We still have to mention some fragments contained in the Church of St. Serge, and the chapel of the Hospital, in the town of Angers; also a glass-window in the Abbey of Fontevrault; another in the Church of St. Peter, at Dreux, in which is represented Queen Anne of Brittany. We will, in conclusion, mention one of the windows of the choir in the Church of the Trinity, at Vendôme; it represents the Glorification of the Virgin, who bears on her forehead an aureola, the shape of which, called _amandaire_,[29] has furnished archæologists with a subject for long discussions; some being desirous of proving that this aureola, which does not appear to be depicted in the same way on any other painted window, tends to show that the works of the Poitevine glass-makers, to whom it is attributed, had been subject to the influence of the Byzantine school; others assert that the almond-shaped crown is a symbol exclusively reserved for the Virgin. Before we proceed to the examples handed down to us from the twelfth century, we must mention some remains of glass to be seen at Chartres, Mans, Sens, and Bourges (Fig. 232), &c. We may also add, as an incident not without interest, that a chapter of the order of the Cistercians, considering the great expense to which the acquisition of painted windows led, prohibited the use of them in churches under the rule of St. Bernard. [Illustration: Fig. 232.--Fragment of a Church-window, representing the “Prodigal Son.” Thirteenth Century. (Presented to the Cathedral of Bourges by the Guild of Tanners.)]