What might seem an overreasonableness in the architecture of Tours metropolitan church is offset by the glory of its jeweled windows. Between 1260 and 1270 the choir's upper lights were placed, and considering their date, they are exceptional in still being of the legend-medallions type rather than large single figures. Blue is set in greenish white with good effect, contrasting happily with certain contemporary windows at Paris, where the juxtaposition of blue and red produced melancholy purple. The joyous sparkling tone of Tours' lights proves a skillful use of pot-metal yellow. More care was taken to tell the legends plainly than to put borders round each medallion. The glass of Tours belongs to the Paris school, though made, doubtless, by local workers. Were a floor laid below the triforium of the choir, its fifteen upper windows, composing a veritable pavilion of glass, would be almost a replica of the Sainte-Chapelle, and one recalls that it was Archbishop Odo of Tours who on April 25, 1248, dedicated for St. Louis his new shrine at Paris. The donors of Tours' great windows were churchmen and laymen, the lowly and the mighty. Bishop Geoffrey de Loudon, builder of Le Mans' glorious choir, presented a light, as did Tours' own prelate and a group of parish priests. Small craftsmen were donors, drapers, and day laborers, and of course Queen Blanche's donjons of Castile are to be seen. Her window, devoted to St. James, the patron of Spain, is splendid in hue. The fourth clearstory window on the north excels in color harmony. They call it the Adam window, after the first tiller of the soil. It was presented by plowmen, and relates their field labors as well as the story of Genesis. On one side of the central light of the clearstory is a dazzling Tree of Jesse, the gift of a furrier and his wife. Next to it is a window devoted to St. Martin, whose story is told again, in the late XIII-century glass of an apse chapel. More French churches have been dedicated to St. Martin than to any other patron save Notre Dame. The windows of the sanctuary north of the axis chapel, though mixed in design, excel all others in exquisite color, being composed of fragments from St. Martin's abbatial reset here. The New Alliance window in the Lady chapel has medallions of Christ bearing His Cross and the Crucifixion accompanied by such symbols and prefigurings as Elisha resuscitating the child, Jonah issuing from the whale's jaws, the brazen serpent, and Moses striking the rock.