These stained glass windows, originally housed in a chateau in France, are a beautiful picture of the love of Christ.
You can learn more about these windows and their history here.
Potmetal and stained glass
French, 16th century
Gift of Mr. and Mrs. Walter W. Lee
Every collection object has a life story to tell, and the fascinating narrative of these beautiful windows begins in the fertile flood plain of the Loire Valley in France, near Saumur…
The Windows’ Story
At his mother’s passing, Baron René de Thory inherited estate and lands as the new Lord of Boumois. His wealth included the ruins of a castle once owned by the Counts of Anjou and which was destroyed during the Hundred Years War. Following his marriage to Françoise du Plessis, René undertook the building of Chateau Boumois between 1521 and 1525 on the remains of the former Angevine castle.
The chateau’s designs included private living quarters, guest areas, public entertaining areas, kitchen, bakehouse, pantry, cellar, and towers. As is fitting the role of the Lord of Boumois who held a seat of authority, the house included a dungeon and space for hearing judicial cases. To run such a household required servants, their living quarters, stables, a courtyard, and a dovecote. Since the area was a central hub for the activity of those living and working on the estate, there was a chapel for worship; and all at the castle were protected by a surrounding moat.
In Anjou, there are some 1200 castles remaining today; Boumois is classified as a French Historical Monument and is one of the last remaining castles of Gothic architecture. Christian Cussonneau writes, “Boumois still offers today despite some mutilations, the essential features of a manor house at the end of the Middle Ages.” On a beautiful imposing, carved door at the chateau, there still remains the de Tory coat of arms on the lock (see image).
The chateau’s chapel was completed by 1525. To appropriately beautify the space, René de Thory commissioned stained glass windows, which were most likely created and installed before his wife, Françoise du Plessis, passed away in 1528/9. The chapel windows consisted of three sections:
Not long after his wife’s death, René de Thory fell in love with Anne d’Assé, wife of François de Villeprouvée, Baron of Trier, who died under suspicious circumstances in January 1530. Questions arose that perhaps Anne’s husband was poisoned. Since poems written by René about his love for Anne were discovered, the two were accused and tried for murder; however, they were not convicted and secretly married in March 1530.
While the windows of the chapel honor the first Lady of Boumois, de Thory had the chapel consecrated as the Chapel of St. Anne by the priest at Saint-Martin-de-la-Place on March 15, 1546 in honor of his second wife, Anne. At René de Thory’s death in 1565, Boumois was left to his wife and his son, Antoine de Thory.
The estate stayed in the de Thory family until sold in 1607, and then changed owners repeatedly over the next 300 years including a sale of the chateau’s furnishings in 1833. At the end of the nineteenth century, the architect and designer Stanford White obtained the five stained glass panels. He was known for decorating in the neo-Gothic style favored by his wealthy clientele—the nouveau riche seeking to create the wealth of the Old World in their American homes. After White’s death, newspaper magnate William Randolph Hearst acquired the panels in 1907. Later, through a gift purchased by Mr. and Mrs. Walter Lee from French & Co, M&G received the windows in 1956.
The Windows’ Imagery
Stained glass as an art reached its peak in the Middle Ages; the cathedrals with the increased buttressing allowed for more windows, whose colored beams of light created beautiful effects in the sanctuary by illuminating the space and using light to “paint” the Scriptural stories. Jacques DuPont explains “this form of painting is less an ornament than the lyrical expression of a transcendent world” as stained glass creates “an atmosphere befitting the House of God, the Light of the World.”
Having a complete set of windows from this period is rare, and the imagery of the central windows is dramatic. In this crucifixion scene, the cross bearing Christ’s suffering body with five bleeding wounds stands above a fountain in which Adam and Eve are bathing—being cleansed of their sin; Christ’s blood then flows into a larger pool representing the forgiveness provided for all mankind—“whosoever will” may be cleansed and made righteous through faith in Christ’s sacrifice. Above Christ is a door perhaps referencing Christ’s own words, “I am the door…. I am the way, the truth, and the life; no man cometh unto the Father, but by me.”
Interestingly, the four fountain heads are the symbols in art for the four evangelists: an angel (Matthew), a lion (Mark), an ox (Luke), and an eagle (John). The designer may have referenced the iconography of paintings in the region like the Fountain of Life at the Calvet Museum in Avingnon or a slightly different version at Saint Mexme in Chinon. Emile Male in his book Religious Art in France explains the symbolism of the four fountain heads, “This is an ingenious way of saying that the miracle of forgiveness has the Gospels as authority, that is to say, the Word of God Himself.” These windows present a beautiful representation of several doctrinal truths, such as the love of Christ, the power of His sacrifice to cleanse sin, and the fulfillment of His promise to Adam and Eve.
