The comparative smallness of the Royal Crest in Fig. 213 is due to the designer’s intention to bring the head into the central line of the composition with a view to upstanding effect, and in this respect is of course a reasonable problem to have solved. Whether, however, it was worth while so to sacrifice the larger proportion which the lion would have had to the crown in mediaeval design is another matter. Nevertheless, the whole series of work is finely designed and beautifully drawn with clearly thought-out intentions as a whole, and with much delightful fancy in the variation of the decorated detail, and to conclude this very interesting series Fig. 214 is from a coloured drawing of the white swan of the de Bohuns that was one of the badges of Henry IV. [Illustration: FIG. 214.--Cartoon for Stained Glass. Coloured. Royal Gallery, Houses of Parliament.] In domestic stained glass conditions that were different from those that were involved in church windows had to be considered, and especially excessive obscuration of the light was to be avoided, this being effected by the use of plain, or slightly decorated, quarries, the stronger colour being confined to a centre roundel or medallion, a very suitable space for heraldic treatment, and to decorated borders. In addition, from the time of the Middle Ages such stained windows had been made movable by being enclosed in frames which could be temporarily fastened into window spaces, as is still done, and for a similar reason armorial roundels may remain detached from the window and be suspended by wires (see Fig. 168). Of such roundels there are many excellent examples, that were originally in Netley Abbey, in the Hartley Museum at Southampton. [Illustration: FIG. 215.--Arms of Henry VI, Ockwells Manor, Berks.] [Illustration: FIG. 216.--Arms of the Earl of Warwick, K.G. Ockwells Manor.]