Chancel

I.

The main-light panels below the springing have a fillet and border of rectangular quarries, both of modern clear glass, on each side. At the base of each light the strip of fragments runs across the full width. Width measurements are of the whole light.

1a. (Below) An Apostle, nimbed and bearded, stands on the left, facing to dexter, wearing a white mantle with yellow-stain hem over a ruby robe and carrying an open book in his right hand. Plain pot-blue background behind his head. Trace-line, matt wash, stippling, stick-work, and back-painting. Brown paint, and yellow stain on nimbus, beaded hem, and book. c.1460 – c.1465. The bottom third of the figure is missing, and there are intruded fragments in the mantle; the book may replace the original attribute; blue background probably not original; some paint-loss on face.

(Right) A patriarch standing against a fragment of seaweed screen facing to dexter and wearing an olive-green turban, white mantle with yellow-stain hem, and blue robe. Technique as previous Apostle above, except that brown paint is used for the drapery. c.1460 – c.1465. The robe at the neck is patched, and the right side of the mantle and the feet are missing; moderate external corrosion. Fragments, including micro-architecture, chequered paving, and drapery with yellow stain; all 15th-c. 16th-c pot-yellow, and pieces of blackletter inscription along the base: 'co : ev 1'; 'of : god'; 'marger'; ³³ ;'ymrs'; and 'Remed'. Moderate external corrosion on many fragments.

(Above) St James Major stands on the left, bearded and nimbed, facing to sinister and wearing a long hairy tunic decorated with whelks. ³⁴ He has a pilgrim’s hat hanging over his right shoulder from a cord fastened at his neck and holds a book in his left hand and a staff with a thin rod tied to it in his right; a scrip hangs on a strap round his neck. Plain pot-blue background behind his head. Technique as Apostle above, with yellow stain on nimbus, book, staff, bag, and whelks. c.1460 – c.1465. Figure complete except for feet, some paint loss, but very little corrosion.

St Simon on the right stands bearded and nimbed, facing to dexter, wearing a ruby mantle or cape over a white robe with yellow-stain hem and holding a large fish in his left hand. Plain pot-blue background behind his head. Technique as Apostle above, except that brown paint is used, with yellow stain also on fish and nimbus. c.1460 – c.1465. Feet and small section of drapery bottom left missing; mantle/cape may not be original. Very little corrosion.

These two figures are made up with fragments to fit the panel, including micro-architecture, chequered paving and ears of barley pedestal, all with yellow stain. c.1460 – c.1465. Some paint loss, but very little corrosion.
whole panel h 1.05m, w 0.56m

2a. St John the Evangelist stands nimbed facing to sinister wearing a blue mantle with yellow-stain cuffs on white glass, holding in his left hand a chalice from which issues a ruby devil, with right hand raised in blessing, against a pot-yellow damask hanging suspended from a strip of beaded ornament, above which is a leaded window. Below is white and green drapery that may not belong to this figure. There is a semi-circular lead-line over the figure. Black paint is used, with trace-line for decorative details, hands, and leaded lights, and thick matt wash modelled by stippling and stick-work on features and folds. Damask pattern relieved from matt wash. Hair in loose curls with trace-line and stick-work and painted with brown paint and possibly also yellow stain, which appears on the nimbus, cup, and beaded ornament as well. c.1522. Top third of figure in reasonably coherent state, with a few intruded fragments, including a section of the face and nimbus, but the rest, with the exception of the left side of the mantle, is a jumble of fragments. Area above the curved lead-line over the head also filled with fragments, mainly blue glass and drapery; paint rubbed or flaked in several areas; some internal corrosion on right hand and face.
h 0.84m, w 0.56m

3a. St Mark or St Matthew stands with green nimbus and bearded facing to sinister wearing a blue mantle over possibly a white robe with yellow-stain hem, against the same setting as in 2a. A hand lower down holding a book may belong to this figure. Technique as 2a, with needle-work on hair. c.1522. Only the head, nimbus, and part of the setting are coherent; the rest is muddled fragments, some of which may be original to the figure, but also include parts of what may have been a figure in plate armour and ruby glass, some rod-and-leaf ornament (both of similar date), and some 15th-c drapery. ³⁵ Head in excellent condition, apart from a scratch, although there is a hole in the nimbus on the left; some paint loss elsewhere. =
h 0.82m, w 0.56m

