The east window at Breedon-on-the-Hill presents a six-scene typological scheme (type–antitype), pairing episodes from the Old Testament with their fulfilment in the life of Christ. The arrangement emphasises continuity between Mosaic law, patriarchal obedience, and the Passion.
East window at Old Arley by Burlison & Grylls ⓘ. In the lower left panel St. Wilfred holds a model of this church.
This four light window by Clayton and Bell, can be found at St Michael's church Warmington, Warwickshire. The four scenes show the descent from the cross; the Resurrection; the Ascension; and the Descent of the holy spirit. In the tracery St Michael is shown defeating the dragon.
Burlison & Grylls ⓘ window depicting Mary and Martha Clifton on Dunsmore.
20th-century tombs (c. 1901–2000) are extremely rare. Where they occur, they are usually modest or consciously historicizing, reflecting continuity with earlier traditions rather than contemporary commemorative practice.
This east window at St. Peter's ⓘ Church in Market Bosworth, was created by Charles E. Kempe in 1900 (with later contributions from the Kempe and Tower studio)
Church brasses, tomb chests, effigies, and sculpture from 1800 - 1900 AD.
This south chancel window at Wolston, designed by Herbert Bryans ⓘ, is a two-light composition dated by inscription to 1902 and belongs to Bryans’s early independent period following his departure from the Kempe studio.
The upper lights present two standing figures beneath tall Gothic canopies, arranged as a typological pairing concerned with prophecy and fulfilment.
This stained glass window by Charles Eamer Kempe, at St Peter's ⓘ Market Bosworth Leicestershire, is an example of late Victorian Gothic Revival art, depicting Saints George, Peter, and Margaret in three tall, richly colored panels. Each saint stands beneath an elaborate architectural canopy, rendered in delicate tracery and glowing jewel tones that catch and filter the light with remarkable depth.
This south aisle window depicts the Parable of the Sower, interpreted with restraint and symbolic clarity by Arild Rosenkrantz, one of the most distinctive figures in early twentieth-century stained glass.
This three-light window (1906-1910) depicts the Transfiguration of Christ on Mount Tabor, a subject rendered with characteristic clarity and luminosity by John Hardman & Co. Christ stands in the central light, enveloped in rays of golden light and dressed in shining white garments. The rocky ground beneath him and the stylised clouds behind create the sense of elevation associated with the biblical account.
This tomb of Canon John Gylby Lonsdale (1907) at Lichfield Cathedral was made by Farmer and Brindley.
Memorial Window to William Walter Slye by CE. Kempe (1906) - All Saints, West Haddon.
East window by Kempe c1907.
1908 stained glass window by Powell & sons (Whitefriars) depicting an angel greeting the two Mary's in front of the tomb.
This Tree of Jesse window by Kempe and Tower in the Lady Chapel at Higham Ferrers. It is undated but is judging by the company logo of a black tower superimposed on the wheatsheaf, it is must be after Kempe's death in 1907.
This three-light window combines New Testament narrative, apostolic witness, and charitable action, presenting a coherent theological programme centred on compassion, incarnation, and the transmission of faith.
This three-light stained-glass window of 1913, made by Mayer & Co. ⓘ, is located in the church at Abthorpe. It depicts the Baptism of Christ, framed within an architecturally structured Gothic composition.
The two windows in the north wall of the chancel in the Saxon church of All Saints, Brixworth are by Burlison & Grylls ⓘ, dated 1913 and 1915, they are from the first quarter of the 20th century.
