upper sashes consisting of twenty rectangular panes
above which twelve keystone-shaped panes and one semicircular pane form
the round top.

The windows of Christ Church are larger still and particularly
interesting because of the heavy central muntin to strengthen the sash.
On the first story the lower sashes have twenty-four panes and the upper
ones eighteen rectangular panes with sixteen keystone-shaped and two
quarter-round panes to form the semicircular top. On the second floor
the windows are the same except for the eighteen-paned lower sashes.
Each side of the steeple on the lower story is a window of this size,
notable for the ornamental spacing of twenty-one sash bar divisions, the
sweeping curves of which form spaces for glass reminiscent of the Gothic
arch.

These windows slide in molded frames set in the reveals of the brickwork
under plain arches with marble or other stone imposts, keystone and
sill. The imposts and keystone were often molded and otherwise
hand-tooled, as on Christ's Church, and the sills were sometimes
supported by a console at each end, as on St. Peter's Protestant
Episcopal Church. Some of the windows of both of these churches
illustrate the frequent employment of slightly projecting brick arches
and pilaster casings at the sides.

The great Palladian chancel windows of Renaissance churches were often
much larger. Usually they were stationary, especially the central
section, although sometimes, as in Christ's Church, the two side windows
had sliding sashes. The central section of this window has ninety-six
rectangular panes with twenty-four keystone-shaped and two quarter-round
panes forming the round top. The narrow side windows have fifteen-paned
upper and twelve-paned lower sashes. The treatment of this chancel end
with heavy brick piers and pilasters, stone entablature, projecting
brick spandrels and the bust of George II, King of England, between
them, above the arch of the Palladian window, is most interesting.

The chancel window of St. Peter's Protestant Episcopal Church has one
hundred and eight rectangular panes in its central section with
twenty-eight keystone-shaped panes and a semicircular pane forming the
round top. Each side of this end of the church, with four smaller
round-headed windows ranged about the chancel window and a circular
window in the pediment above, is a superb example of symmetrical
arrangement.

Although large and more ornate, the Palladian window a