This use of white in the figures and canopies rendered unnecessary the old fourteenth century plan of dividing the window up into alternate panels of grisaille and colour, and this is abandoned. Another result is the loss of the essentially mosaic character of the older windows. So much could now be expressed with stain and brown enamel on one piece of glass that, although the pieces used were still comparatively small, it was no longer necessary to surround every form with a lead as a matter of course. Plate XXXVI. is a good instance of this. The green-striped background to the figures is the work of the restorer and was probably once blue, as in Plate XXXVII., and this and the red mantle surcoat and shield are the only forms that it was absolutely necessary to lead in separately. It is true that, either for emphasis or from habit, the artist has outlined the man's knees in lead; but he need not have done so, and it would indeed have been easier not to. In the next plate (Plate XXXVII.) the leading on the white takes very little account of the drawing. Out of these conditions then arose a wholly new attitude towards the leading. Hitherto the disposition of the lead-work had followed naturally and inevitably from the design--the artist drew in lead, so to speak, merely supplementing it with the finer painted line; whereas now the leads had, in part at least, to be so arranged as not to interfere with the drawing, or only to emphasize it when needed, a matter requiring much more thought. A comparison of either of the above plates with Plate IV. will illustrate the difference. Hence we find a gradual tendency to use larger pieces of glass and fewer leads (the latter being sometimes concealed behind the iron-work), till by the end of the century the jewel-like quality of the early glass is a thing wholly lost and forgotten. [Sidenote: The method of drawing.] [Sidenote: Matt shading.]