Page:Archaeological Journal, Volume 2.djvu/68

52 benefactor were not, in some instances, thus inscribed during his life-time, some persons will probably take the pious phrase as an evidence that the window was not completed until after the decease of the prior, which occurred about the year 1449. But some further circumstances, in regard to the painted glass which is preserved in the windows of the choir, will be hereafter noticed, in the endeavour to ascertain its date; I will now proceed to describe the four subjects which comprise the legendary history, as I am led to suppose, of St. Werstan, exhibited in the upper story of the window nearest to the northern transept. In the first pane is to be observed a representation apparently composed of two pictures, forming one subject; in the upper part are seen four angels, with golden-coloured wings, vested in amices and albs, the apparels of the former being conspicuous, and presenting the appearance of a standing collar. Each of these angels has the right hand elevated in the Latin gesture of benediction; and they rest their left hands on the boundary stones placed at the four angles of a square verdant plot, which appears in that manner to be set out and defined, being a more green and flowery spot than the adjacent ground, which seems to represent a part of the Malvern hills. In the centre of this piece of ground, thus marked out by the angels, appears a large white key. In the lower division of the same pane appears a figure kneeling, and looking towards heaven; a hill, formed of several banks or terraces one above another, appears as the back-ground, and over his head is a scroll thus inscribed,. He is not clad in the Benedictine habit, like other figures in the adjoining windows, but in the russet-coloured cappa, or full sleeveless mantle, with a round caputium, or mozzetta, to which is attached a hood. Under the mantle may be distinguished the scapulary: the head is bare, and the hands are raised in adoration. There can, I think, be little question, that this first subject was intended to represent a celestial vision which indicated to the hermit, who had fled from troubles or temptations to the wilds of the Malvern hills, the spot where he should construct an oratory, which would ultimately lead to the foundation of an important Christian institution in those dreary wastes. The import of the silver key at present remains unknown, for the legend of St. Werstan is lost, and even his name has not been handed down in any calendar of British