# List of works in stained glass by John Piper

The following is a list of works in stained glass designed by the English artist John Piper, listed chronologically. Already an established artist, Piper began designing for stained glass in the 1950s, working in partnership with Patrick Reyntiens, who manufactured the large majority of Piper's realised designs over a period of 30 years.
The list is taken primarily from June Osborne's 1997 book John Piper and Stained Glass, considered the definitive text on the subject.

## List of works in stained glass

| Date | Location | Maker | Description | Notes |
| 1954 | River and Rowing Museum, Henley-on-Thames, Oxfordshire | Patrick Reyntiens | Rectangular panel depicting heads of two kings, made by Reyntiens based on watercolour painting provided by Piper and inspired by glass seen at Chartres Cathedral and Bourges Cathedral. | Trial piece made by Reyntiens ahead of Piper accepting Oundle commission, its success sparking 30-year partnership between designer and maker. |
| 1954-56 | Chapel of St Anthony, Oundle School, Oundle, Northamptonshire | Patrick Reyntiens | Across three windows and nine lights, Christ is shown in nine forms, from left to right: The Way, Truth and Life; The True Vine, Bread and Water; The Judge, Teacher and Shepherd. | Three triple-light windows with corresponding tracery in eastern apse wall. Piper's first completed public commission in stained glass. Commissioned by The Worshipful Company of Grocers, who patronage dates back to the school's founding, for the 400th anniversary of the school. |
| 1955–60 | Victoria & Albert Museum, London | Patrick Reyntiens | Semi-abstract representation of Christ seated and in long robes flanked by St Peter and St Paul. | In style of windows for Oundle School and Llandaff Cathedral, but seemingly unrelated to either. Purchased by the Victoria and Albert Museum in 1981 from John Piper. |
| 1956 | Stained Glass Museum, Ely Cathedral, Ely, Cambridgeshire | Patrick Reyntiens | Abstract panel of mainly rectangular pieces of glass in variety of colours. | Experimental panel designed and manufactured as part of Coventry Cathedral commission. On long-term loan to the Stained Glass Museum since 2003. |
| 1957–62 | Minster church of St Andrew, Plymouth, Devon | Patrick Reyntiens | Multicoloured five-light window with corresponding tracery above, depicting the Instruments of the Crucifixion, most prominently the ladder used for the Deposition, crossed against the Holy Lance and Holy Sponge set on its reed. | Situated under west tower, dedicated to the memory of Waldorf Astor, 2nd Viscount Astor. The first of six individually designed windows for church. |
| 1958–62 | Coventry Cathedral, Coventry, West Midlands | Patrick Reyntiens | Monumental and complex 21.9m high, 18m wide floor-to-ceiling window comprising 198 multicoloured lights set into a convex concrete chequerboard frame designed by Cathedral architect, Basil Spence. Though each pane is unique and abstract, they combine to provide the impression of a dazzling yellow sunburst to the centre. The primarily blue glass above and green below are reminiscent of sunrise, an appropriate metaphor for its setting in the Cathedral baptistry. | Baptistry Window to south east of Cathedral, commissioned by the Coventry Cathedral Reconstruction Committee in 1955. Piper and Reyntiens concluded that, to create unity, dazzling colour and an abstract pattern was required. Piper produced individual mixed media designs for all 198 lights, each one numbered according to its intended position, between 1958 and 1960. The stained glass was made over three years with installation starting in May 1961. It is widely considered the masterpiece of both Piper and Reyntiens. |
| 1959–64 | Chapel of Eton College, Eton, Berkshire | Patrick Reyntiens | Eight windows of ten lights each, five upper and five lower, plus corresponding tracery. Four figurative depictions of the Miracles of Jesus depicted in north windows successively show the Miraculous Draft of Fishes, the Feeding of Five Thousand, the Stilling of the Waters, and the Raising of Lazarus. Four Parables of Jesus are depicted on south side successively showing the Light under a Bushel, the House built on Rock, the Lost Sheep, and the Sower. | Piper's unified scheme of eight windows fill all four bays on both sides of nave. They are designed to be in dialogue with Evie Hone's huge Crucifixion window in the east wall, installed in 1952, Hone's death in 1953 prevented her from completing the entire glazing scheme. |
