The art of stained glass, a French history

wp:paragraph How about Jacques Gruber, Louis Barillet, Jean Gaudin or the Atelier Champigneulle? These names are probably not very familiar to you, and yet they embody the revival of the art of stained glass in France. Exceptionally, France is the country with the largest surface area of stained glass in the world. This article takes a look back at a tradition of craftsmanship elevated to the level of art: from the revival of stained glass as a living art in the late 18th and early 19th centuries, to contemporary stained glass that brings together master glassmakers and contemporary artists/designers... If I mention Jacques Gruber, Louis Barillet, Jean Gaudin, or the Atelier Champigneulle? These names are probably not very familiar to you, and yet they embody the revival of the art of stained glass in France. Exceptionally, France is the country with the largest surface area of stained glass in the world. This article takes a look back at a tradition of craftsmanship elevated to the level of art: from the renaissance of stained glass as a living art towards the end of the 18th century-beginning of the 19th, to contemporary stained glass that brings together master glassmakers and contemporary artists/designers... /wp:paragraph wp:image {"align": "center", "id":17992, "width":301, "height":289, "sizeSlug": "full", "linkDestination": "none"} Art deco stained glass window designed by Louis Barillet for Les "établissements balnéaires d'Auteuil" built in 1929 by architect Lucien Pollet in a liner style. Art deco stained glass window designed by Louis Barillet for the "établissements balnéaires d'Auteuil", built in 1929 by the architect Lucien Pollet in the style of a cruise liner /wp:image wp:paragraph Stained glass was first used in the Middle Ages as a technique for embellishing religious buildings. Unfortunately, many medieval stained glass windows were destroyed during the Age of Enlightenment and the Revolution. It was with the great architect Eugène Viollet-le-Duc and the Romantic movement, towards the middle of the 18th century, that stained glass regained its colour, before becoming very popular again at the turn of the 20th century, under the impetus of Art Nouveau. Stained glass was first used in the Middle Ages as a technique for embellishing religious buildings. Unfortunately, many medieval stained glass windows were destroyed during the Age of Enlightenment and the Revolution. It was with the great architect Eugène Viollet-le-Duc and the Romantic movement, towards the middle of the 18th century, that stained glass regained its colour, before becoming very popular again at the turn of the 20th century, under the impetus of Art Nouveau. /wp:paragraph wp:image {"align": "center", "id":17993, "sizeSlug": "large", "linkDestination": "none"} Cathédrale Notre-Dame de Paris, vitraux. The great architect and restorer Viollet-le-Duc is credited with restoring most of the stained glass windows in the chapels of the "Old Lady". Notre-Dame de Paris cathedral, stained glass windows. The great architect and restorer Viollet-le-Duc is credited with restoring most of the stained glass windows in the chapels of the "Old Lady". /wp:image wp:image {"align": "centre", "id":17994, "sizeSlug": "full", "linkDestination": "none"} Stained glass windows from the Gallery of the Prophets, in the south arm of the transept of Notre-Dame Cathedral, Created by the Alfred Gérente workshop, 19th century. Stained glass windows from the Galerie des prophètes, in the south arm of the transept of Notre-Dame Cathedral, designed by the Alfred Gérente workshop, 19th century /wp:image wp:paragraph The Art Nouveau movement restored stained glass to its former glory. And we've come a long way: just think, before the Revolution, there were only 4 stained-glass painters left in Paris! It was a time of floral and symbolist motifs. What was changing? Stained glass was no longer confined to churches and cathedrals: it now found its way into department stores, banks, restaurants and industrialists' offices. The term "stained glass" was replaced by "glass roof". The Art Nouveau movement restored stained glass to its former glory. And we've come a long way: just think, before the Revolution, there were only 4 stained-glass painters left in Paris! It was a time of floral and symbolist motifs. What was changing? Stained glass was no longer confined to churches and cathedrals: it now found its way into