The southern lancet represents the Passion of Christ. Granting to Viollet-le-Duc that the unbroken vertical colour-scheme of the Tree of Jesse made the more effective window, one might still ask whether the medallion-scheme is not the more interesting. Once past the workshop, there can be no question about it; the Tree of Jesse has the least interest of all the three windows. A genealogical tree has little value, artistic or other, except to those who belong in its branches, and the Tree of Jesse was put there, not to please us, but to please the Virgin. The Passion window was also put there to please her, but it tells a story, and does it in a way that has more novelty than the subject. The draughtsman who chalked out the design on the whitened table that served for his sketch-board was either a Greek, or had before him a Byzantine missal, or enamel or ivory. The first medallion on these legendary windows is the lower left-hand one, which begins the story or legend; here it represents Christ after the manner of the Greek Church. In the next medallion is the Last Supper; the fish on the dish is Greek. In the middle of the window, with the help of the binocle, you will see a Crucifixion, or even two, for on the left is Christ on the Cross, and on the right a Descent from the Cross; in this is the figure of man pulling out with pincers the nails which fasten Christ's feet; a figure unknown to Western religious art. The Noli Me Tangere, on the right, near the top, has a sort of Greek character. All the critics, especially M. Paul Durand, have noticed this Byzantine look, which is even more marked in the Suger window at Saint-Denis, so as to suggest that both are by the same hand, and that the hand of a Greek. If the artist was really a Greek, he has done work more beautiful than any left at Byzantium, and very far finer than anything in the beautiful work at Cairo, but although the figures and subjects are more or less Greek, like the sculptures on the portal, the art seems to be French.