This mid 15th century window in the church of Saint-Taurin, Evreux, contains six scenes telling part of the legend of his life. This first panel tells the part of the legend where he resurrected a girl that had been burnt to death by a devil, on being brought back to life she was apparently unmarked.
15th century stained glass depicting events in the life of St Taurin and the discovery of his relics by St Landulfe.
Lobin studios operated from 35 rue des Ursulines in Tour at between 1853 and 1892. The family business was started by Julien Léopold Lobin(1814-1864), and run by his son Lucien Léopold Lobin (1837-1892) after 1864. The company also worked with other glass makers including a long relationship with Jean-Prosper Florence.
This monument to Louis de Brézé (d1531) is the work of Jean Goujon (1510-1572) who was commissioned by Diane de Poitiers, Louis wife. Louis was the son of King Charles VII of France's illegitimate daughter Charlotte de France.
The Marmousets Portal Tympanum is a late Gothic sculpture adorning the Porche des Marmousets (Portal of the Marmousets) is the main pedestrian entrance to the Abbey Church of Saint-Ouen in Rouen, Normandy, France. This Flamboyant Gothic portal, primarily honors the Virgin Mary, dates to around 1430 and was crafted by the master sculptor Alexandre de Berneval, and is located at the south transept.
This second sequence of sculpture on the choir screen, starting at the western end of the south ambulatory, is the work of Jehan Soulas from 1520-1535. Sculpted from the hard limestone from the Tonnerre quarry they consist of scenes from the Gospel of James, depicting the marriage of the Virgin Mary to Joseph, the annunciation, and the visitation.
The south porch of Chartres Cathedral contains a series of sculptures, that were made between 1194 and 1230, on the subject of the martyrdom of saints.
Depicting the events in the life of Mary of Magdalene this window, in Chartres Cathedral, is from about 1210. According to Christian tradition she was one of Jesus' follows in Galilee, healed of seven devils, was present at the crucifixion, was the person to find the tomb empty, and the first person whom Jesus appeared to and given the task of announcing his Resurrection.
These two stained-glass panels from the choir clerestory of St Ouen form a paired narrative of the Massacre of the Innocents, rendered in the incisive and highly expressive manner characteristic of the early 14th-century Norman workshops. Though each panel stands within its own Gothic architectural frame, complete with gabled canopies, foliate bosses, and alternating bands of strong primary colour, the scenes are conceived as a continuous episode of violent disruption, unfolding across two moments of the same biblical tragedy.
Although biographical information on Catherine Menu remains scarce, her surviving ecclesiastical glass situates her within the post-war renewal of sacred art in France, a movement that sought to reconcile liturgical tradition with the visual language of modernism. Menu appears to have been active from the 1970s through the 1990s, producing windows for parish churches in the Loir-et-Cher and surrounding departments.
