The Virgin with the Child on her knee sits enthroned in the upper part of the window, and surrounded by angels, on a much smaller scale, incensing and holding candles, while below are medallions illustrating the Marriage at Cana and the Temptation. The angels and the medallions are of the thirteenth century, but the figures of the Virgin and Child with their background are almost certainly of the twelfth. Probably the veneration in which they were held caused them to be rescued from the fire,--hurriedly broken out, perhaps, from the surrounding glass,--and then reset in thirteenth century work after the Cathedral was rebuilt.[6] The Virgin is dressed in a robe of pale greyish-blue, of a colour one seldom sees in later work, relieved against a background of deep ruby, set with jewels of a darker blue. The precision of the colour harmony is wonderful, and no drawing I have seen of the window gives, even in outline, the beautiful poise of the head, bent in gracious benediction. Although I have said that the workers of this school were breaking away from the Byzantine tradition and looking at life with their own eyes, yet it is never possible for men suddenly to produce work wholly independent of tradition, even when they are foolish enough to try; so we find in this case Greek art, through Byzantine, retains enough influence with these men to give to their work a dignity and restraint which is lacking in that of the thirteenth century. This is very noticeable wherever one gets the two in close juxtaposition, as at Chartres and also at Canterbury. There is an impressive severity of design and a feeling for proportion in the figure of the Virgin in La Belle Verrière which one misses in the surrounding work, which, though very beautiful, is by comparison small and fussy in treatment. [Sidenote: St. Denis.]