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EARLY ENGLISH TOUR

SALISBURY

There is no country in the world whose ancient history is writ so large upon its broad acres as old England. It is full of silent testimonials to past events which render those early days and their happenings more vivid than any printed page can hope to effect. Many of these remains are of such remote antiquity as to long antedate our glass, but nevertheless we must not be so prejudiced as to neglect them when encountered on our travels. Indeed, it may well be that the existence of other attractions of this sort may secure for us the company of certain archaeological friends who at first will have but small interest in glass. Nor need we distress ourselves about how small that interest may be; for if they, for any reason, accompany us, our charming windows will surely make converts of them long before the journey is ended. These same archaeological folk will tell us that few localities in England can show more extraordinary historical remains than Stonehenge and Old Sarum near Salisbury. The great upright monoliths of Stonehenge, stationed in the form of a horse-shoe within a circle, loom up in such a solitary and impressive way upon the great reaches of Salisbury Plain as to produce a mental picture long to be remembered. Their very isolation makes them much more striking than the voluminous remains of a similar nature erected also by the Druids on the west coast of Brittany. As for Old Sarum, it is now nothing but a lofty fortified camp, but the enclosure within its circle of high walls formerly contained a town which was the predecessor of Salisbury. The shape of this high truncated cone recalls the pictures of the Tower of Babel that used to appear in our child's geographies. Whatever may have been the real cause for the removal of Salisbury to its present site, the one generally alleged was that Sarum lacked water--this certainly cannot be charged against the present city, which is so sorely harassed at certain seasons of the year by local floods, as well to merit the name often given it of the "English Venice." Its vast cathedral is much more regular and balanced in its proportions than are most examples of mediaeval church architecture. The two great twin spires are esteemed the most beautiful in England. To one who has become accustomed to the archaic appearance of most European cathedrals, Salisbury will prove quite a surprise; in the words of Emerson, "The cathedral, which was finished six hundred years ago, has even a spruce and modern air." This splendid building, even if it were not so impressive as it is, would have been rendered sufficiently picturesque because of the setting provided by the shaded walks and green swards of its Close. Within the roomy interior are examples not only of thirteenth century medallion glass, but also some of the best types of English grisaille of that period. Because of the belief that the doors, windows and pillars exactly coincide respectively with the number of months, days and hours in the year, Thomas Fuller said, "All Europe affords not such an almanac of architecture." We are concerned only with that portion of the almanac that has to do with the days. An old rhyme says:

"As many days as in one year there be So many windows in this church we see."

Notwithstanding the great number of light apertures thus provided by the architect, the glazier was not permitted to make excessive use of the light-obscuring coloured mosaic glass, as was then the custom in France. Grisaille was plentifully used, and Salisbury was famous for it. Most of its remains are found in the upper lancets at the south end of the easterly transepts, as well as a little in the west windows of the nave aisles, the east one of the choir aisles, and the lower triplet in the south end of the small transepts. Two of the easterly clerestory lights of the large northern transept also show this early pattern glass. Instead of filling the other embrasures with rudely contrasting modern glazing, a very intelligent effort has been made throughout the choir and transept to model as closely as possible upon these ancient examples. The result is very agreeable--at least it contrives to give us some idea of how the church must have looked with its original windows all complete. Little touches of colour are very judiciously interspersed throughout the strapwork, and serve to correct what otherwise might be dull-toned. Blue is very extensively used here for this purpose, and to a greater extent than is usually found elsewhere. It tones in admirably with the greenish hue of the glass, and enriches it without risking too striking a contrast. The thirteenth century medallion remains have been collected into the three lancets at the western end. Note especially the plentiful and interesting fragments of the Tree of Jesse done in mosaic style which has been introduced in two parallel columns into the central lancet: the borders are contemporary. The side lancets are not so satisfactorily filled, for the combination of strips of later glass separated by equally wide ones of old grisaille, and all surrounded by a rich old border on ruby and blue backgrounds, is not pleasing. The medallions are interesting, but nothing like so fine as we shall see elsewhere. We shall chiefly remember Salisbury Cathedral for the effective glazing of its choir and transepts afforded by thirteenth century grisaille eked out with good modern glass copied after it.

