ghteenth century.
The figure below, as in the corresponding window in the north aisle, is
also of later date.

The first window from the west end is plain. The glass in the other
windows is rather finer, and less fragmentary than in the north aisle.

The second window appears to have been largely restored. The tabernacle
work is very crude in colour. It contains figures of St. Laurence, St.
Christopher, another saint, and three coats of arms below. The top
lights are fine, and perhaps of Perpendicular date.

The third window is one of the richest in colour in the minster, with
its gorgeous arrangement of crimsons, greens, and blues. There are
inscriptions by Peckett, with the date at the bottom, 1789. His deep
blues on the top lights are particularly unfortunate.

The sixth window is also very bright. It probably contains Norman
fragments. All the windows except the fifth contain insertions by
Peckett.

The clerestory window contains fragments and coats of arms.

In the westernmost light of the second window from the west, on the
north side, are portions of an Early English Jesse window. The wheel of
this window, and those of the next five, also contain fragments of Early
English glass. And in the lower lights of the fifth and seventh windows
from the west are remains of the same date.

The wheels in the clerestory windows on the south side of the nave all
contain Early English glass, except the third from the west. There is
also some Early English glass in their lower lights.

The transepts contain less of their original glass than any other part
of the minster. In the south transept there are fragments of
Perpendicular glass in the east aisle, including figures of Michael,
Gabriel, and St. William, and also Perpendicular fragments in the west
aisle. The lowest row of windows at the south end of the transept has
been filled with painted figures by Peckett, only better than the worst
efforts of the Gothic revival. The figures represent Abraham, Solomon,
Moses, and St. Peter. The glass in the five sisters, as has been said,
is Early English of the simplest and most beautiful design. The colour,
an almost uniform scheme of greyish green, is a curious contrast to the
vivid blues and yellows of the period which preceded it, and examples of
which may be seen in the choir of Canterbury. The pattern is an
elaborate but restrained arrangement of the foliage of the Planta
Benedicta (herb benet). The plain border surroun