This triptych of stained-glass lancets by Noël Lavergne, installed in the parish church of Saint-Hilaire, Châteauvieux, represents the central mysteries of the Christian faith: the Nativity, the Crucifixion, and the Resurrection. Executed in the final decades of the nineteenth century, the ensemble exemplifies the restrained, devotional style characteristic of the Lavergne atelier, combining academic drawing with luminous but disciplined colour.

The three panels are arranged symmetrically across the east wall, forming a coherent theological narrative from Incarnation to Redemption. The left lancet, depicting the Nativity, shows the Virgin and St Joseph adoring the Christ Child, surrounded by angels rendered with delicate modelling and soft haloes of gold. The composition is serene and frontal, its calm geometry underscoring the moment’s divine stillness.

The central panel portrays the Crucifixion, Christ elevated on the Cross beneath a deep blue sky, flanked by the Virgin Mary and St John. At the base kneels Mary Magdalene in vivid devotional focus. Lavergne’s linear precision, inherited from his father Claudius’s Ingresque discipline, lends the figures sculptural clarity; their emotion is conveyed through gesture and contour rather than expressionistic movement. The sparse background and measured use of colour heighten the meditative gravity of the scene.

The right lancet depicts the Resurrection, Christ emerging from the tomb in radiant white, the guards recoiling in awe below. The composition contrasts earthly shadow and celestial light, the figure of Christ enveloped in a halo of restrained brilliance. The enamel tones are transparent and cool, allowing natural light to animate the folds of drapery and the reflective surface of the tomb.

Throughout the triptych, Noël Lavergne’s craftsmanship reflects the continuity of the Didron–Lavergne school: clarity of form, theological precision, and a controlled palette that privileges legibility over spectacle. The ensemble’s balanced architecture and linear grace reveal a devotional language rooted in the classical and archaeological ideals established by Claudius Lavergne, yet refined here through the younger Lavergne’s quiet elegance and compositional order.

This triptych at Châteauvieux stands as a testament to the enduring legacy of the Lavergne workshop—a luminous synthesis of faith, intellect, and disciplined beauty expressed through glass.