The great west window of Winchester Cathedral contains fragments and a few whole figures of very similar work, and there are others in the side windows of the nave. William of Wykeham's will, made in 1403, leaves money for the glazing of the Cathedral windows "beginning from the west at the first window of the new work done by him," which sounds as if the west end had been already glazed. Indeed the fragments there are more like the eastern windows (the earliest, if I am right) in New College antechapel, while in the fragments that remain in the side windows of the nave the later hand can be traced, though the tendency in the canopies of these is to assimilate gradually to the regular Perpendicular type which by this time had been developed elsewhere. Winston thinks the west window of the Cathedral may have been glazed in the time of William of Wykeham's predecessor, Bishop Edington, in which case it is not unlikely that it and the east windows of the antechapel at New College were the work of Thomas's master, whose style was further developed and improved by Thomas himself. [Illustration: PLATE XXXIX FIGURE, FROM "VISITING THE PRISONERS," IN "ACTS OF MERCY" WINDOW, ALL SAINTS', NORTH STREET, YORK Fifteenth Century] XIII THE STYLE OF THE THIRD PERIOD [Sidenote: Divergence between English and French schools.] A notable feature of the fifteenth century is the divergence which takes place in it between the styles of English and French stained glass. Although in some respects they develop along parallel lines the two no longer form, as they did almost to the end of the fourteenth century, one school. The Hundred Years' War has done its work, and produced a separation of spirit for which the world has, perhaps, been the poorer ever since. Indeed for the first half of the fifteenth century, during which the best of the English work was done, the quantity of stained glass produced in France seems to have been almost negligible, and a comparison of the conditions of the two countries is a sufficient explanation of this fact. While England was becoming rich and prosperous and developing her foreign trade, France was laid waste by war and struggling to free herself from the foreigner who had beaten her down. It was not till the English had been finally expelled, and France had emerged from the struggle a stronger State than she had ever been before, that the art revived; and when it did so it owed little, as is not surprising, to English influence, but on the other hand began to feel, almost at once, the influence of the Continental schools of painting.