Salvator Mundi - Gloucester Cathedral
This window by Hardman & Co., illustrates a Salvator Mundi in the typanum, whilst below are three panels depicting St Agnes ⓘ, The Virgin Mary ⓘ, and St Dorothy.
This window by Hardman & Co., illustrates a Salvator Mundi in the typanum, whilst below are three panels depicting St Agnes ⓘ, The Virgin Mary ⓘ, and St Dorothy.
The east window of 1875, made by John Hardman & Co., stands in the church at Maidford. The central light depicts Christ as Salvator Mundi, set within flanking lights of patterned diamond quarries.
Tomb in memory of Sarah Baroness Braye (d1862) by Mary Thorneycroft ⓘ.
Dated 1887 this window of St Joseph, by Noel Lavergne, is in the church of Notre Dame la Blanche, Selles-sur-Cher.
This window of St. Peter ⓘ receiving the keys of heaven, in the church of Notre Dame la Blanche, Selles-sur-Cher, is by Claudius Lavergne. The window is dated 1889 which is two years after Claudius Lavergne's death.
Main panel of this Hardman window illustrates Jesus delivering the Sermon on the Mount.

Hudson, Shrigley and Co were originally church decorators in Lancaster. In about 1871 they employed, Arthur Hunt from Hertfordshire, who had trained as a stained glass maker with Heaton, Butler and Bayne, as the company manager. Hunt had a good business sense and within 8 years had taken over control of the company, employing talented artist like Carl Almquist and Edward Jewitt. Carl Almquist became the chief designer for the firm in 1873 and from 1879 was working mainly from their newly acquired London Studio. The company also made art tiles and developed a style of figurative stained glass work that was inspired by the Renaissance rather than the Gothic
Sculpted from white marble by Sir Frances Chantrey, this memorial is to the two daughters of Ellen-Jane Robinson, Ellen-Jane and Marianne.
The south window of the chancel at All Saints, Middleton Cheney, contains two important stained-glass panels designed by Ford Madox Brown in 1870, created during his period of work for Morris, Marshall, Faulkner & Co. These windows are among the finest surviving examples of Brown’s contribution to Victorian ecclesiastical glass, characterised by his expressive figures, sculptural modelling, and dense narrative detail.