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By permission of H. W. Salmon, Winchester.
ALTAR AND SCREEN IN WINCHESTER CATHEDRAL
SOME NOTABLE ALTARS
IN
THE CHURCH OF ENGLAND
AND
THE AMERICAN EPISCOPAL CHURCH
BY
REV. JOHN WRIGHT, D.D., LL.D.
RECTOR OF ST. PAUL'S CHURCH, ST. PAUL, MINN.
AUTHOR OF "EARLY BIBLES OF AMERICA," "HISTORIC BIBLES IN AMERICA,"
" EARLY PRAYER BOOKS OF AMERICA," ETC.
WITH ONE HUNDRED AND FOURTEEN FULL-PAGE PLATES
Neto gorfe
THE MACMILLAN COMPANY
1908
jt/l rights reserved
Copyright, 1908,
By the MACMILLAN COMPANY.
Set up and electrotyped. Published November, 1908.
NotinotiD ^rc33
J. 8. Gushing Co. — Berwick & Smith Co.
Norwood, Mass., U.S.A.
URL
SRLF
PREFACE
This book does not attempt to give a complete set of views of
Altars. Only a few have been selected which are regarded as com-
mendable from their striking appearance, their excellency of treatment,
or because they are the special work of well-known architects and
builders. An effort has been made to present as much variety as pos-
sible, so that the clergy who have in anticipation the building of new
Altars, or the enrichment of old ones, may get suggestions. Not only
the more expensive Altars have been reproduced, but also those tliat
have been erected at a moderate expenditure. The cost of each
has been given where the information was obtainable, though in some
cases there was uncertainty on this point, and in others the cost was
not for publication.
By reason of a cultivation of ecclesiastical adornment through
centuries of experience, wealth, and devotion, the Cathedrals and
parish Churches of England have attained a high place in the world
of sacred art. The American Episcopal Church has given only
through the past one hundred years any attention to Church enrich-
ment and her limitations have been many. Notwithstanding this, her
art creations have not been without merit and her Church architects
have taken a foremost place. The descriptive text has been drawn
from every available source, such as the reports of architects, builders.
Vicars, and Rectors. Several visits to England helped by the way of
study and observation.
A few examples have been given of unrestored English Screens
as showing the devastation wrought by vandal hands at the Reforma-
tion. It is a pleasure to note in the restored work that the prejudice
against the Crucifix as the emblem of our salvation is passing away.
The late Most Rev. Frederick Temple, D.D., the Primate of England,
once said : " I fail to understand how it can be considered compatible
with the principles of the Reformation to draw nice distinctions between
the figure of Our Lord crucified and the figure of Our Lord ascending,
and to say that one tends to idolatry and the other not. Such subtle-
ties savor of Rabbinical distinctions."
THE SIGNIFICANCE OF THE ALTAR
The Holy Communion is the great central act of worship in the
Christian Church, and the only form which Our Divine Master directly
commanded to be observed. Its value and importance cannot there-
fore be underrated. Associated with it is the Altar, without which
a Church building has no meaning. It is inconsistent to see lofty
spires, mighty buttresses, graceful arches, sculptured doors, ornate
cornices, stained-glass windows, rich in artistic effect, and then to find
the Altar an obscure and depressing structure, bare and unadorned,
and utterly out of keeping with the rest of the Church, as much as
to say that God was to be honored everywhere except upon his own
earthly throne. All this is putting lack of beauty and dignity in the
wrong place, and relegating the Blessed Sacrament to ordinary sur-
roundings. The late Bishop Nicholson of Milwaukee once said :
" Build the Altar first and then the rest of the Church around it."
Herein is a great truth that clergy and people, architects and builders,
should lay to heart. Better to have a richly adorned Altar with a
plain Church about it than the reverse. Make the Altar lofty and
majestic that the congregation may be taught to look up to it. Make
it so attractive and prominent that it will be the first thing to catch
the eye on crossing the threshold of the Church, and emphasize and
teach the glories of the Incarnation. Therefore, summon to your
aid rich and valuable marbles, rare and costly work, the skill of the
sculptor, the brush of the painter, and all that human ingenuity and
skill can devise to make the Altar glorious. Make it beautiful, not
for the sake of beauty, not that it may please the fancy, not to gratify
the aesthetic taste, but solely and always to the honor of God. To
him we consecrate our treasures, especially in that place which Christ
hallows by his loving Presence.
" 'Tis for Thee we bid the Frontal
Its embroidered wealth unfold,
'Tis for Thee we deck the Reredos
With the colors and the gold."
VI
ILLUSTRATIONS OF ENGLISH ALTARS
Winchester Cathedral Frontispiece
fACB
Ely Cathedral 6
Salisbury Cathedral 9
Exeter Cathedral 12
Gloucester Cathedral 15
Rochester Cathedral 18
York Cathedral 21
Worcester Cathedral 24
Truro Cathedral 27
Lichfield Cathedral 32
Manchester Cathedral 35
Peterborough Cathedral 38
Hereford Cathedral 41
Cathedral of St. Alban 44
Chester Cathedral 48
Bristol Cathedral 51
Christ Church Cathedral, Oxford 54
Durham Cathedral 57
Chichester Cathedral 60
Cathedral of St. Nicholas, Newcastle-on-Tyne 63
St. Paul's Cathedral, London . 67
Cathedral Church of the Saviour, Southwark, London 71
Westminster Abbey 75
Church of St. Alban the Martyr, London 78
St. Paul's Church, Knightsbridge, London 81
St. Stephen's Church, Kensington, London 84
Church of the Holv Redeemer, London 87
Church of St. John the Divine, London 90
St. Mary's Church, Soho, London .94
St. Agnes' Church, London 97
St. Barnabas' Church, London 'ck'
St. John's Church, Hackney. London 103
St. Giles' Church, London '°7
Old St. Pancras Church, London "°
St. Mary's Church, Primrose Hill, London "4
St. Anne's Church, Eastbourne "7
St. Mary's Church, Cuddington '-°
vii
VUl
ILLUSTRATIONS
St. CuTiiiiERT's Church, Newcastle-on-Tvne
Chapel of Mahlborol-gh College
Chapel of Jesus College, Oxford
Chapel of All Souls' College, Oxford .
Chapel of Magdalen College, Oxford
Chapel of New College, Oxford
Chapel of Winchester College .
Chapel of St. John's College, Hurstpierpont
Chapel of Cheltenham College .
St. George's Ch.\pel, Windsor .
St. Matthew's Church, Northampton
Beverley Minster
Christ Church Priory
St. Margaret's Chapel, East Grinstead .
St. Stephen's Church, Clewer .
St. Margaret's Church, Ki.ng's Lynn .
Church of St. Mary Magdalene, Elmstone
Christ Church, Bristol ....
St. Paul's Church, Clifton, Bristol .
St. Mary's Church, Redcliffe, Bristol
St. Chad's Church, Haggerston ...
St. Mary's Church, Marsh Gibbon
St. Peter's Chapel of Burford Church .
Minster Lovell, Witney ....
St. Mary's Church, Witney ....
Church of St. John the Baptist, Cirencester
Holy Trinity Church, Watermoor
Church of St. John the Baptist, Summertown
All Sai.vts' Church, Evesham
St. Mary's Church, Streatley .
