Between 1929 and 1932 the Parisian atelier Mauméjean Frères created a vivid sequence of stained-glass windows for the church of Notre-Dame, Déols. The cycle traces key moments in the lives of the Virgin Mary ⓘ and Christ, from the Nativity and Annunciation through the Visitation and the miracle at Cana, and finally to the Crucifixion, Resurrection, and the heavenly Coronation of the Virgin.
Tomb of Thomas de Savoie (d1337) with eight carved reliefs of weepers ⓘ or mourners.
The stained glass windows in this section are all from the chancel and choir clerestory ⓘ of Saint Gatien's Cathedral in Tours. They all date from the between 1250 and 1300 and are contemporary with the rebuilding of the chancel between 1236-1279. The windows in the apse are the earlier and date between 1250-1260, whilst those in the clerestory were installed in the last part of the 13th century.
This stained glass window in the Lady Chapel of Evreux Cathedral was a given to the cathedral by King Louis XI of France between 1467 and 1469.
This Tree of Jesse (1522) in St-Étienne, Beauvais is considered to be one of the major works of Engrand Le Prince. Unfortunately the lower part of the window was destroyed in 1793 (year II of the Republic), when the church was used as a store house.
This Tree of Jesse in the church of St Godard Rouen, is the work of Arnoult de Nimégue (1506).
This late 13th century window, above the choir at Tours cathedral. The 18 panels in the main part of the window depict the Tree of Jesse running up the center of the window, and the childhood of Christ on either side. The panels in the tracery contain representations of Abraham ⓘ and Isaac ⓘ, and an Angel with a Lamb stopping the sacrifice of Isaac.
The tympanum ⓘ above the central porch, of Saint-Maclou in Rouen depicts Christ in Majesty at the Last Judgement in four registers.
Gothic tympanum ⓘ of the Last Judgement dating from about 1230 at Bourges Cathedral, France.
This window (c1550) is a composite assemblage combining fragments of sixteenth-century narrative glass with nineteenth-century architectural framing and extensive twentieth-century restoration. The programme appears to have depicted episodes from the life of an unidentified saint. According to Jean Lafond, one of the surviving scenes may represent the translation of relics, suggesting a cycle related either to Saint Ouen or Saint Leufroy. The identification, however, remains uncertain due to the fragmentary nature of the surviving iconography.
