THE LEGENDARY WINDOWS                    173
shows a crucifix between his horns, the stag on one side balancing the
horse on the other, while Placidas on his knees yields to the miracle of
Christ. Then Placidas is baptized as Eustace; and in the centre, you
see him with his wife and two children — another charming composi-
tion — leaving the city. Four small panels in the corners are said to
contain the signatures of the Drapers and Furriers. Above, the story
of adventure goes on, showing Eustace bargaining with a shipmaster
for his passage; his embarcation with wife and children, and their
arrival at some shore, where the two children have landed, and the
master drives Eustace after them while he detains the wife. Four small
panels here have not been identified, but the legend was no doubt
familiar to the Middle Ages, and they knew how Eustace and the
children came to a river, where you can see a pink lion carrying off
one child, while a wolf, which has seized the other, is attacked by
shepherds and dogs. The children are rescued, and the wife reappears,
on her knees before her lord, telling of her escape from the shipmas-
ter, while the children stand behind; and then the reunited family,
restored to the Emperor's favour, is seen feasting and happy. At last
Eustace refuses to offer a sacrifice to a graceful antique idol, and is
then shut up, with all his family, in a brazen bull; a fire is kindled
beneath it; and, from above, a hand confers the crown of martyrdom.
Another subject, which should have been placed in the apse, stands
in a singular isolation which has struck many of the students in this
branch of church learning. At Sens, Saint Eustace is in the choir, and
by his side is the Prodigal Son. At Bourges also the Prodigal Son is
in the choir. At Chartres, he is banished to the north transept, where
you will find him in the window next the nave, almost as though he
were in disgrace; yet the glass is said to be very fine, among the best
in the church, while the story is told with rather more vivacity than
usual ; and as far as colour and execution go, the window has an air of
age and quality higher than the average. At the bottom you see the
signature of the corporation of Butchers. The window at Bourges was