Basilique de Montligeon
The calmed storm
(2b) It was Anne Le Chevallier who completed the series of stained-glass windows in the basilica in 1978. She trained with her father, master Jacques Le Chevallier, who worked alongside Louis Barillet. One of her first commissions were the six stained-glass windows along the north side. These contemporary windows present the parables of eternal life, how God gives life in the New Testament. In this one, we see Jesus standing in the boat, calming the storm while his disciples lie prostrate and stare at the tumultuous waters (Mt 8:26). Prefigured by Noah in the ark, Jesus is the master over the unleashed elements: he steers the boat of the Church over the waters of death, and he leads it to eternity, the promised land.
The central exterior portal
(1a) At the central portal, you are greeted by the Risen Christ, who gives his blessing. The statue and tympanum were created by François Biron (1912). On the tympanum, in the lower register, is depicted the descent of Christ into the realm of the dead (not into the Hell of the damned) after his death. Holding the victorious Cross, he comes to seek out the righteous of the Old Testament, beginning with Adam. Death, now defeated, is symbolized by the serpent, Neptune and his trident, and a skeleton holding the scythe. In the upper register, Christ in his Ascension. Wreathed in glory (in his mandorla, symbolizing his entry into life), he is accompanied by the same figures. The righteous are now gathered around Christ and share his divine condition and his happiness. [Watch the video : Paradise](https://youtu.be/g5oFDXkCOkA?si=RSrJKcHIAuWUbEqo) [Visit the page : After death](https://montligeon.org/en/after-death/)
Saint Latuin, Saint Stephen and Saint Barnabas
(2c) The upper north windows were crafted in 1920, in an Art Deco style, by Louis Barillet. This artist, born in Alençon in 1880, opened a master glassmaker’s workshop in Paris in 1919, after having fought in the First World War. He collaborated with Jacques Le Chevallier and Théodore-Gérard Hanssen on this project. The high windows represent the New Testament and the Church, which here feature the apostles, the evangelists, and the martyrs. On the first window on the left: Saint Latuin, first bishop of our diocese of Séez, depicted baptizing. In the middle: Saint Stephen, martyr, also depicted in the lower register, contemplating heaven while he is being stoned. On the right: Saint Barnabas, companion of Saint Paul, who refuses to be considered a god at Iconium.
Saint-Odilon chapel
(3a) This stained-glass window, created by Louis Barillet (1920), depicts Saint Odilon (962-1048), Benedictine abbot of Cluny. He established the Feast of the Commemoration of the Dead on November 2. Saint Peter Damian recounts that upon returning from Jerusalem, a pilgrim met a hermit who explained to him that the demons were furious with Odilon because of his prayers for the souls in purgatory. Upon returning to France, the pilgrim hastened to relate this story to Odilon, who redoubled his fervor and made his monks powerful intercessors on behalf of the dead. The lower scene of the window depicts the encounter with the hermit. The other takes us to the midst of the Benedictine monks at prayer. At the very top, Christ, clothed in a purple mantle, illustrates this article of faith: “He suffered under Pontius Pilate.”
The north rose window, the Redemption
(10c) On this rose window by Louis Barillet (1926), we can see a vision of the Book of Revelation. In the centre, the mystical lamb and the book with the seven seals. The sacrificial lamb is Jesus, opening up the treasures of divine life to mankind. Around him, the twelve Apostles are featured in medallions: "You will sit on thrones judging the twelve tribes of Israel". Under the rose window in the centre is the triangle of the Trinity, a single God in three persons: the Father, the Son and the Holy Ghost. Slightly below on either side, the Virgin Mary and the angel Gabriel are represented in daisies. Finally, just above the windows, four trilobes represent the four living creatures of the Apocalypse. Each symbolises an evangelist who wrote one of the four Gospels: Saint Matthew (the man), Saint John (the eagle), Saint Mark (the lion) and Saint Luke (the bull). [Watch the video : Organ builder at the Montligeon shrine](https://www.youtube.com/watch?v=dJkyngVoauU) [Visit the page : The great organ at Montligeon](https://montligeon.org/en/the-great-organ-at-montligeon/)
The organ
(1b) Built in Paris by Gutschenritter, father-and-son organ builders. The organ case is the work of Rual, a carpenter and sculptor from Rennes. It was installed in 1925, first in the choir, then in the north transept; finally, in 2011, it was mounted in the gallery, enlarged, and fitted with a third manual. It is tuned and serviced every year, before the Pilgrimage to Heaven.
West rose window, the Incarnation
(1c) Here we have the rose window of the Incarnation, created by Louis Barillet and installed in 1947. At the center, the Virgin Mary and the Child Jesus. In the bottom corners, four medallions represent different titles of the Virgin: Ark of the Covenant, Tower of Ivory, House of Gold, Mirror of Justice. At the very top, God the Father, blessing and sustaining creation, which is symbolized by the twelve signs of the Zodiac and by vegetation motifs. God responds to the fault of Adam and Eve, illustrated in the left-hand corner, by sending His Son, born of the human line, which is laid out in concentric circles: twenty-four ancestors of Christ (Abraham, Isaac, Jacob, Jesse, David…). Finally, the Annunciation, in the bottom right-hand corner: the angel Gabriel announces to Mary that she will be the Mother of the Savior. Saint Stephen, Saint John, Saint Bernard, Saint Catherine of Siena and three figures complete the first circle. They represent the Christian people venerating the Virgin.
Coronation of the Virgin Mary in Heaven
(1d) On the pediment of the basilica is depicted the coronation of the Virgin Mary in Heaven, sculpted by François Biron. The Church celebrates this Marian feast on the 22nd of August. The Mother of Jesus, who was an example of fidelity and abandonment to the will of God throughout her earthly life, is now crowned by her Son under the gaze of the Father, who sits enthroned with the Spirit, surrounded by the angels of whom she is Queen. Reunited with her body, she now sits before God and intercedes on our behalf when we ask for her maternal protection. {NOTE: In English, the phrase “Elle siège désormais avec son corps...” sounds like the Virgin Mary is sitting “along with”, “next to,” or “accompanied by" her body. I have not seen the image, but if the idea is that she is “seated bodily” (corporellement) rather than “seated next to her body” (assise à côté de son corps), then please consider my translation.}
Abbé Buguet Chapel
(2a) The stained-glass windows were created at different times, which gives us an insight into the evolution of stained-glass from 1912 to 1978. The twelve side chapels of the north and south aisles are dedicated to saints who have a connection with the souls in purgatory. The stained-glass windows in these chapels are by Louis Barillet (1920). The first chapel is dedicated to Father Paul-Joseph Buguet (1843-1918), founder of the work of Montligeon. As parish priest of La Chapelle-Montligeon in 1878, he was driven by a dual desire: to pray for the dead and to provide work for his parishioners. He thus founded an International Fraternity of Prayer for the Dead and a printing press. He is depicted here surrounded by his patron saints, and presenting to the Virgin Mary the basilica he erected in her honour. The lower register represents purgatory. The gaze of the deceased is turned toward the viewer to ask for his prayers, and drawn to the star of Mary. The upper stained-glass windows depict articles of faith. Here: the Annunciation. [Visit the page : Father Buguet, founder of the shrine of Montligeon](https://montligeon.org/en/father-buguet-founder-of-the-shrine-of-montligeon/)
Saint Jean-Marie Vianney, Cure of Ars
(2d) The statues on the roof: Thirty-two statues of saints crown the basilica. Sculpted by François Biron, they represent the saints who had a particular devotion to the souls in purgatory. The statue of Saint Jean-Marie Vianney, the parish priest of Ars (1786-1859), is the first in the series. He compared purgatory to “the infirmary of the Good God.” He thus reminded us that purgatory is an effect of the mercy of God, in order to burn away the aftereffects of sin and to prepare us for the joy of Heaven. He also worked to encourage prayer for the deceased: “If we knew how great is the power of the holy souls in purgatory, and how many graces we can obtain from God through them, they would not be so forgotten. Let us pray much for them so that they may pray much for us.”
The grain of wheat that fell into the earth
(3b) This stained-glass window created by Anne Le Chevallier in 1978 presents Christ as a grain of wheat that falls to the ground and is buried there, before rising from the earth and bearing abundant fruit. This is how Jesus spoke of his death and resurrection. Through baptism, the Christian is buried in the death and resurrection of Christ. His death becomes an entrance into a new life. This parable shows that Christians are the fruit acquired through the death of Christ. In Heaven, an immense crowd of the elect will give glory to God for the gift of his Son, who died and rose again to save us.
Saint Mark, Saint Luke and Saint Matthias
(3c) In this stained-glass window, created by Louis Barillet in 1920, the two evangelists, Mark and Luke, are depicted with another apostle, Saint Matthias. The scenes at the bottom depict the young Mark, leaving his cloak behind and fleeing during the arrest of Jesus in Gethsemane; then Saint Luke painting the image of the Virgin Mary (it was he, in fact, who collected in his Gospel the memories of the mother of Jesus); and, on the right, the election of Saint Matthias by the eleven apostles after the death of Judas. In the medallions above the three figures are an ox and a lion, symbols of the two evangelists.