| 1959–60 | Sanderson Hotel, London | Patrick Reyntiens | Rectangular Abstract composition with multicoloured biometric forms, measuring 9.75m x 6.4m. | Built in the 1950s as the headquarters of the decorative interior design company Arthur Sanderson & Sons, since converted into a hotel. Piper's glazing fills back wall of central staircase on ground floor, backlit and hung to disguise the lift shafts. |
| 1960-61 | All Hallows Church, Wellingborough, Northamptonshire | Patrick Reyntiens | Four-light window with corresponding tracery above, filled with figurative symbols of the Four Evangelists above and their Old Testament antecedents below. From left to right, Matthew and Moses, Mark and Judah, Luke and Aaron, and John and Elijah. | Located at west end of north aisle, window dedicated to Helen Wells Chapman. First of three individual commissions Piper and Reyntiens completed for church. |
| 1961 | Christ Church, Flackwell Heath, Buckinghamshire | Patrick Reyntiens | Rose window with fifteen individual panels of glass, each abstract, multicoloured and fragmentary, seemingly bearing little relation to seven-petal rose outlined in the tracery. | Rose window in west wall of nave. While Reyntiens is certainly the manufacturer, there is some debate as to whether the design is by Piper or is from Reyntiens' own hand. Church claims it is by Piper, but it is absent from June Osborne's 1997 catalogue. |
| 1961–62 | Victoria & Albert Museum, London | Patrick Reyntiens | Panel of stained glass in shades of blue and turquoise painted in black with an abstract design. | Made for Baptistry Window at Coventry Cathedral, but never installed. Donated to the Victoria & Albert Museum in 1976 by Lord Beaumont of Witley. |
| 1961–62 | Llandaff Cathedral, Cardiff | Patrick Reyntiens | Three light window with corresponding tracery above, depicting the Supper at Emmaus. Christ is seen seated in centre light, flanked by two disciples to left and right. Upper panel in tracery depicts Jesus' walk to Emmaus. Set in wall directly above is a roundel with quatrefoils filled with glass abstractions, part of the same commission. | Commission comprises two windows set one over the other above the chancel arch. Commissioned to replace Victorian glass blown out during Second World War. |
| 1963 | Minster church of St Andrew, Plymouth, Devon | Patrick Reyntiens | Six-light window with corresponding tracery above. Semi-abstracted representations of the four elements are shown horizontally across all six lights. From bottom to top, water is shown as a green ocean with coloured waves, earth is shown as a collection of rocks on yellow background, the red and white flames of fire climb above into tracery, while air is represented by the blue that climbs to either side. | East chancel window, memorial to Nancy Astor, Viscountess Astor. One of six individually designed windows for church. |
| 1963 | All Hallows Church, Wellingborough, Northamptonshire | Patrick Reyntiens | Six-petal rose window containing 13 individual panes of glass that collectively form red and yellow star composition on blue background. | Rose window under west tower. Second of three individual commissions Piper and Reyntiens completed for church. |
| 1963–64 | St Mark's Church, Broomhill, Sheffield | Patrick Reyntiens | 38 individual lights set into thick-panelled concrete frame of irregular five-sided window, together forming unified abstract design on blue background with streaks of yellow, orange and red flame. | George Pace's modernist church was constructed from ruins of bombed-out predecessor, 1958–1963. Piper's west window is complemented by Harry Stammers' Te Deum window to east. |
| 1964 | St Woolos Cathedral, Newport | Patrick Reyntiens | Large roundel with tracery in the form of a double cross, filled with glass in an abstract design of golds and yellows, enhanced by Reyntiens' use of silver stain detailing. | Window is into the east wall of the sanctuary at the top of a large painted dossal, also designed by Piper as part of the same commission. The dossal, designed to look like marble, was painted on canvas by Peter Coutier. |
