confined to any period, and is the best proof that the ancient glass painters were artists. It is a common opinion that in the earlier styles of glass painting in particular, the representations of the human figure are unartistical, and ridiculous, because generally out of drawing, and sometimes grotesque. To the careful observer, however, hardly any ancient figure appears unartistical. Whether it occupies a place by itself, or forms part of a groupe, and however rude in execution it may be; its attitude and aspect to him appear calculated to convey some definite meaning, according to the design of its original imaginer. The representation of the artist's idea may indeed be more or less strongly given, according to the nature of the subject itself, the state of art at the time, his power of conception, and his skill in carrying it out in execution: and it may consequently require an educated eye to read the painted story; but we should not ridicule the ancient artists, because we ourselves happen to be dull of apprehension.
If then the ancient glass paintings are so replete with good taste, and proper artistical feeling as we have asserted, and upon which point we fear no contradiction, it follows, that in order successfully to imitate them, we must employ those who possess these artist-like qualities. That this point has hitherto been much neglected, we do not scruple to affirm. By an indiscriminate exercise of patronage, we have greatly discouraged those few artists who already practise glass painting, and have deterred others from adopting it: our glass paintings are gradually becoming more correct in point of ornamental detail, but we see little amendment in respect of general design, and artistical feeling. We quite agree, that if the style of any one period is selected as that in which an intended glass painting is to be executed, that style must be entirely followed, consequently the painter is not at liberty to import into a painting, designed in an early style, the improvements of a later period; but he should always select as his model the best and most artistical specimens of the particular style adopted, and endeavour to enter into their spirit. This, we apprehend, is the view an artist would take of the subject. We leave it to our readers to judge for themselves, whether our modern glass paintings have in general been designed and executed upon this principle. With the exception of certain heraldic windows, the work of Mr. Willement, we fear that we
