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 nothing could escape, was directed towards this end, but the attainment of a mere archæological correctness was the chief aim in view. The crude draughtsmanship of the ancient craftsman was diligently imitated, but the spirit and charm of the original was lost, as, in a mere imitation, it must be. In the revival of the art, whilst there was an attempt to imitate the drawing, there was no attempt to reproduce the quality of the ancient glass. Thus, brilliant, transparent, and unbroken tints were used, lacking all the richness and splendour of colour so characteristic of the originals. Under these conditions of blind imitation the modern worker in stained glass produced things probably more hideous than the world ever saw before.

Departing altogether from the traditions of the mediæval schools, whether 99