This window, which is sometimes called the Heraldic Window, from the number of coats of arms it contains, is the only one of them that has hitherto been the subject of any very close study, Mr. Winston having devoted a whole article to an extremely close and careful analysis of its heraldry, and to an account of the life of its donor, one Peter de Dene, whose portrait is in the central light and who was a churchman-politician under the first two Edwards. There is no space here to repeat his arguments, and I will only say that, after reading them and rereading them, I find it very difficult not to accept his conclusion that the most probable date for the window is 1306. The subject panels represent the story of St. Catherine, but are the least interesting part of the window, of which the most charming feature is, perhaps, the border of the central light, which consists of miniature portraits of kings, queens, and nobles whom the donor wished to compliment (Plate XVIII.). The two uppermost figures are those of a Templar and a Hospitaller; below them are the kings and queens of England and France, in allusion to Edward I.'s second marriage, and the recent peace concluded by it; below the Queen of France is the Heir-Apparent of England, and the remaining figures bear the arms of de Clare, Earl of Gloucester, Warrenne (both connected with the Royal Family), Beauchamp, Ros, Mowbray, Clifford, and Percy. The coats of arms which form the bosses in the white panels are those of foreign monarchs with whom the King of England was connected. The white eagles in the outer border are thought by Winston to refer to Piers Gaveston, who, though somewhat under a cloud in 1306, yet, as the friend of the heir to the throne, was a good person to keep in favour with. It is true the Gaveston eagles were golden, but heraldry was more free and easy then than later. There is a portrait of Prince Edward in the Chapter-House with a white falcon on his wrist, and white falcons are plentiful in the windows of the nave, yet I have never heard of his using it as a badge, though the last Plantagenet, Richard II., did so. [Sidenote: The Bell-founder's window.] The next window to this is the famous "Bell-founder's Window," given by Richard Tunnoc, bell-founder of York. In the lower panel of the centre light is his portrait kneeling and presenting a model of the window to an Archbishop, perhaps St. William. The panels on either side represent one, the casting, the other the turning of a bell in a lathe. Bells are everywhere in the window, the canopies are hung with them in rows, the borders are formed of them, but Mr. Westlake's careless remark that all six panels represent the process of bell-making is not true. The upper three are much perished, but one can just see that they tell the story of St. William's return to York, when the welcoming crowds broke down Ouse Bridge, but when, through his intercession, not a life was lost. [Sidenote: The de la Warde window.]