[Footnote 19: These figures are somewhat larger than life-size.] The same advice applies to the glass in general. It is not worth while to spend on a detailed study of the windows the time necessarily involved. Much of the work is excellent, and almost every window has its points of interest, but much, especially amongst the heads of the figures, is far from pleasing. This fact is largely owing to a considerable "restoration" undertaken in the Early Victorian era; when the art of glass-painting was at a sadly low ebb, and when the uncurbed restorer positively revelled in substituting for ancient decay his spick-and-span modern conceptions. But, as has been said, almost every window has features deserving that time should be made for their notice, which we now proceed to point out. Each window contains four scenes, the upper and lower, to left and right of the central "Messengers," being normally co-related as Type and Antitype. This relation, however, is not universal, and does not occur in the first window of the series (that in the north-west corner of the Chapel), where the four scenes consecutively illustrate the legend connected with the birth of Our Lady. The story runs that her parents, Joachim and Anna, were childless even unto old age, and that, in consequence, Joachim, on presenting his offering in the Temple, was insulted by the High Priest. As he sadly sought retirement in the country an Angel appeared to him with the message that he should return to Jerusalem, where his wife would meet him at the Temple gate, and a daughter would be born to them. The upper left-hand of the window shows the mitred High-Priest waving away Joachim, who is sorrowfully departing. His face is beautifully rendered. In the upper right-hand corner we see him kneeling before a green and gold angel hovering downwards. The rural surroundings are suggested by a pastoral composition. Note the sheep-dog and the shepherd's bagpipes. [Illustration: _King's College Chapel._]