"The first are white with the heat of Hell and the second are red with pain," and "... Tomlinson looked up and up, and saw against the night The belly of a tortured star blood-red in Hellmouth light; And Tomlinson looked down and down, and saw beneath his feet The frontlet of a tortured star milk-white in Hellmouth heat." VI THIRTEENTH CENTURY GLASS IN FRANCE (SENS AND CHARTRES) [Sidenote: Sens.] It was at Sens that Thomas à Becket took refuge during his exile. His mitre and chasuble are still preserved there, and the connection between the two places seems to have remained very intimate. It will be remembered that William of Sens was the first architect of the choir of Canterbury, and it is not surprising to find the resemblance between the cathedrals at the two places very marked indeed. Not only does one at once perceive the same hand in the architecture, but what remains of the early glass at Sens is quite incontestably the work of the same artist who gave us the east window and the Jordan Fitzeisulf window at Canterbury. [Sidenote: The Good Samaritan.] There are four of these windows at Sens, all in the north choir aisle. They have suffered a little from restoration but not very much. Their subjects respectively from left to right are, the Life and Death of St. Thomas à Becket, the Story of St. Eustace, the Parable of the Prodigal Son, and the Parable of the Good Samaritan. This last is another "type and antitype" window, and corresponds exactly in the arrangement of its subjects with one of the lost windows in the choir of Canterbury as described in the manuscript catalogue before mentioned. The verses, however, which were in the Canterbury window are omitted at Sens. To the mediæval mind the parable of the Good Samaritan was much more than a mere illustration of "neighbourliness." To them the "man who went down from Jerusalem"--the City of God--"to Jericho," was Adam leaving Paradise, the thieves were the seven deadly sins, the Priest and the Levite were the law of Moses, and the Good Samaritan was Christ Himself. It is this reading of the subject which is here illustrated. From the fact that at Sens it is isolated, while at Canterbury it was, as we have seen, one of a series, I think we may conclude that Sens is the later of the two. The drawing of the medallions resembles that of the older work at Canterbury, whereas the setting of them is a little later in character, showing the beginnings of "mosaic diaper." It seems to me probable, therefore, that for the subjects the actual drawings from Canterbury were used in a fresh setting. We know from the Treatise of Theophilus that designs for windows at this time were drawn out in full size on whitened boards, which also served apparently as the bench on which the window was put together. Not much would be left of the drawing when the window was finished, and the bench would be re-whitewashed for the