glazing at the east end, which the French rounded apse could not afford. It is gratifying to note the way in which the genius of the glazier, no matter where he lived, seized upon and developed to the utmost the artistic possibilities of his glass, and, furthermore, how cleverly he adapted them to the structures prepared for him by his architect. We shall see at Canterbury, more clearly even than elsewhere, that in the manufacture of this early mosaic glass the English glaziers followed the French models. In “Stained Glass Tours in France,” p. 17, we have made some conjectures as to the beginnings of glass in France and whence it came into that country. Indications appear to be in favour of its first steps being guided by a group of enamellers in Limoges, who were instructed or influenced by a colony of Venetians that settled near by in 979, bringing with them their Byzantine art. Whatever opinion we may hold, there can be no doubt that a striking similarity in drawing, colouring, &c., is to be remarked between stained glass of the twelfth and thirteenth centuries, Limoges enamels of those two and the two preceding centuries, and the Byzantine mosaics of St. Mark’s in Venice, &c.

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EARLY ENGLISH TOUR

Even though we shall encounter but few examples of this period in England, a tour of the towns in which they are to be found will perhaps yield us more interesting glimpses into history than our later tours, far richer though they may be in glass. Starting at ancient Salisbury hard by the site of Druid Stonehenge, we follow the oldest of English national roads, the “Pilgrim’s Way,” through Winchester (for so long the English capital) on to Canterbury with its dramatic history of the martyred archbishop. Close to Canterbury are Chartham and Willesborough; these may be seen en route from Salisbury.