Revival Building and Garden Elements

OUTSTANDING Antique French Barley Twist Honey Oak Plant Stand, Pedestal or Display Table~~35.5" Tall~~c. 1930s French oak pedestal or plant stand with 4" thick twist and round top...

CHARMING Antique French Barley Twist Plant or Fern Stand, Pedestal or Display Table~~Open Twist~~c. 1930s French dark oak pedestal or plant stand with 4" thick twist and round top...

Gorgeous metal planter with lovely decorative design Cc1950 Spanish

Unique wrought iron hanging lantern wall lamp, Historicism Ornate wrought iron hanging lamp. Suitable for both outdoor and indoor use. Fu...

A beautiful set of two antique cast lead garden planters dating from circa 1910. Handcrafted, this pair of Edwardian period lead planters are of scallope...

French oak hand carved Gothic revival panel. There are three available. Each panel is 1" deep by 8.5" wide by 13" high.

Pair of antique rooftop zinc finials from Stockholm. They still retain some of their original gilt finish. Zinc finials played a significant role in the architectural landscape of S...

A very fine and exceptionally carved Italian 19th-20th century Baroque Revival style whimsical white Carrara marble wishing wellhead, raised on an octagonal two-step marble base. The intricately carved marble relief circular wellhead depicting carved figures of dancing and cheerful children (Putti) among vines, flowers and fruits, dancing and playing musical instruments with a backdrop of castles, landscapes, forests and wreaths, Florence, circa, 1900. Literature: A similar wellhead was sold by Jan's & Co. Fine French Antiques, Inc. in 1999, provenance the Atkinson/Kirkeby Estate and it is illustrated in "The Estates of Beverly Hills" by Charles Lockwood and Jeff-Hyland, page 150. Another similar is currently on display at the gardens of "The Elms" mansion a public museum part of the Newport Mansions by The Preservation Society of Newport County in Newport, Rhode Island. Yet another similar wellhead carved with frolicking putti with musical instruments and a dentil molded rim is located at Cranbrook House, Bloomfield Hills, Michigan, and is illustrated in B. Israel, Antique Garden Ornament...

Fabulous curved iron with brass accents fireplace screen. C 1880 hand made with spoke like ribs and a decorative swag below the brass trim. In excellent vi...

A french church pedestal from the 19th or early 20th century, made of solid pine, with an original cream-colored patina adorned with gilding. Despite some minor losses, it remains v...

Large and impressive antique Victorian architectural salvage fireplace mantel and surround. Expertly crafted about 1895 for a St. Louis mansion, this Renaissance design is wonderful...

A beautiful figured bronze urn or planter. Features a traditional Grecian form with a lobed body and round fluted base. Decorated with a low relief depiction of Zeus flanking opposit...

Antique Rococo Revival brass fireside tool stand, dating back to circa 1860, exudes elegance and sophistication. The decorative reeded upright adds a touch of charm, while the ornate...

An impressively large and well detailed French late 19th century architectural model of a Gothic inspired transept-spire or church pinnacle. This Neo Gothic decorative finial is han...

This stylish set of English 19th century cast iron Neoclassical Revival garden urns were acquired from a Palm Beach estate. Note: Dimensions of square bases are 8.25" width x 8.1...

Petite Fireplace Andiron. France, c.1880-1910. Presented unpolished and as-found. Both stamped; Made in France. Bronze. And also signed in the iron; 8IM. W 10 x H 9.5 x D 12.5 in

This timeless beautiful Italian classical sink is cut from one single block of white marble, these designs have not changed since Greek and Roman times, it carries superb artistic me...

20th century French Neo-gothic fireplace basket - fire basket made of wrought iron and cast iron. The basket is in a good condition and is fully functional. The total width of the fr...

A rich and ornate monumental mantelpiece in the Italian Renaissance Revival style. Executed in the most exclusive selection of white marble from Carrara, the statuario quality, chara...

Imagine these in your fireplace with the flames burning on all sides. These beautifully and all handcrafted, large and fire-gilt bronze andirons are made to stand in your fireplace ...

Pair of English Victorian Gothic Revival style oak pocket door panels with linenfold design and arch top (PRICED AS Pair).

A fine spirally turned gilt wood column (pedestal), decorated overall with stucco scrolling vine and grapes under a capital with scrolled decoration, late 19th-early 20th century. Pr...

Terracotta Dragon Roof Ridge Finial This fearsome finial has a lovely weathered patina and it is a really great decorative pieces The Dragon is in good s...

