obtained in France, even though it was impossible or difficult in England. We read that they required the glazier, John Prudde of Westminster, to work "with Glasse beyond the Seas, and with no Glasse of England." Again and again they insist on richness of hue; not only must he glaze "in most fine and curious colours," but it is specified just what he shall use, for they provide him with a selection "of the finest colours of blew, yellow, red, purpure, sanguine and violet, and all other colours that shall be most necessary." They require that his designs be made by another artist, and even those must be "in rich colouring." The contract contains another criticism of earlier English methods, for they say "of white Glasse, green Glasse, black Glasse, he shall put in as little as shall be needful." He complied with his requirements pretty strictly, and further, he used a glass so hard and tough that its surface has resisted the disintegration which the weather so frequently caused in English glass of that period. Unfortunately all the ancient panes are not in place. The entire east window is filled with them, although a close scrutiny reveals that several of its panels are brought from side windows. Along the sides of the chapel the original glazing is only to be found in the tracery lights and the upper parts of the embrasures, what little there was left in the lower panes having been used to eke out the east window. The effect of this latter is complete and splendid. The richness of its colours is assisted by the golden rays which are so plentiful in the central part of the picture. The use of the leads is very elaborated and painstaking, many of the folds of the garments being delineated in this laborious manner. Two schemes are used for the backgrounds, one, red with lozenge-shaped squares enclosed by white and gold strapwork, and the other, blue with similarly bordered squares.