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This window depicting the Life of St Martin is one of the choir clerestory windows at Tours Cathedral. The main window consists of some eighteen panels in six registers and is dated to the completion of the just after the rebuilding of the chancel in last part of the 13th century.
The Memorial to Robert de Ros (c. 1237–1285) is a poignant 13th-century stone effigy and heart monument housed in the Church of St. Mary the Virgin in Bottesford, Leicestershire.
William de la Corner (d1291) was bishop of Salsibury from 1289 until his death whilst on his second mission abroad as an ambassador for Edward I. This tomb is just 1.1 metres in length and is sometimes described as the tomb of a boy bishop. However, small tombs like this were often built when just the heart of the deceased was buried, in this case it was the bones that were returned to Salisbury.
This thirteenth century effigy of a Knight dressed in chain mail and surcoat, is thought to be John de Verdun (d1274) a close supporter of King Henry III. The effigy is sculpted from Barnack Rag stone, and can be found in the Saxon church of All Saints Brixworth, Northamptonshire.
Eroded stone effigy of Lady c1300.
This tall lancet window (c. 1300) os one of two windows that presents a compact cycle of the Life of St Martin, arranged in five horizontal registers, each split into two quatrefoil medallions. The sequence highlights Martin’s charity, his spiritual trials, his episcopal authority, and his miraculous power as missionary and bishop. The glass is characteristic of the early 14th century at Tours, with intense blues and reds, crisp linear painting, and lively narrative detail.
This fragmentary but evocative window from Holy Cross Church, Pattishall, preserves elements of a 14th-century English stained glass narrative cycle. The surviving lights depict a kneeling orant figure with hands raised in prayer, and beside it, a group showing Christ with a disciple or saint, set beneath delicately painted Gothic architectural canopies.
Sculpured panel of altar tomb depicting iconic "Lily Crucifixion", of which there are only two other stone sculptures in the UK.
14th-century brasses (c. 1300–1400) emerge as a distinctive and increasingly popular form of commemoration in English churches. Engraved figures of knights, clergy, and merchants combine heraldry, costume, and devotional imagery, expressing social identity, piety, and the hope of salvation through prayer and remembrance.
In the 14th century (c. 1300–1400), church monuments were primarily effigial tombs, brasses, and cross slabs, rooted in Gothic art and feudal piety. They emphasized chivalry, prayer, and heraldry, with growing realism in dress and armour.
14th-century tombs (c. 1300–1400) develop the effigial tradition with greater realism and ornament. Recumbent figures in stone or alabaster display detailed armour and dress, reflecting chivalric ideals, social hierarchy, and a growing concern with death, memory, and intercessory prayer.
Effigy of a lady from about 1300, thought to be a member of the Gifford family. This monument is under the Prince Arthur chantry chapel.
Effigy of a cross legged knight (c1305) thought to be that of Sir Robert Keynes.
Early C14 fragments of stained glass re-set into north chancel window. St. Wilfred, Old Arley, Warwickshire
The Tomb of Mabilia de Murdak (also spelled Mabilla or Mabila) is a small 14th-century medieval monument. The tomb is part of a collection of stone memorials in the north chapel (or Gayton Chapel), which includes effigies of local nobility tied to dramatic family events, such as murder and pilgrimage.
Defaced C14 effigy of priest on a chest tomb with quatrefoils.
Once thought to be an effigial monument to William Longespee (d1250) the date of the armour places this as a 14th century monument.
The surviving panels from Baies 12 and 14 of Saint-Ouen in Rouen preserve fragments of a once extensive fourteenth-century cycle devoted to St Bartholomew, one of the Twelve Apostles and the legendary evangeliser of the East. Although the scenes are today divided between two windows and have undergone significant later restoration, they retain the expressive line, saturated colour, and elegant architectural framing characteristic of the Rouen workshops between 1325 and 1339.
These two stained-glass panels from the choir clerestory of St Ouen form a paired narrative of the Massacre of the Innocents, rendered in the incisive and highly expressive manner characteristic of the early 14th-century Norman workshops. Though each panel stands within its own Gothic architectural frame, complete with gabled canopies, foliate bosses, and alternating bands of strong primary colour, the scenes are conceived as a continuous episode of violent disruption, unfolding across two moments of the same biblical tragedy.
The flagellation of St. Margaret of Antioch. Ashby St. Ledgers, Northamptonshire.