Started in 1515, and completed in 1525, this tomb is the work of the Roullant Le Roux, Rouen cathedral's master mason of the time. It is a memorial to the French cardinal and archbishop of Rouen George d'Amboise (d1510), the other figure is his nephew George d'Amboise (d1550) who became archbishop of Rouen on his uncle's death.
Above the choir screen at Chartres Cathedral are some 40 sculpted reliefs of biblical scenes, and other scenes from the life of the Virgin Mary ⓘ. The scenes were sculpted by some of the best artists in France and were commissioned at different times over a 200 year period from 1510 to 1720.
Tomb of Catherine of Aragon (d1536). Peterborough Cathedral. Who married Henry VII of England after Arthur his elder brother died suddenly.
The Sacred Heart Chapel in Beauvais Cathedral contains this stained glass window by Engrand Le Prince. It was commissioned in 1522 by Louis de Roncherolles chamberlain and councillor to Francis I of France.
The Tomb of the Children of France is a traditionally attributed to Michel Colombe ⓘ (c. 1430–1515), one of the foremost French sculptors of the late Gothic and early Renaissance periods, and is widely regarded as one of Michel Colombe’s most touching and refined works.
The choir stalls of the collegiate church ⓘ of Saint-Jean-Baptiste ⓘ at Montrésor form one of the most eloquent ensembles of Renaissance woodcarving in Touraine. They were made around 1530-1540, when Imbert de Batarnay, seigneur of Montrésor and counsellor to four French kings, endowed the new collegiate foundation he had created in 1521.
This richly animated cycle of polychrome reliefs depicts the episode of Christ Cleansing the Temple (Matthew 21:12–13; Mark 11:15–17; Luke 19:45–46; John 2:13–16). Carved in deep relief and originally conceived as a continuous narrative sequence, the scenes unfold across the west wall of the north transept, drawing the viewer into the crowded precincts of the Temple in Jerusalem.
Michel Colombe (c. 1430–1513) was one of the most important French sculptors of the late fifteenth and early sixteenth centuries. Active primarily in the Loire Valley, he played a central role in the transition from late Gothic sculpture to the emerging French Renaissance.
This window is a composite assembly combining fragments of sixteenth-century stained glass with nineteenth-century architectural structures and extensive twentieth-century restoration. The present arrangement consists of five tall lancets surmounted by a unified canopy system reconstructed in 1852, with bases and pedestals also installed at that time.
This scene depicting the Coronation of the Virgin forms part of the Magnificat Window of 1501 in the north transept of Great Malvern Priory and extends across three lights, emphasising both its theological importance and its visual prominence within the wider glazing scheme. The subject, drawn from late medieval Marian devotion, celebrates Mary’s exaltation in heaven following her Assumption, a theme closely aligned with the Magnificat’s emphasis on humility rewarded by divine grace.
