The Ascension window

The Ascension window was the first stained-glass window to be created for St Philip’s, and intended to be the only one. It was installed in 1885, in the newly extended chancel at St Philip’s.

Located at the east end of the Cathedral, the window’s central position, height and dazzling colour palette, immediately commands the attention of anyone who walks into the nave. A close to life-size image of Jesus is depicted at the top centre, ascending to heaven forty days after his resurrection at Easter. He wears bright red robes to further reflect his movement towards heaven.  This is in contrast to his white robes in the Last Judgement window where his movement is from Heaven coming down to Earth. His bold red and white halo includes patterning similar to the St George’s cross – symbolising resurrection victory. Under his red robes he wears blue, which can just be seen – the colour reflecting his humanity as well in addition to his divinity.

Like all the windows, the design is divided into two halves across the centre. Vivid blue circles represent the effortless movement of Christ from earth up to heaven. This is shown just above the heads of the crowd at the bottom of the scene. Burne-Jones wanted to portray heaven as he saw it – starting just a few inches above our heads!

The woman who stands gazing up at Jesus is believed to be either Mary the mother of Jesus, who is often depicted in blue robes, or Mary Magdelene. Her eyes are fixed on Jesus, with her hands clasped at her breast.  Her white robe covers her head and drapes down over her pale blue gown.  More research is being undertaken to confirm which Mary this figure represents, as no women are described in the scripture as being present at The Ascension, but one is often depicted as present in artistic interpretations.

The level of detail and expert craftsmanship has lasted the test of time in this window, with outstanding examples of many stained-glass techniques evident today. Many features in this window are double-glazed to add depth of colour. Intricate paintwork including individual toenails on the feet, and Morris’ acanthus leaves and daisies on the clothes of the disciple St Peter are just some examples. The lack of fading points to the stained-glass being fired at an appropriately high temperature – the mark of quality craftsmanship.

When Burne-Jones saw The Ascension window in place, he was inspired to create two more, which took much further deliberation to reach the three scenes we can see today at the east end of the cathedral.

Christ stands tall and straight at the top of the window as he rises towards heaven. His face is tilted downwards, gazing through heavy-lidded eyes.  He has brown hair and short beard, his head framed by a cream and red halo. He wears scarlet robes, draped in long folds over a navy blue, ankle length tunic. His feet are bare.

Six angels stand either side of him, pale skinned with light brown hair, their hands clasped in prayer. Their robes are pastel colours, pale blue, rose pink, dark blue, and pale green, all draped over light-coloured gowns, and their feet, too, are bare.  There are at least eight curved halos and wisps of hair in amongst the tightly packed crowd of deep red wings above them, reaching to the top of the window. Amongst this jumbled pattern of crimson are a couple of blue wings, one navy and the other a soft powder blue.

Christ’s left hand is raised, one finger extended, in the traditional iconic symbol of blessing. His open right hand reaches down to the people, the symbol of his invitation to draw near. 

Beneath Christ and the angels is a sea of blue circular patterns resembling water or smooth clouds. This surface forms the distinction between Heaven and Earth. Apart from a narrow line of distant blue sky and brown hills, the heads of the people on earth seem almost to brush the foot of Heaven.

Below, a crowd of people, including eleven of his disciples, are gathered in fear and wonder, looking upwards, many also with their hands clasped. The disciples’ robes are a variety of colours; on the left a group is in red; others are in white, dark blue and dark green. Some are bearded, with brown, grey or white hair, others are youthfully clean-shaven. Their skin tones are a more accurate representation of the diversity of the population from which the disciples emerged.  Their bare feet are in sandals; they are standing on flat grey stones, with little tufts of greenery poking through the gaps.

The crowd includes a figure at the centre thought to be one of the Mary’s from scripture – either his mother Mary or Mary Magdelene. She wears a white robe, but with glimpses of blue on her arms