The first of these scenes is interesting. The text (Acts, xvi. 2) connects it with St. Paul's departure from Troas on his first voyage to Europe. But the subject seems to be the touching scene at Miletus (Acts, xx) on his final departure for Jerusalem. The ship here, whence the boat is rowing to fetch him, should be noticed, as it is a fine and accurate specimen of sixteenth century naval architecture. Observe the lateen yard on the mizen mast. The man who drew that ship, unlike most artists, knew his ropes, they are all in their right places. In the last scene note the startled and awed expression on Nero's almost obliterated face, also his Imperial crown. * * * * * We have now almost completed our round of the Chapel, and are again at the south door by which we entered. Only two more windows remain, and in these we return to the typical treatment of Our Lady's life. That over the south door has, by accident (as it appears), been more shattered and defaced than any other in the Chapel. It is arranged thus: TYPE | TYPE The death of Tobit. | The burial of Jacob. | ANTITYPE | ANTITYPE The death of Mary. | The burial of Mary. Mary is dying with the full rites of the Church. St. Peter sprinkles her with holy water, while St. John places in her hand a lighted "trindall" (three candles twisted together). The prayer book and cross are borne by other Apostles. Her bier is covered by a white pall with gold cross, and two severed hands may (with difficulty) be seen clinging to it. This refers to the legend that a certain Jew who sought to overthrow the bier was thus miraculously dismembered, and did not recover his hands till he penitently besought her to restore them. * * * * * Finally the south-west window completes the wondrous series: TYPE | TYPE The Translation of Enoch. | Bathsheba enthroned by her son | Solomon. | (_I. Kings_, ii., 19.) | ANTITYPE | ANTITYPE The Assumption of Mary. | Mary crowned by her Son Jesus. * * * * *