In the Cathedral of Bourges there are one hundred and eighty-three stained glass windows, executed from the thirteenth century downwards. The early lancets have figures occupying the larger part of the window, sometimes fifteen or twenty feet high; over each figure a sort of canopy or tabernacle disproportionately small, and under it a kind of pedestal or base about a foot high. Around the margin is the finest work in the windows, in a broad band of mosaic. Cologne Cathedral has four lancets each eleven times its width in height, filled with early glass of this period; the figures in the windows are in height one-third the height of the lancet, with a canopy above them. The developments of the centuries following are of less interest to our present purpose. Suffice it to say that even in the rich Decorated Style of Architecture the treatment of individual windows was not what we might term ambitious: the effect was secured by not attempting too much in a single window, but by producing a rich harmony with subordination of each to the whole. In the Perpendicular Style which followed, in the fifteenth century, while there was a very abundant production of glass, its quality was inferior, and much white glass was used. Figures with canopies were used when the single openings were one foot wide and upward; panels, when they were considerably larger; and to fill the extreme length, story upon story. And there begins to appear a tendency to conform the glass less to the architecture itself. From the sixteenth century on there is marked decay. The attempts to treat glass like canvas prove an entire failure. A voluptuous and sensual school of painting came in, debasing a religious art, which thus became secularized, and almost disappeared. The destruction of fine ancient examples in the Puritan revolution left England very poor, and the little that remained came to be less and less appreciated. Curiously enough, large importations of glass consequent on the French Revolution with its destruction of churches, put into the hands of English churchmen what the religious revival of the Church soon taught them to appreciate once more, and so it is that to-day England is enriching her cathedrals and churches with restorations and new windows; and from her the impulse has naturally come to our own land also. But the production of stained glass is in America of very recent date. From facts like the foregoing we may conclude that the subject is one of importance and involving so much that it is well that we should proceed cautiously in the placing of stained glass in Grace Church. But shall we encourage such a movement at all?