| 1964 | Wessex Hotel, Winchester, Hampshire | Patrick Reyntiens | Twelve backlit square panels each depicting a foliate head on a theme of the Green Man. U-shaped vegetation cradles each head. | Glass screen commissioned for, and installed in, the foyer of the Wessex Hotel in Winchester. Each of the heads may represent on of the twelve months of the year. |
| 1964 | Old Chapel, Ripon College, Cuddesdon, Oxfordshire | Patrick Reyntiens | Trapezoidal window made from three triangular panes of glass that combine to form red Tree of Life on blue background, surrounded by semi-circle of yellow dots. | Perhaps Piper's most discreet commission, the comparatively small window is inserted high above the west gallery. Piper's first Tree of Life in glass, which would become a recurring theme. |
| 1965 | Victoria & Albert Museum, London | Patrick Reyntiens | Semi-abstract beach scene with large red and white shapes to centre, possibly representing a boat on its side, set against a dark green background with yellow and blue undulating lines above and below. | Titled 'Brittany Beach', purchased by the Victoria & Albert Museum in 1981 directly from Piper. |
| 1965 | Collegiate & Parish Church of St. Mary, Swansea | Patrick Reyntiens | Two single-light windows, commissioned together with individual but complementary abstract patterns, primarily in shades of blue with details in red, green and yellow. | Installed in east wall of sanctuary, the two windows flank a large dossal that is painted to look like marble, which was also designed by Piper as part of the same commission. |
| 1965–66 | Minster church of St Andrew, Plymouth, Devon | Patrick Reyntiens | Five-light window with corresponding tracery above. Design based on the Litany of Loreto in which the Virgin Mary is given certain titles. Each panel contains variety of attributes, all set on blue background. | Lady chapel, east window. One of six individually designed windows for church. |
| 1965–66 | Minster church of St Andrew, Plymouth, Devon | Patrick Reyntiens | Five-light window with corresponding tracery above. Spoked wheel symbolising St Catherine's martyrdom shown on red background across three central lights, interlaced with the Cross of St Andrew behind. Symbols of the four Evangelists are shown in corners of two outer lights. | St Catherine's chapel, east window. One of six individually designed windows for church. |
| 1965-66 | Chapel of Nuffield College, Oxford, Oxfordshire | Patrick Reyntiens | North Window depicts the Five Wounds of Christ, with the feet, hands and heart isolated, drawn in outline with the only colour being the gashes of blood. Double windows in recesses at north and south of Chapel are abstract and full of colour; to north in red and gold, and to south in grey and green. | Brutalist chapel built 1959–61, commissioned from architect Thomas Barnes as part of wider college campus. Piper also provided designs for the chapel furniture. |
| 1965–67 | Liverpool Metropolitan Cathedral, Liverpool, Merseyside | Patrick Reyntiens; David Kirby | 16-sided stained glass lantern placed centrally above altar, known as the Crown of Glass. Dimensions approximately 22.5m high and 21m in diameter at its base. Each bay inclines forward by a few degrees to create overall tapered effect and is glazed with between 9 and 12 panels of bonded glass. Each panel measures approximately 3.6m in width and varies in height from between 1.2m to 2.4m. | Architecturally integral to Frederick Gibberd's modernist cathedral, the glass panels that make up the lantern were made using a dalle de verre technique in which the glass was cemented together with epoxy resin within thin concrete ribs, a technique Reyntiens and Piper invented for the job with the assistance of David Kirby. With a glazed area of approximately 1,120 square metres it is the largest single commission undertaken by Piper and Reyntiens.Design inspired by a description from Dante's Paradiso of the Holy Trinity as "three great eyes of different colours each one winking at the other" conveyed in abstract shards of blue, green, red and yellow glass. |
| 1966 | All Saints' Church, Misterton, Nottinghamshire | Patrick Reyntiens | Three-light window with corresponding tracery above. A figurative depiction of the Five Wounds of Christ. The visceral depiction of Christ's bleeding wounds shows a hand and foot in the left and right lights, with heart to centre. These are set against green, plant-like forms in the shape of a cross on a dark blue background. | Located above the altar in the Holy Cross Chapel at the east end of the south aisle. |
