By evening the sun had swung round to the south windows, and the aisle filled with that low, sourceless glow you only get in tall stone rooms.
The set moves from old to new without leaving the building: figured medieval glass in the apse, then a window somewhere in the twentieth century that keeps the lead lines and the colour but drops the saints. Both do the same job. Colour, and the light behind it.
I shot the abstract one twice, close and closer, and still couldn't tell you who made it.