Chapel of Saint Augustine and Saint Monica
(4a) This stained-glass window by Louis Barillet depicts Saint Monica at the moment of her death, asking her sons (including Saint Augustine) to remember her during the celebration of Mass. In the lower register, Saint Augustine, at the request of his friend Saint Paulinus of Nola, writes a Treatise on the Burial of the Dead (4th century). On the right, a funeral at the beginning of the 20th century. At the top of the window, the mystery of the Ascension: “He ascended into Heaven.” This chapel is also dedicated to the Good Thief, a criminal crucified alongside Jesus. He prays: “Jesus, remember me when you come into your Kingdom.” Jesus replies: “Today you will be with me in paradise.” The Good Thief, whose feast is celebrated on the 12th of October, is considered the protector of those condemned to die, the intercessor for sinners, and the patron saint of the dying. Donated in 2011 by the Prison Fraternity “Le Bon Larron”, the statue and the altar are the work of Michel Laude. [Visit the page : Remember me when You come into Your Kingdom](https://montligeon.org/en/remember-me-in-your-kingdom/)
The wise virgins and the foolish virgins
(4b) In this parable told by the evangelist Matthew (25:1-13), Jesus compares the Kingdom of Heaven to ten young maidens invited to a wedding feast, awaiting the arrival of the bridegroom. They took lamps to keep watch, but some did not bring spare oil. When the bridegroom arrives, only those with their lamps lit enter the wedding hall. “Keep watch, therefore, for you know neither the day nor the hour,” says Jesus. He emphasizes the need for vigilance to enter the Kingdom of Heaven. Through prayer and good works, Christians demonstrate their personal responsibility. In this stained-glass window, created in 1978, Anne Le Chevallier depicts the ten young women, drowsy with sleep, some holding their lit lamps, others empty-handed.
Saint Matthew, Saint Simon and Saint Jude
(4c) Created by Louis Barillet in 1920, this stained-glass window depicts the three apostles Matthew, Simon, and Jude. The martyrdom of the first two is depicted in the lower register: Saint Matthew, according to tradition, evangelized Ethiopia and was killed by the sword while celebrating Mass. Saint Simon the Zealot evangelized Persia, Egypt, and the Berbers; he died by being sawn in two. On the right-hand side, we see Saint Jude—Thaddeus—at the feet of Jesus, who reveals to him: “If anyone loves me, he will keep my word; my Father will love him, and we will make our home with him” (Jn 14:22). At the very top, in the medallion, the battle of Saint Michael against Lucifer, as told by Saint Jude.
Chapel of saint Teresa of Avila
(5a) Stained glass window of Saint Teresa of Avila, (1515-1582), reformer of the Carmelites. During her life, she was blessed with frequent ecstasies and divine graces. Tormented by the question of the Afterlife, to the point of having had a vision of hell, she worried about the fate of the deceased and interceded for them with fervor. In her agony, Teresa cried out: “Lord, it is time to see you!” Main stained glass window: having learned of the death of a young priest, Teresa prays for his release from purgatory. She soon receives assurance of his release during a vision of Christ himself. Below, an episode from her youth: the young Teresa leaves her home to go evangelize the Moors. Beneath this stained glass window are depicted saints dear to the Spanish school: Isidore the Farmer and Dominic. In the upper medallion, the affirmation of the Creed: “I believe in the Holy Spirit,” represented by a dove.
Living water gushing forth into eternal life
(5b) In this stained-glass window created in 1978, Anne Le Chevallier depicts flowing, fish-filled waters. An evocation of Christ who invites those who are thirsty to come to him because, as the Scripture says, “from his heart will flow rivers of living water” (Jn 7:38). This living water is the life of God that satisfies the deepest longings of man. It is received at baptism and gives salvation. This is why, from the beginning, the fish has been the symbol of Christians. We can also recognize in this window the miraculous catch by Saint Peter of one hundred and fifty-three fish, an evocation of the Church’s mission to proclaim the Gospel to all nations.
Saint Bartholomew, saint James the Less, saint Philip
(5c) This stained-glass window by Louis Barillet, created in 1920, depicts three apostles. Saint Bartholomew, flayed alive, holds the knife of his martyrdom. In the lower part, he is with the risen Jesus, served by angels. Jesus is announcing the wonders he will witness. Saint James the Lesser, head of the Church of Jerusalem (not to be confused with James the Greater) is depicted with a staff used by the fullers (cloth makers) to extract the woolgrease from woollen sheets. Indeed, he was finished off with those sticks after being thrown from the promontory of the temple in Jerusalem. Saint Philip is depicted with a snake, an idol worshipped as a divinity, which he killed. In the lower register, James and Philip with Jesus witness the multiplication of the loaves.
The Nativity of Jesus
(22b) Mary and Joseph, hiding in a stable, contemplate the Infant Jesus, whom shepherds have come to adore with a humble offering: a basket of fruit. Such a destitution for the birth of the Son of God! But he was immediately recognised by the poor. Above this scene, the oculus of Notre-Dame de Chartres is missing.
"Behold the man"
(24c) In his palace, Pilate presents Jesus, dressed in a purple cloak, to the crowd, the rulers and the high priests. The governor sees no reason to condemn Jesus. Yet, the raging crowd demands his death: "Crucify him! Crucify him!"*
Mary at the foot of the Cross
(21b) The body of Jesus has just been laid in the lap of the Blessed Virgin Mary. As the mother of hope, she looks up to Heaven. She no doubt remembers the Jesus' words when, on several occasions, he announced his passion, his death and his resurrection after three days. Being a woman of faith, she believes that death does not have the final say. Near her, women bring spices and a shroud. On the other side, Saint John is praying. Overlooking this stained-glass window is the shrine of Notre-Dame de Fourvière in Lyon.
The obituary registry cabinet
(24a) This piece of furniture (7.80 m high and 3.35 m wide) was crafted by Simon Mousset in 2008. The name "obituaire" comes from the "obituary registers" on which the names of the deceased were recorded and Mass celebrated on the anniversary of their death. Since 1884, these registers have kept the names of the living and the deceased recommended for prayer by the Fraternité Notre-Dame de Montligeon. Perpetual Mass is celebrated for them every day at Montligeon and elsewhere. Once a year, at the end of the major pilgrimages in November, the register for the previous year is deposited. This process refers to the verse from the Book of Revelation: "He who overcomes will therefore be clothed in white, and I will not blot out his name from the book of life, but will answer for it before my Father and before his angels". [Visit the page : The Montligeon obituary](https://montligeon.org/en/montligeon-obituary/)
Chapel of Saint Gertrude
(6a) Saint Gertrude of Helfta (1256-1301) was a German Cistercian nun. The mystic saint is shown carrying the Infant Jesus in her arms next to the Mother of God. In the background, the nuns are in procession through the cloister. At her feet are a quill and a parchment on which iyou can read "The Herald of Divine Love", the title of a book she wrote when she was ill to recount her spiritual life. Saint Gertrude had a great love for the souls in Purgatory. At the top of the medallion, we see Christ forgiving sins and the words "I believe in the forgiveness of sins". Since 2022, this chapel has been dedicated to Saint Joseph. Many ex-votos hang here, representing pilgrims' thanks for the graces they have received. [Visit the page : Visit the Montligeon shrine with Saint Joseph](https://montligeon.org/en/visit-the-montligeon-shrine-with-saint-joseph/)
The great crowd of saints
(6b) "After this I looked, and there before me appeared a great multitude that no one could number" (Rev 7:9). This is the vision of Saint John the Evangelist, as recorded in the Book of Revelation. In this stained glass window created in 1978, the artist Anne Le Chevallier evokes this multitude of saints who have achieved eternal happiness.
Saint James the Greater, Saint John, Saint Thomas
(6c) Three apostles depicted by Louis Barillet (1920): Saint James the Greater, venerated in Santiago de Compostela, Saint John, and Saint Thomas. Saint James, who was beheaded on Herod's orders, carries a sword, the instrument of his martyrdom, which can be seen in the lower register. Saint John carries a chalice. Tradition also has it that he drank a poisoned cup without being affected. In the right side, Saint Thomas carries a square, alluding to his role as a builder. According to tradition, this evangelizer of India participated in the construction of churches. In the lower register, we see the martyrdom of Saint James; Saint John with Mary at the foot of Jesus' cross; and Saint Thomas, the incredulous, who asked to put his hand in Jesus' wounds in order to believe in his resurrection.
Chapel of Saint Marguerite de Lorraine
(7a) Duchess of Alençon, Marguerite de Lorraine (1463-1521) built the nearby hospital in Mortagne-au-Perche. The stained glass window shows her on the left bandaging a poor man. On the right, her son, whom she is teaching, is writing his lesson: "Remember this, my son, you must love God above all else". In the background, the silhouette of the Château d'Alençon and the church of Saint-Léonard, where she liked to pray. In the lower register, we can see the saint who became a nun in Argentan. At the top of the medallion, two angels carry a banner with the words "Alleluia, Alleluia, Alleluia", containing the article of faith: "I believe in eternal life".
The true vine
(7b) A multitude of grapes bunches attached to a single vine is how Anne Le Chevallier represents the vine evoked by Christ: "I am the true vine, and my Father is the vinyard keeper" (Jn 15:1). Eternal life indeed is obtained by remaining attached to Christ.
Saint Paul, Saint Peter and Saint Andrew
(7c) This stained glass window by Louis Barillet depicts the apostles Saint Paul, Saint Peter and Saint Andrew. Paul, the Apostle to the Gentiles, did not know Jesus, but Jesus appeared to him on the road to Damascus as he was about to persecute the Christians. This scene is presented in the lower register. In the centre is Saint Peter, the head of the Church. He is shown with the keys, in reference to Jesus' words: "I will give you the keys to the Kingdom of Heaven: whatever you bind on earth will be bound in Heaven, and whatever you loose on earth will be loosed in Heaven". The lower register shows him being released from prison by an angel. Saint Andrew with his X-shaped cross, the instrument of his torture. In the lower register, he is kneeling with Saint Peter, whom he led to Jesus.
