The fifteenth century windows at Rouen follow, for the most part, the general design of the fourteenth century windows in the same churches. Thus the window in the chapel of SS. Peter and Paul in St. Ouen, which Mr. Westlake thinks to be the work of Guillaume Barbe, 1459-85, has much the same arrangement and proportions as the S. Gervais window in the south choir aisle shown in Plate XXV.; that is to say, a small figure panel, under a big canopy, is set half-way up each tall light of which the top and bottom is filled with quarries. There is the same coloured background to the canopy, ending at the top in the same arched shape, but in the treatment of the canopy itself one finds a difference not only from fourteenth century work but from English work of the fifteenth century. The French canopy, as I have said, had never, like the English, been reduced to an almost flat pattern of intricate line work, and in these Rouen windows one finds the artist already trying to imitate stone-work modelled in relief with results that are heavy and unsatisfactory. It is not that, in English work, individual shafts are not given a light and dark side, but the canopy is not, as in French work, modelled as a solid whole, and the strong line work seems to keep it right. [Sidenote: The revival.] It was not, however, till the second half of the century that any new life came into French stained-glass work, and when it came it brought with it a skill in picture-making that was borrowed from contemporary painting. To this period belong, I think, the fragments from Rouen shown in Plates XLV. to XLIX. The heads of St. Catherine and the old man, if compared with those from York, show the strong difference in facial type between French and English work at this time. The stain on the hair of St. Catherine is very coarse and inartistic as compared with English work, but then no other nation ever equalled the English in their delicate and refined use of stain. [Sidenote: St. Maclou.]