4a. Demi-figure of an angel facing to sinister, nimbed, with wings outspread, wearing a tunic decorated with trefoils on a stalk and holding a scroll with blackletter text: 'Nu(n)c dimittis servu(m) tuu(m) d(omi)ne se(cun)d(um) u(er)b(um) t[uum in pace] ', the first line of the Nunc dimittis (Luke II, 29). The blue background has clouds and stars. All white glass, except background, with yellow-stain decoration. A mixture of brown and black paint is used. Technique otherwise as Apostle in 1a. c.1460 – c.1465. The figure is complete, the end of the scroll is missing. and much of the background is lacking and completed and extended to fit the present opening with intruded fragments, including parts of seaweed screen (one with a hand), drapery, ears-of-barley pedestal, clouds, and micro-architecture, all 15th-c. Head cracked; scroll and angel have some exterior pitting.
h 0.41m, w 0.56m

1b. (Below) St Agatha stands nimbed and facing to sinister against a seaweed screen, wearing a ruby mantle over a green robe undone at the top to reveal her breasts and holding a book in her right hand and a flesh-hook in the left. Above the screen is a plain blue background. The figure is based on the same design as the figures of this saint at Cley and Wighton. At the bottom is part of a blackletter inscription: 'eccl(es)ie cui(us) a(n)i(m)e'. ³⁶ Technique as Apostle in 1a, with yellow stain on nimbus, hair, flesh-hook, and screen. c.1460 – c.1465. The face of St Agatha has been smashed by a stone, and part is missing and replaced by white glass, stuck edge-to-edge and plated on the outside. Blue background above the figure is mostly new; feet and base of the panel missing; panel made up to size with medieval fragments of micro-architecture; ruby mantle has heavy pitting; green mantle has brown internal corrosion; cracks on the right shoulder and adjacent screen, which suffers from paint loss.

(Above) A donor panel consisting of a tonsured priest kneeling on chequered paving facing to sinister with hands raised in prayer wearing a blue cassock and cape with fur cuffs before a pot-yellow L-shaped altar-tomb. Below the figure in relieved blackletter coloured with yellow stain is an incomplete inscription: 'Orate: p(ro)/[...]i a(nno) d(omi)ni 1522'. ³⁷ Altar-tomb, cassock, and flesh tones in stippled matt wash and trace-line. Hair scratched out very finely. Relieved stick-work on tomb. 1522. Background missing and made up with architectural fragments; floor patched with various kinds of paving; the inscription was previously much longer; large piece of tomb on right replaced by old glass of same colour; paint-loss on tomb and face; heavy corrosion on cassock and tomb.
h 1.03m, w 0.56m

2b. St Augustine stands facing to sinister, with right hand raised to waist level and left hand holding a ruby flaming heart, wearing a white chasuble with yellow-stain patterned hem over an alb with yellow-stain apparel. The figure is very fragmentary, and the head has been replaced by that of a main-light figure of Gabriel of c.1460 – c.1465 from an Annunciation. Other fragments that may be original to the panel, or to other panels from nIII or sIII, include foliage ornament, a leaded light, and blue drapery; there is also part of a 15th-c chequered pavement. Technique as 2a. c.1522. The head, lower third of the body, and the setting are missing, also parts of the upper area of the figure; ³⁸ several repair leads; original glass corroded and paint very worn.
h 0.85m, w 0.56m

3b. A very incomplete figure of St ?Jerome stands facing to sinister against a damask screen. Remains of drapery suggest a richly dressed figure. The right arm has a sleeve with fringed shoulder, and there is a ruby scarf. Lead-lines around the head may indicate that the figure wore a cardinal’s hat, hence the suggested identification. ³⁹ Technique as 2a. c.1522. The head has been replaced by a 15th-c head of a main-light figure of St Gregory, with papal tiara and the dove at his ear. The rest of the panel is made up of fragments of micro-architecture, parts of a damask screen, drapery, seaweed diaper, 'S(an)c(tu)s' on a scroll in blackletter, a large piece with vine branches and leaves and 'in(us) ' on a scroll in blackletter, and pot-colour, including a piece with leaves. The coloured glass has some internal corrosion and several fragments suffer from paint loss.
h 0.83m, w 0.56m

4b. Demi-figure of an angel facing to dexter, nimbed, with wings outspread, wearing a tunic decorated with rosettes and holding a scroll with blackletter text 'Quia videru(n)t oculi mei salutare tuu(m) '. ⁴⁰ Ruby background as 4a. Technique as Apostle in 1a. c.1460 – c.1465. Some of the background missing, head has several cracks, ruby flash pitted, light-medium external corrosion.
h 0.41m, w 0.56m