Aaron, Jacob, Joshua
(8c) Around the Redemption window, Louis Barillet depicts the high priest Aaron on the left. Consecrated by Moses (lower left scene), he enters the Promised Land with the Hebrews. On the right, Jacob, before the Promised Land, engages in a struggle with a mysterious angel. These references to the Promised Land foreshadow the entry into Heaven, the culmination of man's life.
The multiplication of the loaves
(9b) This stained-glass window by Louis Barillet shows Jesus multiplying the loaves to feed the huge crowd that had come to listen to him. The disciples take charge of the distribution. People in the crowd give thanks by raising their hands. This scene foreshadows the sacrifice of the Mass.
Adam, Noah, Moses
(9c) This stained-glass panel is dedicated to God's covenants with mankind. In the centre, we can see the first covenant with Adam, the first man. God's creation is featured in the upper medallion. At the very bottom, the disobedience of Adam and Eve leads to the forbidden fruit. On the left is the covenant with Noah, who is holding a miniature of the ark he built to escape the flood. At the bottom, after the flood, the rainbow is the symbol of the renewed covenant. Above Noah, in a small medallion, is the dove that brought him an olive branch. Below, Moses leads the Hebrews across the Red Sea in pursuit of the Egyptians. Above, God concludes the covenant by giving him the tables of the Law. In a small medallion above, the bronze serpent. In the desert, the Hebrews bitten by a snake could be saved if they looked at the bronze snake mounted on a stick, a figure of salvation offered by the cross of Christ.
The Samaritan woman at Jacob's well
(12b) This stained glass window by Louis Barillet depicts the Gospel scene of the Samaritan woman at Jacob's well, as told by Saint John. As Jesus is resting there at the hottest hour of the day, a woman comes to draw water. Jesus reveals to her that he is the only one who can quench the thirst for infinite love in the heart of man, a thirst she has sought to satisfy with her six husbands. Jesus presents himself to her as the true spouse who gives eternal life. His disciples (left) watch in amazement. Above, two small medallions feature the bread and wine, symbols of the Eucharist, through which Jesus gives his life. At the very top, the soldier pierces Jesus' heart after his death. Blood and water flow from it, symbolizing the Eucharist and baptism.
Jesus is taken down from the cross
(17c) Here, Maurice Muraire depicts Joseph of Arimathea, Nicodemus and another man (possibly St John) lowering the body of Jesus from the cross. The Blessed Mother and another holy woman witness the scene. This stained glass window was crafted by the Champigneulle workshops in Paris.
The north windows, the Redemption
(10b) Created by Louis Barillet (1926), this large stained glass window illustrates the mystery of the Redemption. Below, in the centre, the Original Sin is represented. The angel guarding access to the Tree of Life drives Adam and Eve from the earthly paradise, represented by the flowers of tenderness and symbolic animals: the peacock of immortality, the lamb of peace, the lion of strength... Deceived by the serpent, they are clothed in foliage and have hidden from God in a landscape that has become rocky and thorny. Their disobedience will lead to Christ's death sentence. The evil work of men is shown by the instruments of the Passion placed at the feet of the centurion: the coin of betrayal, the cock of Peter's betrayal, the whip of scourging, the crown of thorns, the veil of Veronica, the hammer and tongs of crucifixion, the sponge of vinegar. In the left-hand corner, the righteous people of the Old Testament who died before Jesus are waiting for Christ to come and take them from the underworld: Moses with the tables of the Law, David with his crown. They look forward to the sacrifice of the Cross that will deliver them from death. The central scene of this stained glass window is the sacrifice that Jesus offered on the Cross for all mankind. Jesus is surrounded by the Blessed Mother and Saint John. Mary Magdalene is at his feet, next to Adam's skull. Further down, a Roman soldier is casting lots for Jesus' tunic. On either side of Christ, the two thieves crucified with him. Beneath Christ's wounds, three angels collect the Precious Blood, reminding us that Mass actualizes the unique sacrifice of the Cross. Above, the moon and sun evoke its cosmic dimension. Placed symmetrically, the right-hand window presents the sacrifice of the Mass, through which Christ offers all mankind the salvation won on the Cross. It was celebrated by Pope Saint Gregory the Great, the originator of the Gregorian chant for the dead. A monk wears his tiara, while two others serve Mass. On either side are St Catherine of Siena, St Augustine, St Bonaventure, St Dominic and St Catherine of Alexandria. Finally, the Risen Christ is the central figure on the altar. In the bottom right-hand corner, the souls in purgatory await the celebration of the Mass that will set them free. In front of them, wheat and vines transformed to form hosts and wine, offered to God to give eternal life.
Mosaic of the Sacred Heart
(11a) This mosaic was created by Louis Barillet in the Art Deco style. The Sacred Heart represents God's infinite love for mankind. In the centre, the glorious Christ appears in a mandorla. His heart burns with love for mankind, and from his hands burst forth rays symbolising the graces he abundantly bestows. A number of saints who had a particular devotion to the Heart of Jesus surround him: Saint Bernard of Clairvaux in the monk's habit, Saint Mary Magdalene (kneeling) and Saint John Eudes, Saint John the Evangelist, Saint Margaret Mary Alacoque and Saint Theresa of the Child Jesus. Some of the saints featured were chosen in particular for their links with the diocese of Séez, where Montligeon is located. Saint Bernard inspired the monastic life of the Grande Trappe de Soligny. As for Saint Jean-Eudes and Saint Theresa of the Child Jesus, they were born in the Orne (in Ri and Alençon respectively).
Abel, Melchisedek, Abraham
(12c) In this stained glass window, Louis Barillet depicts three sacrifices from the Old Testament. The righteous Abel offers God a most precious sacrifice: the best animals of the first-born in his flock. Melchisedek, at the centre, offers bread and wine as a sacrifice, an obvious allusion to the Eucharist. Finally, Abraham offers his only son as a sacrifice (he is stopped at the last moment by an angel), just as the Father offers his Son Jesus as a sacrifice for the forgiveness of sins.
Judas Maccabaeus, Zechariah
(13c) Here, Louis Barillet features how the Messiah was expected. Judas Maccabaeus was the leader of an army of resistance fighters. Some of the soldiers werekilled in the battle against Gorgias. Amulets, a sign of idolatry, were found on their bodies. Judas organised a collection to offer a sacrifice for their salvation, a biblical example of prayer for the dead. On the right, Zechariah, father of Saint John the Baptist. Below, he is visited by an angel who announces the birth of a son. Doubting this promise, he is momentarily struck dumb until he writes his son's name: "His name is John". The medallion shows the vision of the prophet Zechariah: four horsemen who travel the earth and find it quiet for the coming of the Messiah.
Decorative stained glass window
(14a) Above the door to the sisters' sacristy.
The Nativity of the Virgin
(14b) The stained glass windows in the apse and choir illustrate the theme of humanity entering into God's plan. It matches the opposite rose window on the west, depicting God entering into humanity. Both were crafted by Maurice Muraire, completed by the Champigneulle workshops in Paris and installed between 1912 and 1917. This stained glass window depicting the Nativity of the Virgin Mary is the first of a series of ten windows on the life of Mary that surround the statue of Our Lady Liberator in the choir of the basilica. Above each of them is a shrine in which the Virgin is particularly honoured. Here, Our Lady of La Salette.
The crowning with thorns
(14c) This is the first of a series of stained glass windows depicting the Passion and Resurrection of Christ. They were designed by Maurice Muraire, produced by the Champigneulle workshops in Paris and installed between 1912 and 1917. The scenes from the Passion of Jesus are arranged on either side of the choir. Those of the Resurrection and Ascension are in the centre. In this stained glass window, Jesus is wearing a crown of thorns and a purple cloak. He is mocked by the soldiers of the governor Pontius Pilate.
The Betrothal of the Virgin Mary
(15b) This scene depicts the betrothal of the Blessed Virgin Mary to Saint Joseph, "a just man" from Nazareth. Above, Our Lady of Deliverance.
Jesus carrying the cross
(15c) After being condemned to death, Jesus carries his cross to the place of his execution. On the way, the soldiers summon Simon of Cyrene to help him. The women pity him. One of them, Veronica, wipes his face with a cloth.
The Visitation
(16b) After the Annunciation (in the south ambulatory) comes the Visitation. The Blessed Virgin Mary visits her cousin Elizabeth, who is pregnant with the future prophet John the Baptist, the forerunner. As the two women greet each other respectfully, Zechariah, Elizabeth's husband, raises his hand in the Virgin's direction, as if he too had recognised the Messiah. At the top of this stained glass window, in the medallion, is Reims Cathedral.
Saint Mark and Saint Matthew
(16a) Two of the four Evangelists are represented here: Saint Mark and Saint Matthew. In the lower register, we see their emblems: a lion for Saint Mark and an angel for Saint Matthew. The top of the medallion represents the Basilica of San Giovanni in Laterano.
The Crucifixion
(16c) In this stained-glass window by Maurice Muraire, we see Jesus stripped of his clothes and nailed to the cross, guarded by a centurion who, after his death, would recognise that he was the Son of God. In the background, the chief priests are displeased to see the inscription written by Pilate on the cross: "Jesus the Nazarene, King of the Jews".
