In one of the triforium windows is some glass which may perhaps be earlier even than this. It consists of three medallions, only one of which is at all perfect, which seem to be part of a life of St. Alphege, Archbishop of Canterbury, who was martyred by the Danes. In the one perfect panel which represents the storming of Canterbury by the Danes, the warriors wear the long coats of mail and kite-shaped shields of the Norman period as shown in the Bayeux tapestry, and a ship in one of the other medallions is exactly like those in which William the Conqueror and his knights are there shown crossing the sea. The obscure position of this glass in the triforium is not where one would expect to find a window devoted to St. Alphege, who before the death of Becket was the most important saint that Canterbury could boast; it may be therefore that the medallions have been moved from elsewhere, perhaps from Archbishop Lanfranc's nave, or it may, for all we can tell, be some of Prior Conrad's glass that has survived the fire. [Sidenote: Vendôme.] Of other twelfth century work there is not much in existence. There is a Virgin and Child at Vendôme which somewhat recalls Notre Dame de la Belle Verrière but has none of her grace, and I have already referred to the window at Poitiers illustrated in Plate II. [Illustration: PLATE XI DAVID, FROM THE CLERESTORY OF THE APSE, CHARTRES CATHEDRAL Thirteenth Century] [Sidenote: Poitiers.] This remarkable and impressive window, which is over 26 feet high and nearly 10 wide, is one of three, and occupies the central light of the Cathedral apse. The illustration does not show the whole of it, for it is surrounded by a rich border, which in its arrangement of alternate bunches of foliage and knots of interlaced work resembles that of the Jesse Tree at Chartres, and below the Crucifixion is a four-lobed medallion showing the Martyrdom of St. Peter, and the donor offering a model of the window. The design, as I have said, seems to show that the Byzantine style had lingered on south of the Loire, where no doubt the influence of the Limoges school would be strong, and in view of this fact it is rash to take the age of the Le Mans "Ascension" altogether for granted. FOOTNOTES: [6] Some critics have thought the figure merely a copy from an earlier design, but I cannot agree with them. [7] The little piece of white with yellow stain under the right toe is, of course, a fifteenth century scrap. V EARLY THIRTEENTH CENTURY GLASS IN ENGLAND (CANTERBURY AND LINCOLN)