Once in 835 years qualifies as a rare event, and for the first time since their creation in 1178 six very fine and incredibly beautiful stained glass windows are on display outside of England’s Canterbury Cathedral.

With “Radiant Light: Stained Glass from Canterbury Cathedral,” The Cloisters in Fort Tryon Park, Manhattan, continues to celebrate its 75th anniversary. Situated on the cliffs of northern Manhattan overlooking the Hudson River and the Palisades, The Cloisters seems centuries-removed from modern times and is the ideal setting for this small exhibit.

Founded in 597, Canterbury Cathedral was the seat of the Archbishop of Canterbury, Primate of England. An important center of medieval learning and ecclesiastical arts, it was here that Thomas Becket defended, to his death, the prerogative of the Church against the powers of the State.

The full series of 85 clerestory (upper) windows represents the patriarchs of the Pentateuch, Jesus’ ancestors. The six displayed here are among 43 originals that survive from the 12th century and attest to the medium’s strength and its particular unity with a theology equating God and light.

An expanse of brilliant ultramarine blue surrounds each patriarch, visually uniting the windows. Individual figures are seated, framed by borders and arches. Their names, spelled out in large letters, are intended to be read from where they tower 60 feet above the viewer. Within the series’ tight design, variety and individual detail are immediately apparent.

“Abraham,” robed in green and white, looks to his left as he sits upon a carved bench, his torso turned slightly to the right, his left hand raised. A yellow border topped with scrolled capitals encloses the composition and is mounted by the architectural elements of a walled city or fortress. The red arch above his head repeats the double arch that his feet rest upon.

Holding a scroll, presumably the Torah, a red capped “Thara” raises his right hand in blessing. He is seated in robes of white and pale yellow, his feet set upon a red platform. Fortress towers set upon red columns with foliated pink capitals frame the composition.

Every figure here is an individual, from Thara’s slightly tilted head and long, pointed beard to the conch shell curls framing Jared’s face. The medieval artist’s love of natural forms fills borders and margins with tendrils, leaves and flowers sparkling in jewel-like colors.

“Noah,” clothed in deep pink and white with sleeves of emerald green, sits beneath a triple arch looking skyward with his left hand raised, as if in conversation with God. A radiant red arch surrounds “Jared” seated on a golden bench with green pillows, his white robe curling around a green tunic. The wonderful patterns along the yellow collar and cuffs are “grisaille,” lines or shading painted onto the glass.

“Phalec” holds a scroll in his left hand while raising his right hand. Sitting straight up and facing us, his index finger pointing gently, he appears to address us directly. His robe of deep pink is clasped with a blue jewel. In contrast to Phalec’s serene posture, “Lamech” gazes to his left, points to his right, and appears ready to get up and leave. Even the skirt of his robe appears to be moving along.

As bold and imaginative as any modern works, these precious examples of medieval stained glass are among England’s finest artistic achievements and are here in New York for just a little while. Go see them.

“Radiant Light: Stained Glass from Canterbury Cathedral” is on view through Sunday, May 18, 2014, at The Cloisters Museum and Gardens, Fort Tryon Park, 99 Margaret Corbin Drive, New York, NY 10040. metmuseum.org/visit/visit-the-cloisters 212-923-3700

More information about Robert Edward Bullock’s work can be found at bullockonline.com.