One does not have to search far in the records of Salisbury to find why there is so little remaining of its ancient glazing. Time has been materially aided and abetted in its work of destruction by ruthless restorations, of which the worst was Wyatt's in the eighteenth century. We read that "whole cartloads of glass, lead, and other rubbish were removed from the nave and transepts, and shot into the town ditch, then in course of being filled up; whilst a good deal of similar rubbish was used to level the ground near the chapter-house." Nor was destruction the only means used to get rid of the Salisbury windows, as will appear from the following letter written to Mr. Lloyd, of London, in 1788, by John Berry, a glazier of Salisbury:

"SIR.--This day I have sent you a Box full of old Stained & Printed glass, as you desired me to due, which I hope will sute your Purpos, it his the best that I can get at Present. But I expect to Beate to Peceais a great deal very sune, as it his of now use to me, and we do it for the lead. If you want more of the same sorts you may have what thear is, if it will pay you for taking out, as it is a Deal of Truble to what Beating it to Peceais his; you will send me a line as soon as Possable, for we are goain to move our glasing shop to a Nother plase and thin we hope to save a great deal more of the like sort, which I ham your most Omble servent--JOHN BERRY."

There is also later glass to be seen here. St. Thomas's Church, in the first embrasure from the east of the north aisle, has the remains of a Decorated Tree of Jesse, in which, as well as in other fragments along the traceries, there is a good deal of yellow stain observable. In the vestry, which is off the north aisle, are three small lancets upon which appear figures against quarry backgrounds not as usual ensconced in canopies. The wooden ceilings in the north and south aisles are especially fine.

CANTERBURY

Another group of equally diverting but more whimsical poems are inseparably connected with this neighbourhood. Rev. Richard Barham lived near Canterbury, and many of his engaging Ingoldsby Legends have their scenes laid there, some within the cathedral precincts. The county of Kent, of which Canterbury is the chief city, is peopled by a sturdy folk who have always been jealous of their rights and insistent upon their own interpretation of the law, as, for example, although primogeniture existed almost everywhere else in England, Kent always preferred gavelkind . As illustrating the strength of Kentish traditions, it is amusing to note that one must remember carefully to apply the expression "Kentish man" to a dweller in the western half of the county, and "Man of Kent" to him of the eastern. Confuse these two designations at your peril! There is a bit of local history which has a fine heroic flavour, and which points our moral excellently. After William the Conqueror had won the battle of Hastings, all Kent, headed by the Archbishop of Canterbury, gathered to protect its ancient rights against the invader. They marched forth to meet William at Swanscourt, each man fully armed, and carrying above him a green bough to mask the numbers of their host. William's surprise and perplexity at seeing this perambulating forest approaching him can well be imagined. When he inquired the reason for it, there came the fine reply that Kent demanded its ancient rights, and if granted them would live peaceably under his rule, but if they were to be denied, then there must be instant war! The politic Norman complied with their request, and the Kentish forest marched off.

So beautiful are the distant prospects of Canterbury Cathedral that excellent aesthetic reasons may be advanced for the religious custom that required all mounted pilgrims to dismount as soon as they could spy the Angel Steeple, and complete the last stage of the pilgrimage on foot. Proceeding in this more leisurely fashion, the beauties of the picturesque grouping of the buildings about the cathedral developed slowly before their eyes.

Before commencing to examine the stained glass, we must warn the reader that it suffered severely at the hands of that arch-ruffian of all glass destroyers, Dick Culmer , the minister in charge of the Abbey during the Commonwealth. So violently opposed to his appointment were the townspeople that they locked all the cathedral's doors against him, thus forcing him to effect his first entrance by breaking in one of the windows--an evil omen! No sooner was he installed than he set diligently to work to destroy the stained glass, and, furthermore, openly boasted of his energy in that respect. In his "Cathedral News from Canterbury," he says, "A minister on top of the city ladder, nearly sixty steps high, with a whole pike in his hand, rattling down proud Becket's glassie bones when others present would not venture so high." This glass, so destroyed, was in the north transept.

Splendid as this noble cathedral now is, how much more impressive must it have been when all its windows were filled with mosaic medallions through which a warmly tinted illumination tempered the minster gloom. It is difficult to repress the anachronistic wish that the knights who came here seeking to slay ? Becket might instead have wreaked their lust for blood upon "Blue Dick" Culmer!

