(3) _The more Advanced Style of Drawing._--The older conventions in drawing had, as we have seen, become outgrown and abandoned, and all through the last part of the fourteenth century there is a steady struggle for a more advanced method of expression. At the beginning of the fifteenth century, drawing, in England at least, crystallized once more into a convention satisfying to the mind of the time, which left the artist free to tell his story. Plates XXXIX. to XLIII. are examples of it as found at York, and Plate XLIV. from Canterbury does not greatly differ in method. The drawing still depends chiefly on line work, but the line work is far finer than before and is used to express modelling with the help of the matt shading. This last is the form of shading which has survived to modern times, and is done by laying a flat semi-transparent coat or "matt" of enamel over the whole surface of the glass, and, when it is dry, and before it is fired, brushing out graduated lights and half tones with a small stiff hog's-hair brush. Sometimes, but not always, the matt was stippled when wet, as may be seen in Plate XLII. In later times the matt shading was, and sometimes still is, abused in the attempt to give modelling in high relief by its means alone, a method which results in the loading of the glass with opaque muddy brown, while the modelling becomes untrue with changing lights. This, however, was hardly done within the limits of the period I am writing about in this book, in which the drawing of form is still principally dependent on line work, and is merely helped and softened with the matt. [Illustration: PLATE XLI HEADS, FROM ALL SAINTS', NORTH STREET, YORK Fifteenth Century] [Sidenote: The type of figure.] The figures themselves in contrast to those of the previous period are rather short and ungraceful, but, in the best work at least, very much alive. The quaint nose of which Plate XLII. is an extreme type is curiously universal throughout English work of the time, and was, I suppose, the accepted type of beauty. [Sidenote: Forms used in the ornament.]