1c. (Below) A female saint stands on the left, nimbed and long-haired, facing to dexter and wearing a white mantle with yellow-stain hem and a white robe open at the neck, carrying a book in her left hand. Blue background behind the head. Technique as Apostle in 1a. c.1460 – c.1465. Parts of face and neck, the left and lower body, and the setting are missing, the background is not original, and the mantle and some of the other glass has light-medium external corrosion. To the left stands a very fragmentary figure of an Apostle, standing nimbed and bearded, facing forwards. Technique as Apostle in 1a. c.1460 – c.1465. Only the head, nimbus, blue background, and possibly part of the mantle survive; repair lead across head. The rest of the panel is made up with fragments of medieval glass, including micro-architecture, drapery, green diaper, ruby and pot-blue, and illegible fragments of blackletter inscription; 15th-c, one piece of architecture possibly 16th-c. Some external corrosion and paint loss.

(Above) To the left stands a very fragmentary figure of an Apostle consisting of a nimbed and bearded head on a blue background looking to dexter, and a few pieces of white drapery. c.1460 – c.1465. The fragments that make up the rest of the figure include pot-blue, pieces of micro-architecture with a large finial, part of an angel playing a plucked instrument, and part of a figure with a white apron with three crosses on it and carrying a book, identical in design to parts of a figure at Cley that may represent St Sitha. The head has lost much of its paint, and the drapery suffers from internal corrosion. To the right, St Bartholomew stands, nimbed and bearded and facing to dexter, wearing a white mantle with yellow-stain hem over a ruby robe, carrying a book in his right hand and a flaying knife in his left. Blue background to head. Technique as Apostle in 1a. c.1460 – c.1465. Figure complete except for part of mantle bottom left and feet. Slight external corrosion. Setting is missing and background and area above both figures is made up with medieval fragments, including 15th-c pot-blue and micro-architecture, and 16th-c pot-yellow and white glass with leaded windows from the c.1522 Evangelists or doctors.
h 1.04m, w 0.56m

2c. St Luke stands nimbed and bearded facing to dexter with right hand raised, wearing a white mantle with green lining and yellow-stain floral-patterned hem over a blue robe. At base of the panel are the remains of his symbol, a nimbed and winged bull set against part of the mantle. The setting similar to that in 2a, but more complete, with a stone arch within the curve at the top of the panel. Technique as 2a. c.1522. Top third of the panel almost complete, but rest a jumble of fragments, mainly of drapery belonging to the mantle. Top of panel made up of medieval fragments, including 15th-c patterned drapery and pot-blue, and 16th-c green leaves. Repair lead across head; internal corrosion on face, hands, and drapery.
h 0.85m, w 0.56m

3c. St Matthew or St Mark stands nimbed and bearded, facing to dexter with right hand raised in blessing. Setting and technique as 2a, although the painting of the head is more similar to that in 3a. c.1522. Head, nimbus, and parts of the hands and screen survive reasonably well. The rest is a jumble of fragments, mainly of pieces of white drapery that are probably from the mantle. There are also a pot-yellow piece of wing, probably from the Evangelist symbol; a fragment of 14th-c vine leaf; pieces of 15th-c micro-architecture; and pieces of 16th-c pot-yellow, blue, and green, and flashed ruby. Repair lead across head, some paint loss, light-medium external corrosion.
h 0.82m, w 0.56m

4c. Demi-figure of an angel facing to sinister, nimbed, with wings outspread, wearing a tunic decorated with pierced quatrefoils and holding scroll with blackletter text 'Q/uod p/arasti ante facie(m)/ o(m)ni(um) pop/ulorum'. ⁴¹ Background as 4a. Technique as Apostle in 1a. c.1460 – c.1465. Fragments include drapery, micro-architecture, feathers, and a hand, all 15th-c; and a piece of 16th-c pot-yellow drapery. The tips of the wings and the background behind the head and under the scroll are missing; light-medium exterior corrosion.
h 0.41m, w 0.56m