All Saints' Church, Richard's Castle, Ludlow
Christ Church, Reading
PAGE
123
126
129
132
141
144
'57
160
171
174
177
180
183
187
190
'93
196
199
202
205
208
211
214
217
220
223
226
229
ILLUSTRATIONS OF AMERICAN ALTARS
Cathedral of St. John the Divine, New York City 232
Christ Church Cathedral, Louisville, Ky 235
All Saints' Cathedral, Milwaukee, Wis 238
Cathedral of St. John, Quincy, III 241
Trinity Church, New York City 246
Trinity Chapel, New York City 252
Church of the Transfiguration, New York City 255
St. Ignatius' Church, New York City 258
Chapel in Church of the Incarnation, New York City 261
ILLUSTRATIONS ix
rACK
Church of St. Edward the Martyr, New York City . ... 264
Church of Zio.v and St. Ti.mothy, New York City 267
Chai'el of the General Theological Seminary, New York City . . .270
St. James' Church, Philadelphia 273
St. Stephen's Church, Philadelphia . 276
St. Elizabeth's Church, Philadelphia 279
Church of the Saviour, West Philadelphia 282
St. Mary's Church, West Philadelphia 286
St. Ti.mothy's Church, Philadelphia 289
St. Luke's Church, Germantown 292
St. Peter's Church, Germantown 295
Grace Church, Balti.viore 298
Church of the Epiphany, Washington, D.C 301
St. Paul's Church, Washington, D.C. 304
Emmanuel Church, Boston 307
Church of the Advent, Boston 310
All Saints' Church, Dorchester 313
Christ Church, New Haven, Con.\ 316
Church of the Holy Trinity, Middletown, Conn 319
Grace Church, Windsor, Conn 322
St. John's Church, Stamford, Conn 325
Trinity Church, Torrington, Conn 328
Chapel of St. Paul's School, Concord, N.H 331
St. Stephen's Church, Providence, R.I 334
St. Paul's Church, Chattanooga, Tenn 339
St. Michael's and All Angels' Church, Anniston, Ala. 342
St. Luke's Church, Scranton, Pa 345
Trinity Church, Geneva, N.Y 34S
Chapel of Convent of St. Mary, Peekskill, N.Y 351
Church of the Ascensio.n, Chicago, III 354
Convent of the Nativity, Fond du Lac, Wis 357
St. Mary's Church, Kansas City, Mo. 360
Grace Church, Utic.\. N.Y 364
St. John's American Church, Dresden, Germany 367
St. Mark's Church, Philadelphia 370
Church of St. John the Evangelist, St. Paul, Minn 379
THE CATHEDRAL CHURCH OF THE HOLY AND
INDIVISIBLE TRINITY, WINCHESTER
The great Reredos is supposed to date from the fifteenth century
and like others in England suffered from destructive hands during
Reformatioa times. The High Altar is elevated above the floor of
the nave by nineteen steps, which adds greatly to the general effec-
tiveness of both Altar and Reredos. The original work has been
attributed to Cardinal Beaufort, Bishop Fox, and Prior Silkstede,
though no records or inscriptions are extant in confirmation of these
conjectures. The oil painting by Benjamin West, known as " The
Raising of Lazarus," hung until 1899 directly over the Altar. A
wooden canopy decorated with gold covered the central part of the
screen before 181S. In his Cathedral CInirck of Winchester Philip
W. Sergeant writes : " The Reredos is so large that it occupies the
whole of the space between the choir piers, and, being constructed of
a very white stone, is the prominent feature of the choir. The work
is very elaborate, the whole Screen being arranged in three tiers with
canopied niches containing eighteen large statues, while smaller
figures — kings, saints, angels, etc. — occupy the splays between.
The pinnacles are pierced and crocketed, and there is a central pro-
jecting canopy over the place of the original crucifix. On either side
of the High Altar is a door leading to the feretory at the back of the
Reredos, and these have in their four spandrels interesting groups of
fifteenth-century sculpture, representing various scenes in the life of
the Virgin, the Annunciation, and the Visitation of St. Elizabeth, still
showing traces of color. The fact that these carvings have escaped
destruction, just as the lower tier at Christchurch escaped, is only
to be explained on the assumption that they were hidden behind some
paneling, since removed, for of all images which provoked iconoclastic
fury, those representing the Virgin were the most certain to be attacked.
The whole is crowned by a triple frieze of leaves, Tudor roses, and
quatrefoils, at a height little short of the corbels which support the
2 SOME NOTABLE ALTARS
arches of the roof. The eighteen larger statues were, and are now,
since the restoration of the Reredos, arranged in the following order:
In the uppermost tier, to the left and right of the head of the cross,
were St. Peter and St. Paul, who were the patron saints of the Church.
Two on either side of these were the four Latin Doctors, St. Augus-
tine, St. Gregory, St. Jerome, and St. Ambrose." The writer then
states on the authority of Dean Kitchin that below the figures of the
Latin Fathers we had two local Bishops, St. Birinus, the first occupant
of the see, and St. Swithun, patron saint of the Church. Beyond these,
over the two doors, were St. Benedict and St. Giles. Mr. Sergeant
then proceeds to say : " Outermost on this tier stand the statues of the
two deacons, St. Stephen and St. Lawrence. In the lowest tier, on
either side of the altar, stand St. Hedda and St. Ethelwolf, two of the
most famous Anglo-Saxon Bishops of the see of Winchester. Next
these saints there is the doorway on either side, and beyond these doors
are statues of King Edward the Confessor and St. Edmund the King.
Between the figures of St. Swithun and St. Birinus stand statues of the
Virgin and St. John, while above the arms of the cross are the four
Archangels, Uriel, Gabriel, Michael, and Raphael. In all there are
now fifty-six statues on the screen, the smaller figures including famous
kings, bishops, women, and a representation of Izaak Walton. Above
the Altar it is said there was once 'a table of images of silver and
gilt garnished with stones.' These images are conjectured to have
represented Christ and his disciples, possibly at the Last Supper, but
no traces remain of them. From 1782 till 1899 West's picture, 'The
Raising of Lazarus,' now in the South Transept, hung here. The
place is now more happily occupied by a representation of the Incar-
nation. The most recent feature of the Screen is the great central
figure of Christ crucified, the gift of Canon Valpy and the work of
Messrs. Farmer and Brindley. The final restoration of the Screen
by the filling of the space left vacant for three centuries was commem-
orated by a solemn dedication service held at the Cathedral on March
24, 1899-" '
' The Cathedral Church of Winchester. A description of its fabric and a brief history
of the Episcopal see, pp. 56-61.
THE CATHEDRAL CHURCH UI- ETl 11:L1)R1:1)A 3
THE CATHEDRAL CHURCH OF ETHELDREDA. ICLV
The following description was written by the Clerk of the works
at the time of the interior improvements of the Cathedral : " The
Reredos was erected by John Dunn Gardner, Esq., of Chatteris, in
the Isle of Ely, as an offering of affection to the memory of a be-
loved wife who died in the flower of her age ; it comprises a centre,
the front being built with alabaster or Derbyshire spar, backed
with clunch raised at Burwell, about eleven miles from Ely. It has
wings or side screens all of clunch; from the base-moulding the
walls are covered with a diaper flower carved in alto-relievo, ex-
hibiting a series of lilies, apparently connected together by their
stems, running through the frames in which each flower rests ; above,
on each side, is an arcading consisting of three open arches having
geometrical foliated tracery, topped with a cornice of many mouldings,
with a slope above surmounted by a cresting of flamc-Iike form.
" The front of the central portion on each side of the Altar above
the base-moulding is covered with diaper carved in alto-relievo, ex-
hibiting a series of roses, apparendy connected by the stems, running
through the pattern ; above these and the Altar it is divided into five
compartments, four of which are occupied by two trefoils each, and
the centre by three trefoils, sunk by a hollow moulding which is gilt,
and ornamented with Ball-flowers and filled in with mosaic work of
verde antico, rosso antico, and lapis lazuli ; over these are five panels
cut in alabaster, containing alto-relievo sculpture of considerable
merit; commencing on the north side, the first is Christ's Entry into
Jerusalem ; second, Christ washing his Disciples' Feet ; third, The
Last Supper ; fourth, Christ's agony in the Garden, and lastly, Christ
bearing his Cross. In the front, and at the division of each panel,
stand three spiral columns, the sunk Screen having a gold ground, on
which are set cornelian and agate stones alternately. The spiral col-
umns have rich foliated capitals ; at the division are larger supporting
figures of angels bearing the Nails, the Hammer, the Crown of
Thorns, the Spear, the Cross, instruments of Our Lord's Passion ; on
4 SOME NOTABLE ALTARS
each side of the principal shafts, and in the centre of each panel, is a
smaller but similar column, supporting two gabled canopies, over each
sculptured panel, springing from a dragon or grotesque figure, and
finished with a finial ; the inner portion of each gable contains within
a circle a head in basso-relievo ; those on the north side, of the
prophets Isaiah, Jeremiah, Ezekiel, and Daniel ; those on the south,
the four doctors of the Church, St. Jerome, St. Ambrose, St. Augus-
tine, and St. Gregory. The other portions, as well as the panels of
the shafts of the finials, are filled in with rich and costly mosaics.
