carrying out a great subject scheme, and thus it was found possible to
illustrate practically the whole Gospel story, culminating in the
Crucifixion in the east window, and continuing into apostolic times
until the death of the Virgin Mary. At the west end is the one modern
window. It represents the Last Judgement. It is safe to say that of
their period this glorious set of windows has no real rival, and it is
hardly possible to do them any justice if the visitor has become a
little jaded with sight-seeing. In one of the windows there is a
splendidly drawn three-masted ship of the period (Henry VIII.'s
reign), high in the bow and stern, with her long-boat in the water
amidships, and every detail of the rigging so clearly shown that the
artist must have drawn it from a vessel in the Low Countries or some
English port. It is one of the best representations of a ship of the
period extant. This is merely an indication of the vivid
archaeological interest of the glass, apart from its beauty in the
wonderful setting of fan vaulting and tall, gracefully moulded shafts.

The splendid oaken screen across the choir, dividing the chapel into
almost equal portions, was put up in 1536, at the same time as nearly
the whole of the stalls. It is rather startling to see the monogram of
Henry VIII. and Anne Boleyn, entwined with true lovers' knots, on this
wonderful piece of Renaissance woodwork, for in 1536, the date of the
screen, Anne, charged with unfaithfulness, went to the scaffold. How
was it, we wonder, that these initials were never removed? The screen
also reminds us of the changes in architecture and religion which had
swept over England between the laying of the foundation stone and the
completion of the internal fittings, for, not only had the Gothic
order come to its greatest perfection in this building, and then its
whole traditions been abandoned and a reversion to classic forms taken
place, but the very religion for which the chapel had been built had