| 1966 | St Peter's Church, Babraham, Cambridgeshire | Patrick Reyntiens | Three-light window with corresponding tracery above, depicting the various symbols of St Peter. Left light, on green background, shows a fishing boat below and an inverted cross in the tracery above. Central light, on blue background, shows the Keys to Heaven, with Peter's chains, a fish and a keyhole in the tracery above. Right light, on orange background, depicts a crowing cockerel, with an anchor in tracery. | Principal window in east chancel wall. Commissioned by Sir Robert Adeane in memory of his father and mother, Charles Robert Whorwood Adeane and Madeline Pamela Constance Adeane. |
| 1966-67 | Chapel of Malsis Hall, Cross Hills, North Yorkshire | Patrick Reyntiens | 17 tall, narrow lights ranged along the north and south sides of war memorial chapel, primarily of sharp-edged abstract forms in pale shades of grey, blue, green and yellow. Each window individually commemorates one of 16 former pupils and one master of Malsis School who were killed in action during the Second World War. On each is the name of the person to whom the specific window is dedicated and the badge of the branch of the armed forces in which he served. | Malsis Hall, a Victorian manor house built in 1866, was home to Malsis School between 1920 and 2014. In the 1960s, a modernist war memorial chapel was built adjacent to the hall itself. The chapel and windows were conserved as part of the subsequent conversion of the hall into a nursing home. |
| 1967 | Church of All Saints, Clifton, Bristol | Gillespie Associates | Entire scheme of windows designed by Piper. Principal design seen in the floor-to-ceiling west window. On the left is a golden representation of the River of Life flowing from an urn at the top. To the right is the Tree of Life, with branches that curve upwards and finished with red and yellow fruit. It is bordered with multicoloured stud-like spots. Above the Lady Chapel is a large abstract expanse of variegated blue representing Creation. The Sanctuary is flanked by two columns of red reaching the full height of the church. A smaller window behind the Shrine of Our Lady completes the scheme. | Commissioned to Piper in 1963 on recommendation of Robert Potter, architect of the new church to replace that lost to bomb damage during the Second World War. Liturgical theme was agreed in 1964, but only executed in 1967 during the closing stages of construction. One of Piper's most original commissions, the windows are fabricated from fiberglass panels specifically created by David and Ann Gillespie of Gillespie Associates in Farnham to Piper's specification. Once in situ, Piper poured resin on to the panels creating each coloured section. Piper described the process as akin to painting on canvas. |
| 1967 | Pishill church, Pishill, Oxfordshire | Patrick Reyntiens | Figurative design depicting a Bible held open by a pair of hands with a red sword behind. On blue background with leaf motifs picked out in green. | Window set into south west chancel. Plaque beneath window records dedication to Phillip James Hall. |
| 1967-68 | St Margaret's Church, Westminster, London | Patrick Reyntiens | Single commission filling all eight three-light windows in south aisle with consistent but individual abstract designs, intended to create a "total impression of living radiance, in shades of silvery grey predominantly with splashes of pale greens, yellows and blues in varied density, to filter the daylight." | Dedicated on 15 January 1967 in memory of Canon Carnegie and his wife, Peter Kemp-Welch, Clarence Fletcher and Richard Costain. |
| 1968 | Minster church of St Andrew, Plymouth, Devon | Patrick Reyntiens | Four-light window with corresponding tracery above. Two harps straddle central lights, each depicted in green outlined in blue, on abstract background in shades of yellow and orange with silver-nitrate stain detail. | North aisle window, memorial to Dr Harry Moreton. One of six individually designed windows for church. |
| 1968 | Minster church of St Andrew, Plymouth, Devon | Patrick Reyntiens | Three-light window with corresponding tracery above, depicting a vision of the Creation of the Animals. Hand of God shown in circle to centre, surrounded by birds and fish on predominantly green background. | South chapel, east window. One of six individually designed windows for church. |
