This stained-glass window in the north aisle of All Saints’ Church, Naseby depicts the Angel at the Tomb, witnessed by Mary Magdalene and Mary Clopas, and is attributable to William Morris Studios (Westminster).

Although the present dedication inscription dates to 1949, documentary evidence indicates that the window itself was designed and made in 1922, with the later inscription added to commemorate an additional family member.

Description and iconography

The composition follows a traditional Western Resurrection iconography. At the left, a radiant angel sits upon the rolled-away stone of the empty tomb, his raised arm proclaiming the Resurrection. The angel’s sweeping wings, richly worked in yellow stain, form the visual anchor of the panel, while his white robe is delicately shaded in pale greys and cool blues.

To the right, the holy women approach the tomb. Mary Magdalene, identifiable by her ointment jar and red robe, is shown as the principal witness, while Mary Clopas, clothed in a blue mantle, responds with a gesture of reverent astonishment. The figures are rendered with calm restraint, emphasising devotional clarity rather than dramatic intensity.

The scene is framed beneath simplified Gothic canopies with understated foliate ornament. The limited palette and disciplined architectural setting are characteristic of early 20th-century Morris & Co. church glazing, in which narrative legibility and liturgical suitability were prioritised.

Date and significance

The stylistic qualities of the window align closely with Morris & Co.’s work of the early 1920s, a period marked by continuity with late Arts and Crafts principles rather than post-war modernism. The 1949 alteration to the dedication reflects a common practice in parish churches, where existing memorial windows were adapted to commemorate later family members rather than replaced.

As such, the window stands both as an example of interwar ecclesiastical stained glass and as part of the evolving memorial history of All Saints’, Naseby.