Through it we are able to see, standing haughtily apart from the neighbouring buildings, the beautiful chapel of the college, one of the few perfect buildings in existence. Goldwin Smith says, "Cambridge, in the Chapel of King's College, has a single glory which Oxford cannot match." It is a long, tall edifice, of the same width throughout, lighted by high windows of even size, and ceiled by graceful groups of fan vaultings of the most exquisite type. The only division of the interior is that effected by a wooden screen which runs across the middle, but, fortunately, stops before reaching a height which would interfere with an uninterrupted view of the sweep of the fan vaultings above. A full two-thirds of the wall-height is given over to lighting apertures. The records show that the two contracts for glazing the windows were dated 1527 and 1528. They require that the "wyndows be well, suerly, workmanly, substantyally, curyously, and sufficiently glase and sette up." It is said that Holbein drew the cartoons from which they were made. The excellence and charm of this complete series makes one regret that there are so few examples of their epoch in this country; this strikes with peculiar force one coming from France, so prodigally rich in sixteenth century windows. At King's College the large picture treatment is seen at its best. Not only is the composition of the groups of figures carefully studied, but so also is the adroit opposing of one colour by another. Particularly daring is the use of large masses of the same tint. So little was the artist willing to be hampered in the development of his colour scheme that he even made his foliage red when he happened to need that hue in a certain part of his design. Although the pictures here display careful drawing and elaborate composition, the excellence of the general result is certainly due to the fact that the artist thought fully as much of colour values as he did of his designs, something his contemporaries were prone to forget. These windows come as a delightful relief to one accustomed to the ill-considered use of Renaissance architecture that so overloads and encumbers the sixteenth century stained glass pictures on the Continent.