William Cowper, eighteenth-century poet, captured the same visual truth through language: There is a fountain filled with blood drawn from Emmanuel’s veins; and sinners plunged beneath that flood lose all their guilty stains.
Erin R. Jones, Executive Director
Published in 2018
During the Middle Ages, France provided the artistic leadership in the Gothic art forms of stained glass, manuscript illumination, sculpture, and a number of the decorative arts. However, in the 14th and 15th centuries, the Italians captured the cultural seat of Europe, especially in painting. During these centuries of innovation and advancement, France was embroiled in many religious and political upheavals, stifling the development of strong schools of painting. While France certainly had painters of merit during the Italian Renaissance, it was not until the 16th century that France began to make a significant comeback with painters working in Fontainebleau under the influence of the Italians Rosso Fiorentino and Primaticcio. According to French art historian, Marc Fumaroli, by the beginning of the 17th century, artists made an obligatory trip to Rome for training so that all that was beautiful in Italy could be transferred to France.
Mosaic
American, 1848–1933
Click on the links throughout the article to view additional artists’ works and reference material.
Though M&G is widely known for its European Old Master paintings, the reach of the collection extends into other genres as well—icons, antiquities, sculptures, furniture, tapestries and mosaics. These various art forms beckon visitors for multiple reasons—the fame of the maker, the artistic medium, the historical time period, or the sheer size. Inspiration by Louis Comfort Tiffany is no exception. It piques the curiosity of our guests for all of these aspects and more.
For most of us the name Tiffany is associated with exquisite jewelry or radiant stained glass. Our limited understanding may have come from hearing about a beautiful brooch once owned by Aunt Isabelle or Grandma’s “be careful when you dust it” lamp. But the cognomen Tiffany has a diversity of artistic expressions connected to it. Born in 1848, Louis Comfort Tiffany was thoroughly exposed to the voluminous jewelry inventory of his father, Charles Lewis Tiffany. Choosing first to explore painting, in his early 20’s Louis settled into what would be his métier—the decorative arts. The range of objects he and his studio produced was extensive—furniture, metalwork, textiles, pottery, enamels, and almost anything else that had to do with furnishing and beautifying interiors.
Mr. Tiffany was ahead of his time in his employment of women. Clara Driscoll and the “Tiffany Girls” both designed and executed many of the renowned lamps and mosaics; and, as is the case, with many large firms of the era received little to no public recognition for their contributions during their lifetime (neither did the men working for Tiffany’s well-known brand).
M&G’s Inspiration was fashioned in 1887 for the First Presbyterian Church, Schenectady, NY. Though originally installed in the sanctuary above the choir loft, during a 1948 renovation it was decided that it no longer fit the décor. As with the acquisitions of many of M&G’s objects, the story is a stunning example of the providence of God. Dr. Bob Jones Jr. “just happened to be preaching at the New York church and was asked if the University might like to have the piece.” Not only did the church gift the beautiful mosaic, but they also transported it to Greenville. Housed originally in an outside setting near the BJU Fine Arts building, it was moved to its present location in Gallery 19 around 1965. Installing a work of art 8 feet across and weighing 1500 pounds took nothing less than a crane!
Mosaics of any size are intriguing, but Inspiration features Tiffany Studios’ artistry, craftsmanship and beauty on a monumental scale. Meticulously positioned mother-of-pearl and myriads of tesserae, ranging from gold to deep purple, join to create an image of a magnificent angel poring over a book. Combined with the tongue of fire atop the angel’s head, the artist symbolically portrays the biblical doctrine of inspiration—God “breathing out” His words—as explained in 2 Timothy 3:16 and 2 Peter 1:21.
Louis Comfort Tiffany’s love of design, color, mediums, and techniques poised him as one of the aesthetes of his time, and he has left mankind with a trail of exquisite works of art communicating his passion. Allow yourself the pleasure of visiting M&G and marveling at this handsome example of Art Nouveau.
Bonnie Merkle, Collection Database Manager and Docent
Published in 2015
Have you ever seen a work of art that looked so real that the characters almost seem to breathe? In the Living Gallery this is no longer just your imagination—the people in the larger-than-life paintings, sculptures and stained glass are real.
The Living Gallery is an Upstate Easter tradition since 1998. This unique stage production takes masterpieces of art, like da Vinci’s Last Supper or Michelangelo’s Pieta, enlarges the art to life-size, and fills the work with live models. There are only two other similar productions in the country, both in California; the best known is the Pageant of the Masters in Laguna Beach.
Each year is different, but the program combines original drama, special choral and orchestral arrangements, and breathtaking live portrayals of classic works of art to celebrate the story of Christ’s life and work.
A team of talented artists and technicians spend hundreds of hours creating the sets, costumes, make-up, and lighting required to produce the larger-than-life artwork—a modern application of the Renaissance tableau vivant. The Living Gallery will change the way you think about Easter and about art.
