The homogeneous stained-glass panneau, with its apparent vertical divisions, 'venomous in colour' (as Father Janusz Pasierb described it), in fact forms one large image that contains obvious, if only allusive, references to apocalyptic iconography. The stained-glass window, or rather a semi-transparent polyester wall, was commissioned in 1972 by Father Józef Sadzik, a distinguished figure for Polish culture in exile, for the Centre du Dialogue, a Parisian Palotin centre managed by him. The visual concept of this work is in keeping with Lebenstein's explorations in painting and drawing at the time. In the 1960s, he painted in increasingly thick and varied textures figures with organic forms, with time resembling deformed human beings. The same bestiary has also appeared since then in his graphics, also in his drawings and gouaches (often arranged in cycles, e.g. later also illustrations to the Apocalypse). To a greater extent than in his paintings and graphics, however, Lebenstein returned in his Parisian stained glass to the experience of informel, making use of the specificity of the matter in which he worked. For the painting was made personally by the artist from a plastic mass, polyester, according to a recipe recommended to the painter by Alina Szapocznikow. Perhaps thanks to this, it is devoid of the mannerist literalism that characterised his graphic "bestiary" of the time. The only stained glass work in Lebenstein's oeuvre, it is probably for this reason that it is not included at all in the history of this technique, and in fact only seemingly belongs there (after all, it was not created in glass). But it deserves a place in it for both technological and iconographic reasons. It is one of the most extraordinary works of religious art of the second half of the 20th century.

Between 1983 and 1985, the artist also designed the illustrations for an edition of the Apocalypse translated by Czesław Miłosz, also for the Paris Pallottines, on the initiative of Fr Sadzik. The work for the Centre du Dialogue in 1972 began a major chapter in Lebenstein's oeuvre, involving religious themes (including illustrations to the Book of Job). The artist had an admittedly peculiar attitude to it: 'Irrealism is all art, starting from the beginning of Christianity. Some may be outraged, but unfortunately it is. All religious painting is surrealist painting in itself. (...) I made stained glass for the Centre du Dialogue, which played a very big role in Polish culture. Meetings were held there in very difficult periods, where people spoke their own truth with courage" (recalled by the artist in P. Wejchert and J. Żamojdo's film "Jan Lebenstein - Meeting in the Studio", 1989).

One of the figures from the stained glass window, the Lamb, was reproduced in the finial of Lebenstein's tombstone at Warsaw's Powązki cemetery.