The stone window frame itself was placed at the outside face of the wall, and as the latter was of great thickness, the space inside was furnished with stone seats, which are well shown in the example from Alnwick Castle (Fig. 63), where also the sinking to contain the shutters is plainly visible. The shutter itself is shown in the Little Wenham example (Fig. 64, _b_), and in the window at Stokesay (Fig. 23). The glazing of all these windows may be considered as inserted in later years; but whether glazed or not, the lights were protected by iron bars down to the end of the sixteenth century. A Decorated window of the fourteenth century is given in the illustration from the palace at Mayfield (Fig. 55), and again in that of Penshurst (Fig. 71). The charming window from the porch at South Wingfield of the Perpendicular period (Fig. 65), has unusually elaborate tracery, but it serves to emphasise the resemblance between domestic and ecclesiastical architecture, as also do the larger windows from the same house--the bay, and the window in the gable of the state apartment shown in Figs. 36 and 37. An excellent example of the late fifteenth century is to be seen at Abingdon Abbey, in the very interesting guest-house (Fig. 66). These lights were not glazed, but were furnished with iron bars and shutters. During the fifteenth century, owing to the less urgent need for defence, windows increased in size, and by the end of that century windows of six or eight lights, or even long ranges of lights, were not infrequent. One of the most striking features of domestic architecture, and one which in the hands of Elizabethan designers often dominated the composition of their façades, was the BAY WINDOW. By the later architects it was repeated symmetrically so as to help the rhythm of the design. But in mediæval times, with which we are now dealing, it was treated as an isolated feature, and was seldom used except to add to the amenities of the daïs in the great hall. In this position it gave a little extra space, conveniently situated for the reception of a sideboard. Its lights were brought down low enough to afford an outlook, whereas the other windows of the hall were kept up some 10 or 12 ft. from the floor. Even when used singly and without any idea of symmetrical repetition, the bay window was a commanding feature, and was frequently the occasion of such happy architectural grouping as may be seen at Brympton D’Evercy, in Somerset (Fig. 67). [Illustration: 69. Sherborne, Dorset. Oriel Window (15th cent.).]