At the right hand is the Virgin Mary, bearing her emblem of the lily; on our left is St. John, with a book; on our right is St. Peter, with the keys. In the star-shaped panels we find the miracles of the raising of Jairus's daughter, the loaves and fishes, and the restoration of the blind man. These figures, though somewhat like those of the early Florentine school, possess a character of their own, and are undoubtedly English. The well-known portrait of _Richard II_. (died 1400), now in the Abbey at Westminster, is believed to have been painted by an English artist of the fourteenth century. The figure of the King is of large life size, seated in a coronation chair. He is in royal robes, with the globe in one hand and sceptre in the other. This picture for many years hung near the altar. The history of art in England during the reigns of Edward I. and Edward II. is a blank; probably men were too busy with swords and bucklers to turn to the gentle arts of painting and sculpture. The reign of Edward III. shows a revival in art and letters, and the patron of Chaucer adorned the Chapel of St. Stephen, Westminster, with the best works of native artists. The fire of 1834, which destroyed the old Houses of Parliament, almost obliterated these interesting relics. The walls of the chapel were painted in oil colours with scriptural and historic episodes on the prepared surface of the stonework. There seems to have been at this period a method, peculiar to London, of producing a blue colour, which is mentioned in a German MS. of the fourteenth century as "the London practice." It is noticeable that a blue colour can still be traced in the relics saved from St. Stephen's. The Society of Antiquaries has published coloured copies of the paintings which adorned the chapel. When we recall the state of England at the period which succeeded the death of Edward III., the turbulence of the feudal barons, the constant lawlessness and blood-shedding, and the ignorance which prevailed even among the upper classes, we cannot wonder that art made little progress. Some advance doubtless took place, but we look in vain for originality among the artists who were alternately employed to decorate a baron's pageant, or adorn an altar. There is a good portrait of _Henry IV._, removed from Hampton Court, Herefordshire, and now at Cassiobury.