Pair of English Gothic Revival style (19th Century) oak carved railing panels with open design and finial (PRICED AS Pair).

A delightful circa 1920 antique patinated cast bronze fountain head sculpture depicting a cherubic young boy riding a turtle, and more specifically, a Galápagos tortoise. With a ben...

This pair of antique pedestals are unsigned, but presumed to have originated from the United States and date to approximately 1900 and done i...

Uniquely French, these wrought iron "fire dragons" are great as decor in your fireplace, with or without the burning flames. With today's eclectic and layered interiors, the Gothic d...

The very rustic antique wooden column plinth, pedestal or base in the classical style can be used as side table, end table or pedestal for either...

Fine pair of wrought-iron andirons. The base ends in scrolls and on top a gilded bronze ball. Attributed to G.Poillerat, France 1940.

Neo-Gothic choir screens resp. 2 balustrades from the late 19th century. Solidly made of oak wood and cast iron. Choir screens have been part of the interior decoration of churche...

A pair of late 19th century brass hinges in the Gothic style.

Stunning, timeless Salterini Greek key style wrought iron table and four chairs. Original aqua color now beautifully distressed. Fabric on seats is...

SUPERB and RARE Antique French Cast Iron Fireplace Fire Back ~~c. 1890s This HANDSOME statement piece will add charm and character to your home or castle perfect for living area, be...

Pair of Maitland Smith bronze figures holding baskets of flowers. Very nice patina… Proximately 42 inches tall and 12 inches wide at the base.

Rare and large bench in cast iron with a nice old patina. This bench was made by the Calla company in Paris, circa 1850. It features neo-Gothic decor, very much in vogue at the time....

Pedestal, 2nd half 19th century, walnut, dark stained, carved, partially gilded, finished with marble top, restored condition, shellac wax polish Height: 149 cm, width 50.5 cm, dept...

20th century limed terracotta statue of a standing young woman holding a baby lamb supported by a square-form limed terracotta pedestal. Pedestal 30 x 14 ...

Pair of 19th century Italian Renaissance style black painted iron gates featuring iron scroll, amphora, and serpent design motifs.

Gothic Revival pair of sculptural and highly decorative, wrought iron torchiere holders wall lamps. If you appreciate decorative antiques in general and you are looking for a pair of large Medieval style wall fixtures in particular then this rare and all hand-crafted pair in the Gothic style could be yours to own and enjoy soon. Finding a pair is always great, because that makes them ideal for mounting on either side of a fireplace, a hall bench and in larger homes we have seen antique lights on either side of a stairwell also. This artistic set of winged dragons with their fierce facial expressions is strong and firm and ready for you to use and enjoy. It has taken a skilled blacksmith in the early 1900s lots of focus, energy and dedication to hand forge these great dragon...

A large pair of pedestals made from white Statuary Carrara marble with green Verde antico inlays. In the Neo-Classical manner. Carved from solid blocks of marble with inlaid panels. ...

A fine French 19th century, Whimsical Rococo style white marble carved planter Jardiniere with figures of playful putti and cherubs among ribbons and fruit vases, raised on twin pede...

This bronze-plated cast iron fireback was removed from an upper east side townhouse in Manhattan, circa 1907. It represents a fine example from the period, with the rich patina and classical motifs that people cherish in an early 20th century American fireback...

An outstanding antique Sheraton revival wooden fireplace with original hand painted Dolton Lambeth panels and copper insert. Constructed using the finest figured dark wood with satin...

A large and highly carved antique oak fireplace surround, made in the Jacobean style. Produced in England during the 19th century incorp...

A magnificent Antique English mahogany mantelpiece of exceptional quality. Large in scale and beautifully carved from Mahogany in the Victorian Baroque Revival style. Produced with ...

A magnificent antique English 19th century Gothic Revival carved oak fire surround This beautifully designed fireplace is both grand and stunning, it features outstanding quality of ...

Stunning antique work-of-art-firescreen with (arch) angels in great colors. This all handcrafted firescreen from the early 1900s definitely is a one of a kind antique. Especially in this hasty, modern era more and more people are starting to appreciate the quality, the durability, the deeper meaning and the decorative value of these amazing antiques. The stained glass fragment inside this antique firescreen...

Egyptian Revival Style Gold Giltwood Round Marble Top Figural Pedestal Plant Stand. Item features tripod base with winged maiden figures and paw feet, very nice pedestal. Circa Late...

