Of the same stage of development as the Merton windows are the earliest of the figures remaining in the east window of Exeter Cathedral. Although this window was rebuilt and enlarged in 1390, the original glass was, it is known, used again and eked out with new. There is an entry in the Fabric Rolls of 1301-1302 for 1271 feet of glass at 5½d. per foot, "ad summas fenestras frontis novi operis"--which seems to mean the east end of the choir, and two years later a payment to Master Walter the glazier for fixing the glass "summi gabuli," but no further light is thrown on its origin. Later on, however, in the roll for 1317-1318, there is an entry for glass, apparently for the Lady Chapel, "bought at Rouen" at the rate of 6d. a foot for white (? grisaille) and 1s. 0d. for coloured, and from this it has been argued that the whole of the glass up to that time was bought from Rouen too. To me, however, the fact that Rouen is specifically mentioned here, and nowhere else, militates against this theory, while if the price of 5½d. a foot paid for the glass of the east window was for finished figure work, it is far lower than that of the Rouen glass. The figures themselves are much larger than those at Merton College, and on the whole more interestingly treated. There are nine of them remaining: three patriarchs; three apostles--St. Peter, St. Paul, and St. Andrew; and three female saints--St. Margaret, St. Catherine, and, I think, the Magdalen. The canopies are large in proportion, being nearly twice the height of the figures,--an unusual height for so early a date,--but they are not unlike the Merton canopies in style. There is no trace of silver stain either in the canopies or the figures. Another fact which to some extent tells against the theory of their Rouen origin, is that so far I have found no glass of that date at Rouen which at all resembles them, whereas as late as 1290-1295 Clement of Chartres was, as we have seen, doing work there, which shows little change from the style of the middle of the thirteenth century. [Sidenote: Grisaille at Exeter.] There is some very interesting grisaille in two of the chapels at Exeter, of an earlier type than that at Merton, being in fact transitional between the style of the First and Second Periods. It has the interlacing medallions of coloured strap work, with the painted grisaille pattern passing behind them, but this latter, though chiefly of the "Herba Benedicta," breaks here and there into natural leafage. It is a slightly earlier point of development than even the Chapter-House at York, and corresponds very closely with some at St. Urbain at Troyes. FOOTNOTE: [12] This is not altogether conclusive. The fleur-de-lis and castle had been a favourite ornament in French glass since their adoption by St. Louis. [Illustration: PLATE XXIX DETAILS, FROM PLATE XXV] X FOURTEENTH CENTURY GLASS AT YORK