department stores, banks, restaurants and industrialists' offices. The term "stained glass" was replaced by "glass roof". /wp:paragraph wp:image {"align": "center", "id":17995, "sizeSlug": "large", "linkDestination": "none"} "Roses In An Art Nouveau / Art Deco Décor" stained glass window, made in the early 20th century. Stained glass window made with glass of different colours and textures. Roses In An Art Nouveau / Art Deco Decor" stained glass window, made in the early 20th century. Stained glass window with different colours and textures. /wp:image wp:image {"align": "center", "id":17996, "sizeSlug": "full", "linkDestination": "none"} Stained glass window "Roses In An Art Nouveau / Art Deco Decor", executed in the early 20th century, detail. Stained glass window "Roses In An Art Nouveau / Art Deco Decor", executed in the early XXth century, detail. /wp:image wp:image {"align": "center", "id":17997, "sizeSlug": "large", "linkDestination": "none"} Stained glass window "Roses In An Art Nouveau / Art Deco Decor", executed in the early XXth century, detail. Roses Dans Un Décor Art Nouveau / Art Déco" stained glass window, executed in the early 20th century, detail /wp:image wp:paragraph The artisans of this revival are Louis Majorelle, Emile Gallé, Eugène Grasset, Louis Comfort Tiffany, Jacques Gruber, Louis Barillet... The first mentioned are well known, representatives of the Ecole de Nancy, they embody the excellence of the technical gesture of the great master glassmakers. Let's not forget that Lorraine is the historic home of the art of glassmaking in France: Baccarat, Daum, Saint-Louis, etc. The architects of this revival are Louis Majorelle, Emile Gallé, Eugène Grasset, Louis Comfort Tiffany, Jacques Gruber, Louis Barillet, etc. The first of these are well known, representatives of the École de Nancy, embodying the excellence of the technical skills of the great master glassmakers. And let's not forget that Lorraine is the historic home of glassmaking in France: Baccarat, Daum, Saint-Louis, etc. /wp:paragraph wp:image {"align": "center", "id":17998, "sizeSlug": "full", "linkDestination": "none"} Art Nouveau glass roof in the lobby of the Crédit Lyonnais bank in Nancy, designed by Jacques Gruber (1870-1936). Considered one of the masterpieces of this master glassmaker, cabinetmaker and decorator Art Nouveau glass roof in the lobby of the Crédit Lyonnais bank in Nancy, designed by Jacques Gruber (1870-1936). Considered one of the masterpieces of this master glassmaker, cabinetmaker and decorator /wp:image wp:image {"align": "center", "id":17999, "sizeSlug": "full", "linkDestination": "none"} "Reading" stained glass window by designer and porcelain painter Henri Bergé (1870-1937), Musée de l'École de Nancy. Trained at the Ecole des Beaux-Arts in Nancy, Henri Bergé took over from Jacques Gruber as chief decorator at the Daum crystal works. Reading" stained glass window by designer and porcelain painter Henri Bergé (1870-1937), Musée de l'École de Nancy. Trained at the Ecole des Beaux-Arts in Nancy, Henri Bergé took over from Jacques Gruber as chief decorator at the Daum crystal works. /wp:image wp:image {"align": "center", "id":18000, "sizeSlug": "full", "linkDestination": "none"} 3 stained glass windows for the Eglise Notre Dame des eaux in Aix les bains. The stained glass windows were designed by Eugène Grasset and created by Lyon master glassworker Lucien Bégule, 1894. 3 stained glass windows for the church of Notre Dame des Eaux in Aix-les-Bains. The stained glass windows are composed by Eugène Grasset and realised by the master glass artist Lucien Bégule, 1894. /wp:image wp:image {"align": "center", "id":18001, "sizeSlug": "full", "linkDestination": "none"} 3 stained glass windows for the Church of Notre Dame des eaux in Aix les bains, central stained glass window, composition Eugène Grasset, realisation Lucien Bégule, 1894. 3 stained glass windows for the Eglise Notre Dame des eaux in Aix les bains, central stained glass window, Eugène Grasset composition, realised by Lucien Bégule, 1894. /wp:image wp:image {"align": "center", "id":18002, "sizeSlug": "full", "linkDestination": "none"} 3 stained glass windows for the Eglise Notre Dame des eaux in Aix les bains, right stained glass window, Eugène Grasset composition, realised by Lucien Bégule, 1894. 