windows in the west wall at the end of each aisle are of the same period, and also display excellent workmanship, especially the Crucifixion in the northern one. It should be remarked that all the aisle embrasures but two, and all those of the clerestory but two, retain their original glazing, and if to this we add the windows in the west wall just described, it is clear that Winston was right in stating that this nave contains the most perfect and extensive remains in England of the early part of the fourteenth century. His studious heraldic analysis of the first window from the east in the north aisle yields him the conclusion that it was made in 1306 or 1307. He remarks that the yellow stain there used to tint the hair of one of the personages is the earliest instance he ever found of the use of that new colour. Next this on the west is a very charming window given by Richard Tunnoc, Lord Mayor of York, who died in 1330: above his effigy appears a small reproduction of this gift window. This is perhaps the finest of its type in England. It was in honour of the Bell-Founders' Guild, and is appropriately ornamented by numerous bells in the borders as well as other parts of the design. For the rest of the Decorated glass we must go to the chapter-house and the vestibule which leads thereto. It would be difficult to find a spot in which one becomes so thoroughly imbued with the feeling of Decorated glazing as in this vestibule. Here we have no distracting features from other periods. The tall, slender lancets that light this L-shaped hallway are completely filled with grisaille overrun with archaic figures and crude canopies, here displayed to the greatest advantage. Passing through to the handsome octagonal chapter-house, we are at first disappointed to notice that the window facing us contains modern glass. Although this first glance is unfortunate, one is soon consoled by observing that all the other six have excellent Decorated glazing of the time of Edward II. and III., showing four bands of late medallions in colour drawn across a grisaille background livened with occasional touches of red and blue. The grisaille here leans to grey rather than to the usual greenish hue, and moreover, the quarries are cut into irregular shapes, thus relieving the monotony of the commoner diamond-shaped panes. [Illustration: _F. Valentine, photo._ CHAPTER-HOUSE, YORK MINSTER Note the grouping together, in each embrasure, of five narrow lights below gracefully elaborated tracery openings. Later on, in the Perpendicular period, these traceries lose their individuality, become stiffly regular, and part of the window below]