This carved alabaster monument of Bishop John Stanbury contains his effigy and has saints and angels as mourners carrying shields around all sides. Unfortunately the heads of the angels were chipped off during the reformation.
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.
This, late 15th–early 16th century, Easter Sepulchre group depicts the moment of Christ’s entombment, a subject traditionally shown in Holy Week rituals in northern France and the Low Countries. The scene is arranged beneath a shallow architectural canopy, gathering together the key figures who, according to the Gospels, prepared Christ’s body for burial.
This glazed earthenware altarpiece relief of the Madonna and Child among Saints, created around 1480 by Andrea della Robbia ⓘ, forms part of an altar in the Basilica of Santa Croce, Florence.
The work belongs to the mature phase of Andrea’s career and exemplifies the devotional clarity and technical refinement that define the della Robbia workshop in the later fifteenth century.
Late Gothic staircase by Guillaume Pontis in 1480, under the direction of cardinal and archbishop William Estouteville. Rouen Cathedral.
Brass monument at St. Andrew ⓘ, Lyddington to Helyn Hardy (d1486).
This remarkable window (1490-1505), rediscovered packed away in 1932, forms the lower section of the great east window at Stanford-on-Avon. It is one of the most striking survivals of late medieval royal propaganda in stained glass, created to celebrate the accession and legitimacy of Henry VII and the founding of the Tudor dynasty.
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.
Memorial brass of Thomas Andrewes (d1496) and his wife Margaret. Holy Trinity, Church Charwelton, Northamptonshire.
Tomb of John Wales vicar (d1496).
Henry Denton (1498) chaplain of Chelveston, a small village near to Higham Ferrers.
Lord John Cheney (d1499) was a Lancastrian supporter who in 1483 had supported the Duke of Buckingham's rebellion against Richard III. When Buckingham's rebellion failed he joined Henry Tudor in Brittany and returned with him from France in 1485.
Effigy of Donna Maria de Perea wearing a simple dress and with rosary in her hands.
This group of eleven relief panels form part of the carved vault decoration of a sacristy bay at the Royal Abbey of Fontevraud. Executed in a soft, chalky limestone typical of the Loire region, the panels combine biblical narrative scenes with hagiographic episodes from the Life of St Nicholas and include one figure of architectural patronage.
Some of the 16th century and earlier stained glass that can be found in Beauvais France. In particular the works of the le Prince family in Beauvais Cathedral and the parish church of St Ettiene.
These pages document medieval stained glass in the churches of Rouen.
18 inch high brass figure of a lady (c1500).
This funerary monument depicts Don García Osorio, a knight of the Order of Santiago, shown in repose with hands crossed upon his sword, a symbol of both chivalric honor and Christian faith. Carved in Toledo (1499-1505), probably by a sculptor influenced by Egas Cueman or Sebastián de Almonacid.
16th-century brasses (c. 1500–1600) represent the final and most accomplished phase of English memorial engraving. Larger and more elaborate than earlier examples, they commemorate clergy, professionals, and merchants, recording Tudor dress, social aspiration, and changing religious beliefs shaped by the Reformation.
These panels from the 'Magnificat' window (1501) at Malvern Priory depict the Archangel Michael on the left. On the top right is Jesus ascent into Heaven, whilst the bottom right panel shows the damned descent into hell.
