In the church of St. Pantaléon, where Lyénin II worked, the windows are in one or two tones, gray-brown with silver-stain yellow and flesh color, a style better suited to domestic interiors or to civic halls than to churches. The church boasts a statue of St. James and a Charité by Domenico Florentino, and a St. Crespin group by a son of Troyes, François Gentil, influenced by the Italian. To Gentil is attributed the Christ at the column and the Christ bearing the Cross in the church of St. Nicolas, where are also images of St. Anne and St. Joachim from the Juliot studio, a St. Bonaventure from the same source whence emanated the adorable statue of St. Martha, and more of the grisaille picture-glass. In St. Martin-ès-Vignes the window of St. Anne (1623) is attributed to Linard Gontier; in Ste. Sabine are some painted wood panels, and a carved keystone of great beauty; in the hall of the library of Troyes are thirty panels by Linard Gontier, made in commemoration of Henry IV's visit in 1598. CHÂLONS CATHEDRAL[150] It so happens that in most of our communes the church remains the only witness of the olden times and of departed generations. It thus becomes a symbol, legible for the humblest, of the duration of our race, of the persistence, through the dead, of a special group of French families on a special corner of French soil. The village church gives the lesson of lineage, of the solidarity of efforts, of the communion of men.--EDMOND BLANQUERON, Inspecteur de l'Académie de la Haute-Marne, in the crusade to save the churches of Champagne, notably Vignory, one of the oldest in France (c. 1050). The cathedral of Troyes and the church of St. Urbain belong to the Champagne school of Gothic, to which we have devoted no separate chapter because some of its monuments, such as St. Remi at Rheims and Notre Dame at Châlons, we grouped with the Primary Gothic churches, and the cathedral of Rheims with the Great Cathedrals, classifications used solely for greater clarity. From its inception, the Gothic of Champagne kept pace with the Ile-de-France Picard school, and in certain characteristics even took the lead of its neighbor. Gerson, Racine, La Fontaine, Gaston Paris, are among the sons of this province whose Gothic art, formulated centuries before them, displays qualities which embody aspiration, sublimity, sanity always and just measure, a singular ease and grace, patience, and science.