(3) _The Combination of Figures and Grisaille._--This is one of the most noticeable developments of the period. As I have said, it is occasionally attempted in the preceding style towards the close of the period, but in the fourteenth century it is the rule. Small windows are sometimes still filled entirely with colour, but nearly every window of any size, especially in the early part of the century, contains a large proportion of grisaille. In the nave of the Church of St. Pierre at Chartres (Plate XXIII.) the same principle is followed as in the earlier work in the choir, namely, the arranging of the figure-work and grisaille so as to form vertical stripes of alternate white and colour. This plan, however, was not persisted in. The numerous vertical lines formed by the mullions in the newer style of architecture required horizontal lines to balance them, and accordingly we find the usual method in fourteenth century windows is for the coloured masses to be ranged in horizontal bands running right across the window through all the lights. Plate XXV. from St. Ouen at Rouen shows a very typical window of the period. Sometimes there was, as here, one row of coloured panels, sometimes two or more as in the nave of York Minster. It will be noticed that in order to blend the white and colour satisfactorily the designer includes a good deal of white among the colour and a good deal of colour among the white. This latter is no longer dispersed through the white in coloured threads, half suspected, but is collected into bosses and borders where its effect is strong enough to support the principal masses. In fact the key-note of the design--namely, the strong contrast of light and dark in flat masses, necessitated by the combination of colour and grisaille--is repeated everywhere in detail throughout the window of which the parts are thus brought into harmony with the whole. [Sidenote: The borders.] This same idea leads to a complete change in the character of the borders. The running scroll work of the preceding age would no longer be appropriate; the vertical lines need breaking rather than emphasizing, and the design of the border usually takes the form of alternate blocks of colour and white or yellow. Plate XXVIII. shows some typical borders from Rouen, borders typical of English as well as French work. It will be noticed that the coloured pieces are usually left blank while the white and yellow are decorated with patterns or foliage blocked out with solid black. The ornament of the tracery lights, which by the way are usually kept pretty full of colour, is designed on the same principle. It consists, in fact, of borders tightly curled up with, sometimes, in the larger lights, a figure or a small coloured medallion in the centre containing a head. [Sidenote: The bosses.]