A window at Le Mans, rather later than the one illustrated, and which Mr. Westlake thinks may be dated about 1120, shows signs of the new movement. It consists of a series of subjects from the stories of SS. Gervasius and Protasius, and already shows the arrangement of small medallions of simple shape, surrounded by ornament filling the rectangular openings of the iron-work, though from the fact that some of the medallions seem to have been cut down, they are probably not in their original position. In the drawing of the subjects the artist is breaking away from the Byzantine tradition. The new wine is bursting the old bottles. He is a man in love with life, and when he depicts a group of men stoning a saint he likes to make them really throwing, and to show in their faces, as well as he knows how, that they are thorough ruffians. Next in antiquity to this window, and some twenty or thirty years later (1142-1150), come the earliest of the windows at Chartres and at St. Denis. [Sidenote: Chartres.] In the year A.D. 1134 a terrible fire destroyed the town of Chartres and so damaged the west end of the Cathedral that it had to be pulled down and rebuilt--a work which took some fifteen years to accomplish, while the towers were not finished till twenty years later still. The three windows over the west door were filled with glass some time between 1145 and 1150. [Illustration: PLATE VIII BORDER AND MOSAIC DIAPER, FROM THE TRINITY CHAPEL, CANTERBURY Thirteenth Century] [Sidenote: The west windows.] In early times churches seem to have been peculiarly liable to destruction by fire, owing perhaps to the number of wooden buildings by which they were surrounded. The early history of every great cathedral is one of successive disastrous conflagrations, after each of which the building rises once more, larger and more splendid. Thus, in 1194, another fire completely destroyed the whole of the Cathedral with the exception of the newly built west end, which included the three windows in question. These escaped damage, protected perhaps by the immense depth of their embrasures, and still remain almost unimpaired to this day, the largest and most perfect windows of their time that have come down to us. In them one feels that the new movement has found itself and produced a great man.