The first design for the east window (Fitzwilliam Museum, Cambridge Accession number: 721 Primary reference Number: 26631) in which a joyous presentation of Paradise is seen as maidens dancing and Angels praising Jesus with musical instruments. The lower tier represents Angels leading,presumably the Souls of the departed, whilst the tier above echoes the scene below. Christ in Majesty is seated on a rainbow above a medieval representation of the celestial city. This initial concept with it's spatially three dimensional suggestion is in marked contrast to the final window, which as Martin Harrison has suggested, shows a significant re-direction in influences, such as that of Fra Angelico to that of Bernardo Luini, whom he had been copying in Milan under Ruskin's influence. However there is a strong evocation of the dancing girls before the well governed city in Lorenzetti's fresco of Good Government in the Palazzo Pubblico Sienna, which the artist had visited in 1859. As the window finally appeared, the design had become two dimensional, the figures occupy the whole of the space available and Christ in Majesty is no-longer part of the design and was replaced by a triangular abstract construction symbolizing the Holy Trinity, which was unfortunate as Christ is central to the narrative of the original. The inclusion of the holy city, at first prominent, has been reduced to an almost decorative role. The changes observable in the evolution of the Lyndhurst window indicate the progress the Burne-Jones was making as an artist and shifting from medieval orientation towards a greater admiration for the Renaissance and that ultimately culminated some seven years later, in the over-riding passion for Michelangelo. As a further consideration it can be construed that in the first design Burne-Jones was thinking as a painter and not taking into consideration the requirements that the applied art of stained glass needed. His reappraisal, presumably under the influence architects William White and Philip Webb who would have insisted on a more sympathetic approach to the medium, consequently the artist was required to return to those principles which he had used when working for Messers Powell & Co. previously at Bradfield College, Christ Church Cathedral, Oxford and Waltham Abbey.