The chief beauty of the interior is the delightful east window, whose stout central mullion, two-thirds of the way up, divides and inclines outward to right and left until it touches the frame. A charmingly soft colour scheme is here used, quite in the best manner of the Perpendicular epoch. It is difficult to puzzle out the original order of the figures and canopies, for the window was greatly damaged during the prevalence of the playful custom, many years ago, of permitting the village urchins to throw stones at it! Although the design has been injured, nothing could spoil the colour effect. Viewed from a proper distance the whole presents an appearance of tender grey, mellowed by soft blue, with here and there a note of red. The tracery lights escaped practically unscathed, and each contains a complete figure and canopy. This great central embrasure is flanked on both the north and the south by three large clerestory lights, the glazing of the southerly ones being much less complete than that of their neighbours across the chancel, where the figure and canopy work is excellent, and the combination of tints remarkably good. The side columns of the shrines are broader than is customary, while at the top are an unusual number of pinnacles, as many as fifteen being noted in one case. These little spires are shown to advantage against backgrounds of soft blue and pink. At the top of the north-west window is the martyrdom of St. Woerstan, in the background of which appear the Malvern Hills. The next most important glass occupies the large embrasure at the end of the north transept, which, however, is somewhat reduced from its original proportions by having the lower panels in some of the side lancets walled up. The glass here is not so disarranged as in the east window, and we are able to decipher portraits of Henry VII., his queen, and members of his family. Something out of the ordinary is the large blue corona spread over the central part, serving to tie three of the lancets into one picture. Interesting details occur in the "Adoration of the Magi" (third from the right in lower row). In the west wall at the north-west corner of this transept are single figures in canopy, two rows of three each, one above the other. The great west window is filled with fragments brought from the nave clerestory, and is mostly figures and canopies. Taken as a whole, the glass in this church provides a delightful experience. It is very typical of the lighter tones that came in with the Perpendicular style, but its greatest service is in teaching the lesson that, no matter how much a window's design may have suffered, it will carry its message of beauty, if only the original colour scheme be sound.