In the lower left-hand light Joachim and Anna are meeting before the Temple gate; and in the right-hand Anna is sitting up in a blue bed with red curtains, watching the infant Mary being washed. Mary has long golden curls, and her face is that of an adult; but Dr. James considers this head a later insertion. This window is known to have been repeatedly and promiscuously repaired (even as early as 1590), and was in utter confusion till the latest releading (1896). The repairs seem to have been executed with any old bits of glass the glazier might happen to have in stock. On one fragment (now removed) some coins of Charles the First were represented. Most of the windows have suffered, more or less, in this way, but none (except that over the south door) to the same extent as this first window, which though the first in order of subject, seems not to have been the first inserted, or at least completed; for at the top may be read the date 1527, whereas the window over the screen on the north side contains that of 1517. These two dates are respectively near the inception and the completion of the glazing, which was begun 1515, the year when Luther began the Reformation by the publication of his famous Theses, and finished 1531, the year in which that Reformation was first inaugurated in England by the King being declared Supreme Head of the Anglican Church. The windows, however, must have been designed at a date considerably earlier, for in the heraldic devices which fill the small top lights Henry the Seventh, not Henry the Eighth, is treated throughout as the reigning monarch; his shield being blazoned in the central compartment, while the latter is only commemorated by the initials H. K.,--the last standing for his ill-fated wife Katharine of Aragon. These heraldic devices are the same in all the windows, and show the rival roses of York and Lancaster, the Tudor Portcullis and Hawthorn Bush, the Fleur-de-lys, and the initials H. E. (for Henry the Seventh and his Queen, Elizabeth of York). All the glass is of English manufacture, the work of four London firms, but it seems probable that the artists were to some extent under both Flemish and Italian influence. Passing on to the second window, we find it thus arranged: TYPE | TYPE Presentation of a golden table in | The Marriage of Tobias and Sara. the Temple at Delphi. | (_Tobit_ vii. 13.) | ANTITYPE | ANTITYPE Presentation of the Virgin in the | The Marriage of Mary and Joseph. Temple at Jerusalem. |