Stained Glass of Emneth St Edmund Norfolk

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The glass in all the north aisle tracery lights dates from the mid 15th century. It constitutes the only useable pieces found in the churchyard during the church’s 1865 restoration. It is assumed that they originally formed part of a complete set of windows which were destroyed by puritans in the 17th century.

Here we see two recognisable figures. The first is an angel wearing a diadem and holding a large crown, who probably formed part of a larger group showing the coronation of the Virgin Mary. The other is a lovely figure of St Zita (also known as Citha or Sitha) of Lucca carrying her emblematic keys and rosary. David King speculates that she was made slightly later than the other panels.

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The glass in all the north aisle tracery lights dates from the mid 15th century. It constitutes the only useable pieces found in the churchyard during the church’s 1865 restoration. It is assumed that they originally formed part of a complete set of windows which were destroyed by puritans in the 17th century.

Here we see two angels. One has six wings, wears a jewelled orle and carries a sceptre. The crown and sceptre are both emblematic of royalty and could identify the angel as Dominations, Powers of Principalities. The other figure wears a white alb and a purple dalmatic (coat) edged with yellow fur. He holds a censer and stands on a red cloud from which golden rays emanate. As such Woodforde assumes the angel is of the order Virtues or possibly Seraphim.

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The glass in all the north aisle tracery lights dates from the mid 15th century. It constitutes the only useable pieces found in the churchyard during the church’s 1865 restoration. It is assumed that they originally formed part of a complete set of windows which were destroyed by puritans in the 17th century.

Two musical angels flank a figure of Mary, which would have originally been part of an Annunciation scene, and a king whose identity is unclear. .

This 1866 memorial window is dedicated to the memory of Charles & Mary Boucher. Designed by William Wailes in a 13th century style it contains 15 medallions depicting scenes from the life of Christ. This window is very typical of Wailes' work which rarely showed creative flayer but was of a constant standard in both design and craftsmanship. It is typified by its two dimensional High Victorian patterns which are bright and colourful but by today’s standards it could be judged to be somewhat garish.

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This c1872 window is dedicated to the memory of Charles Metcalfe. Designed by Clayon & Bell it depicts the Crucifixion. In the tracery lights the four evangelists are represented by their normal symbols i.e Matthew as the Divine Man, Mark as the winged lion, Luke as the winged ox and John as an eagle.

This c1875 window designed by Clayton & Bell depicts a Resurrection scene. Note that the colours are much richer than those employed by Wailes in the east window.

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This 1869 window designed by William Wailes depicts three scenes from Christ's childhood: "The Nativity," "The Adoration of the Magi," "Christ's presentation in the Temple" and "Christ with the Elders." In the tracery lights the four evangelists are represented carrying their normal symbols i.e Matthew holds the Divine Man, Mark carries the winged lion, John holds an eagle whilst Luke carries the winged ox.