This multi-light window of 1891, designed by Christopher Whall, presents a carefully structured theological programme articulated through an early and ambitious example of his independent Arts and Crafts work. Executed shortly after his departure from the Whitefriars studio of J. Powell & Sons, it stands among his first major ecclesiastical commissions undertaken in his own name.
This four-light stained-glass window, installed in 1860, was designed by William Wailes and depicts the Four Evangelists beneath elaborate Gothic Revival canopies, with narrative predella scenes illustrating aspects of their ministry.
From left to right stand St Matthew ⓘ, St Mark ⓘ, St Luke ⓘ, and St John ⓘ, each identified by traditional attributes and haloed figures set within richly coloured architectural frameworks.
St Matthew holds a book, signifying his Gospel. In the predella below he is shown writing at his desk, emphasising authorship and divine inspiration.
Installed in 1889 as the Groves memorial, this three-light window depicts a scene from the life of King David ⓘ, accompanied by the inscription: “And the king stood by the gate side” (2 Samuel ⓘ 18:4).
In the central light, David stands beneath a fortified gateway as a kneeling warrior receives instruction. The scene evokes the moment before battle, when the king publicly charges his forces. The composition emphasises solemn command and moral gravity.
This three-light stained-glass window, installed in the 1880s at St Mary’s Church, Stamford, depicts David as the “Sweet Psalmist of Israel”, a title drawn from 2 Samuel ⓘ 23:1. The style and architectural treatment align with the later phase of the workshop founded by Michael O'Connor and continued after his death.
In the central light, David stands playing the harp, his figure poised beneath an elaborate Gothic canopy. He is presented not as warrior but as inspired musician, the author of the Psalms, embodying sacred poetry and spiritual consolation.
