Abstract
This article addresses a complex formal and iconographic composition, which, like most French Renaissance stained-glass windows, is virtually unstudied as a work of art. An unusually rich matrix of documentary sources allows us to argue against historiography and claim that such works are paintings with rich interpretive potential, marginalized only because of their medium. Indeed, the concerns and contexts revealed by their study place them at the center of postmodern art historical discourse. Since sixteenth-century windows are currently in danger of disintegration from physical neglect, their integration into the scholarly mainstream might also save them from destruction.
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