elf; for these hints come late on in the work, when
colour, light and shade, and design are all fusing together into a
harmony. You can no more forecast these final accidents, which are the
flower and crown and finish of the whole, than you could forecast the
lost "Chord";--

"Which came from the soul of the organ,
And entered into mine."

It "comes from the soul" of the window.

We all know the feeling--the climaxes, exceptions, surprises,
suspensions, in which harmony delights; the change from the last bar of
the overture to the first of the opening recitative in the "Messiah,"
the chord upon which the victor is crowned in "The Meistersingers," the
59th and 60th bars in Handel's "Every Valley." (I hope some of us are
"old-fashioned" enough to be unashamed of still believing in Handel!)

Or if it may be said that these are hardly examples of the kind of
accidental things I have spoken of, being rather, indeed, the
deliberately arranged climax to which the whole construction has been
leading, I would instance the 12th (complete) bar in the overture to
"Tannhduser," the 20th and 22nd bar in Chopin's Funeral March, the
change from the minor to major in Schubert's Romance from "Rosamunde,"
and the 24th bar in his Serenade (_Staendchen_), the 13th and following
bars of the Crescendo in the Largo Appassionato of Beethoven's Op. 2. Or
if you wish to have an example where _all_ is exception, like one of the
south nave windows in York Minster, the opening of the "Sonata
Appassionata," Op. 57.

Now how can you forecast such things as these!

Let me draw another instance from actual practice. I was once painting a
figure of a bishop in what I meant to be a dark green robe, the kind of
black, and yet vivid, green of the summer leafage of the oak; for it was
St. Boniface who cut down the heathen oak of Frisia. But the orphreys of
his cope were to be embroidered in gold upon this green, and therefore
the pattern had first to be added out in white upon a blue-flashed
glass, which yellow stain over all would afterwards turn into green and
gold. And when all was prepared and the staining should have followed,
my head man sent for me to come to the shop, and there hung the figure
with its dark green robe with orphreys of _deep blue_ and _silver_.

"I thought you'd like to look at it before we stained it," said he.

"STAIN IT!" I said. "I wouldn't touch it; not for sixpence
three-farthings!"

There was a sigh of reli