The Death and Assumption of the Virgin - Bourges Cathedral

The window (1619) is attributed to Jean Lécuyer, a master glass painter who was active in Bourges in the first half of the 16th century. It is strongly in the Renaissance style with its use of realism, expressive faces, and detailed drapery, yet still retains Gothic elements in the tall lancet windows and intricate framing. The rich blues and reds dominate, which is typical of French Renaissance stained glass, and includes fine details in yellow stain and silver oxide painting. The narrative story cycle of the window blends the Dormition (death) and Assumption (Mary’s bodily ascent into heaven), a popular devotional theme in late medieval and Renaissance Catholic art.

In the Assumption scene the Virgin Mary is shown rising heavenward, seated in glory and surrounded by angels, where she is depicted in radiant blue robes, symbolizing purity and heaven, with clouds forming a mandorla-like aura around her.
 

In the death or dormition scene the Virgin lies upon her deathbed, surrounded by the apostles who are shown with expressive gestures of mourning and reverence. The scene emphasizes devotion and human presence, balancing sorrow with hope of resurrection.

The lower panels of the window show the kneeling figures of Jean Lallemant the Elder and his wife, with their coats of arms. Jean Lallemant the Elder (c. 1430–1524) was a wealthy merchant and financier in Bourges, one of the richest citizens of the city in the early 16th century. The Lallemant family were major patrons of the cathedral and of Bourges’ civic and religious life more broadly. They also commissioned the Maison Lallemant, a fine Renaissance hôtel particulier still standing in Bourges today. Their inclusion at the bottom of the window, in prayer before the sacred scenes, reflects both their piety and their social status. Which makes the window not only a religious narrative, but also a visual monument to the Lallemant family’s legacy in Bourges.