| 1968 | St Matthew's Church, Southcote, Reading, Berkshire | Gillespie Associates | Two lozenge-shaped windows with simple forms to centre with a pattern suggestive of leaves or wings. North wall window is yellow/green with red detail, while east wall is white with blue detail. Both have framing borders of multicoloured stud-like spots. | Modern church designed by Basil Spence and built 1965–67. Spence, who had worked with Piper at Coventry, commissioned him to design two large windows for the north and east walls that mirror the shape of the floorplan. Undertaken shortly after Piper's commission at Clifton, this was the second and final time he collaborated with Gillespie Associates, making use of the medium of coloured resin on fibreglass to realise his window designs. |
| 1968 | St Paul's Church, Bledlow Ridge, Buckinghamshire | Patrick Reyntiens | Abstract design across three lights and corresponding quatrefoils symbolising heaven. Circles and rectangles are offset by foliate motifs, primarily in shades of blue, with detail in red. | West window. Plaque below window records its donation by Louise McMorran, churchwarden, in 1968. |
| 1968 | Chapel of Christ's College, Christchurch, Canterbury, New Zealand | Patrick Reyntiens | Two-light window comprising pair of lancets with representations of the Tree of Life to left and the River of Life to right, both depicted in semi-abstract forms of red and light blue set against a turquoise and purple background. | Windows commemorate Ernest Courtenay Crosse, former Chaplain and Headmaster of Christ's College, donated by his widow Mrs Joyce Cross. Damaged in 2010 Canterbury earthquake, they were repaired and reinstalled in 2018. |
| 1968–69 | Livery Hall, Worshipful Company of Bakers, London | Patrick Reyntiens | A single commission of three rectangular windows, each with an individual but related semi-abstract design showing red, yellow and white flames on blue background. | Set as a triptych, the three windows commemorate the three predecessor livery halls on same site lost to fire in the Great Fire of London in 1666, the Thames Street Fire of 1715 and The Blitz of 1940. |
| 1969 | George VI Memorial Chapel, St George's Chapel, Windsor Castle, Windsor, Berkshire | Patrick Reyntiens | Two three-light, six pane, windows with abstract forms in shades of blue and red, plus third single light mainly in grisaille. | Chapel commissioned to George Pace in 1962 by Queen Elizabeth II as private burial chapel for her father, King George VI. In 2022, Queen Elizabeth II was herself interred here. |
| 1969 | All Hallows Church, Wellingborough, Northamptonshire | Patrick Reyntiens | Abstract design across three lights and corresponding tracery above, predominantly in shades of blue and red, entitled 'All Things Bright and Beautiful'. Piper said of the window, "it is what you make it to be". | South chapel, west window, dedicated to Constance Chapman. Third of three individual commissions Piper and Reyntiens completed for church. |
| 1970 | Chapel at Churchill College, Cambridge, Cambridgeshire | Patrick Reyntiens | Integral to the architecture of the chapel, Piper's floor-to-ceiling windows either side of altar each comprise three interlinked panels set at right angles to each other, thereby defining the projection of the chancel. The abstract design is realised in variegated shades of blue, detailed with multicoloured stud-like spots. Four more narrow floor-to-ceiling windows are set into the lateral walls, two on each side. Similar in design, those closer to the altar are primarily in yellow, with the other pair in green. | Set in the far corner of Churchill College's 40 acre estate, the chapel was built from 1967 to design of Richard Sheppard as the final part of his grand brutalist scheme for the college buildings, with Piper's windows specifically commissioned for the space. |
| 1970 | St Bartholomew's Church Nettlebed, Oxfordshire | Patrick Reyntiens | Three-light window with Victorian glass in tracery retained above. Central light shows yellow Tree of Life on blue background bearing seven red fruits, the symbolic number of charity, grace and the Holy Spirit. Light to left shows green fishes on red background, and light to right shows butterflies on green background. | Central window in east wall of chancel. Given in memory of Dr Robin Williamson. First of two windows commissioned from Piper for the church. |