3 stained glass windows for the church Notre Dame des eaux in Aix les bains, right stained glass window, composition Eugène Grasset, realisation Lucien Bégule, 1894. /wp:image wp:image {"align": "center", "id":18003, "sizeSlug": "large", "linkDestination": "none"} Stained glass windows from the church Saint-Médard in Grandpré (Ardennes). Stained glass windows in the church of Saint-Médard in Grandpré (Ardennes). /wp:image wp:image {"align": "center", "id":18004, "sizeSlug": "full", "linkDestination": "none"} One of the stained glass windows in the church of Saint-Pierre de Bouvines, designed by Pierre Fritel ( 1853-1942 ), and made from 1889 by the master glass artist Emmanuel-Marie-Joseph Champigneulle (1860- 1942). One of the stained glass windows in the church of Saint-Pierre de Bouvines, designed by Pierre Fritel ( 1853-1942 ), and made from 1889 onwards by the master glassmaker Emmanuel-Marie-Joseph Champigneulle (1860- 1942). /wp:image wp:image {"align": "center", "id":18005, "sizeSlug": "full", "linkDestination": "none"} Period photograph of the Champigneulle family. The Champigneulle family are a line of painters and master glassmakers renowned in Lorraine. They lived in Metz, then Bar-le-Duc, and finally Paris (Ateliers Champigneulle, the Paris branch of the family glass painting business). Period photograph of the Champigneulle family. The Champigneulles were a line of painters and master glassmakers renowned in Lorraine. They lived in Metz, then Bar-le-Duc, and finally Paris (Ateliers Champigneulle, the Paris branch of the family glass painting business). /wp:image wp:paragraph Stained glass techniques underwent major changes between the wars. Jules Albertini, a glassmaker in Montigny-lès-Cormeilles (Val-d'Oise), worked with mosaic artist Jean Gaudin to create the first glass slabs. The stained glass became lighter, allowing more monochrome tones to emerge. In 1933, French master glassmaker and mosaicist Auguste Labouret invented and registered a new process: stained glass in cement-bonded glass slabs. To the floral arabesques of Art The stained glass technique underwent major developments between the wars. Jules Albertini, a glassmaker in Montigny-lès-Cormeilles (Val-d'Oise), worked with mosaicist Jean Gaudin to create the first glass slabs. The stained glass became lighter, allowing more monochrome tones to emerge. In 1933, French master glassmaker and mosaicist Auguste Labouret invented and registered a new process: stained glass in cement-bonded glass slabs. The floral arabesques of the Art /wp:paragraph wp:paragraph Nouveau period that illuminated stained glass windows were succeeded by the more abstract, geometric compositions of Art Deco, of which Louis Barillet is an illustrious representative. In the 1920s, with Jacques Le Chevallier and Théo Hansen, he renewed the aesthetic language of stained glass. In the 1920s, with Jacques Le Chevallier and Théo Hansen, he renewed the aesthetic language of stained glass. /wp:paragraph wp:image {"align": "center", "id":18006, "sizeSlug": "full", "linkDestination": "none"} "Scenes from the Life of the Virgin" stained glass window by Jean Gaudin in the Chapelle axiale Notre-Dame-Drapière in Amiens Cathedral, 1933. Stained glass window "Scenes from the Life of the Virgin" by Jean Gaudin in the Chapelle axiale Notre-Dame-Drapière in Amiens Cathedral, 1933. /wp:image wp:image {"align": "centre", "id":18007, "sizeSlug": "full", "linkDestination": "none"} Stained glass window by Jean Gaudin in the Chapelle du Sacré Cœur, Amiens Cathedral, 1933. Stained glass window by Jean Gaudin in the Chapelle du Sacré Coeur, Amiens Cathedral, 1933. /wp:image wp:image {"align": "center", "id":18008, "sizeSlug": "large", "linkDestination": "none"} Stained glass window by Louis Barillet, Chapelle du Souvenir de Flers, 1928. Listed as a Historic Monument in 2006 for its facades, decorations, stained glass windows and frescoes Stained glass window by Louis Barillet, Chapelle du Souvenir, Flers, 1928. Building classified as a Historic Monument in 2006 for its facades, decorations, stained glass and frescoes /wp:image wp:image {"id":18009, "width":841, "height":654, "sizeSlug": "large", "linkDestination": "none"} Stained glass double doors with geometric decoration in shades of purple, green, grey, white and black. Designed by Louis Barillet, circa 1930. Stained glass double doors with geometric decor in shades of purple, green, grey, white and black. Designed by Louis Barillet, circa 1930 /wp:image wp:paragraph In the aftermath of the Second World War, many bombed-out religious buildings had to be rebuilt, and the restoration