Poitiers' memorable Crucifixion window is in the flat, eastern wall of the central aisle. The three windows in that square chevet belong to the transition between the XII and XIII centuries. That to the north was the gift of Maurice de Blason, who became bishop of Poitiers in 1198, and who is supposed to have been also the donor of the Crucifixion, whose date has given rise to controversy. The straight saddle-bars still used in it were abandoned after 1200. In the lower panel of the central light, the founders of the cathedral, Henry and Aliénor, are pictured kneeling. Aliénor knew well Suger's school of glassmakers, and as M. Mâle has proved that all the XII-century windows in western France proceed from those of St. Denis, very likely the ex-queen of France was instrumental in spreading their fame. At Poitiers the apostles gaze upward in quite the same attitude as those in the Ascension window at Le Mans, an accepted work of Suger's craftsmen. Blue as profound as sapphires and a crimson that glows like blood-red rubies make of Poitiers' Crucifix an unapproachable glory. The genius who conceived it had brooded over the ecstatic hymn composed for the glad celebration of November 19, 569. This is the Tree of Life, effulgent in fecundity, on its branches hanging such fruit as the Ransom of the World, the vine that gives sweet wine of the red blood of the Lord. No agonizing Christ on Poitiers' Cross _ornata regis purpura_. The Saviour's eyes are wide open to indicate that the Christ dies not. The arms are extended to great length as if embracing the entire world.[200] The halo is marked by the Greek cross, emblem of divinity. In many other chevets of France the Crucifixion holds the central place, in the Lady chapel at Tours, in the clearstory at Rouen, in the ambulatory at Bourges, in St. Remi's wide gallery at Rheims, in the square east wall of Moulins, and at Ervy. And in many ways was the Sacrifice presented; sometimes the Cross became an apple-decked Tree of Knowledge with Adam and Eve beside it; sometimes the Saviour's arms were high uplifted and angels received the precious blood in chalices. Never was the meaning of Calvary presented with more profundity than at Poitiers, whose ancient bishops had suffered exile to defend the Son and written verses to exalt him. The other lancets of the cathedral are in most part XIII-century work of the closely woven pattern type that produces scintillation; contrary to the more general usage the medallions are to be read from the top downward. As color schemes they have been composed with extraordinary care. Few church interiors can equal this for jeweled riches: 'And the building of the wall thereof was of jasper stone.... And the foundations of the wall were adorned with all manner of precious stones--jasper, sapphire, chalcedony, emerald, sardonyx, sardius, chrysolite, beryl, topaz, chrysoprasus, jacinth, and amethyst.'