The Cathedral of Evreux is rich in remains of fourteenth century glass, which, like that at York, illustrates the progress of design during the century, the windows being of all dates from the opening of the fourteenth century till well on in the fifteenth. The earliest are those in the choir chapels, some of which are of about the same date as the Merton College glass, which, indeed, they at once call to mind. As at Merton, small coloured panels containing figures under low canopies are made to decorate long lights of grisaille. For the most part, as at Merton, the figures consist of donors in the outer lights, kneeling to their patron saints in the inner ones, though occasionally one finds subjects, such as the part of a Life of St. Martin in one of the northern chapels. One of the chapels in the apse is remarkable for the charming use of heraldry in the border. The windows contain figures of the Count of Evreux kneeling to the Virgin. His arms are the lilies of France with a bend "componée" of argent and gules, and the fleur-de-lis and the bend are repeated alternately all the way up the border, on a ground of blue, with delightful effect. Later than these is the Harcourt window, the earliest apparently of those in the clerestory, which must date from between 1310 and 1327, though I am inclined to think it is nearer the later date. Here again one has the arrangement, so characteristic of the fourteenth century, of kneeling donors in the outer lights and their patron saints in the inner,--the first idea in nearly every fourteenth century window is the safety of the donor's soul,--but here the coloured panels are placed at the very bottom of the window, with grisaille above, an arrangement which one finds again in later work at Rouen. It has the advantage of bringing the figures nearer the eye, but as a design it is hardly happy. [Sidenote: St. Ouen at Rouen.] The fine church of St. Ouen at Rouen is very rich in fourteenth century glass of the first half of the century. The oldest, perhaps, is in the clerestory windows, which afford another example of the practice found, I think, earlier in France than in England, of placing figures directly on a background of quarries (Plate XXIV.). From the small amount of stain used I do not think they are likely to be later than 1330, though the queer little pedestal with its ogival arch does not look a very early feature.