Scenes from the Life of David

Photo © Martin Crampin larger image

about 1874, with fragments from about 1500 Four light window with the following subjects: 'David minds his father's sheep', 'Samuel anoints David', 'David slays the lion and bear', 'David slays Goliath', 'David's Covenant with Jonathan', 'David spares Saul's life', 'Mourns for Jonathan's death', 'David pours water unto the Lord'. Musical angels in four central tracery lights (probably contemporary with the main lights), with medieval fragments in the outer tracery lights. These include the symbols of Luke and Mark, an angel and part of an angel holding a shield. technique: stained glass size: 48 cm (width of each light) [approx] firm/studio: Heaton, Butler & Bayne Church of All Saints, Gresford, Wrexham south wall of the nave Dedication: 'To the glory of God and in memory of Edward Hunter Townshend who died 9th December 1873 aged 25 years.'  (ObjectID=978 ImageID=2489) Original File Name=_MG_5671.jpg

This artwork is indexed under the following main subject(s):
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• David and his men weep for the death of Saul and Jonathan, and tear their clothes - story of Saul's death  [2 Samuel 1:11-12]
• David and Jonathan, son of Saul, become friends  [1 Samuel 18:1-4]
• David as shepherd 
• David beheads Goliath with a sword - David fighting Goliath  [1 Samuel 18:51]
• David slaying the lion and bear - David as shepherd  [1 Samuel 17:34-36]
• Samuel anointing David in the presence of his father Jesse and his brothers  [1 Samuel 16:13]
• three of David's heroes draw water out of the well of Bethlehem, during their stay in the cave Adullam; David pours the water out - the wars of David  [2 Samuel 23:16-17]
• when Saul comes out of the cave, David calls him, falls down on his knees and shows him the piece of cloth - David at En-gedi  [1 Samuel 24:8-15]

Mostyn Lewis, Stained Glass in North Wales up to 1850 (Altrincham: John Sherratt and Son Ltd, 1970), p. 38.

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

Photo © Martin Crampin