next window; but from the fact that similar treatments of the same subject repeatedly occur, it seems to me not unlikely that drawings of figure subjects for medallions were kept on separate sheets of parchment, or in a book, and used again. [Illustration: PLATE XV THE FLIGHT INTO EGYPT, POITIERS Late Thirteenth Century] To the scene of the Good Samaritan rescuing the traveller there are four scenes showing as a "type" the Passion of Christ. Of these the Crucifixion is treated in the most striking and original way, which I rather think occurs also at Bourges. On one side of the cross stands a female figure wearing a crown and with a nimbus, and receiving in a chalice the blood which flows from the side of Christ; on the other, a six-winged seraph is sheathing a sword. The latter is, no doubt, a symbol of the peace made between God and man by the atonement on the Cross,--I think PP. Cahier and Martin identify him with the angel that guarded the gates of Paradise,--while the crowned female figure is, of course, the Church. [Sidenote: The Prodigal Son.] The next window, containing the Parable of the Prodigal Son, differs from the others in having straight iron-work and a more formal arrangement of the medallions. I do not think, however, that it is older. One charming panel in it is a good illustration of the attitude of the artists of that day on the question of colour. The Prodigal Son is feeding pigs, of which one is white, two blue, one green, and one red! The next scene shows him making his way homeward, undeterred by the efforts to hamper him of several devils as gaily and variously coloured as the pigs. There is considerable dramatic power shown in this figure of the Prodigal. Let no one call the drawing of this period _bad_ drawing. It would be as true to call Japanese drawing "bad." It is drawing in a convention--a convention different from our own, but which, once mastered, set the artist free to express action and emotion without being further hampered by technical difficulties. [Sidenote: The Becket window.] Of the other two, the one dealing with the story of St. Thomas à Becket is the one which most reminds me of Canterbury. Here there is no doubt that we have the same hand that gave us the Jordan Fitzeisulf window there. The border is identical,--an unusual thing at that time even in the same church,--and the representation of Becket's tomb in the crypt is precisely the same. [Sidenote: The story of St. Eustace.]