There are also a few remains of early wall painting. The largest amount is to be found in a chapel at the south-western angle of the nave, where a wall, the result of an alteration almost contemporary with the Early English chapel, has been richly decorated with bands of foliage, etc. These are now oddly intermixed with some decorations of the seventeenth century, but are readily distinguishable, and are a very useful series. Traces of decoration may also be found in the vaulting of the church itself and elsewhere. The stained glass in the circular window of the north transept is very fine, and merits close study, as also do the remains of that which once filled windows of the eastern part of the church, as well as remnants in other parts. All these, and a hundred other features, should be most carefully and studiously drawn from; indeed, there are few cities in Europe from which so vast an amount of information and instruction can be drawn--lessons not limited to the cathedral, but extending throughout the town, and consisting of domestic as well as ecclesiastical buildings. I have only taken Lincoln as a specimen. The same course applies _cæteris paribus_, to all of our cathedrals. Look, for instance, at Canterbury.[71] What a magnificent and instructive series of objects of study does it offer! The Early Norman of Lanfranc and his immediate successors; the gorgeous later Norman of Conrad, including, probably, the beautifully ornamented shafts in the north-eastern part of the older crypt, and in the cloister-like building lying to the north of the same; the work of William of Sens (without studying which no one can thoroughly understand the English transition), and that of his English successor and pupil, which carries on the change a little farther. The charming developed Early English in the walls of the cloister; the early Decorated of Peckham’s tomb and the later Decorated of the lower stage of the chapter-house, of the enclosure of the choir and of St. Anselm’s Chapel; followed up as they are by fine works of later styles and accompanied by collateral work of the greatest value, both around the cathedral itself, in the remains of St. Augustine’s Abbey, and in other buildings in the city; form of themselves the groundwork for a course of study which would, if earnestly pursued, give the student a complete foundation on which all his future knowledge might well be based.