It is noticeable that it is this window which in its uppermost medallion contains the representation already mentioned of the famous shrine, from which the saint is issuing and addressing a sleeping monk, who is thought to be the Prior Benedict, the chronicler of the miracles. In all the other medallions of the series it is the tomb of St. Thomas in the crypt, easily recognizable from the descriptions that remain, at which the sufferers pay their vows, so that it seems probable that the window was executed in, or soon after, the year 1220, in which the saint's body was removed to the shrine, but while the memory of the tomb in the crypt was still fresh. [Illustration: PLATE XIII THE FLIGHT INTO EGYPT, FROM THE SOUTH AISLE, CHARTRES CATHEDRAL Thirteenth Century] The other, the fourth from the west, has a very remarkable peculiarity, very seldom met with in glass of the Early Period at all. The blue background to the figures in the medallions, which is of a paler and poorer quality than in the other windows, is covered all over with a thin "matt" of enamel, from which a delicate diaper pattern has been scratched out. Presumably the artist had for some reason been unable to get any more of the splendid deep blue glass, and used this means to give richness and texture to his background. The only other thirteenth century glass I know of in which at all the same thing has been done is at St. Urbain at Troyes, but that belongs, I believe, to quite the latter part of the century. It was a common device in the fourteenth century, but the patterns used then were of quite a different character. [Sidenote: Lincoln.] Except for the grisaille windows at York and Salisbury, the only other extensive remains of thirteenth century work in England are those in Lincoln Cathedral, which, however, are little more than wreckage, and consequently very difficult to date with any attempt at precision. The only window in which any of the glass is in its original position is the great rose window in the north transept, and even this, though the original design can still be made out, is much mutilated. The lancets under the rose in the south transept and the east windows of the choir aisles contain a miscellaneous collection of medallions, separated from their surrounding ornament and glazed in with remains of thirteenth century grisaille. Other medallions, too, have been used to fill gaps in the north rose, and the south rose is filled, with the exception of one light which retains its original fourteenth century foliage pattern, with scraps of thirteenth century ornament of which the effect, with the sunlight twinkling through, is wonderfully beautiful.