The two heads of Angels (Plates XLVIII., XLIX.), which are from the north transept of St. Ouen, are, I think, by the same hand as an interesting "Assumption of the Virgin," which now occupies two lights of a window in the north aisle of St. Maclou in the same city. A significant point about this glass is that the picture, which is enclosed by a wide, flat-arched canopy, delicately modelled, stretches right across both lights, completely ignoring the intervening mullion, one of the first hints that stained glass was forgetting its architectural mission.[18] The composition is much more ambitious and pictorial, and the drawing more advanced than in any of the glass we have hitherto considered. In front is a crowd of kneeling saints in robes of blue, red, and green, above whom the Virgin kneels before the Almighty, while the top of the picture is filled with rows of golden-haired angels with red wings on a blue ground, of a similar type to those illustrated. I should put the date of the window at about 1470-80. [Illustration: PLATE XLVIII ANGEL'S HEAD, FROM GREAT ROSE WINDOW IN NORTH TRANSEPT OF ST. OUEN'S, ROUEN Fifteenth Century] [Sidenote: The Lady Chapel at Evreux.] Of about the same date are the side windows of the Lady Chapel of the Cathedral at Evreux, of which the building was finished, I believe, in 1475. I am surprised that Mr. Westlake, in his notice of the chapel, only mentions the east window with its Jesse tree, which to me is much less beautiful than the others, and which I should be inclined to attribute, at the earliest, to the very end of the century, if not to the following one. The four side windows tell the story of Christ's Ministry, Passion, and Resurrection, and show His second coming. Their arrangement is somewhat English, each window having two tiers of lights, each of which has a subject enclosed in a white canopy, but the technique is different from the English. By far the best is the first window of the series, which contains eight scenes from the Ministry of Christ, from the Marriage in Cana to the Entry into Jerusalem. The canopy work with its little figures in niches is modelled as Van Eyck might have done it; the method would not tell well at a distance, but owing to the narrowness of the chapel one cannot get far away from these windows. The figure panels are very rich in colour, Christ being always dressed in a deep purple, and the other figures in rich greens, blues, and reds. The other windows of the series are not quite so good, being thinner and poorer in effect, and seem to me to have been executed by another hand, possibly from the designs of the author of the first window, who may have died in the interval. There is a good deal of similar work in the church of St. Taurin in the same town.