This 14th-century wall painting at Saint-Aignan-sur-Cher depicts the history and miracles of St. Giles, one of the most venerated saints of medieval France. The composition was originally made up of four sections, though the right-hand portion is now lost or no longer discernible.
Renaissance sculpture, flourishing from the 14th to the early 17th century, marked a revival of classical antiquity and humanism, centered primarily in Italy, with Florence as its epicenter. Emerging from the medieval Gothic style, it sought to emulate the idealized forms and balanced proportions of ancient Greek and Roman art, while infusing a newfound focus on naturalism and individual expression.
In the 15th century (c. 1400–1500), church monuments, primarily effigial tombs and brasses, were the dominant form of commemorative art in parish churches and cathedrals. They reflected social status, piety, and late medieval chivalric culture, with a shift toward realism and personal expression.
This early fifteenth century wall painting of Christ at the Last Judgement sitting on a rainbow between praying figures of the Virgin Mary and St John the Evangelist, can be found in the Collegiate Church of St Aignan.
Brass dedicated to John Mulsho (d1400) and his wife at St Mary Magdalene church Geddington, Northamptonshire.
White marble effigy of Cardinal Jean de la Grange (d1402).
A substantial body of medieval stained glass survives at Great Malvern Priory, although its condition and completeness vary considerably from window to window. Several major fifteenth-century windows remain largely intact, most notably the Magnificat Window, the Founder’s Window, and the glazing of the Lady Chapel. Elsewhere, survival is more fragmentary: the great east window, though once a dominant feature of the church, now survives largely in dispersed panels and fragments rather than as a complete scheme.
Large brass monument to William Bagot (d1407) and his wife Margaret.
The painted clock a reminder of the passing of time ones mortality and the Last Judgment.
This is an early 15th century alabaster tomb of a knight and his wife, in the church of St Mary Lutterworth.
This 19in high brass monument is dedicated to John Cressy (d1414) and his wife Christine, can be found in the churchj of St Mary Dodford, Northamptonshire.
Tomb of William de Roos (d1414), 6th Baron Ros, 6th Baron Roos, Bottesford Leicestershire.
The two kneeling benefactors are thought to be Louis II of Chalon and Jeanne de Perellos.
Medieval background (c1420) to Rood. Raunds, Northamptonshire.
A common subject painted in medieval churches where scenes of the "Last Judgment" or "Doom". Often they would be painted above the chancel arch. A central figure of risen Christ with the instruments of the passion would be painted, or a crucifixion with the Virgin Mary and St John the Evangelist.
Fom about 1420, the figures on the right are thought to be Louis II of Chalon, count of Saint Aignan, his mother, and his second wife Jeanne de Perellos.
This brass monument to William Wylde (d1422) and wife can be found in the church of St Mary, Dodford, Northamptonshire.
Brass monument to William Chichele (d1425) and wife. 4ft 3in figures under ogee gables.
The Prato pulpit was commissioned by the Operai del Duomo di Prato for the exterior corner of the cathedral, specifically to display the Sacra Cintola (Holy Belt of the Virgin Mary), Prato’s most treasured relic.
C15 (c1420-1450) painting on the subject of the "Seven Deadly Sins".