B1. Old Testament king and fragments consisting of crowned and bearded figure facing to sinister and standing against a folding seaweed screen wearing an ermine tippet over a ruby mantle and carrying a sceptre in his left hand, based on same design as a figure in the Burrell Collection, with fragments of micro-architecture, drapery, wing, and diaper. Plain blue background with star. Crown, head, and tippet are painted on one piece of glass. Trace-line, matt wash, stipping, stick-work, and back-painting. Brown paint, yellow stain on crown, hair, beard, morse, sceptre, and screen. c.1460 – c.1465. ⁴² Panel made up with fragments of micro-architecture, drapery, wing, and diaper, mostly 16th-c. The ruby mantle is not coherent, and parts of the tippet, feet, screen, and the whole of the base are missing; two pieces of the background are intrusions; white glass has medium external corrosion; flashed ruby of the mantle is very worn in one section.
h 0.71m, w 0.22m

B2. Patriarch and fragments consisting of a male bearded figure standing facing to dexter, wearing a blue turban and a white mantle with beaded hem over a green robe and pointing with his left hand. c.1460 – c.1465, based on the same cartoon as the figure of a patriarch in Norwich, St Peter Mancroft, sIV B1, of c.1445 – c.1455, completed by fragments of feathers, micro-architecture, scroll, hand holding a lute, and blue sky, all 15th-c, with 16th-c pot-yellow and pale green. ⁴³ Setting as B1, but a fragment of ears-of-barley pedestal may be original, and there is an estoile at the top. Technique as B1, with yellow-stain on mantle and estoile. The top two-thirds of the panel are complete, except for an intrusion on the screen on the left and another in the blue ground at the top; the rest is made up of fragments. Moderate external corrosion on the figure and some of the fragments.
h 0.71m, w 0.22m

C1. Text and fragments consisting of a lozenge-shaped piece of glass with 'Jh(esu)s' in blackletter set on a glory. The text is in black paint and the rays are relieved from a matt wash and strengthened with trace line. The whole is unevenly covered in yellow stain. c.1522. The glass is in excellent condition, apart from a little external corrosion on the right. ⁴⁴ The fragments include part of a 15th-c seaweed screen and 16th-c drapery, blue glass, and micro-architecture.
h 0.32m, w 0.25m

C2. Text and fragments, as C1, except with 'M(er)cy', with pieces of 16th-c micro-architecture, blue glass, and ornament.
h 0.32m, w 0.25m

D1. Quatrefoil filling and fragments, consisting of an almost complete quatrefoil with foliage ornament. Its shape would fit either A1 or A6 of sII. Trace-line, heavy black stipple, and stick-work. White glass, with yellow stain. c.1522. Set on new and old white and blue fragments, some with traces of yellow stain. Two small pieces of the quatrefoil are missing, and there is moderate paint loss.
h 0.43m, w 0.13m

D2. Quatrefoil filling and fragments, as D1, but complete, with fragments of 16th-c drapery and ornament, and a late piece with blue enamel.
h 0.43m, w 0.13m

F1. Head of a female saint, nimbed and with long hair, facing to dexter and set on a background of 15th-c and 16th-c blue fragments. Yellow-stain estoile above. Technique as B1, with yellow-stain on hair. c.1460 – c.1465. Light-medium external corrosion.
h 0.21m, w 0.19m

nII.

Medieval fragments in borders of main lights to springing.

1–2a. Micro-architecture, chequered paving, a crowned initial C, white drapery decorated with an 'I' in blackletter, and feathers, all 15th-c, and 16th-c ornament. Some paint loss, light-medium external corrosion.
h 1.83m, w 0.43m

3a. Canopy top, with tall central crocketed arch in which sits a lion facing to sinister, between two lower arches, against a plain pot-blue background. A grey matt wash is used, with very precise trace-lines, stippling, relieving and yellow stain. c.1460 – c.1465. Much of the right side is missing and patched with modern white and blue glass and a piece of another canopy of the same date. Other areas are patched with modern glass. Condition good, apart from a little paint loss and some repair leads.
h 0.22m, w 0.43m

1–2b. Micro-architecture, feathers, part of a large hand, part of a sheep, and ermine drapery, all 15th-c. Drapery is finely modelled with stippling. Condition as 1–2a.
h 1.83m, w 0.44m

3b. Canopy top as 3a, but with a ruby background, patched with fragments of micro-architecture, feathers, and new white glass. Most of the ruby background is new.
h 0.22m, w 0.44m

1–2c. Ears-of-barley pedestal, white drapery, some with seaweed pattern in yellow stain, other with an initial ‘D’ in a quatrefoil, feathers, micro-architecture, all 15th-c, and 16th-c ornament. Condition as 1–2a.
h 1.83m, w 0.44m