Saint Michael saves a soul from purgatory
(17a) In the Christian tradition, the archangel Saint Michael is called "psychopomp" (Greek word meaning "guide of souls"), because he accompanies the dead to Heaven. Another of his roles is that of "psychostasis" (weighing of the souls). At the judgement, he measures the works of the deceased. This stained glass window was painted by the Champigneulle workshops to a design by Maurice Muraire.
The Presentation of Jesus in the temple
(17b) Forty days after Jesus' birth, Mary and Joseph went to the temple to present him, their first-born son, to the Lord. They bring the ritual offering of two little doves. The child is received by the old man Simeon, who recognises him as the Messiah. On the right, the elderly woman with the halo on her head is the prophetess Anna. She recognises the Lord and announces him to the whole of Jerusalem. Above this scene, we can see the cathedral of Notre-Dame de Séez.
Jesus hands over the keys of the Church to Saint Peter
(18a) When Jesus asked his disciples, "Who do you think I am?" Peter replied, "You are Christ, the Son of the living God." Jesus then said to him: "You are Peter, and on this rock I will build my Church, and the power of death will not prevail against it. I will give you the keys of the Kingdom of Heaven: whatever you bind on earth will be bound in Heaven, and whatever you loose on earth will be loosed in Heaven." (Mt 16:18-19) Peter thus became the head of the Church and the first Pope.
The death of the Virgin Mary
(18b) Mary is dying in the company of holy women and two apostles, Saint John (the youngest) and Saint Peter (in the background). Preserved from original sin by her immaculate conception, the Blessed Virgin Mary is not, strictly speaking, "dead" but "asleep". This thought reminds us that for Catholics, death is equated with rest. The Assumption of Mary teaches us that she is in the glory of Heaven with her body and soul. Above, the shrine of Notre-Dame de la Garde in Marseille.
The Resurrection of Christ
(18c) This stained glass window features the resurrection of Christ. Holding the banner of the cross, he emerges victorious from the tomb, whose overturned stone is held by an angel. The guards, jostled, lie on the ground. This is a work by Maurice Muraire, painted by the Champigneulle workshops.
The Ascension
(19c) Forty days after his resurrection, Jesus "is taken up to Heaven", after blessing his disciples. Based on a drawing by Maurice Muraire, this stained glass window was painted by the Champigneulle workshops in Paris. [Visit the page: Ascension Festival at Buguet workshops](https://montligeon.org/en/ascension-festival-at-ateliers-buguet/)
The base of the statue of Our Lady Liberator
(20b) The sculpted group features four figures. The Blessed Virgin Mary holds the Child Jesus in her arms. At her feet, a chained figure represents a soul in purgatory. On the right, the same soul is welcomed into glory and crowned by the Child Jesus. This monumental group - three and a half metres high - is made up of three blocks of white marble. It is the work of Italian artist Giulio Tadolini, who also designed the funerary monument to Pope Leo XIII in the Basilica of San Giovanni in Rome. In the Eternal City, the Tadolini workshop, a veritable dynasty of sculptors, can still be visited, just a stone's throw from the Piazza del Popolo. [Visit the page : Enrollment in the Fraternity of Our Lady of Montligeon for the Perpetual Mass](https://montligeon.org/en/enrollment-for-the-perpetual-mass/)
The Entombment
(21c) As Calvary looms in the distance, a small group is laying the body of Jesus in a tomb "hewn out of the rock, where no one had yet been laid". We recognise Joseph of Arimathea, who has obtained Pilate's permission to recover Jesus' body.
The Death of Jesus
(22c) Darkness fell over the whole land and Jesus died. A soldier has pierced his chest with a spear. The apostle John and the Blessed Mother are standing at the foot of the cross. Prostrate on the ground, Mary Magdalene weeps. This is in stark contrast to the soldier behind the cross, who is casting lots for the condemned man's tunic. This stained glass window was drawn by Maurice Muraire and painted by the Champigneulle workshops.
Jesus is stripped of his clothes
(23c) Under the visibly satisfied gaze of a chief priest, Jesus is stripped naked by a man with an evil face. At his feet, the executioner waits, hammer and nail in hand. Stained glass window drawn by Maurice Muraire and painted by the Champigneulle workshops.
The altar
(20a) Bp. Buguet, the founder of the Œuvre de Montligeon, wanted an altar that would both catch the eye and form a majestic pedestal for the statue of Notre Dame de Montligeon. In 1913, the plans were finalised. 32 tonnes of marble from Carrara (Italy) were ordered and it took three years to complete, under the direction of François Biron. The consecration, initially scheduled for 1916, was delayed by the war. It finally took place on 15 August 1919. Under the altar table, three bas-reliefs (from left to right): the resurrection of Lazarus, Christ in the tomb, and the resurrection of Jairus' daughter. Near the tabernacle, two angels hold the instruments of the Passion (nails and crown of thorns). On either side of the tabernacle, twelve statues represent saints (from left to right): Abraham with the sacrificial knife, Moses with the tables of the Law, Saint John the Baptist, who points to the Lamb of God, Saint Joseph, Saint John the Evangelist with his chalice, Saint Sebastian pierced by arrows, Saint Charles Borromeo, Saint Thomas Aquinas, Saint Odilon holding a group of souls in purgatory, Saint Louis, King of France, with the crown of thorns brought from Jerusalem, Saint Agnes, a young martyr, holding the lamb on her breast, and Saint Mary Magdalene. [Visit the page: November Heaven’s Pilgrimages: a month of prayer for our departed](https://montligeon.org/en/heavens-pilgrimages/)
The statue of Our Lady Liberator
(20c) The statue of Our Lady of Montligeon. Pilgrims come here to pray for their dead. The Blessed Virgin Mary holds the Child Jesus in her arms. At her feet is a woman, imploring her. The Blessed Mother is chained to a bed of flames, her hair untied and her sleeves rolled up as a sign of damaged grace. She represents a soul in purgatory awaiting liberation. The Virgin intercedes on her behalf, pointing her out to her Son. On the right, the same soul is welcomed into glory and crowned by the Child Jesus. She kneels on a cloud, her hands on her chest as a sign of gratitude, her hair combed and her sleeves pulled down as a sign of rediscovered grace. Her foot, which is visible, indicates the promise of the resurrection of the flesh on the last day.As you keep your eyes on the Blessed Virgin Mary, your soul is focussed on Jesus. Three and a half metres high, this monumental group is made up of three blocks of white marble. It was created by the Italian artist Giulio Tadolini, who also designed the funerary monument to Pope Leo XIII in the Basilica of San Giovanni in Rome. The Virgin Mary received a crown in 1935. [Visit the page : Our Lady of Montligeon, Our Lady of Deliverance of the poor souls](https://montligeon.org/en/our-lady-of-deliverance-of-the-poor-souls/)
The Scourging
(25c) Pilate, the governor, has Jesus scourged to please the crowd. This stained glass window was made by the Champigneulle workshops in Paris, to a design by Maurice Muraire.
The Immaculate Conception of the Virgin Mary
(25b) In the centre of the window, the Virgin Mary in majesty in a mandorla with the moon under her feet, as in the vision of the Book of Revelation. On either side are five figures: on the right, Popes Clement XI, Sixtus IV and Pius IX, who approved the cult of the Immaculate Conception or promulgated the dogma. On the left, Saint Fulbert, bishop of Chartres, and Duns Scott, a Franciscan, who taught the Virgin Mary's insignificant privilege. Above the window: Notre-Dame of Lourdes, where Mary appeared and presented herself as the Immaculate Conception.
The Presentation of the Virgin Mary in the Temple
(24b) Although not recounted in the Gospels, this scene refers to an apocryphal Gospel, the "Protevangel" of James. It tells us that Mary's parents, Anne and Joachim, took her to the temple when she was three years old to consecrate her to God. The Church, which celebrates this feast on 21 November, thus underlines the Virgin Mary's total availability to God's will from an early age. Above this scene, the oculus of the Pontmain basilica is missing.
The Annunciation
(23b) The angel Gabriel on the left, richly dressed in a golden dalmatic and a stole with fleurs-de-lis, announces to Mary, in the centre, that she will become the mother of the Saviour. In prayer, Mary receives the grace of the Holy Ghost, represented just above her by a dove. Overlooking this scene: Notre-Dame de Paris.
The Assumption of the Blesssed Virgin Mary into Heaven
(19b) The Mother of God is the first one of the saved. She is raised to Heaven before the eyes of the twelve Apostles. Their reactions, both astonished and different, are amusing. One of them looks into the tomb, another takes his comrade as witness, some kneel while others raise their arms as if to hold her. On either side of the Virgin Mary, the cherubim are very agitated. [Visit the page: Assumption pilgrimage](https://montligeon.org/en/assumption-pilgrimage/)
Death according to Christian rites
(19a) In the Chapelle de l'Adoration, a series of seven stained glass windows illustrate Christian death. There are also fourteen names from the litanies of the Virgin Mary. On the left is extreme unction, the last communion received to "cross the ravines of death" towards life. Then, the agony in the presence of loved ones who support the dying person at the hour of death. In the middle, the celebration of Mass for the dead, the most beautiful prayer we can offer to our deceased. Opposite right, death. The good death is the grace of the last breath placed confidently in the hands of God. Then, the vigil of the dead: loved ones pray around the body. Then comes the Christian burial. This public act supports the deceased and his or her family and guides them towards the hope of eternal life. Finally, the visit to the cemetery and the upkeep of the graves is a work of mercy, a way of honouring the body of the deceased and bearing witness to faith in the resurrection of the flesh. In the background, the basilica of Montligeon.
