Note 362 — Chapter X · Gothic Art in Normandy[314] (continued 2)

Normandy’s XV-century glass, besides that of Évreux’ Lady chapel, can be studied at Rouen, in the cathedral, and the churches of St. Ouen and St. Maclou, at Caudebec, Bernay, Vereuil, Beaumont-le-Roger, St. Lô, Carentan, Falaise, Pont-Audemer, Bayeux, and Coutances. Elsewhere in France glass of this period can be seen in Amiens Cathedral, in the Vendôme chapel of Chartres, in the choir of Moulins, in the north transept of Le Mans, and the windows presented to Bourges Cathedral by the Duke of Berry and Jacques Cœur. There is also XV-century glass at Clermont-Ferrand, Eymoutiers, Riom, in some of the churches of Paris, such as St. Sévérin, and in Brittany, at Dinan, Plélan, Les Iffs, and in Quimper Cathedral. Windows of the XVI century abound in Normandy. The most imposing array is near Évreux, at Conches, whose church of Ste. Foi is on no account to be missed. Aldégrevier, a pupil of Albert Dürer, designed the seven tall apse windows, about 1520. There are eighteen other lights (1540-53), very Raphaelesque in type; the Pressoir window and the apotheosis of the Virgin are typical of that heated hour of controversy. Andre Michel, éd., Histoire de l’art, vol. 4, 2{ème} partie, “Le vitrail français au XV{e} et au XVI{e} siècle,” Émile Mâle; A. Bouillet, L’église Ste. Foi de Couches (Eure) et ses vitraux (Caen, H. Delesque, 1889).