In 1347 a royal ordinance was proclaimed in favour of the workmen of Lyons. The custom existed at that time of adorning with painted windows royal and lordly habitations. The artists produced their own designs, adapting them to the use that was made, in private life, of the halls for which they were intended. Some of these windows representing familiar legends adorned even the churches (Fig. 233). Among the most important works of the fourteenth century, we must mention in the first place the windows of the cathedrals of Mans, Beauvais, Évreux (Fig. 234), and the rose-windows of St. Thomas at Strasbourg. Next come the windows of the Church of St. Nazaire at Carcassonne and of the Cathedral of Narbonne. There are, besides, in the Church of St. John at Lyons, in Notre-Dame of Semur, in Aix in Provence, at Bourges, and at Metz, church-windows in every respect worthy of attention. [Illustration: Fig. 234.--Fragment of a Window presented to the Cathedral of Evreux by the Bishop Guillaume de Cantiers. Fourteenth Century.] The fifteenth century only continues the traditions of the preceding one. The principal works dating from this epoch begin, according to the order of merit, with the window of the Cathedral of Mans, which represents Yolande[31] of Aragon, and Louis II., King of Naples and Sicily, ancestors of the good King René; after them we shall place the windows of the Sainte-Chapelle, Riom; St. Vincent, Rouen; the Cathedral of Tours; and that of Bourges, representing a memorial of Jacques Cœur, &c. The sixteenth century, although bringing with it, owing to religious troubles, many ravages of new iconoclasts, has handed down to us a variety of numerous and remarkable church-windows. We are, of course, unable to mention them all; but it seems expedient--adopting the rule of most archæologists--to divide them into three branches or schools, which are actually formed by the different styles of the artists of that epoch; the French school, the German school, and the Lorraine school (Fig. 235), which partakes of the characteristics of the two preceding. [Illustration: Fig. 235.--Allegorical Window, representing the “Citadel of Pallas.” (Lorraine work of the Sixteenth Century, preserved in the Library at Strasbourg.)] At the head of the French school figures the celebrated Jean Cousin, who decorated the chapel of Vincennes; he also made for the Célestins monastery, Paris, a representation of Calvary; for St. Gervais, in 1587, the windows representing the “Martyrdom of St. Lawrence,” the “Samaritan conversing with Christ,” and the “Paralytic.” In these works, which belong to a high style of painting, the best method of arrangement, vigorous drawing, and powerful colouring, seem to reflect the work of Raphael. Windows in “_grisaille_,” made from the cartoons of Jean Cousin, also decorated the Castle of Anet.