I'm trying to visualize what you're intending. I'm guessing you don't mean she's lit by the light from the stained glass window, but from one that is offscreen left.
You have a couple of issues that I can see: one is the brightness of the light source and the other is the color temperature of the sunlight versus that of the incandescent. I had a similar situation with my film, so I'll tailor my solution to your situation.
First, shoot at night. This sounds counter-intuitive, but stick with me.
Ideally, you'll need at least 4 artificial light sources. Place your brightest source so it's shining through the window onto your actor. This will be your key light. Place it high up so it approximates the angle of the sun. If shadows will not be visible in the shot you can use both heads on your work light. If shadows are visible, use only one.
Place a second and third source behind each of the stained glass windows, shining toward camera. You'll need to hang diffusion over the outside of the stained glass in order to spread the light evenly across them. If you don't have diffusion, tear an old, white bed sheet in half and cover the windows with that.
Set your exposure for the key light, and back off the stained glass lights until the exposure of all the sources match.
Finally, get a cheap china ball lamp or two and hang them off camera to cut down on the contrast in the room.
This way you don't have to worry about matching color temperatures. As long as you white balance the camera for tungsten, it won't be obvious that it isn't sunlight.
