2. Rose Windows occur mainly in French churches. They are a variation upon the medallion window. A great Rose window (Chartres, Bourges, etc.) may be regarded as a series of radiating medallion lights, with subjects relatively fewer in number, and a greater proportion of pattern work. Occasionally they consist of pattern work altogether. Smaller Roses (the only form of tracery met with in quite Early work) contain very often a central circular medallion subject, the cusps or foils round it being occupied with ornament, all in rich colour, even though the lights below it be in grisaille.
217. Bars in Medallion Windows.
3. Figure and Canopy Windows ([page 40]) are more proper to the clerestory and triforium of a church, but they are not entirely confined to a far-off position.
With regard to them it should be mentioned that figures under canopies, sitting, or more often standing—one above the other in long, narrow lights—occur throughout the Gothic periods, and even in Renaissance glass. The characteristic thing about the Early ones is the stiffness and comparative grotesqueness of the figures and the modesty of the canopy. This last is of small dimensions. It may be merely a trefoiled arch ([page 40]). Usually it is more architectural ([page 46]), gabled, with a little roofing, and perhaps a small tower or two rising above, not beautiful. It is in fairly strong colours. It is so little conspicuous that it is not at first sight always distinguishable from the background to the figure. Occasionally the figure has no canopy at all. The saint stands front face, straight up in his niche, in a constrained and cramped position, occupying its full width, which is obviously insufficient. His feet rest in an impossible manner upon a label bearing his name; or, if that be inscribed upon a label in his hand, or on the background behind him, then he stands upon a little mound of green to represent the earth ([page 40]).
Figure and canopy alike are archaic in design, and rudely drawn. It is seldom that a figure subject on a smaller scale is introduced below the standing figure, as was frequently the case in later work. Groups of figures are characteristically confined to medallion windows.
218. Le Mans.