The centre compartment has three projecting gabled canopies, the
sunk gables and panels of which are filled with mosaics. Above the
centre on a lofty, enriched pinnacle is a figure of our Lord. On the
north side, on a lower pinnacle, is a figure of Moses, and on the other
side a figure of Elias. The upper portion of the Screen is set back
carved in clunch — except the figure, which is in alabaster — and
divided into five compartments of openwork, surmounted by a rich
cresting. In front rise five gables, the centre being larger and higher
than the others, with a figure of our Lord enthroned on the apex.
It is filled in with a trefoil, containing a basso-relievo of the Annunci-
ation in alabaster and made up with mosaics. The foliated crocketing
of the gable contains the pelican feeding her young. The four side
gables each support a figure of one of the four Evangelists, their re-
spective emblems being worked on the crockets. In the inner faces of
the gable, within the trefoils, are busts in basso-relievo, those on the
north side representing St. Mary Magdalene and St. Mary the Mother
of Jesus, those on the south side, St. John the Baptist and St. John
the Divine. The spaces in the gables are filled in with mosaics.
Outside and between these gables rise spiral columns supporting
alabaster figures of the virtues. Faith, Hope, and Charity; on the
north side those of the graces. Justice, Prudence, and Fortitude.
" Sir George Gilbert Scott was the architect, but the Dean and
Mr. Gardner took great interest in the work, and suggested some of
the important features in it, such as the mosaics, sculpture, decora-
tions, etc. The whole of the stonework, including the architectural
carving but not the sculpture, was executed by Mr. Rattee, the sculp-
11> |»riin»i.>n of (1. II. Tyndall. Ely.
ALT.\R AMD REREDOS IN ELY CATHEDRAL
(Bngtnt
^^mn
THE CATHEDRAL CHURCH OF ETHELDREDA 7
ture by Mr. J. Phillips, the mosaics by Mr. Field, and the decoration
by Mr. Hudson, of Kensington Museum. The latter was a work of
much labor, requiring great knowledge and experience. The gentle
touch of gold and the mingling colors produce a most pleasing effect.
The friezes of the robes are most exquisite, and the diapers arc very
skillful performances. On a work so profuse it was most difficult to
know where to leave off. Even now one sees so much of the charm-
ing and beautiful for his mind to feed upon, that the separation creates
a lingering feeling not to leave such a treasure. The Reredos itself,
as already stated, was the magnificent gift of John Dunn Gardner.
Dean Peacock gave ^200 for the side screens, and the remainder
was defrayed by the Dean and Chapter. It was commenced in 1850,
but was not completed until 1868." One in authority reports the
entire cost as something over ^4000.
8 SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF ST. MARY,
SALISBURY
The Altar is built of English oak. The design is that of an arcade
with seven openings, divided into three panels with elaborate carvings.
The Altar was given by those persons who had received confirmation
through Bishop Hamilton. The Reredos is designed from the old
choir Screen in the Lady Chapel of the Cathedral. The central panel,
eight feet high, has in relief the Crucifixion, with the Virgin Mary and
St. John. At the top of the central arch are angels and foliage. The
canopied niches on the sides of the Crucifixion contain figures of the
two Marys, and of St. Osmund and Bishop Beauchamp. The whole
structure terminates in a gemmed and floriated cross. The Reredos
was designed by Sir George Gilbert Scott and executed by Farmer
and Brindley. It was the gift of Earl Beauchamp in memory of Bishop
Beauchamp. The cost was over ;^i8oo.
liy pcrmissiun u( \\ iltumb &; Son. Salislmry.
ALTAR AND REREDOS IN SALISBURY CATHEDRAL
^^^^^^^^^^__^_ ~ ■! ^win-ii r
By permission of Valentine & Sons. Dundee.
ALTAR AND REREDOS IN EXETER CATHEDRAL
THE CATHEDRAL CHURCH OF ST. PETER 13
THE CATHEDRAL CHURCH OF ST. PETER, EXETER
The Reredos was erected in 1876, and is constructed of marble and
alabaster. It rises thirty feet from the floor, and was designed by Sir
George Gilbert Scott. It was the gift of Chancellor Harrington and
Dr. Blackall. The canopies are of verde antico marbles, and the
whole structure is surmounted by a floriated cross. There are three
sculptured compartments. The central one represents the Ascension,
the one on the right the descent of the Holy Ghost at Pentecost, and
the one on the left the Transfiguration. The whole is profusely inlaid
and gemmed. Among the jewels are the amethyst, cornelian, jasper,
onyx, malachite, garnet, bloodstone, and lapis lazuli. The Retable is
of polished alabaster and marble mosaics. The Altar-cloth is of crim-
son velvet and is rich in needlework of silk and gold and is resplen-
dent with jewels, pearls, and crystal drops. This also was designed
by Sir George Gilbert Scott. The Altar and Reredos cost something
over £ 2000.
14
SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF ST. PETER,
GLOUCESTER
The Reredos was unveiled in 1873 with special services. It was
the gift of the Treasurer of the Province. It was designed by Sir
George Gilbert Scott. The groups of figures were sculptured by Red-
fern. The central compartment represents the Ascension of our Lord.
On either side may be seen the Nativity and Burial of Christ. In
the four separate niches are Moses, David, St. Peter, and St. Paul.
In the upper turrets or niches are nine angels bearing emblems of the
Passion. The Reredos has recently been extensively gilded. Its cost
was ^1500.
By permission of Valentine & Suns, UunJcc.
ALTAR AND REREDOS IN GLOUCESTER CATHEDRAL
By permission of Valentine and Sons, Dundee.
ALTAR AND REREDOS IN ROCHESTER CATHEDRAL
THE CATHEDRAL CHURCH OF ST. ANDREW 19
THE CATHEDRAL CHURCH OF ST. ANDREW,
ROCHESTER
The old Altar, dating from 1 707, was a plain structure constructed
of Norway oak. Above this was hung in 1 788 a picture of " The
Angels appearing to the Shepherds," by Sir Benjamin West. In 1826
this picture came into the possession of St. Mary's Church, Chatham.
In 1873 the Restoration Committee added the present Altar and Rcrc-
dos, from designs by Sir George Gilbert Scott. The Altar is a solid
oak structure, and the Reredos is built of Caen stone. A representa-
tion of the Last Supper is sculptured upon it. Some of the later im-
provements in the general effect of the Altar and Reredos have been
made by the present architect of the Cathedral, Mr. Hodgson Fowler.
20 SOME NOTABLE ALTARS
THE CATHEDRAL OF ST. PETER, YORK
The Triptych was erected in 1878, and is constructed of oak and
terra-cotta, painted and gilded. The central compartment contains a
representation of the Crucifixion in relief. Mr. G, E. Street was the
architect and Mr. Tinworth the builder. The Triptych is a memorial
to Mrs. Markham.
By pcrmii?iion of Xalt-nlinc A; Nm-^. iMimlrf.
ALTAR AND TRIPTYCH IN YORK CATHEDRAL
By permission of T. Bennett & Sons, Worcester.
ALTAR AND REREDOS IN WORCESTER CATHEDRAL
THE CATHEDRAL CHURCH OF CHRIST 25
THE CATHEDRAL CHURCH OF CHRIST AND THE
BLESSED MARY THE VIRGIN, WORCESTER
The Reredos is constructed of alabaster enriched with malachite,
agate, lapis lazuli, and other colored stones and marbles. It was de-
signed by Sir George Gilbert Scott and erected by Farmer and
Brindley. In the central niche is the seated figure of Christ in
the act of benediction. In the canopied niches on each side are
the figures of the Four Evangelists. A great cross surmounts the
whole. The Reredos was given to the Cathedral by Dean Peel, a
brother of the eminent statesman of that name. On an inlaid
cross is the following inscription: "In memory of John Peel, D.D.,
Dean of this Cathedral from a.d. 1846 to 1874, who erected this
Reredos in affectionate remembrance of Augusta his wife ; this
cross is inscribed by the Dean and Canons and other friends a.d.
1877." The cost of the Reredos was ^1500.
26 SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF ST. MARY, TRURO
" Standing below the Sanctuary steps, which are of lovely Italian
marble, delicately veined, we look up at the magnificent Reredos of
richly carved Bath stone. The general idea of the sculpture is ' the
one great sacrifice of our Blessed Lord,' made with bloodshedding
on the cross, represented in the ' Crucifixion,' immediately above the
Altar, and as pleaded continually in heaven, represented in the ' Maj-
esty ' which fills the upper part of the central portion of the Reredos ;
wliile on either side are typical subjects of the older Covenant, repre-
senting the great foreshadowing of Sacrifice for sin, of the gift of Life,
of Communion with God, and of self-oblation.
