"A bare enumeration of the subjects, however, can give but a poor idea of these glorious paintings. What first arrests the attention is the singularly happy blending of colours, produced by a most ingenious juxta-position of pure tints. The half-tones so dear to the present generation were fortunately unknown when they were set up. Thus though there is a profusion of brilliant scarlet, and light blue, and golden yellow, there is no gaudiness. Again, all the glass admits light without let or hindrance, the shading being laid on with sparing hand, so that the greatest amount of brilliancy is insured. This is further enhanced by a very copious use of white or slightly yellow glass. It must not, however, be supposed that a grand effect of colour is all that has been aimed at. The pictures bear a close study as works of art. The figures are rather larger than life, and boldly drawn, so as to be well seen from a great distance; but the faces are full of expression and individuality, and each scene is beautiful as a composition. They would well bear reduction within the narrow limits of an easel picture.... There is no doubt that a German or Flemish influence is discernible in some of the subjects; but that is no more than might have been expected, when we consider the number of sets of pictures illustrating the life and passion of Christ that had appeared in Germany and Flanders during the half century preceding their execution.... That these windows should (at the time of the Puritan destruction of such things) have been saved is a marvel; and how it came to pass is not exactly known. The story that they were taken out and hidden, or, as one version of it says, buried, may be dismissed as an idle fabrication. More likely the Puritan sentiments of the then provost, Dr. Whichcote, were regarded with such favour by the Earl of Manchester during his occupation of Cambridge, that he interfered to save the chapel and the college from molestation."[55] [Illustration: Gateway to Old Court of King's College]