118. Evreux.
119. Rouen Cathedral.
There is a different indication of transition in the little panel from S. Pierre at Chartres, almost entirely in white glass, on [page 163]. The foliated ornament is here still early in character; but, it will be seen, there is no longer any pretence of leading up the bands of clear glass in separate strips. They are only bounded on one side by a lead line. That is so again in the three designs from Chartres Cathedral [above], where, further, the background is clear of paint; and in those from Evreux, on [pages 165], [284]. There the background is cross-hatched; but in one case the foliage is naturalistic.
The coloured strapwork in the grisaille from the Lady Chapel of Rouen Cathedral on [page 165] is frankly mosaic; but the foliated ends of the straps, gathered together into a central quatrefoil in a quite unusual fashion, indicates the new spirit. The white glass is there painted with trailing foliage in outline upon a clear ground, not shown in the sketch, which is merely a diagram of the glazing. The grisaille from Stanton S. John, Oxford, here given, still hesitates rather between two opinions. The foliage is naturalistic, but the background is cross-hatched; the broad diagonal bands, patterned with paint, are glazed in colour; the rings of white are not separately leaded. That sort of thing has occurred, as already pointed out, before; but it was not till the fourteenth century, or thereabouts, that the strapwork of white lines, forming so characteristic a feature in Decorated grisaille, are systematically indicated by painted outlines and not glazed in if it could be helped.
120. Stanton S. John, Oxford.