633. Considering coloured glass windows under the threefold relation of transmitting light into large Gothic churches, of their accordance with the decoration of objects consecrated to the rites of the Church, of transmitting a coloured light entirely in unison with the religious sentiments, I prescribe a uniform colour for rose windows and straight windows with circular or pointed tops, the smallest number of colours in the glass, glass of uniform colour predominating over the other to produce the best possible effects of colour. OF THE DISPOSITION OF THE MIND OF THE SPECTATOR IN RESPECT TO THE JUDGMENT HE FORMS OF AN OBJECT OF ART WHICH ATTRACTS HIS EYE. 634. It is not enough to have indicated the rules to be followed and the principles to be observed in the production of effects, and the judgment of them in relation to art; we must also speak of the disposition of the spectator for receiving, more or less intensely, the impression of those effects. To take no notice of this disposition would be to display ignorance of human nature, and of the utility of the examination, which should be impartially pursued also by the critic, who may exaggerate blame as well as praise. Without examining the influence that the passions exercise in opinions formed on works of art, I will say a few words upon a predisposition which may be remarked in a portion of the public, at least at certain epochs, and which has its source in man’s vanity; then I will point out the part which the association of ideas performs in our adoption of opinions. 635. When a body of painters, called a _school_, has produced some _chefs-d’œuvre_, it frequently happens that a great number of mediocre works, executed under the pretence of continuing them, far from being favourable, are, with a portion of the public, injurious to them, on account of the monotony resulting from an imitation, more or less servile, of their form, colour, and even of their subjects. The public, under these circumstances, are ready to applaud any innovation that will excite emotions which it has not for some time found in contemporary painting, and it is then that amongst the public, voices are raised against great works, which have nothing in common with the tame imitations of them produced by mediocrity. Indeed, there comes an epoch when innovation, losing the only advantage it possessed of presenting to the eye images differing from those which it had been a long time accustomed to see, the public returns to the _chefs-d’œuvre_, and forgets all the feeble works composed in imitation of them by feeble pupils; and we will add that, if works _professing to be of the new school_, and endowed with undeniable merit, should exist, they would, in the estimation of connoisseurs, take the places they ought to occupy; whilst those which had arrested attention by innovation only, would disappear for ever.