The Reformation, with its vast social and political upheaval, was not conducive to the encouragement of the fine arts, and from this period the art of glazing in England declined beyond measure, and was not the only art that received its death-blow in the triumph of Puritanism. The art has, however, revived greatly during recent years, thanks, among other artists, to William Morris and Burne-Jones. A few words must be said about the "Jesse" window found in some of our cathedrals and churches. Strictly speaking, it is a representation of the genealogy of Christ, in which the different persons forming the descent are placed on scrolls of foliage branching out of each other, intended to represent a tree. It was also wrought into a branched candlestick, thence called a Jesse, a common piece of furniture in ancient churches. The subject is found on a window at Llanrhaiadr y Kinmerch, Denbighshire, on the stone work of one of the chancel windows at Dorchester Church, Oxfordshire, and in carved stone on the reredos of Christchurch Priory, Hants. It is not perhaps generally known that the actual colours used in early stained glass possessed each of them their own specific symbolism. Underlying the obvious story conveyed by the human figures or decorated devices, there was an inner story to be read with profit by those who understood the mystic symbolism concerning colours. Without entering at length into this interesting subject, it may yet be stated that green was the symbol of Regeneration, red of Divine Love, white of Divine Wisdom, yellow of Faith, and grey, or a mixture of black and white, the emblem of Terrestrial Death and Spiritual Immortality. These colours at different times or in different countries had other meanings as well, and ecclesiologists tell us that the colours chosen for depicting the robes of our Lord differ according to the period of His life which it was intended to represent. CHAPTER XII. CRYPTS.