The second kind of window is a single composition spread over several lights, regardless of the intervening mullions. In 1874-75 Burne-Jones designed two east windows of this kind. At Allerton in Liverpool, his design was based on Jan van Eyck's altarpiece The Adoration of the Holy Lamb (1432; Cathedral of Saint Bavon, Ghent), with the Rivers of Paradise flowing through five separate lights. At Easthampstead in Berkshire his theme was the Last Judgment (fig. 12; cat. no. 71). The Easthampstead window is more powerful, thanks to Morris s economy of colour (so much cream) and Burne-Jones s complex handling of the architectural setting, the surround- ing darkness. He accepts it, crowding Saint Michael and the recording angels down into the center light. He denies it, spreading a single image over three lights and tracery. And, most remarkably, he exploits it, burying the theological focus of the whole window in the sexfoil at the top, where Christ points to his wounds, redeeming the drama in the lights below.