he had, and they ate and drank and were refreshed. Then he set them on their right road, and they departed--but without the cow. Or take, as another example, the third window of the north aisle where the lesson of the life of another saint, not local, is taught in another series of medallions, because S. Eustace was the patron saint of the founder. In the bottom panel, Placidius, a centurion of the guard in Trajan’s day, appears hunting a stag. A miracle is wrought which brings about the conversion of the Pagan hunter. For a cross of light shines between the horns of the fugitive. Overwhelmed by the sight of this prodigy, Placidius dismounts from his horse, kneels down and is baptized. The change wrought within is described in the upper panels. Great calamities befall him; his wife is taken from him; his children are devoured by wild beasts. But Eustace, filled with a perfect trust in God, bears all with Christian resignation. He retires to a distant land, and there his virtue waxes daily until at last he is deemed worthy to suffer martyrdom for his faith. Together with his wife he is roasted alive in the belly of a brazen bull. Thus in all simplicity the glaziers paint the legends which the people have learned. They tell the story of a man’s life from his birth, and do not even hesitate to represent his faults, because these windows were intended to serve as an illustrated catechism for the poor and ignorant, and the saintliness that has no touches of things human proves for ordinary people discouraging. In the lower panels of the windows, therefore, the early years of the saints are shown so that we may be comforted and inspired by the knowledge that they too shared in the weaknesses and the miseries of our nature. And above, when they have risen superior to their trials, we see them in a halo of sanctity, performing miracles by their faith. Frail man has shaken off this vile earth and goes on from strength to strength, according to the simple expression of a chronicler, until he arrives in the house of the Eternal Father, whose glorious person dominates the whole window. As in the case of the sculptured porches so here, when we study and admire the conception and execution of these storied windows, the question arises, Who was it who arranged, who was it who coloured this glorious glass? And again the answer must be that we know not. The artists of the twelfth century have not been careful in this matter: the object of their fecund imagination and their exquisite workmanship has been this only--the majestic expression of the burning faith within them. One name only, that of Clement, the Chartrain glazier (_Clemens, vitrearius Carnotensis_), found on a window in the Cathedral of Rouen, has come down to us. And Clement, it is supposed, designed the window which recounts the legend of S. Martin. That name alone survives out of all the artists whose work has for over seven hundred years been the admiration of all Europe!