" Examining the Reredos in detail, it will be observed that the whole
is designed in three great sections, a central and two side ones ; each
subdivided into separate portions by tiers of recessed and richly can-
opied niches, the composition forming, with its splendid groups of
sculptured figures, not only a work of beautiful symbolic art, but a
most effective instrument of devotional and sacramental teaching.
" In the central section our attention is first of all directed to the
offering of the great High Priest of the ' one oblation of himself once
offered on the Cross.' The sculptor has succeeded in combining that
which it is so difficult to do, the true pathos of human suffering with
the dignity of the Divine Personality of the holy victim.
" All the details of the great and awful event are treated historically
and yet devotionally. On either side of the crucified Son of God are
the Blessed Virgin Mary and St. John ; at the foot of the cross Mary
Magdalene embraces the sacred feet ; the other Mary offers consola-
tion to the sorrowful mother. The purpose of the Saviour's passion
includes Jew and Gentile, and so are seen in the group Hebrew Rabbis,
the Roman Centurion with his soldiers, and a man of the people hold-
ing a lantern ; that the event is one that concerns not earth only but
the unseen world is shown by the presence of ministering angels,
whose ninefold choirs are also indicated in the nine small niches im-
mediately above the Altar, and in the adoring representatives of the
THE CATHEDRAL CHURCH OF ST. MARY 29
heavenly hosts in the eight pairs of niches on each side of the central
section. Below these angelic figures on either side, close to the Altar,
are the figures of the four Evangelists, in the pages of whose writings
are recorded with such emphatic fullness all the details of the Saviour's
Cross and Passion and Resurrection.
" Then above, in the upper division of the Central Section, we see
the figure of the same Jesus, ' Who, for the joy that was set before
Him, endured the cross, despised the shame, and is now set on the
right hand of the Majesty on high.' There is the great High ' Priest
upon His Throne,' crowned and robed, holding the Book of Life, 'ever
living to make intercession,' ' appearing before God for us,' surrounded
by angels and amidst the glory of the ' Redeemed from among men,'
lifting his Hands in blessing upon his Church as at the Ascension.
" Then on either side are the great historical preludes of this mighty
mystery.
" I. Righteous Abel and his sacrifice of faith looking forward to the
sprinkling of that Blood ' which speaketh better things ' than that of
the first witness slain for God's truth.
" 2. Noah, who walked with God and offered his oblation of thanks-
giving for redemption from the punishment that overtook the un-
godly.
"3. The Tree of Life — the Sacrament of Life in Paradise — em-
blem of the living Sacrament of life in the Church on earth, and of the
bliss of eternal communion in heaven.
"4. The Sacrifice of Isaac — faint type of the gift of an eternal
Father, ' Who spared not his own Son.'
" 5. The Brazen Serpent — type of the uplifting of the Son of Man
on the Cross to redeem mankind from the curse of sin.
"6. Feasting on the Paschal Lamb — the figure of him that was
to be ' the very Paschal Lamb, that taketh away the sin of the world,'
and Whose Flesh is ' meat indeed ' for his people.
"7. The Shew Bread — the emblem and the memorial of the self-
oblation and the consecration of the twelve tribes, and of mystic com-
munion with God in his Sanctuary, to be realized in a far deeper
sense and meaning in the Eucharistic feast, where Christians feed on
30 SOME NOTABLE ALTARS
the Bread of Life, and ' offer themselves, their souls and bodies, as a
living sacrifice ' to God, their reconciled Father.
" 8. The gathering of the first fruits — fulfilled in the Resurrection
of the Son of God, ' the first fruits of them that slept ' in the Sanctifi-
cation of the Church as 'a kind of first fruits of His creatures,' and in
the consecration to God in this present world now, and hereafter at
the great harvest, of all the best gifts of spirit, soul, and body that man
possesses, redeemed and made 'fit for the Master's use.'
" In the outer tiers of niches are seen the figures of the prophets
who spoke beforehand of all this: Isaiah, the Evangelical prophet;
and Daniel, the prophet of Messiah's Kingdom; Amos, the shepherd
prophet of the Church's glory; Zechariah, the prophet of the priest-
hood; Jeremiah, the prophet of mercy and judgment; Joel, the prophet
of penitence ; Malachi, who foretold the oblation of the pure offering
of the Eucharist. And then the Apostles and Martyred Saints of the
Christian Church. The twelve great ' Foundations ' of the Church
grouped in the lower subdivisions of the two side sections, and in the
tiers of niches representatives of later Martyrs of varied rank and sta-
tion and time;
" St. Edmund, the English Christian King, shot to death by heathen
Danes. St. Cecilia, the sweet singer and Virgin Martyr. St. George,
the Saintly Soldier Martyr of Cappadocia, Patron of England. St.
Vincent, the martyred Deacon of Spain, who, with St. Lawrence, bore
witness with his blood in the great persecution under Diocletian. St.
Catherine, the cultured Virgin Martyr, patroness of philosophy and
learning. St. Polycarp, the holy Bishop and Martyr of Smyrna. St.
Lawrence, the Holy Archdeacon of Rome and Martyr. St. Alban,
Proto-Martyr of Britain."
" This magnificent Reredos is the gift of the Deanery of Powder,
and is the work of Mr. N. Hitch, of Kensington. This work of art was
erected in 1887, and the architect was Mr. J. L. Pearson, R.A."
The above description was furnished in printed fomi through the
courtesy of Canon Gardiner, of Truro.
CATHEDRAL CHURCH OF ST. CHAD AND ST. MARY 33
THE CATHEDRAL CHURCH OF ST. CHAD AND ST.
MARY, LICHFIELD
The Reredos was erected in 1S55, ^^^ 's constructed of alabaster
with inlaid marbles. An effort was made to have all the material
come from the Diocese. This was done, with the exception of the
malachite. The alabaster came from Tutbury and the rich red mar-
ble from the quarry of the Duke of Devonshire. The Reredos is
divided into five compartments, with richly decorated pediments, the
central one being larger and more elaborate than the others. Above
it rises a highly carved pinnacle surmounted with a cross. In this
central compartment is a representation of the Ascension. The
panels on each side contain the emblems of the four Evangelists.
The Reredos was designed by Sir George Gilbert Scott, and cost
^2000. This sum was raised by Mrs. H. Howard, the wife of the
Dean.
At a later day an improvement was made by the addition of the
arcading on either side of the Reredos. This was filled with twelve
statues of alabaster about three feet and six inches high. On the
north side, beginning at the Reredos, are St. Andrew, St. Ignatius, St.
Nicomede, St. Stephen, St. Alphege, and St. Perpetua. On the south
are St. Paul, St. Polycaip, St. Lucian, St. Lawrence, St. Alban, and
St. Blandinia. This addition was designed by Mr. C. E. Kempe and
executed by Farmer and Brindley. The cost was /"600.
34 SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF ST. MARY, ST.
GEORGE, AND ST. DENYS, MANCHESTER
The Reredos was given in 1894 by the family of the late John
Allen. It is of carved wooden work and extensively painted and
gilded. It is constructed with seven vertical sections and two lateral
divisions, the latter being in two tiers. The three niches in the
centre contain figures of St. Mary, St. George, and St. Denys. The
latter two were added as patron saints under Henry V, who was King
of England and of France. Above all in a canopied niche is a seated
figure of Christ holding in one hand an orb and a cross, while the
other is raised in benediction. The smaller panels are made to illus-
trate the words of the Sanctus, " With angels and archangels," etc.
The Reredos was erected from designs by Mr. Basil Champneys.
Ily iK'rmiso'idn of W'illi.uii II, HnHMKin. M.-imhcMcr.
ALTAR AND REREDOS IX MANCHESTER CATHEDRAL
lly i»erniission of Valenlint- & Sons, Dundee.
ALTAR AXD BALDACHINO IN PETERBOROUGH CATHEDRAL
THE CATHEDRAL CHURCH OF ST. PETER 39
THE CATHEDRAL CHURCH OF ST. PETER, PETER-
BOROUGH
The Altar and Baldachino are erected upon a dais thirteen feet
square, and the distance to the top of the central spire is thirty-five
feet. Four marble columns stand at the corners, supporting niches in
which are placed figures of the Evangelists. The arches and span-
drels are generously enriched with mosaics. The central panel has in
front a figure of oun Lord and in the back one of St. Peter. The ma-
terial used is Derbyshire alabaster. The Altar and Baldachino were
erected by the eight children of Dean Saunders as a memorial of
their father and mother. The Retable was the gift of certain gradu-
ates of the King's School. The builder was Mr. Robert Davison, of
London.
