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and his disciples at Emmaus,” “ Christ appearing to his disciples,” “The 
incredulity of St. Thomas,” “The Miraculous Draught of Fishes,” “The 
Ascension,” “The Descent of the Holy Ghost,” “ The Twelve Apostles,” 
and “The Four Primitive Fathers of the Church.” Above are “The 
Twelve Protectors of the Church,” surmounted by angels. Opposite are 
“The Four Evangelists,” and “'The Twelve Prophets.” Above these are 
“The Twelve Persecutors of the Church,” surmounted by Devils. The 
large west window represents “The General Judgment,” and on either 
side of this a window containing “ David sitting in Judgment on the 
Amalakite,” “Two figures of old men,” “Samson slaying the Lion,” 
“The judgment of Solomon,” and “Sampson slaying the Philistines.” 
There are 42 subjects in all. We have therefore the full range of 
Christian teaching displayed in these windows, as well as certain 
Apocryphal subjects. That these windows had attracted attention, and 
were early regarded as works of art, appears from an old M.S. edited 
by Hearne, the Antiquary, in 1716, who asserts that (Sir Anthony 
Vandyke declared to King Charles I. that many of the figures were 
exquisitely well done, that they could not be exceeded by the best 
pencil. (See Arch. Journal, vol. xxv. p. 120.) They were even made 
the subject of a poem by Richard Corbet, Bishop of Norwich 
(1632—1635.) 
The glass was also treated of in a history of Fairford Church, pub- 
lished at Cirencester in 1763, and in an account of the parish of 
Fairford, which appeared in 1791, a slight sketch of the great west 
window is given in the Archzeologia, vol. xxxvi. plate 31, p. 386. 
The Church was visited in 1860 by a party of members of the 
Archeological Institute, under the guidance of the late Mr. J. H. 
Parker and the late Mr. Niblett, and the party recorded their opinion 
that the “ glass appeared to be English, and made for the windows in 
which it is placed.” 
T must conclude this notice by remarking that the late Mr. Planché, 
Somerset Herald, has treated of these windows in a paper read by him 
to the Archzological (Association vol. xxvii. p. 100), in which he con- 
siders them in relation to early wood-engraving. In this he observes 
that “no one will dispute that, whoever may have been the designer, the 
costume, civil and military, is of the time of Albert Durer.” 
These beautiful windows have been drawn and published by the 