3c. Canopy top as 3a, except that the lion faces to dexter. Technique as 3a. Two glazier’s sorting marks. A few intrusions of old glass and some new pieces in the background.
h 0.22m, w 0.44m

A2. Angel with four or six wings stands facing to dexter, wearing a jewelled orle, an ermine tippet, and a coat decorated with rosettes fastened by a segmented belt over plate armour, carrying a mace or spear in the left hand. Ruby background with clouds and stars. ⁴⁵ A grey matt wash is used, with trace-line, stippling, relieving, and yellow stain. c.1460 – c.1465. The only new glass is the ruby background above the head, but there are many insertions of old glass, including a word in blackletter: 'a(n)i(m)ab(us) '. The lower body and legs and parts of the wings are missing, and there is severe paint loss on the figure.
h 0.46m, w 0.17m

A3. Cherub with four wings stands on a pair of wheels against a blue starry sky dressed in feathered tights, scarf, and a segmented belt, with hands raised in adoration. Technique as nII A2. c.1460 – c.1465. Most of the head and several other pieces are missing and replaced, mainly by old fragments, including pot-yellow and green glass. Severe paint loss on the figure.
h 0.46m, w 0.19m

A4. Cherub with six wings stands on a single wheel facing to sinister against a blue sky patterned with clouds and stars, wearing feathered tights, scarf, and segmented belt, with hands raised in adoration. Technique as nII A2. Only a few intruded fragments on the figure, including parts of two eyelets with a double rose, but much of the background is missing. Glass intruded here includes pot-blue with yellow stain. A little paint loss on the figure.
h 0.46m, w 0.19m

A5. Part of a female saint, possibly in situ, stands on the right, nimbed and wearing veil, wimple, and habit, with left hand raised across her chest, on a chequered pavement against a plain background with decorated top. Figure on white glass in black paint, with trace-line, stippling, and yellow-stain details. c.1522. The head and left side of the figure are missing, and much of the setting and the extant portion suffers from severe paint loss. Rest of the panel made up with fragments, including the lower part of a cherub standing on wheels and wearing feathered tights (as A3), micro-architecture, and part of a sun-burst. Modern ruby and pot-yellow glass used as a background; a large piece of 16th-c micro-architecture has lost most of its paint.
h 0.48m, w 0.20m

B1. Fragments of pot-blue and micro-architecture. 15th-c.
h 0.06m, w 0.09m

B2. Fragments, consisting of one piece of 15th-c blue sky and one of 16th-c ornament.
h 0.06m, w 0.09m

C1–2. In situ foliage eyelets. Black paint and brassy yellow stain. 1522. Repair leads.
h 0.12m, w 0.09m

D1. Fragments, including white drapery, blue stars and clouds, pot-blue with yellow stain, micro-architecture, and part of a glory with what may be the feet of an animal, perhaps the lion of St Mark, the bull of St Luke, or the Lamb of God, all 15th-c. Some paint loss.
h 0.29m, w 0.30m

nIII.

Medieval fragments in borders of main lights to springing.

1–2a. Part of figure, probably St Christopher, showing a leg in water, part of a nimbed head, micro-architecture, blue drapery, ears-of-barley pattern, part of cross nimbus decorated with yellow stain, and foliage. 15th-c.
h 2.27m, w 0.42m

1–2b. Micro-architecture, 'te' in blackletter, white drapery with yellow-stain pattern, part of seaweed screen and chequered paving, blue drapery, feathers; all 15th-c. Ornament; 16th-c.
h 2.27m, w 0.42m

1–2c. Border pattern, micro-architecture, ermine drapery, 'eccl[?] ' in blackletter, fragments painted with a square design based on the standard Norwich quarry pattern with cross-hatched background; all 15th-c. Foliage; 16th-c.
h 2.27m, w 0.44m

1–2d. Foliage, micro-architecture, chequered paving, blue sky(?), ermine drapery, ears-of-barley pattern; all 15th-c. Blue drapery; 16th-c.
h 2.27m, w 0.44m

A1. Micro-architecture, including grey-blue tiled roof, with heavy black paint and brassy stain. 16th-c.
h 0.17m, w 0.28m

