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.
Gothic
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
Decorated in about 1240 the spandrels below the portal of St Stephen at Bourges Cathedral contain sculpures depicting the story of Noah.
This medieval window in the chancel of Tewkesbury dates from 1338. The main panels depicts the Last Judgement, and the Coronation of the Virgin is the subject of the rose window.
This window (c1550) presents a sequence from the Life and Martyrdom of St Agnes, the young Roman virgin celebrated for her steadfast refusal to accept a pagan suitor and her unwavering confession of faith. Produced by a Rouen workshop in the early sixteenth century, the window follows the typical Saint-Ouen format: narrative scenes set beneath tall Gothic canopies, framed by alternating architectural and landscape elements.
This window narrates episodes from the apocryphal infancy cycle concerning St Anne and St Joachim, parents of the Virgin Mary. Executed in the early sixteenth century by a Rouen workshop, the glass combines dense architectural canopies with clear, compartmentalised scenes, allowing the viewer to follow the story across multiple lights.
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