^o SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF ST. MARY AND ST.
ETHELBERT, HEREFORD
The Reredos was erected in 1850, of Bath stone and marble. It
was designed by Mr. Cottingham, Jr. There are five deep panels
arranged under canopies. The panels are divided by small shafts,
supporting angels who carry the symbols of the Passion. The subjects
executed by the sculptor, Mr. Boulton, are as follows : The Agony in
the Garden, Christ Bearing the Cross, The Crucifixion, The Resurrec-
tion, and The Three Women at the Sepulchre. The Reredos is a
memorial to Mr. Joseph Bailey, who served several years in Parliament.
The upper part of the arch over the Reredos is occupied by a spandrel
which is covered with sculpture representing our Lord in Majesty,
surrounded by the four Evangelists holding scrolls. Below this is a
statue of King Ethel bert.
By T)crmis<tion of Valentine & Sons, Dundee.
ALTAR AND REREDOS IX HEREFORD CATHEDRAE
By permission of Valeniinc&; Sons. Dundee.
ALTAR AND SCREEN IN THE CATHEDRAL OF ST. ALBAN
THE CATHEDRAL CHURCH OE ST. ALBAN 45
THE CATHEDRAL CHURCH OE ST. ALBAN
The great Screen dates from the fifteenth century. It was built
by Abbot William Walyngforde, and was one of the chief glories of the
Abbey before violent hands were laid upon it. So complete was the
destruction that it is impossible to say what were its original ornamen-
tations. Of the statues, only the fragments of two remain, the one of
the feet and drapery of a figure supposed to be a Bishop, and the other
the lower portion of the form of St. Stephen clad in a dalmatic.
But happily through the offerings of the generous, and the consecra-
tion of artistic minds, the Screen has been restored in part at least to
its original beauty. Lord Aldenham devoted himself to the work and
restored the canopies and filled them again with statues. The making
of the statues was intrusted to Mr. Harry Hems, of Exeter, the larger
one being constructed of limestone from Mansfield Woodhouse,
Nottinghamshire, and the smaller ones of alabaster. The Screen
proper is built of a hard stone quarried at Tottenhoe, near Dunstable,
and is in dimensions forty-two feet high by thirty-nine feet wide, reach-
ing from the north to the south side of the Sanctuary. It is divided
perpendicularly into three sections. The central one is a representa-
tion of the Crucifixion, with three niches on each side and the two
wings. It was also divided laterally. Both on the eastern and western
faces of the Screen are numerous large and small niches. The whole
is intended to represent the Passion of our Blessed Lord. On the
side of his cross stand St. Mary and St. John. On either side of these
are angels, and four angelic attendants are also arranged on the sides
of the head of Christ. Below the central group are thirteen colored
niches and canopies containing our Lord seated in majesty with six
apostles on either side. Below this is a representation of the Body of
our Blessed Lord after it had been taken down from the cross. It is
attended by the Blessed Virgin and the other two Marys. Soldiers
and other figures appear in the background. This special work was
executed by Mr. Alfred Gilbert.
On the Epistle side of the Altar, arranged in the larger and smaller
niches, are St. Amphibalus, the English martyr; St. Patrick, the
Apostle of Ireland ; St. Hugh, Bishop of Lincoln ; St. Alphege, Arch-
46 SOME NOTABLE ALTARS
bishop and martyr ; St. Osyth, the founder of a monastery ; St. Wulfstan,
Bishop of Worcester ; St. Lucy, Virgin and Martyr; St. Lawrence, Dea-
con and Martyr ; Edward, King of the West Sa.\ons; St. Etheldreda, the
Abbess of Whitby; Adrian IV, Bishop of Rome; St. /Eliric, Abbot of
St. Albans and Archbishop of Canterbury ; St. Margaret, of Scotland ;
St. Richard, Bishop of Chichester ; St. Ethelburga, Abbess of the Monas-
tery of Barking ; St. Benedict, Bishop, Abbot of the Monastery of St.
Peter and St. Paul at Canterbury and founder of the Monasteries at
Wearmouth and Jarrow; St. George, the patron saint of England;
St. Erkenwald, Bishop of London; St. Germain, Bishop of Auxerre;
and the Venerable Bede, the father of English learning.
On the Gospel side are arranged St. Alban, the protomartyr of
Britain ; St. Benedict, the founder of the Benedictine monastic order ;
St. Edward the Confessor; St. Chad, Bishop of York; St. Frideswide,
the Abbess of a monastery ; St. Nicholas, Bishop of Myra in Lycia ; St.
Agnes, Virgin and Martj'r ; St. Leonard, Deacon ; St. Ethelbert, King
and Martyr ; St. Helena, the mother of Constantine ; Offa, King of
Mercia; St. David, Archbishop of Menevia ; St. Katherine, of Alex-
andria ; St. Boniface, Bishop of Mainz ; St. Cecilia, Virgin and Martyr ;
St. Giles, Abbot ; St. Oswin, King of Deira ; St. Augustine, Archbishop
of Canterbury ; St. Cuthbert, Bishop of Lindisfarne ; and St. Edmund,
King and Martyr. Lord Aldenham, in speaking of the way he was
guided in the selection of statues, says : " My purpose in the choice of
the personages whom they were to represent, has been to select English
saints, or saints especially connected with England, and particularly
those who had any relation with St. Albans ; and when no such quali-
fication existed, I have selected for the remaining niches saints who had
Altars in the Abbey, or who were commemorated in our own kalendar.
Among the greater statues I have included two other personages who
were not canonized, but whom the citizens of St. Albans should par-
ticularly hold in honor. These are Offa the Second, King of Mercia,
and Nicholas Breakspear, otherwise called Adrian the Fourth, the only
English Pope."
This description has been condensed from the admirable " Account
of the High Altar Screen in the Cathedral Church of St. Albans " by
Lord Aldenham.
By permission of \"aleniine & Sons. Dundee.
ALTAR AND RhkKDu^ IN L HESTER CATHEDRAL
CHURCH OF CHRIST AND THE BLESSED VIRGIN 49
THE CATHEDRAL CHURCH OF CHRIST AND THE
BLESSED VIRGIN MARY, CHESTER
The Altar and Reredos were erected in 1876, the architect being
Sir George Gilbert Scott. Farmer and Brindley executed the work.
The Altar is made of wood given by Mrs. Lee, who brought it from
the Holy Land, cedar, olive, and fig wood. The Reredos has a repre-
sentation of the Last Supper done in mosaics by Salviati, of Venice.
Its cost was ^1200, and the Altar an additional expenditure of about
^100.
50 SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF THE HOLY
TRINITY, BRISTOL
The Reredos in Bristol Cathedral is not only an artistic and stately
structure, but it is rich in its historic suggestions. It not only contains
fio-urcs of Prophets and Apostles, but many names identified with early
British Christianity. They are arranged in the following order: —
1. St. Augustine, of Hippo, founder of the rule of monastic life
followed to a great extent by the Austin Canons of St. Victor, who
served the Abbey.
2. St. Augustine, of Canterbury, who met the British Bishops not
far from Bristol.
3. Birinus, first Bishop of the West Saxons.
4. St. Chad, Bishop of Mercia.
5. St. Aldhelm, Abbot of Malmesbury and first Bishop of Sherborne.
6. St. Hilda, Abbess of Whitby, to mark the Northumbrian origin
of Bristol Christianity.
7. Bosel, first Bishop of Worcester (resigned in 691).
8. St. Wulfstan, Bishop of Worcester, who by preaching and in-
fluence suppressed the slave trade at Bristol.
9. Robert Fitzhardinge, founder of St. Augustine's Abbey, Pro-
vost of Bristol and Canon of St. Augustine's.
10. St. Thomas, of Canterbury, who was Chancellor, issued the
first Charter of Liberties to the burgesses of Bristol, in 1155, and
whose name stands first among the witnesses to the charter.
11. John Wycliffe, Prebendary at Aust, in the Collegiate Church
of Westbury-on-Trym.
12. William Canynges, five times mayor of Bristol and Dean of
the Collegiate Church of Westbury-on-Trym.
