the figures will correspond with the arrangement of the subjects. Thus, the Virgin and St. John, if placed according to the new arrangement in the lights Nos. 7 and 9, would be turned towards the Crucifix in No. 8; the Virgin in No. 10 light (which I have supplied by copying the figure in No. 19), and the St. John put in No. 12 light, would be turned towards the Crucifix in No. 11 light; and the Virgins in Nos. 19 and 22, and the St. Johns in Nos. 21 and 24, would be turned, respectively, towards the Crucifixes in Nos. 20 and 23 lights.
It is true that the portions of the founder's legend, attached to the glass now in Nos. 1, 4, 5, 20, and 23 lights, will not make sense under the new arrangement of the subjects, but this circumstance is entitled to no weight. The inscriptions on the pedestals of Nos. 1 and 5 have evidently been made up of fragments; and there is no reason why we should not suppose that those on the pedestals of Nos. 4, 20, and 23 have not likewise been supplied in the course of repairs. For it is impossible by any arrangement of the subjects to bring the word written on the pedestal of No. 20 into its proper place in the legend, or to arrange matters so as to make both parts of the legend attached to the pedestals of Nos. 4 and 23 fall into the inscription; one part or the other must be rejected as an insertion. On the other hand, the parts of the legend attached to the pedestals now in the lights Nos. 6, 19, 21, 22, and 24 will be found to read correctly on the suggested re-arrangement of the subjects. The pedestal in No. 3 light is, as before mentioned, at present without any legend at all.
It is unnecessary to speculate on the reasons which may have led to the fourfold repetition of the Crucifixion in the lower part of these windows; but lest this repetition should
tapestry; and canopies C and D each have a blue spire-ground, and red niche tapestry. It will follow that the masses of colour, when regarded horizontally, will alternate thus:—the red spire-ground of A with the blue spire-ground of C; the blue tapestry of A with the red tapestry of C; the red spire-ground of B with the blue spire-ground of D; the blue tapestry of B with the red tapestry of D. And when regarded vertically, the masses of colour will alternate thus:—the red spire-ground of A with the blue tapestry of A,this again with the red spire-ground of B, and this again with the blue tapestry of B. And so, the blue spire-ground of C with the red tapestry of C, this with the blue spire-ground of D, and this with the red tapestry of D. Of course, if the canopies A and D are of one design, and B and C of another, their different patterns will likewise alternate. To put precisely the same case as that in the text the canopies must be supposed to be of four different patterns.
