This research was caused by an accidental discovery of a photo reproduction of one unknown in Russia masterpiece of British stained glass art of the Victorian age found on open spaces of the Internet: a full-height portrait of John Colet, a famous member of clergy of the pre-reform period, Erasmus’ and Thomas More’s friend and mentor. Exquisite lines of the picture give evidence of masters’ using the latest technique of glass processing of the time – so called Tiffany technique. The stained glass is a panel in the opening of a Romanesque window, in the centre of which the John Colet’s side-drawn figure is depicted. The figure is encircled in intricate architectural framing: low white-stone gold plated carved columns to the right and to the left are joined overhead with a semi-circular arch with high canopy. Looking back at experiences of interpreting stained-glass artworks of Anglican Emmanuel College Chapel of Cambridge University, we clearly realized how perception of the visual had been changed. This stage of research clearly demonstrated how much the image’s content depends on the beholder and that the image has designing nature. “Panoramic” perception of the stained glass composition led to emerging a new image – an ideas man of Broad Church the composition’s author F. Horn adhered to.

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