The church of Brou is of the latest, and not the best, period of Gothic architecture, but the genius of Margaret is visible in all its details, harmonising the work, whether Gothic or Renaissance, and creating a building of extraordinary beauty. French, Italian, and German artists helped in building this princely monument, which remains a fitting memorial to one of the most cultivated women of her time. The plan of the church is very simple. A Latin cross with five naves; the transept and sanctuary separated by a rood screen. The length is about 225 feet, and its greatest width, in the transept, 120 feet. Outside, the central building is divided into three distinct stories. The façade, with its great door decorated with devices and emblems. An _Ecce Homo_ in the centre, on either side Philibert and Margaret kneeling between two angels, and accompanied by their patron saints. A statue of Saint Nicholas de Tolentin guarding the entrance. On the second story are three pointed windows between two galleries. Above the upper gallery is a triangular gable with a rose window in the centre, surrounded by three triangular windows, a symbol of the Trinity. Inside, the carved woodwork of the choir stalls is remarkable for its beauty of detail, variety of design, and delicacy of carving. The stalls are the work of Bressian artists, foremost amongst whom was Pierre Terrason of Bourg. They were finished and put up in 1532. There are seventy-four stalls on each side, in two rows--twenty-one above and sixteen below. The design on each stall is different. But the tombs in the choir are the most interesting features of the church of Brou. Jean Perréal (called Jean de Paris) had been commissioned by Margaret to prepare the plans, and after years of work he presented her with a design which she considered perfect, and gave orders to have it carried out. But soon after Perréal was dismissed, and Van Boghen presided over the work. There is little doubt that he made use of the French architect's designs, which Margaret possessed,[148] but he evidently made important modifications, as the work bears distinct traces of Flemish influence. The best Belgian, French, Italian, and Swiss workmen were employed on these monuments. The principal work was given to a Swiss, Conrad Meyt, who undertook to make the five large statues. The three monuments are placed in the positions Margaret desired in her will of 1508--Duke Philibert in the centre, his mother on the right, and her tomb on the left. [148] Michel Colombe made a model from Perréal's plans for the sum of ninety-four florins.