George Mayer-Marton’s Crucifixion mural at the Church of the Holy Rosary (1954–5) was one of several commissions by the Roman Catholic church in the North-West, but only one of three that survive.

Located on opposite walls of the aisles either side of the sanctuary in Liverpool Cathedral are two paintings by Adrian Wiszniewski: The Good Samaritan (south choir aisle) and The House Built on Rock (north choir aisle).

The design is inspired by a 17th century map of the town and includes significant historical landmarks such as neolithic earthworks and an early medieval castle. The main road clearly marked on the map becomes a horizon line in the window. In the ‘sky’ above, a golden shape glows with light where the ruins of Ludgershall Castle now stand.

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.

This work 'was created in honour of Bishop Michael Ramsey, and intended to reflect his theological interests, in particular his fascination with the Transfiguration of Christ... The window is in the South Quire Aisle and is 16x16m in size. This window is technically very assured and of high quality. Its location means that it can only really be seen at close quarters, and it is indeed very detailed in its depiction of biblical images.’

Created by Maggi Hambling for the High Altar at Winchester Cathedral, these tapestries, the artist’s first, were dedicated on 7 July 2013. Maggi Hambling collaborated with Ateliers Pinton – a French tapestry workshop in the Aubusson region which has worked with artists such as Picasso, Miro, Leger and Sutherland (for Coventry).

During WWII, Bishop Bell commissioned Bloomsbury group artists, Duncan Grant, Vanessa Bell and Quentin Bell to cover much of the church in extensive murals. Duncan Grant's The Victory of Calvary shows Christ in victory on the Cross. Jesus is not obviously suffering; here he is the victor, standing on a platform rather than hanging down. Grant originally depicted Christ unclothed, a decision which drew criticism from the Church, so he repainted a cloth around his waist.

One of many ovoid domes in the Cathedral which has been given imagery and decoration using mosaic. The works depict St Francis preaching to the birds and St Anthony to the fishes.

A semi-figurative mosaic on the East wall, with an unusual black background. John Piper’s (1903-1992, British) paintings mainly focus on the British landscape and churches.

Antonia Hockton's River of Life reredos at St Georges, Great Bromley, Essex adds greatly to the way the altar in the side chapel works. This was just what a parish church should be doing: engaging a local artist who explores the context and makee something new that flows into the altar and on to those who worship there, and although it may have seemed a lot to the parish, it was achieved relatively inexpensively.

Originally sculpted for the chapel at Kelham Hall in Nottinghamshire, and commissioned by the Society of the Sacred Mission, the Rood now sits in the south nave of St John the Divine where the SSM was founded in the 19th Century.

In 2000 Gollon was commissioned to paint 14 Stations of the Cross for the Church of St John on Bethnal Green, a grade one listed building designed by Sir John Soane. This was one of the largest commissions by the Church of England in recent times. Although previously Gollon was not best known for his religious work, the Rector Alan Green explained, "The church of St John on Bethnal Green has had a long-standing involvement with people on the fringes of our society, the sort of people who often figure in Chris' paintings.

Ceri Richard's reredos and stained glass were conceived as a single triptych, abstractly flowing one into another. The tabernacle has more obvious imagery: the heavens, the chalice and the cross.

This window was designed by Eduardo Paolozzi, who was born in Leith, to replace the plain glass rose and lancets in the Resurrection Chapel. Given in memory of Mary Carmichael, a much loved member of the congregation, it was dedicated in October 2002. When the sun floods through the window, it transforms the plain stone and woodwork into a kaleidoscope of colour.

The paintings integrate theologically with existing features, and express the fullness of the Maundy Thursday, Good Friday, Easter and Pentecost story. The sheer size of the work assists in seeing and understanding the size of the work of Christ, with darker lower sections focusing attention on the ‘darkness’ endured in the Passion, and the brightness of the upper sections lifting the eyes to resurrection, light, life, empowering and hope.

Behind the altar table in Holy Trinity Church in Blythburgh, Suffolk, is a powerful altarpiece by Laurence Edwards. Cast in bronze from the mud, wood and hogweed that can be found all around the Suffolk locality, Edward’s sculpture brings the precise beauty of the outside marsh into the church in a way that combines imagination, emotion and spirit.

“ … There is a sense of latency and loss in the painting; but it also establishes a feeling of hope, a sense that, against all hope, hope yet remains.

"It also speaks a quite personal word to me,  and many like me in today’s world, for whom the old ways of speaking about God have lost their power and immediacy.  Still suggests an absence that is strangely like a presence.”

Small scale linocuts sympathetically framed and placed at regular intervals around the church.

Alice Sielle (b. 1950, British) is predominantly an abstract painter with a wide range of influences from Barnet Newman to Piero della Francesca.

Graham Sutherland's Crucifixion, unveiled in 1963, was the third he had created for a church and the first and only commission that he received from a Roman Catholic Church, despite being a Catholic himself. It taps another theme found within the revival of sacred art, a focus on the horror of crucifixion. For Sutherland this derives from reflection on the terror inherent in both Grünewald’s Isenheim altarpiece and the reality of the Holocaust.