13. Hugh Latimer, Bishop of Worcester.
14. Sir Jonathan Trelawney, Bishop of Bristol, who was sent to
the Tower in June, 1688.
15. Joseph Butler, Bishop of Bristol.
16. Charles John EUicott, Bishop of Worcester and Bristol.
The architect was J. L. Pearson, and Fitch Vauchet, sculptor.
The cost was about ;^2 5oo.
ALTAR AND REREDOS IN BRISTOL CATHEDRAL, BRISTOL
THE CATHEDRAL CHURCH OF CHRIST 55
THE CATHEDRAL CHURCH OF CHRIST, OXFORD
The Reredos was erected in 1881, and is constructed of red Dum-
fries sandstone. It was designed by Mr. Bodley. The central panel
represents the Crucifixion, with the Virgin Mary and St. John at the
foot of the cross. In the distance is a view of Jerusalem. St.
Michael, clad in armor, and St. Stephen, in a dalmatic, are in the
niches in the left. In the niches on the right arc St. Augustine in
cope and mitre, and St. Gabriel. The six shields above the 'niches
contain the emblems of the Passion. The small angel on the left of
the Crucifixion bears a chalice, and the one on the right, the crown of
thorns. The figures were sculptured by Mr. Brindlcy. The High
Altar is built of cedar-wood, and the eight legs are covered with gilded
carvings. In 1901 parts of the Reredos were decorated in color and
gilding.
56 SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF ST. CUTHBERT
AND ST. MARY, DURHAM
The Screen is only a remnant of what it once was, and simply a
suggestion of its former glory, when all its niches were resplendent
with statues. It is known as the " Neville Screen," because it was
erected about the year 1380, chiefly through the liberality of John, Lord
Neville, of Raby. Another has said, " Though very light and graceful
in appearance, the Screen as it is at present can give the beholder
little idea of what its appearance must have been when each of its can-
opied niches contained a figure aglow with gold color. There were
originally one hundred and seven of these statues, the centre one rep-
resenting Our Lady, supported on either side by St. Cuthbert and St.
Oswald." Even in its denuded condition it has an artistic effect at
once stately and majestic.
H rniivsiun fjf S. l(. liiil.ii & Co., Ijnnlon.
ALTAR AND PARTIALLY RKSTORKD SCRKEX I\ DIRMAM CATHEDRAL
CATHEDRAL CHURCH OF THE HOLY TRINITY 6i
THE CATHEDRAL CHURCH OF THE HOLY
TRINITY, CHICHESTER
An ancient Screen supposed to have been erected by Bishop Sher-
burne, in 1508, did service for many years in the Cathedral. In the
course of time it became dilapidated, and was removed in i860. In its
place a marble and alabaster Reredos was erected, having in the cen-
tral portion a representation of the Ascension. It was not regarded as
altogether satisfactoiy; as it seemed to be out of keeping with its sur-
roundings. In 1904 it was given to the Church of St. Saviour, Pres-
ton, Brighton, and it was determined to restore the ancient Screen.
The design for the restoration was drawn by Mr. Somers Clarke, and
the work executed by Norman and Burt, of Burgess Hill. The
Screen is a fine example of oak carving. Much of the old oak in the
paneling and the canopies has been retained. At some future date the
design will be completed by the addition of a carved representation of
the Crucifixion and figures of the Apostles. An inscription cut in the
back reads, " Giving glory to God, and in grateful and affectionate
remembrance of Francis John Mount, Archdeacon of Chichester, his
many friends reerected and restored this ancient screen, 1904." The
unveiling service took place on January 12, 1905, when there was a
representative gathering of the Cathedral and local clergy, with many
friends of the deceased Archdeacon. The dedicatory prayers were
offered by the Dean, and the unveiling by the Bishop of the Diocese,
who formally handed the Screen over to the custody of the Dean and
Chapter.
SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF ST. NICHOLAS,
NEWCASTLE-ON-TYNE
The Reredos was erected in 1887. The late R. J. Johnson, of New-
castle, was the architect. The carver of the structure was R. S. Beall.
Tlie sculptor of the alabaster figures was Mr. James Sherwood West-
macott, of London, brother of Mr. Percy Westmacott, of Newcastle,
the donor of the Reredos. The perpendicular style that prevailed in
the fourteenth century was followed. Directly above the Altar in the
small niches are nine angels holding shields with emblems of the Pas-
sion. Above these, and arranged on each side of the central cano-
pies, are ten figures representing the same number of virtues. These
are as follows : —
Faith, holding a cross ; Hope, holding an anchor ; Charity, minister-
ing to two children ; Justice, with scales and a sword ; Temperance, with
a bridle ; Chastity, with a dove and a sceptre ; Humility, bearing a yoke
from our Lord's own words, " Take my yoke upon you " ; Prudence,
holding a serpent, from "Wise as serpents, and harmless as doves";
Fortitude, with a stout staff; and Patience, with a ball in her hand and
her foot upon a crown. The rest of the description can be best told
in the words of the architect. He writes: "The great central niche
above has the enthroned figure of our Lord, one hand raised in bene-
diction, the other supporting an orb with a cross on it. On either side
are the figures of the four Evangelists, with their emblems, and beyond
these are those of St. Gabriel and the Blessed Virgin, one on each side.
Below these two are the figures of St. Wilfrid and St. Paulinus. The
upper row begins, on the left, looking eastward, with St. Oswald, next
to whom comes the Venerable Bede. Then we have St. Nicholas, the
patron saint of the Church. The central place is given to St. Cuth-
bert, the most famous of the Northumbrian saints, who carries the
head of St. Oswald. Then comes St. Aiden, Cuthbert's predecessor,
St. Benedict Biscop, the founder of the monasteries of Wearmouth
and Jarrow, and lastly, St. Edwin the King. The material used is
finely selected English alabaster, the figures being purely white and
By permission of I'. S; W. l)(His\vorth. .\cwi;istlf-on-Tync.
ALTAR AND REREDOS IN THE CATHEDRAL OF ST. NICHOLAS, NEWCASTLE-ON-TYNE
I
THE CATHEDRAL CHURCH OF ST. NICHOLAS 65
the structure graduated in color, the work nearer the floor being
darker, and the whole carefully chosen of paler tint towards the upper
part. A rich cornice and brattishing finish the top of the Reredos,
with a spire over the central canopy that contains the figure of St.
Cuthbert. Splayed screens of Caen stone, paneled and traceried, con-
nect the Reredos with the pillars of the arcade on either side, and
westward come the sedilia on the south, with corresponding recesses
on the north side, all worked out in Caen stone, with very rich canopy-
work pinnacles and brattishing." ^ The cost of the Reredos was
^4000.
^ The Reredos in Newcastle CatJudral, pp. 12, 13.
66 SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF ST. PAUL, LONDON
TiiK Sanctuary of this Cathedral is a noble and commanding ex-
ample of ecclesiastical art. The Screens and Reredos were designed
by those widely known English architects, Bodley and Garner. The
latter gentleman read the following account before the St. Paul's
Ecclesiological Society: —
" The design consists of a basement, against which the Altar stands,
with small doorways, to give access to the apse behind. Over these
doorways, which are of pierced brass, are angels supporting the crossed
swords and keys, the arms of the diocese, and emblems of St. Paul and
St. Peter, and they are flanked by sculptured festoons of fruit and
flowers separated by marble panels. Above this is a range of sculp-
tured panels with colored marble backgrounds, supporting an open
colonnade of semicircular plan. A large group of sculpture, a sort of
carved picture in bold relief, occupies the centre, flanked on each side
by twisted columns of rich Brescia marble, wreathed with foliage in
gilded bronze. These support an entablature and rich pediment. The
frieze is of rosso antico, bearing the inscription ' St'c Detis dilexit
mundum' ('So God loved the world') in gilt-bronze letters. The
whole is crowned with a central niche and surrounding statues, at a
height of between sixty and seventy feet from the ground,
"The general idea of the sculptured subjects is to express the Incar-
nation and Life of our Lord, beginning with the two figures at the
extremities of the colonnade, which are those of the angel Gabriel and
St. Mary, and represent the Annunciation. The panel on the north
side is the Nativity; the large subject in the centre the Crucifixion,
with the Entombment beneath it ; and the group on the south side the
Resurrection. The panels of the pedestals are filled with angels bear-
ing instruments of the Passion. The niche above the pediment is
occupied by the figure of St. Mary, with the Divine Child in her arms,
with the statues of St, Paul and St. Peter on either hand. The figure
on the summit of the niche is an ideal one of the risen Saviour.
