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This fine mid-fifteenth century figure of St George, in St Martin Coney Street in York.
Originally in the clerestory of the church the figure survived the bombing of 1942 and has been re-set in a window in the restored south aisle

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ca. 1443-1450 - 'St. George', St. Martin-le-Grand Church, York, Yorkshire, England
St. George wears old-fashioned armour for a date of ca. 1443. He looks more like a knight of ca. 1420-1430: e.g. the broad sleeves, the camail (would have been replaced by a plate gorget), and the fauld (deeper by 1440, more lames).

St George, St Martin's, York
St Martin's church in Coney Street, York (also known as St Martin le Grand) was one of the city's most impressive parish churches until it was largely destroyed by bombing in 1942 (along with the neighbouring Guildhall the biggest loss of the infamous 'Baedecker raids' on York).
The ruined church was partially demolished after the war (specifically the nave clerestories and east window) but the south aisle was restored to serve as the new church, with a new north wall erected in the old nave, the remainder being left as a ruined courtyard as a memorial to the bombing.
The work was undertaken by noted York-based architect George Pace, who added the colourful decoration to the restored ceiling. Surviving features were reused including much medieval glass, the most important being the former west window of the nave, the largest window in a York parish church, which was luckily removed and stored before the bombing and has been impressively repositioned in an especially built transept opposite the main entrance.

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The original church was of timber, but about 1080 it was rebuilt in stone. It was extended several times in the medieval period and completely rebuilt in the mid-15th century, largely through the efforts of Robert Semer, who served as vicar from 1425-1443. Semer is commemorated as a benefactor in the surviving west window.
The figure of Robert Semer is shown in his clerical robes, an open Bible before him showing Psalm 51. A Latin inscription at the top of the window gives the date 1437 and begs the reader to pray for Semer's soul. When he died, Semer left his money to the church, on condition that it was rebuilt within seven years.

St George, Almshouse Chapel, Lichfield
Lichfield's St John's Almshouses date back to medieval times and continue to provide accommodation to this day. Many of the buildings are of more recent date but the east range facing the street and the chapel are parts of the original medieval foundation.
The chapel is open to the public and is entered from a quiet garden quadrangle. It is a simple building consisting of a short main vessel and an even shorter north aisle. The windows on the south side are surprisingly random in configuration.
The main draw here for me is the stunning east window designed by John Piper and made by Patrick Reyntiens, adding a splash of deep, vibrant colour just where it is needed above the focal point of the altar. It is one of Piper's last designs dating from 1985, and depicts a purple Christ flanked by angels (based on a French Romanesque carving) within a mandorla surrounded by the symbols of the Four Evangelists.

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The Hospital of St John without the Barrs, Lichfield, Staffordshire
Originally offering overnight accommodation for pilgrims, this is now an alms house
At the back of the church are two rather nice 19thC stained glass windows in sheds of grey with splashes of colour on the figures. On the south side there are representations of John the Baptist and St George. On the left are St Philip and W Smith, Bishop.

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Charles Eamer Kempe’s window depicting Saint John the Baptist and Saint George in the Chapel of Saint John’s Hospital, Lichfield
In the chapel of Saint John’s, Kempe’s window on the south side depicts Saint John the Baptist and Saint George the Martyr. The window was commissioned as a memorial to Captain Peter Charles Gillies Webster (1830-1877), of Penns, near Sutton Coldfield, Adjutant of the Staffordshire Yeomanry.
Surprisingly, despite Webster’s lifelong interest in genealogy and heraldry, there are no heraldic images on this window, nor could I see Kempe’s trademark golden wheatsheaf.
The dedication below the window reads: ‘To the glory of God and in memory of Peter Charles Gillies Webster, born May 20th 1830, died April 28th 1877.’

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Medieval windows in the south wall of the chapel also appear to have been renewed.

Изображение в деталях повторяет средневековые образцы и, хотя создание этого витража приписывают Charles Eamer Kempe, этому противоречит несколько фактов:
- кроме одной статьи, нигде больше не говорится об этом авторстве и нигде он не упоминается среди работ этого мастера
- другие работы этого мастера явно соответствуют викторианскому стилю изображения людей и доспехов
- указывается, что вопреки увлечению геральдикой, на витраже нет гербов, соответствующих персоне, которой посвящен витраж
- на странице Википедии про эту часовню говорится, что на южной стене находятся обновленные СРЕДНЕВЕКОВЫЕ витражи
Скорее всего, реальные средневековые витражи были обновлены и посвящены заказчику

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Christchurch Priory, Dorset
Chancel, north aisle, window ('decayed' - Pevsner), by Burlison and Grylls, 1873 ; detail - St George

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Christchurch Priory is an ecclesiastical parish and former priory church in Christchurch in the English county of Dorset (formerly in Hampshire). It is one of the longest parish churches in the country and is larger than 21 English Anglican Cathedrals.

кроме одного упоминания, никакой другой информации об истории или авторстве витража не найдено
витраж является частью полной композиции из двух больших окон и по стилю соответствует викторианскому времени
другие витражи этих авторов хотя и имеют похожие элементы декора, но явно проявляют викторианскую стилистику и неправдоподобные детали
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поэтому вероятно, что, хотя наш витраж сделан в 19 веке, но является копией реального витража 15 века