In Henry VII.'s Chapel at Westminster, high up in the central clerestory window of the apse, is a single figure under a canopy which bears a most striking resemblance to the series of the Prophets at Fairford (Plate L.). In the figure, in the scroll he holds, in the canopy, in the treatment of the drapery, and even in the queer drawing of the hands, the resemblance is so close that I for one cannot doubt their common authorship. Now it is on record that the windows of Henry VII.'s Chapel were glazed by "one Barnard Flower," the king's glazier, who also is the glazier named in the first contract for the windows in King's College Chapel at Cambridge, but who died in 1525-26 before they were finished. A comparison of those windows at Cambridge which are believed to be his work, especially that over the north door, with the Fairford windows, reveals many points of resemblance, and, allowing for the twenty years which probably separate the execution of the two works, I think we should not be far wrong in assigning to Flower the whole of the north aisle at Fairford, and perhaps the Latin Fathers in the south aisle. Whether the west windows are his work too I do not feel sure, and to the names of the other artists who took part in the work we have no clue. [Illustration: PLATE L THE PROPHETS JOEL, ZEPHANIAH, AMOS, AND HOSEA, FROM THE NORTH AISLE OF THE NAVE, FAIRFORD Late Fifteenth Century] [Sidenote: The general scheme.] [Sidenote: The "Doom."] Yet though one may thus trace various hands in the work, the windows form a connected whole, the planning of which must have been the work of one mind. The arrangement is the traditional one whereby the whole church forms an exposition of the foundations of the Christian faith. The windows of the nave contain single figures, the Prophets on the north side (Plate L.) facing the Apostles on the south. Each Apostle holds a verse of the creed, and the Prophet opposite him a corresponding verse from his writings. The four Evangelists face the four Latin Fathers. Farther east, within the now vanished screen, the windows unfold the Gospel story, those on the north leading up to the Passion in the east window, those on the south showing the Descent into Hell, the Resurrection, and the events that followed. Then, as the spectator turns to the west, there faces him, in the great west window, the tremendous "Doom" or Last Judgment. Do not look at the upper half where Christ sits enthroned as Judge, surrounded by saints and angels; it has suffered the fate of the Winchester College glass. Blown in by a storm in 1703, it was "restored" in the middle of the nineteenth century, which means that the old glass was removed and a bad copy substituted. Where the blue ring of Heaven passes through the tracery lights the original glass remains, and the difference between it and the new is an object lesson in good and bad stained-glass work.