By 1504 the clearstory windows of the nave were all in place. Among their donors was represented a mayor of Troyes with all his family. The golden-hued west rose was put up in 1546. And even into the XVII century the vitrine art of this exceptional city maintained its high traditions of five hundred years. In 1625 Linard Gontier made the _Pressoir_ window, the swan-song of good Renaissance glass. There is a translucent picture of Our Lady in the nave's south aisle, with stars leaded into holes that were cut out of an entire plate of glass; any apprentice who could perform that difficult feat of glazing was promoted to be a master craftsman.[146] For the building of the cathedral's west front, the chapter, in 1506, called on the noted late-Gothic master, Martin Chambiges, who had made his reputation with transept façades at Beauvais and Sens. Together with other artists, his son, Pierre (who won fame with Senlis' transept façade, and who, in 1539, began the château of St. Germain-en-Laye), carried on Troyes' frontispiece during fifty years, so that its imagery--badly damaged by the Revolution--shows the ermine of Anne of Brittany, the porcupine of Louis XII, and the salamander of Francis I. Troyes, with its record of four hundred years, was, of all the cathedrals of France, the longest in building. In spite of its double aisles, its wide transept, its noble, deep choir, and its astounding wealth of storied windows, it is clear when standing before the Flamboyant Gothic front of this chief church of Champagne's capital, that it is a cathedral of secondary rank. The flaw here is one of proportion. With such width--and this is the widest cathedral in France--the church should be thirty feet higher. However, no traveler with harmony in his soul thinks of technical criticism once he steps across the threshold and walks beneath the joyous terrestrial windows of the nave and the seraphic lights of the sanctuary. ST. URBAIN AND OTHER CHURCHES AT TROYES[147] Madame, je vous le demande, Pensez-vous ne soit péché D'occire son vrai amant? Oïl voir; bien le sachiez. S'il vous plaît ne m'occiez; Car, je vous le dis vraiment, Quoique l'amour soit tourment, Si vous m'aimez mieux vivant. Je n'en serai point fâché. --THIBAUT IV of Champagne, in lighter mood. St. Urbain's famous collegiate church, a forerunner of XIV-century Rayonnant Gothic, was founded by a son of Troyes, who sat in Peter's chair, Urban IV. He tells us that "in the desire that the memory of this our name might remain forever in the city of Troyes even after the dissolution of our body," he began, in 1262, a church on the site where his father's shop had stood, choosing for its tutelary the saint-pope, Urban, who had succored the early martyrs in Rome. His father was a prosperous shoemaker in the day when tradesmen gave princely gifts to their parish churches. Urban IV himself had been a choir boy in Troyes Cathedral.