| 1970-71 | St Giles' Church, Totternhoe, Bedfordshire | Patrick Reyntiens | Three-light window with corresponding tracery above. The Tree of Life is depicted in yellow on a blue background across all three main lights. Red pomegranates hang from the branches, a symbol of eternal life. The tracery depicts symbols of the Resurrection; fire, the Phoenix and butterflies. | Installed in the east wall of chancel, the principle decorative focus. |
| 1973–74 | St Andrew's Church, Whitmore Reans, Wolverhampton, West Midlands | Patrick Reyntiens | Large rectangular semi-abstract design consisting of seven individual lights that collectively portray the Sea of Galilee as a symbol of St Andrew the Fisherman. Large rectangles and circles in varying shades of blue from light to dark are illustrated with detail in black and white line showing aquatic motifs such as swirling water, foam and fish. | Piper's large west window is the principal decorative element, and the only visible glazing, in Richard Twentyman's modernist church, built 1965–67. |
| 1973-74 | Washington National Cathedral, Washington DC | Patrick Reyntiens | Three-light window with corresponding tracery depicting Piper's signature Tree of Life motif, showing yellow tree on deep blue background with red fruit detail, seemingly based on an expanded design previously used at Totternhoe. | Positioned in narthex beneath south-west tower of Washington National Cathedral, which was dedicated in memory of Sir Winston Churchill in 1974. Piper's window is entitled 'Land is Bright', from a quote taken from a wartime speech by Churchill, itself derived from Arthur Hugh Clough's poem Say Not the Struggle Naught Availeth. |
| 1974 | St Martin's Church, Sandford St Martin, Oxfordshire | Patrick Reyntiens | Single lancet window with a highly original depiction of St Martin of Tours dividing his cloak to share with a naked beggar. Composition is reduced to the upper hands of St Martin holding and cutting the richly coloured red and blue material with his dagger, while the beggar's hand reaches up from below. | North aisle, east window. |
| 1975 | St Mary's Church, Turville, Buckinghamshire | Patrick Reyntiens | Lunette window depicting a hand holding a white Easter Lily on a variegated blue background. Inscription at base of window reads my south doth magnify the Lord…, an English translation of the first line of the Magnificat. | Lunette set above north door, installed to commemorate nearby church of St Saviour in Turville Heath which was deconsecrated in 1972. |
| 1976 | St Peter's Church, Wolvercote, Oxfordshire | Patrick Reyntiens | Two-light window with quatrefoil above. Design shows multitude of children's hands holding the palms that greeted Jesus on his entry into Jerusalem, all depicted in vivid blue, gold and green tones. | Bequest made by Alderman Bellamy and Mrs Maud Emma Bellamy, who left £1000 for a memorial window relating to the Biblical text "suffer the little children to come unto me." |
| 1976 | St Bartholomew's Church Nettlebed, Oxfordshire | Patrick Reyntiens | Two-light window with quatrefoil above. Depicts the Tree of Life in bloom with a variety of birds sitting on the branches, including an owl and a bird of prey. Above the tree is a crescent moon, stars and planets. | South aisle window, west end. Memorial window dedicated to Colonel Peter Fleming. |
| 1976 | St Mary the Virgin's Church, Fawley, Buckinghamshire | Patrick Reyntiens | Single lancet window depicting Piper's familiar Tree of Life motif in a novel manner, as a verdant vine abundant with fruit, flowers and leaves. Predominantly green, with detail picked out in reds, purples and yellows, on a blue background. | Window commissioned in memory of Anthony Hartley. John Piper was a parishioner of St Mary's Church in Fawley and is buried in the churchyard. |
| 1978 | Chapel of Charing Cross Hospital, London | Patrick Reyntiens | Single rectangular window with figurative depiction of the River of Life. On a green background, water flows out and down from a deep red vessel in upper section, with three fish emerging from the stream. | Hospital chapel, on ground floor of the south wing, constructed as part of the 1973 redevelopment by architect Ralph Tubbs. This is the first of two windows commissioned from Piper by the League of Friends of Charing Cross Hospital, installed on the right side of the chapel entrance. |