For more information or to order tickets, visit http://livinggallery.bju.edu/.
The program varies from year to year. So, come and be challenged and inspired by the drama, uplifting music, and life-size re-creations of great masterpieces (with live models) that make up the Living Gallery, an annual Upstate tradition since 1998.
Where do we find shelter and comfort when our lives are shaken? Living Gallery 2025 reveals the safe haven from the storms of life through a compelling drama, beautiful music, and life-sized masterworks of art filled with real people. The program includes sculpture, a Rembrandt etching, M&G’s Christ and the Samaritan Woman by Francois de Troy, and stained glass by Louis Comfort Tiffany.
Location: Rodeheaver Auditorium, campus of Bob Jones University
Parking: Parking is available on the campus of Bob Jones University.
Performance Times:
Thursday, April 17, 2025 at 4:30 and 7:30 PM
Friday, April 18, 2025 at 4:30 and 7:30 PM
Saturday, April 19, 2025 at 2:00, 4:30, and 7:30 PM
Adults & Teens: $21.03 and Children (Ages 6-12): $18.92
War Memorial Chapel, campus of Bob Jones University
On Good Friday, April 18 from 3-4 PM, join M&G Executive Director, Erin Jones for a private guided tour of Benjamin West’s monumental royal painting commission, The Progress of Revealed Religion, in the War Memorial Chapel on the campus of Bob Jones University. The tour is free, open to the public, and will conclude in time for guests to attend the 4:30PM program. No registration required.
Available February 17–April 19, 2025 (Monday-Saturday, 10AM-5PM)
To celebrate Easter, families are invited to begin at the Welcome Center for a campus search of special art objects related to the Easter story. This self-guided, informative activity (45-60 minutes long) is designed to captivate your child’s imagination and expose them to the life and times of Old Master painters. Return to the Welcome Center with your finished worksheet for a free prize! This M&G activity is FREE!
Bringing a church group? Schedule a tour to see selections of M&G’s collection here.
Want to see works from M&G’s Collection? See the campus locations displaying selections here.
To view a selection of videos featuring Easter-themed works in the Collection, visit here.
Oil on panel
These M&G panels are painted sections from a winged altarpiece, positioned on, above, or behind the church’s altar. The wings or hinged doors would be opened for liturgical feasts and events. When the wings were closed, the side facing the audience was often painted in monochrome colors depicting various saints’ lives; as the wings were opened, the interior (including the other side of the doors) revealed more colorful pictures with a large feature painting in the center.
The Scenes from the Apocalypse by an unknown 16th-century French artist illustrates the medieval tradition of the Signs of the Apocalypse (drawn from Mark 13 and Revelation). These five separate panels were once joined in a single winged altarpiece with a total of fourteen or fifteen panels detailing the Signs and with the central interior panel possibly featuring the Last Judgment. Viewing these works from left to right,
Two ideas are fundamental to understanding this altarpiece. First, these panels illustrate the Word of God. According to Pope Gregory the Great (lived c.540-604), “Illiterate men can contemplate in the lines of a picture what they cannot learn by means of the written word.” Seeing the horrors of the End Times should motivate the viewer to take action to avoid them. These panels become visual conviction.
The Bible portrays man’s sinfulness and presents the atoning work of Christ as the remedy. The panels’ subject matter confronts the viewer with the penalty for sin even before the Last Judgment arrives. Juxtaposing these panels directly with the altar argues that Christ’s sacrificial death on the cross, accepted by God the Father as payment for man’s sin and ratified by Christ’s resurrection from the dead, is man’s rescue from the Apocalypse. In view of these coming events, the physical placement of these panels prompts the viewer to appropriate for himself Christ’s sacrifice.
Secondly, the reverse of the panels—scenes from the lives of Old and New Testament figures—argues for the ability of humans to react properly to the revelation of God’s Word.
Like the Pricke of Conscience, a series of stained-glass windows also based on the Signs of the Last Days, M&G’s panels challenge the viewer to consider the Apocalypse from a personal point of view.
Dr. Karen Rowe Jones, M&G board member
Published 2023
Tempera on canvas, monogrammed and dated 1490 (lower left on base of column)
French (active in Spain and Flanders), c. active 1460–1490
French-born Antoine de Lonhy painted this vibrant scene around 1490. Although he trained in the Burgundy region of France, de Lonhy spent parts of his early career in Toulouse and Barcelona. He worked his later years in what is today the Piedmont and Aosta Valley regions of Italy. For many years, de Lonhy’s identity remained a mystery, and he was known only as the Master of the Trinity of Turin. Only in the past 20 years have scholars been able to identify de Lonhy and associate his name with his varied body of work. De Lonhy was a true Renaissance man whose work included panel paintings, illuminated manuscripts, frescoes, and stained glass, as well as textile and sculpture designs.
