The eastern window (inserted as a memorial to Dr. Bull) is a pathetic instance of the corrupt following of Mr. Ruskin, which also inflicted upon Christ Church the gaunt Meadow Buildings. It is, of course, really as unlike Mr. Ruskin's well-loved Venetian work as anything can possibly be: as heavy as that is light, as clumsy as that is graceful, it is ugly and cold and dead; but it represents a genuine enthusiasm of the fifties, and commands our respect as an honest though mistaken effort, a landmark in the history of the architectural revival. It also illustrates a truth which one is apt sometimes to forget,--that it is easy to appreciate beauty, and very hard to create it. Fortunately it is nearly lost sight of in the splendid Burne-Jones glass which fills it, and represents another side of the artistic revival not less important than the architectural. =Glass in Latin Chapel=.--The beautiful windows at the side are filled with fine fourteenth century glass, which was replaced after a long period of exile by Dean Liddell. In the middle of each light is a figure in canopy work, the rest of the light being covered with "quarries,"--that is, diamond-shaped pieces of glass with leaves and flowers lightly burnt upon them. The spaces in the tracery are ornamented with curious medallions, and the borders with various beasts, as in St. Lucy's Chapel, monkeys among them. The Courtenay Arms--Three Torteaux--suggest that the family may have contributed towards building the chapel. Beginning at the west, the first window contains a St. Catherine in the first light, next a Madonna and holy Child (the blue pattern at the back of these figures should be noticed); next a figure of St. Frideswide, or her mother Saffrida. The second window contains the figure of an archbishop, holding a cross curiously blended into a crooked pastoral staff; angels are on either side. The next has St. Frideswide in the centre, with St. Margaret and St. Catherine at her side. The patroness holds the curiously foliated sceptre which has led to the identification of her figure in the choir boss, and Catherine handles her wheel and sword in the same way as her statue over the dean's stall in the choir. The last window on this side is by Clayton and Bell, and a particularly feeble one.