n a window._

I do not say that there must not, in any circumstances, be any violent
action--the subject may demand it; but, if so, it must be so disguised
by the craftsmanship of the work, or treated so decoratively, or so
mixed up with the background or surroundings, that you do not see a
figure in violent action starting prominently out from the window as you
stand in the church. But, after all, this is a thing of artistic sense
and discretion, and no rules can be formulated. The Parthenon frieze is
of figures in rapid movement. Yet what repose! And in stained-glass you
must aim at repose. Remember,--it is an accessory to architecture; and
who is there that does not want repose in architecture? Name me a great
building which does not possess it? How the architects must turn in
their graves, or, if living, shake in their shoes, when they see the
stained-glass man turned into their buildings, to display himself and
spread himself abroad and blow his trumpet!

Efface yourself, my friend; sink yourself; illustrate the building;
consider its lines and lights and shades; enrich it, complete it, make
people happier to be in it.

_There must be no craft-jugglery in stained-glass._

The art must set the craft simple problems; it must not set tasks that
can only be accomplished by trickery or by great effort, disproportioned
to the importance of the result. But, indeed, you will naturally get the
habit of working according to this rule, and other reasonable rules, if
you yourself work at the bench--all lies in that.

_There must be nothing out of harmony with the architecture._

And, therefore, you must know something of architecture, not in order to
imitate the work of the past and try to get your own mistaken for it,
but to learn the love and reverence and joy of heart of the old
builders, so that your spirit may harmonise with theirs.

_Do not shrink from the trouble and expense of seeing the work_ in situ,
_and then, if necessary, removing it for correction and amendment._

If you have a large window, or a series of windows, to do, it is often
not a very great matter to take a portion of one light at least down and
try it in its place. I have done it very often, and I can assure you it
is well worth while.

OF MAKING A SKETCH IN GLASS.

But there is another thing that may help you in this matter, and that is
to sketch out the colour of your window in small pieces of glass--in
fact, to make a scale-sketch of it