In the upper left panel, the Archangel Michael is shown wielding a sword as he tramples and slays a demon, an image drawn from apocalyptic tradition and associated with divine justice and the defeat of evil. Michael’s dynamic posture, the forceful diagonal of the sword, and the contorted body of the demon create a scene of dramatic tension. The figure would have functioned as a powerful moral emblem within the wider scheme, reinforcing the eschatological dimension of the Magnificat programme.

Below this, the lower left panel survives only in a fragmentary state. While the original subject is no longer fully legible, the surviving pieces indicate a once complex narrative composition, now disrupted by loss and later disturbance. Its damaged condition reflects the wider history of the window, which has suffered repeated destruction and repair since the early modern period.

The upper right panel depicts the Ascension of Christ. Christ rises heavenward, surrounded by clouds and angelic presence, his body oriented upward in a gesture of triumph and transcendence. The composition emphasises vertical movement, drawing the eye from the earthly register below toward the heavenly realm above, and visually counterbalances the violent defeat of evil shown in the opposing panel of Saint Michael.

Beneath the Ascension, the lower right panel represents the Descent into Hell (Harrowing of Hell). Adam and Eve are shown seated in expectation, awaiting liberation following Christ’s triumph over death. Their calm, anticipatory expressions contrast with the drama above, underscoring the theological promise of redemption and the restoration of humanity. This scene completes the salvific arc established across the four panels, linking Fall, Judgement, Victory, and Salvation within a unified narrative.

Taken together, these panels demonstrate the intellectual and visual sophistication of the Magnificat Window’s original programme. Even in a fragmentary state, they preserve a coherent theological structure, integrating Old Testament figures, New Testament events, and apocalyptic imagery into a single devotional sequence. The scenes are characteristic of late medieval English stained glass at the turn of the sixteenth century, combining expressive gesture, bold colour contrasts, and densely packed narrative registers to convey complex doctrine through light and image.