Pair of neoclassical andirons of rare beauty, in lost wax cast bronze, finely chiselled and gilded. Dating back to the end of the 18th century (ca. 1790), they were made with extreme...

Monumental antique Italian Renaissance Revival hearth ware andirons. This large and impressive pair is made of bronze featuring ornate styling with two figures holding torchiere fla...

A very stylish hand carved white marble fireplace, worked from solid blocks of marble and presented with a matte finish. Inspired by the pared back classical revival taste of the ear...

Exceptional oak neo-Gothic fireplace and hood. The uprights sides of the fireplace are composed of two columns with capitals foliage patterns, all surmounted by a reserve on which is carved an ermine (heraldic symbol). The lintot of the hearth features a mascaron representing a witch's face carved in high relief with on each side a pattern of parchments. The sculpture on the panelled hood represents a salamander. The salamander is a mythical animal capable of living in fire and extinguishing it. It is a symbol used especially in alchemy and heraldry, it is also the emblem of the King of France François 1er...

Fabulous and spectacular pair of heavy duty cast iron garden urns with amazing figural cherubs and rams heads for handles. Very thick and detailed castings, ribbed center utn with full bodied cherubs holding a candleholder. Large rams heads with horns...

SUPERB Antique LARGE French Fireplace Mantel Surround ~~Renaissance Revival~~HIGHLY CARVED OAK~~c. 1880s This HANDSOME statement piece w...

Pair Neoclassical Style Dolphin Form Gilt Bronze Chenets, distinguished by their monumental scale and casting.

This pair of andirons is made of a bronze Lily flower and of wrought iron. Yjis is a French work. Circa 1940

Tuscan clay stool, nice hand-painted. An idea of an Italian garden even in a city apartment: at the entrance it welcomes You with its colors, in the living room You can put down Your...

