Again, the errand of the window may have been not so much that of a story-teller, nor of a beautiful object to regale one's eyes withal, but rather to tint and temper the illumination of some holy place like that described in the "Lay of the Last Minstrel" (Canto XI.): "The silver light, so pale and faint, Show'd many a prophet and many a saint, Whose image on the glass was dyed; Full in the midst, his Cross of Red Triumphant Michael brandished, And trampled the Apostate's pride. The moonbeam kissed the holy pane, And threw on the pavement a bloody stain." Beyond the enjoyment and artistic refreshment to be obtained from the contemplation of stained glass, who shall say that we do not receive other benefits, the nature of which are as yet undiscovered? It is only recently that our learned brothers, the scientists, have acquainted us with the helpful qualities of those rays of light which, in the language of the spectrum, are "out beyond the violet." In this connection, it may be edifying to quote from the "Anecdotes and Traditions" of Aubrey: "The curious oriental reds, yellows, blews, and greens in glasse-painting, especially when the sun shines, doe much refresh the spirits. After this manner did Dr. R. revive the spirits of a poor distracted gentleman, for whereas his former physitian shutt up his windows and kept him in utter darknesse, he did open his window lids, and let in the light, and filled his windows with glasses of curious tinctures, which the distempered person would always be looking on, and it did conduce to the quieting of his disturbed spirits." (Aubrey in "Anecdotes and Traditions," edited for the Camden Society by W. J. Thomas, p. 96.) Nor is this the only _terra incognita_ still awaiting exploration. During some recent French experiments wide differences have been observed in the same kind of vegetable when grown under differently coloured glass covers. However, these are matters that will not be "dreamed of in our philosophy"--our investigations will be confined to a geographical search for that with which to delight our eyes. When one pauses to consider how fragile the beauty of a stained glass window, it becomes amazing that even so much as we can now visit has survived. Over every European country there has, at one time or another, swept a wave of destruction engulfing things artistic. The causes for, as well as the agents of, this iconoclasm, differ widely. Sometimes it comes from within, and is the result of civil war or of religious fanaticism--less often it is the result of foreign invasion.