In the clerestory windows of the nave the change has already come about. Although in the richness of colouring there is still a reminiscence of the earlier style, yet the medallion has vanished, and everywhere, both over single figures and over subject panels, we find decorated canopies, not yet, however, of exaggerated proportions, and with a complete absence of yellow stain. In the general arrangement the same idea is seen as in the choir, but it has had to be adapted to a different form of window-opening. The nave is part of the original church of 1225, and the clerestory windows consist, like those of the Cathedral, of broad lights grouped in pairs, with a rose above each pair--the germ of tracery. Every alternate pair is entirely filled with small coloured scenes from the life of a saint,--no longer in medallions, but each framed under a small white canopy,--but the windows between them have only a vertical stripe of colour down the centre of each light containing two large figures, one above the other, while the rest of the light is filled with grisaille (Plate XXIII.). The portrait of a certain abbot as donor enables us to date these nave windows with fair accuracy as about 1307-8, which makes them slightly later than the Peter de Dene window in York Minster. The grisaille is, however, of a distinctly earlier type, having the background still cross-hatched, but at Chartres one would expect the old traditions to die hard. [Sidenote: Fourteenth century glass in Chartres Cathedral.] There is fourteenth century work in the Cathedral, which is interesting in its way. The window given, about 1307-10, by "Geoffrey the Restorer," a canon whose "restoration" of the thirteenth century windows was of a different kind to that now in vogue, is the work of an archæologist and an enthusiast for the older style and can hardly be taken as typical. Very different is the strip of glazing which Canon Thierry got leave, in 1328, to insert in the foot of one of the big thirteenth century windows in the south transept to light an altar he had founded. Even for its date it is remarkable, consisting, as it does, of figures (Canon Thierry kneeling to the Virgin surrounded by saints) executed entirely in white and silver stain, without any coloured glass, placed directly on a background of white and stain quarries. It is perhaps the first examples of this treatment of figures, and anything more hopelessly out of keeping with the deep and solemn colours above it can hardly be imagined, so that it is difficult to do it justice. An example of _coloured_ figures placed directly on quarries is the Annunciation, which dates from 1350, in the south choir aisle, but it is not a very interesting group. The chapel of St. Piat contains some glass of the latter half of the century, but the treatment it has received prevents one forming an opinion of it. [Sidenote: Evreux.]