If the window was symbolic, in romantic portraits, of the divided self, the meeting between interior and exterior realities, then the stained glass window was perhaps the epitome of Victorian romanticism, more serious and sacred than the Georgian. Set at the meeting point of material and immaterial worlds, as a body is animated by the soul, so the visible glass is animated by invisible and unreflected light. — Rosemary Hill, God's Architect: Pugin and the Building of Romantic Britain (London: Penguin, 2008), p. 326.

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Last modified 12 December 2013