ome stiffness is imparted to the design of the York window by the
central mullion which reaches from the basement to the top of the arch.
The tracery branches outwards from this on each side, and depends upon
the arch for support; while the tracery in the Carlisle window is not so
dependent. Neither in skilful workmanship nor in variety of ornament is
the York window equal to that at Carlisle. With the exception of four
quatrefoils (placed above each alternate mullion) it is composed of
trefoils. Carlisle, on the contrary, possesses nine quatrefoils, in
addition to four placed like those at York. Nearly all the small
spandrels formed by the various ornaments are perforated, and this
imparts a remarkable air of lightness to the window.

The beautiful stained glass in the tracery is all that remains of the
ancient glass. It is of the time of Richard II., and was no doubt
preserved because of the expense that reglazing its small intricate
forms would have involved.

The subject is a Doom--the Resurrection, the Last Judgment, and the New
Jerusalem.

"We have our Lord sitting in judgment; the Procession of the Blessed to
the Palace of Heaven; the Place of punishment for the wicked; and the
general Resurrection.

"The figure of our Saviour is in the uppermost quatrefoil of the central
compartment; His countenance will bear the closest inspection; it
exhibits evident traces of suffering, but is calm, severe, and
dignified. His head is surrounded by a cruciform nimbus. Below this are
two quatrefoils, easily distinguished by their silvery appearance. These
represent the Procession of the Redeemed to the heavenly Jerusalem,
whose towers and pavilions are shown in the quatrefoil to the right. St.
Peter stands in the gateway in an attitude of welcome; at his feet flows
the River of Life, which some of the Redeemed have reached. The red
glare of the Place of punishment makes it easy to be distinguished; the
tortures represented are of the most realistic character, and the devils
are very material beings, with tails, hoofs, and horns.

"The rest of the picture is occupied with the representation of the
general Resurrection:--the dead rising from their graves--ecclesiastics
are vested, but laity rise naked, though kings wear their crowns:
several bishops are among the crowd, and a pope wearing the triple
tiara. Some of the ecclesiastics are bearded, and probably are intended
for canons of the cathedral, who, being Austin or Black