[S] In the background, Peter and John are seen bound to a pillar and scourged.
[T] In the background, Peter preaching inside the building.
[U] In the background is seen his body being carried out for burial.
[V] In the background he is seen being let down in a basket from a window. In this and the preceding window figures of St. Luke, habited as a doctor, with his ox by him, alternate with figures of angels in the central light.
[W] In this subject is a beautiful specimen of a late fifteenth century ship. The ship has her sails furled, and is anchored by her port anchor as her starboard anchor is fished (i.e. made fast with its shank horizontal) to the ship's side by her cable. An empty boat is alongside. At the top of the mainmast is a fighting top from which project two large spears.
An excellent article on this ship was contributed by Messrs. H. H. Brindley, M.A., and Alan H. Moore, B.A., and read to the members of the Cambridge Antiquarian Society in 1909.
[X] She kneels in the centre, full face. On right the Son, seated; on left the Father, crowning Mary. The dove between. Angels playing music in front.
[8] This window is 49 feet from its base to the top of the arch and 33 feet 6 inches in width.
[9] A rebus was invariably a badge or device forming a pun upon a man's surname. It probably originated in the canting heraldry of earlier days. A large number of rebuses ending in "ton" are based upon a tun or barrel; such are the lup on a ton of Robert Lupton, Provost of Eton 1504, which appears in the spandrils of the door in the screen leading into his chapel at Eton College, or the kirk and ton of Abbott Kirkton on the deanery gate at Peterborough. The eye and the slip of a tree, which form, together with a man falling from a tree (I slip!), the rebuses of Abbot Islip, are well known. The ox crossing a ford in the arms of Oxford, and the Cam and its great bridge in the arms of Cambridge are kindred examples.
[10] "The founder designed, by the colour of the field, to denote the perpetuity of his foundation; by the roses, his hope that the college might bring forth the choicest flowers, redolent of science of every kind, to the honour and most devout worship of Almighty God and the undefiled virgin and glorious mother; and by the chief, containing portions of the arms of France and England, he intended to impart something of royal nobility, which might declare the work to be truly regal and renowned."—Cooper's Memorials of Cambridge.