Bazoilles, church - stained glass window
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Christ on the cross.
This ogival-shaped stained-glass window depicts the Trinity in the Passion of Christ. At the top, the Father, with a white beard, is dressed in imperial red. With his outstretched arms, he supports the cross on which his crucified son rests, half-reclining, his eyes closed, crowned with thorns. The dove of the Holy Spirit, the third person of the Trinity, descends to the junction of the Father and the Son. Around this scene, a neo-Gothic architectural decor is made of pinnacles, arches, turrets, and bas-reliefs. The starry blue of the background emphasizes the idea of eternity. At the bottom, in the center, a coat of arms takes up space, while a discreet signature indicates the glassmaker M. Lévêque, Nancy, the date 1887, and the name of the donor, Mrs. Bonneval.This ogival-shaped stained-glass window depicts the Trinity in the Passion of Christ. At the top, the Father, with a white beard, is dressed in imperial red. With his outstretched arms, he supports the cross on which his crucified son rests, half-reclining, his eyes closed, crowned with thorns. The dove of the Holy Spirit, the third person of the Trinity, descends to the junction of the Father and the Son. Around this scene, a neo-Gothic architectural decor is made of pinnacles, arches, turrets, and bas-reliefs. The starry blue of the background emphasizes the idea of eternity. At the bottom, in the center, a coat of arms takes up space, while a discreet signature indicates the glassmaker M. Lévêque, Nancy, the date 1887, and the name of the donor, Mrs. Bonneval.
This ogival-shaped stained-glass window depicts the Trinity in the Passion of Christ. At the top, the Father, with a white beard, is dressed in imperial red. With his outstretched arms, he supports the cross on which his crucified son rests, half-reclining, his eyes closed, crowned with thorns. The dove of the Holy Spirit, the third person of the Trinity, descends to the junction of the Father and the Son. Around this scene, a neo-Gothic architectural decor is made of pinnacles, arches, turrets, and bas-reliefs. The starry blue of the background emphasizes the idea of eternity. At the bottom, in the center, a coat of arms takes up space, while a discreet signature indicates the glassmaker M. Lévêque, Nancy, the date 1887, and the name of the donor, Mrs. Bonneval.
