In the second of the four great windows which pierce the north wall of the Sacrament Chapel, Marie and Louis again appear; in the first, another sister of Charles Quint, Catherine, and with her her spouse John II. of Portugal; on the fourth, Charles' brother Ferdinand, and Ferdinand's wife, Anne of Hungary. All of these three windows were painted by Jan Haeck, a famous illuminator of glass, of Antwerp, from the designs of Bernard van Orley; on the third, yet another sister, Éléonore, Queen of Francis I. of France. Here we have another piece of Van Orley's own handiwork. All of the princes whose effigies gleam through these windows are accompanied by their patron saints, and above the portraits are depicted incidents in the legend of the Miraculous Hosts. The first window shows two scenes--the bribery of Jonathan, and Jonathan receiving the stolen ciborium; the second, the piercing of the Hosts, in the synagogue of Brussels; the third, the assassination of Jonathan; and the fourth, Catharine preparing to carry the Hosts to Cologne. What are we to think of these stupendous windows? The quality of the glass is excellent, the scheme of colour glorious. It would be interesting to know if the cartoons were submitted to Peter van Wyenhoven[34] before they were executed, and if so, what he thought of them. These vast pictures, with their Renaissance accessories and their figures mutilated by the mullions and the Gothic tracery, through which we are constrained to peep at them, should be utterly out of harmony with the architecture and the architectural scheme of ornament which they were designed to complete, but, somehow or other, they are not. In those days there were giants in the land. We pigmies must be content to admire their works, and not presume to imitate them. [34] _See_ page 206. All this applies, and in a more marked degree, to the stained glass of the Lady Chapel. The subjects here depicted are, The Presentation of Our Lady, her Espousals, the Annunciation, and the Visitation; and in each case, below, with patron saints, we have the donor or donors of the window: Ferdinand III. and his wife Eléonore, the Emperor Leopold I., the Archduke Albert of Austria and his wife Isabel of Spain, and, lastly, the Archduke Leopold of Austria. These windows are designed in the style of Rubens, and they were for a long time attributed to him, notwithstanding that one of them bears the signature _T. van Thulden_, legibly written, and the date, Aº 1656. This man, we now know, designed all these windows, and we also know that he received 400 florins for his trouble. His colouring is even more glorious than the colouring of Van Orley or of Haeck, and he sinned more boldly than did either of them against the canons of correct taste.