"At this period glass painters fell into a great error by studying more to paint pictures, correct in all the lesser and unimportant parts of the drawing, than to produce a pleasing and solemn distant effect; they often lost the effect of a grand accessory to the beauty and harmony of a Gothic temple, in order to gain that of a piece of painted calico. From about A.D.1600 this art gradually declined, and, with some exceptions, the glass painting and architecture of our churches fell together, the inferior artist of the former being often employed in depicting the debased style of the latter. Immense quantities of stained glass were destroyed by the sacrilegious hands of the Puritans in the seventeenth century[69], and of course much, from its brittle nature, has otherwise perished; enough, however, remains to show how splendidly our churches were formerly decorated with it, and to afford invaluable aid to those who are now engaged in promoting the happy revival of this noble art. Illustration: Stained Glass Window in Great Malvern Church Illustration: Stained Glass Window in Great Malvern Church Illustration: Stained Glass Window in Great Malvern Church "There is just one other point to which I must briefly allude--the value of stained glass windows as _historical records_. There can be no objection to windows in some parts of the church (specially those placed over the arches of the nave which are called _clerestory_ windows) being thus employed, though the presence of these subjects in some parts would be most objectionable. There are some most interesting windows of this character still remaining. I have only time to notice some of those in Great Malvern Church. I have brought you some drawings of these windows; they represent some events in the life of St. Werstan, who was martyred in a small chapel near to the spot where these windows are. This glass preserves the only ancient record we have of this saint. In the first pane you see there is a representation of Werstan himself; the hills at the back, with the flowers and ferns upon them, probably represent the Malvern hills; and the painting above, the plot of ground on which his church was built. The key has reference either to the material fabric or the spiritual efficacy of its sacred services, and the four corner-stones, held by four angels, each with three fingers raised in the attitude of blessing in the name of the Trinity, are doubtless intended to indicate the favour of Heaven on his pious work. In the next pane the figure and hills are repeated, and above is a representation of the different ceremonies attending the consecration of the completed church. In the third pane you see the hills, with their flowers and ferns, covering the whole background; in the lower part, the now regular services of St. Werstan's little church appear to be represented by three choristers; and standing near them are two persons who are probably their instructors.