Near Canterbury there are some Early English fragments at Chartham, four miles west on the road to Maidstone. They are in the tracery lights on the north side of the chancel. In one of these small openings there has been inserted a baptismal scene, but because it is upside down the water seems like a cross between a shower-bath and the sword of Damocles! The chief reason for stopping at this church is the very agreeable lighting of its chancel in the Decorated manner. In the two embrasures on the north side have been collected all that remains of the original pattern glass, but the other lights have been glazed as much like these two as possible. A mellow richness, not often seen, is the chief characteristic of this low-toned grisaille, overrun with graceful coloured designs. In its perfection that style was most attractive. In a south-easterly suburb of Ashford called Willesborough there are in the chancel a couple of very complete and pleasing Decorated windows. They both have quarry backgrounds with coloured borders, but the one to the north is much more attractive. Upon its surface are not only the coloured bosses seen in the one across the chancel, but also some handsome canopy-framed figures. The leaf design on the borders should be noted, and also the labels below the figures.

LINCOLN

A golden-brown cathedral crowning the summit of a solitary hill rising from a wide plain--so Lincoln lingers in one's memory!

Few towns have their situation more clearly described by their names than this one, derived, as it is, from "llin" a mere, and "dun" a hill, a hill above a mere. The plain is now drained of the marshes which formerly overspread it, but the great isolated mount remains always the same, and upon the summit is stationed, like a splendid sentinel, the mighty bulk of the cathedral. Rarely, indeed, does a great church have so dominating and superb a site, nor is it often that so prominent a point is crowned by such a noble structure. Near it is the ancient castle, built first by the Romans and later strengthened by warriors of other races equally quick to appreciate the military strength of its commanding position. From the tower at one corner of its perfectly preserved ramparts is afforded a most inspiring view in every direction. Nor were the great walls of the cathedral less serviceable in affording a strong refuge in war. It needs but a glance at the sturdy west front to show why Stephen in 1141, during the war of the Barons, finding the Earls of Lincoln and Chester in possession of the castle, threw himself into the adjacent cathedral and thus secured as strong a fortress as they. Not only is the western fa?ade very beautiful, but it is also a manifestation, rare in England, of the practice usual in France of making this portion of the exterior the most important of all. Here at Lincoln it is as if a wide mask of stone had been built on to the end of the nave, lending as great an impression of width as one gets of height by a similar trick at Peterborough. These two are almost the only attempts in England to use this fa?ade for other than simply closing the end of the edifice. The result at Lincoln is most imposing, but it produces its best effect when seen from a little distance, because then one gets the great sweep of the lines, relieved by the galleries of statues and warmed by the yellowish brown of the stone. A nearer inspection discloses how the later work has been pieced on to the older, which tends to distract our attention from the front as a whole. Not satisfied with the great strength of the building itself, permission was early obtained from the Crown to surround the Close with walls and gates, of which the picturesque Exchequer gate survives. This enclosure goes by the name of the Minster Yard. When visiting the little hamlet of Dorchester we will remark upon how great was once its glory and how widely the sway of its Bishop then extended. This glory departed when Bishop Remigius decided about 1072 to remove his seat to the more lofty and far safer site upon Lincoln Hill. Before concluding the inspection of the cathedral's exterior, it is timely to remark that through all the centuries it has been famous in story and song for its chime of bells. During the period when that delightful industry, the making of ballads, prevailed throughout England, there were many whose scenes were laid at Lincoln, and in almost every one of these some reference is made to "The bells o' merrie Lincoln."

YORK

To one approaching York by road, especially if coming by way of Scarcroft Hill, the ancient appearance of the town seems to translate it out of the Middle Ages. The dust-grey line of walls along the grassy banks that slope down to the moat, sweep far around in unbroken majesty, strengthened here and there by bastions or by a sturdy gatehouse. To complete the old-world picture, above the walls peep red-tiled gables, or occasionally the towers and spires of numerous churches, all dominated by the great bulk of the cathedral.

York is by all odds the most important of all English glass centres. Although one often finds occasion elsewhere to curse the glass-destroying Puritan, at York it must be admitted that the presence of so many ancient windows is due to the control exercised by Fairfax over his Parliamentary troops after a successful siege of the place. He well deserved the butt of sack and tun of French wine voted him by the Corporation in recognition of his efforts in restraining the misguided enthusiasm of the soldiery. Indeed, his action here almost atones for the devilish tricks at Canterbury of "Blue Dick" Culmer.

The church of St. Dennis, Walmgate, has attractive panels of early English glass dating from the latter half of the thirteenth century inserted in two Decorated windows on the north side of the church.

An account of the Decorated glass at York will be found at p. 76, and of that of the Perpendicular at p. 185.

