Early  in  the  sixteenth  century  the  Renais-
sance in  art  reached  this  country,  and,  as  in
architecture,  so  also  inglass,  we  find  much  work
that  iswholly  Gothicinfeeling, though  contain-
ing many  Renaissance  details.  There  was  a
great  improvement  both  in  colour  and  in  draw-
ing up  to  about  1535.  The  windows  have  much
less  the  character  of  mosaics  than  any  that
came  before  them,  and  in  their  distinctness,
relief,  and  perspective  are  more  like  other
pictures.  The  architectural  representations
are  Italian  in  character.  Many  new  tints
are  employed,  and  these  are  due  not  only  to
new  kinds  of  glass,  but  to  the  free  use  of  the
yellow  stain  not  only  on  white  but  on  coloured
glass,  producing  most  rich  and  varied  hues,
and  sometimes  the  stain  was  applied  twice
over  so  as  to  produce  two  shades.  Canopies
are  drawn  in  correct  perspective,  with  both
Italian  and  Gothic  details,  and  they  some-
times extend  over  several  lights,  and  enclose
well-executed  landscape  backgrounds.  Her-
aldry is  very  elaborate.  .  Roman  letters  and
Arabic  figures  begin  to  appear.
The  Reformation  put  an  end  to  the  making
of  coloured  windows  for  churches  for  many
years,  and  when  coloured  windows  were  again
required  the  art  had  been  lost.  There  was
a  sort  of  revival  in  the  seventeenth  century,
as  may  be  seen  in  windows  at  Wadham,
Lincoln,  and  Balliol  Colleges  in  Oxford  and
elsewhere,  but  these,  owing  to  heavier  shading
and  inferior  glass,  are  dull  and  heavy  in  effect
as  compared  with  pre-Reformation  glass.
