Next below we see in the centre the arrival of the Magi before Herod, illustrated on the left by the Israelites coming out of Egypt, led by Moses, and on the right by the Gentiles leaving a heathen temple containing an idol--a naked blue figure (blue merely because the artist wanted some blue there), and following Christ, by way of a font, towards a Christian altar, while a demon above their heads urges them to return to the idol. As at St. Denis, each of the medallions has a Latin rhyme attached, explaining and enforcing the lesson. Here, for instance, it runs: Stella Magos duxit et eos ab Herode reduxit, Sic Satanam gentes fugiunt te Christe sequentes. Next we see the Magi making their offerings to the infant Christ, on one side of which is the Queen of Sheba visiting Solomon and on the other Joseph in Egypt receiving his suppliant brethren. And so the series goes on. The twelve windows when complete formed one of the most elaborate sets of types and antitypes known, and included not only the life of Christ but eight of His parables--for some reason a very rare subject in mediæval glass. Two panels of the Parable of the Sower--the seed falling among the thorns and the seed falling by the wayside--remain, and have been used to fill up the gaps at the bottom of this window. Above is a curious subject--the Church with the three sons of Noah, who hold between them the world, divided into three regions. From the MS. above mentioned we know that this was the type to the "leaven which a woman took and hid in three measures of meal till the whole was leavened"--an idea taken, I think, from St. Augustine. The subject of Noah and the Ark from the other window was originally alongside the Baptism of Christ, the purging of the world by the flood of waters serving as the type for the purging of the soul by baptism. Altogether as one studies these windows one is almost as much struck by the subtlety of thought and earnestness of the teaching they embody as by the glory of their colouring and grace of their design.