The third window contains some interesting portraits in its lower panels. The central one is that of an Archbishop of York, as shown by the key in his left hand, holding in his right a model of the nave[14]. On the left is a knight dismounted, holding his horse by the bridle, and behind him the hand of some one out of the picture holds his banner, which the painting, though almost obliterated, still shows to be "vairé" argent and sable. In the opposite panel is a lady standing and behind her, half out of the picture, a man on horseback, doubtless his wife and son. Now the arms on the banner are those of the Barons de la Warde, of whom there were only two, Robert and his son Simon. Robert, who was in the Scotch wars, and in 1306 was steward of the household to Edward I., must have passed the greater part of that year in York with the King, who was there preparing for his last expedition against Robert Bruce. He, Robert de la Warde, died next year. His son Simon was Governor of York in 1321, and helped with his forces to defeat Thomas of Lancaster at Boroughbridge. It will thus be seen that the window might either have been given by the father in 1306 or the son about 1320, but since two figures are represented, and since we know that Simon died childless (the barony becoming extinct), it seems probable that it was executed in the father's lifetime. Again, though 1320 would fit the Bell-founder's window, since Tunnoc was Sheriff of York that year, it cannot be made to fit the facts in Peter de Dene's window, which is certainly not earlier but later. The presence of the Templar is against it, as it is unthinkable that the Order which was suppressed in 1312 (and its grandmaster burnt) should thus have been complimented in 1320. But for this fact I am bound to say I should have thought 1320 the more probable. If then we accept 1306 as the approximate date for these windows, it will be seen that in little more than seven years a complete change had come over the design of English stained glass, and it will presently be seen that much the same thing was happening in France at the same time. Indeed, one of the surprising things about mediæval art is the rapidity with which new ideas seem to flash across Europe from Yorkshire to Dalmatia. The outer lights of the de la Warde window have a fascinating border of monkeys bearing pitchers, and across the bottom of the window is a busy scene of monkeys hunting and feasting, with a man and woman among them. [Sidenote: The fifth window in the north aisle.]