Summary

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Pictured Windows (1860)

Yet, though dead to all the purposes for which we live to-day, the place has its glorious recollections, and not merely rude and warlike ones, but those of brighter and milder triumphs, the fruits of which we still enjoy. Italy can count several of these lifeless towns which, four or five hundred years ago, were each the birthplace of its own school of art; nor have they yet forgotten to be proud of the dark old pictures, and the faded frescos, the pristine beauty of which was a light and gladness to the world.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Pictured Windows (1860)

Whenever they found a cathedral, therefore, or a Gothic church, the two travellers were of one mind to enter it. In some of these holy edifices they saw pictures that time had not dimmed nor injured in the least, though they perhaps belonged to as old a school of Art as any that were perishing around them. These were the painted windows; and as often as he gazed at them the sculptor blessed the medieval time, and its gorgeous contrivances of splendor; for surely the skill of man has never accomplished, nor his mind imagined, any other beauty or glory worthy to be compared with these.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Pictured Windows (1860)

It is the special excellence of pictured glass, that the light, which falls merely on the outside of other pictures, is here interfused throughout the work; it illuminates the design, and invests it with a living radiance; and in requital the unfading colors transmute the common daylight into a miracle of richness and glory in its passage through the heavenly substance of the blessed and angelic shapes which throng the high-arched window.
Source: Wikisource

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