A2. As A1, without roof piece.
h 0.17m, w 0.28m

B1. Fragmentary scene from the life of St Peter, showing the saint standing nimbed and bearded on the left with right hand raised, wearing a blue mantle and ruby robe, facing Christ, who stands on the right, bearded and with cross-nimbus, wearing a purple mantle and stretching out his right hand to St Peter. On a scroll coming from St Peter: 'Tu es deus / filius: dei: vivi' (Matthew XVI, 16); on A scroll coming from St Peter: 'Et: tu: es: petru/s'(Matthew XVI, 18). Background represents a green field with plants. Christ may have been holding out the keys of heaven, now lost. Black paint with trace-line, matt wash and relieving, with yellow-stain details. c.1522. Part of a larger scene, probably from nII. Only the top part of the figures survives; torso of Christ replaced by fragments; Moderate paint loss; background painted on two shades of green, and may not all be original. h 0.27m, w 0.26m

Transept

North transept

nIV.

Medieval fragments in borders of main lights to springing.

1–2a. Micro-architecture, ermine drapery, and hand holding ?sceptre, part of a figure in vestments holding a book; all 15th-c. Foliage; 16th-c.
h 2.50m approx., w 0.44m

3a. Very fragmentary canopy top with blue background and fragments of micro-architecture that may or may not belong to it. The single foil shape suggests that it came from nIII or sIII, whose main lights have this shape at the top. Black paint with trace-line, stippling, and a brassy stain. c.1522. The only coherent area is the top finial; the rest is a muddle of micro-architecture and other fragments.
h 0.22m, w 0.44m

1–2b. Micro-architecture, including piece with glazier’s sorting mark, part figure in vestments holding a ?crozier, rod-and-leaf border. 15th-c.
h 2.50m approx., w 0.44m

3b. A fragmentary canopy top with ruby background, similar to those in nII, with finial replacing lion. c.1460 – c.1465. Made up with fragments, including chequered paving.
h 0.22m, w 0.44m

1–2c. Micro-architecture, including glazier’s sorting marks, white drapery with yellow-stain pattern, part of nimbus, and part of an animal, possibly a sheep. 15th-c.
h 2.50m approx., w 0.44m

3c. A fragmentary canopy top, similar to 3b, with blue background.
h 0.22m, w 0.44m

B1. A glory painted on white glass with yellow stain which originally surrounded the Lamb of God, now missing and replaced by blue drapery, except for a cross staff and a pennant with yellow-stain cross. The glory may be in situ, but the border of the panel is a patchwork of blue sky and plain ruby. c.1460 – c.1465. The blue drapery is cracked and corroded with some paint loss.
h 0.29m approx., w 0.30m approx.

nV.

1–3a. Crown; 14th-c. Micro-architecture, 's(an)c(tu)s' in blackletter, part of large face, blue drapery, chequered paving, fur, ears-of-barley pattern; all 15th-c.
h 3.30m approx., w 0.52m

4a. Demi-figure of an angel facing to sinister, nimbed, with wings outspread, wearing a tunic decorated with rosettes and holding a scroll with the blackletter text 'Letabu(n)d(us) exultet f/idelis chor(us) ', against a ruby background with clouds and stars. Technique as I 7a. c.1460 – c.1465. Most of left wing, the left end of the scroll, and the area above the head are patched with fragments of micro-architecture; ‘ic’ in blackletter is added to the end of the text, which suffers from some paint loss; a few repair leads, including one across head.
h 0.25m, w 0.52m

1–3b. Part of glory, micro-architecture, ears-of-barley pattern, Balthasar on a scroll in blackletter, seaweed pattern, ermine drapery, feathers, blue drapery; all 15th-c. Piece of blue with relieved pattern; 16th-c.
h 3.30m approx., w 0.52m

4b. Demi-figure of an angel facing to dexter, nimbed, with wings outspread, wearing a white tunic and holding a scroll with blackletter text 'Si/[mil]/e est regnu(m) celoru(m) '. Setting and technique as 4a, but with three glazier’s sorting marks, on the wing and clouds. c.1460 – c.1465. Fairly complete, except for the background above the figure, which is filled with modern white and blue glass; a few medieval stopgaps, including the foot of an angel on a wheel; repair lead across face.
h 0.29m, w 0.52m

1–3c. Micro-architecture, white drapery, feathers, pot-blue, part of an 'IHS' roundel(?), with letters and small circles relieved from a black matt wash. c.1460 – c.1465.
h 3.30m approx., w 0.52m

