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.
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.
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.
This tomb, dedicated to Niccolò Machiavelli (d1527), was created by Spinazzi Innocenzo in 1787, and is in Santa Croce Florence.
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.
Monument of Adrien Hénencourt (d1530) at Amiens Cathedral. This monument is below the choir screen (1490-1530) depicting the life of St Firmin that canon Hénencourt was responsible for commissioning.
Three Sibyls east window: Persica, Europa, and Samia. St. Peter Coughton.
The Crucifixion window in the Church of Saint John the Baptist at Montrésor, in the Indre-et-Loire region of France, is one of the finest surviving examples of early sixteenth-century stained glass in the Loire Valley. Filling a tall Gothic lancet divided into several vertical lights, it unfolds as a vivid narrative of the Passion of Christ, rendered in rich Renaissance color and form.
Renaissance-era stained glass window depicting the Pieta, created by the master glass painter Bertin Duval in 1530 and installed in the choir of Notre-Dame Church in Alençon
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.
Polychrome reliefs on the north of the choir screen tell the story of the life of John the Baptist.
Tomb of Catherine of Aragon (d1536). Peterborough Cathedral. Who married Henry VII of England after Arthur his elder brother died suddenly.
The roundels are late C15 to early C16. The figures of the donor family are mid C16 and probably come from Stanford Hall.
Freestanding tomb to Sir Richard Knightley (d1534) and his wife Jane Skenard.
Situated behind the main altar in Worcester cathedral this effigy is said be that of William Moore (1518-1536), the prior of the Benedictine Priory of St Mary's Worcester.
Thomas Andrewes shown in armour and bare headed, whilst his wife Agnes wears a huge head-dress and the long hanging sleeves fashionable at the time.
This window in Saint-Étienne de Beauvais, is dated 1548 and i9s signed by Nicolas le Prince. It contains three scenes from the life of St Peter, and the conversion of St Paul on the Road to Damascus.
The church at Saint Romain sur Cher was rebult in the C16 and restored in the C19. The north and south walls of the apse are painted with scenes of the Decapitation of John the Baptist and the Baptism of Christ on the north wall, and on the south wall is the Resurrection. Both of these paintings were restored in 1859.
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 window (c1550) illustrates episodes from the martyrdom of St Vincent of Saragossa, one of the most widely venerated deacons of the early Church. Created by a Rouen atelier in the early sixteenth century, the glass adopts the familiar layout of the Saint-Ouen narrative series: scenes arranged beneath richly architectural Gothic canopies, each panel presenting a distinct moment from the saint’s Passion.
