Rather later than these are the immense windows in the choir aisles, of which Plate XXV. is an example. In comparing them to those in York Minster, they seem to me to come, in point of development, between the aisle windows of the nave and the west windows, but are far better than the latter; yet, although there is hardly a detail in them which cannot be found in an earlier form at Merton College or York, they have, nevertheless, a character all their own, a hint of growing divergence between the two schools. The subject of this particular window is the Life of St. Gervais, but it is such an unimportant detail in the design as to be hardly worth mentioning, the real interest of the windows being their planning and ornament. They are planned on precisely the same system as the windows in Merton College chapel, in the choir chapels at Evreux, and the aisles of York nave, but the canopies are more highly developed, the quarries are "true" quarries, and stain is much more freely used. Plates XXVI.-XXX. show, in detail, the use that has been made of it in the grisaille borders and bosses of this window. Even the canopies that are all yellow are, I fancy, coloured with stain; but the artist has been alive to the danger of too much yellow in the window, and has made every other canopy white, merely touched with stain, a form which in time was to supersede the other altogether. If you compare the little figure from one of these canopies in Plate XXX. with the little border figures from Peter de Dene's window at York, you will see how the work is beginning to lose the mosaic character it had inherited from the previous centuries. The grisaille patterns, as well as the borders, show descent from, or at least common origin with, those of York and Merton--you can find that central stem with a wavy line on it in both; but there is a subtle difference in the Rouen work--a little more grace, and more care that the foliage shall not only decorate the whole space of white, but form a symmetrical pattern on each individual quarry, a tendency which, however, may also be found in English work towards the end of the century. [Illustration: PLATE XXXV CANOPY, FROM ALL SAINTS', NORTH STREET, YORK Fifteenth Century] Of later fourteenth century work there is not very much in France. The country was devastated by war, and there can have been little money or heart left for painted windows. Whichever side of the channel the style of the early fourteenth century originated, it is quite certain that the next great movement came from England. FOOTNOTE: [15] Lasteyrie would have it that the existing windows represent this glazing,--an extraordinary mistake for him to make,--but it is just possible that they contain figures from the older windows. [Illustration: PLATE XXXVI NICHOLAS BLACKBURN AND HIS WIFE, FROM EAST WINDOW OF ALL SAINTS', NORTH STREET, YORK Fifteenth Century] XII LATE FOURTEENTH CENTURY GLASS IN ENGLAND