The Presentation of Christ in the Temple was originally painted on panel and at some point, transferred to canvas. M&G’s painting is believed to have been part of a large, lost altarpiece of a church in Piedmont. Another of de Lonhy’s works, Mort de la Verge, displays the same raised gold-leaf technique as well as similar colors and patterns to M&G’s Presentation. It is possible that both panels were once part of the lost altarpiece. De Lonhy’s masterful skill shines in all the details of this work, especially in his pristine architectural elements. The raised gold-leaf, particularly on the halos and borders of the garments, provides texture and dimension. His use of vibrant colors and patterns beautifully illustrates the joyfulness of the occasion. Mary lovingly presents the Christ Child to the priest while Joseph looks on carrying their offering of two turtledoves. Ironically, de Lonhy clad Mary and Joseph in rich, brocade garments which contrasts with the turtledoves, the offering of the poor.
Luke 2:22-40 illuminates the narrative of this scene. Jewish law required a woman to be purified 40 days after giving birth to a son. The mother was required to bring an offering of a year-old lamb or two young pigeons or turtledoves (for those who could not afford a lamb). This offering was presented to the priest who sacrificed them before the Lord to make atonement for the mother (Leviticus 12:1-8). The law of Moses also required the consecration of every firstborn male. In accordance with the law, Mary and Joseph traveled to the temple in Jerusalem to present Christ for consecration. Luke tells of the priest, Simeon, who was promised “by the Holy Spirit that he would not die until he had seen the Lord’s Messiah.” De Lonhy captures the moment when that promise to Simeon was fulfilled: Mary presented the Lord’s Messiah to Simeon for consecration leading Simeon to respond with praise to and adoration of God. Simeon witnessed with his own eyes God’s fulfillment of His promise.
Rebekah Cobb, Registrar
Published in 2021
Oil on canvas, Signed and dated, Félix Leullier, 1880
French, 1811–1882
In this arresting example of the nineteenth-century Romantic style, Felix Louis Leullier uses all the forces of paint and position to create a gruesome depiction of one of the most famous martyrdoms of the Christian church. Little known outside of France, Felix trained with Antoine-Jean Gros, renowned for his depictions of some of Napoleon’s famous battles: Battle of Arcole, Napoléon on the Battlefield of Eylau, and Battle of Abukir. Gros leaves little to the imagination in the spheres of conflict and conquest, so it is no wonder that his student, Felix, would choose to depict a martyrdom in a context resembling the twisted forms often found on a battlefield.
The painting’s setting is the Roman Amphitheatre in Carthage, the North African center of Christianity in the early centuries following Christ’s death and resurrection; there is little more than an outline remaining today of the prominent structure that seated 30,000. Although Felix most likely did not travel to that part of the world, he could have easily participated in a Grand Tour, a customary excursion in the 18th and 19th centuries for men coming of age, to see and learn from the culture and histories of antiquity. Such a broadening and experiential trip included significant time in Rome, where the Colosseum was a chief point of interest and which is very similar to Carthage’s own great amphitheater. The combined influence of travel and exposure to prominent depictions like Granet’s Interior View of the Colosseum in Rome, 1804 and Towne’s The Colosseum, 1781, Leullier opts to create only a faint representation of an outdoor arena.
On March 7, 203 AD, under the rule of the Roman emperor, Septimius Severus, the noblewoman Vibia Perpetua, was executed with her handmaid, Felicitas, and fellow catechumens, Revocatus, Saturninus, and Secundulus. Just a few years earlier in 197 AD in his treatise Apologeticus, Tertullian had posited that “the blood of the martyrs is the seed of the church.” As providence would have it, Tertullian himself was eyewitness and later chronicler to the gripping event portrayed in this work.
In addition to Tertullian’s account and Perpetua’s own prison diary, Passio Perpetuae et Felicitatis, in which she captures much of the detail up until the hour of her entrance into the arena, many attempts to present the event have been created in various media formats. It is contained in older volumes like Foxe’s Book of Martyrs (1563), as well as in more recent accounts like Thomas J. Heffernan’s The Passion of Perpetua and Felicity (2012). It is visible in paintings, drawings, mosaics, stained glass and illuminated manuscripts like Menologion of Basil II; and it has been presented in investigative journalism in the PBS Frontline series, From Jesus to Christ (1998).
Leullier’s visual rendering is indeed grand both in presentation and size, measuring nearly seven feet high by nine feet wide. Though literary works relate that Perpetua and Felicitas were martyred separately from the men, Leullier deviates from the historical account and instead depicts the entire company—the martyrs, the men that assaulted them, and the many animals that mauled them. By placing the massacre in the forefront of the work, the purity and testimony of these Christians’ story cannot be ignored.
Bonnie Merkle, M&G Database Manager and Docent
Published in 2018