Those on the north are the oldest and in the best condition, those on the south being much broken and confused, and one, alas! "restored." The general design is the same in all and is a typical fourteenth century one, two horizontal bands of coloured panels surmounted by canopies running horizontally through all the lights, separated by panels of grisaille which have a coloured spot in the centre of each panel. It is characteristic of the fourteenth century that the whole of the lower panels are in nearly every window devoted to the donor, who is thus given as much space as the subject. The grisaille is of the same type as at Merton. As in all early fourteenth century work, the sections divided by the heavy frame-bars are taken as the units of the design, the coloured panels with their canopies each occupying two sections and the grisaille panels one each. Nos. 2, 3, and 4 on the north were probably the first executed, as they contain no trace of yellow stain (Plate XVII.b). No. 5, from which the border of monks in their stalls in Plate XVII.a is taken, has a single touch of it in one place, but in No. 1 it is used, though still sparingly and tentatively, on the beaks and claws of the eagles in the borders of the outer lights (Plate XVII.c) and on the mail of the knights in the border of the centre light (Plate XVIII.), and here and there in the canopy. Another fresh development is the prolonging of the pinnacles of the canopy into the grisaille panel above. [Sidenote: The Peter de Dene window.]