For nearly half a century the glass remained in the clerestory of the church, adding to it patches of colour, but without power to tell its own story. Shortly after the settlement of the Rev. G. W. Briggs as vicar of St. Andrew's Church, and upon his suggestion, it was decided to remove the glass to a better position in the nave of the church, and the north aisle was wisely chosen. The glass is now placed in the three central windows, and by this excellent arrangement what remains of the beautiful pictures of pre-Reformation art can be seen to best advantage.

By a stroke of good fortune the tracings of the old glass from the east window, made before its removal for reglazing, still exist, and by their aid it is possible to describe many of the missing portions.

Commencing an examination of the first two panels, we begin with the first window in the north aisle containing the glass, and find in the upper part of the first panel part of the cusped head of a light belonging to a window in the church prior to the rebuilding in 1480. This is the only piece of glass of that period, and therefore of much interest. It consists of a demiangel with extended wings, holding a scroll, upon which are the words, "Salua Nos." The angel wears a small cape of ermine and a simple coronet. Above is a portion

of the foliated ornament that formed the border round the window. The background is blue, and the date would be about 1450. In this panel are coats of arms and merchants' marks, as also in the next panel, which is entirely of patchwork. These coats and merchants' marks will be described later. This panel contains two heads in a circle, which were originally in the picture of "Moses and the Brazen Serpent.”

The first panel in the next window contains a large part of the picture, "Abraham about to sacrifice his son

Isaac." The top of the picture is gone, however, and also some of the lower portion. In the foreground on the right hand is the major part of a house. It is of a low-toned flesh-red, the gable is "corbie-stepped," the windows are square mullioned, and over the crocketed arched doorway is a figure of St. Michael. The design and construction show the influence of Flemish art. Beside the house are trees of blue and green tints. On higher ground, Isaac, in a red tunic and blue hose, bearing a bundle of sticks on his shoulder, follows his father. Blomefield took this incident as representing the stoning of the man who gathered sticks on the Lord's day. Abraham is habited in a white robe, a tunic of warm slate colour, and a small cape of deep blue covering his shoulders; he wears a maroon-coloured cap, and in his left hand carries fire for the altar, and in his right a sword. Along the hem of his robe is worked, in late Gothic letters, the words "Ave gratia plena." In the upper portion of the picture Isaac is kneeling on an altar slab raised a few inches from the ground; to the left hand, the ram caught in a thicket is just visible; the shading colour has largely disappeared. Above this point a portion of Abraham's robe and leg are visible. On the hem of the garment is the shortened word "Abraha"; possibly, there was a continuation on to the next fold of the words "amicus Dei," but the enamel is very much destroyed, An examination of the tracings already mentioned tells us that Abraham was depicted kneeling beside the altar, wielding in his hand a long sword, which the angel of the Lord with outstretched wings clasps with both hands. The picture seems to have ended at the chord line of the window.

The second panel is largely made up of fragments, but it also contains an important portion, considerably less than half, of the glass formerly in the fifth and

last opening in the east window. What remains shows that the picture represented two subjects, "Moses proclaiming to the Israelites the Ten Commandments of God" and "Lifting up of the Brazen Serpent in the Wilderness." The lower portion shows a crowd of assembled Israelites, seemingly well dressed and important persons; and to the right hand stands Moses, now headless, holding the Tablets of Stone, his right hand uplifted as he addresses the multitude. On the tablets are written the words, in the same interesting type as those of the other inscription, "Tabula Mandatorum Dei." His dress is dark blue and purple, the cloak green and diapered, the upper portion covered by a cape of ermine. Originally this section was in the centre of the picture. In the foreground a number of Israelities were depicted as writhing in agony and bitten by numerous serpents, wingless, flying, scaly creatures, blue and white and yellow, with long ears and hair. Next came Moses with the tables, and above this, "The lifting up of the Serpent," a portion of which still exists. Issuing from a mound stood the forked trunk of a tree, upon which was entwined a blue serpent. The background was white glass slightly matted, with vertical lines representing clouds. On either side were leafless branches of trees, around which small birds were flying. These were drawn in black enamel. On either side of the mound and amidst the trees were towers and spires of churches, blue or white, and below these, green foliage. The whole effect was very good, and bears a striking resemblance to the background of a "charge to St. Peter" in the Church of St. Vincent, Rouen, the date of which is about 1525.

Not a fragment remains by which a clue can be obtained to what picture or pictures filled the three central openings of the east window. It is, however, most likely that the Crucifixion of our Lord was represented, for the subjects