workers opposite, in the window of Saint Sylvester and Saint Melchiades, whose blues almost kill the Charlemagne itself, and of the Tanners in that of Saint Thomas of Canterbury; or, in the last chapel on the south side, with that of the Shoemakers in the window to Saint Martin, attributed for some reason to a certain Clemens vitrearius Carnutensis, whose name is on a window in the cathedral of Rouen. The name tells nothing, even if the identity could be proved. Clement the glassmaker may have worked on his own account, or for others; the glass differs only in refinements of taste or perhaps of cost. Nicolas Lescine, the canon, or Geoffroi Chardonnel, may have been less rich than the Bakers, and even the Furriers may have not had the revenues of the King; but some controlling hand has given more or less identical taste to all. What one can least explain is the reason why some windows, that should be here, are elsewhere. In most churches, one finds in the choir a window of doctrine, such as the so-called New Alliance, but here the New Alliance is banished to the nave. Besides the costly Charlemagne and Saint James windows in the apse, the Furriers and Drapers gave several others, and one of these seems particularly suited to serve as companion to Saint Thomas, Saint James, and Saint Julian, so that it is best taken with these while comparing them. It is in the nave, the third window from the new tower, in the north aisle,--the window of Saint Eustace. The story and treatment and beauty of the work would have warranted making it a pendant to Almogenes, in the bay now serving as the door to Saint Piat's chapel, which should have been the most effective of all the positions in the church for a legendary story. Saint Eustace, whose name was Placidas, commanded the guards of the Emperor Trajan. One day he went out hunting with huntsmen and hounds, as the legend in the lower panel of the window begins; a pretty picture of a stag hunt about the year 1200; followed by one still prettier, where the stag, after leaping upon a rock, has turned, and shows a crucifix between his horns, the stag on one side balancing the horse on the other, while Placidas on his knees yields to the miracle of Christ. Then Placidas is baptized as Eustace; and in the centre, you see him with his wife and two children--another charming composition-- leaving the city. Four small panels in the corners are said to contain the signatures of the Drapers and Furriers. Above, the story of adventure goes on, showing Eustace bargaining with a shipmaster for his passage; his embarcation with wife and children, and their arrival at some shore, where the two children have landed, and the master drives Eustace after them while he detains the wife. Four small panels here have not been identified, but the legend was no doubt familiar to the Middle Ages, and they knew how Eustace and the children came to a river, where you can see a pink lion carrying off