Scenes from the Life of Christ

Photo © Martin Crampin larger image

about 1849 Three-light window with nine scenes. From top to bottom, left to right: standing figure of Christ with the crown of life (text Revelation 2:10); centurion kneeling before Christ; Christ healing a boy possessed by a spirit; Ascension; Christ stepping out of the tomb; Christ with Mary Magdalene; seeated Christ (with wounds) holding a cross (text Matthew 11:28); Christ washing the disciples' feet (text John 13:34); standing figure of Christ with children. technique: stained glass Church of All Saints, Gresford, Wrexham north wall of the clerestory Given in memory of Elisabeth Frances Wilbraham (1822-1849). Edward Hubbard (The Buildings of Wales: Clwyd) notes that although the window has been attributed to Hardman, it does not look like their work. Mostyn Lewis is correct in noting that the style is closer to a contemporary window in Llangollen, attributed by some sources as Rowland of Warwick, but probably by William Holland.  (ObjectID=3735 ImageID=6310) Original File Name=_MG_5698.jpg

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• Christ blessing children brought by their mothers  [Matthew 19:13-15; Mark 10:13-16; Luke 18:15-17]
• Christ washes the feet of the apostles  [John 13:1-20]
• Christ, usually holding a banner, arises from the grave; often combined with sleeping and/or frightened soldiers 
• healing of a lunatic boy - miracles of Christ  [Matthew 17:14-18; Mark 9:14-29; Luke 9:37-43]
• Mary Magdalene meets the Risen Christ; 'Noli me tangere'  [John 20:14-17]
• the Ascension  [Luke 24:50-51; Acts 1:9-11]
• the centurion of Capernaum, kneeling before Christ, begs him to heal his paralytic servant (or son)  [Matthew 8:5-13; Luke 7:1-10; John 4:46-54]
• the risen Christ (with wounds, but without crown of thorns), sometimes holding the cross or a banner 

Mostyn Lewis, Stained Glass in North Wales up to 1850 (Altrincham: John Sherratt and Son Ltd, 1970), pp. 47-8.

Edward Hubbard, The Buildings of Wales: Clwyd (Harmondsworth/Cardiff: Penguin/University of Wales Press, 1986), p. 172.

Photo © Martin Crampin