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Stained-glass windows, whether they belong to the historical and religious heritage or to the private domain, are firstly designed to give a different color to the inside of buildings. Their vision from the outside is only a pale reflection of the luminescences they let filter through on their hidden side. Decontextualized, depigmented, then colorized by touches before their recontextualization, they acquire a new meaning. The reappropriation of colors and patterns reverses their tropism and offers a turned vision, directed towards the outside, to highlight the architectural setting by their internal light.