This luminous stained-glass panel, dating from around 1520, depicts the martyrdom of St Andrew, the apostle bound to the diagonal cross that bears his name. It forms part of the rich glazing cycle of Évreux Cathedral, where the expressive language of late Gothic art meets the emerging sensibilities of the Renaissance.

At the centre of the composition, St Andrew’s figure leans upon the X-shaped cross, rendered with powerful linearity against a background of architectural tracery. The saint’s robes, painted in tones of deep green and ochre, catch the light in fractured highlights, while the surrounding figures — Roman soldiers and onlookers — are suggested through overlapping forms and vivid, gem-like fragments of red and blue. Though the panel has suffered some loss and repair over the centuries, its emotional intensity remains intact: a scene both brutal and transcendent.

The upper canopy, rich with foliate ornament and crowned by a pointed trefoil, frames the drama like a miniature altar. Within it, the fusion of delicate Gothic motifs and Renaissance balance reveals the transitional artistry of early 16th-century Normandy — a period when stained glass still served as both narrative and meditation.

This depiction of St Andrew’s crucifixion thus stands not merely as an image of suffering, but as an affirmation of faith rendered in light. Each shard of coloured glass, shaped and joined with care, becomes part of a vision of endurance — the saint’s body fixed to the cross, yet his spirit ascending through the radiant geometry of the cathedral window.