Chartres, too, can boast of the possession of the Holy Veil. Given to Charlemagne by the Byzantine Emperor, Constantine Porphyrogenitus, it has escaped successive fires, and though cut in two at the Revolution, is still preserved in the Treasury. Owing to the great height and narrowness of the lancets, each contains several figures or figure subjects, one above the other. In the head of the central lancet is Our Lady enthroned, with her Child on her knee, and below her are the Annunciation and the Salutation. In the head of the light on either side is an angel incensing, and in the lights beyond these, a cherub and a seraph. Below these are Moses, Aaron,[10] David, and the four major Prophets--Isaiah, Jeremiah, Ezekiel--and Daniel. The arrangement of these figures seems, however, quite haphazard, and as if the original design had not been carried out. The two remaining lancets, on the extreme right and left, contain, respectively, scenes from the lives of St. John the Baptist and St. Peter. How far these are meant to have a bearing on the central subject I am not quite sure. The uppermost subjects in them are the Baptism of Christ and the "Domine, quo vadis?" [Sidenote: The big angel.] The Big Angel (Plate X.) on the north side of the Virgin is especially puzzling. The other six lights of the apse have each three figures or figure subjects, set one above the other in elongated medallions,--Plate XI. shows two of them, King David and Ezekiel,--and at the foot of each is a panel showing the donors. The other figures are so set as to form regular tiers round the apse, but this angel is twice the size of any of them and forces the figure below--Aaron--down out of line, leaving no room for another figure between him and the donor. Perhaps this light represents part of a design for the apse which was afterwards modified in order to get more figures in. The donor is one Gaufridus, who has been identified with a certain Godfrey d'Illiers, a gentleman of the neighbourhood, whereas the rest are given by the Guilds--the bakers, butchers, money-changers, and furriers, which latter are seen actually bringing their window. The Prophets bear a good deal of resemblance to the figures from the clerestory at Canterbury. The Isaiah at both places wears the same curious headdress--a little round hat, not unlike the latest form of "bowler" of our own days. The figures are not from the same drawings, for the attitudes are different, but the Chartres artist has at least remembered Canterbury choir, which was probably the work of his master, thirty or forty years earlier. [Sidenote: The canopy.]