STAINED GLASS AT NORBURY MANOR HOUSE. 65 
(8 James I.). He there met Nicholas Fitzherbert, of Norbury, 
who had resided there with Cardinal Allen since 1572. Mr. 
Sandys says :—‘ Having stayed there foure days (as long as I 
durst), secured by the faith and care of Master Wicolas Fits- 
FHlerbert, who accompanied me in surveying all the antiquities 
and glories of that City,” he then set out on his return journey 
_ for England. What more natural than that he should be made 
the bearer of some such small matters as a pane or two of painted 
glass? This may have been the case. It is certain Nicholas 
never returned home; he was drowned in Italy in the year 
‘following. It is well known that at this period numerous Flemish 
and German glass painters visited Italy. There is in “ Les Arts 
au Moyen Age,” by Paul Lacroix, at p. 271, an engraving of a 
circular pane similar in character to the one at Norbury, both in 
size and style of work, executed by a Flemish artist known as 
*« Dirk de Harlem,” in the latter half of the fifteenth century. 
It is The Crowning with Thorns. A reference to Plate I.— 
which is given full size—will show that the painter possessed 
considerable knowledge of the mode of scourging, though he 
was not quite sure; so he represents the act as being per- 
formed by the /cfors in two ways, so as to save his credit. 
_ The whip is a true Aorribile flagellum; but the birch rod! that 
is certainly a truly Dutch idea, as are also the spectators of the 
‘scene. There is the inevitable dog in the background, too. 
The architecture is decidedly classic, and quite in character with 
the limes in which we believe this was- ee and here again it 
to represent. Then the art died out, and was for centuries a 
We have mentioned a broken piece of glass on which 
__ is a representation of the “ Nativity,” executed in the same style 
