are unknown, but the art historian Louis Grodecki identified what appear to be three different ateliers, with different styles; The largest number are by a single workshop, which those in the apse and most of the windows north side of the nave. These works are known for supple forms and costumes, with simplified features. The second workshop, named by Grodecki as Master of the Ezekiel window, made the Ezekiel and Daniel windows, as well as the window of the Kings. That work is characterized by elongated forms, and more elaborate and angular draperies. The third artist or workshop is called the Master of Judith and Esther, for the distinct style of those windows, as well as the window of Job. They are distinguished by more subtle details in the faces, and a resemblance to the figures in illuminated manuscripts. Despite some damage the windows display a clear iconographical programme. The three windows of the eastern apse illustrate the New Testament, featuring scenes of The Passion (centre) with the Infancy of Christ (left) and the Life of John the Evangelist (right). By contrast, the windows of the nave are dominated by Old Testament exemplars of ideal kingship/queenship in an obvious nod to their royal patrons. The cycle starts at the western bay of the north wall with scenes from the Book of Genesis (heavily restored). The next ten windows of the nave follow clockwise with scenes from Exodus, Joseph, Numbers/Leviticus, Joshua/Deuteronomy, Judges, (moving to the south wall) Jeremiah/Tobias, Judith/Job, Esther, David and the Book of Kings. The final window, occupying the westernmost bay of the south wall brings this narrative of sacral kingship right up to date with a series of scenes showing the rediscovery of Christ's relics, the miracles they performed, and their relocation to Paris in the hands of King Louis himself. The west rose window The rose window at the west of the upper chapel was made in the late 15th century, later than the other windows. It is a very fine example of the flamboyant Gothic style, named for the flamelike curling designs. It is nine meters in diameter, and is composed of eighty-nine separate panels representing scenes of the Apocalypse. The 15th-century glass artists used a new technique, called silver stain, which allowed them to paint on the glass with enamel paints, and to use fire to fuse the paint onto the glass. This allowed them