Possibly one of the stations of the Cross with Simon in assistance looked over by Roman guards. The firm attribution can be made by the style of painting and the distinctive use of pink and acid green glass, prevalent throughout the Wailes workshop production.
Wailes at one time employed over 70 people in these workshops fulfilling many commissions, including for his home city of Newcastle on Tyne – Cathedral of St Mary 1843, similar medieval style panels for Ely Cathedral 1849, the large west window series for Gloucester Cathedral 1859 and in 1862 glass for The Church of St Anne, Catterick near York, where this panel was so wonderfully restored by the York Minster Glaziers Trust – alongside another slightly larger project!
The panel echoes the compact story-telling style of medieval glass – the horse is especially watchful with a single circular lead came encompassing his beady eye. Though somewhat more iridescent the restricted colour pallet is as that of the predominantly French and English glaziers working in the 14th Century, with the decorative circular beading around the perimeter of the panel, a much-used technique at that time.
The condition of the panel is good overall with only fading (Turin shroud like) to the face of Christ and another Cross supporting figure (St Simon) to give a sense of the enigmatic.