But below the transom the window is still unspoilt. In the midst stands Michael with sword and scales, and below him the dead are rising naked from their graves. Michael himself, it must be confessed, is a somewhat lackadaisical figure; it was not possible for an artist of that time and school to give a figure the arresting quality of the Methuselah in Plate III.; neither does one's eye linger long over the Saved, who troop up the golden stairs on Michael's right, but is irresistibly attracted to the other side of the picture, where in a great glow of ruby glass are seen the Flames of Hell, to which devils--grey and blue at the outer edge of the fire, but darker and more purple as they are farther in--are carrying the wretched souls of the Lost. Just outside the flames an angel and a devil are fighting in mid-air for the possession of a soul, and a comparison of these figures with the similar ones in the Descent into Limbo or "Harrying of Hell," which is by the same hand as the east window, shows at once the difference between the work of the two men. [Sidenote: The west windows of the aisles.] On either side the west windows of the aisles contain, as types of the Last Judgment, on the north, the Judgment of Solomon, which protected the innocent; on the south, that of David on the Amalekite, which condemned the guilty. It seems to me not unlikely that the position of these windows was originally reversed, Solomon's judgment being on the side of the Saved in the "Doom" and David's on that of the Lost. They have both suffered greatly in the storm of 1703 and contain many blank spaces, but from what remains they seem to me, together with the "Doom," the most accomplished work in the church. [Sidenote: The clerestory.] Very splendid, too, are the Persecutors of the Church, who, clad in all the bravery of wickedness, fill the north side of the clerestory, fronting the somewhat insipid row of Martyrs on the other side. Here is Herod transfixing an Innocent; Nero, if it is he, with the head of St. Paul; the King of the Huns, and Diocletian, perhaps, with bows and arrows; and, in a dark blue robe, Judas, with the halter round his neck and the bag in his hand, between Annas and Caiaphas. In the tracery lights above the Martyrs are rather commonplace white and gold angels, but over the Persecutors are fascinating little figures of devils, grey, blue, and green, on a background of ruby flames. I am afraid there is no question which series the artist enjoyed doing most!