Noah, Abraham and Moses
from Figures from the Bible and Saints

Photo © Martin Crampin larger image

1883 The sanctuary windows comprise five three-light windows with standing figures. The figures, from left to right, are Noah, Abraham with Isaac, Moses, Isaiah, David, John the Baptist, Christ flanked by Mary and John, Mary Magdalene, Peter, Stephen, and the Welsh saints Llure, David and Afan. The windows also include family heraldry and inscriptions below, and the instruments of the Passion above. Noah stands holding the ark, with a dove; Abraham holds a knife, with Isaac at his side, holding firewood in the form of a cross; while Moses holds a rod and the Ten Commandments. Family heraldry below, with inscription surrounded by vine decoration, and shields above with the thirty pieces of silver, and lance and sponge. technique: stained glass size: 35 cm (width of each light) firm/studio: C.E. Kempe Church of All Saints, Newbridge-on-Wye north wall of the sanctuary apse The uppermost light has a roundel with the wheatsheaf (or garb, in heraldic terms), and Adrian Barlow cites this window as the first to include Kempe's signature explicitly, rather than discretely in a decorative part of the window. The inscription records the gift of the window by Susan Catherine Venables, in memory of her husband Joseph Henry Venables (1813–1866).  (ObjectID=4948 ImageID=9563) Original File Name=Newbridge-on-Wye_DSC7488A.jpg

Other works associated with this work

This artwork is indexed under the following main subject(s):
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• Abraham (not in biblical context) 
• Moses (not in biblical context) 
• Noah (not in biblical context) 

Martin Crampin, Stained Glass from Welsh Churches (Talybont: Y Lolfa, 2014), p. 134.

Robert Scourfield and Richard Haslam, The Buildings of Wales: Powys (New Haven/London: Yale University Press, 2013), p. 378.

Adrian Barlow, Espying Heaven: The Stained Glass of Charles Eamer Kempe and his Artists (Cambridge: Lutterworth Press, 2019), pp. 18, 20–1.

Adrian Barlow, Kempe: The Life, Art and Legacy of Charles Eamer Kempe (Cambridge: Lutterworth Press, 2018), pp. 70, 76–80.

Photo © Martin Crampin