DECORATED

Before crossing the threshold into the two next periods , it is worth pausing to notice that although architecture generally tends to elaborate as time goes on, the opposite was true in England during the two centuries of which we are about to speak. In fact, the work of the earlier of these two epochs obviously deserves the title of "Decorated" and the later does not. Its glass, too, is much more florid than its successor, and is far more ambitiously ornamental. It bears many bits of leafy foliage, twining vine tendrils, &c., all drawn as true to life as possible. Later these bits of flora are rarely used, and then only in a conventional and, therefore, less decorative form. In our introduction we have stated that in England, the arrival of the fourteenth century does not show the abrupt difference found in France between the light-obscuring mosaic glass of the thirteenth century and the fainter tints of the fourteenth, permitting the brighter interior then demanded. The explanation seems to be that the English, having been early forced by cloudy skies to use light-admitting grisaille already enjoyed the proper illumination which, at the beginning of the fourteenth century, was so lacking in France as to bring about a cry for light at any cost. In place of the early fourteenth century glare that strikes one at S?es, Evreux, and in St. Ouen at Rouen, we have rich strong colour in their contemporaries at Tewkesbury, Wells and Bristol. Occasionally grisaille will be found pleasantly combined with small coloured scenes, as at Dorchester and in Merton Chapel, Oxford, but even then it seems much like a local survival of the thirteenth century tradition. So much for the difference between the English Decorated and the French fourteenth century windows. Now let us briefly consider what it was that succeeded to the mosaic medallion style seen at Canterbury, Lincoln, &c., and also what causes must have been at work to produce the change. About the end of the thirteenth century there chanced to be discovered a method of producing yellow which obviated the necessity of cutting out a piece of glass of that tint and laboriously leading it into the picture where needed, as was still obligatory if they wanted blue or red, &c. Some lucky glazier stumbled on the fact that if chloride of silver be put on a sheet of glass it would, when exposed to the fire, produce a handsome golden stain, and that only at the points to which it was applied. Many stories are related to explain this discovery, but as they are all more pleasing than convincing, it seems best to credit Dame Fortune with this valuable assistant to the glazier. It is obvious that this facility in staining a touch of yellow just at the point desired by the artist was eagerly seized upon. He at once made use of it to decorate the robes of great personages, or to brighten the hair of women and angels, as well as to liven any bits of stonework necessary to his drawing. It made possible the development of an unimportant detail in the earlier windows into the perfected result called the "Canopy window," which we shall learn to know as a most useful and satisfactory combination of decoration and serviceability. It will be remembered that from the earliest times there frequently appeared above the heads of saints certain conventional coverings meant to indicate an architectural shelter. Upon the arrival of the Decorated period this detail became more complete, the roof being fully depicted and columns added at the side to support it, thus completely enclosing the little figures in a niche. Here we have the first, or Decorated canopy, now complete in form although crude. It must be noticed, however, that these canopies, generally drawn to a small scale, do not attempt alone to fill the embrasures, and either are shown in bands across a ground of grisaille or occur alone surrounded by grisaille. Their architectural portion is of a strong brassy yellow, that colour being provided by pot metal glass leaded in. Now comes the next and final development. The discovery of yellow stain did away with the laborious need for leading in the yellow bits to simulate stonework, so the limit as to size of the canopy was removed, and at once they began to increase in dimensions. The obvious result ensued, each canopy was made to fill an entire lancet, its simulated stonework occupying as much surface as the enclosed figure, and we have the logical whole of a decorative colour panel within surrounded by a frame of lighter panes which admit the necessary amount of illumination. So satisfactory did this style of window prove that it persisted longer than almost any other type of glazing, and we must remember it is the discovery of yellow stain that we have to thank for making this result possible.

During the period we are now considering, the canopy was, of course, rather crude, in fact it looked more like a sentry-box than anything else. There was as yet no pedestal beneath it, and the pinnacles at the top showed entire ignorance of perspective, as well as of drawing in relief. During the Perpendicular period that followed, they did little but elaborate this canopy idea, combining and softening the colours so as to prevent jarring contrasts, and generally much improving the logical combination of a coloured central portion surrounded by light-admitting canopy framing. Without the use of yellow stain all this would have been difficult, if not impossible, for without the little touches of gold livening the grey stonework these canopies would have been dull and unconvincing.

