I am less certain about the St. Eustace window. Its general effect is very different from the others, being flatter and less sparkling; but this may be due to the work of a restorer. The figures, however, do not fit and decorate the medallions as well as in the other windows or in those at Canterbury; in many cases part of a figure has to project into the border.[9] The medallions themselves, too, are of rather awkward shapes, and the design of the iron-work not very restful. The scroll work, however, is very like that in the east window at Canterbury--so like that one can hardly doubt their common origin. It may be that here, too, the artist has used some one else's figure designs, less successfully than in the Good Samaritan window. There is a Life of St. Eustace at Chartres in which the scenes bear a general resemblance to those at Sens, but decorate their spaces much better. To sum up, I think that these windows at Sens, with the possible exception of the Life of St. Eustace, are the work of the same artist as the Jordan Fitzeisulf window and the east window in "Becket's Crown" at Canterbury; that in the Good Samaritan window he was using the cartoons of his master, who designed the windows in Canterbury choir, of which two, as we have seen, remain. He may have come from Canterbury at the time of the interdict in King John's reign (1208-1213), when all work there must have been suspended, and not returned, leaving another to finish the work after the interdict was removed. It would be a very probable date for the Sens work, but in the absence of the destroyed windows at Canterbury it is pure conjecture. [Illustration: PLATE XVI HERALDIC PANEL, FROM THE CLERESTORY OF THE NAVE, YORK MINSTER Early Fourteenth Century] [Sidenote: Chartres.] Meanwhile, ever since the fire in 1194, the people of Chartres, careless of their personal losses, had been working in a flame of enthusiasm and devotion at the rebuilding of their Cathedral. Every one, nobles, merchants, craftsmen, and peasants, gave what they could. Some gave money, some materials, some provisions for the workmen. Those who had nothing else gave their labour, even harnessing themselves to carts to drag stone for the building. Heaven itself seemed to lend its aid, for it is said that Our Lady worked many miracles of healing at her shrine at Chartres, which soon became a thirteenth century Lourdes, to which pilgrims came from all countries, leaving offerings of money or jewels. Finally, in 1210 the main part of the building seems to have been finished. "Entirely rebuilt in hewn stone," says William le Breton some years later, "the Cathedral of Chartres has nothing to fear from temporal fire from now till the day of judgment, and will save from eternal fire the many Christians who by their alms have contributed to its reconstruction."