ret's touch, Luini's, Correggio's, Reynolds', and Velasquez's, are
all as free as the air, and yet right. "How very fine!" said everybody.
Unquestionably, very fine. Next, said everybody, "What a grand
discovery! Here is the finest work ever done, and it is quite free. Let
us all be free then, and what fine things shall we not do also!" With
what results we too well know.

Nevertheless, remember you are to delight in the freedom won by these
mighty men through obedience, though you are not to covet it. Obey, and
you also shall be free in time; but in these minor things, as well as in
great, it is only right service which is perfect freedom.

185. This, broadly, is the history of the early and late colour-schools.
The first of these I shall call generally, henceforward, the school of
crystal; the other that of clay: potter's clay, or human, are too
sorrowfully the same, as far as art is concerned. But remember, in
practice, you cannot follow both these schools; you must distinctly
adopt the principles of one or the other. I will put the means of
following either within your reach; and according to your dispositions
you will choose one or the other: all I have to guard you against is the
mistake of thinking you can unite the two. If you want to paint (even in
the most distant and feeble way) in the Greek School, the school of
Lionardo, Correggio, and Turner, you cannot design coloured windows, nor
Angelican paradises. If, on the other hand, you choose to live in the
peace of paradise, you cannot share in the gloomy triumphs of the earth.

186. And, incidentally note, as a practical matter of immediate
importance, that painted windows have nothing to do with
chiaroscuro.[14] The virtue of glass is to be transparent everywhere. If
you care to build a palace of jewels, painted glass is richer than all
the treasures of Aladdin's lamp; but if you like pictures better than
jewels, you must come into broad daylight to paint them. A picture in
coloured glass is one of the most vulgar of barbarisms, and only fit to
be ranked with the gauze transparencies and chemical illuminations of
the sensational stage.

[Footnote 14: There is noble chiaroscuro in the variations of their
colour, but not as representative of solid form.]

Also, put out of your minds at once all question about difficulty of
getting colour; in glass we have all the colours that are wanted, only
we do not know either how to choose, or how to connect them; a