The Flemish character of Peréal’s early style had undoubtedly made him acceptable to the Regent. During her residence in France, from 1483 to 1493, she had then been subjected to no other than Flemish influence in art. The Italian taste had not yet reached Paris. But Perréal crossed the Alps with Charles VIII in 1495; Louis XII went into Italy in 1502, and again in 1509. We are thus on the threshold of the Renaissance. Perréal, as the above quotation shows, instead of remaining true to the memories of his Flemish education, wanted to seek adventures in the domain of Italian art. He had the temerity to offer to Margaret for her tombs a bunch of his _troussés bouquets_. She was scandalized, and broke off all relations with the erring artist. She looked around her for an artist who conformed to the principles of Flemish art, one who would not be likely to betray national traditions for foreign modes. Her choice fell upon a master mason named Louis van Beughem to build the great church of Brou. A member of one of the corporations of St. Luke, faithful to Gothic art, van Beughem produced a work that shows that style in its latest development and decadence. He showed so much zeal and ability that Margaret forced him to take charge of not only the masonry, but of the woodwork and windows too. With him were associated John of Brussels for the decorative work, and Conrad Meyt for the carving. Conrad of Mechlin was Margaret’s favourite “image-maker.” She paid him the generous salary of five _sous_ a day. She paid her head cook twenty-six. Conrad carved the choir-stalls and other woodwork that demanded decorative treatment. He also executed all the great sculptural work on the tombs, including the life-size figures of Philibert of Savoy, Margaret’s dead spouse, and herself, represented both alive and dead, Margaret of Bourbon, ten children, a couching lion and many armorial devices. [Illustration: PLATE VI.—_Flemish Coffer or Huche._ CLUNY MUSEUM, PARIS. ] This instance is interesting as showing that the greatest abilities in that age were applied to the smallest matters of art as well as the greatest. Among the objects for which Conrad was paid in 1518–19, we find two Hercules in wood, and two portraits of the princess in wood (for these he received eight _Philippus_ in all), a wooden turret for the Regent’s cabinet and a carved stag’s head for her library chimney-piece.