The Color Experience: Stained-glass windows “Color is a power which directly influences the soul” (Wassili Kandinsky, Moskou 1866 – Neuilly-sur-Seine, 1944) “Color! What a deep and mysterious language, the language of dreams!” (« La couleur ! Quelle langue profonde et mystérieuse, le langage des rêves », Paul Gauguin, Paris, 1848-Fatu-Hiva, 1903) ‘Color and feeling’, ‘color and meaning’, these are concepts that have gone together since time immemorial. Artists and craftsmen have a special bond with color. After all, it is a means of expression that can have a real reinforcing effect. Especially linking color with light offers unlimited possibilities. Glaziers and glass painters have tried to master both these ‘instruments’ for centuries. The set of beautifully restored neo-Gothic windows in our collection are enough reason for us to let these works of art figure in a broader story. As a bonus, we would like to introduce you to the contemporary stained-glass artist and stained-glass restorer, Daniël Theys. whose workshop is in Sint-Pieters-Rode (Belgium). He talked to us about the materials and techniques he used for the restoration of our set of neo-Gothic stained-glass windows. A fascinating look at the tricks of the trade from a specialist! A bird’s eye view of the history of the European stained-glass window. Although the Romans already used translucent glass plates to cover wall openings, the stained-glass window reached its peak in Europe between 1150 and 1500. A period also known as the era of the cathedrals. At that time, stained-glass windows became more than just a way to let in the light, and to keep the space closed off. From now on, their functionality was also found in their didactic value. The biblical and saints’ stories that adorned the stained-glass windows became a kind of poor man’s bible. They brought, as it were, the knowledge of the holy scriptures in an understandable, pictorial way. At the same time, the colored light provided additional symbolism. The invading light was interpreted as a manifestation of God. It is also no coincidence that the main altar was bathed in light. It was the place where the most important sacrament was celebrated, that of the Eucharist. How were these magical colors obtained? Well, during the 12th and 13th centuries, metal oxides gave color to the glass. Copper, for example, produced different colors in the various stages of oxidation. The metal could color the glass light blue, green and even red. It should be noted that from the 13th century onwards, clear glass, which was cheaper and at the same time allowed more light into the buildings, was used more often. A century later, in the years 1400 to 1500, glass painters frequently painted onto the glass with a ‘stain’ of silver chloride or sulfide. The painted piece of glass was heat-treated in a furnace. The heating process ensured that the silver ions migrated into the glass and became suspended within the glass network. The stain gave colors ranging from a pale yellow to a rather deep red. This new technique allowed glaziers to get more than one color on a single glass fragment. The shades produced by painting in silver chloride were well suited for depicting golden crowns, scepters and other gilded objects and ornaments. But the most important advantage of the technique was the fact that the glass painter could now make transitions from yellow tones to white without having to apply separations with lead strips! This also improved the legibility of the pictured scene. You can imagine that the labor-intensive process of the production of stained-glass windows was a very costly affair and therefore it was often patrons who donated them to a church or a chapel. The benefactors were usually eager to propagate their social status and were moved by concern for their salvation. In the 16th century, stained-glass windows also began to appear in secular buildings such as town halls, the homes of the wealthy and commercial premises such as inns. It is striking that during this period the use of lead strips that border many parts of the image was further reduced in favor of real painting on stained glass. This was due to an increasing love of detail. For example, one wanted realistically painted portrait heads. Working with enamel paints was cumbersome. Each newly applied color had to be burned into the glass before another color or overpainting could be applied. It was not only the coloring of the glass that was complicated, the process of obtaining flat glass plates required many steps as well. The glazier blew a glass bulb with a blowpipe and then cut it open. Finally, each half of the sphere was turned around so fast that it became a disc. In later periods, the glazier blew out his glass bulb into a cylinder. Once the cylinder had cooled, its closed ends were removed, and the long sides were cut open. The pieces of glass obtained were then heated and flattened. During the 16th century, there was a division of labor between the stained-glass designer, the glazier, and the glass painter. It happened as well that the stained-glass artist used prints as models for his stained-glass windows. Whoever drew the design, the glazier always needed a model on the right scale, the so-called cartoon. On the cartoon, the lead strips were clearly marked, and the use of colors was indicated. Contracts at the time show that the price of stained-glass windows was calculated per square foot. The price per square foot included the labor and material costs. The price of the cartoon was not included. In the 17th century, the work of glass painters remained important. At the same time, there was a growing popularity of stained-glass windows with heraldic themes. In the Low Countries there were several high-quality glass painters active. During the 18th century, glass painting went downhill in our regions. The French occupation of the Southern Netherlands resulted in the destruction and sale of religious stained-glass windows. It was only around the middle of the 19th century that the young Belgian state experienced a revival of stained glass. The renewed interest in the Middle Ages, the so-called ‘gothic revival’, caused a wave of restoration of old stained-glass windows of churches and orders for neo-gothic stained-glass windows. The Sint-Lucas art schools in Belgium played an important role in this. Industrial developments in the glass and steel industries naturally had an important hand in the popularity of stained-glass windows. Stained-glass had a