A relatively well-preserved window, with only three panels lost and a few others in the wrong position (see below for a suggested re-arrangement). The border is larger than normal (leaving only two small narrative panels per register) and unusually rich, with the vaguely hexagonal medallions defined by a meandering knot-work pattern.

Of the surviving panels, the upper eight tell the story of Lot's flight from Sodom, the loss of his wife and his incestuous coupling with his two youngest daughters. The remaining three tell of Abraham's arrival in Gerrar, where the King, Abimelech, believing Sarah to be Abraham's sister, takes her for his own wife - until God warns him in a dream that she is the prophet's wife and that to touch her would mean death for the King. The chastened Abimelech returns Sarah to Abraham unsullied and with a substantial compensation payment.

Rearranging the panels into the narrative sequence suggested above on the basis of the hypothetical identification of all the surviving scenes also gives a more satisfactory resolution to the meander pattern used to frame the medallions. The registers now alternate between frames with a cusp on the outer edge and frames with a cusp on the inner edge - far more in keeping with the aesthetic principles of medieval knot-work patterns than the current arrangement. Perhaps encouraged by the meandering knot-work border, the reading sequence is broadly boustrophedonic.

One can guess at what the missing panels might have contained. The panels marked 01 and 02 would either have been the conclusion to Genesis 19 (perhaps one each for the birth of Lot's two incestuously-conceived sons, Moab and Benammi) or else the start of Genesis 20 (Abraham and Sarah travelling from Mamre to Gerar). Given the general popularity of dreams in medieval visual narratives, panel 03 would almost certainly have shown the Lord appearing to Abimelech to warn him of his error (Gen 20:3-7).