tury glass. The same with the chequered shield of Vernon in
the other light. I daresay it is a bit of builder's glazing--but isn't
it jolly? And what do you think of the colour of the little central
circle half-way up the middle light? Isn't it a flower? And look at the
petal that's dropped from it on to the bar below! or the _whole_ of the
left-hand light; well, or the middle light, or the right-hand light? If
that's not colour I don't know what is. I doubt if it was any more
beautiful when it was new, perhaps not so beautiful. Compare it, for
example, with the window in the same wall (I think next to it on the
west, which has been "restored"). The window exactly opposite seems one
of the least retouched, and the least interesting; if you think the
yellow canopies disagreeable in colour don't be ashamed to say so: they
are not unbeautiful exactly, I think, but, personally, I could do with
less of them. Yet I should not be surprised to be assured that they are
all genuine fourteenth-century. In the north transept is the celebrated
"Five Sisters," the most beautiful bit of thirteenth-century "grisaille"
perhaps in existence. That is where we get our patterns for
"kamptulicon" from; but we don't make kamptulicon quite like it. If you
want a sample of "nineteenth-century thirteenth-century" work you have
only to look over your left shoulder.

A similar glance to the right will show you "nineteenth-century
fifteenth-century" work--and show it you in a curious and instructive
transition stage--portions of the two right-hand windows of the five
being old glass worked in with new, while the right-hand one of all is a
little abbot who is nearly all old and has shrunk behind a tomb,
wondering, as it seems to me, "how those fellows got in," and making up
his mind whether he's going to stand being bullied by the new St. Peter.
In the south transept opposite, all the five eastern windows are
fifteenth-century, and some of them very well preserved, while those in
the southern wall are modern. The great east window has a history of its
own quite easily ascertainable on the spot and worthy of research and
study. Then go into the north ambulatory, look at the third of the big
windows. Well, the right-hand light; look at the bishop at the top in a
dark red chasuble, note the bits of dull rose colour in the lower dress,
the bit of blackish grey touching the pastoral staff just below the edge
of the chasuble, look at the bits of sharp stro