irely filled with old glass, except for certain pitches of
modern glass, rather crude in colour, and inserted, it is said, after
the fire of 1829. It contains 200 panels of figures. The subjects in the
upper part are from the Old Testament, reaching from the creation of the
world to the death of Absalom. The lower part contains illustrations
from the Book of Revelations. In the lowest row of all are
representations of kings and archbishops.

In the top lights are figures of prophets, saints and kings. At the apex
of the window is a representation of the Saviour in Judgment.

This window is probably the finest example of Perpendicular glass in
England. The windows in the south aisle are rather fragmentary. In the
first two from the west the top lights are empty.

The second window is remarkable for the delicate modelling and drawing
of the heads. The head of the Virgin reminds one of one of Lippo Lippi's
Madonnas. That of an old man with a beard in the central light is German
in character. If these are compared with the crude and simple design of
the heads in the other windows, it will be obvious that they are of a
different origin. Nothing, however, is known of their history.

The third window has borders by Peckett. It contains the Jesse noted
before.

The fourth window is very fragmentary. It contains a beautiful figure of
a saint in one of the top lights; the other top lights are by Peckett.
In the central division, at the bottom, is the name of Archbishop
Lamplugh, with a coat of arms. (Lamplugh's tomb is close to this
window.)

The last of those windows contain painted glass given by Lord Carlisle
in 1804, and bought from a church at Rouen. It is a representation of
the Visitation, Mr Winton says, taken from a picture by Baroccio, and
dates from the end of the sixteenth century. The upper lights contain
the original glass.

The east window of this aisle is very fine in colouring, and fairly
coherent in design. The subject is not clear.

In the north aisle the east window is also very fine. It contains a
representation of the Crucifixion, with St. John, St. James, and the
Virgin. The first window from the east is very fragmentary.

[Illustration: The East Window.]

The next three are among the finest in the minster. Their beautiful and
unusual arrangement of greys, browns, and blues, should be particularly
noticed. Their top lights are empty.

The other three windows contain paler, and less interesting