It is clear from many an entry in ancient English church archives that French glaziers were often in the early days summoned across the Channel, and that it is to them that we owe the beginning of English glass; but we shall see that although it owes its origin to this foreign assistance, it developed along distinctly original lines, and that therefore the English glaziers deserve full credit for the charming traits peculiar to them. Although the period styled Early English has left comparatively few examples north of the Channel, and cannot hope to vie with the many and rich displays of mosaic glass to be seen in France, we shall be greatly consoled by the splendid grisaille (or uncoloured glazing) that fills the "Five Sisters" at York, and by the remains of the great series at Salisbury. We have just referred to the scarcity of French stained glass during the fourteenth and fifteenth centuries, those sorry days during which the English occupation of a large part of the country, repeated plagues, and uprisings of the lower classes against the nobles (like the Jacquerie), vied with each other in the work of devastation. Indeed, it is not strange that any art so dependent upon the fostering care of a luxury-loving class should have been entirely superseded by the sterner requirements of self-defence, to say nothing of the repairs necessitated by the ravages of war, pestilence, and famine. Those two centuries, so dreadful to France and so discouraging to French glaziers, produced in England the greatest flowers of this craft. It is, therefore, clear that if one wishes to obtain a comprehensively consecutive knowledge of stained glass on both sides of the Channel, he must leave France and cross over to England when the thread of his studies has obtained so far as the Decorated and the Perpendicular. When, however, he reaches the sixteenth century he must return to France, to revel in the wealth of Renaissance glass so wofully lacking in England.