It is the continued irony of stained glass that despite its public nature in churches around the world, it is still an art form that is neglected in exhibitions and critical scholarship. It is not art available to the public eye. Admittedly, displaying stained glass comes with its difficulties - works are created for their chosen spiritual or secular spaces, and they are not designed to be moved, whilst accompanying archival material is not always abundant. However, there is little excuse to be made for such a lack of scholarship on stained glass, from any exploration of larger London firms such as Lowndes and Drury, to decentralised narratives of art history which detail the schools around Birmingham or Manchester, to include specific artists. One such practitioner was A.J. Davies, whose window in Claverly Church, Shropshire, is an intriguing example of his later style. Davies' window is complex, yet three main layers can be identified. The perspective is stacked, recalling many ...