The conversion of Saint Paul
(21a) This stained glass window depicts the conversion of Saint Paul, a zealous Jew who persecuted the Christians. As he was on his way to arrest them in Damascus, he fell off his horse and heard Christ call out to him: "Why are you persecuting me?" Converted, he became a fervent apostle. He evangelised Asia Minor on a number of journeys and wrote several letters on subjects including the resurrection of the flesh.
Saint Anne
(22a) Saint Anne is the mother of the Virgin Mary and the grandmother of Jesus. This chapel is dedicated to the little ones who have died. [Visit the page : Our Lady of the deceased little ones](https://montligeon.org/en/deceased-little-ones/)
Saint Luke and Saint John
(23a) Two of the four Evangelists are represented in this stained glass window: Saint Luke and Saint John with their emblems: the bull and the eagle. The medallion above shows St Peter's Basilica in Rome.
Decorative stained glass
(25a) Decorative stained glass window above the chaplains' sacristy.
Altar of Saint Joseph
(28a) The husband of the Blessed Virgin Mary and adoptive father of Jesus is invoked as the patron saint of good death and protector of families and workers. He reminds us of the twofold concern that dwelt in the heart of Abbé Buguet, founder of the Œuvre de Montligeon: praying for the dead and giving work to workers. Saint Joseph is depicted here in the workshop in Nazareth, during his flight to Egypt and on his deathbed. This mosaic was created in the Art Deco style by Louis Barillet and Anne Lechevallier. In the north aisle of the basilica, a chapel has been dedicated to Saint Joseph since 2022.
Saint Lazarus and the son of the widow of Nain
(26c) In this stained glass painting by Louis Barillet, Saint Lazarus (left) is depicted as a bishop. This is Lazarus of Bethany, who, along with his two sisters, was a close friend of Jesus. The resurrection of Lazarus by Jesus is depicted in the lower register: Lazarus, wrapped in bandages, emerges from the tomb, and one of his sisters prostrates before Jesus. To the right of the window are two miracles that foreshadow the Resurrection: Jesus raises the only son of the widow of Nain (lower register) and Jairus' daughter (upper medallion).
The Adoration of the Magi
(27b) In a beautiful vertical perspective, in the centre of the window, the Child Jesus with his mother and the star that guided the Magi to Bethlehem. The three magi kneel down to offer their gifts: gold, frankincense and myrrh. The Magi represent the capacity of human wisdom to seek truth and find it. Saint Joseph is set back on the left. The medallion at the top shows him carrying the Child Jesus. Stained glass window by Louis Barillet.
David, Joseph and Booz
(27c) Three of Christ's ancestors, portrayed by Louis Barillet. David, who defeated Goliath and became king of Israel, also famous for his 73 psalms (poems and prayers of praise and supplication). He is shown on the left with a harp. Below, David and Abigail. She dissuades him from taking revenge, recognising in him the future king of Israel. In the middle, the patriarch Joseph, Pharaoh's steward (centre), explaining the dreams to his fellow captives (bottom) and forgiving his brothers (in the upper medallion). On the right, Boaz allows the poor widow Ruth to glean in his field. He later married her. They were the forebears of King David.
Daniel in the lions' den
(29a) Sculpted by François Biron in 1916, this scene depicts Daniel in the lions' den. This punishment had been inflicted to him twice. This time, it was because he had overthrown Bel, the Babylonian idol, and killed the great serpent worshipped as a god. After six days in captivity, as he was still alive, he was visited by the prophet Habakkuk, sent by God to bring him a meal. Daniel exclaimed: "You have remembered me, my God; you do not abandon those who love you." He was released the next day. This scene stresses his trust in God. Daniel also prefigures Christ, as he experienced his passion and death but emerge victorious and free in the resurrection. It also represents the believer's hope in God, who assists him and makes him overcome his enemies, and even over death.
Large south panels, the Last Judgement
(29b) The large windows below the rose window can be read from bottom to top and from left to right. At the bottom, in greenish tones and with cadaverous figures, the world of death. In the left-hand corner, a man is frightened by the horror of the trenches represented by two Poilus [French soldiers] from the First World War, surrounded by crosses. With them stand a monk and a bishop. To the right, a macabre dance around the Angel of Death, armed with his scythe, who is taking off his shroud and holding a blood-red sword. This is death. In the right-hand corner, two buried miners seem to be waiting for help. On either side, two angels dressed in red descend to console, soothe and seek out the dead. They have come to announce to mankind that the end of time has come. The one on the left points to Heaven to encourage people to hope. The one on the right takes in a newborn baby already adorned with the halo of the innocent saints. Above the world of death, the earthly world is faced with the cosmic signs of the end of time. At the centre of this scene, a gigantic inferno represents the lake of fire in the Book of Revelation, into which are thrown all those who are not inscribed in the Book of Life, i.e. all those who have rejected love and truth. This inferno is dominated at the top right by the angel Lucifer dressed in white and green, the symbol of fallen light. Above the fire, in the clouds, Christ is enthroned in majesty in a mandorla, symbolizing his entry into life. He exposes his five wounds to worshipping. To his left, an angel holds the Glorious Cross and a scroll bearing the inscription "Fulget crucis mysterium" ("The mystery of the cross shines forth"). Behind him, two other angels hold Veronica's veil and the crown of thorns, while seven others sound the trumpets of judgement. Finally, on either side of the Son of Man, the crowd of the elect led by the Blessed Virgin Mary Queen praises the Lord. Some of them can be recognised by their clothes. On the left: Moses holding the tables of the Law, Pope Leo XIII (who established the Fraternity of Montligeon as a brotherhood in 1893) and Saint Francis of Assisi. On the right: Saint Joan of Arc, the Curé d'Ars, an African and an Asian, Saint Catherine of Siena holding a lily, a crusader (or Saint Joan of Arc?), a First World War French soldier.
South rose window, the Last Judgement
(29c) Louis Barillet created the Last Judgement rose window in 1927, choosing warm tones of red and gold to illustrate the vision of the Book of Revelation. In the centre of the rose, the artist depicts the Eternal Living One (the Word) with the face of a man with white hair "and his eyes like a burning flame". In his right hand are seven stars and from his mouth protrudes a two-edged sword. On his right is the inscription "I am the Alpha and the Omega". All around him are twenty-four rays in which as many old men are shown seated, crowned and dressed in white robes. Above them, three-leafed lobes bear geometric motifs and the names of the twelve tribes of Israel. This evocation corresponds to that of the twelve apostles in the north rose window. Beneath the rose window and above the ogives, two three-leaf lobes contain the coat of arms of Pope Pius XI, who conferred the title of basilica minor on the church in 1928 (left), and that of Mgr Pasquet, Bishop of Séez, who consecrated it the same year (right). Two large daisies evoke two scenes from the Apocalypse. On the left, the woman with the sun as her mantle and the moon under her feet has just given birth to a child whom she protects with her arms, with the help of an angel, against a huge dragon that is trying to devour him. On the right, Saint Michael fights the seven-headed beast. Finally, four small three-leafed lobes contain the horsemen of the Apocalypse, bringing the plagues upon the earth.
Jesus among the Doctors
(30b) In this stained-glass window by Louis Barillet, Jesus is shown in the midst of the teachers of the Law (left), who are amazed by his wisdom and intelligence. His parents (right) are looking for him, worried. In the upper medallion: the Father and the Holy Ghost, in the form of a dove, a way of showing that Jesus is united to his Father by the Holy Spirit.
Solomon, Judas, Hezekiah
(30c) Three ancestors of Jesus: Solomon, son of David (left), made famous by his discernment, particularly when he decided between two women who claimed to be the mother of a child. In the lower register, Solomon edifies the Queen of Sheba with his wisdom. At the centre of the stained glass window is Judas, one of Joseph the Egyptian's brothers. He offers to take his brother Benjamin's place as a hostage (lower register). On the right is Hezekiah, whose prayers led to the defeat of Sennacherib's army by the angel of the Lord (lower scene).
Tobit and Elisha
(31c) This stained-glass window by Louis Barillet shows three highlights from the life of old Tobit. Below, he buries the dead at night, defying the prohibition of the Assyrian authorities. In the middle, Tobit goes blind after getting bird droppings in his eyes. At the very top of the medallion, his son, the young Tobias, brings him the remedy, taken from the belly of a fish, which will restore his sight. The right-hand side of the window depicts the prophet Elisha. In the lower register, a man is brought back to life by contact with the prophet's bones.
Chapel of Saint Francis de Sales and Saint Vincent de Paul
(32a) Works of charity. In the lower register, Saint Vincent de Paul (1581-1660) brings abandoned children to the Filles de la Charité, an order for women he founded with Louise de Marillac. In the middle, during a meeting in Paris, Saint Francis de Sales (1567-1622) entrusted him with the spiritual direction of the Ladies of the Visitation, an order he founded with Saint Jeanne de Chantal. At the top of the medallion, Jesus resurrects his friend Lazarus, who emerges from the tomb still wrapped in bandages. This is a foreshadowing of the resurrection of the dead, proclaimed in the Creed, the profession of faith of the Catholic Church.
