And what windows to adorn these masses of filagree work! The most varied, the finest and the richest of the period of Louis XII. at its apogee. Patriarchs and martyrs, prophets and holy abbés, kings and sibyls stand out on all sides in the hues of brilliant and soft jewels. We have no longer the frank mosaic of former days giving life to the light, and bestowing upon it a certain mystical impression; they are not the simple large figures under sumptuous baldaquins brightened with silver gilt; they are, most frequently, the glass pictures of the Renaissance. We are astonished at the perfection of their treatment. Several subjects are those that the Thirteenth Century took pleasure in evoking; witness the legend of the pilgrim of Saint-Jacques, whose son, unjustly hung, is kept on the gibbet by the saint himself and recognized as innocent. Nothing seems to me, however, so memorable here, as much on account of the subject as for the treatment, as the series of sibyls--those pagans to which the Middle Ages had begun to give a Christian fate and which the Sixteenth Century treated so voluptuously. This is why they assume a new importance at Saint Ouen. The artist took pleasure in painting them under the adornments of elegant ladies, in landscapes bristling with buildings. Above all, I cannot forget the charming sibyl of Samos, in her embroidered robe covered with _orfèvrerie_ and jewels, two doves pecking at her feet in the midst of a piece of country scenery, and treated so to speak, in the manner of a portrait. This series of glass extending from one end of the church to the other and almost from top to bottom, forms an immense, translucent and radiant tapestry. It seems as if a breath might annihilate it. But no, it remains hard, rigid and as if incorporate with the very wall. Solid bars of iron, cutting the bays, give it an indestructible armature. The evanescent dream of the period has eternalized itself in a fairy-like vision.