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.
The timber roofs of the nave, chancel, and south-east chapel at All Saints date from the major late fifteenth-century rebuilding of the church, undertaken from c. 1470 onwards under the patronage of the wealthy wool merchants John and William Browne. This campaign transformed the clerestory ⓘ, aisles, tower, and spire, and included the construction of richly carved angel roofs.
This four-light window, at All Saints Stamford, executed in the early–mid 1930s and attributed to Archibald Keightley Nicholson, depicts Christ teaching the Apostles, accompanied by the inscription from the Gospel of John:
“I am the way, the truth and the life.” (John 14:6)
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.
This four-light window of 1895, at All Saints Stamford, executed by Heaton, Butler & Bayne, depicts four Old Testament figures associated with leadership, praise, and faithful dedication: Joshua, Miriam, Samuel ⓘ, and Hannah.
From left to right:
Joshua, warrior and successor of Moses, stands armed, bearing sword and shield, representing steadfast obedience and divine commission.
Miriam, sister of Moses, holds a tambourine, recalling her song of triumph after the crossing of the Red Sea (Exodus 15).
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 four-light window, at All Saints Stamford, depicts The Marriage at Cana (John 2:1–11), the first miracle of Christ. Executed by Clayton & Bell ⓘ in the late nineteenth century, it combines the Cana narrative with a Marian-inflected Christological cycle in the predella below.
In the main lights, Christ stands centrally, blessing the water jars as servants draw the newly transformed wine. Mary gestures toward her Son, echoing her words: “Whatsoever he saith unto you, do it.” The surrounding guests express surprise and animation as the miracle unfolds.
This four-light window, at All Saints Stamford, dated 1897, was executed by C. E. Kempe & Co. and presents the patron saints of four major English cathedrals: Lincoln, Peterborough, Lichfield, and York.
Each saint stands beneath elaborate architectural canopies, with heraldic devices displayed below and cathedral associations indicated by inscriptions.
From left to right:
St Hugh of Lincoln, bishop and reformer of the twelfth century, holding crozier and book.
St Peter ⓘ (Peterborough Cathedral), bearing keys and pastoral insignia.
This monumental six-light west window, installed in 1888, was executed by Clayton & Bell ⓘ and commissioned by Edward Ingersoll Browne of Boston, Massachusetts, in memory of Charles Browne, descendant of the fifteenth-century Browne family of Stamford. It consciously recalls the Browne family’s late medieval patronage of the church.
The programme follows a hierarchical structure consistent with the hymn Te Deum laudamus, uniting angels, prophets, saints, and narrative scenes in a vertical theological progression.
This four-light window of 1899, at All Saints Stamford, executed by Heaton, Butler & Bayne, presents four missionary saints closely associated with the Christianisation of the British Isles: St Patrick, St Columba, St David, and St Augustine of Canterbury ⓘ.
Above the tracery appears a shield bearing the Union flag, reinforcing the theme of national Christian heritage.
St Patrick
Depicted in episcopal vestments, holding crozier and book, recalling his missionary work in Ireland and his role as national apostle.
