The south window of the chancel at All Saints, Middleton Cheney, contains two important stained-glass panels designed by Ford Madox Brown in 1870, created during his period of work for Morris, Marshall, Faulkner & Co. These windows are among the finest surviving examples of Brown’s contribution to Victorian ecclesiastical glass, characterised by his expressive figures, sculptural modelling, and dense narrative detail.
This rose window in the south transept of Evreux Cathedral was given to the Cathedral by Louis XI of France between 1470 and 1480. It is 6.5 metres in diameter and represents the Coronation of the Virgin in Heaven. Below the rose window the lancet windows in the Gallery contain representations of eight of the Apostles.
Medieval panels dated between 1330-1350 of three saints.
St Anne teaching Virgin to read, St. Agnes, and other female saints. Early C14 (1330-1350).
St Anne Chapel in Great Malvern Priory is in the south choir aisle, there is no indication however that it was known to be dedicated to St Anne before the nineteenth century. This chapel has three windows with mid fifteenth century class depicting Old Testament stories.
Stained glass by John Hardman in the church of St. Joseph Avon Dassett.
19th century stained glass of St. Leufroy (Leufredus) who was the founder of the Benedictine monastery at La-Croix Saint-Ouen, some 13km from Evreux. Leufroy grew up in Evreux and for a time was a teacher in the town.
This window contains two significant pre-Reformation figural panels depicting St Peter (left) and St Simeon with the Christ Child (right). Both figures survive from a larger late medieval glazing scheme and were reassembled during the 19th-century restoration of the cathedral, when much of the surrounding decorative work was replaced.
Three female saints 1330-1350. Two are unidentified the middle figure is that of St. Agnes.
The north-aisle east window at Middleton Cheney contains two major stained-glass figures designed by Ford Madox Brown in 1880 for Morris, Marshall, Faulkner & Co. These works represent some of Brown’s finest ecclesiastical contributions and exemplify his distinctive approach to figural design, which differs markedly from that of colleagues such as Burne-Jones.
