And similar confusion exists in many other details: borders of different dates which have been pieced together, or incongruous modern borders which have been devised to make up the space on each side of some smaller window, which has been brought from some other church. Some of the windows, indeed, are almost, if not altogether, perfect. The east window has been patched with pieces of crude coloured glass, but only as repairs, possibly after the great fire in 1829, otherwise it must be very much as put up by John Thornton, 1405; and in its nine lights divided into six tiers, it contains two hundred panels of groups of figures, the two upper tiers being subjects from the creation of the world to the death of Jacob, the remainder from the book of Revelation. The tracery lights of the east window of the north aisle seem to me altogether untouched. [Illustration: The North Aisle] The choir transept windows have been restored, but contain a large portion of the old glass in five lights. That on the north side, erected by some member of the family of de Ros, has one hundred panels of groups of figures illustrating the life of St. William, that on the south, erected by Langley, Bishop of Durham, seventy-five similar panels illustrating the life of St. Cuthbert. The grand series of windows in the vestibule also seems to me absolutely untouched since the day when they were first put up, and, with their figures of kings and queens and borders of Plantagenet badges, contain very striking specimens of the best date of painted glass. The windows on the north aisle of the nave, no doubt erected soon after its completion, are equally perfect, and were probably presented by members of the court of Edward I. The window next to the transept given by Peter le Dene, the court ecclesiastic and tutor of Edward II., when Prince of Wales, has six illustrations of the life and martyrdom of St. Catherine, step-niece of Constantine the Great, and therefore a very acceptable subject to the people of York. It is adorned, moreover, with the shields of the immediate relations of Edward I., while the border of the central light contains figures in tabards emblazoned with the arms of some of the principal nobility of the day. The next window, presented by Richard Tunnoc, the bell-founder, has three illustrations of the entrance of St. William to York, and two of the founding of bells, while peals of gold and silver bells are spread in profusion throughout it, and the worthy bell-founder himself kneels at the foot of the central light presenting his window to the Archbishop. The next window, from its quaint border of birds and animals, seems to be the offering of Brian FitzAlan, Lord of Bedale, who treated with good-humoured banter and ridicule the dilemma caused at the siege of Caerlaverock by banners emblazoned with similar coats of arms being displayed by Hugh Poyntz and himself. And the window beyond was evidently given by some member of the family of Clare.