Another artist, named Robert Pinaigrier, who, although inferior to Cousin, was much more fertile in production, assisted by his sons Jean, Nicholas, and Louis, and several of his pupils, executed a number of windows for the churches of Paris, of which the greater part have disappeared: Saint-Jacques la Boucherie, the Madeleine, Sainte-Croix en la Cité, Saint Barthélemy, &c. Magnificent specimens of his work still remain at Saint-Merry, Saint-Gervais, Saint-Etienne du Mont, and in the Cathedral of Chartres. Pinaigrier’s works in the decorations of châteaux and the mansions of the nobility are perhaps equally numerous. At this period several windows were made from the drawings of Raphael, Leonardo da Vinci, and Parmigiano; it may also be remarked that two patterns of the latter’s work were used by Bernard Palissy, who was a glass-maker before he became an enameller, in forming windows in “_grisaille_” for the chapel of the Château of Ecouen. For the same place, following the style of Raphael, and from the drawings of Rosso, called _Maître Roux_, Bernard Palissy executed thirty pictures on glass, representing the history of Psyche, which are justly considered as ranking among the most beautiful compositions of the epoch; but it is not now known what has become of these valuable windows, which at the Revolution were transported to the Museum of French Monuments. They were, it is said, executed under the direction of Leonard of Limoges, who, like all the masters of that school (Fig. 236), applied to painting on glass the processes of enamelling, and _vice versâ_. In the collections of the Louvre and of several amateurs, there are still examples of his composition, on which he employed the best glass-painters of his time; for he could not himself work on all the objects that proceeded from his studios, and which were almost exclusively destined for the king’s palace. The French art of glass-working became cosmopolitan. It was introduced into Spain and also into the Low Countries under the protection of Charles V. and the Duke of Alba. It even appears to have crossed the Alps; for we know that in 1512 a glass-painter of the name of Claude adorned with his works the large windows of the Vatican; and Julius II. summoned Guillaume of Marseilles to the Eternal City, the pontiff when occupying the sees of Carpentras and Avignon having appreciated his talent. We must not omit to mention, among the Flemish artists who escaped this foreign influence, the name of Dirk of Haarlem (Fig. 237), the most celebrated master in this art at the close of the fifteenth century. [Illustration: Fig. 236.--St. Paul, an Enamel of Limoges, by Etienne Mercier.] While French art was thus spreading over the continent, foreign art [Illustration: Fig. 237.--Flemish Window (Fifteenth Century), half life-size. Painted in Monochrome, relieved with yellow, by Dirk of Haarlem. (Collection of M. Benoni-Verhelst, Ghent.)]