4c. Demi-figure of an angel facing downwards, with wings outspread, wearing a white tunic and holding a scroll with fragmentary blackletter text ' [Assumpta est M]aria i(n) celu(m) '. Background (here blue) and technique as 4a, but the design of the figure is different, as it looks downwards. c.1460 – c.1465. Text on the scroll is patched with fragments of blackletter, including ' [ev]ange/liste'; background has many intruded pieces, including foliage, and two small angels with diadems and raised hands with fragments of a glory, probably from a scene of the Assumption of the Virgin Mary; also pieces of modern white and blue glass.
h 0.24m, w 0.52m

1–3d. Micro-architecture, blue drapery, ears-of-barley pattern, white patterned drapery, feathers, foliage, and '.ater.' in blackletter, cloud, and rays.
h 3.30m approx., w 0.52m

4d. A headless demi-figure of an angel, probably facing to sinister, wings outspread, wearing a white tunic and holding a scroll with fragmentary text in blackletter 'Gaud(en)t i(n) cel[is anime sanctor]u(m) '. Setting and technique as 4a, but with a glazier’s sorting mark on the tunic. c.1460 – c.1465. The head of the angel, much of the text, and most of the background are missing, and the panel is patched with old fragments of micro-architecture, part of a feathered angel wearing a scarf, and modern ruby and pot-yellow.
h 0.27m, w 0.52m

B1, B4. A sunburst painted on white glass with yellow stain, set on a pot-blue background. c.1460 – c.1465. B4 is cracked, and there are two modern pieces of blue background.
h 0.09m, w 0.12m

South transept

sIV.

Medieval fragments in the borders of the main lights to the springing.

1–2a. Patterned white drapery, micro-architecture, an initial ‘S’, blue seaweed pattern; all 15th-c. Foliage; 16th-c.
h 2.50m approx., w 0.44m

1–2b. Part of patterned quarry, 14th-c; micro-architecture, rays from a glory, all 15th-c; pot-green glass, pot-blue glass with yellow stain, perhaps part of suit of armour, all 16th-c.
h 2.50m approx., w 0.44m

1-2c. Chequered paving, seaweed pattern on pot-blue glass with yellow stain, micro-architecture, blue drapery, part of a lion from a canopy top or side-shafting, patterned quarry, all 15th-c; inscription fragment, 16th-c.
h 2.50m approx., w 0.44m

sV.

Medieval fragments in the borders of the main lights to the springing.

1–3a. Pot-blue, some with yellow stain, rod-and-leaf border, part of lion from canopy side-shaft, micro-architecture, paving, flashed ruby, border patterns, pot-purple, seaweed pattern, illegible blackletter script.
h 3.30m approx., w 0.52m

1–3b. Micro-architecture, flashed ruby, ermine drapery, patterned white drapery, border pieces, blackletter 'p', pot-blue, some with yellow stain, pot-purple; all 15th-c. Pot-purple, ornament; all 16th-c. Fragment of stiff-leaf grisaille; 19th-c?
h 3.3m approx., w 0.52m

1–3c. Micro-architecture; 14th-c. Micro-architecture, pot-blue (some with yellow stain), crowned 'MR' monogram, pot-purple; 15th-c.
h 3.3m approx., w 0.52m

1–3d. Micro-architecture, illegible blackletter script, ermine drapery, border piece, feathers, chequered paving, pot-blue with yellow stain.
h 3.3m approx., w 0.52m

D1. Part of an angel, nimbed and winged, facing to sinister, set against conventional scalloped cloud. Technique as Apostle in I 1a. c.1460 – c.1465. Only the head and neck survive; head cracked; light-medium external corrosion.
h 0.07m, w 0.15m

Nave

North side

nVI.

B2. A sunburst painted on white glass with yellow stain. c.1460 – c.1465. Most of the paint has gone.
h 0.09m, w 0.12m

B3. An estoile on white glass with yellow stain. c.1460 – c.1465. Cracked.
h 0.09m, w 0.12m

D1–2. A foliage eyelet filling on white glass with yellow stain. c.1460 – c.1465. Some paint loss.
h 0.06m, w 0.16m

nVII.

