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Stained Glass
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·Back Cover
St. Nicholas Crowned Bishop of Myra
In the Metropolitan Museum of Art, New York
17th-c. Flemish or northern French glass
from France at that time to make the windows at Canterbury, under the direction of the architect, William of Sens. From earliest times in Britain the abbots of the numerous monasteries cultivated a love for beauty. The buildings they made, especially those great churches whose picturesque ruins are scattered over the land today, bear eloquent testimony to the purity and refinement of taste displayed by their designers.
    The Abbot of Wearmoth, Saint Benedict Biscop, sent to France for glass painters "to make, to paint and fix the glass in place in the windows of his Church," as early as the year A.D. 680. The early monastery workers in glass of Glastonbury are mentioned in records of the time as celebrated for the great beauty and fine quality of their work.

Fourteenth-Century Glass--New Type
Old English Ale Glasses
In the Metropolitan Museum
Cologne, 1500. This example of
Rhinelands glass is in the style
of the Master of the House Book,
mentioned in Monograph Five
    It was soon found that the dark, rich tones of colored glass brought over from France shut out too much light in English churches where clouds so often obscure the sky. They began making very large windows at the eastern end of the building. The stone work of these soon evolved a new type of window and this speedily produced a marked effect on the design of the glass they held. Large figures of saints and Bible characters, such as the Prophets and Evangelists, were placed with those of Christ and the Virgin in the central panels, each in a niche of simulated stone work, one above the other, the pinnacles reaching far up above the figures against blue and red backgrounds.
    As sculptors placed their figures decorating the exterior of the cathedrals in settings