Revival Furniture

Historistic chandelier Gothic style of Laxenburg so called after the Franzensburg near "Laxenburg Castle," the favored summer-residence of the Austrian Emperor of the house of Habsburg, which was erected between 1801-1836 in the style of an old Gothic castle. The name originates from the then emperor Franz II. It is Neo-Gothic blended with original artefacts. Materials & Techniques Notes: carved limewood, covered with beaten gold.

19th century Giltwood 6-light Italian Chandelier Anonymous Probably Italy; probably 1880s Giltwood Approximate size: 32 (h) x 29 (w) x 29 (d) in. (not including length of the suspe...

This Italian Neoclassical dining table is an extraordinary example of Pietra Dura craftsmanship, featuring a breathtaking solid marble top with intricate inlaid designs. The tabletop...

Antique Swedish chest of drawers in colonial style. The chest is tall and narrow with five drawers. The frame is made from solid Swedish pine and the exterior is covered with rattan ...

The source of the rug comes from the book Orient Star – A Carpet Collection, E. Heinrich Kirchheim, Hali Publications Ltd, 1993 nr.172. This is a unique, lacking formal arrangement d...

Stunning and amazingly sculptural Gothic Art chandelier. If you are an antique collector with an eye for the extra special then this four light bronze chandelier could be right up y...

The design source of the rug comes from the possession of Endre Unger, which was sold at Sotheby’s in 1992. That rug with the central star was designed in the early 16th-century rug ...

Hallmarked in London in 1923 by Charles Stuart Harris, this attractive, George V period, Antique Sterling Silver Trophy, features sunken fluting, acanthus detailed loop handles, and ...

These exquisite carved Italian armchairs showcase old-world craftsmanship with a commanding presence. Upholstered in richly aged, deep brown leather, the chairs feature deep button t...

A fine & large antique Russian Orthodox icon, circa 1820. This large antique Russian icon painted with egg tempera on wooden panel, depicts the "True Cross" to the center with Saint...

Vintage Bronze Painted Porcelain Exotic Bird Candlesticks, Pair Offered for sale is a pair of hand painted porcelain bird candlesticks w...

Antique French Gothic Revival Dry Bar ~ Raised Cabinet in Stripped Oak combines extraordinarily sturdy architecture with geometrically-inspired carved detail inspired by the Gothic s...

An antique bronze figure of Lorenzo De Medici, after Michelangelo, inscribed ‘Michel-Ange’. This well made and patinated antique bronze, raised on a green marble plinth depicts ‘Lor...

Renaissance Revival Oak Credenza/Sideboard from the Late 19th Century A massive oak credenza/sideboard in the Neo-Renaissance style, dated to Q4 of the 19th century. The base of the...

Gorgeous E. 1900s Antique Monumental, Fine Carved, Renaiss. Revival, Walnut Sideboard!! Italian Sideboard, Monumental Pair, Fine Carved, Renaissance Revival, Walnut, E. 1900s, 20t...

This is a 1970s Scavo Murano Glass Amphora Vase attributed to Seguso, a renowned Murano glassmaking family. The vase exhibits the Scavo (excavated) technique, which gives it an ancie...

Unique and top quality carved stair newel post from the 1800s. If you are looking to upgrade the style and quality of your home interior then this fabulou...

A most impressive 19th century French gilt bronze three-piece fireplace set. France, circa 1870, almost certainly Parisian work, exceptionally executed in Renaissance Revival taste,...

Fabulous 3 piece set of Cast Iron garden seating with table. A bench a chair and a converted bench minus it's back that can be used as a table. All three in outstanding antique condition with no visible damage or missing pieces. Very ornate with a grape leaf and vine pattern. Not a repro, these are the real...

A small round Hollywood Regency gilt sheaf of wheat drink or side table with a glass top. This petite table features a round base with faux bamboo gilt legs. At the center, the gilt ...

Beautiful chandelier in the Empire style from 1820, manufactured in 1920 Material: Brass, crystal-glass Suitable for US.

