with the number of months, days and hours in the year, Thomas Fuller said, "All Europe affords not such an almanac of architecture." We are concerned only with that portion of the almanac that has to do with the days. An old rhyme says: "As many days as in one year there be So many windows in this church we see." Notwithstanding the great number of light apertures thus provided by the architect, the glazier was not permitted to make excessive use of the light-obscuring coloured mosaic glass, as was then the custom in France. Grisaille was plentifully used, and Salisbury was famous for it. Most of its remains are found in the upper lancets at the south end of the easterly transepts, as well as a little in the west windows of the nave aisles, the east one of the choir aisles, and the lower triplet in the south end of the small transepts. Two of the easterly clerestory lights of the large northern transept also show this early pattern glass. Instead of filling the other embrasures with rudely contrasting modern glazing, a very intelligent effort has been made throughout the choir and transept to model as closely as possible upon these ancient examples. The result is very agreeable--at least it contrives to give us some idea of how the church must have looked with its original windows all complete. Little touches of colour are very judiciously interspersed throughout the strapwork, and serve to correct what otherwise might be dull-toned. Blue is very extensively used here for this purpose, and to a greater extent than is usually found elsewhere. It tones in admirably with the greenish hue of the glass, and enriches it without risking too striking a contrast. The thirteenth century medallion remains have been collected into the three lancets at the western end. Note especially the plentiful and interesting fragments of the Tree of Jesse done in mosaic style which has been introduced in two parallel columns into the central lancet: the borders are contemporary. The side lancets are not so satisfactorily filled, for the combination of strips of later glass separated by equally wide ones of old grisaille, and all surrounded by a rich old border on ruby and blue backgrounds, is not pleasing. The medallions are interesting, but nothing like so fine as we shall see elsewhere. We shall chiefly remember Salisbury Cathedral for the effective glazing of its choir and transepts afforded by thirteenth century grisaille eked out with good modern glass copied after it.