We have said that the earlier canopies did not have pedestals below them. This lack was soon noted, and the need was felt for something to complete them below; the first expedient hit upon for this purpose was shields gay with heraldic tinctures. Not only were these decorative, but we shall learn at Tewkesbury and Gloucester how valuable they have proved to be in enabling those learned in heraldry definitely to date windows whose histories have long since been forgotten.

It must not be overlooked that the architect had much to do with the development from the mosaic to the canopy style. He decided to change from the wide single windows that one sees at Salisbury, and to substitute for them groups of narrower lights separated only by slender stone mullions and all bound together at the top and tapered off by a pyramid of smaller openings called tracery lights. These latter will be particularly enjoyed by the glass-lover while studying this period, for the Decorated glazier was singularly happy in his treatment of these smaller panes--much more so, in fact, than his successor of the Perpendicular era, who was obliged to conform to the stiff little pill-boxes provided for him by the architect. The use of vines and leaves was of great assistance in this problem of treating small irregular openings; nor were these the only motives--at Wells there is a very happy use of busts filling small trefoils.

Besides the canopy treatment, the English glazier of the Decorated period was very fond of the Tree of Jesse theme, and, as is usually the case with congenial tasks, obtained most satisfactory results. He used it to great effect in his broad windows made up of several narrow lights, separated by slender mullions. The very shape of these windows invited this design, because a separate branch of the vine bearing its little personages could be run up each lancet without disturbing the coherence of the picture. The men of that time used the Tree of Jesse nearly as much as did their fellow craftsmen across the Channel during the sixteenth century. In France the descendants of Jesse almost always appear as blossoms on the vine, but their earlier English prototypes usually stand in small cartouches formed by convolutions of the vine. This brings us to yet another reason why the Decorated glazier liked the Tree of Jesse. We have already stated that he was much given to introducing leaves, tendrils, &c., done in the natural manner, which, of course, made him entirely at home in delineating the great vine rising from the loins of the Patriarch. What success he achieved with this style of window we shall judge for ourselves at Ludlow, Bristol, and Wells.

A convenient touchstone for deciding whether a window belongs to this or the next period is provided by an examination of the manner in which the artist executed his shading. It was smeared upon Decorated glass, and a close inspection will reveal the streaky lines. During the Perpendicular epoch the shading was stippled on with the end of a brush.

To recapitulate, the distinctive features of the Decorated epoch may be enumerated as follows:

DECORATED TOUR

YORK

An account of the Early English glass at York will be found on p. 57.

The Decorated glass in the cathedral is almost entirely confined to the nave and the chapter-house . Notwithstanding their early date, the nave windows are large and afford more illumination than one would expect at that time. So much wall-space is used for light apertures that of the entire height of ninety-nine feet only thirteen feet of stone intervene between the bottom of the clerestory windows and the top of the main arches. All this portion of the edifice is dominated by the great west window, given by Archbishop Melton in 1338, a splendid sheet of highly coloured glass, supported by curvilinear stonework. Its eight lights retain their original glazing almost intact . It is skilfully fitted to the elaborate pattern of the supporting stone frame. First there is a row of archbishops, then one of saints, and highest of all a line of smaller personages. The

Even if the vast Minster were not one of the world's greatest treasure-houses of glass, the many smaller churches of York would provide ample grounds for its being included in this book of tours. So numerous are these churches that, in several instances, there are found to be more than one dedicated to the same saint, and therefore the pilgrim will do well to note carefully the name of street or gate placed after that of the saint's to indicate which one is intended. The most interesting of these modest shrines is All Saints' , in North Street. It alone is well worth a visit to York. Not only is its Decorated glass in excellent repair and in satisfactory quantity, but it evidences such careful attention to the little touches which make a window successful that one concludes the best artists must have been employed in its manufacture. For example, the canopies in the eastern embrasure of the north aisle have pedestals beneath them, a most unusual feature at that early date. Furthermore, the scenes from the life of the Virgin are depicted in a very careful manner, not only appearing in the three lancets below, but in the three major lights of the traceries above, although not there surrounded by canopies as below. Older than this window, but also typically Decorated, is that at the east end of the south aisle. The brassy tint is more noticeable in the canopies which run in two bands across its three lancets, and the canopies themselves are cruder in drawing than those just described, but are excellently illustrative of their period. These two windows are assisted in their service of beauty by the fact that the embrasures about them are not burdened with modern mistakes, but were glazed during the Perpendicular period. Reference will be made to this later glass further on ; although much more famous than its earlier neighbours, it is not a whit more satisfactory. These two sets contrive to set each other off in admirable fashion, and together they effect a delightful illumination for this interesting church.

