The date seems to be fixed by the windows themselves. Beneath the Prophets kneel Pierre and his wife Alix, while their two children, Yolande and Jean, stand. Alix died in 1221. Jean was born in 1217. Yolande was affianced in marriage in 1227, while a child, and given to Queen Blanche to be brought up as the future wife of her younger son John, then in his eighth year. When John died, Yolande was contracted to Thibaut of Champagne in 1231, and Blanche is said to have written to Thibaut in consequence: "Sire Thibauld of Champagne, I have heard that you have covenanted and promised to take to wife the daughter of Count Perron of Brittany. Wherefore I charge you, if you do not wish to lose whatever you possess in the kingdom of France, not to do it. If you hold dear or love aught in the said kingdom, do it not." Whether Blanche wrote in these words or not, she certainly prevented the marriage, and Yolande remained single until 1238 when she married the Comte de la Marche, who was, by the way, almost as bitter an enemy of Blanche as Pierre had been; but by that time both Blanche and Pierre had ceased to be regents. Yolande's figure in the window is that of a girl, perhaps twelve or fourteen years old; Jean is younger, certainly not more than eight or ten years of age; and the appearance of the two children shows that the window itself should date between 1225 and 1230, the year when Pierre de Dreux was condemned because he had renounced his homage to King Louis, declared war on him, and invited the King of England into France. As already told, Philippe Hurepel de Boulogne, the Comte de la Marche, Enguerrand de Couci,--nearly all the great nobles,--had been leagued with Pierre de Dreux since Blanche's regency began in 1226. That these transept windows harmonize at all, is due to the Virgin, not to the donors. At the time they were designed, supposing it to be during Blanche's regency (1226-36), the passions of these donors brought France to momentary ruin, and the Virgin in Blanche's Rose de France, as she looked across the church, could not see a single friend of Blanche. What is more curious, she saw enemies in plenty, and in full readiness for battle. We have seen in the centre of the small rose in the north transept, Philippe Hurepel still waiting her orders; across the nave, in another small rose of the south transept, sits Pierre de Dreux on his horse. The upper windows on the side walls of the choir are very interesting but impossible to see, even with the best glasses, from the floor of the church. Their sequence and dates have already been discussed; but their feeling is shown by the character of the Virgin, who in French territory, next the north transept, is still the Virgin of France, but in Pierre's territory, next the Rose de Dreux, becomes again the Virgin of Dreux, who is absorbed in the Child,--not the Child absorbed in her,--and accordingly the window shows the chequers and ermines.