and renovation of damaged stained glass windows became a priority for the Church, which was keen to maintain its historic heritage. This situation was compounded by a change in doctrine. In 1962, Pope John XXIII convened the Second Vatican Council. He wanted to change the way believers related to religion. As a result, the interior architecture of churches changed: stained glass became an element that contributed to spirituality. With its powerful colours and large surfaces, it became a field for experimentation. In the aftermath of the Second World War, many religious buildings were bombed and had to be rebuilt. Restoring and renovating damaged stained glass windows became a priority for the Church, which was keen to maintain its historical heritage. This situation was compounded by a change in doctrine. In 1962, Pope John XXIII convened the Second Vatican Council. He wanted to change the way believers related to religion. As a result, the interior architecture of churches changed: stained glass became an element that contributed to spirituality. With its powerful colours and large surfaces, it became a field for experimentation. /wp:paragraph wp:image {"align": "center", "id":18010, "sizeSlug": "large", "linkDestination": "none"} Interior of the Ronchamp Chapel in Haute-Saône, architecture and interior design: Le Corbusier. Inaugurated in 1955, the Chapelle de Ronchamp is a prime example of the architectural modernisation of churches. Stained glass became an important element. Interior of the Ronchamp Chapel in Haute-Saône, architecture and interior design: Le Corbusier. Inaugurated in 1955, the Chapelle de Ronchamp is a typical example of the architectural modernisation of churches. The stained glass window became an important element. /wp:image wp:image {"align": "centre", "id":18011, "sizeSlug": "large", "linkDestination": "none"} Detail of a stained glass window in the Ronchamp Chapel painted by Le Corbusier. Detail of a stained glass window in the Chapelle de Ronchamp painted by Le Corbusier. /wp:image wp:image {"align": "center", "id":18012, "sizeSlug": "full", "linkDestination": "none"} Detail of a stained glass window in the Church of Notre-Dame-de-Toute-Grâce (Haute-Savoie). For the 1st time, the church commissioned stained glass windows from non-Christian artists. The building is listed as a Historic Monument. Detail of a stained glass window in the Church of Notre-Dame-de-Toute-Grâce (Haute-Savoie). For the 1st time, the church commissioned stained glass windows from non-Christian artists. The building is listed as a Historic Monument. /wp:image wp:image {"align": "center", "id":18013, "sizeSlug": "large", "linkDestination": "none"} Stained glass window painted by the artist Jean Bazaine, "Saint Grégoire et le chant grégorien", Église Notre-Dame-de-Toute-Grâce. Symbolising the church's entry into architectural modernity, the greatest artists of the day came to sign stained glass windows, paintings, sculptures, tapestries and more. Stained glass window painted by the artist Jean Bazaine, "Saint Grégoire et le chant grégorien", Église Notre-Dame-de-Toute-Grâce. Symbolising the church's entry into architectural modernity, the greatest artists of the day came to sign stained glass windows, paintings, sculptures, tapestries, etc./wp:image wp:image {"align": "center", "id":18014, "sizeSlug": "large", "linkDestination": "none"} Stained glass window painted by the artist Jean Bazaine, "David, the musician king", Église Notre-Dame-de-Toute-Grâce. Stained glass window painted by the artist Jean Bazaine, "David, the musician king", Church of Notre-Dame-de-Toute-Grâce. /wp:image wp:image {"align": "centre", "id":18015, "sizeSlug": "large", "linkDestination": "none"} Stained glass window painted by the artist Jean Bazaine, "Sainte Cécile, patron saint of musicians". Stained glass window painted by the artist Jean Bazaine, "Sainte Cécile, patronne des musiciens". /wp:image wp:paragraph The Catholic Church opened up its churches to modernity and no longer hesitated to commission stained glass windows from non-Christian artists. The public authorities of the day also got involved. And so it was that Robert-Charles Renard, Chief Architect of Historic Monuments (1946-1974), asked painters Georges Braque and Fernand Léger to help design new stained glass windows for the Cathedral of Saint-Etienne in Metz, nicknamed "God's lantern" (6,500 m2 of glass surface). The 2 refused, but Renard persuaded the painters