" The entire Altar Screen is executed in white Parian marble, with
bands and panels of rosso antico, verde di Prato, and Brescia marbles.
By ix.Tmissiuii of Cyril Ellis. I-<>rnlon.
ALTAR AND REREDOS IN ST. PAUL'S CATHEDRAL, LONDON
THE CATHEDRAL CHURCH OF ST. PAUL 69
The enrichments arc generally gilt, the steps in front of the Altar are
of white marble, and the pavement of rosso antico, Brescia, vcrdc di
Prato, like the Reredos."
The Reredos rises to a height of seventy-five feet. It cost the sum
of ;i(^ 28,000, and the Screens £5500. The Altar was the gift of Mrs.
Ambrose, the sister of the late Rev. Dr. Liddon.
70 SOME NOTABLE ALTARS
THE CATHEDRAL CHURCH OF ST. SAVIOUR,
SOUTHWARK, LONDON
The Altar Screen has much historic interest. It dates from 1520
and is ascribed to the generosity of Bishop Fox, who a little before
had bestowed a like gift upon Winchester Cathedral. The Rev.
Canon Thompson, M.A., D.D., the present Rector and Chancellor of
the Cathedral Church of St. Saviour, writes : " The Screen, which is
about thirty feet in height, is divided horizontally, as in the Winches-
ter example, into three stages or stories. Vertically it is also tripartite.
This arrangement was adopted in allusion to the sacred number three.
The most important variations from its original design, for which
Wallace, the architect, who restored it in 1833, is responsible, consist
in the addition of the cornices, filled with angels, above the lowest
and second stories, and over the third, the range of angels holding
shields. But the most significant change was the introduction of
niches, in the middle space of the lowest stage, behind the High
Altar. This space, which seems to have been an exact square, was
left entirely blank by Fox, with the exception of two small niches, one
on each side, close to the ogee-headed doorways. The Winchester
Screen possessed this same peculiarity. The blank was evidently in-
tended by the Bishop to be occupied by some work of art in painting,
sculpture, or mosaic. And when we proceed to fill the niches with
statues, a work which will no doubt be soon taken in hand, it would
be only fair to the memory of the munificent Prelate, who has left us
this valuable legacy, to return to his original design. The correspond-
ing space in Winchester Cathedral, which for some years had been
occupied by Benjamin West's picture of the Raising of Lazarus,
is now filled with niches containing figures of some minor saints. At
present our Screen is like a picture frame without the picture — a
scene of magnificent emptiness. But when the niches are filled up
with appropriate statues, what a resplendent spectacle we shall have in
this Choir — an assemblage of angels and saintly men of the past,
prophets and apostles uniting, as it were, in the glorious anthem Te
Ry permission of Canon Thomi>wn.
ALTAR AXD PARTIALLY RKSTORKD SCREFA' IN SOlTHWAKK CATHEDRAL
THE CATHEDRAL CHURCH OF ST. SAVIOUR 73
Deum Laudavms. The ancient materials of the Screen consist of
Caen and firestone. Painswick stone was used in its restoration.
Such portions as are new were scrupulously worked from models
made from the original remains, and replaced in the same situations
which were occupied by the originals." He also adds : " Considerable
portions of the original remain. The background or foundation of
the Screen is old. When the wooden Baldachino was removed, the
large central niche in the uppermost tier possessed remains of an
elegant canopy enriched on the under side with elaborate fan-tracery ;
the five smaller niches on either side of it contained similar interesting
details. The angular buttresses springing from the ground and sepa-
rating them appeared to have been untouched, and these were pre-
served where possible. The cornice surmounting the whole was
enriched with the Agnus Dei and the Pelican, interspersed with
oak leaves and acorns, and in the pedestals were figures of angels and
lions, grotesque heads and foliage. In the cornice of the middle stage
two monks, holding a shield between them, formed the prevailing de-
vice, the intervening spaces being filled with roses, lilies, and twisted
thorns, showing also the head of the Saviour, and that of St. John,
beautifully moulded, all in the highest state of preservation, and as
fresh as if they had just come from the sculptor's hands. In the
lowest stage the doorways were discovered uninjured and also the
niches, canopies, and pedestals, with carvings and enrichments similar
to those already described." '
1 The History and Antiquities of the Collegiate Church of St. Saviour, pp. 317, 318, 319.
74 SOME NOTABLE ALTARS
WESTMINSTER ABBEY, LONDON
The Altar and Reredos were erected in 1867 after a design by Sir
George Gilbert Scott. The central compartment is done in mosaic
by Salviati and represents the Last Supper. The sculptured figures
are by Mr. Armstead.
In The Globe of September i, 1866, appeared the following: "A
beautiful and valuable mosaic picture on gold ground representing the
' Last Supper ' has just been completed for the Dean and Chapter of
Westminster, and will shortly be placed in the Reredos of the Abbey.
Dr. Salviati, although he has only for a few years turned his attention
to the production of mosaic works, has attained considerable celebrity
in the art, and by the production of a pure and durable enamel, his
mosaics are considered to equal, and even. surpass, those of the ancient
masters."
Ily iKTiiiissinn of t'yril Kills, Lumlon.
ALTAR AND TRIPTYCH IN THE CHURCH OF ST. ALBAN THE MARTYR, HOLBORN, LONDON
THE CHURCH OF ST. ALBAN THE MARTYR 79
THE CHURCH OF ST. ALBAN THE MARTYR, HIGH
HOLBORN, LONDON
A BOOK published in the interests of the parish contains the follow-
ing description of the High Altar : —
"The great central piece is divided into six compartments, arranged
in the following way : —
"The Trial, St. Alban, The Finding of his Relics, The Scourging,
The Martyrdom, The Translation to St. Alban's Abbey.
" The left wing (spectator's left) contains the following large figures: —
"St. George, St. Benedict, St. Amphibalus, Ven. Bede, and twelve
smaller figures.
" The right wing contains the following large figures: —
"St. Augustine of Canterbury, St. Thomas of Canterbury, St.
Erconwald of London, St. Edward, King, and twelve smaller figures.
" The inscription running along the top of the central piece is 'Ave
prothomartyr Anglorum, miles Regis Angelorum. Albane, flos Mar-
tyrum ' (' Hail ! Proto-martyr of the English, Soldier of the King of
Angels. O Alban, flower of martyrs'). The words are from the
Antiphon on his Feast Day.
" The three detached figures which rise above the rich cresting are,
in the centre, the Lord seated upon His throne. His hand raised in
blessing. Our Blessed Lady, and the Archangel Gabriel.
" The subjects of the centre-piece are carved in alabaster set in a
massive frame of oak. The important lines and features of the sculp-
ture are touched with gold ; the lining of the draperies painted a pale
and quiet blue. All the woodwork, with its richly moulded canopies,
buttresses, pinnacles, etc., is gilt upon red, but the gold is everywhere
lacquered in varied tones of green and brown and red. The sculp-
tures of the wings are all in wood, gilt, and colored. The massive
hinges which connect them with the centre are relieved of some of the
weight by wrought-iron brackets, which support the outer corners of
the wings. These ponderous masses of knotted oak swing quite easily
when, in Passiontide, the doors are closed.
" The whole was designed by Messrs. Bodley and Garner, and exe-
cuted by Messrs. Farmer and Brindley."
8o SOME NOTABLE ALTARS
ST. PAUL'S CHURCH, KNIGHTSBRIDGE, LONDON
The Reredos was erected in 1870 of stone. The central compart-
ment has the Crucifixion with historic characters on either side. The
large figures are St. Ambrose, St. Augustine, St. Jerome, and St.
Gregory. The architect was R. H. Withers. The building of the
Reredos around the east window is a somewhat novel treatment.
[jermission ol C'jril Kills. Lundon.
ALTAR AND REREDOS IN ST. PAUL'S CHURCH, RNKIHTSBRIDGE, LONDON
By permission of Cyril ElHs, London.
