The borders, when not formed of castle and fleur-de-lis, are of a kind found in the Chapter-House at York, and common in other fourteenth century windows--leaves white or yellow, branching at intervals from a straight or wavy stem on a coloured ground. There is not much variety in the coloured bosses, which all consist either of a simple four-leaved pattern or of a small head in white on a coloured disc. There are, I think, only four different designs of these heads--Christ, an old man, a king, and a queen continually repeated. [Sidenote: Poverty of ideas.] The most woeful poverty of ideas is, however, found in the figures under the canopies. There are fourteen windows of three lights each, with a figure in each,--forty-two in all,--yet the designer could think of nothing better to do than to put an apostle in the centre light of each window, repeating two apostles to make them go round, and in every window but two a kneeling figure of the donor--"Magister Enricus de Mamesfield"--in the light on each side. Thus the proud and happy Master Henry might see himself reproduced no less than four-and-twenty times, in robes of red, white, brown or blue, wide sleeved robes with a hood, doubtless the M.A.'s gown of the period. Neither are the apostles very interestingly treated. They are almost repetitions of each other, standing in the same conventional pose and distinguished only by their attributes. The backgrounds of the figures are diapered with enamel in the usual fourteenth century way. In point of development these windows come between the Chapter-House and the earliest nave windows at York, and correspond with the earliest work at Evreux, being the earliest windows in which the style of the Second Period has taken final and definite form. They are not without their beauty, but in looking at them one wonders what has become of the spirit that created the windows of Canterbury, Chartres, and Bourges. [Sidenote: Exeter east window.]