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Round his head is a nimbus , and in his hand is placed a wand, which he extends towards the sun, ascreating it. The moon is also seen, and both are radiated amidst clouds, which are white and edgedyellow, but depicted in the same way as the foregoing examples, that is to say, nebulee, in heraldiclanguage.
St. Peter’s Mancroft, Norwich ,
contains a magnificent east window, which is a memorial one, and embodies many subjects illustra-tive of the life of St. Peter and other scriptural history, besides many mortuary compartments at thebottom. The tracery parts, which are intricate and numerous, contain many saintly figures underminute canopies. The treatment of this window in regard to its painting or colouring differs in noessential respect from those of St. Neot ’s, or the east window of York. The main difference is themode by which the panels are separated; in this instance they are neither placed in close contactwith each other, as at York Minster , nor are they separated by painted architecture as at St. Neot’s;but running foliage encircles each panel, and forms arches to them, varying in character, with Tudorroses in the midst of them. This was a memorial window, and the arms of the party memorializedwere quartered in two shields, occupying the central compartment of the window : the one abovecontained the Tudor rose with the supporters of Henry the Seventh, (the red dragon of Cadwalladerand the white greyhound of Beaufort,) to whose house of Lancaster the memorialized were adherents.These compartments have recently been removed to make way for a modern figure of St. Peter!!which is utterly unworthy of the meanest place imaginable.
contains much Perpendicular glass. The east windows are filled with figures and canopies, but, asworks of art, they are far inferior in merit to the glass of St. Neot ’s. They are remarkable, however,from the largeness of the figures, which much exceed in size those of mediaeval art in general, pro-bably from their great elevation. The canopies differ in no respect from the works in general of thisage. Angels with musical instruments occupy the spandrels.
The various churches of York are rich in long neglected remains of this epoch. The church of
All Saints
still contains excellent examples. Amongst them is a figure and canopy with draped back-ground ;the figure represents St. John the Baptist; his right hand is elevated in the act of blessing, his lefthand is holding a book horizontally, on which rests the Holy Lamb, with nimbus and banner. Theunder drapery of St. John is intended to represent camel’s hair, and it is painted on gold colour; theupper drapery is blue; and the nimbus is stained yellow, the outer edge of it being white. Thisfigure, which has a ruby back-ground, rests on an hexagonal pedestal, from which columns rise, andupon them minute effigies of angels, saints, &c., are delineated. These support a most beautifullyand elaborately designed canopy, displayed on a blue back-ground. Many representations of theseand other works of this period will be found in “ Weale’s Quarterly Papers on Architecture.” Itwas the common practice of these times to place single figures and canopies over each other in thesame undivided opening, as well as subjects.
Cirencester Church
contains some examples of this kind, one of which is partly represented by Lysons in his “ Antiqui-ties of Gloucestershire,” Plate CIX. He says of this glass that it “ formerly made part of one ofthe windows at the east end of the south aisle, and is now preserved in the great east window of the