Craigie Aitchison’s four Calvary panels for Truro Cathedral sit behind the altar in St Margaret’s Chapel. Bands of luminous colour – magenta, purple, emerald green – form the background, a simplified landscape. The first three panels are composed symmetrically. The two thieves slump on their crosses, one arm draped elastically over the cross-piece, each turned towards the central figure of Christ, who is depicted with his head raised and features cautious but peaceful. A ray of yellow light splits the deep pink sky in which a single star shines, while the Holy Spirit descends as two white lines. There are no human witnesses to the scene; instead, a black dog gazes up at Christ and a blue bird perches next to his shortened arm. The fourth panel shows, in the place of the Cross, a white, stunted tree, its single branch in bud. It is illuminated by a bright white orb – the moon, or perhaps the star from the second panel, grown larger . Aitchison has said of his repeated depictions of the Passion, ‘it is a horrific story, and I think more worth trying to say something about than anything that’s happened since.’ Here the horror is transformed into a strange and tentative hope.

Theo Moorman’s woven frontal was made initially for a side chapel at Gloucester Cathedral but was relocated to the small Norman church of St Mary, Syde, when the Thomas Denny windows were installed. Despite not being made for the church, the frontal suits its new home. The abstract composition suggests a ray of light shining out from the centre of the altar, infusing a landscape of blues with a soft yellow-gold light. The palette seems to gesture towards the church’s dedication, and echoes the Virgin’s robes in the modern window above, as if developing the symmetrical folds and strictly alternating green-gold pattern of the glass, as well as the simple floor paving, in its own, looser and yet rigorous way. The arrangement of colours and deviations from complete symmetry appear to follow a deeper logic that the weaving, as a work not just of craftsmanship but of art, makes visible.

Here the parable is brought into the present-day: the Good Samaritan is a young woman who has stopped to help a naked man who sits in a pool of his own blood. The same colour red forms a cross that flows up from the pool of blood above the woman's head. Young, smart professionals exchange business cards in the foreground while a couple in the fore and background look into the middle-distance, unmoved. The painting is 11ft tall with a complex interplay of figures, colours and forms that comes to a head upon the victim.

Pauline Caulfield has produced vestments and altar frontals throughout her career.

In 2018 she had an exhibition of Ecclesiastical textiles at St Augustine’s Church, Hammersmith, London.

In 1989 Stead was commissioned by the North Sea Oil Industries to design and make the fittings for a new Memorial Chapel in the Kirk of St Nicholas, Aberdeen: 40 chairs, a lectern, communion table, a minister's chair, a screen.

A triptych of modern stained-glass windows hanging in Gloucestershire Cathedral's South Ambulatory Chapel, the central one recalls the story of doubting Thomas, while those either side are abstract articulations of Psalm 148 which praises God's creation.

Wagner's major work, Menorah, Depicts the crucifixion in front of the Didcot power station. Menorah was acquired by the Ashmolean Museum in 2010 and hangs in St Giles Church Oxford.