In selecting the order of the above itineraries, we have ended the first, or Early English period, at York, because that city is not only rich in early mosaic glass, but also in that of the Decorated period, thus making it most convenient for us there to begin the second or Decorated tour. In the same manner we have concluded the itinerary of the Decorated period at Oxford, for there are found not only Decorated, but also Perpendicular windows, thus permitting us to commence the Perpendicular tour in the same city which ends our Decorated one. York is set down as the last of the Perpendicular trip, but if our pilgrim has already visited that city on either the Early English or the Decorated tour, he will doubtless also have seen all of its Perpendicular glass, which will obviate the necessity for again making the long journey north. In that event, with York left out of the Perpendicular tour, it will prove to be much more condensed, both as to territory and distance, than either of the two earlier ones. The last, or Renaissance epoch, has but few examples in England, and these are so widely separated that it seems best to break them up into two tours. Of the seven places cited (London, Cambridge, Lichfield, Shrewsbury, Guildford, Gatton, and Knole) the best English glass is at London and Cambridge, while that at Lichfield is Flemish, and most of that at Shrewsbury German. For tables of distances, &c., _see_ pp. 251-254. [Illustration: GENERAL MAP] EARLY ENGLISH We shall find it more convenient to group all early glass under the heading of "Early English," although it will be found not only in its own narrow, pointed-arched windows, but also before that, in the round-arched ones of the Norman style. So slow was the development of our craft during all the time covered by those two schools of architecture as to make it hardly proper or necessary that our subject be likewise divided into two epochs. During both of them there is found richly coloured glass of the "mosaic" type, and also uncoloured windows of the sort styled by the French "grisaille." Obviously, uncoloured glass admits much more light than that made up of rich dark hues, and, therefore, it is but natural that the glazier who dwelt in a cloudy northern land should early have realised the need for sufficient light in his churches, a need which did not concern his fellow craftsmen in the sunny lands of the south. Indeed if he had not appreciated this practical side of his craft he would not have been the artist which his windows prove him to have been. The glaziers of sunny Italy were never confronted with this problem of sufficient illumination--if anything, they had too much, no matter how richly they painted the panes. Their fellows in France had less sunlight than they, but more than the English, and therefore occupied an intermediate ground in the matter of church illumination; the result was that the French neglected it so