B1. An eyelet filling with a leaf pattern on white glass with yellow stain. c.1460 – c.1465. Cracked and bodged.
h 0.09m, w 0.12m

B2. An estoile on white glass with yellow stain. c.1460 – c.1465. Some paint loss and a hole.
h 0.09m, w 0.12m

B3. A double rose on white glass with yellow stain on the inner rose. c.1450 – c.1500. Some paint loss and a repair lead.
h 0.09m, w 0.12m

B4. A rose, barbed and seeded, on white glass with yellow stain. c.1460 – c.1465. Dirty, one repair lead.
h 0.09m, w 0.12m

South side

sVI.

B4. In situ foliage eyelet with matt wash, trace-line, relieving, and yellow-stain background. c.1460 – c.1465.
h 0.09m, w 0.12m

sVII.

B2. As sVI B4.
h 0.09m, w 0.12m

B4. As sVI B4, with repair leads.
h 0.09m, w 0.12m

D1. Foliage eyelet, with matt wash, trace-line and relieving. c.1460 – c.1465.
h 0.06m, w 0.16m

D3. Fragment, with yellow-stain rosette. c.1460 – c.1465.
h 0.06m, w 0.16m

Tower

West window

A1. Rose-en-soleil quarry, white glass with yellow stain on seeds and glory. c.1461 – c.1465. Set between piece of pot-blue glass and piece of pot-yellow glass or amber, 16th-c. Paint loss on rose.
h 0.41m, w 0.09m

A2. Rose-en-soleil quarry and fragments. As A1, but more corroded.
h 0.41m, w 0.09m

B1. Musical angel, nimbed, with two pairs of wings, facing to dexter, wearing a tippet decorated with a rosette pattern over feathered tights and playing bagpipes. Figure based on same cartoon as that in Norwich Guildhall, Mayoral Council Chamber, nII. Set against background of blue clouds and stars with a glory at the base. The lower pair of wings is in dark-green glass. Trace-line, matt wash, relieving, with yellow stain on wings, nimbus, hair, feathers, tippet, bagpipes and glory. c.1460 – c.1465. Complete, except for part of background at the top, where there are a few intruded pieces of micro-architecture, although possibly trimmed to fit present opening; some repair leads.
h 0.61m, w 0.19m

B2. The Virgin Mary sits enthroned at her Coronation, crowned and nimbed, against a patterned screen with seaweed diaper and blue background with clouds and stars. She bows, facing to sinister, with hands at prayer, and wears a blue mantle over a plain white robe. Technique as B1, with yellow stain on crown, nimbus, hair, and screen. c.1460 – c.1465. The figure is complete, except for a small part of the nimbus and the feet. Some repair leads, including two across the face. Apart from some pieces of blue sky and part of the screen, the rest of the panel consists of intruded fragments, including part of a dove on a glory, micro-architecture, and drapery, all 15th-c, and three pieces of hot blue and one of orange, probably 19th-c.
h 0.66m, w 0.19m

B3. A now headless Christ in Majesty sits enthroned against a screen with seaweed pattern and background of clouds and stars with plain pedestal beneath, facing to dexter towards the Virgin Mary in B2, with right hand raised in blessing and left hand on a tri-partite globe on his knee, wearing a blue mantle over a white robe with rosette pattern. Technique as B1, with yellow stain on crown, nimbus, hair, screen, and orb. c.1460 – c.1465. The head is missing, as are parts of the throne, pedestal, and background, and there are repair leads on the left knee. Fragments used to complete the panel include the upper part of an angel with diadem swinging a censer, seaweed pattern possibly from the missing parts of the screen in B2, rays coming from a cloud and pot-green and browny-yellow glass. The Coronation of the Virgin depicted in B2 and B3 is based on the same cartoons as those used in the same scenes at Stody, nV A4–5, and also by the more complete depiction from West Tofts in Norfolk, formerly displayed in the St Peter Hungate Church Museum and now in store.
h 0.66m, w 0.19m

B4. Musical angel, nimbed, with two pairs of wings, the lower one ruby, wearing feathered tights and a segmented belt, standing facing to dexter and playing a five-stringed fiddle or rebec, against a background of blue sky with clouds and stars. A pot-yellow estoile in the top cusp, which may be original to the panel. Technique as B1, with yellow stain on nimbus, hair, feathers, and fiddle/rebec. c.1460 – c.1465. The bottom left wing is missing, and others are patched or cut down, as is the background; one new piece of blue; ruby flash worn in places; panel made up with medieval fragments at the top. The figure is based on the reversed cartoon of a musical angel in the west window at Cockthorpe Church, Norfolk. ⁴⁶
h 0.62m, w 0.19m