The Annunciation with Lily Crucifixion
detail from Virgin and Child with St Christopher and St Michael

Photo © Martin Crampin larger image

1922 Five-light window with the Virgin and Child between Christopher bearing the Christ-child and Michael fighting the dragon. Crucified Christ below on a cross of lilies, between Gabriel and the Virgin Mary as an Annunciation scene. Christ in Majesty at the centre of the tracery, surrounded by angels holding symbols of the Passion and flanked by the martyrdom of Sebastian and George fighting the dragon. Standing figures of Martin and Patrick as bishops in the outer lights, with the symbols of the four evangelists above and below. Above the main figures are roundel heads of Jeremiah, Isaiah and Ezekiel. The arms of Llandaff and of Canterbury are found in the lower left and right of the window. technique: stained glass designer: F. C. Eden artist: George Daniels Church of St Mary, Abergavenny, Monmouthshire east wall of the chancel The window was designed and supervised by Frederick Eden, and made by George Daniels. According to Eden's Record Book, the window, as proposed in 1918, was to include St Peter, St Sebastian, St Christopher, St Michael and St Joan of Arc (with thanks to Peter Jones for this reference).  (ObjectID=473 ImageID=9988) Original File Name=Abergavenny_DSC2995-71A.jpg

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

• Christ crucified on a tree or on a vine 
• Madonna: Mary sitting or enthroned, the Christ-child in her lap 
• St George and the dragon 
• St Sebastian pierced by arrows 
• the Annunciation: Mary, usually reading, is visited by the angel  [Luke 1:26-38]
• the Archangel Michael 

Martin Crampin, Stained Glass from Welsh Churches (Talybont: Y Lolfa, 2014), p. 222.

John Newman, The Buildings of Wales: Gwent/Monmouthshire (London/Cardiff: 2000), p. 94.

Some Stained Glass Windows executed within the past twenty years (London: The British Society of Master Glass-Painters, 1930), p. 25.

Photo © Martin Crampin