Depicting the Life of Saint Joan of Arc, these designs were created by Max Ingrand in 1956 as part of the Sainte Joan quincentenary celebration appeal. They are installed in the Chapelle Saint Jeanne d'Arc in Rouen cathedral.
This stained-glass window in the north aisle of All Saints’ Church, Naseby depicts the Angel at the Tomb, witnessed by Mary Magdalene ⓘ and Mary Clopas, and is attributable to William Morris Studios (Westminster).
Although biographical information on Catherine Menu remains scarce, her surviving ecclesiastical glass situates her within the post-war renewal of sacred art in France, a movement that sought to reconcile liturgical tradition with the visual language of modernism. Menu appears to have been active from the 1970s through the 1990s, producing windows for parish churches in the Loir-et-Cher and surrounding departments.
The centre of Neufchâtel-en-Bray was almost completely demolished during heavy German bombing on June 7, 1940. Some 800 of the towns 1200 houses were destroyed. The church of Notre-Dame, dating from the twelfth century was severely damaged, and almost all of the stained glass windows from the 13th century shattered. These windows have now been recreated from drawings and descriptions that were made in the 1930s.
Melanie Pope is an English glass artist active from the early 1990s onwards.1 She trained in stained glass beginning in 1990, working on new commissions as well as conservation and restoration work in leaded glass. In 1995 she adopted and developed glass fusing and kiln techniques, expanding her practice into a broader exploration of kiln-formed glass alongside traditional stained and painted glass.
This two-light window, executed by Kempe & Tower in 1921, depicts the Presentation of Christ in the Temple, a subject long favoured by the firm for its devotional clarity and balanced figural grouping.
Left-hand light:
The Virgin Mary ⓘ is shown kneeling in prayerful humility, her posture inward and composed. Behind her, attendant figures are arranged beneath an architectural canopy, reinforcing the Temple setting and providing depth without distracting from the principal action.
This three-light window combines New Testament narrative, apostolic witness, and charitable action, presenting a coherent theological programme centred on compassion, incarnation, and the transmission of faith.
East window by Kempe c1907.
This reconstructed window is of six panels in two lights, is in the style of the C14 stained glass at Chartre. The original glass was destroyed when the center of Neufchatel was bombed in June 1940.
This three-light window presents a historical and theological narrative closely bound to the early and later history of the church at Brixworth, combining Anglo-Saxon foundation legends, royal confirmation, and the central event of Pentecost.