St. Dennis has already been mentioned for its two Early English panels , but its chief interest lies in the really fine Decorated remains. On entering you will not long be detained by the fragments of Perpendicular canopies that are gathered into parts of the central eastern window and two other embrasures, but will pass on to the north aisle. The three most easterly windows in the north wall taken with the eastern one of that aisle provide an excellent exposition of the glazier's art during the epoch we are now considering. The eastern one has a fairly well preserved Tree of Jesse, filling all of its five lancets, except just along the lower sill. Note the green vine and the use of many green leaves. Turning to the three lights in the north wall we find the usual brassy canopies against a quarry background, surrounded by a coloured border. The traceries, too, show the most approved treatment of leaves, green vines, &c., as well as some small heads. The diminutive kneeling donors on the quarry-panes below are very interesting; note the pendent sleeves, and especially the tiny gift window held up by one of these little people. It is upon the central lancet of one of these windows that we find the two Early English panels.

St. Martin-cum-Gregory boasts of ten windows of Decorated work, mostly small brassy canopies enclosing coloured figures, all placed upon a background of quarries. The best is that at the east end of the south aisle; across its three lancets is carried a row of canopies larger than then generally drawn--in fact, the space usually occupied by quarries at the upper parts of the lights is here pre-empted by the lofty pinnacles of the canopies; the quarries appear below, as usual, and upon them in the two outer lancets are the small kneeling donors. Under the centre canopy is St. Martin dividing his cloak with a beggar, and above in the flowing tracery lights are kneeling angels. This window is rendered especially brilliant by the generous use of red in the backgrounds. There is also some unimportant Perpendicular glass in this church .

NORBURY

Tucked away within the Peak of Derbyshire there is a "Happy Valley" wherein, embowered in green woods and pleasant pastures, lie Chatsworth and Haddon Hall, well known to and well beloved of all industrious tourists. Sweeping around this valley as a protecting wall are rolling hills, whose bare summits have their sombre treeless austerity clothed by a mantle of purple heather. Not very far to the south of this protecting girdle lies a little group of houses called Norbury, nestled alongside a leaping stream that comes down from above. In the midst of this hamlet stands a small church which knows not the industrious tourist aforesaid, but to which we counsel the enlightened and eclectic pilgrims of our company to repair. The chancel here is a delicious morsel preserved for us out of the fourteenth century, complete, enchanting. In its midst are stationed two splendid marble tombs, one double, and both of the most exquisite workmanship. Upon them are stretched the life-size effigies of the deceased, while along the sides are sculptured in high relief angels supporting shields. Around the walls runs mellow wood panelling, set off by carved oak stalls of great beauty. To complete the picture the many windows which light the chancel contain some of the finest Decorated pattern glass in England. Nor does the quantity of it yield in any respect to the high quality. There are four three-lanceted windows on each side, while a larger one of five lights completely fills the eastern end. In those few parts of the surface which have lost their original glazing, no attempt at modern restoration has been made, but the space has been quite simply filled with white glass. Across the pattern of the east window have been drawn two bands of very light-hued figures and harmonising agreeably with the decorous tints of the background. Labels appear above the heads. The figures in the upper row are slightly larger than those below. Turning to the side windows, nothing of their type could be more attractive than the graceful grisaille patterns pricked out with points of colour and surrounded by broad borders which, in diminished scale, are carried up, into and around the tracery lights. Very satisfactory use of blue is made, and that, too, in an unusually free manner. The heraldic blazons placed upon the panes add materially to the charm of the glazing, and in very decorative fashion preserve the names of the donors. Although a special emphasis has been deservedly laid upon this altogether lovely chancel, the pilgrim must not leave the church without a peep into the diminutive chapel that opens off to the south. Here we shall see a cross-legged Crusader lying in effigy upon his place of last repose. The light that falls upon him streams through two small windows, one on the east and the other on the south, both having three lancets. These lancets each contain a saint framed in a Perpendicular canopy, while below, in the center, an armorial shield separates two kneeling groups of donors. The southerly window shows the father with two sons on one side, and the mother similarly attended by her daughters on the other; while on the easterly lancets the father is accompanied by no less than eight sons and the mother by five daughters--a goodly company, and one which would have alarmed the philosopher Malthus. Note the steeple head-dresses of the women, pendent behind. "Tell it not in Gath" that this charming sanctuary lies hidden away in Derbyshire, come away privately with us and enjoy its beauties undisturbed--"Odi profanum vulgus et arceo."

