Burne-Jones had not grasped, even if he had studied the glazier's art. Apart from the fact that the great predominance of fiery reds offends the eye, the design is essentially one that has been made on paper and not in glass, drawn with pencil and brush and not in lead. Worked out on a flat, opaque surface the fussy effect of the window would not be foreseen; but the overcrowded and broken character of the design is painfully obvious when set up as a window. The scenes here depicted form an illustrated history of the story of S. Frideswide. The splendid fourteenth-century glass of the Latin Chapel contains also, besides figures of S. Catherine, the patroness of students in divinity, two representations of S. Frideswide. This chapel was built on to the rest at two periods; the first bay from [Illustration: Oxford Cathedral (Interior)] the west is part of the transept aisle, the second bay belongs to the thirteenth century, the third and fourth were added in the fourteenth, from which period the decorated vaulting, with its bosses of roses and water-lilies, dates. The chapel was used till recently as a lecture-room by the Regius Professor of Divinity. The carved wood-work of the stalls and desks should be noticed. Didan's or S. Frideswide's Church was burnt on S. Brice's Day, 1002, when the general massacre of Danes, which Æthelred the Unready, in a fit of misguided energy, had ordered to take place on that day throughout the country, was carried out at Oxford. The Danes in their extremity rushed to S. Frideswide's Church, burst open the doors, and held the tower as a fortress against their assailants. The citizens failed to drive them out. As a last resource they set fire to the wooden roof and burned the church, "together with the ornaments and books thereof." The Danes perished in the burning. Nothing now remains, save the parts that I have mentioned, of the church which was then gutted. But after the massacre the King made a vow that he would rebuild S. Frideswide's, and the church he then began to erect forms the main part of the Cathedral as we see it to-day. Those arches, so plain and massive, over the western bays of the north choir aisle and Lady Chapel, were part of Æthelred's transept aisle; the south transept aisle, now S. Lucy's Chapel; the walls of the south choir aisle; the pillars of the choir and the open triforium of the south transept--these are the chief portions of the Cathedral which are thought to be unrestored parts of Æthelred's work.