other manner from the Continent, for it is known that most of the sixteenth century glass in England was procured from foreign sources. Let us leave this moot point to be conclusively decided by others, and turn to observing and enjoying the glass. The shape of the church is unusual and requires a brief word of description in order to understand the placing of the windows. The westerly half consists of the regulation nave with a broad aisle on each side. Above the nave runs a glazed clerestory, which, of course, does not extend over the aisles. There are no transepts. At the middle of the church just where the nave ends there rises the tower, of the same width as the nave. The clerestory stops on the nave side of this tower; there is no clerestory above the eastern half of the church. This easterly half is the same width as that to the west, but it is all open and not separated into aisles like the other part. In the southerly wall of the building are six windows and a door, and in the northerly, seven windows. The clerestory has four lights of three lancets on each side. Canopies containing figures standing upon pedestals and with gracefully written scrolls about them are to be found in all the clerestory windows, and also below in the four most westerly aisle windows on each side. The figures on the north of the clerestory represent Roman emperors, and above in the traceries are little devils on a red ground. Opposite them on the south appear Martyrs and Prophets of the Faith, appropriately attended in the traceries above by angels on a blue ground. All the windows thus far described are clearly fifteenth century; the workmanship is good but not of such marked excellence as is shown in the eastern part of the church. These latter evidence remarkably skilful designing, and, furthermore, demonstrate that the artist understood the medium in which he had to work out his cartoons. They lean strongly towards the Renaissance type: the colours used are very good, especially some of the greens. Most of the subjects on the north are taken from the life of the Virgin, while opposite, across the choir, appear scenes from the life of Christ, such as the Last Supper, the Miraculous Draught of Fishes, &c. The sexton delights to tell the visitor that the towers in the background of the last-named scene are faithful counterfeits of the towers of Nuremburg, thus proving conclusively (except to hypercritical cavillers) that Albrecht Dürer designed them. The story is picturesque, but it is fortunate that the good man never saw Nuremburg, or his conscience might force the suppression of this agreeable fiction. It must be admitted, however, that some of this glass is sufficiently excellent to have been designed by that great master. The five-lanceted window that fills the end of the little eastern extension behind the altar has five scenes across its lower half, while above them, occupying the entire width of the embrasure, is a fine Crucifixion.