Crucifixion - Whilton, Northamptonshire

Late 19th to early 20th century east window depicting the Crucifixion by Burlison & Grylls at Whilton, Northamptonshire.

Late 19th to early 20th century east window depicting the Crucifixion by Burlison & Grylls at Whilton, Northamptonshire.
Burlison & Grylls window depicting Mary and Martha Clifton on Dunsmore.
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 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.
1908 stained glass window by Powell & sons (Whitefriars) depicting an angel greeting the two Mary's in front of the tomb.

Two Kempe and Tower windows from 1914. The first shows St Luke, Virgin and Child, and St John the Evangelist. The upper lights of the second window shows the Epiphany whilst the bottom light depict the Presentation in the Temple.
This two-light stained-glass window depicting the Three Marys at the Tomb, dated 1917, is attributable to Burlison & Grylls and belongs to the firm’s late ecclesiastical output during the First World War period.
The composition presents the moment immediately following the Resurrection, as described in the Gospels, when the holy women come to the tomb and receive the angelic announcement that Christ has risen.
This memorial stained-glass window, executed c. 1918 by Arild Rosenkrantz, commemorates Arthur James (d. 1918) and is installed in the parish church at Churchover, Warwickshire. The date and dedication place the work firmly within the immediate aftermath of the First World War, a context that strongly informs both its iconography and emotional tenor.
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).
Between 1929 and 1932 the Parisian atelier Mauméjean Frères created a vivid sequence of stained-glass windows for the church of Notre-Dame, Déols. The cycle traces key moments in the lives of the Virgin Mary and Christ, from the Nativity and Annunciation through the Visitation and the miracle at Cana, and finally to the Crucifixion, Resurrection, and the heavenly Coronation of the Virgin.