The Annunciation window by C. E. Kempe & Co., England, 1915; left light of three lights

The archangel Gabriel is shown here wearing a crown and holding a scepter topped with a fleur-de-lys. This scepter, or a lily itself, always represents Gabriel in art. Wrapping around the scepter is a banner with the Latin inscription "Ave Maria," (in English, "Hail, Mary.") His bright red wings frame his head.

As was the style in the nineteenth century, subjects in stained glass windows were often put into gothic-architecture niches or under canopies. Around the niche in this panel are leaf designs, and a border inspired by medieval manuscript decoration surrounds the entire scene.

This window was designed by John Lisle, then one of the directors of C. E. Kempe & Co. He had been Kempe's chief designer during the founder's lifetime.

Charles Eamer Kempe got started in his field by being a painter of walls, ceilings and woodwork of churches in the 1860's. The style then in vogue reflected a resurgence of interest in gothic style and a return to high church practices. Kempe's training served him well when he started his own stained glass company in 1868.

Kempe perfected the use of silver stain on white (clear) glass, which leaves a yellow tint. Depending on the amount of stain used, the shade of yellow could be delicate or deep.

The insignia of Charles Eamer Kempe from about 1895 until his death in 1907 was a wheatsheaf, which he took from his family's coat of arms. After his death, the firm was run by four men who served as directors, including a cousin of Kempe's, Walter Tower, and his chief designer, John Lisle. The insignia was changed to a wheatsheaf with a black tower in the top. This insignia is in the lower left corner of this Gabriel window.