SHREWSBURY

Devotees of the Ingoldsby Legends will remember that when the Great Dog in the castle of "Bloudie Jacke of Shrewsberrie" was about to seize upon Mary Anne, she vicariously appeased him with:

"A Shrewsbury cake, of Pallin's own make, Which she happened to take Ere her run she begun, She'd been used to a luncheon at One."

Mindful of this dainty's historic existence, the traveller will doubtless regale himself therewith, that product of the town being as excellent and famous to-day as ever it was of yore.

From Shrewsbury our route lies southward over that centuries-old battle-ground, the Welsh Marches. We shall find not only much architectural beauty and fine glass, but also many inspiring memories of the border warfare whose bitterness lasted so many centuries.

LUDLOW

Perched high in a strong position at a bend in the River Teme rises the noble ruin of what was once the castle of Ludlow, visible from quite a distance, no matter from which direction one approaches it along the winding Shropshire lanes. It still retains enough of its ancient walls and towers to demonstrate what valiant service it must have rendered in keeping the turbulent Welsh back on their own side of the Border. Nor is the note of war the only one that echoes from the early history of this castle, for in its great hall was enacted for the first time Milton's "Comus." After a brief visit to the castle let us wend our way to St. Lawrence's Church in the town, for which an effective and judicious restoration has revived much of its original charm. A diverting legend relates that the arrow at the top of the north transept gable was shot hither by Robin Hood from the Old Field two miles away. Although many of the parishioners devoutly believe this to be true, it strikes the modern traveller that the great outlaw must on that occasion have drawn a very "long bow"! The ancient appearance of the fine hexagonal porch with the room above it makes a most inviting entrance. We shall find our glass in unusual parts of the church, nor is this the only unique feature of the edifice. The Lady chapel is not at the east, but at the south side of the chancel; in it is an interesting Tree of Jesse in the approved Decorated method, very like the one we have just seen at Shrewsbury. Unfortunately, the restorer has here been too thorough, but, nevertheless, the pattern has been preserved, and also many of the figures, for example, those just above the head and feet of Jesse. He lies recumbent along the bottom of three of the five lancets which compose the window, while above, in compartments formed by the convolutions of the vine, are his descendants. In accordance with the common practice, too much green was used. Although the chancel does not as usual afford the greatest attraction in the way of glazing, we must observe an interesting fifteenth century window in the middle of the southerly wall. Its five lancets each contain three tiers of figures in canopy, the details of which are much elaborated, especially in the pedestals. Notice also the jewelled borders to the robes. The red and blue glass is free from obscuring paint. Although our principal object was the Decorated glass, this church would repay a visit because of the Perpendicular glazing of the chapel of St. John which lies north of the chancel, from which it is shut off by a beautiful fifteenth century screen. The two most easterly windows in the north wall are much lower in tone than either the very golden Annunciation which adjoins them on the west, or the red, white and blue legend of Edward the Confessor and the Palmers, which is round the corner in the east wall. This latter dates from about 1430 and has two tiers of canopies across its four lancets. There is here illustrated an absurd contradiction into which this originally graceful style was developed;--within one of its elaborately pinnacled shrines we find a ship! and under another a rural scene with trees! most out-of-place substitutes for the customary and appropriate saint. Let us return to the two low-toned windows in the north wall, of which we have just spoken. The writer does not remember ever having seen any similar to them. Each embrasure has three lancets subdivided horizontally at the middle, making six spaces. The two windows thus afford twelve panels, which are used to display the Twelve Apostles. Local tradition says that there is here represented the Council at which the Apostolic Creed was composed. Each holy man sits on a bench behind a rail, but as they are drawn to a modest scale and occupy each the centre of his panel, they are thereby so far removed one from the other as to destroy utterly any appearance of a Council. There is a great deal of soft-hued architecture throughout, but it is used as background and not as a frame, thus differing radically from typical canopies. A more satisfactory result would have been attained if they had adhered closely to contemporary tradition, for here the figures, low-hued as they are, start out too abruptly from the over-spacious architectural background. The general effect is not that of a series of gracefully framed Apostolic portraits, but of lonely figures seated in empty halls. If for no other reason than that they have provoked this criticism, these windows should be carefully remarked, because they demonstrate how sound was the theory of employing the architectural canopy as a light-admitting frame for the coloured central figure. The east window of the south transept contains fragments of fourteenth and fifteenth century glass from other parts of the church. The wooden ceilings are well worthy of inspection.

