Another window illustrates in a number of scenes the Last Fifteen Days of the World, as described in Richard Rolle's _Pricke of Conscience_, and is well calculated to make the evil-doer take thought and mend his ways. [Illustration: PLATE XLVI HEAD OF ST. CATHERINE, FROM WINDOW ABOVE ALTAR IN NORTH-WEST CORNER OF ST. VINCENT'S, ROUEN Fifteenth Century] Through the energy of the present rector, a full and careful catalogue and description of all the old glass in the church has been prepared and published. I only wish this were done for the Cathedral and other churches in York, which is richer, perhaps, in the quantity of its old stained glass than any other city in the world. FOOTNOTES: [16] Perhaps it is unfair to blame Thornton, for in the contract he undertakes to work "secundum ordinationem Decani et Capituli." [17] This is thought by some to be a piece of something else inserted here, but its effect on the design is very happy. XV FIFTEENTH CENTURY GLASS IN FRANCE [Sidenote: The influence of pictorial art.] The French school, when it revived in the second half of the fifteenth century, came, as I have said, almost at once, and far earlier than the English school, under the influence of the schools of painting which had been developed in the Netherlands (where the Van Eycks were working as early as 1420), and also, to an extent which has only been realized comparatively recently, in France itself. There was both advantage and disadvantage in this. The drawing of the French is generally a little better than our own, and there is more variety and enterprise in their colour schemes than in our later Perpendicular work. On the other hand, it seems to me that almost from the beginning they were hampered, if ever so little at first, by the desire to apply to glasswork the standards of a different medium. The difficulty had not arisen before. The illumination or wall painting of the thirteenth and early fourteenth century in England and the north of France could be translated into glass with little change, but, in the fifteenth century, the painters of illuminations and panel pictures had learnt all sorts of things about light and shade and landscape and flesh painting that did not come at all easily to the worker in glass and lead, and were of no help to him in his task of beautifying windows. It was inevitable that he should make some attempt to follow in the cry, and the extent to which he succeeded is amazing; but from henceforth, even where he most succeeds, it is to some extent by a _tour de force_, by a compromise between incompatibilities. [Illustration: PLATE XLVII DRAPERY FROM SLEEVE OF VIRGIN, FROM WEST END OF ST. VINCENT'S, ROUEN Fifteenth Century] [Sidenote: Early fifteenth century work.]