Chapel of Saint Francis of Assisi
(33a) Saint Francis of Assisi (1181-1226). The Poverello (Poor Man) was born in Assisi and radically converted after leading a life of pleasure. He founded the Order of Friars Minor and lived according to the Gospel in poverty, praise, joy and prayer. The stained glass window depicts an episode in the life of Francis: the imposition of the stigmata. In the lower register, Saint Anthony of Padua, also a Friar Minor, preaches the Gospel to the fishes. The medallion at the very top depicts a beautiful figure of the Church: a tower above which Mary, Mother of the Church, shelters her children under her cloak. "Sanctam ecclesiam catholicam" (Holy Catholic Church).
Chapel of Saint Patrick
(34a) Born in Brittany, Saint Patrick, or Patrice (c. 385-461) was kidnapped and sold into slavery in the north of Ireland. He managed to escape and return to Brittany, from where he trained at the sanctuary of Saint-Martin-de-Tours. He became the protégé of the bishop of Auxerre. As he was consecrated as bishop of Ireland, he evangelised the country and established monastic life there. To encourage the faithful to do penance and pray to save the souls of the dead, he invented "Saint Patrick's Purgatory", a pilgrimage of ascetic practices to deliver souls from purgatory: prayer, fasting, vigil, silence, indulgences and sacrifices. Below, four Irish saints: Saint Malachy, bishop, Saint Brigid of Ireland, Saint Columban and Saint Columba. Above, Saint Patrick abolishing slavery and driving the demons out of Ireland. In the upper medallion, Christ who will return to judge the living and the dead ("Judicare vivos et mortuos"). On the altar, the mosaic of the Trinity. Saint Patrick explained this mystery using the three-leaf clover, which became the emblem of Ireland.
Chapel of Saint Francis Xavier
(35a) Proclaiming the Gospel to win souls. A Jesuit missionary, Saint Francis Xavier (1506-1552) evangelised India and the Far East. He died as he was about to enter China. Three scenes from his life are depicted here. In the main scene, he raises a young man from the dead by taking his hand and calling him back to life with the words: "Francis, in the name of Christ, stand up". The two lower scenes, on the left, show Saint Ignatius of Loyola attending the course taught by Saint Francis Xavier in Paris, and on the right, the death of the saint on the island of Sancian. Ignatius is quoted as saying: "What does it profit a man to gain the world if he comes to lose his soul?" The small medallion at the top depicts the appearance of the risen Christ to Saint Thomas the incredulous, with the words "Resurrexit a mortuis" (He rose from the dead).
Chapel of Saint Macary
(36a) Prayer for the dead. Saint Macarius (+ 395) was born in the Upper Nile valley and became a hermit in his youth. He performed several miracles and acquired a reputation for holiness. Saint Macarius was a fervent promoter of prayer for the dead. He established the practice of the forty days of prayer after the death of a deceased person commonly in use in the Eastern Church. He is depicted here exhorting the monks in the desert to pray for the dead. The lower panel is inspired by the rites of the Latin and Greek churches and shows the presentation of offerings to the dead. In the upper medallion, the Mother of God presents her Son, worshipped by two angels, with the words: "Natus ex Maria" Virgine (He was born of the Virgin Mary).
Chapel of Saint Jean-Marie Vianney, Curé of Ars
(37a) Saint Jean-Marie Vianney (1786-1859), Curé of Ars. He spent most of his life calling his parishioners to conversion, particularly through the sacrament of confession. He is shown here dressed in his priestly vestments, coming out of the confessional to welcome the many penitents who came to him. He preached extensively on purgatory, which he described as "the Good Lord's infirmary", the effect of his mercy in opening our hearts, burning away the after-effects of sin and preparing us for the joy of Heaven. The Curate of Ars also encouraged us to pray for the dead: "If we knew how great is the power of the holy souls in purgatory, and how many graces we can obtain from God through them, they would not be so much forgotten. Let us pray well for them so that they pray much for us." The lower register shows Saint Benoît-Joseph Labre being received by the ancestors of the Curé d'Ars. In the medallion at the very top of the stained glass window, we can see God the Father, creator of Heaven and earth, of the visible and invisible universe: "Factorem cœli et terrae" (he made Heaven and earth).
Noah rescued from the flood
(37b) Noah reaches out to receive a dove holding a green branch in its beak, proof that life has returned to the earth after the flood. As the waters recede, the animals (snake, elephant, zebra) leave the ark. In counterpoint, the artist depicts Jesus walking on the waters in a medallion above. In the Bible, the waters represent death. We see another illustration of this on the tympanum of the basilica, where Poseidon, the god of the sea, is struck down by the risen Christ. The story of Noah illustrates the victory of life over death and prefigures Christ who saves mankind and the Creation.
Job delivered from the evils which afflicted him
(36b) Poor Job (left), sick and poorly clothed. As he had lost all his possessions, his friends explained to him that his troubles were the consequence of his sins. His wife also advised him to curse God and die. Yet Job was innocent and God's hand was still upon him. Persevering in faith and faithfulness, he received no answer to his question about the reason for his suffering, but God finally saved him. Stained glass window created by Jean Barillet.
Lot saved from Sodom
(35b) Lot used to live in Sodom, a city of perdition and sin. He was warned by an angel to leave the place before its destruction. In this stained glass window by Jean Barillet, we see him being guided by an angel and accompanied by his two daughters. His wife is shown above, transformed into a statue of salt for having turned away despite the angel's prohibition. To leave a sinful situation, you have to look ahead and trust God.
Daniel released from the lion's den
(34b) In this stained glass window, Jean Barillet depicts the young Daniel thrown into the lions' den by King Darius. A lion approaches him but does not touch him, while the prophet Habakkuk feeds Daniel. An angel on the left warns the prophet.
Suzanne cleared from a false accusation
(33b) The Triumph of Truth. This series of five stained glass windows uses several examples from the Old Testament to illustrate how God delivers his people from sin and death. Here, Jean Barillet depicts the virtuous Susanna, delivered from a false accusation of adultery brought against her by two lustful old men who desired her but whom she refused. On the right, young Daniel confounds the two accusers. In the end, truth always triumphs and justice is done.
Martyrdom of Saint Peter and Saint Paul
(32b) The martyrdom. Created by Jean Barillet (1912-1997), a renowned stained glass artist who trained in his father Louis's studio, this series of windows was installed between 1954 and 1956. Here, the artist depicts the martyrdom of Saint Peter, who asked to be crucified upside down, feeling unworthy to die in the same manner as Christ. On the right, the martyrdom of Saint Paul, who was beheaded. In the middle, two holy figures embrace. Above, Christ transfigured amidst Moses and Elijah.
Saint John the Baptist, Isaiah, Jeremiah
(32c) Painted between 1934 and 1939 by Louis Barillet, Jacques Le Chevallier and Théo Hanssen, the Basilica's high southern windows focus on the prophets who announced salvation, and whose words and deeds are recounted in the Old Testament. We can see Saint John the Baptist, the only prophet who knew Christ, dressed in animal skin and in an attitude of retreat as if to express his humility. A banner behind him bears the words: "Ecce Agnus Dei" (Behold the Lamb of God). In the lower register, we see him baptising Jesus in the Jordan. In the centre is the prophet Isaiah, depicted in an attitude of listening and availability. He announced the divine maternity of the Virgin Mary (below). Finally, the prophet Jeremiah, who prophesied the ruin of Jerusalem and the punishment inflicted on the people for their infidelities (depicted in a terrifying manner and in the same colours in the lower register). His face expresses sadness.
Baruch, Ezekiel, Daniel
(33c) On the three upper oculi, Louis Barillet depicts the hand of God and two parts of a parchment on which you can read: Comede volumen istud (Eat this book), in reference to the Lord's words to the prophet Ezekiel, represented in the centre. He is seen in ecstasy, while the base shows his vision of the resurrection: three green, orange and yellow skeletons come back to life. The left-hand lancet is dedicated to the prophet Baruch with the scroll of the Word of God. Below, the prophet's hymn to God, the creator of the universe, with a series of animals: elephant, monkeys, fish, tiger, lion, etc. On the far right is the young Daniel, in exile in Babylon, as shown by the Phrygian cap he is wearing. He has entered the king's service and is richly dressed. Below, we see him interpreting for King Balthazar the words inscribed on the wall during a banquet, announcing his imminent death. On a symbolic level, Baruch evokes creation and its final restoration in Christ, Ezekiel witnesses the announcement of the resurrection of the flesh, acquired and promised by Christ, and Daniel alludes to the judgement of God, who weighs our actions and decides our eternal retribution.
Hosea, Joel, Amos
(34c) Three prophets portrayed by Louis Barillet: Hosea on the left, whose gentle face contrasts with the violence of the action he carries out in overthrowing the idols worshipped by the people of Israel. Hosea is also the prophet who reveals God's merciful love for His people. In the middle, Joel, with his arm raised and the lion of Judah lying at his feet, calls for penance and announces the Day of the Lord. He also announces the outpouring of the Holy Spirit. On the right, Amos the shepherd, recognisable by his staff. He is also depicted in the lower register, kneeling before God who commands him to speak to Israel in His name. Amos prophesies the spiritual restoration of David's kingdom.
Obadiah, Jonah, Micah
(35c) At the very top of this very elaborate stained-glass window by Louis Barillet is the Nativity scene. On the left-hand lancet, the prophet Obadiah announces the return from exile. Below him, a scene illustrates God's judgement against Edom for betraying Israel. In the middle, Jonah preaches conversion to the inhabitants of Nineveh. Earlier, he had been washed ashore by a fish that had swallowed him. This episode is a foreshadowing of Christ's death and resurrection. Micah, in ecstasy, prophesies the humble birth of the Messiah in Bethlehem, "the least of the clans of Judah". The scene on the base shows him being thrown into prison by King Ahab (1 Kings 22:7).
