ruby. Probably Canterbury Cathedral possesses the earliest and best specimens remaining, the date of some of which is about A.D. 1120[68]. In the glass of this time you find small medallions containing several figures, the surrounding parts being filled with tracery. Next come small single figures, or groups of figures, with or without canopies, with border tracery and foliage; sometimes there are the shields of founders and benefactors. About A.D. 1350 larger figures of saints were painted, each occupying a whole compartment of the window, with larger and more elaborate canopies. Now, too, windows began to be mortuary, and contained figures of deceased persons, with their shields and banners. In the following century single subjects often extended over several compartments, or even the whole of the window. Sentences in old English letters were frequently painted, issuing from the mouths of figures (just as we find them on monumental brasses of the same date), and also in various other parts of the window. One colour only, commonly yellow, with black lines to mark the features and dresses, was now, and also before this time, frequently used.
"At this period glass painters fell into a great error by studying more to paint pictures, correct in all the lesser and unimportant parts of the drawing, than to produce a pleasing and solemn distant effect; they often lost the effect of a grand accessory to the beauty and harmony of a Gothic temple, in order to gain that of a piece of painted calico. From about A.D. 1600 this art gradually declined, and, with some exceptions, the glass painting and architecture of our churches fell together, the inferior artist of the former being often employed in depicting the debased style of the latter. Immense quantities of stained glass were destroyed by the sacrilegious hands of the Puritans in the seventeenth century[69], and of course much, from its brittle nature, has otherwise perished; enough, however, remains to show how splendidly our churches were formerly decorated with it, and to afford invaluable aid to those who are now engaged in promoting the happy revival of this noble art.
