This three-light stained-glass window of 1873, made by Jones & Willis, is located in the church at Tiffield. The composition centres upon Christ as the Good Shepherd, framed by richly ornamented geometric glazing.
The east window of 1875, made by John Hardman & Co., stands in the church at Maidford. The central light depicts Christ as Salvator Mundi, set within flanking lights of patterned diamond quarries.
These two four-light windows form a matched narrative pair illustrating Christ’s teaching, “Suffer the little children to come unto me.” Both windows are characteristic products of the John Hardman studio in the later Victorian period.
This east window by Hardman & Co., dated 1876, presents a vertically structured Christological programme typical of the firm’s mature High Victorian work. The three lights are unified by dense geometric and foliate patterning, within which narrative scenes are clearly articulated and hierarchically arranged.
Situated in the south aisle this stained glass window (1877) by John Hardman depicts the Annunciation to the Shepherds.
This three-light stained glass window, dated 1877 and designed by Frederick Preedy, illustrates the Works of Mercy as set out in Matthew 25, presenting Christian charity as the visible expression of faith in daily life. The window forms a moral and devotional counterpart to the Passion and sacramental imagery elsewhere in the church.
Situated in the east window of the south aisle, of the church of St Peter ⓘ and St Paul ⓘ, Maidford, Northamptonshire, this stained-glass memorial commemorates Arthur William Grant, who died on 19 December 1878, aged fifty-five. The window was installed circa 1880, by John Hardman & Co. of Birmingham, whose workshop was among the foremost exponents of the Gothic Revival style.
Clayton & Bell ⓘ, Crucifixion Window – East Window, South Aisle, St Leonard’s Church, Misterton (Leicestershire), c. 1878.
This tomb in Worcester Cathedral is of Lord George Lyttelton (d1876) by James Forsyth.
South chancel lancet windows by Edward Burne-Jones ⓘ dedicated to Countess Adelaide Spencer (d1877).
This east window at Guilsborough Northamptonshire, was designed by Edward Burne-Jones ⓘ in 1879.
This three-light stained-glass window, installed in the 1880s at St Mary’s Church, Stamford, depicts David as the “Sweet Psalmist of Israel”, a title drawn from 2 Samuel ⓘ 23:1. The style and architectural treatment align with the later phase of the workshop founded by Michael O'Connor and continued after his death.
In the central light, David stands playing the harp, his figure poised beneath an elaborate Gothic canopy. He is presented not as warrior but as inspired musician, the author of the Psalms, embodying sacred poetry and spiritual consolation.
The north-aisle east window at Middleton Cheney contains two major stained-glass figures designed by Ford Madox Brown in 1880 for Morris, Marshall, Faulkner & Co. These works represent some of Brown’s finest ecclesiastical contributions and exemplify his distinctive approach to figural design, which differs markedly from that of colleagues such as Burne-Jones ⓘ.
Stained glass window (1880) by John Hardman in the north aisle of Worcester Cathedral depicts King Solomon praying in front of the Arc of the Covenant. Musicians playing harps and trumpets are on either side of him.
This west window depicts Christ welcoming children and the Baptism of Christ, subjects closely associated with initiation into the Christian life and well suited to a west-end position within the church.
Left-hand light:
Christ is shown receiving children, accompanied by the inscription “Suffer the little children to come unto me” (Mark 10:14). The scene emphasises inclusion, blessing, and the openness of the Christian community.
Set in the tracery above the three-light window depicting St Anne, the Virgin Mary ⓘ, and St Elizabeth—designed respectively by Ford Madox Brown (Anne and Elizabeth) and Edward Burne-Jones ⓘ (central Mary)—this Annunciation scene was designed by William Morris in 1880.
This east window presents a compact yet richly articulated Crucifixion composition, arranged across three principal lights beneath a tier of tracery lights. it is typical of late-Victorian Gothic Revival glass, and demonstrates Burlison & Grylls ⓘ’ characteristic clarity of drawing, strong colour harmonies, and careful architectural setting.
This three-light stained-glass window, dated 1881 and signed by Ward & Hughes ⓘ, is located in the church at Badby. It presents allegorical female figures embodying the three theological virtues: Faith, Charity, and Hope.
In the left-hand light, Faith stands holding a cross, symbol of belief in Christ’s redemptive sacrifice and the foundation of Christian doctrine. Her upright and composed stance reinforces the constancy traditionally associated with faith.
This four-light window presents a clear, didactic pairing of New Testament witnesses above Old Testament prophets, a scheme that emphasises continuity between prophecy and fulfilment.
Upper register: The Evangelists, each standing beneath canopies, are shown from left to right as Matthew, Mark, Luke, and John, identifiable by their attributes and inscriptions. Their placement in the upper tier underscores their authority as authors of the Gospel narrative.
The C12 church of St. Martin ⓘ at Couffy has 4 windows of saints by Fournier. An inscription indicates that they were installed by the Community in 1882.
