Ahaz
detail from The Tree of Jesse

Photo © Martin Crampin larger image

1533 Five-light window. Reclining figure of Jesse below (across the central three lights) with seventeen other figures or half-figures, mainly kings and prophets, including the Virgin and Child over David and Joram in the central light. Further prophets (Isaiah, Zechariah, Obadiah and Joel) in the tracery. technique: stained glass Church of St Dyfnog, Llanrhaeadr east wall of the north nave A date of 1533 is given at the base of the right-hand light. According to tradition, this largely complete window survives because it was hidden at the time of the Civil War. Some of the glass clearly originated in other windows in the church. The window was conserved by the York Glaziers Trust from 1986-9.  (ObjectID=2350 ImageID=6571) Original File Name=_DSC4580.jpg

This artwork is indexed under the following main subject(s):
for other works containing these subjects please click on the links.

• David as musician, usually playing the harp 
• Jesse - father of David 
• Madonna: Mary standing (or half-length), Christ-child close to her bosom 
• Moses (not in biblical context) 
• Rehoboam, king of Judah 
• Solomon (not in biblical context) 
• tree of Jesse: genealogical tree showing Christ's ancestors, sprouting from Jesse's loins  [Matthew 1:1-16; Luke 3:23-38]

Martin Crampin, Stained Glass from Welsh Churches (Talybont: Y Lolfa, 2014), pp. 42–4.

Edward Hubbard, The Buildings of Wales: Clwyd (Harmondsworth/Cardiff: Penguin/University of Wales Press, 1986), p. 231.

Mostyn Lewis, Stained Glass in North Wales up to 1850 (Altrincham: John Sherratt and Son Ltd, 1970), pp. 13, 69-71.

D. R. Thomas, The History of the Diocese of St Asaph (Oswestry: Caxton Press, 1908-1913), vol. II, pp. 45-6.

E. Gwynne Matthews, The Llanrhaeadr Jesse Window: its meaning and history (2000).

Painton Cowen, A Guide to Stained Glass in Britain (London: Michael Joseph, 1985), p. 221.

H. T. Kirby, 'The 'Jesse' Tree Motif in Stained Glass, A Comparative Study of English Examples, concluded' Journal of the British Society of Master Glass-Painters, vol. xiii, no. 2 (1960–1), 437.

Photo © Martin Crampin