Nahum, Habakkuk, Zephaniah
(36c) In the upper medallions, the Lamb of the Apocalypse surrounded by the seven flaming torches (the gifts of the Holy Spirit), as well as the angel of life and the angel of death. The three stained glass windows in the middle stand out because of their black background. On the left, the prophet Nahum prophesies the wrath of Yahweh, who threatens the sea, makes the mountains quake, pours out fire and unleashes the waves. After the great tribulations, Nahum also announces eternal peace. In the centre, the raised finger of Habakkuk, with his face turned towards Heaven, announces the coming of God's Messiah. We also see him in the lower register, brought by an angel holding him by the hair to Daniel in his cell. On the right, the prophet Zephaniah. Below, in anger, he denounces the idolatry of his people, represented by a satanic idol with cloven feet, and announces the coming of the Messiah.
Zechariah, Haggai, Malachi
(37c) Three other prophets surmounted by a very beautiful Christ in the temple (medallion at the very top). On the left, Zechariah. In the lower register, his prophecy has been placed in the centre of the stained glass window: Christ's triumphal entry into Jerusalem. In the centre, in the middle, the prophet Haggai announces the rebuilding of the temple in Jerusalem (below left): mortar and trowel, a carpenter handling a large beam and a workman carrying a stone. Finally, to the right of the window, the prophet Malachi. He announces the restoration of all justice and the coming of the prophet Elijah before the Messiah. This is why the scene below depicts the Transfiguration of Christ, surrounded by Moses and Elijah.
The young men in the furnace
(10a) Sculpted by François Biron, this scene features three young Hebrews, Ananias, Azariah and Mishael, thrown into a furnace by King Nebuchadnezzar for refusing to bow down to a golden statue. But the blazing flames did them no harm and, guided by an angel, they praised the Lord. The Fathers of the Church saw in this scene a prefiguration of the triumph of the Resurrection over death and sin, and of the way in which Christ delivers his disciples from evil.
The Hermitage
(41a) Closing off the main courtyard to the east, the Hermitage at first housed the chaplains and administrative staff of the Œuvre de Montligeon. It was built in 1896 by Alfred Tessier. It comprises five buildings. The Alençon granite base is pierced by semi-circular arches and forms an overhang onto which a wide terrace extends, affording views on the Perche hills. The upper parts of the building are made of sandstone and limestone rubble covered with lime plaster. In the centre of the building, a grand staircase with a diverging double flight leads to the formal gardens. Today, the Hermitage houses a hostel for pilgrims, the secretariat of the Work and the shrine shop. [Visit the page: Schedule](https://montligeon.org/en/schedule/) [Visit the page: Useful information](https://montligeon.org/en/useful-information/)
Printing House
(42a) Located to the south of the main courtyard. Covered in solid rendering, the walls of this building are made of sandstone rubble from a quarry in the commune of La Chapelle-Montligeon. Brick and limestone, arches over the windows and columns adorn each façade. The building, which today houses meeting rooms and rooms for pilgrims, was originally occupied by a printing works. Founded in 1887 by Abbé Buguet, who was saddened to see the local people leaving the area for lack of work, it was used to print the Œuvre expiatoire newsletters. In 1894, it employed 31 people. In 1921, the printing works expanded into another perpendicular reinforced concrete building, linked to the first building by a footbridge.
Jerusalem
(43a) This building, located above the shrine and backing onto the Réno forest, was built after the Hermitage to accommodate pilgrims.
The Buguet Workshops
(44a) In addition to the 1921 building, vast warehouses were built in 1975. They housed the Montligeon printing works until 2009. Since 2012, these vast premises have been home to a village of craftsmen, as well as a large 300-seat meeting room. [Visit the page: The Buguet Workshops, craft and business village](https://montligeon.org/en/the-budget-workshops/)
The Basilica of Notre-Dame-de-Montligeon
(45a) The foundation stone was laid on 4 June 1896. The first Mass was celebrated on 1 June 1911. It was elevated to the rank of minor basilica in 1928 by Pope Pius XI. Built in record time at the crossroads of the 19th and 20th centuries, it was inspired by the nearby cathedral of Séez. With its neo-gothic architecture, the basilica is above all Art Deco style in its furnishings and stained glass windows. A remarkable collection of stained glass windows shows the development of the art of stained glass from the early 20th century to the 1970s. The two stained glass windows in the two transepts are major works of 20th-century religious art. Designed in the Art Deco style, they were created by Louis Barillet. Its size is impressive: 74 m long and 32 m wide. Its two bell towers are 60 m high. These imposing proportions earned it the name "Cathedral in the Fields". [Visit the page: Become a Hope Maker](https://montligeon.org/en/become-a-hope-maker/) [Visit the page: Enrollment in the Fraternity of Our Lady of Montligeon for the Perpetual Mass](https://montligeon.org/en/enrollment-for-the-perpetual-mass/)
Avenue de la Basilique
(46a) Below the basilica, six pavilions were built along the Avenue de la Basilique. According to oral tradition, they were intended for interpreters. On the ground floor, the bays are framed by pointed arches surmounted by trilobes, in keeping with the neo-Gothic style of the basilica.
The Way of the Resurrection
(47a) The Way of the Resurrection was inspired by the Way of the Cross. Station after station, it proposes to follow Christ in His resurrection and His apparitions. It seeks to help us open up to hope, for ourselves and for our beloved deceased. We can walk the path of inner healing. [Watch the page : Our Lady of the deceased little ones](https://montligeon.org/en/deceased-little-ones/)
The Way of Consolation
(48a) The Way of Consolation addresses people faced with the loss of the child they conceived and who did not get to live, whatever the reasons may be (ectopic pregnancy, miscarriage, abortion, medically terminated pregnancy, still born babies, etc.) . It seeks to help parents and relatives to open up to Divine Mercy so as to receive inner peace, healing and solace from the love of Jesus, the Redeemer. [Watch the page : Our Lady of the deceased little ones](https://montligeon.org/en/deceased-little-ones/)
Saint Anselm of Canterbury
(9d) The statues on the roof: Saint Anselm of Canterbury (c 1033-1109), Italian Benedictine monk, theologian, proclaimed Doctor of the Church in 1720. Firmly believing in the existence of purgatory, he prayed intensively for the dead and had others pray for him. In particular, while he was asleep, he had a vision of one of his deceased pupils, Osbern, "with a troubled face, worried, upset, like someone who has just come out of a fight or who is just escaping danger". He was quoted as saying: "After death, the least punishment that awaits us in purgatory is far greater than anything we can conceive of here below".
Saint Teresa of Avila
(3d) The statues on the roof: This Spanish nun (1515-1582), reformer of the Carmelites and proclaimed Doctor of the Church, was concerned throughout her life with the fate of the deceased. She prayed for them fervently. In the basilica, a chapel is dedicated to her, along the north aisle.
Saint Catherine of Bologna
(4d) The statues on the roof: Born into a noble family in Bologna, Catherine of Bologna (1413-1463) became, at the age of 10, a maid of honor at the court of Nicholas III d’Este. There, she received a careful education that would serve her later in her monastic life. She dedicated herself to God at the age of 14 and became a Poor Clare. She underwent great trials: the dark night of faith, the temptation of disbelief in the Eucharist, etc. In 1431, she received a vision of the Last Judgment. “The terrifying scene of the damned pushed her to intensify her prayers and penances for the salvation of sinners” (Benedict XVI, 29/12/2010).
Saint Catherine of Siena
(5d) The statues on the roof: Saint Catherine of Siena (1347-1380), Doctor of the Church. After consecrating herself to God in the Dominican Third Order, St Catherine of Siena led an ascetic life. A mystic, she gave her heart to Jesus and received his in return. Favoured by visions and ecstasies, she received a revelation from Jesus about the souls in purgatory, especially the need to pray for them. She was also an energetic woman who worked to bring the seat of the papacy back from Avignon to Rome, advising and acting as ambassador for the Pope. Despite her death at the age of thirty-three, she left a considerable body of writings.
Saint Dominic
(7d) The statues on the roof: Saint Dominic (1170-1221) was the founder of the Order of Friars Preachers, better known as the Dominicans. He worked tirelessly for the conversion of heretics and led a life of asceticism and prayer, praying especially for the souls in purgatory. He spread the Rosary.
Saint Nicholas of Tolentino
(6d) The statues on the roof: Since boyhood, Nicholas of Tolentino (1245-1305) was a lover of God and of the poor. At the age of eleven, he joined the Order of Hermits of Saint Augustine, where he was admired by all for his obedience, his gentle and always even temperament, his chastity guarded by harsh mortifications and his faithful prayer. It is said that he had several visions of souls in purgatory whom he helped to deliver through his prayer.
Saint Malachy
(8d) The statues on the roof: Archbishop of Ireland, Saint Malachy of Armagh (1094-1148) was a contemporary of Saint Bernard, in whose presence he died at Clairvaux Abbey. He spread prayer for the souls in purgatory and died on November 2, a day of prayer for the faithful departed.
