Christ the Good Shepherd
detail from The Risen Christ, Christ the Light of the World and Christ the Good Shepherd

Photo © Martin Crampin larger image

about 1900 Three-light window. The central light depicts Christ rising from the tomb with an angel and soldiers below, between conventional scenes of Christ as the Light of the World (after Holman Hunt) and Christ with shepherd's crook tending to his sheep. technique: stained glass firm/studio: Jones & Willis Ltd Church of St John the Baptist, Dowlais, Merthyr Tydfil (liturgical) north wall of the transept The lower part of the window has been lost to vandalism (2011). The Buildings of Wales: Glamorgan states that the window was signed by the firm, and gives a date of about 1893, making it perhaps the earliest window by the firm identified in Wales. However, the window may be a little later, perhaps around 1900. The figures of Christ in the side lights mirror those dated 1897 in the chancel window at Llandegley, and the central figure is very close to a design at the same church of about 1911. A version of the design used for the left-hand figure was used again in The Light of the World window of about 1912, at Buckley, and no doubt many times elsewhere. Given in memory of John Robert Jones.  (ObjectID=4103 ImageID=7658) Original File Name=Dowlais_DSC7058A.jpg

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

• Christ as Good Shepherd  [John 10:1-18]
• Christ, usually holding a banner, arises from the grave; often combined with sleeping and/or frightened soldiers 
• I am the light of the world' - sayings of Christ  [John 8:12; John 9:5]
• I stand at the door and knock': image derived from William Holman Hunt's 'The Light of the World'  [Revelation 3:20]

Martin Crampin, Stained Glass from Welsh Churches (Talybont: Y Lolfa, 2014), p. 20.

John Newman, The Buildings of Wales: Glamorgan (London/Cardiff: 1995), p. 447.

Huw Williams, A History of the Church in the Parish of Dowlais (1977), p. 19.

Photo © Martin Crampin