early sixteenth century, restored in 1915-16 Four-light window incorporating fragments of mainly medieval glass. Figures along the top of the main lights include angels and part of John the Apostle. Below are mainly complete scenes depicting the execution of John the Baptist with Salome; Salome presenting the head to Herod and Herodias; St Anthony entering religious life and the burial of St Anthony. Below various fragments include a set of symbols of the four evangelists, flanking Apollonia, Christopher (carrying the Christ-child), Michael and another female saint. At the bottom of the window, partially obscured by the Trevor memorial (1589) are heads (perhaps sons of a donor), angels, John the Baptist, George, and a half-length figure of Mary from an annunciation scene, indicated by the text 'Ecce Ancilla Domini' (Luke 1:38). size: 54 cm (width of each light) [approx] restorer: Clayton & Bell Church of All Saints, Gresford, Wrexham east end of the south aisle chapel (Trevor, or St Catherine's, Chapel) (window number: sII) Dedication: 'This window of ancient fragments is erected in loving memory of William Trevor Parkins of Trevalyn, Chancellor of St Asaph 1891-1908.' As an assemblage of fragments brought together from different windows in the church, various parts of the window are dated 1500, 1506 and 1510. The restoration of the glass by Clayton & Bell was under the supervision of W.D. Caröe. |
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Martin Crampin, Stained Glass from Welsh Churches (Talybont: Y Lolfa, 2014), pp. 37, 40-1, 46, 47.
Edward Hubbard, The Buildings of Wales: Clwyd (Harmondsworth/Cardiff: Penguin/University of Wales Press, 1986), p. 171-2.
Peter Lord, The Visual Culture of Wales: Medieval Vision (Cardiff: University of Wales Press, 2003), p. 215.
Mostyn Lewis, Stained Glass in North Wales up to 1850 (Altrincham: John Sherratt and Son Ltd, 1970), pp. 44-7.
Painton Cowen, A Guide to Stained Glass in Britain (London: Michael Joseph, 1985), p. 220.
ReferencesJennifer M. Freeman, W.D. Caröe: his architectural achievement (Manchester: Manchester University Press, 1991), p. 199.
Photo © Martin Crampin |
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