“The architecture of the thirteenth century,” according to the judicious remarks of Champollion-Figeac, “by its style of moulding, which is more slender and graceful than the massive forms of Roman art, opened a wider and more favourable field for artists in glass. The small pillars then projected, and extended themselves with a novel elegance, and the tapering and delicate spires of the steeples lost themselves in the clouds. The windows occupied more space, and likewise had the appearance of springing lightly and gracefully upwards. They were adorned with symbolical ornaments, griffins, and other fantastic animals; leaves and boughs cross and intertwine with one another, producing that varied rose-work which is the admiration of modern glass-makers. The colours are more skilfully combined and better blended than in the windows of the preceding century; and although some of the figures are still wanting in expression, and have not thrown off all the stiffness which characterised them, the draperies, at least, are lighter and better drawn.” Examples of the thirteenth century which have remained to our time are very numerous. There is at Poitiers some painted glass composed of small roses, and chiefly placed in one of the windows in the centre of the church and in the “Calvary” of the apse; at Sens, the legend of St. Thomas of Canterbury is represented in a number of small medallions, called _verrières légendaires_; at Mans is glass representing the corporations of trades; at Chartres, the painted glass in the cathedral, a work both magnificent and extensive, contains no fewer than one thousand three hundred and fifty subjects, distributed throughout one hundred and forty-three windows. At Rheims, the painted glass is perhaps less important, but it is remarkable both for the brilliancy of its colours and also for its characteristic fitness to the style of the edifice. Bourges, Tours, Angers, and Notre-Dame in Paris, present very beautiful specimens. The Cathedral of Rouen possesses, to this day, a window which bears the name of Clement of Chartres, _master glazier_, the first artist of this kind who has left behind him any work bearing his signature. We must, in conclusion, mention the Sainte-Chapelle, Paris, which is unquestionably the highest representation of what the art is capable of producing. The designs of the windows in this last edifice are _legendary_, and although some few inaccuracies may be noticed in the figures, the fault is redeemed by the studied elegance of the ornamentation and the harmony of colours, which combine to render them one of the most consistent and perfect works of painting on glass.