The objection which most readily offers itself when stained glass is proposed for Grace Church is that the twenty lancets at the sides are so extremely narrow and so very high that nothing can be done with them. If by ‘doing something’ is meant putting in scenes with several or many figures, it is most true. The breadth of wall between the two windows constituting the pair is so large that the scene could not be carried from the one to the other. But surely that does not exhaust the possibilities. The openings are wide enough to permit the treatment of single figures in full life-size if desired; figures with canopies, borders, and panels at the base, as in the best periods of ancient glass. The breadth of these openings is twenty-one inches; six inches more than that of the small pair erected All Saints, 1895, at the side of the pulpit, in which the figures are certainly of dignified stature, and by no means poor in back ground and accessories. If such results are possible in a space fifteen inches wide and six feet high; how much more in a space twenty-one inches wide and thirteen feet high. Single figures, therefore, are demanded by the conditions which govern us, for the side lancets; unless we rest content with geometrical, or flower windows, or windows bearing emblems, more or less ornately bordered. I venture to say that at this stage of our history, when we are not pressed to fill our window-openings with whatever may be obtainable, we desire the best that can be had. This best, for the side lancets is,――single figures, with canopy, border and base panel. Mr. F. S. Lamb of New York, who designed the beautiful work erected a year ago, has prepared and sent me two pairs of colored sketches, suggesting a noble and beautiful form which in the execution would, of course, far surpass what appears in the drawings. They are submitted for your careful study, and may be seen at any time in my library. What then shall the figures be? Shall they be chosen at random? Artistically speaking, this might not be so disastrous, provided the same artist drew all the designs and controlled the execution, so that the scale of drawing and the scheme of color were kept in accord. And that is a great deal more than can be said of some of the principal churches in our greatest cities, where immense sums have been spent on these works. No; there is something better still, open to us. It is a serial treatment, with unity, and progress: so that the whole, when complete, shall tell one great story, each part a chapter therein; the whole impress one truth, each part contributing somewhat to the cumulative force of the great lesson.