This window contains a most interesting representation of the casting of a bell, with an inscription, "Richard Tunnoc me fist," and also of Tunnoc kneeling and receiving the blessing of an archbishop, probably Melton. Above the figure of Tunnoc is the picture of a small window, and this certainly goes to prove that the window was given by Tunnoc himself. There are bells in the borders of the lights and other parts of the design.
The west window in the south aisle is as fine as its fellow in the north aisle. It contains a representation of the Crucifixion, in which the head of Christ is a later insertion, perhaps of the eighteenth century. The figure below, as in the corresponding window in the north aisle, is also of later date.
The first window from the west end is plain. The glass in the other windows is rather finer, and less fragmentary than in the north aisle.
The second window appears to have been largely restored. The tabernacle work is very crude in colour. It contains figures of St. Laurence, St. Christopher, another saint, and three coats of arms below. The top lights are fine, and perhaps of Perpendicular date.
The third window is one of the richest in colour in the minster, with its gorgeous arrangement of crimsons, greens, and blues. There are inscriptions by Peckett, with the date at the bottom, 1789. His deep blues on the top lights are particularly unfortunate.
The sixth window is also very bright. It probably contains Norman fragments. All the windows except the fifth contain insertions by Peckett.
The clerestory window contains fragments and coats of arms.
In the westernmost light of the second window from the west, on the north side, are portions of an Early English Jesse window. The wheel of this window, and those of the next five, also contain fragments of Early English glass. And in the lower lights of the fifth and seventh windows from the west are remains of the same date.
The wheels in the clerestory windows on the south side of the nave all contain Early English glass, except the third from the west. There is also some Early English glass in their lower lights.
The transepts contain less of their original glass than any other part of the minster. In the south transept there are fragments of Perpendicular glass in the east aisle, including figures of Michael, Gabriel, and St. William, and also Perpendicular fragments in the west aisle. The lowest row of windows at the south end of the transept has been filled with painted figures by Peckett, only better than the worst efforts of the Gothic revival. The figures represent Abraham, Solomon, Moses, and St. Peter. The glass in the five sisters, as has been said, is Early English of the simplest and most beautiful design. The colour, an almost uniform scheme of greyish green, is a curious contrast to the vivid blues and yellows of the period which preceded it, and examples of which may be seen in the choir of Canterbury. The pattern is an elaborate but restrained arrangement of the foliage of the Planta Benedicta (herb benet). The plain border surrounding the Early English glass was inserted in 1715. At the foot of the central light is a panel of Norman glass, the subject of which is either the dream of Jacob, or Daniel in the lion's den.