wide range of uses; think of stained glasses in winter gardens, domes, windows, and doors of large mansions. Significant glazier’ studios arose in several larger Belgian cities. In Brussels, for example, you had the workshops of Capronnier and Colpaert, in Bruges the studios of Coucke and Dobbelaere, in Ghent the companies of Ganton-Defoin or Ladon. During the 19th century, glaziers followed the style developments in the visual arts. For example, the number of windows in Art Nouveau and Art Deco style is large. The restored stained-glass windows with male and female saints that we offer for sale, come from a building in Laeken, near Brussels. They probably decorated the space of a church, chapel, convent, or Catholic school. In the results of the interview with glass restorer Daniël Theys, you will learn more about the particularities of these splendid windows. Chatting and browsing in the workshop of Daniël Theys The Belgian Glass restorer and glass blower, Daniël Theys (), made a career switch at a later age and has been active in the profession since 1987. He is an important player in the field of stained-glass window art in Belgium. Moreover, he is the only one in the country who still masters the technique of glass etching. Daniël Theys receives many commissions from small parish churches to restore old stained-glass windows to their former glory. He made a name for himself in that niche and that is how Spectandum brought the set of 19th century stained glass windows to his workshop for reconstruction. They were delivered in old numbered wooden crates and Daniel had to start puzzling. Numbered wooden crates with sections of the stained-glass windows Normally a glazier starts working from a drawing with a scale of 1:1 (full size drawing), but in this case each piece had to be cataloged and photographed. The smaller pieces were grouped on the light box and photographed in their entirety. Then Daniël made a drawing of the remaining pieces that he had puzzled together with great care. Smaller pieces identified and grouped on the light box The restauration guidelines of the Agency for Monuments and Landscapes are not always the same as those of a restorer. For this reconstruction, Daniël primarily considered the purpose of the stained-glass windows. It had to be an aesthetic and salable set of stained-glass windows, so the choice of filling the gaps with neutral glass or epoxy was not really an option. Theys left well-executed previous restorations untouched. The windows may have been repaired three or four times in the past. Piece of a cloak with glass shards from different periods (restorations) Another problem Daniel faced during the restoration was the fact that some small parts of the old grisaille had been eaten away by microorganisms. The defect – caused by moisture – can be seen from the discoloration of the grisaille. The black-brown color is turned red. This fragment shows well how the brown grisaille has turned red due to the attack of micro-organisms The stained-glass windows of the 19th century are made of ‘in the mass-colored’ glass. This means that the colors were added to the liquid glass during its production process. This type of glass differs from glass colored with enamel paint, which became popular from the interwar period. The latter process involves applying enamel paint (this is a glass powder with a metal oxide to which a medium has been added) to the colorless glass. When firing the glass with the enamel paint, the powder fuses with the glass. The colors of email painted glass are less intense and less brilliant than those of ‘in the mass-colored glass’. Jars with colored powder for the enamel paints For the restoration Daniël only worked with mouth-blown glass, both with ‘in the mass-colored glass’ and with ‘verre plaqué’. This is blown glass composed of several layers of different shades. Over the years, Theys built up a large stock of old blown glass. Colored blown glass always has sliding shades. For example, a red piece of glass can have a color transition from bright red to light orange. These differences in shades are the result of the different thicknesses of the piece of glass. It allows the glazier to use a wide variety of shades. The purple-red foliage with light blue accents was obtained by etching away parts of a piece ‘verre plaqué’. A small part of the lower glass layer is exposed. The windows were completely re-leaded by the restorer because there was virtually no ‘lead net’ preserved. In general, lead strips only have a limited lifespan because of oxidation processes. Daniël removed the old lead remnants and placed new lead profiles. Then he applied putty between the glass fragments and the lead strips to seal the lead. A window must be made watertight. The current condition of the windows is excellent. Decorative glass part with original lead remnants New lead strip The set of stained-glass windows we present today, originally consisted of windows of 5 to 6 m high. After all, they originally adorned a neo-gothic church. Since the original dimensions are not suitable for private buildings, it was decided to only restore the figurative representation. The original spire of one of the windows Thanks to a suspension eye, the window can be hung. There is also the possibility to place the window in an upright position. Thanks to the craftsmanship of the Theys-Studio, we can once again enjoy the brilliance of color! Looking for the missing link The set of 19th-century stained-glass windows came into the possession of Spectandum without a clear provenance. The renowned Leuven antiques dealer, Cornelius Engelen, recalls that the windows came from a church in Laeken. There is no solid starting point for a search for the provenance. Based on the style of the stained-glass windows – most probably the late 19th century -, their religious iconography, and their original shape (pointed arch windows) and dimensions (5 to 6 cm high), we can assume that they were once displayed in a (neo-)gothic cult building. On the one hand, the stained-glass windows may have been removed after storm damage or other calamities, on the other they may have been taken away during a renovation or a demolition of a church. The Church of Our Lady in Laeken is the most famous church building in that municipality that could qualify. In the early 1920s, the central windows of the transept were badly damaged by a hurricane. Today, glass fragments of these windows (dating from 1893-1894) with the names of the sixteen missing saints