and with a hardly increased outlay, erect modern painted windows as monuments of their own liberality.
We are unwilling to take leave of this portion of our subject without a slight reference to the cleaning of painted windows, concerning which some difference of opinion we believe exists. All, we trust, are agreed as to the degree of caution which ought to be observed in such a matter. Upon the whole, we have arrived at the conclusion, that the later glass, i. e. that painted since the first half of the fifteenth century, is as much improved in appearance as the earlier specimens are injured by this process. We would, however, refer our readers to the windows of Cologne cathedral, which contain painted glass of various dates, the greater part of which has been cleaned; and beg them to judge for themselves. The latest glass in that cathedral is contained in the five north windows of the north aisle of the nave; and as a true specimen of glass painting can hardly be surpassed. Almost the whole of the glass in these windows is of the same period, and painted in the same style, that of Albert Durer; some of the subjects are respectively dated 1508, 1509. These windows are now as fresh in appearance as on the day when they were first executed. Yet there is no unpleasing glare; no confusion of colour; all is grand, harmonious, and quiet, although the colouring is of the most brilliant character that can be conceived. On the other hand, the eastern window of the eastern chapel of the choir, in particular, (a work of the thirteenth century at least,) which has also been cleaned, presents to the eye a very confused, and speckled appearance, whether viewed closely, or from a distance; although its colouring is hardly so brilliant as that of the windows before mentioned. It is true that a good deal of modern glass has been inserted into this window; but the most original parts have nearly the same effect as the restored parts. A similar result has been produced by the cleaning of other early windows in the choir; whose general effect contrasts but poorly with the grandeur and solemnity of such of their contemporaries as are still permitted to retain the rust of antiquity.
This difference, as it appears to us, may in some measure be accounted for by considering the peculiarities of an early and a late glass painting[1]. The one is a mosaic, being com-
- ↑ It is not our intention at present to enter into any detailed account of the various styles of painted glass. We may, however, remark, en passant, that the peculiarities of glass paintings of different periods are as well defined as those of the corresponding styles of architecture. And inasmuch as the general change of
