With the XVI century there opened another golden period of the vitrine art in Bourges. A local master, Jean Lecuyer, won fame. He made the Tullier window (1532) in the tenth bay (south) of the cathedral. The donor, Canon Tullier, and his father, mother, and various ecclesiastic relatives, are being presented by their patron saints to a distinguished-looking Madonna. The architectural background shows what headway the foreign Renaissance had made in France, though the chief figures are still true to French traditions. The colors are faultlessly balanced and certain exquisite half-tones are noticeable. In the upper panels, in a fair blue sky, are entrancing little angels giving a celestial concert, fiddling, beating a drum, singing with all their hearts, for this is the shrine built by St. William, who knew how to be holy and merry as well. The Tullier light has been called the loveliest of XVI-century windows. And yet no one can deny that enamel painting on glass was a deterioration of the art. The old masters had followed a sounder tradition when they subordinated their windows to their architecture, making them an integral part of it, and not merely isolated painted pictures. Jean Lecuyer also composed the window (1518) relating the lives of St. Stephen and St. Laurence in the cathedral's nave (south side), and several brilliant lights in St. Bonnat's church. Even the XVII century produced interesting work at Bourges; in the Martigny chapel of the cathedral (north side of nave) the portrait of the donor is as realistic as a miniature. THE CATHEDRAL OF BEAUVAIS[139] C'est alors que se constitue cette merveilleuse discipline, vrai fondement de la culture intellectuelle et de la science, qu'est la discipline scholastique.... Toute la connaissance est tournée vers la science de l'être, vers la métaphysique, plus haut encore vers la théologie; plus haut encore, vers théologie vécue, vers la contemplation.--JACQUES MARITAIN. The cathedral of Beauvais derived directly from Amiens, and no expression of the Gothic principle was ever carried farther. It consists of a mammoth choir and transept. As the height of the edifice is three times its width, the nave which now is lacking would need to have been of enormous length. Instead of that much-needed nave, there nestles under the truncated west end a modest little Carolingian edifice called the _Basse-OEuvre_, built by the fortieth bishop of Beauvais, Hervé (987-998). The small cubic stones and occasional courses of brick tell of the antiquity of this, the best-preserved monument in France, dating before the year 1000.[140] Most of the Romanesque churches of the Oise copied it. Scarcely, however, had the Ile-de-France Picard Romanesque school developed than the privileged region gave birth to the national art.