Vintage 1970's Warmink / WUBA Zaanse wall clock. Dark wood case with scalloped sides and peaked pediment. Metallic face with black Roman numerals and brass filigree hands, flanked with winged cherubs at the corners and a pair of twisted brass columns. Foliate gilt brass decoration suspended from the base pointing to framed window holding a pendulum with the figure of a nobleman on a horse and pair of pear shaped weights. Ornate brass decorations frame the surface above the face featuring scrolling designs, a coat of arms with two lions flanking a shield, and a tableau of three figures over the motto "Nu Elck...

Sumptuous three drawer satinwood marquetry case, with sophisticated brass trim and circular drop pulls, supports the thick marble top. We believe this chic commode was created in Ita...

Pair of Spanish mirrors from the mid-20th century. Finely carved, lacquered and gilded Neo-Gothic style furniture. Beautifully sized and proportioned mirrors that can easily be place...

Antique 1903 Frank Beardmore & Co Art Pottery Vase  Sutherland Pottery Fenton England 7.25 h x 5.25 diameter Signed  Preowned original vintage condition. Please refer to images

Stunning and fine size chandelier with gilt bronze swan sculptures. If you are looking for a truly stylish, well proportioned and top quality m...

A brightly colored Neoclassical tazza or cake plate in the 'Greek' pattern made by Copeland Spode in the late 19th century. This tazza, in Copeland Spode’s ‘Greek...

Pair of Egyptian Revival Style Brass Candlestick-Form Buffet or Table Lamps Measures 5" in width, 5" in depth and 28" in height. Base is 4.5" in diameter.

This 19th-century American Gothic Revival table is a breathtaking example of the period's craftsmanship and design sensibilities. Carved from solid pine wood, it embodies the intrica...

Introducing the exquisite Palmettes and Flower Lattice Rug from Ararat Rugs, a masterful representation of traditional Persian craftsmanship. This handwoven rug showcases the intrica...

Add a touch of timeless elegance to your home with this stunning vintage brass chandelier. This exquisite piece features eight gracefully curved arms, each holding a candelabra (e12)...

The French bistro table embodies a blend of rustic charm and refined elegance. The green round marble look glass top dining table showcases exquisite veining patterns. This table ...

Great design and finely hand carved Gothic desk chair from the Arts and Crafts Era. This practical size chair from late 19th or early 20th centur...

Fabulous, rich in color, Royal Brêche Violet Marble chimney piece. It is a exceptional Regency style, 19th century. Unique historic fireplace mantel for a signature interior. This or...

French Gold Gilt Iron Sunburst Flush Mount or Light Fixture, 1940s French modern neoclassical gilt iron leafed sunburst flush mount or light fixture from the late Art Deco period, France, 1940s. This sunburst or flower burst light...

Antique Wooden Carved Hand Painted Neo-Gothic Small Wall Cabinet France 19th Century Pediment Twisted Medicine Cabinet Gothic Revival Truly a beautiful rare and stunning antique hanging cabinet. Late antique 19th-century French gothic style hand carved solid oak one-door small wall cabinet. With a romantic hand painted door with flowers, and inside a nice layout. Twisted columns and is topped by gothic-like spires. And lots of more decorative details! In good authentic antique condition, with some normal traces of use and wear. Please see pictures and video, they are part of the description. This breathtaking antique showpiece...

English Gothic Revival (19/20th Cent) oak monumental throne chair with tracery carved back and a center finial with upholstered red velvet seat and back

One of a kind canopy bed or day bed made up of two scrolled silver columns and upholsterd with an Italian vintage pure silk brocade. Sourced in a private residence in Venice this 19...

This French Empire pedestal stand is a superb example of neoclassical elegance and refined craftsmanship. Featuring a rich verdi marble top, the stand is both decorative and function...

Greek Volute Krater in patinated bronze with cartouches depicting armed soldiers with handles depicting masks.

This rare matched pair of French gueridons exemplifies refined elegance, superior craftsmanship, and timeless design. Each table features a sturdy solid bronze frame, beautifully cas...

