From the large amount of space that is occupied by the canopy work, the general effect of these windows is rather a white one (though white in all old work is a relative term, the white in this case consisting really of a delicate play of greenish, yellowish, and pure white continually contrasted), and the most beautiful to my mind are those in which, as in the windows on the north side which face one on entering, the figures themselves are almost entirely covered with a coloured mantle which makes a broad splash of distinctive colour in the middle of each light. [Sidenote: The eastern windows.] Although all the windows conform to the same general design, those on the east side, on each side of the entrance to the Chapel proper, seem to me to be by a different hand, and were probably done first. They contain or contained originally no colours but red and blue, and the drawing of the figures has much of the conventionalism of the earlier fourteenth century work. The upper tier consists of the twelve apostles, and the lower is believed to have contained the figure of the crucified Christ with His mother and St. John on either side, repeated four times. The figures of Christ have all been destroyed and replaced by figures from elsewhere, perhaps from the destroyed west window; but three figures of the Virgin and three of St. John remain, though it was only in 1900 that they were replaced in what I have little doubt were their original positions. It may, of course, be that these windows are by the same artist as the others, but done before he had quite found himself or emancipated himself from the conventionalities of his predecessors, for he has infused a certain amount of life into the old forms; and the "Mater Dolorosa," in spite of her conventional S-like pose, is a tender and pathetic figure. [Sidenote: The colouring.]