And as touching our own case, it is reasonably certain that offers will be made to place such windows in Grace Church. It would be ungenerous to decline them. Moreover, we cannot escape the moral obligation of directing what such memorials shall be, so far as the building itself, its style of architecture, its uses, and its history, shall impose the conditions. It is not a question of dictating to intending donors: for the vestry to decline to exercise such control would be for us to fail of a sacred trust. Our church, we may be most thankful to bear in mind, is built in a style pure and self-consistent, plain as it is. It is Early English, of the first and simplest of the periods of Gothic. To treat it as if it were of some other style, in any changes or additions we might see fit to make hereafter, would be to do violence to the edifice, to wrong its intelligent and loving builders in the days of good Bishop De Lancey, and those who shall inherit it after we are gone. There is meaning and purpose in it, as it is: in every line of it, in every arch, every dimension, every grouping and distribution of parts. We are not at liberty, therefore, to change the window openings, in size or form, unless indeed we wish to rebuild the church. We may at our taste reconstruct the windows in the houses in which we live, but we cannot alter the style of these windows without destroying the style of the architecture. The series of long narrow lancets, no matter how long or how narrow, are right; and with all their severe simplicity, their beauty of outline and their grace and dignity grow upon one the more they are studied. Mediæval builders had a meaning even in putting such windows in pairs; it may seem to us a little fantastic, but as they made everything symbolical, so in this grouping they symbolized our Lord’s sending out His Apostles two and two. Apart from such a consideration, there is a quiet grace in this long succession of lancet pairs which may safely be left to speak for itself. The development of window forms is itself very interesting, and should be understood before an attempt is made to treat any church windows in particular. Mrs. Van Rensselaer, who has done so much to make the English cathedrals known in this country, thus traces the successive steps from style to style: “Fancy first a plain tall window with a round-arched head; then the round exchanged for a pointed head; then two, or three, or five perhaps, of these pointed windows set close together; and then a projecting moulding in the shape of an arch drawn around them, including them all and thus including, of necessity, a plain piece of wall above their heads. Then fancy this piece of wall pierced with a few small openings, and we have a group of connected lights in which, as a plant in its embryo, lies the promise of all after-development....