Jacques Villon (Marcel Duchamp's brother), Marc Chagall and Roger Bissière to design and create the windows. Some consider this to be the first time in the history of stained glass that avant-garde stained glass has been commissioned for a historic monument. The Catholic Church was opening up its churches to modernity, and no longer hesitated to commission stained glass from non-Christian artists. The public authorities of the day also got involved. And so it was that Robert-Charles Renard, Chief Architect of Historic Monuments (1946-1974), asked painters Georges Braque and Fernand Léger to help design new stained glass windows for the Cathedral of Saint-Etienne in Metz, nicknamed "God's lantern" (6,500 m2 of glass surface). The 2 refused, but Renard persuaded the painters Jacques Villon (Marcel Duchamp's brother), Marc Chagall and Roger Bissière to design and create the windows. Some consider this to be the first time in the history of stained glass that avant-garde stained glass has been commissioned for a historic monument. /wp:paragraph wp:image {"align": "center", "id":18016, "sizeSlug": "full", "linkDestination": "none"} 3 of the 5 stained glass windows designed by Jacques Villon in the late 1950s for the Chapelle du Saint-Sacrement in the Cathedral of Saint-Etienne in Metz. 3 of the 5 stained glass windows for which Jacques Villon produced the cartonnage towards the end of the 1950s, for the Chapelle du Saint-Sacrement in Saint-Etienne's Cathedral, Metz. /wp:image wp:image {"align": "centre", "id":18017, "sizeSlug": "full", "linkDestination": "none"} Detail of the stained glass window "The Last Supper" for which the cartonnage was made by Jacques Villon (1875-1963, real name Gaston Émile Duchamp), for the Chapelle du Saint-Sacrement in Saint-Etienne's Cathedral in Metz. Detail of the stained glass window "The Last Supper", the cartonnage for which was created by Jacques Villon (1875-1963, real name Gaston Émile Duchamp), for the Chapelle du Saint-Sacrement in the Cathedral of Saint-Etienne in Metz. /wp:image wp:image {"align": "center", "id":18018, "sizeSlug": "large", "linkDestination": "none"} Series of stained glass windows by Marc Chagall for the Cathedral of Saint-Etienne in Metz, "Lancette de la baie n°11", 1962. Chagall uses incredibly vivid colours, and his biblical figures approach the abstract, which is unusual for Romanesque or Gothic churches. Series of stained glass windows by Marc Chagall for the Cathedral of Saint-Etienne in Metz, "Lancette de la baie n°11", 1962. Chagall uses incredibly vivid colours, and his biblical figures are close to abstract, which is unusual for Romanesque or Gothic churches. /wp:image wp:image {"align": "center", "id":18019, "sizeSlug": "full", "linkDestination": "none"} Detail of a stained glass window designed by Marc Chagall for the Cathedral of Saint-Etienne in Metz. The artist worked on the cathedral for almost a decade (1958-1968). Detail of a stained glass window designed by Marc Chagall for Saint-Etienne's Cathedral in Metz. The artist worked on the cathedral for almost a decade (1958-1968). /wp:image wp:image {"align": "centre", "id":18020, "sizeSlug": "large", "linkDestination": "none"} South tympanum stained glass window, Saint-Etienne de Metz Cathedral, designed by René Bissière, 1960. René Bissière, a painter from the Nouvelle École de Paris, designed the 2 majestic glass windows in the north and south tympanums of the cathedral. Bissière is clearly a non-figurative artist. Some experts believe that this is the 1st non-figurative work to be installed in a cathedral in France. Glass roof of the south tympanum, Cathedral of Saint-Etienne in Metz, designed by René Bissière, 1960. René Bissière, a painter from the Nouvelle École de Paris, created the 2 majestic glass windows in the north and south tympanums of the cathedral. Bissière is clearly a non-figurative artist. Some experts believe that this is the 1st non-figurative work to be installed in a cathedral in France. /wp:image wp:paragraph Following the example of Metz cathedral, which brought contemporary art to a sacred site, the French government commissioned the restoration of the stained glass windows in Saint-Cyr-et-Sainte-Julitte cathedral in Nevers, which had been damaged by bombing during the Second World War. Contemporary artists were chosen, usually working in tandem with a glass painter. Among the artists chosen were Raoul Ubac, Jean-Michel Alberola, Claude Viallat, François Rouan, Gottfried