pedestal which carries the figure above. Figure and canopy are white, their whiteness only emphasised by touches of yellow stain, and relieved against a coloured background. The background of the two central columns of lights is ruby, that of the column on each side blue, and the next ruby again and so on alternately. Thus the general effect is of a white pattern on a background that is striped vertically with alternate red and blue. It is this simple but effective colour scheme that gives the window its resemblance in effect to Perpendicular glass; but there are other features--the complete absence of borders, the pedestals that carry the figures (which are first found at Wells), and the decoration of the quarries--which all indicate the coming change. The quarries, where the original ones remain, still have the "trellis" pattern, but instead of the continuous flowing pattern of foliage running through them each quarry has a sort of star pattern in the middle of it, stained yellow, a design much more common in the fifteenth than in the fourteenth century. This placing of quarries at the foot of the windows and in the tracery has its origin, of course, in the old fourteenth century arrangement of a horizontal stripe or stripes of figure and canopy work on a ground of grisaille. [Illustration: PLATE XXXVII PRIEST, FROM "ACTS OF MERCY" WINDOW, ALL SAINTS', NORTH STREET, YORK Fifteenth Century] The subject of the window is the enthronement of the virgin surrounded by apostles, saints, and angels; the same subject as that of the west window of York Minster which it was probably meant to, and certainly does, surpass. The figures themselves, however, still suffer from the conventionality and affectation of the period, and it was not for twenty years more that there was to be a change in that quarter as well. [Sidenote: William of Wykeham and Thomas the Glazier.] It was in 1380, or soon after, that new life came into the art through the piety and enterprise of William of Wykeham, whose influence may be compared to that of Abbot Suger in the twelfth century, and the genius of his master glazier, Thomas. Of the latter we only know his name from the portrait of himself which he put in the windows of Winchester College Chapel (now, alas! only modern copies of the originals), with the inscription "Thomas operator ist. vitri," but his hand is easily recognizable not only at Winchester, and in the three original lights from thence now in South Kensington Museum, but in the glorious set of windows in the antechapel of New College at Oxford. [Sidenote: New College antechapel.]