Sometimes groups of figures may be noticed evidencing, by their utter lack of connection with their environment, that they have been transplanted from some other window. Sometimes a single figure, under a Decorated canopy, stands out in a window of distinctly Perpendicular tracery. Sometimes several of such figures fill separate lights when they have evidently been intended to be together. Sometimes kneeling figures, each of which had been intended to represent the donor of some window, have been brought together in a rather amusing and inharmonious fellowship. Sometimes the whole of some large figure has been removed, and only the outline left, which has been indiscriminately filled up with a patchwork of scraps of all kinds and subjects. This is specially noticeable in the window on the north side of the choir, where the letters R.S., in the bordure, indicate that it had been put up to the memory of Archbishop Scrope; here there are three large outlines of female figures, each with a child in her arms, one of them probably the Virgin, but all detail has been obliterated. Sometimes only a portion of a figure remains, _e.g._, a beautiful and venerable head and shoulders of some grave ecclesiastic in the most delicate mezzotint; or a dignified face with splendid crown and nimbus, and cope and pectoral cross adorning what remains of a saintly figure; or a crowned head, in a maze of painted fragments, around which the initials, E., in the bordure, evidently denote Edward the Confessor. Again, there are legs only, with the water flowing over the feet and the end of the staff which the hands had grasped, evidently the remains of some grand figure of St. Christopher, a very frequent and favourite figure in the church windows of York. Or, again, draped figures of ecclesiastics, complete almost to the hem of their robes, but destitute of feet, which may be discovered in the tracery above, where they have been utilised simply to supply some fracture. Sometimes heads and bodies, which have evidently no real association, are found united together. The former occasionally the work of some modern painter, who had attempted with his own brush to supply what was lacking. This is manifestly the case in the west windows of the central aisle of the nave, where the faces of the archbishops are evidently modern insertions, and in the west window of the south aisle, where a stately figure of our Lord on the Cross, tended by little angels, has been terribly marred by a most repulsive modern face, which has been added. But sometimes the head and body are both mediæval, but sadly incongruous, for male faces are to be found on female shoulders, and delicate crowned heads of virgins or angels on the stalwart bodies of men.