This east window, dated 1866 and designed by William Wailes, is devoted to the Crucifixion and the principal episodes of Christ’s Passion. It exemplifies the mature Victorian narrative window, combining theological clarity with strong colour and carefully ordered figural sequences.

Upper register (death, victory, and exaltation)

The upper panels present the culmination of Christ’s redemptive work:

• Upper left-hand light: The Resurrection

• Left central light: The Crucifixion, occupying the visual and theological centre

• Right central light: The Deposition, showing the body of Christ taken down from the Cross

• Upper right-hand light: The Ascension

The Crucifixion forms the compositional axis of the window, framed by scenes of triumph over death and return to divine glory, situating the moment of sacrifice within its eternal consequence.

Lower register (the Passion narrative)

The lower panels depict the events leading directly to the Crucifixion:

• Lower left-hand light: The Agony in the Garden

• Left central light: Peter cutting off the servant’s ear

• Right central light: The Scourging at the Pillar

• Lower right-hand light: Christ carrying the Cross

These scenes emphasise the mounting tension and physical suffering that precede the central act of sacrifice.

Tracery and symbolic imagery

In the upper tracery, angel musicians introduce a celestial and liturgical dimension, responding visually to the drama unfolding below.

Beneath the principal figure panels are demi-angels bearing the Instruments of the Passion — the crown of thorns, hammer and nails, chalice, reed and sponge, and the lance. These are set above panels of patterned glass that are poorly matched and originally concealed behind a reredos, revealing later changes in the church’s furnishing and the window’s visual context.

Interpretation and style

Through its vertical progression from human anguish to divine exaltation, the window offers a complete meditation on the Passion, presenting suffering as the necessary prelude to resurrection and glory. The work demonstrates William Wailes’s characteristic approach: expressive yet disciplined figures, vivid colour harmonies, and a didactic clarity suited to both devotion and instruction within the liturgical setting.