| 1978-80 | Chapel of Robinson College, Cambridge, Cambridgeshire | Patrick Reyntiens | Large expanse of glass set into the wall behind the altar and totaling some 66 panels, each approximately 1 square metre, set out as an inverted pyramid. Semi-abstract design shows the sun to the upper left which expands out to fields of green and blue, with leaf and floral details. It is partially obscured from most angles by the architectural conceit placing a dividing wall between the altar and nave. | Entitled 'The Beginning and the End', or 'The Light of the World', the stained glass forms the central decorative feature of the chapel, built 1977–80 by Gillespie, Kidd and Coia as an integral part of the college campus. Piper also designed ceramic depiction of the Deposition on wall to left of window. A second window designed by Piper can be found in the antechapel. |
| 1979-80 | St Peter and St Paul's Church, Aldeburgh, Suffolk | Patrick Reyntiens | Three-light window with corresponding tracery. Across the three lights are depicted, from left to right, figurative representations of Benjamin Britten's three Parables for Church Performance; The Prodigal Son, Curlew River, and The Burning Fiery Furnace. To centre, on green background, a curlew is shown above a river and foliate decoration. To the right is seen the Prodigal Son greeted by his father. To the left three sinners burn in the furnace. | Eastern bay of north aisle. Window commissioned as a memorial to Benjamin Britten and depicts representations of the composer's three Parables for Church Performance written between 1964 and 1968. |
| 1981 | Chapel of Charing Cross Hospital, London | Patrick Reyntiens | Single rectangular window with figurative depiction of the Tree of life. On a blue background, the red tree is shown verdant with fruit and leaves in multitude of colours. Four birds sit among the branches. | Hospital chapel, on ground floor of the south wing, constructed as part of the 1973 redevelopment by Ralph Tubbs. This is the second of two windows commissioned from Piper by the League of Friends of Charing Cross Hospital, installed on the left side of the chapel entrance. |
| 1981 | Chapel of St Lawrence College, Ramsgate, Kent | Patrick Reyntiens, David Walsey | Large five-light window with corresponding tracery on theme of 'Let there be Light'. Main part of window was both designed and made by Reyntiens, with only the image of the Risen Christ in the central tracery light designed by Piper, which was executed by David Walsey in Reyntiens's studio. | Primary east window in chapel. Piper's image of the Risen Christ is based on a Romanesque sculpture in the church of Beaulieu-sur-Dordogne, Nouvelle-Aquitaine, France. |
| 1981 | Library of Ipswich School, Ipswich, Suffolk | Patrick Reyntiens | Four distinctive and individual roundels featuring representations of faces based on a motif of the Green Man. Each also individually represents one of the four seasons, the four elements and the four ages of man. | Installed in the four corners of the library of Ipswich School, built 1980–82 to design of architect Birkin Haward. |
| 1982 | Wiltshire Museum, Devizes, Wiltshire | Patrick Reyntiens | Single rectangular panel depicting various antiquities set in a Wiltshire landscape. Among the places depicted are the Cherhill White Horse, an avenue of Sarsen stones and the Devil's Den, shown alongside the Stonehenge urns, the Upton Lovell amber necklace and woolly-headed thistles. | Commissioned by Wiltshire Museum in 1981 and installed in their Devizes building. |
| 1982 | St Peter's & St Paul's Church, Abington, Northamptonshire | Patrick Reyntiens | Three-light window, with corresponding tracery, depicting the Annunciation. the Archangel Gabriel is seen in the left light, a vase of white Easter lilies is the focus of centre light, while the Virgin Mary - unusually clothed in red - is depicted in the light on the right. | Installed in the east window of the north chapel. Piper's model for the Virgin is taken from Sandro Botticelli's 1489-90 tempera on panel painting of the Annunciation, now in the collection of the Uffizi in Florence, Italy. |
