In our investigation of English glass of the Early English (or mosaic) period, we shall often find ourselves regretting the almost entire absence of rose windows, so frequent and splendid across the Channel, where those great blossoms of Gothic architecture provided such glorious opportunities for the decorating hand of the glazier. For this lack we shall later on find ample compensation (especially during Decorated and Perpendicular times) in the huge sheet of glass filling the great east window of many English churches. While the southern architect decided in favour of the rounded apse for the east end of his cathedrals, his northern neighbour preferred a square ended one, thus permitting a fine broad embrasure, broken only by narrow mullions, and providing a golden chance for the glazier, which he lost no time in seizing. Therefore, if we miss the innumerable rose windows of France, it is but fair to state that it possesses nothing that can vie with the great expanse of glowing colour found at the east end of York or Gloucester or Malvern. It is clear that the glass artist, whatever his nationality, had at all times to take heed of the architecture which provided the setting for his glass, and which his work was to help decorate. It is but natural, therefore, that his designs should have been influenced by the prevailing architectural style, and this was particularly true in England during the prevalence of both the Decorated and the Perpendicular schools. When the time arrived to change from the mosaic method of constructing stained glass, the whole effort of the Englishman seemed to have been devoted to making his new product conform to the new Decorated style of building. Not so his neighbour across the Channel, for there everything was then being sacrificed to the demand for better lighted interiors, even to the extent of filling much of his embrasures with grisaille, and using deep colour only in the borders or in bands of canopy-framed figures across parts of the windows (Sées, Evreux). The need for more illumination did not exist in England, for in that land of cloudy skies and infrequent sunshine they had already realised how greatly mosaic medallion glass obscured the light, and, therefore, had early struck out for themselves, and developed an admirable use of grisaille, as one may see at York and Salisbury. They had already solved the problem of better illumination, and were that much ahead of their French neighbours. In France, because of light-admitting grisaille then demanded (either alone or in conjunction with the early canopies), the fourteenth century window gives a lighter effect than when later on, in the fifteenth century, the artist dispensed with the grisaille, enlarged his canopy completely to fill its lancet, and, thanks to the development of coated glass--_i.e._, several layers of different colours permitting, in combination, a wide range of hues--introduced more varied and richer