This monument placed by the officers and men of the royal Welch Fusiliers is by John Bacon Jr ⓘ. It depicts Col Sir Henry Walton Ellis falling from his horse, with Victory crowning him with a Laurel wreath.
This 1860 window by Clayton & Bell ⓘ depicts the coronation of Henry III in St Peter's ⓘ Abbey (later cathedral), Gloucester, on the 28th of October 1216. A second coronation was performed at Westminster Abbey on 7th May 1220, Westminster Abbey, because Pope Honorius III did not consider that the first coronation had been conducted properly.
The C12 church of St. Martin ⓘ at Couffy has 4 windows of saints by Fournier. An inscription indicates that they were installed by the Community in 1882.
South transept window Holy Cross, Byfield, Northamptonshire 1884
This east window presents a compact yet richly articulated Crucifixion composition, arranged across three principal lights beneath a tier of tracery lights. it is typical of late-Victorian Gothic Revival glass, and demonstrates Burlison & Grylls ⓘ’ characteristic clarity of drawing, strong colour harmonies, and careful architectural setting.
Clayton & Bell ⓘ, Crucifixion Window – East Window, South Aisle, St Leonard’s Church, Misterton (Leicestershire), c. 1878.
Tomb of Dante Alighieri (d1321) by Ricci Stefano (c1825).
This single-light window depicts the Deposition from the Cross, presenting the moment at which Christ’s body is lowered after the Crucifixion. The scene is composed with a strong sense of physical weight and controlled movement, emphasising both the labour of removal and the solemnity of the act.
This east window by Hardman & Co., dated 1876, presents a vertically structured Christological programme typical of the firm’s mature High Victorian work. The three lights are unified by dense geometric and foliate patterning, within which narrative scenes are clearly articulated and hierarchically arranged.
The east window of the parish church of St Margaret, Crick, is a large multi-light stained-glass composition dated 1857, by Lavers & Barraud1, and predates the appointment of Nathaniel Westlake as principal designer at the firm. Occupying the principal liturgical position, the window presents a carefully structured theological programme combining figures of prophecy, witness, and redemption.
