to 17 exhibits an identical, geometric pattern made of wood and elongated stained glass. Revived in the nineteenth century, Huré used the “antique” glass making technique that involves mouth-blowing the colored glass to achieve the desired shape. The repeated pattern reflects Huré's dedication to the symbolic power of color and her rejection of iconographic representation. Each side of the octagon has its own distinctive color combination of four to six colors repeated up each layer of the side. Using a selection of seven primary colors (orange, yellow, green, purple, red, greenish and white), Huré manipulated each base color to make a total of fifty different hues. The pattern appears different depending on how close the viewer is to the windows. From far away the very geometric, organized pattern softens, the colors meld to create new hybrid colors, and the glass's shapes converge to become four dumbbell-like columns on each half of the side. The bottom of the tower has the strongest harmonized hues that gradually lighten on the way to the top giving the impression that the light comes from above, through the lighter glass. Huré organized the colors based on the cardinal directions with the dead wood and red colors on the north side, green and purple to the east, golden shades to the south, and pink and orange shades to the west. The colors vary drastically depending on the photo used as reference, but each group emanates a distinctive tone drawn from the various interactions and optical mixing of the different colors. The glass's placement and choice of color follow a symbolic code that organizes colors and shapes per research by the Atelier d’Art Sacré (the Sacred Art Workshop) on theological virtues. The overall feel of this tower is that of being in a kaleidoscopic tunnel whose colors converge to create a “symphonic poem”, an overwhelming assault of color. While the first example of non-figurative symbolism in religious stained glass was Huré's work at the Voreppe seminary chapel, she takes her abstraction one step farther with St Joseph's by abandoning symbolic geometric design to focus purely on her exploration of the emotional arousal of color. Throughout her life, Huré continued to make figurative stained glass pieces, though her re-imagination of religious iconography through color symbolism and geometric abstraction was her largest contribution to art history. Notes References Andrew Saint, In Le Havre" (London Review of Books, 6 February