The passage with which I began my story had set the antiquary on the track of another identification. In a private chapel—no matter where—he had seen three large figures, each occupying a whole light in a window, and evidently the work of one artist. Their style made it plain that that artist had been a German of the sixteenth century; but hitherto the more exact localizing of them had been a puzzle. They represented—will you be surprised to hear it?—JOB PATRIARCHA, JOHANNES EVANGELISTA, ZACHARIAS PROPHETA, and each of them held a book or scroll, inscribed with a sentence from his writings. These, as a matter of course, the antiquary had noted, and had been struck by the curious way in which they differed from any text of the Vulgate that he had been able to examine. Thus the scroll in Job’s hand was inscribed: _Auro est locus in quo absconditur_ (for _conflatur_);[6] on the book of John was: _Habent in vestimentis suis scripturam quam nemo novit_[7] (for in _vestimento scriptum_, the following words being taken from another verse); and Zacharias had: _Super lapidem unum septem oculi sunt_[8] (which alone of the three presents an unaltered text). [6] There is a place for gold where it is hidden. [7] They have on their raiment a writing which no man knoweth. [8] Upon one stone are seven eyes. A sad perplexity it had been to our investigator to think why these three personages should have been placed together in one window. There was no bond of connexion between them, either historic, symbolic, or doctrinal, and he could only suppose that they must have formed part of a very large series of Prophets and Apostles, which might have filled, say, all the clerestory windows of some capacious church. But the passage from the _Sertum_ had altered the situation by showing that the names of the actual personages represented in the glass now in Lord D——’s chapel had been constantly on the lips of Abbot Thomas von Eschenhausen of Steinfeld, and that this Abbot had put up a painted window, probably about the year 1520, in the south aisle of his abbey church. It was no very wild conjecture that the three figures might have formed part of Abbot Thomas’s offering; it was one which, moreover, could probably be confirmed or set aside by another careful examination of the glass. And, as Mr. Somerton was a man of leisure, he set out on pilgrimage to the private chapel with very little delay. His conjecture was confirmed to the full. Not only did the style and technique of the glass suit perfectly with the date and place required, but in another window of the chapel he found some glass, known to have been bought along with the figures, which contained the arms of Abbot Thomas von Eschenhausen.