Two skillful studies for Saint Matthew survive, one showing the saint naked, the other draped (figs. 10, 11). The imagery of these windows reminds us that Burne-Jones, on his Italian journey of 1871, spent many hours lying on his back in the Sistine Chapel peering through an opera glass. The bulk and mannered posture of the Evangelists is particularly Michelangelesque: "Such is their strength," wrote Martin Harrison and Bill Waters, "that they appear to bulge out of the frame." 23 Their drapery expresses monumentality. That of the Sibyls, as well as the agitated folds of many figures at this time, expresses movement, echoes of Botticelli and Mantegna. It is not a quality that one expects in stained glass, but there are times in Burne-Jones’s windows of this date when the figures seem to dance.