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Very faded, but in general very similar to the painted Life of S. Margaret at Charlwood in Surrey, and closely contemporary too (the given dates for both locations are Tristrams). By far the most remarkable feature is the first scene in the narrative, showing Margaret being instructed by her (secretly Christian) nurse :

...where she is shown, with other small girls, being taught by her nurse, as if in a dames school...It is a work in which naturalism is exceptionally strong... ¹

The instruction scene is unique among English painted lives of S. Margaret now, but the remaining scenes resemble those at Charlwood very closely. At the left below, Margaret sits at the far left, holding a distaff. A hillside below her is implied, and it once had seven sheep on it. Further right, the herald of Olybrius, holding a narrow spear, or more probably, a banner-staff, kneels before Margaret, holding out to her a ring with a very large stone, clear in 1934 ³ but unfortunately quite obscure now. Below the herald,a faint whitish greyhound chases a slightly less faint red hare. Beyond to the right, Olybrius, holding the reins of a now virtually invisible white horse and once identifiable by his crown, follows, attended by a man on a red horse, and another attendant, probably on foot, at the righthand edge.

Shown below at the lower right are the only remaining scenes in the narrative. The most prominent feature is the brickwork, intended, I think, as a battlemented perimeter wall, with a tall tower-like building beyond it, into which a jailer was once thrusting Margaret, again much as at Charlwood. I suspect that the perspectival failure with the brick-courses (otherwise painted with care) stem from this desire to show one structure, the prison-house, standing beyond another, the outer wall. To the right of the vertical dividing line, Olybrius or another authority-figure, once with a visible crown, sits cross-legged in judgement. Any further scenes, which might have included Margarets encounter with the dragon, have been destroyed by subsequent structual alterations to the church.

Traces of pigment can still be seen on all the walls at Wendens Ambo, but only St. Margarets story remains.

¹Tristram 111, p. 90
²ibid. Plate 50b
³ibid. Plate 49

Website for St Mary the Virgin, Wendens Ambo