And after such careful study, determine (before the first enthusiast has an opportunity to put into some one window chosen at random a “most superb” production of the much advertised glass man) determine in advance what should be your total result when every window shall have been filled with stained glass: what story the whole shall tell, how best its parts may be distributed, what each part shall be, in what style, what design, what scale of drawing, scheme of color. And when this has been determined, in the fear of God, in soberness of judgment, in conscientious fidelity to a sacred trust, with a willingness to be judged by a wiser posterity,――then let such a plan be adhered to as a law of the Medes and Persians which altereth not. To sacrifice one window to the seductions of some alien grandeur is to sacrifice the whole principle at stake. The plain glass patiently awaiting its time to give way to the right thing is more eloquent of a truly reverent and truly artistic intention than a medley of incongruous splendors. * * * * * And now, what is stained glass? This simple question it is of the utmost importance to answer, because a little familiarity with the materials and the methods of workmanship will itself serve as a guide to the choice of good windows and to the avoidance of bad. Stained glass, then, is simply glass which has been colored in the pot, glass which has its color within itself: while painted glass――a term sometimes used as synonymous with stained glass――is properly glass which has had the color painted upon its surface, and has then been fired so that the colored or enameled surface has been vitrified. Some stained glass is of so deep a color,――red, for instance――that a thin coating of it blown over the surface of a white (that is, colorless) glass is sufficient to produce the desired color effect; if the entire thickness of the pane were of the colored glass, the effect would be much too dark: such glass is nevertheless true stained glass, and is called “flashed.”