"That leads me to ask," said Mr. Acres, "what _symbolism_ there may be in the windows of a church; for in your sermon last Sunday you said that there was a lesson to be learnt from all the speechless stones of the sanctuary." "Yes; and every window in the church should remind us of certain Christian truths. The _light_ which they admit should make us think of Him who is the 'Light of the world,' 'a Light to lighten the Gentiles,' 'the Day-spring from on high,' 'the Sun of Righteousness,' 'that lighteth every man that cometh into the world.' The window with its double compartments reminds us of the two natures of Christ; the triple window, and the many triple forms in it, of the Trinity[66]. But it is of course most chiefly in its storied panes that the church window becomes our teacher." "Certainly; I see that: and, by-the-by, as I am as ignorant as my children about the history of stained glass, please tell us something about that before we part." "I will, gladly. As far as we know, stained glass was never used before about the year 850; but when it once came into general use, it would appear that no church was considered complete unless every window was furnished with it. At first, it probably consisted of rude imitations of old mosaic patterns[67]. Then figures were introduced, which depended for their general effect upon broad black lines either produced by lead or colour. The old stained glass may always be known by the deep richness of its colours, especially of the blue and ruby. Probably Canterbury Cathedral possesses the earliest and best specimens remaining, the date of some of which is about A.D. 1120[68]. In the glass of this time you find small medallions containing several figures, the surrounding parts being filled with tracery. Next come small single figures, or groups of figures, with or without canopies, with border tracery and foliage; sometimes there are the shields of founders and benefactors. About A.D. 1350 larger figures of saints were painted, each occupying a whole compartment of the window, with larger and more elaborate canopies. Now, too, windows began to be _mortuary_, and contained figures of deceased persons, with their shields and banners. In the following century single subjects often extended over several compartments, or even the whole of the window. Sentences in old English letters were frequently painted, issuing from the mouths of figures (just as we find them on monumental brasses of the same date), and also in various other parts of the window. One colour only, commonly yellow, with black lines to mark the features and dresses, was now, and also before this time, frequently used.