In the thirteenth century “_grisaille_” first made its appearance; it was quite a new style, and has been often since employed in the borders and ornaments of painted windows. “_Grisaille_,”[30] the name of which is to some extent sufficient to describe its aspect, was used simultaneously with the mosaics of variegated glass, as we see in the Church of St. Thomas, Strasbourg, in the Cathedral of Freybourg in Brisgau, and in many churches of Bourges. The large number of paintings on glass belonging to the thirteenth century, which may still be studied in various churches, has given rise to the idea of classifying all these monuments, and arranging them under certain schools, which have been designated by the names of _Franco-Norman_, _Germanic_, &c. Some have even gone further, and desired to recognise in the style peculiar to the artists of ancient France a Norman style, a Poitevin style (the latter recognisable, it is said, by the want of harmony in the colours), &c. We can hardly admit these last distinctions, and are the less inclined to do so, as those who propound them seem to base their theories rather on the defects than the good qualities of the artists. Besides, at a period in which a nobleman sometimes possessed several provinces very distant from each other--as, for example, Anjou and Provence--it might so happen that the artists he took with him to his different residences could scarcely fail, by the union of their various works, to cause any provincial influences to disappear, and would finally reduce the distinction between what is called the Poitevin style, the Norman style, &c., to a question of a more or less skilful manufacture, or of a more or less advanced improvement. In the fourteenth century the artist in glass became separated from the architect; although naturally subordinate to the designer of the edifice, in which the windows were to be only an accessory ornament, he wished to give effect to his own inspiration. The whole of the building was subjected by him to the effect of his more learned and correct drawing, and his purer and more striking colouring. It mattered little to him should some part of the church have too much light, or not light enough, if a flood of radiance deluged the apse or the choir, instead of being gradually diffused everywhere, as in earlier buildings. He desired his labour to recommend him, and his work to do him honour. The court-poets, Guillaume de Machaut and Eustache Deschamps, celebrate in their poems several works in painted glass of their time, and even give some details in verse on the mode of fabricating them. [Illustration: Fig. 233.--Legend of the Jew of the Rue des Billettes, Paris, piercing the Holy Wafer with his Knife. (From a Window of the Church of St. Alpin, at Châlons-sur-Marne. Fourteenth Century.)]