HEREFORD

A very charming feature of English country life is the pleasure one can derive from boating on the small rivers. Our American watercourses are generally too wide or too turbulent to become such a domestic pet as we all know the river Thames to be. To one who has not seen Boulter's Lock on a bright Sunday, or who has never witnessed a Henley Regatta, that most brilliant of all athletic spectacles, it would be difficult to explain how thoroughly the Englishman enjoys and how constantly he uses the opportunity which Father Thames affords for a short outing. Nor is the Thames the only stream thus available. Small watercourses of the same sort are to be found all over the country, and afford delightful trips for those who are willing to travel in so leisurely a fashion. The writer remembers with the keenest pleasure certain canoe trips, one of three days from Bedford to Ely on the Ouse, another on the Stour, from Sudbury to Manningtree, lasting two days, and a third of similar duration from Petworth down the Rother into the Arun at Pullborough and thence to Arundel. All the preparation necessary is to buy your canoe a third-class ticket, put it into the luggage van at the railway station, and set out for the point at which you wish to begin. Jerome K. Jerome has immortalised a similar trip taken down the Thames from Oxford to London. One of the most charming of all English river journeys is that down the Wye. If one wishes to take a long trip, the start can be made at Hay, thirty-four miles above Hereford, or perhaps better at Whitney, twenty-eight miles above. The next stretch is from Hereford to Ross, twenty-seven miles, and, if desired, this can be lengthened by continuing on down to Monmouth, Tintern and Chepstow. The charming bits of scenery that unfold themselves as this little river lazily winds down the Welsh Marches are most varied and delightful. It must, however, be admitted that it is only the middle section of this agreeable trip that properly concerns one engaged in glass-hunting. We should, therefore, content ourselves with the stretch from Hereford to Ross, twenty-seven miles, if, indeed, we have the time to devote to this slow method of travelling. Over by the river end of the peaceful town of Hereford is the lovely green Close which lies about the sturdy reddish brown cathedral. Few churches, even those of great size, give such a square and solid impression as results here from the combination of the ruddy tones of the building material and the early type of its architecture. The defacing effects of an earlier restoration are being rectified by the erection of a new west front, now almost completed. The massive Norman columns that support the nave within, carry out in their grand simplicity the sturdy promise of the exterior. Every division of the church seems spacious, the ample transepts, wide choir aisles, and large Lady chapel, completing the effect begun by the nave and choir. Indeed, so commodious is the Lady chapel, that it is used as a parish church. The cathedral has a number of interesting possessions, chief among which is the large Mappa Mundi made in 1300, and showing the world as then known. It hangs in the south choir aisle. The world is represented as round like a plate, and in addition to the cities and countries marked thereon, there also appear the fabulous animals which were then a part of orthodox geography. It was about this time that there was written the adventures of that famous traveller, Sir John de Maundeville, whose voyages were only exceeded in extent by his imagination. His reports of fabulous beasts, &c., are in excellent accord with the pictures on this map.

The ancient glass here is somewhat limited, and is all of the Decorated period. On the south side of the Lady chapel we shall remark two windows, chiefly glazed in greenish grisaille, but each bearing four coloured decorations placed one above the other. In one case these prove to be geometrical designs outlined in colour, while in the other they are small coloured groups, the topmost scene showing Christ, on a red background, pointing upward. Glass even more typically Decorated is to be seen in the eastern wall of the north-east transept, and again in the most easterly embrasure of the south choir ambulatory. These windows each contain four lancets surmounted by tracery lights, and in each lancet is a coloured figure framed in an unusually lofty canopy--in fact the latter is three times as high as the figure it encloses. Note the brassy tone of the early golden stain used in the architecture. Modern grisaille has replaced its ancient prototype, which, in accordance with the conventions, surrounded these early canopies to increase the light-admitting power of the embrasures. This glass was formerly in St. Peter's Church, but about sixty years ago that church disposed of it for ?5 to a purchaser who presented it to the cathedral. Limited though it be in amount, it will repay a careful examination.

TEWKESBURY

"Let me sit heavy on thy soul to-morrow! Think, how thou stabb'st me in the prime of youth At Tewkesbury."

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