The Last Judgement window

The Last Judgement window shows Christ’s return to judge humanity at the end of the world, as described in the book of Revelation. It is a memorial to Henry Bowlby, former suffragan bishop of Coventry, who was rector at St Philip’s from 1875 to 1894. It is regarded as Burne-Jones’ finest work in stained glass, although neither he nor William Morris ever saw the finished piece, which was completed in 1897 around the time of both their deaths.  In the afternoon, the sun shining through the window casts vibrant and intensely colourful reflections across the cathedral.

Burne-Jones would have seen plenty of ‘Last Judgement’ windows in France, and frescoes in Italy. Usually, these images aimed to terrify the viewer into goodness. Instead, Burne-Jones offers a compassionate Christ by comparison – although those waiting to be judged still appear very afraid.  Christ is sat at the top of the scene on a rainbow – a symbol of hope and of a new relationship between God and humans through Jesus.

Revelation 4:3 says: “And He who was sitting was like a jasper stone and a sardius in appearance; and there was a rainbow around the throne, like an emerald in appearance”.

Christ’s white robes show his movement from heaven to earth, in contrast to the red robes depicted in The Ascension as Jesus moves upwards towards heaven. In the centre of the scene, perhaps more prominent than Christ himself, is the Archangel Michael, blowing a long gold trumpet. Traditionally, Michael is the chief of archangels, a spiritual warrior in the battle for good versus evil.

The mass of detailed angels at the top of the scene is a key feature of the window, including detailed lead work and Morris patterns throughout. As with the other windows, the angels in ‘The Last Judgement’ are based on a sketch of the head of Margaret, Burne-Jones’ beloved daughter – hence their similar appearance. The items held by the angels include the leather-bound Book of the Judgement, one of three mentioned in Revelation, Judgment Before the Great White Throne. Another angel holds the key to the gates of Heaven on a long double golden chain, which is a reference to the binding of the dragon in Revelation 20.

Seven others hold vials, which reference the seven bowls of God’s wrath, as described in Revelation 16 – which include painful sores, seas and rivers turning to blood, people being scorched by the heat of the sun, darkness, the Euphrates drying up, earthquakes and hailstones.

Revelation 20:11-13 says: “Then I saw a great white throne and him who was seated on it. From his presence earth and sky fled away, and no place was found for them. And I saw the dead, great and small, standing before the throne, and books were opened. Then another book was opened, which is the book of life. And the dead were judged by what was written in the books, according to what they had done. 

And the sea gave up the dead who were in it, Death and Hades gave up the dead who were in them, and they were judged, each one of them, according to what they had done”. 

At the top of the window, Christ, clothed in white robes, sits atop a rainbow,. He wears a green crown of thorns, backed by a bright red halo. His bearded face shows a calm expression, with his left hand open and reaching towards the scene below.  The palms of his hands clearly show the stigmata, the wounds left by the crucifixion nails. 

Below, and central to the scene, the Archangel Michael is framed by his majestic and powerfully spread red wings, as he sounds his long golden trumpet. 

The top of the scene behind the main figures is filled with red angels, holding various objects. These include the leather-bound Book of the Judgement, the key to the gates of Heaven on a long double golden chain, and the seven vials of god’s wrath, referred to in Revelation chapters 16 and 20.

A dark brown band divides the scene into two and depicts a ruined cityscape. This includes industrial Birmingham and what is understood to be the Town Hall.

Below the city, a crowd of fearful people huddle anxiously together. A young family stands centrally. The husband enfolds his wife in his arms. She shields her eyes with one hand as she gazes up to the heavens, whilst clutching her baby in the crook of her other arm. A small child dressed in white, clings tightly to his father’s burgundy robes. Another two apprehensive women on the left of the scene clasp one another, standing on top of a stone tomb.

A barefoot man with his back to us, wears an elaborate gold crown. The range of people from all walks of life, reflects that Jesus has returned to judge both the rich and the poor.

At the very bottom of the window, there are gravestones, with people appearing, crawling out from below.