intended to go beyond the practice of Norman architects and throw a vault across the wider span of the transepts themselves. Perhaps they immediately afterwards discovered that the task was beyond them: at all events the vaulting shafts were left as they are, and the transepts have never been vaulted. The windows of the nave and transept aisles are uniformly uninteresting. They were originally plain Norman lights, then Perpendicular, then seventeenth century Gothic, and finally "restored" by Scott, in imitation of the Perpendicular work. The windows of Dean Duppa, which they replaced, were certainly not beautiful in their tracery, as may be seen by that at the west end of the north nave aisle, which only the delightful Dutch glass of Van Ling redeems,--but they at least had some character. In the south nave aisle an attempt has been made to hark further back by the introduction of a window in Norman style; but fortunately this has not been persevered with. Only one of the original Romanesque windows remains, by which to judge the effect contemplated by the first architects; it is that containing Bishop King's portrait. =Glass in the Aisles=.--The glass in the restored Perpendicular windows of the nave aisles (by Clayton and Bell) is very unsatisfactory both in colour and design. Of that in the round-headed window of the south aisle of the nave by an Irish artist (O'Connor) one can only say that it was better conceived than executed. Over the door that leads into the cloister is a half-window by Mr. Wailes. The "Faith, Hope, and Charity" window next to this (namely, at the west end of the aisle) was Sir Edward Burne Jones' second essay here in this craft. If his first, that in St. Catherine's, the Latin Chapel, was a wonderful success, this one is a not unpleasant failure, but a failure none the less. None of the figures are very graceful; the firing seems to have gone wrong in the most important places, especially in the faces, which are coarse and expressionless, though one cannot help admiring the fortitude of Charity in carrying the bulky infant who presents his vast back to the spectator. The colour is strong, and free from the miserable timidity of the work in the Perpendicular windows,--for the whole thing is of course a work of art (and not of commerce), though an unsuccessful one,--still it fails to harmonise. The window as a whole, however, is saved by the beautiful foliage which forms the background, and by the four slender figures in the tracery.