Mary sits on a hillock beside a stream which flows by cliffs to the sea. Three crosses stand on the cliff-top. The body of Christ, wearing a loincloth, lies across his mother's lap, one arm reaching to the ground. In the foreground lie the instruments of the passion with nails and the crown of thorns.

The red-tinged haloes, the clear articulation of Christ's body, the modelling of the knees and of the fingers, together with the form and subtlety of colouring in the foliage and sky are characteristic of the style of the school of Jan de Caumont, as Cole has pointed out. There is much stippling of the paint and enamels to give texture, and a minimum of scratch marks which are confined to the sky and foreground. A less well-painted version at St Peter's, Nowton (Suffolk) has a sword at Mary's breast and is attributed by Cole and Maes to the related school of Caumont. The Soane panel was illustrated by Cole in his article on Jan de Caumont’s work in Britain, the only example of Soane’s glass to have previously been published other than in the Museum’s publications.

P. V. Maes, ’Oud Leuvens Brandglass in Engeland’, Arca Lovaniensis 1 (1972):189-201
William Cole, ‘Small Panels in the Style of Jan de Caumont in England’, Arca Lovaniensis 18 (1989): 63-94
Catalogue of the Stained Glass in Sir John Soane's Museum, Special Issue of the Journal of Stained Glass 2004, p. 280