英語の和訳をお願いします。
The unique contribution of the twelfth century to the arts was stained glass, which, like cloisonne enamel, the technique of which it resembles, was begun at Con stantinople and developd in western Europe.
It is important to realize that the glass was stained, dyed, in the making, that the colour per-meates the glass, and that only painting, at least in the twelfth and thirteenth centuries, was with an opaque brown enamel used for drawing faces, drapery folds, and other detail.
As glass could be made only in small pieces, these were ioined by strips of lead, a soft and heavy material that had to be supported by iron bars across the opening in which the win-dow was to be inserted.
Obviously these bars could not be ignored in the design, which had either to be made big enough to be independent of them, or small enough to fit into one unit of the frame.
At Canterbury the first method was adopted in the majestic figures of the clerestory windows, the second in the aisles, where the detail could easily be seen : Noah in his Ark, for example, which served as a type for the Baptism of Jesus in a neighbouring medallion.
Against a dark blue sky Noah is releasing the dove from a window at the top of the Ark, a multi-coloured, three-storied structure with Ro-manesque columns and arches, against the stability of which the writhing ridges of blue, green, and white-capped waves are powerless.
