This small, delicately painted glass panel depicts St Andrew, shown holding the diagonal cross of his martyrdom. Set within a simple border of deep red and green, the figure stands against clear glass through which the surrounding trees and daylight shimmer, a quiet dialogue between sacred image and the natural world beyond.

Though the painting has suffered the attrition of time, enough remains to convey its gentle grace. The saint’s robe, rendered in warm orange tones with traces of yellow enamel, retains a faint translucence that once would have glowed softly in filtered sunlight. His gesture is restrained, his pose frontal, evoking the calm dignity of late-Renaissance devotional imagery.

Stylistic evidence suggests that this panel dates from the later 16th century, belonging to the post-Reformation tradition of small-scale, domestic stained glass. Its simplicity of composition and limited palette recall the work of regional English or Netherlandish workshops, which often supplied manorial chapels and private oratories with devotional subjects drawn from contemporary prints.

The panel’s presence at Fawsley may result from 19th-century antiquarian transfer. During this period, fragments of heraldic and religious glass from nearby Sulgrave Manor, ancestral home of the Washington family,  were moved to local churches for preservation. If this St Andrew once formed part of that collection, it stands as a rare survival of Tudor piety rendered in miniature: a saint reduced to essentials, his enduring faith captured in a few strokes of ochre and light.