The figure of St Matthias stands within a tall, narrow lancet bordered by alternating red and blue geometrical motifs characteristic of the Bourges workshops of the early 1200s. His haloed head is framed by a trefoil arch, and he wears layered robes in rich tones of blue, ochre and white, defined by strong linear painting and the distinctive stippled shading typical of the period.

He holds a book, the standard apostolic attribute signifying his role as a witness to Christ’s resurrection. His right hand gestures in blessing or testimony, conforming to the vocabulary of early Gothic apostolic figures.

Below his feet, the inscription S. MATHIAS confirms the corrected identification.

Iconography

St Matthias is named in the Acts of the Apostles (1:15–26) as the disciple chosen by lot to fill the place left vacant by Judas. He appears frequently in medieval apostolic cycles, though often without distinctive attributes, which historically led to confusion with Matthew.

In the Bourges window the absence of Matthew’s usual symbol (the winged man) and the inscriptional evidence support a firm attribution to Matthias.

Stylistic Context

The early 13th-century glazing of the choir clerestory at Bourges is distinguished by:

• deep saturated colours—especially ruby, lapis and emerald,

• monumental single-figure apostles rendered with strong contour lines,

• extensive use of geometric diaper backgrounds,

• and a sculptural modelling influenced by contemporary portal statuary.

Window w.212 exemplifies this fully developed Gothic aesthetic, combining linear clarity with luminous colour harmonies.

Significance

The presence of St Matthias within the apostolic cycle at Bourges underscores the cathedral’s liturgical and theological concern with the Twelve—an idealised, symbolic completeness of the Church. The window is a rare, beautifully preserved example of early Gothic narrative-free apostolic imagery, serving as both a devotional focus and a demonstration of the technical mastery of Bourges’ glaziers.