Mark Culham

I was wrong earlier. This particular portrait of Mary is at Downside Abbey. It's in the tracery above.

Adam & Eve are from Dürer. The post attached is a roundel by Comper of the same Adam & Eve that has been labelled adult content. Directly above them is the female looking serpent taken from the medieval glass at Fairford which is also included in the post attached.

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Ninian Comper comperised Mary Salome and her sons from the medieval stained glass at All Souls College Chapel, Oxford.

at St Andrew's, Clevedon.

had Lawrence OP's photograph and this particular picture of Mary and child is not in the Abbey as far as I can see but there is this version

Ninian Comper
I've popped in to Downside Abbey again to remind myself of the layout of the windows and get this picture. Luke the artist is drawing Mary's portrait but not this Mary. This is Mary Salome. Previously, I only

British Museum
These two prints are basically the same design. No wonder I like them both. Left - Master of St Erasmus is consistent (the style of the faces) with other prints of his.
Right - by Anonymous but said to be after Master of the Berlin Passion.

One to explore later if I remember!

Master of St Erasmus
British Museum

I'm drawn to the deadpan, the economic and the balanced. Consequently this is one of my favourite prints by a favourite print maker.

But . . .

Israhel van Meckenem
after Master ES
British Museum

Print made by Anonymous
after Master of the Berlin Passion
British Museum

I.A.M of Zwolle
British Museum

Dunham Massey
There is a corresponding engraving. Design is by Maerten de Vos

📷 National Trust

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Malchus's Ear

Jesus's arrest from the herkenrode Abbey Stained Glass now at Lichfield Cathedral.

📷 Aidan McRae Thomson

Jesus's Arrest
Lichfield Cathedral (formerly at Herkenrode Abbey)

Where Judas betrays Jesus with a kiss we often see Peter attacking Malchus but here we have the more subtle scene, difficult sometimes to see, where Jesus heals Malchus's ear and Peter sheaths his sword.

📷 Aidan McRae Thomson

The stained glass is at St Giles, Ashtead

George is looking nowhere in particular. He's not looking at the princess and he's not looking at the dragon. He is holding his pose for the painter, and consequently for us!

The horse and the dragon. The energy of the piece is matched by the detail.

The broken lance. I haven't done the stats but a cursory glance at the engravings for this period (What period? 🤔 Let's call it 1475-1550.) there seemed to be just as many broken lances followed by sword attacks as there were kills with the lance.

Yes, I think that is a lamb.

As at Llancarfan we have the parents on top of their castle and the princess praying for George. I'm pretty sure there is a lamb there obscured by the extra leading following damage.

📷 Unfortunately, I no longer have access to information of the photographer.

St George & the Dragon

This stained glass, originally from Herkenrode Abbey, gives us a different but equally common pictorial account of how the dragon was killed. The lance has pierced the neck and snapped. George has to go back in for the kill with just his sword.

Details follow.

Yes, and there's more but the George and the dragon scene is pretty hard to beat.

I forgot to say earlier that George just happened to be passing by at the time.

Not part of the scene but in the first photograph is a fashionable youth with death just around the corner.

Mary giving her blessing.

Fluid perspective. Side on, front on, half side on, mix. Quite dynamic. It applies to the whole too.

The dragon has been cornered.

George, horse and dragon.

She's not always all there. I like to see both the lamb and the string whilst not knowing exactly why they are there at all (sacrificial lamb metaphor?).

It is said she did not want George to risk himself for her.