These luminous stained-glass panels, dating from around 1475 to 1480, depict Saint Andrew and Saint John the Evangelist. They form part of the lancet windows that stand beneath the great rose window in the south transept of Évreux Cathedral, a radiant example of late medieval glass painting at the threshold of the Renaissance.

On the left, Saint Andrew is portrayed as a dignified elder, robed in green and crowned with a halo of gold. His defining attribute, the diagonal cross of his martyrdom, is rendered in rich, warm tones of amber and ochre, its wooden texture delicately painted to evoke both the reality of suffering and the steadfastness of faith. His calm gaze and composed bearing express the quiet courage that made him one of the most venerated of the apostles.

Opposite him stands Saint John the Evangelist, youthful and contemplative, holding a chalice from which a serpent rises, the traditional symbol recalling the legend of his survival after drinking poisoned wine. His garments, deep violet edged with gold, and the intricate patterning of his hem reflect the refinement and technical brilliance of 15th-century Norman glasswork. Behind his head, a circular medallion inscribed with his name glows against a background of rich blue and red, setting him apart as both visionary and witness.

Together, the two figures embody the harmony of faith and intellect, Andrew, the steadfast follower who met his end in humility, and John, the divine poet of revelation. Bathed in filtered light, the panels transform the cathedral interior into a sacred theatre of colour and symbolism, where devotion, artistry, and theology meet in translucent splendor.