Rainbow Like an Emerald is the most comprehensive study of Lorraine stained glass as a regional style developed in conjunction with the typical Gothic architecture of the province.Situated between France and Germany, medieval Lorraine increasingly looked to France for it cultural standards. While French in inspiration, however, its Gothic architecture and stained glass quickly developed strong regional and distinctive characteristics. This architecture has only in the last decade been studied, and Lillich's work is the first serious analysis of the windows.Loraine has always been known as a glass-making center, and in the Gothic era it seems to have produced a range of handsome greens. However, the turbulent history of the region has left little glass from the period, and today no glass program survives in it entirety, while some, such as Metz, are now lost beyond retrieval. This book presents all the Gothic stained glass that remains in Lorraine: Toul Cathedral, Saint-Gengoult in Toul, the rural parish of Ménillot (just outside of Toul), Saint-Dié in the Vosges, the pilgrimage church of Avioth on the Belgian border, and the various groups now installed in Metz Cathedral, with appendixes dealing with fragments surviving at Sainte-Ségolène in Metz, Ecrouves near Toul, and the Cistercian abbey of La Chalade.Though many patches of the puzzle remain—and will remain—blank, some of the outlines are strong and some of the precious detail still commands the power to astonish and delight us.

Dubbed the Cathedral of France and first church of French Christendom, the Gothic cathedral of Reims was the coronation site of more than two dozen French kings—and a target of German bombardment in World War I. Before 1914 its medieval stained glass had enjoyed the fame of Chartres and Bourges. The first extensive study focusing on the stained glass of this preeminent cathedral, The Gothic Stained Glass of Reims Cathedral offers a groundbreaking analysis of its glazing program. Through unique insights into the clerical agenda and its influence over a building devoted to the coronation of the French monarchy, Lillich considers the stained glass in the context of building chronology, political events, and artistic movements to present a completely new understanding of the stained glass of Reims.

This landmark study is the first to look closely at the stained glass produced between 1250 and 1325 in western France during the late Capetian era. Generously illustrated with a wealth of color and black-and-white images never before published including many from French churches now closed to the public, Lillich greatly expands our knowledge of both the art and the society from which it emerged. The period Lillich chronicles begins with the region''s new vitality following the knights'' return from the crusades and ends with the onset of economic uncertainty and unrest that preceded the Hundred Years'' War. She reveals that the stained glass of this 75-year span is forceful and uninhibited, dramatic and dazzling, characteristic of what we now term expressionism. Lillich tracks and identifies painters, glazing shops, working methods, models, and sources to argue that the stained glass is a major style with its own developmental evolution and character, putting to rest the notion that this art is merely transitional and provincial.This title was originally published in 1994. This landmark study is the first to look closely at the stained glass produced between 1250 and 1325 in western France during the late Capetian era. Generously illustrated with a wealth of color and black-and-white images never before published including

Rainbow Like an Emerald is the most comprehensive study of Lorraine stained glass as a regional style developed in conjunction with the typical Gothic architecture of the province.Situated between France and Germany, medieval Lorraine increasingly looked to France for it cultural standards. While French in inspiration, however, its Gothic architecture and stained glass quickly developed strong regional and distinctive characteristics. This architecture has only in the last decade been studied, and Lillich's work is the first serious analysis of the windows.Loraine has always been known as a glass-making center, and in the Gothic era it seems to have produced a range of handsome greens. However, the turbulent history of the region has left little glass from the period, and today no glass program survives in it entirety, while some, such as Metz, are now lost beyond retrieval. This book presents all the Gothic stained glass that remains in Lorraine: Toul Cathedral, Saint-Gengoult in Toul, the rural parish of Ménillot (just outside of Toul), Saint-Dié in the Vosges, the pilgrimage church of Avioth on the Belgian border, and the various groups now installed in Metz Cathedral, with appendixes dealing with fragments surviving at Sainte-Ségolène in Metz, Ecrouves near Toul, and the Cistercian abbey of La Chalade.Though many patches of the puzzle remain—and will remain—blank, some of the outlines are strong and some of the precious detail still commands the power to astonish and delight us.

Dubbed the Cathedral of France and first church of French Christendom, the Gothic cathedral of Reims was the coronation site of more than two dozen French kings—and a target of German bombardment in World War I. Before 1914 its medieval stained glass had enjoyed the fame of Chartres and Bourges. The first extensive study focusing on the stained glass of this preeminent cathedral, The Gothic Stained Glass of Reims Cathedral offers a groundbreaking analysis of its glazing program. Through unique insights into the clerical agenda and its influence over a building devoted to the coronation of the French monarchy, Lillich considers the stained glass in the context of building chronology, political events, and artistic movements to present a completely new understanding of the stained glass of Reims.

This landmark study is the first to look closely at the stained glass produced between 1250 and 1325 in western France during the late Capetian era. Generously illustrated with a wealth of color and black-and-white images never before published including many from French churches now closed to the public, Lillich greatly expands our knowledge of both the art and the society from which it emerged. The period Lillich chronicles begins with the region''s new vitality following the knights'' return from the crusades and ends with the onset of economic uncertainty and unrest that preceded the Hundred Years'' War. She reveals that the stained glass of this 75-year span is forceful and uninhibited, dramatic and dazzling, characteristic of what we now term expressionism. Lillich tracks and identifies painters, glazing shops, working methods, models, and sources to argue that the stained glass is a major style with its own developmental evolution and character, putting to rest the notion that this art is merely transitional and provincial.This title was originally published in 1994. This landmark study is the first to look closely at the stained glass produced between 1250 and 1325 in western France during the late Capetian era. Generously illustrated with a wealth of color and black-and-white images never before published including