The Crucifixion with Panels from the Seven Sacraments
Photo © Martin Crampin
about 1500, restored in 1876Five-light window. A central image of Christ on the cross with angels is surrounded by a set of assembled panels, with figures in the tracery lights. The panels include recognisable apostles with inscriptions from the Creed, and scenes representing the seven sacraments. The best preserved of these are ordination, marriage and extreme unction (anointing the sick). The tracery lights include Mary and a seated crowned figure, perhaps Christ, and representing her coronation in heaven; below, Gabriel and Mary face each other as an annunciation. Further figures include two bishops, labelled as Asaph and Deiniol, and the saints: Marchell, Winefride, Frideswide and Catherine.
technique: stained glass
restorer: C.E. Kempe
Church of St Tyrnog, Llandyrnog, Denbighshire
east wall of the north nave
The glass in the window is assembled from at least two windows in the church, and at least two makers are clearly in evidence: the style of the tracery lights having different characteristics from the panels of the seven sacraments below.
The window is an early example of restoration work by Kempe's Studio.
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Martin Crampin, Stained Glass from Welsh Churches (Talybont: Y Lolfa, 2014), pp. 37, 41, 46, 49.
Edward Hubbard, The Buildings of Wales: Clwyd (Harmondsworth/Cardiff: Penguin/University of Wales Press, 1986), p. 196.
Peter Lord, The Visual Culture of Wales: Medieval Vision (Cardiff: University of Wales Press, 2003), pp. 153, 178-9, 224.
Mostyn Lewis, Stained Glass in North Wales up to 1850 (Altrincham: John Sherratt and Son Ltd, 1970), pp. 9-10, 55-8.
D. R. Thomas, The History of the Diocese of St Asaph (Oswestry: Caxton Press, 1908-1913), vol. II, p. 36.
Martin Crampin, 'Biblical Art from Wales: The Mediaeval Influence' (Sheffield: Sheffield Phoenix Press, 2010), p. 132.
Painton Cowen, A Guide to Stained Glass in Britain (London: Michael Joseph, 1985), pp. 220-1.
View this object on the Stained Glass in Wales Catalogue
Photo © Martin Crampin
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