Looking eastward from the crossing, we can see through below this great window and above the altar into the ample Lady chapel beyond. Passing on into that chapel, we at once observe its most prominent feature, the east window, constructed during the latter part of the fifteenth century, a clearly marked example of the Perpendicular. The colouring is here much richer than we are accustomed to find in English work of this time, in fact it reminds one of contemporary French windows. The figures within the canopies are more varied, and occur in groups, thus differing widely from the almost monotonous similarity of the softer toned solitary figures upon the choir window. In the north aisle of the nave the third, fifth and fifteenth embrasures from the west provide us with marked examples of the Perpendicular. Double sets of pinnacles, two-storeyed pedestals, jewels separately leaded into the borders of robes, &c., show a distinct advance upon the earlier and simpler methods of the great wall of glazing in the choir. One should remark the Decorated work on the easterly side of both transepts. The clerestory lights are glazed in quarries with coloured borders, while above them the tracery embrasures are not only like those at Tewkesbury, but are also glazed in the same fashion, white lines wound about on a red ground; we have remarked the same treatment at Bristol and Wells. Even a brief glance about this great sanctuary reveals that huge sums must have been spent not only in veiling the older walls with the later Decorated work, but also in the elaboration which is everywhere noticeable. Nor is it difficult to understand how sufficient funds for this purpose were collected when one considers the vast store of gold, silver, and jewels brought here as offerings by pilgrims to the tomb of the murdered King Edward II. We must not depart without having a walk about the charming cloisters, which are by many considered the most beautiful in England. GREAT MALVERN