Figures or figure subjects in formal bands across tall quarry lights are always effective; so are figures planted more casually upon the quarries—kneeling donors, flying angels, or whatever they may be. So again, are figure panels alternating with bosses of ornament; but, if the window occupy a position where the figures can be appreciated, a surrounding of quarries seems hardly of interest enough, and if not, the figures seem rather thrown away. One is tempted to make exception in favour of figures in grisaille, which, if very delicately painted (as for example at S. Martin-cum-Gregory, York), show to advantage on a quarry ground, which has the modesty not to compete with them in interest. The quarries keep their place perfectly as a background; and the slight painting upon them is just enough to give the glass quality, and to indicate that, however subordinate, it is yet part of the picture.
192. Lincoln.
A quarry window, no less than any other, wants a border, if only to prevent the strongly marked straight lines of lead from appearing to run into the stone work. A simple line of colour with another of white next the mullions is enough for that. Even this is occasionally omitted, more especially in tracery lights, but in that case the glass seems to lack finish. The most satisfactory border to quarry lights into which otherwise no colour is introduced, is a broadish border of white, painted with pattern and in part stained. A coloured border seems to imply other colour breaking the field of quarries. By itself it is too much or not enough. Its proportion is a thing to be determined in each case on the spot; but even in narrow lights, if they contain bosses of colour (as do those in the transepts at Le Mans) a broad border about one fifth the width of the window, with a broad white line next the stone, is very effective.
193. German Quarry Border.
The monotony of any great surface of quarry work, has led to the introduction of medallions and the like, even where it is not desired to introduce pot-metal colour. In the window from Evreux, illustrated [opposite], the effect of the delicately painted little angel medallions, in white on a ground of stain, is all that could be wished. Any little surprise of that kind is always welcome; but, should it occur too frequently, it becomes itself monotonous.