The Chancel east window at Stratton was inserted in 1874, which was the last year of the old firm of Morris, Marshall, Faulkner & Co. In the following year the firm was dissolved and became Morris & Co., with Edward Burne-Jones as the sole designer. The Stratton window is the only example in the county of the decades of the 1870s and 80s when the firm produced much of their most important work. These immensely productive years, full of experiment and rich in creative enterprise, may thus be regarded in some sense as the firm’s best period: Morris’s own participation in the work of the studio, especially as colourist and designer of backgrounds, was still active and intimate; Burne-Jones’s powers as designer had reached maturity. The window is of four lights with tracery (Figure 1). The overall design layout echoes those of Philip Webb with richly coloured panels and inserts set in patterned plain quarries. This ensured that sufficient direct light is supplied to the choir and sanctuary whilst the coloured panels are displayed to contrasted effect. All of the panels (tracery, main lights and evangelist emblems) are of very high quality in terms of artistic design and colour. It was the custom of all the main mid-Victorian glass studios to reuse existing cartoons in designs for new windows, and all of the elements in the Stratton design had been used in earlier windows. William Morris was a pioneer in using photographic enlargement/reduction of cartoon designs to fit the dimensions of new windows. Three designers were involved in this window. Edward Burne-Jones designed the tracery above Christ in Majesty and the four main figures of the evangelists. William Morris designed the two censing angels in the tracery, and Philip Webb designed the four quatrefoils of the evangelistic symbols. The tracery Christ in Majesty was first used in 1865 at Guernsey, and was a popular design that was repeated nine times before the Stratton window. The main evangelist lights were first used in 1873–5 for the prestigious commission for the chapel of Jesus College, Cambridge—certainly among the best products of the period (Figures 2–5). Each evangelist is portrayed in a quite revolutionary way when compared with the usual staid aged figures in Victorian windows. Here Burne-Jones envisages them as wild, poetic, aesthetic figures penning the greatest story ever told. Each has their own colour scheme which is reflected in their symbols below. Stratton was the first time that these immensely impressive designs for Jesus College were re-used in a parish church.