Saint Catherine of Genoa
(10d) The statues on the roof: The life of Saint Catherine of Genoa (1447-1510) was entirely focused on God and her fellow human beings. She had a special knowledge of purgatory, which she described in her Treatise on Purgatory. She described it "as a fire, not external but internal, on the path to full communion with God". Indeed, at death, as the soul finds itself in the presence of God's love. It becomes painfully aware of the sins it has committed and the ties that still bind it, making it incapable of seeing God face to face. Purgatory is the inner fire that purifies the soul from the dross of sin so that it can enter the joy of Heaven.
Saint Gregory the Great
(12d) The statues on the roof: In the 6th century, before becoming Pope, Gregory (born circa 540-604) was abbot of a monastery in Rome. One of the abbey's monks, Justus, was renowned for his many qualities, including that of a doctor. But when he died, three gold coins were found in his cell, showing that he had disobeyed his vow of poverty. Faced with the seriousness of this error, Gregory was angry at first, but mercy prevailed and he decided to celebrate Mass for the monk's salvation. After thirty days of Mass, Justus appeared to one of his brothers and announced his deliverance. Gregory then received a promise from the Lord that all those who had these thirty Masses said without interruption would obtain the same grace for their deceased. Since then, the Church has kept this tradition and given it the name of the Gregorian Trentain. Saint Gregory the Great is a doctor of the Church.
Saint John of Damascus
(13d) The statues on the roof: Saint John of Damascus (675-749), Doctor of the Church. Mansour was born in Damascus, Syria, into an Arab- Christian family of tax officials. At the age of 45, he lost his job and decided to go to Palestine, where he entered a monastery. After becoming a priest, he took the name John and shared his life between preaching and study. He also defended the veneration of holy images against the iconoclasts. He was also the author of numerous troparia, hymns and liturgical poems in which he also sang the praises of the dead.
Saint Patrick
(14d) The statues on the roof: Saint Patrick (c. 385-461), apostle of Ireland. Born in Brittany, he was kidnapped by pirates at the age of 15 and sold into slavery in Northern Ireland. He managed to escape and return to Brittany. Trained at the shrine of Saint-Martin-de-Tours, he became a missionary bishop in Ireland and spent forty years evangelizing the country and establishing monastic life there. He encouraged the faithful to do penance and pray to save the souls of the dead.
Saint Jerome
(15d) The statues on the roof: The statue of Saint Jerome (347-420) stands alongside that of Saint John Chrysostom, whose disciple he was in Constantinople before moving to Rome, where he translated the Bible into Latin. His translation was called the "Vulgate". He insisted on the reality of purification after death, as a consequence of divine justice.
Saint John Chrysostom
(16d) The statues on the roof: Saint John Chrysostom (347-407) was bishop of Constantinople before being exiled to the shores of the Black Sea by the imperial authorities. Nicknamed "Saint John the Golden Mouth" because of his eloquence, this father of the Church insisted on the need to pray for the dead as they were being purified and on the solidarity that unites the living and the dead in the communion of saints.
Saint Basil of Caesarea
(17d) The statues on the roof: Basil of Caesarea, also known as Basil the Great (329-379). Born in Cappadocia, he was a monk and a great friend of Saint Gregory of Nazianzus, whose statue can be seen on the roof of the basilica to the south. He too understood the existence of purification after death and encouraged prayer for the dead. He was the father of the Eastern Church.
Saint Cyprian of Carthage
(18d) The statues on the roof: Saint Cyprian (200-258) was bishop of Carthage and died beheaded under the persecution of Valerian. He insisted on the need for penance to atone for one's sins and encouraged the living to pray to help the dead.
Saint Benoît Labre
(37d) The statues on the roof: Saint Benoît Labre (1748-1783). A native from Pas-de-Calais in France, he travelled the roads of Europe as a pilgrim, praying and living in poverty. He is also known for having offered his prayers and sufferings for the deliverance of souls in purgatory.
Saint Margaret Mary
(36d) The statues on the roof: Saint Margaret-Mary Alacoque (1647-1690) was a French Visitandine nun at Paray-le-Monial. She received apparitions from Jesus, who showed her his Heart "which so loved men". She went on to spread devotion to the Sacred Heart of Jesus. On several occasions, she saw suffering souls in purgatory, as well as souls freed thanks to her prayers and the offering of Masses for their salvation.
Saint Philip Neri
(35d) The statues on the roof: Founder of the Congregation of the Oratory, Saint Philip Neri (1515-1595) showed particular zeal for the souls in purgatory, some of whom appeared to him to ask for his help. His charity was great, particularly towards the poor of Rome, but also for the deceased, for whom he offered his sufferings, his prayers and his masses.
Saint Frances of Rome
(34d) The statues on the roof: Married and a mother, Saint Frances of Rome (1398-1440) was a virtuous wife and mother, loved by all. Her many occupations did not prevent her from praying. On the death of her husband, she joined the Oblate Sisters she had founded, with whom she led a life of good works and prayer. She had a vision of purgatory, which she described in her "Treatise on Hell". She saw it as a place divided into three distinct parts where souls are distributed according to the seriousness of their faults.
Saint Lidwine of Schiedam
(33d) The statues on the roof: Disabled as a result of an accident, young Lidwine endured terrible suffering. This mystic (1380-1433) had great compassion for the souls in purgatory and offered her sufferings for their salvation. She received many visions of souls in purgatory.
Saint Thomas Aquinas
(32d) The statues on the roof: Saint Thomas Aquinas (1225-1274). This Dominican friar and Doctor of the Church summarised Catholic doctrine on purgatory. In particular, he explained the need to be purified of all traces of sin in order to be able to see God face to face. He also taught how the living can help the dead through their prayers, works of charity and Masses offered for the deceased.
Saint Francis of Assisi
(31d) The statues on the roof: Saint Francis of Assisi (1181-1226). The Poverello (Poor Man) was born in Assisi and radically converted after leading a life of pleasure. He founded the Order of Friars Minor and lived according to the Gospel in poverty, praise, joy and prayer. He obtained from Pope Honorius III that a plenary indulgence be granted to all those who came to the Porziuncola – the church he restored and in which he received his vocation – so that they could be washed clean of all the sorrows of sin. Even today, pilgrims who come to Montligeon on 2 August can receive the plenary indulgence under the usual conditions laid down by the Church.
Saint Bernard
(30d) The statues on the roof: In his sermons, the monk of Clairvaux, Saint Bernard (1090-1153) developed the question of purgatory, which he regarded as the expression of God's mercy. He described the suffering of souls in purgatory as being due to their longing to see God. This suffering is full of hope because they know that they are saved.
Saint Odilon
(29d) The statues on the roof: 962 - 1049. He was Abbot of the abbey of Cluny in Burgundy. Cluny was where the custom of praying for the dead on 2 November, the day after All Saints' Day (celebrated on 1 November). On All Saints' Day, the Church celebrates all the saints in Heaven who are in glory with God. On the following day, she remembers the faithful departed and prays for them, so that they may be welcomed into eternal glory.
Saint Peter Damian
(27d) The statues on the roof: Saint Peter Damian (1007-1072), bishop and doctor of the Church. Raised into a poor family, his brother, an archpriest, helped him to succeed as a student. After teaching for a while, he decided to enter a monastery where he devoted his life to prayer and study. In his days, the Church was going through a difficult time, and Peter Damian fought ardently against the depravity of the clergy. He supported the popes and became a great servant of the Church. On the subject of purgatory, he maintained that prayer, almsgiving and sacrifices benefited the deceased.
Saint Bede the Venerable
(26d) The statues on the roof: Born in Scotland, Saint Bede entered a Benedictine monastery and acquired such a reputation as a friend of God that his contemporaries called him Venerable. His work is considerable: theologian, historian and poet. He studied the afterlife in particular, insisting on the fire of purgatory, which he placed between death and the Last Judgement. The duration of this purification can be shortened by the prayers of the living.
Saint Benedict of Nursia
(25d) The statues on the roof: Saint Benedict (480-547), founder of monastic life in the West. In the rule he gave to his Benedictine monks, he recommended interceding and celebrating Masses for the dead. He had a vision of the soul of a monk in purgatory, and of a ladder linking earth to Heaven, with souls ascending to Heaven thanks to the prayers of the monks.
Saint Augustine
(24d) The statues on the roof: Born in Thagaste (modern-day Algeria), Saint Augustine (354-430) searched for God in various philosophies for a long time before converting. After becoming bishop of Hippo, he wrote extensively and began to develop the doctrine of purgatory, which is the result of both God's justice and mercy. He regards the fire of purgatory as the fire of God's purifying love.
Saint Ambrose
(23d) The statues on the roof: This Latin father of the Church, bishop of Milan, developed the role of purgatory in his writings (although he did not use this term). He explains the need for purification after death and shows, in particular, the importance of the communion of saints that unites the suffering Church, the pilgrim Church and the Church in Heaven. Yes, the living can help the dead and the dead can pray for the living.
Saint Gregory of Nazianzus
(22d) The statues on the roof: A native of Cappadocia, Gregory was bishop of Sasimes, then of Constantinople and finally Nazianzus (329-390). This father of the Church had no doubts about the existence of a time of purification after death for souls unable to see God. He encouraged the faithful of his diocese to pray for the dead. The statue of his great friend Basil of Caesarea is in the same place on the roof of the basilica, on the north side though.
Saint Athanasius of Alexandria
(21d) The statues on the roof: An ardent defender of the faith against the Arian heresy, Saint Athanasius (296-373) was bishop of Alexandria for forty-five years. He encouraged the faithful to pray for the dead who were still on their way to heavenly bliss.