and an arch infill of the western window are officially known. It would be interesting to find out if our set of eight saints once were part of the transept of Our Lady in Laeken. Research in the records of the church administrators could provide clarification. Knowing that most neo-gothic stained-glass windows from the Church of Our Lady come from the Jules Dobbelaere’s glass studio in Bruges, it is useful to consult that company’s archive as well. It is kept in the KADOC (Documentation and research center for religion, culture and; in Leuven. Of course, the sizes and shape of the stone window openings of the transept can also provide an indication. If we stylistically compare the grisailles of the set of stained-glass windows with the work of Jules Dobbelaere, we do see some relationship. Especially with a stained-glass window in the chapel of Our Lady of the Saint Anthony Church in Aalst. Another line of research that we could follow, is that of the iconography of the series. One of the saints depicted is Saint Roch. There once was a Saint-Roch church in Laeken with 19th-century stained-glass windows from the Brussels studio of Jean-Baptiste Capronnier. The company archive of the glaziers François and Jean-Baptiste Capronnier is owned by the Flemish government and can be consulted in the above-mentioned KADOC. We already searched the sales catalog of 1892, in which Capronnier’s drawings and cartoons are described one by one. The saints that are represented in our set of windows, does not correspond with the names of the saints mentioned for the church of St. Roch in Laeken. Building on this argument, it can be concluded that the eight saints were not destined for this house of worship. In the absence of lavishly illustrated monographs on the various glazier-companies in Belgium, the execution of a comparative study of the stained-glass windows is time-consuming and complex. Although a limited number of old photos of stained-glass windows can still be found in the database ‘Balat’ of the KIK-IRPA (), this remains far too limited to get a good picture of the output of the various companies. 19th C, Saint, Neo-Gothic Stained-Glass Window with Saint Martin, Belgium, 163 x 73 cm Most people know Saint Martin (Szombathely, ca. 316 – Candes, 397) as the Roman Tribune who cut his cloak in two with his sword and gave one half to a beggar. The artist of the stained-glass window has opted for a different, less common iconographic representation here. Saint Martin is presented as a bishop with a miter and staff. According to a legend, Martin was lured to the city of Tours with a trick to consecrate him as a bishop. He refused the ecclesiastical office and hid in a barn with some geese. The birds betrayed him with their twittering. In the end Martin received his episcopal consecration. The goose at the feet of the saint clearly refers to this event. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Angela, Belgium, 163 x 73 cm Angela de Merici was an Italian woman who taught young women religion, health care, and household skills. She founded the monastic community of the Ursulines. They played an important social role as founders of schools and orphanages. Saint Angela died in Brescia in 1540. It should therefore come as no surprise that the saint on the stained-glass-window is depicted with a girl by her side. 19th C, Saint, Neo-Gothic Stained-Glass Window with Charles Borromeo, Belgium, 163 x 73 cm Charles Borromeo (Milan, 1538-1584) grew up in a noble family. He was already made Cardinal and Archbishop of Milan at the age of 24. With his writings he contributed to the implementation of the Church reforms determined at the Council of Trent. Among other things, he released a new catechism. With his book on the design of church buildings, “Instructiones Fabriacae et Supellectilis Ecclesiasticae”, he left a mark on Baroque church construction. At the outbreak of the plague in his diocese in 1576, he devoted himself to the care of those affected. Hence, people sometimes pray to him when they have been hit by a serious illness. 19th C, Saint, Neo-Gothic Stained-Glass Window with St. Roch, Belgium, 163 x 73 cm Saint Roch (Montpellier, 1295? /1350? -1327? /1380?) was born with a port-wine stain in the shape of a cross on his left hip. It was interpreted as a sign from God. After the dead of his parents, he gave his money to the poor and went on to live the life of pilgrim. He cared for plague sufferers and healed some of them by making a sign of the cross. He is especially invoked as protector against the plague. 19th C, Neo-Gothic Stained-Glass Window with St. Bernard of Clairvaux, Belgium, 163 x 73 cm Bernard of Clairvaux (Fontaines, 1090-Clairvaux, 1153) decided to become a monk at the age of 21. In 1112 he entered in the monastery of Cîtaux. He was soon commissioned by the abbot to find a new monastery in Clairvaux. Because of his intellectual capacities and eloquence, he was consulted by various ecclesiastical and secular leaders. He ensured the expansion of the Cistercian order throughout Europe. As a Doctor of the Church, he wrote many tracts and sermons and established a new rule for the Templars. Above all, he was concerned with the discipline of the clergy. Therefore, he wrote a spiritual manual for the priests and bishops. Saint Bernard can be seen as a true mystic. He envisioned the union of the human soul with God as the most important goal in life. According to a legend, Bernard once had a vision in which the Blessed Virgin appeared to him and strengthened him with her mother’s milk. In the arts, the saint is mainly depicted with an abbot’s staff and a book with the Cistercian rule. His vision was also often portrayed. 19th C, Neo-Gothic Stained-Glass Window with St. John Berchmans, Belgium, 163 x 73 cm The Belgian Jan Berchmans (Diest, 1599-Rome, 1621) was the eldest of five children. When his mother became seriously ill, he initially took care of her, but at the age of nine he was housed with the town’s priest. After a few years he moved to Mechelen to become the servant of a canon. It also gave him the opportunity to begin his studies in the seminary for priests. He eventually joined the Jesuits of Mechelen. He got their permission to study philosophy in Rome. In the Eternal City, he visited working-class neighbourhoods to teach the children about God. He died of an illness at the age of 22. Saint Jan Berchmans is the patron saint of school children and students. 19th C, Neo-Gothic Stained-Glass Window with Saint Clare...