| 1982 | Chapel of Robinson College, Cambridge, Cambridgeshire | Patrick Reyntiens | Small rectangular window depicting the Adoration of the Magi. According to Piper, the scene is set above the 'Sleeping Beasts of Paganism', while in the lowest section are depictions of the Original Sin and the Last Supper. | Sometimes referred to as the Beginning and End window. Only window in the small antechapel off the entrance to main chapel, which houses Piper's earlier 'Light of the World' window. Inspiration was a Romanesque carved tympanum in the church at Neuilly-en-Donjon in France. |
| 1982 | St Mary the Virgin, Iffley, Oxfordshire | David Wasley | Single lancet window depicting familiar Tree of Life motif, uniquely reworking message of the Birth of Christ. Five animals are portrayed on the branches of the tree and in front, proclaiming in Latin: Cock – Christus natus est (Christ is born), Goose – Quando? Quando? (When? When?), Crow – In hac nocte (On this night), Owl – Ubi? Ubi? (Where? where?), Lamb – Bethlehem! Bethlehem! In the bottom panel is the quote "Let man and beast appear before Him and magnify His name together…." | Designed and made for an exhibition in Bristol, it was only installed at Iffley in 1995 after being gifted to the church by Piper's widow, Myfanwy. |
| 1983-85 | Church of St Paul, Jarrow, Tyne and Wear | Patrick Reyntiens | Single lancet window depicting a douled-armed Jarrow Cross in white, edged in green and detailed in silver stain. It is set on blue background with red and yellow flame detail. The initials BB are inscribed below, for St Benedict Biscop. | Positioned in the north wall of the original Saxon chancel, commissioned to commemorate the 1,300th anniversary of the founding of Monkwearmouth–Jarrow Abbey by Benedict Biscop. Small window on opposite side of chancel is set with the oldest stained glass to be found anywhere in the UK, excavated on site and linked to Benedict Biscop's earliest buildings. |
| 1984 | Chapel of St John's Hospital, Lichfield, Staffordshire | Patrick Reyntiens | Five-light window depicting Christ enthroned in Majesty, robed in royal purple, at the centre of a blue mandorla. Open armed, Christ welcomes two heralding angels that flank him to either side, both depicted in green. Behind Christ, set off to the left, is a Mercian Cross. The green foliate border has representations of the symbols of the four Evangelists, one in each corner. | Principal window in east wall of chancel, commissioned by the Trustees of St John's Hospital in Lichfield. It would be the last major commission worked on by both Piper and Reyntiens. |
| 1984-86 | All Saints Church, Farnborough, Berkshire | Joseph A Nuttgens | Three-light window, thematically similar (but stylistically different) to Piper's earlier window for the chancel of St Bartholomew's Church in Nettlebed, showing three symbols of the Resurrection in typically colourful figurative style of Piper's late work; fish in the left light, the Tree of Life in the centre, and butterflies to the right. | Occupying principal west window. Commissioned by the Friends of Friendless Churches in memory of Poet Laureate Sir John Betjeman, a friend and collaborator of Piper, who lived in the neighbouring rectory. Piper's final window design before his death in 1992, though not the last to be installed. |
| 1985 | St Mary the Virgin Church, Lamberhurst, Kent | David Wasley | Two-light window with corresponding quatrefoil depicting the moment that the Archangel Gabriel announces to the shepherds news of Jesus's birth. Gabriel descends from the right across the upper part of both lights, while two shocked shepherds raise their arms in surprise below. Seven sheep and a sheepdog also react to the Angel's appearance. | Positioned above the font in the westerly bay of the south aisle, commissioned in memory of Penelope de Rougemont. |
| 1985 | St Peter's Church, Firle, East Sussex | David Wasley | Three-light window with corresponding tracery. It depicts the Tree of Life in heavenly Jerusalem, the most ‘tree-like’ of Piper's many renderings of the subject in glass. Hanging from the gnarled truck is a selection of musical instruments, as well as a variety of fruit and foliage. Either side of the trunk are depictions of the sun and moon, above a flock of sleeping sheep. | Located in the Gage Chapel and entitled "Homage to William Blake's Book of Job". Commissioned in memory of the sixth Viscount Gage, whose family have patronised the church for 500 years. |