St Anne teaching Virgin to read, St. Agnes, and other female saints. Early C14 (1330-1350).
Medieval
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.
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.
Polychrome reliefs retelling the legend of St Firmin a disciple of St Saturninus of Toulouse, founded the first church in Amiens in the third century.
Early C14 (c1330-50) figures of St. Margaret and bishop.
The flagellation of St. Margaret of Antioch. Ashby St. Ledgers, Northamptonshire.
The archangel St. Michael, is the principal angel and field commander of the Army of God. His name is the war-cry of the good angels in the battle fought in heaven against Satan and his followers. He is often depicted triumphant over the enemy.
Part of a lost sequence known as the 'History of the Resurrection' this image of doubting Thomas is probably mid 14th century. It was discovered in 1846, in the north transept of Saint Albans Cathedral beneath whitewash.
The story of stained glass in England is one of both loss and renewal. The medieval and Renaissance centuries had produced a luminous synthesis of theology, craft, and architecture, an art that translated divine light into visible doctrine. Yet, with the Reformation and subsequent waves of iconoclasm, much of this splendour was extinguished. For nearly three hundred years, the craft languished, its techniques fragmented and its spiritual vocabulary forgotten
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