Bay 37 - Typological Passion
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Browse these next
(All images © Dr Stuart Whatling)
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![]() ![]() Index to panels:
01 - Signature panel (Blacksmiths charging the forge with coal?)02 - Signature panel (Blacksmiths working at their forge) 03 - Signature panel (Shoeing a horse) 04 - Samson carrying off the gates of Gaza 05 - The Entombment 06 - Samson killing a lion 07 - Jacob blessing Ephraim and Manasses, the sons of Joseph (08 - Elijah raising the son of the Widow of Sareptha) 09 - Elijah meeeting the Widow of Sareptha 10 - King David / the pelican feeding her young with her own blood 11 - Abraham leading Isaac to the place of sacrifice 12 - Descent from the Cross 13 - An angel stops Abraham from sacrificing Isaac 14 - Jonah on the shore of Nineveh (MODERN) 15 - Moses telling the Israelites about the brazen serpent 16 - The Israelites marking their lintels with the Tau 17 - Adam collecting Christ's blood at the foot of the Cross (MODERN) 18 - Ecclesia (personification of the new faith) 19 - Crucifixion with Longinus and Stephaton (MODERN) 20 - Synagoga (personification of the old faith) 21 - Gideon's first vision of the angel (MODERN) 22 - The Mocking / Crowning of Christ 23 - The Flagellation 24 - The scouts returning from the Promised Land (25 - Weeping women attending the Crucifixion) 26 - The Carrying of the Cross (MODERN) 27 - Preparations for the Crucifixion 28 - Christ in Majesty with Candelabra (MODERN)
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Overview: |
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Typological narratives (in which New Testament stories are juxtaposed with their Old Testament 'antetypes' as a way of encouraging
the exegetical mindset) became quite popular in the late 12th / early 13th century. There are stained glass examples at
Sens, Bourges,
Le Mans and elsewhere, in addition to various examples in other media. Here the main narrative runs top to bottom but the typological scenes are
not so well laid out as at Bourges.
Unfortunately my camera and I seem to have been having a bit of an 'off day' when I shot this window. Quite why the results are all out
of focus is a mystery - but they will have to suffice. The window retains far less of its original panels than most at Chartres - the central
axis from panel 14 upwards is all modern, the work of Atelier Lorin (signed and dated 1876 in a piece of red glass to the left of panel 14).
Two of the original panels (08 and 25) had been reemoved for repairs at the time of my last visit and hence do not appear here.
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