Champagne's special aptitude for sculpture appeared in the XIII-century gargoyles of St. Urbain's church, each of which was almost a complete figure. Later her imagery grew mannered for a few generations, with the Madonna's face of a formal type, and an exaggerated throwing out of the hip. The advent of Flemish realism, through the Franco-Flamand school at Dijon, renewed the vigor of French idealism, and before the XV century closed a truly French Renaissance had set in, retaining the equipoise of the old school and quite free of Italian classicism. Eventually the imported standards checked that renewed national movement. It was not the big men of Italy's revival who came to Champagne, but secondary artists whose work was often pretentious or coldly abstract. From 1540, under the leadership of the Italian, Domenico Rinnuccini, called Florentino, the foreign Renaissance prevailed at Troyes. In the church of the Madeleine, besides its _jubé_ and St. Martha statue, is some of the best XVI-century glass. A window of 1506 tells the life of St. Eloi, the goldsmith-bishop of Noyon; a window dated 1517 is devoted to St. Louis; Jean Macadré I made a Jesse tree; and there is the celebrated Creation in which God the Father wears the papal tiara, significant of the reaction that followed Luther's attacks on Rome. There are, also, two good XV-century windows, the Lord's Passion and the Magdalene's story. So vast is the accumulation of treasures in the sanctuaries of Troyes that one can indicate merely a few of them. In St. Jean's church--Flamboyant Gothic mainly, with a XII-century tower and a XIV-century nave--is a Visitation (1520) by Nicolas Haslin, a meeting of two pleasant dames of Troyes, wearing robes of Burgundian fullness, a group in which there appears a first evidence of transalpine influence. The reredos, from the Juliot studio, that led in the transition from French Gothic art to the neo-classic standards, has conventional images somewhat overgestured. In the flat eastern wall of St. Jean is a _maîtresse vitre_ (1630) by the Gontier brothers, delicate in hue, yet radiant, with half tones such as mauve, salmon pink, soft grays, pomegranate, celadine green. Eagerly the Renaissance masters seized on the new invention of _verre double_, which allowed them a fuller palate. Their over-use of opaque enamel-painting on glass led to the deterioration of the vitrine art, for the picture-painter soon swamped the glazier and draftsman who had worked in subordination to the architect.