[Sidenote: Early window at Le Mans.] Almost the earliest glass, however, to which any date can be approximately assigned are the panels in Le Mans Cathedral,[4] which are illustrated by a sketch of Mr. Saint's in Plate I. In a thirteenth century manuscript preserved at Le Mans it is recorded that Bishop Hoel, who occupied the See from A.D. 1081 to 1097, glazed the windows of the Cathedral with stained glass, "sumptuosa artis varietate," and it is just possible that this glass, which was found in 1850 scattered and glazed up among fragments of a later date, may be part of the glass referred to. It seems to have formed the lower part of a window representing the Ascension, and consists of figures of the Virgin and the Twelve Apostles "gazing up into Heaven." The arrangement is very simple. There seems to have been little or no ornament in the window, and the figures in white and coloured draperies, standing on conventionalized hillocks which represent the top of the "high mountain," are relieved against a background of plain colour in alternate panels of red and blue. In this window and for long afterwards the background represents nothing in nature, but merely serves the purpose of throwing up and isolating the figures. As the glass is not in its original position, one can only guess at its original construction and design. All early windows, as I have said, consisted of separate leaded panels inserted into the openings of a massive metal framework, an arrangement which of necessity governed the design. In this case one would expect the six panels, with their differently coloured backgrounds, each to have filled a separate opening in the framework. If this is so, however, the panels must have been somewhat cut down, since as at present glazed the limbs and drapery of the figures occasionally overlap into the neighbouring panels. I think it very probable indeed that the glass has been so cut down, and that the window at Poitiers, illustrated in Plate II., though of later date, gives a true idea of the original relation of these panels to the iron-work. It is probable too that the upper part of the Le Mans window was filled with a figure of the ascending Christ on the same plan as that of Poitiers. It is, indeed, only fair to say that the Poitiers window, which is of the end of the twelfth century, throws some doubt on the greater antiquity of that at Le Mans.