to be put up at St. Martin's, Bowness, filling all the space below the transom. Being sadly injured and mutilated by Parliamentarians in the seventeenth century, it was afterwards patched from other painted windows broken in the church at that period." Mr. Ferguson proceeds to describe the windows in detail to prove his theory, which is now generally accepted by experts. I will now briefly summarise this account, with some additional remarks of Mr. Hugh Hughes, recorded at the time of the restoration which he ably and carefully carried out ; he having examined, and, where necessary, successfully pieced the old glass in its place, and where new bits were required to repair it, each piece was dated to avoid confusion.

The window is in the late Perpendicular style, divided into seven lights. A transom runs across it a little below the spring of the window arch, thus dividing it into fourteen compartments, each now trefoil-headed. Previous to the restoration the upper compartments were round and the lower square-headed; the destruction of the old tracery and substitution of new is regrettable, but could, perhaps, not be avoided.

At first sight, with regard to the cold blue background to the crucifix, Mr. Hughes remarks that it is flat and intense, not imitating the sky, but throws up the simple symbolic figures, and makes the window quite unique, a work of itself, and curious beyond any other in England.

The figure of our Lord extends over the three central lights, angels with golden chalices attend Him. On His right is the Virgin Mary, on His left St. John. Beyond the former are St. George and the Dragon and St. Barbara, while to the left of St. John is St. Catherine. On the seventh light, the one to the extreme right of the spectator, are two figures, believed to represent the Archbishops of York and Canterbury, with jewelled mitres, and two said to be St. Stephen and St. Lawrence. This glass is much earlier than that in the other six lights, though there is little doubt that it was placed here later to repair what was damaged. The light would originally have been filled by some figure to correspond with St. Barbara in the first light, and which required a

partial restoration, while the companion figure of St. Catherine needed little restoration. Over these six figures an elaborate architectural canopy of late Perpendicular work extends, which is ornate with gold-winged angels. playing on musical instruments. The cross and figures of the Virgin and St. John stand on ground beautifully covered with foliage; through which, here and there, half-concealed skull appears to denote that the place is Golgotha. The figure of St. George, in plate armour of

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St. George and the Dragon.-Window in Bowness Church.

the fifteenth century period, was uninjured, but the faces of the three principal figures and the upper part of St. Barbara are restorations. Hutchinson saw the glass in 1773 or 1774, and it appears from his account that at that time these faces were gone. Below these six fine figures, and evidently part of the original window, are six groups.

No. 1, below St. Barbara, an ecclesiastic kneeling in prayer. He wears a white tunic with black girdle, and a rosary exactly similar to one engraved in Cutt's Scenes and Characters of the Middle Ages, from a brass of a

wool merchant in North Heath Church.

Above him are the words "John Plo' P.or of Kirkmel". No letters are missing; his costume is that of an Augustinian Canon, except as to the colour of his cloak.

Group 3 is similar to No. 1: an ecclesiastic kneeling; behind him are six or seven other figures habited the same as canons of Cartmel; the labels which bore their names are mostly illegible, but W. Hartley, sub-prior, and Tho. Houson, can be deciphered.

Groups 2, 4, 5 and 6 are knights and ladies before desks, the lady behind her lord; the cushion red, and the drapery of the desk green; the knight bareheaded, the lady with head-dress of the fifteenth century. There was no difficulty in identifying No. 2 couple; the legend overhead is "Will Thornboro' and his Wyff". He was Sir William Thornborough, of Hampsfield Hall, and his wife the Lady Broughton, an heiress, whose father, the last of his line, Sir W. Broughton, fell at Newark. The fourth group is similar, and the scroll gives the names "Pennington and his wiff". The Pennington arms are displayed. This was Sir John, who married Joan, daughter of Sir W. Eure.

The fifth and sixth are similar groups, but their names can only be conjectured.

In the upper part of the windows above the transom are three pictures, the rest of the lights being filled chiefly with shields of arms. The first picture represents the entry into Jerusalem, and the third the Resurrection. Both are believed to be fourteenth-century work; between the two is the Virgin Mary seated under a canopy, crowned, and with the infant Christ standing on her knee. She holds an apple, an ancient mode of depicting her as the second Eve. This is very mosaic in treatment, and the oldest glass in the window-said to be thirteenth century.

Some of the coats-of-arms are those of benefactors, and are identified as those of Lancaster. Urwick, Harrington, Berkeley, Preston, Middleton and Millner. The Flemings arms appear in divers parts of the window: Gules, a frett of six pieces argent, some with file of five points or lambeaux, which began to be used about the

reign of Edward I as a difference for the eldest son, the father being living. The remaining small spaces of glass are filled in with tracery.

This concludes my account of the points of interest to archæologists at Bowness. It remains briefly to record that the restoration in 1873 includes a new vestry, the extension of the chancel, the raising and roofing of the tower, and increase of the peal of bells from four to eight; the new frescoes, a Majesty on the west wall above the arch, Adoration of the Magi on the north side of the chancel, and The Entombment on the south side.

Part of the ceiling has also been renovated, though much of the ancient oak remains in good condition. The modern reredos of alabaster, the work of Dr. Salviati, of Venice, is beautiful in itself, and harmonises with its surroundings. On the whole, the restoration has been carried out with more than usual care and discretion, and with due regard to the preservation of the ancient edifice and its records of the piety and art of generations in the past.

INLESS they have some peculiar architectural features, ruins do not possess anything to engage the attention of visitors excepting the history with which they are associated. Verulamium has not much to interest an architect besides the remains of the walls, seen by the

side of the path leading down the hill. But to the archæologist and historian it is a place well worth visiting, as it is associated with the commencement of the written history of England, through Cæsar's invasion.

When Cæsar invaded England, sixty years before the Christian era, it was a stronghold of the Casii, who inhabited this part of the country, and whose name is retained in Cassiobury, in the Hundred of Cassio, a hamlet in the liberty of St. Albans. Cassivelaunus, their prince, had made war on the Trinobantes, who inhabited. the country on the other side of the river Lea, now known as Essex. He killed their chief, or king, and annexed the country, thus depriving Mandubratius, the son and heir, of his kingdom. He, with other princes who had been similarly treated, went to Cæsar, then in Gaul, to solicit his help to enable them to recover their possessions, and to put a stop to the aggressive policy of the Casii. Cæsar availed himself of the opportunity thus afforded to increase his military fame, and with well-trained soldiers invaded England.