Designing a window for such an historic and holy place is a humbling experience which few can share. Such a small building can house few works of art and craftsmanship and the contribution of a window, is one which has to pass the test of time if, as one hopes, it is to affect the atmosphere of the chapel for centuries.

With this in mind I felt strongly that this was neither the time nor the place for the abstract or the obscure, but that it was the place for a simple statement of fundamental faith in a form instantly recognisable to every one of the thousands of pilgrims who pass through the chapel each year.

Already existing in the East wall is a restrained and sensitive window blending quietly with the beauty of the building in the manner of much 15th century glass which formerly abounded in Norfolk. Earlier generations of Gothic windows were, however, frequently richer and glowing with colour and to me, the sheer joy of this subject called for a return to the exuberance of colour we find particularly evident in the 14th century - although in no way did I wish to mimic the style of that time. Thus, in this tiny building, two contrasting windows have two different functions: to the East simple, reverent and devotional, and to the West, as visitors turn to leave, joyful, light-giving, optimistic - a promise of the joy which the coming of Christ is destined to bring to mankind.

The Annunciation has been depicted in art from the earliest times, but the earliest stained glass representation dates from 1140-1150 AD. In England, it formed one of the most common subjects until the Reformation, only returning to favour in the latter half of the 19th century. By then the image had become a sweet and sentimental pastiche of this dramatic event.

Apart from its use of colour, the present window makes few departures from the traditional renderings of the subject. The lilies grow from a central stem symbolising the Rod of Jesse, rather than being carried in the hand of the Archangel. Gabriel himself is seen in an aura of swirling white and gold light and is depicted as the messenger, the announcer, and not the bringer of the Holy Spirit. The latter is represented by the Dove in the focal point of the window, surrounded by the choicest and richest ruby glass available.

Above Gabriel the dramatic image of moon and stars reflects Our Lady's position as 'Queen of Heaven'. Mary herself is shown as a dark-haired, dark-eyed Palestinian girl rather than the customary but rather illogical fair-haired European. The face is apprehensive but calm.

Forming a canopy above her is a 'window within a window' - a depiction of the great surviving East wall and empty window of the ancient Priory. This is symbolic of the 'Queene of Walsingham' referred to in the poignant 16th century verse lamenting the destruction of the Priory.

At the very top of the window three small panels of glass are united in colour in the form of a triangle, the ancient and most simple form of the Trinity. This touch of strong ruby colour reflects the surround of the Dove beneath and is again picked up in the two shields near the base of the window commemorating the first pilgrimage to the Slipper Chapel in 1897 and the gift of the window by the Guild of Our Lady of Ransom in 1997.

Glass is a living thing and, like mankind, without God-given light it is nothing. As light changes with the seasons and the hours of the day, so will the window. Comparatively quiet in the morning, it will glow in the afternoon and burst into life with the setting sun.

The window has been made in traditional stained glass methods unchanged since the 11th century. It was designed by Alfred Fisher who also drew the full-sized cartoons in charcoal. Colour selection of the glass and cutting was by Jane Campbell and the glass painting was by Peter Archer. The assembly and installation of the glass was by Chapel Studios of Kings Langley, Hertfordshire.

(Notes on the Design by the artist, Alfred Fisher FMGP, FRSA)