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20 period of the art,—but, because the hand to execute, and more especially the faculty to design an artistical glass painting, are in general wanting. The cause of this deficiency exists not in any inferiority of native British art, to that of foreign states,—such an imputation, if made, could be instantly refuted by a reference to the recent exhibition of the fresco cartoons in Westminster Hall,—but in the general indisposition of the patrons of glass painting, at the present day, to encourage artists in practising this branch of art. It is unfortunately too much the custom to regard glass painting as a trade, not as an art, to favour the tradesman at the expense of the artist.

Upon the whole, we are inclined to think, that the period embracing the latter part of the last, and the commencement of this century, was more favourable to a development of art in glass painting, than the present age. However justly we may condemn the mode of execution, and the design of the works of that period, as being contrary to the fundamental principles of glass painting, and unsuitable to the nature of painted windows, we cannot deny the artistical character of such works, in general. At the present day, however, although we see the practical part of glass painting conducted according to truer principles, it is seldom that we meet with a window which is really entitled to be regarded as a work of art. Let us not be supposed by this to condemn the present preference for imitations of ancient glass,—far from it; being ourselves very ardent admirers of ancient painted glass, we are the more anxious to see real imitations of it,—such works indeed as may resemble ancient authorities in spirit, that is, in artistical feeling and composition.

That glass painting during the middle ages, and for some time afterwards, was almost universally practised by artists in no wise inferior in skill to their cotemporaries in other branches of art, we need only refer in proof to existing examples. We will venture to assert that it will be extremely difficult, if not impossible, to point out any ancient glass painting, whatever may be its age, or subject, that is totally devoid of artistical feeling, and propriety of taste. Every ancient glass painting in general bears the stamp of originality; a certain style, or character, pervades it; all its parts are rendered subservient to some leading principle, or general design. This propriety of feeling may be observed in the simplest, as well as in the most elaborate works; it is not