I will give you six examples here: Neo Rauch’s blood-red triptych in the Elisabethkapelle (chapel) in the Dome at Naumburg (Saxony-Anhalt/Germany), depicting the life of the noble saint, and three of the seven windows of Sigmar Polke in Zurich’s Großmünster (Switzerland). No doubt: The two German artists are big names, fetching millions for their works, stars in many museums, darlings of collectors and much more than pop-ups of a hysterical art market. Around 2006 they got fascinated by the possibilities of colored glass, the peculiarities of working for the traditionally conservative church (one catholic, one lutheran) – and the possibilities of breaking the rules of tradition in one of the oldest (and almost extinct) art forms. Just look at Polke’s windows. He used thin slices of Agate, a semiprecious stone, instead of blown or rolled glass and the pattern, he created, give ample food to phantasy, while Rauch rather illustrates the snit’s legend in glass like in a fairytale book. In addition to these two artists, you can see a mosaic-like window of Gerhart Richter in the Dome in Cologne (also in Germany) and in Naumburg you will be happy to meet one of the most beautiful ladies of the Medieval (13th century) – Ute von Ballenstadt, immortalized in painted sandstone.