only twenty-nine bays long, i.e. a little over 90 metres. The shorter east and west wings were only ten bays long, or about thirty-two metres. Finally, the two galleries leading to the fathers' choir were three bays long. The shape of the consoles supporting the ribs, as well as the more complex ornamentation of the keystones, which are more accomplished in the southern gallery, show that the latter is later than the northern gallery. In the southern gallery, especially near the cemetery cross, the motifs on the brackets show scenes from the Passion. Further west, the motifs are vegetal, leaves or fruit; throughout the southern gallery, the keystones, as opposed to the flat rings of the northern gallery, feature floral or star motifs, or rosettes. The floor of the galleries is covered with quadrangular Vosges sandstone slabs. On the courtyard side, the cloister walls are pierced with twinned bays and access doors to the cemetery, all of which are enclosed in low arches. On the other hand, along the extensions of the gallery beyond the courtyard, lighting is only provided by oculi in the upper part of the walls. The twinned bays contained 115 or 116 very famous stained glass windows. The stained glass windows are the work of Lorentz and Barthélemy Linck; without further clarification, it is not possible to define whether the latter is the first of the name, father of Laurent, or the second, brother of the latter, although modern historiography tends to favour this second hypothesis. Moreover, the cloister was a very colourful space, with yellow ochre plaster covering the walls, highlighting the window frames with a lighter yellow, the window arches in grey, the brackets in red, their pattern in yellow, and the vault ribs in blue. The stained glass windows of the cloister The stained glass windows were by far the most important decorative element of the cloister, which is corroborated by several accounts. Jean-Gaspard Bernegger mentions them as early as 1675, fearing the damage that the Dutch war and its spillover into Alsace could do to these works. In 1696, Antoine Ruinart raved about the stained glass windows "painted with such delicacy and finish that nothing more perfect in this genre could be imagined". Jean André Silbermann, a young organ builder, visiting Molsheim while his father André was installing the organ in the Altorf Abbey church, "could not get enough of admiring the