Here, in all the grotesque drawing and vivid colouring of which that age was capable, we see the rewards of wickedness. St. Michael the Archangel, in the centre, is shown, holding the scales of justice, wherein the souls of the dead are being weighed. On the left of him is St. Peter, with his key, standing at the gates of Paradise; while on the right are seen the dead rising from their graves, and the flames of Hell, a little subdued by the weathering of the centuries, awaiting them. In the lower right-hand corner is a representation of the Devil himself, with a head like a cottage loaf, in the very opening of his own especial region, holding the red-hot bars, and grinning out between them. Curious auxiliary devils are shown, actively engaged in carrying the dead to torment; among them the remarkable group illustrated here. The tall scaly devil on the right, carrying one of the damned on his back, is a blue fiend; the other, displayed in the act of lashing a woman just rising from her grave, is a strawberry-coloured devil, covered with pips, and glaring with eyes of flame. [Illustration] Other fiends in green, in red, and in yellow, are pursuing shrieking souls, or, having caught them, are seen flinging them into pits of fire. Some of these places of torment are shown neatly enclosed in masonry, like blast-furnaces. Another fiend, illustrated here, regarding a woman clasping her knees, seems to be rather of an apologetic, gentlemanly type. It is his business to be a tormentor, but he looks genuinely sorry for it. [Illustration] [Illustration: THE GREAT WEST WINDOW, FAIRFORD, DISPLAYING THE “DOOM.”] The other windows are of distinctly inferior interest, displaying as they do mostly saints, but some of the smaller lights repay close attention. In them you see the persecutors of the Church, set forth with every horrific detail of innate malignity; while, hovering over a representation of the Crucifixion is seen a batlike devil, awaiting the last breath of the impenitent thief, to secure his escaping soul. These remarkable windows owe their preservation to the care taken of them by William Oldisworth of Fairford, during the Puritan upheaval, probably with the aid of Lady Verney, wife of Sir Thomas Verney, lord of the manor. She was daughter and heiress of Sir Edmund, the last of the Tames, and interested, of course, in seeing that the gifts of her ancestors were in safe keeping. The glass was, accordingly, carefully removed and buried in Fairford Park. There it remained until the restoration of order, when it was exhumed and replaced. A tall classic column stands as a monument to this singular history.