Honneger, etc. These choices definitively turned their backs on the past: abstraction replaced the figurative... Following the example of Metz cathedral, which brought contemporary art into a sacred place, the State commissioned the restoration of the stained glass windows damaged by the Second World War bombardments at Saint-Cyr-et-Sainte-Julitte cathedral in Nevers. Contemporary artists were chosen, usually working in tandem with a glass painter. Among the artists chosen: Raoul Ubac, Jean-Michel Alberola, Claude Viallat, François Rouan, Gottfried Honneger, etc. These choices definitively turn their backs on the past: abstraction replaces the figurative... /wp:paragraph wp:image {"align": "center", "id":18021, "sizeSlug":"full", "linkDestination": "none"} Stained glass windows in the Romanesque choir, Saint-Cyr-et-Sainte-Julitte de Nevers cathedral, created by photographer, painter, engraver and sculptor Raoul Ubac, with master glassmakers Charles Marq and Atelier Simon, from 1978 to 1983. Stained glass windows in the Romanesque choir, Saint-Cyr-et-Sainte-Julitte de Nevers cathedral, by photographer, painter, engraver and sculptor Raoul Ubac, with master glassmakers Charles Marq and Atelier Simon, from 1978 to 1983. /wp:image wp:image {"align": "center", "id":18022, "sizeSlug": "full", "linkDestination": "none"} Low windows in the nave, Saint-Cyr-et-Sainte-Julitte cathedral in Nevers, François Rouan with master glassmakers Benoît Marc and Atelier Simon. Lower windows in the nave, Saint-Cyr-et-Sainte-Julitte cathedral in Nevers, François Rouan with master glassmakers Benoît Marc and Atelier Simon. /wp:image wp:paragraph Far from being seen as an obsolete artistic practice, the art of stained glass continues to fascinate contemporary artists who work in partnership with specialist workshops, as in the case of designers who create models for major crystal glassworks. Examples include the artistic collaborations between the Verrerie de Saint-Just (Loire) and designers Peter Marino and Philippe Starck, or those between the Ateliers Duchemin and contemporary artists Anne and Patrick Poirier, Carole Benzaken, Robert Morris and Sarkis... Far from being perceived as an outdated artistic practice, the art of stained glass continues to fascinate contemporary artists who work in conjunction with specialist workshops, as is the case with designers who sign models for major crystal glassworks. Examples include the artistic collaborations between the Verrerie de Saint-Just (Loire) and designers Peter Marino and Philippe Starck, or those between the Ateliers Duchemin and contemporary artists Anne and Patrick Poirier, Carole Benzaken, Robert Morris and Sarkis... /wp:paragraph wp:image {"align": "center", "id":18023, "sizeSlug": "large", "linkDestination": "none"} The magnificent tulips by artist Carole Benzaken for the church of Saint Sulpice in Varennes-Jarcy (Essonne). The magnificent tulips by artist Carole Benzaken for the church of Saint Sulpice in Varennes-Jarcy (Essonne). /wp:image wp:image {"align": "center", "id":18024, "sizeSlug": "full", "linkDestination": "none"} The magnificent tulips by artist Carole Benzaken for the church of Saint Sulpice in Varennes-Jarcy (Essonne). The magnificent tulips by artist Carole Benzaken for the church of Saint Sulpice in Varennes-Jarcy (Essonne). /wp:image wp:image {"align": "center", "id":18025, "sizeSlug": "full", "linkDestination": "none"} For the Prieuré de Saint-Jean-du-Grais in Azay-sur-Cher, artist Sarkis created 39 monochrome stained glass windows in exceptional colours to filter the light! For the Prieuré de Saint-Jean-du-Grais in Azay-sur-Cher, the artist Sarkis created 39 monochrome stained glass windows in exceptional colours to filter the light! /wp:image wp:image {"align": "center", "id":18026, "sizeSlug": "full", "linkDestination": "none"} Prieuré de Saint-Jean-du-Grais à Azay-sur-Cher, vitraux monochromes de Sarkis Prieuré de Saint-Jean-du-Grais à Azay-sur-Cher, vitraux monochromes de Sarkis /wp:image wp:image {"align": "center", "id":18027, "width":802, "height":401, "sizeSlug": "full", "linkDestination": "none"} Prieuré de Saint-Jean-du-Grais à Azay-sur-Cher, vitraux monochromes de Sarkis Prieuré de Saint-Jean-du-Grais à Azay-sur-Cher, vitraux monochromes de Sarkis /wp:image wp:paragraph {"align": "right"} François Boutard François Boutard /wp:paragraph

The art of stained glass, a French history

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