The two windows of a total of six lights in the south wall of the South Chapel were also donated by Alfred Burton in 1902. All the designs are by Burne-Jones. Following his death in 1898, the Firm re-used his designs for decades, and so although this is a later insertion than Chancel East, the designs are mostly much earlier, and show how Burne-Jones’ designs changed over the decades. The figures are all allegoric females depicting Christian Virtues, namely from left to right Joy, Justice, Faith (Figure 15): Hope, Charity, and Praise (Figure 16). The main figures do not have borders this time, but are set in diamond quarries with rose and oak motifs, which allow the maximum light in whilst accentuating the rich colours for each figure. Each one stands on the typical Morris vegetation-patterned base, but this time instead of an inscription there is a multi-coloured band. This device harks back to some of the earliest Morris windows (for example at the Chancel east window of 1863 at Ladock) when Morris and Webb designed colours in horizontal bands to run throughout the glazing patterns: concentrating the colour whilst again allowing for natural light. The earliest design is ‘Joy’, which is shown as an angel blowing a long trumpet, first used at Cheddington, Staffs in 1869. This is so typical of Burne-Jones’ middle period, where his figures have a life and vigour lacking in his later aesthetic designs. The movement in the red clothing of the angel is really remarkable, offset by the blue wings. The next design is ‘Charity’, which used his design for St Martin of Tours from Brampton in 1880. St Martin is in the act of dividing his cloak, to give one half to a beggar (Figure 17). Although he is supposed to be a Roman soldier, he is here portrayed in Burne-Jones’ idiosyncratic armour that he used frequently in his oil paintings (e.g., the ‘Perseus’ series). Next in chronological design comes ‘Justice’, first used for Boston USA in 1883. This helmetted figure holds the scales of justice in one hand whilst carrying a long sword in the other. ‘Faith’ and ‘Hope’ were both designed in the following year for Llandefeilog, Carmarthen. ‘Faith’ is a female figure holding a palm in one hand with a chalice that contains a serpent (a poisoned cup) in the other. Hope is a traditional representation where the female is looking to Heaven with hand outstretched to receive a crown as a token of eternal glory. This leaves us with ‘Praise’, the original design of which was for the north transept window at Ashton-under-Lyne in 1896 as one of a group of Old Testament figures. At Ashton she appears as Miriam, but the addition of a pair of red wings transformed her into the allegorical figure of ‘Praise’ for St Germans. In 1872, Burne-Jones produced a famous design for Miriam at St Michael and All Angels, Waterford, Hertfordshire, a typical product of the Firm’s 1870s output, where the vigour, movement and swirling draperies capture the ecstatic moment of Miriam’s dance. At St Germans, the newer Miriam design is lower key. However, despite the angelic transformation, the combination of her flowing hair and aesthetic dress puts her firmly into the category of a pre-Raphaelite ‘stunner’, and therefore forms an apt conclusion to these remarkable windows.