The first scene here is the only instance in the Chapel of a non-Scriptural incident being made use of as a Type. It is the Classical legend (found in Valerius Maximus, an obscure Latin writer used in the sixteenth century as a school book), which tells how a question as to the ownership of a golden table found in the nets of some Milesian fishermen was referred to the Delphic oracle of Apollo for solution. To whom should this table of pure gold be made over? The Oracle replied "To the Wisest." The prize was therefore given to Thales, the wisest Milesian of the day, who modestly passed it on to another sage, and he to yet another. Finally, after thus going the round of the Seven Wise Men of Greece, it came into the hands of Solon the Athenian, who declared that "the Wisest" could be no other than Apollo himself, and accordingly presented the table to the God in the Temple of Delphi. By a strange application, this tale was considered, in mediaeval literature, as typical of the Presentation of the Virgin in the Temple at Jerusalem; her purity and that of the gold being, apparently, the connecting idea. In the window we see the offering of the golden table; Apollo being represented by a golden image bearing a shield emblazoned with the Sun, and a banner. Beneath is Mary, as a young girl dressed in blue, walking up the steps of the Temple; an incident much dwelt on in the legend. In the upper Marriage scene note the Angel Raphael, the comrade and guide of Tobias; and, in the lower, Joseph's rod, the sign from which (a dove appearing upon it) marked him out, amongst all her suitors, as Mary's destined husband. This scene suggests a reminiscence of Raphael's well-known cartoon on the subject, which had lately been painted. * * * * * In the third window the arrangement is: TYPE | TYPE The Fall | The Burning Bush (Eve's disobedience). | (remaining unconsumed). | ANTITYPE | ANTITYPE The Annunciation | The Nativity (Mary's obedience). | (Mary remaining a Virgin). Note the human head and hands of the Serpent, and the brilliant ruddiness of the apple. Also the ruby flames of the bush, and the representation of God the Father at its summit. Moses is in the act of putting off his shoes from his feet. In the Nativity scene the Babe can only be discovered by following the gaze of the child Angels who are clustering round in adoration. Contrary to the usual convention, which shows Him sitting on His Mother's knee as if a couple of years old, He is here represented realistically as an actual new-born baby. Above both lower lights in this window is a renaissance arcading. * * * * * In the fourth window we have: