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descent from the Cross in the next window on the south side is 

 remarkable. St. Michael fighting with the evil angels, and Satan 

 looking through the bars of his prison in one of the lower lights 

 can scarcely be surpassed for effective colouring. The sun just 

 coming out at the right time made the bars glow with fire and 

 added much to the vividness of the picture. In the east window of 

 the south aisle the representation of the castles, supposed to be 

 those of Nuremburg, in the scene of the Transfiguration, is one of 

 the noticeable peculiarities of the artist, whoever he was. After 

 passing through the screen on the south side, a series of full length 

 figures of Apostles, Fathers, Prophets, and Saints fill up the 

 remaining windows in the south and north aisles and the clerestory 

 the Apostles being on the south, the Prophets on the north The' 

 colouring, attitude, drapery, and expression of the faces can hardly 

 be equalled. The great west window of many lights is filled with 

 a representation of the Judgment. Our Lord is seated on a rain- 

 bow, surrounded by Cherubin, Seraphiu, and the heavenly host 

 with a ruby-coloured globe beneath His feet ; from His mouth 

 proceed the sword and the lily-emblems of justice and mercy- 

 corresponding with which below on either side are the blessed and 

 the cursed, the former received by St. Peter, and conducted up the 

 golden stairs to the heavenly Jerusalem, clad in white, with cro^Tis 

 of gold on their heads ; the latter rising out of their tombs, hardly 

 f^-ee from their grave-clothes, caught, carried off, and tortured by 

 the most horrible demons-the ludicrous so blended with the 

 terrible that the eye gladly rests on the fine figure of the Arch- 

 angel St. Michael weighing the good and the bad in his scales, and 

 occupying the central space beneath our Lord. In the west 

 window of the south aisle David is represented passing judgment on 

 the Amalekite for the death of Saul. In the soldier's hand is a 

 sword, and on the blade a medieval A. Mr. Niblett especially 

 called attention to this letter, as during the recent controversy it 

 has been tortured into the initials of Albert Durer's name, and 

 stated to be his weU-known monogram, A with a small capital d 

 mside But, as that gentleman suggested, it is most probably the 

 initial letter of the word Adonai, emblematic of the sword of the 

 Lord Almighty. Attention was also called to the German character 