This bronze sculpture by celebrated Mexican artist Jorge Marín exemplifies his signature themes of balance, flight, and mythic masculinity. A muscular, winged male figure perches wit...

Mid 20th century Swedish elm sideboard circa 1940. Fine quality Scandinavian elm sideboard in the art deco taste.  Providing double door and single door storage space.  Double doors...

Vintage Anatolian runner with repetitive diamond motif throughout in gray, cream, pink and beige accents. Measures: 3'3" x 7'.

A good antique French carved mahogany Baroque Revival dining table, circa 1900. The table has a sliding top that receives two extra leaves, when fully extended the table is very stab...

French Renaissance Revival Silver Pepper Mill with Peugeot Mechanism, circa 1900 A fine French export silver pepper mill, Belle Époque period, measuring 5 inches high by 2.5 inches ...

Pair of antique patinated bronze vases with variegated green marble pedestals in the Roman neoclassical style featuring finely cast figur...

Important pair of decorative sculptures in white biscuit , featuring two women draped in the Antique style, accompanied by winged putti. One, holding a large sunflower, raises her ar...

Rare and good condition, Gothic-art shrine for standing or wall-hanging. This handsome and decorative, Gothic wall shrine is completely hand-crafted out of solid oak and it will look awesome, no matter where you decide to mount or place her. It must have taken its creator quite a few days to first draw this intricate design on paper and then hand carve the entire piece out of solid oak. The Gothic Style elements are deeply handcarved in both doors and they make this shrine highly decorative and an absolute joy to own and look at. This cabinet chapel (or chapel cabinet) comes with its brass lock in perfect working order and also with its original gothic style key. The handgrip is in fact a Gothic trefoil symbol (for the trinity). What also makes this piece extra attractive is the Gothic church window-like frame behind the doors. It is among the finest we have seen to date and on top of that this antique also has a beautiful and rich patina. By the way, the bronze Mary statuette is not included in our price. Finally, thanks to the hook in the back, mounting this antique chapel...

This large Spanish late 19th century features a beautiful one plank rectangular top over two carved drawers. Each drawer, featuring slightly different hardware, is adorned with geome...

Hand-painted Faenza ceramic wall shelf, made in the early 20th century Ø cm 19 Ø cm 14 h cm 21 Antique ceramic shelves are fascinating objects that combine functionality with the ...

Set of 6 Antique French Renaissance Barley Twist Dining Chairs are the perfect answer for providing a charming Old World look for your dinin...

Vintage sculptural pair of antique brass candle holders features an open barley twist design and round tiered bases. The design is a 20th century version of historical Jacobean Revival style that was quite popular in early 20th century. The candlesticks are marked on the bottoms with stamped Peerage England. Similar open barley twist candlesticks were created by several English manufacturers, such as Coseley and Nestor of Birmingham. We are offering a pair of barley twist candle sticks by Coseley England in separate listing. Peerage Brass...

Gorgeous Early 1900s Antique Monumental, Fine Carved, Renaissance Revival, Walnut Sideboard! Antique Sideboard, Monumental, Fine Carved, Renaissance Revival, Walnut, E. 1900, 20t...

This is a fantastic and highly decorative antique pair of French gilt bronze mounted Empire Revival fauteuil armchairs, circa 1870 in date. They have been crafted from fabulous sol...

A very fine French 19th-20th century neoclassical revival style ebonized wood and figural silver plated mounted plateau Surtout de Table centerpiece...

Perfect size and shape church bench. This very well crafted, solid oak bench is a perfect example of quality made European furniture from the late 1900's. We felt very fortunate to ...

Beautiful gold-plated chandelier Sweden, 1970s. The chandelier is build up out of six rings and two crowns filled with faceted crystal, total diameter of the fixture is 44cm or 17". ...

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...

Saber legs shiny wood and woven leather stools. Other wood colors and upholstery are available. Italian artisanal production by Pescetta Home Decoration. Walnut wood stools or otto...