. Studio international . St. Philips, Birmingham,with a fifteenth - cen turywindow like that at the westend of St. Martins, ConeyStreet, York, or any of theoriginal glass in the ante-chapel .u All Souls College,Oxford, and the contrast intone, starting from the fleshtmis ami pervading the wholecomposition, is so manifestas to need no verba] argument. Another point of divergence consists in thee ol an bitei rural canopies, which in Gothicwork usually frame the figures, and help to bringihi latter into harmonious congruity with the stonelurists maj objw i to canopies in glassas being too imitati
. Studio international . St. Philips, Birmingham,with a fifteenth - cen turywindow like that at the westend of St. Martins, ConeyStreet, York, or any of theoriginal glass in the ante-chapel .u All Souls College,Oxford, and the contrast intone, starting from the fleshtmis ami pervading the wholecomposition, is so manifestas to need no verba] argument. Another point of divergence consists in thee ol an bitei rural canopies, which in Gothicwork usually frame the figures, and help to bringihi latter into harmonious congruity with the stonelurists maj objw i to canopies in glassas being too imitative to l>, l< gitimate, but no otherdevice has cut been invented as a substitutewhich (.in knit together into tin- several parts aconcordant whole, a. tin- traditional method olwork admittedly tAnothei familiar mediaeval convention, thai i round I ires, is suffii ientlj un. .. in Burnt | lows, It oi id at the Rosslyn I Mli orton in .ii i ..mis Philip B H the t om • I ] pure and simple a 111 KNE-JONES. SIBYL WINDOW IN JESUS COLLEGE CHAPEL. CAMBRIDGE. IR E. BURNE-JONES. Painted Glass designed by Sir E. Burne-Jones thing which no glass painters in England attemptedto do until the decadence of the sixteenth has been reserved, however, for the misplacedingenuity of Munich glass-painters to combinecanopy and landscape in one window—-a blendwhich results only in the most absurd , there is the indefinable quality of thedrawing. Burne-Jones certainly owed much toBotticelli and other early Italian masters, but thearchaisms of picture-painters are not those ofglass painters. The adoption of the former nevermade a Burne-Jones window look as though ithad been drawn by an English mediaeval artist inglass. It is interesting to observe how Burne-Joness style passed through successive phasesbefore it attained to its ultimate development;how at one time he was swayed by the influenceof Madox Brown, at another by that of Rossetti;and how at lengt
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