ALTAR AND REREDOS IN ST. STEPHEN'S CHURCH, LONDON
ST. STEPHEN'S CHURCH 85
ST. STEPHEN'S CHURCH, KENSINGTON,
LONDON
The Reredos is arranged in three tiers. The figures are of carved
wood, richly gilded, with a background of red. In the centre of the
first tier is a representation of our Lord in gloiy, in the attitude of
blessing. Angels are on either side. These figures are nearly life
size. In the second tier the figures are smaller. The Nativity is in
the middle and the Annunciation on either side. In the third tier the
Blessed Virgin is in the centre. On the left are Moses, Isaiah, and St.
John the Baptist. On the right are St. Stephen, St. Peter, and St.
Paul. The figures were carved by Mr. Bridgeman, of Lichfield, and
decorated by Mr. Powell, of London. The contractor was Mr. Martin,
of London, and the architect Mr. Bodley. The cost was about ^500.
The Reredos was erected in 1901.
86 SOME NOTABLE ALTARS
CHURCH OF THE HOLY REDEEMER, CLERKEN-
WELL, LONDON
The Baldachino was begun in 1888 and completed in 1895. It is
constructed of brick, cement, and wood, with pillars, friezes, etc., in
Scagliola, and surface with ornamental work in plaster. It was
designed by J. D. Sedding, the architect of the church, after a work
of a similar character in marble and bronze over the High Altar of
San Spirito in Florence. The work was begun by Pomeroy and Cay,
and finished by Rider. It cost something above ^600.
, . „ , „ By iHTmissi.m of Cvril Ellis. Londi
ALTAR AND BALDACHINO IN THE CHURCH OF THE HOLY REDEEMER, CLERKENWELL, EON
DON
ALTAR AND REREDOS IN THE CHURCH OF ST. JOHN THE DIVINE, KENSlNtJTON,
LONDON
CHURCH OF ST. JOHN THE DIVINE 91
CHURCH OF ST. JOHN THE DIVINE, KENSINGTON,
LONDON
The Altar is of cedar-wood and was erected in 1874.
" The Reredos reaches almost to the groining of the roof. It is of
wood, beautifully carved by Messrs. Farmer and Brindley, the well-
known art sculptors of Westminster Bridge Road, and occupies the
whole space of the easternmost span of the apse. The frame is of most
elaborately carved work, painted red, and almost entirely covered with
gold. All round the frame there runs a most delicate cresting, which
gives considerable lightness to what is in itself a very massive structure,
and the carving of the inner frame represents grapes and corn. Im-
mediately above the Altar there are three shelves, on the front of the
middle of which is written : —
" ' Benedictus Qui venit in Nomine Domini.'
" ' Blessed is He that cometh in the Name of the Lord.'
" The Reredos is divided into two main divisions, in each of which
there is a large central subject flanked by a figure on either side. In the
lower compartment we have represented to us the Annunciation. The
Blessed Virgin is kneeling on a faldstool, inscribed with the word
' Emmanuel,' and dressed in the traditional blue robe, whilst the Angel
Gabriel in a white robe, and with golden wings and lily in his hand, is
announcing to her the high honor to which she is called. Beneath,
in gilt letters, is the angelic salutation: 'Ave Gratia Plena.' On
the south side of the Annunciation is the figure of St. Hugh, Bishop
of Lincoln, in which diocese this part of the country used to be, repre-
sented with his traditional swan, and on the north side St. Augustine
of Canterbury, as one to whom we owe so much for the revival of the
Catholic religion in this fair land of ours. In the upper compartment
there is, as the central subject, the Crucifixion, with St. Mary and St.
John at the Cross, and on either side, above St. Hugh, the figure of St.
Michael, clad in armor, and St. Raphael above St. Augustine of Can-
terbury, exhibiting him in the dress of a pilgrim or traveller : ' his
92 SOME NOTABLE ALTARS
habit fit for speed succinct ' : sandals on his feet, his hair bound with a
diadem, the staff in his hand, and a bottle of water slung over his
shoulders. Above all there is a pinnacled coving — red and gold —
with the legend : —
" ' Sic Deus dilexit munduni,'
" ' So God loved the world,'
written thereon." The above account is taken from a parish publica-
tion. The Reredos was designed by Sir G. F. Bodley and cost £700.
I!> |.
ALTAR AXl) KERKlJUS IX IHE CHLRCH OF ST. MARY, SOHC), LOXDOX
ST. MARY'S CHURCH
95
ST. MARY'S CHURCH, SOHO, LONDON
The Altar is of oak, designed by an architect who was a pupil of
Mr. Street. It was built at a cost of ^150. It is in dimensions ten feet
long, twenty-nine inches broad, and thirty-nine inches high. On the
front of the Altar are four angels bearing shields. On the shield of
the first appear a chalice and paten, on the second a lamb and flag, on
the third a pelican, and on the fourth a serpent on a cross. There are
also three panels containing deeply cut representations of the Annun-
ciation, the Adoration of the Magi, and the Presentation in the
Temple. The figures have been recently decorated by gilding. The
large crucifix is of marble and was sculptured by Miss Grant of Chelsea.
St. Mary's Church has a very unique history.
The Nave was the first Greek Church in England ; built by the
Archbishop of Samos for Greek exiles in 1677; used afterwards by the
Huguenots for one hundred and forty years, till 1832 ; introduced by
William Hogarth into his picture, " Noon," 1738; occupied byCalvinist
Pado-Baptists until 1849; consecrated for the Church of England,
1850; became a parish church in 1856; described by Hall Caine in
The Christian ; destroyed by the London Common Council as a
"dangerous structure" in 1898; and rebuilt, and reopened in April,
1901. Corner-stone of chancel was laid by Canon Liddon, in 1872.
96 SOME NOTABLE ALTARS
CHURCH OF ST. AGNES, KENSINGTON, LONDON
The Triptych or Altar-piece is a memorial erected in 1891 by the
then Vicar of the parish, the Rev. T. D. Dover, in memory of his
mother. It is made of oak elaborately decorated in gold and colors.
In the centre is a sculptured group representing the Annunciation.
About it are figures of the twelve apostles, St. Agnes, St. Cuthbert,
the Venerable Bade, St. Ethelbert, St. Columba, St. Augustine, and
others. The architect was Sir George Gilbert Scott. Mr. Temple L.
Moore largely assisted in the details and in the general superintendence
of the work. The designs were executed by Mr. Elwell and the sculp-
tured figures by Farmer and Brindley. The cost was about ^600.
By permission of Cyril Ellis, London.
ALTAR AND TRIPTYCH IN THE CHURCH OF ST. AGNES, KENSINGTON, LONDON
L'.y pcrmUsion of Cyril Ellis, L»mdun.
ALTAR AND REREDOS IN ST. BARNABAS CHURCH, PIMLICO, LONDON
ST. BARNABAS CHURCH loi
ST. BARNABAS CHURCH, PIMLICO, LONDON
The Reredos was erected in 1892, and throughout is constructed of
wood. In the middle of the lower line of figures we have the Annun-
ciation, and on the right hand St. Barnabas and St. Anselm of Canter-
bury. On the left hand St. Paul and St. Augustine of Hippo. The
middle of the second line is occupied with the Crucifixion, the Blessed
Virgin, and St. John. On either side are two angels. Mr. Bodley
was the architect, and the figures were carved in Belgium. The cost of
the whole was ^1000.
I02 SOME NOTABLE ALTARS
ST. JOHN'S CHURCH, HACKNEY, LONDON
In the St. John at Hackney Magazine, for September, 1904, the
history of the Reredos, written by one of the Curates and sent by the
courtesy of the Vicar, the Rev. Algernon G. Lawley, M.A., reads thus:
" The following inscription is written on a brass band at the base of
the carving, ' Dedicated to the Glory of God a.d. 1886, by the Rec-
tor of the Parish and his wife in thankful memory of their father,
John Jackson, Bishop of this Diocese 1 869-1 885.' The Rector at
that time was the Rev. Arthur Brook, whose wife was a daughter of
Bishop Jackson.
" The architect was Sir Arthur Blomfield, and the sculptor Mr. For-
syth of Finchley Road, N.W.
" The Reredos is carved in bold relief in oak, the total cost being
some /350.
'' The general idea is that of witness to Christ, and the five panels
illustrate the texts of Scripture above which they are placed. The
large central panel is a picture of St. John i. 34 : ' And I saw and
bare record that this is the Son of God.' The scene is laid on the
banks of the Jordan. In the lower part St. John the Baptist, clothed
in his camel-skin, stands out boldly from among his disciples and with
uplifted arm is pointing to the central figure of our Lord. A second
text is carved below, ' Behold the Lamb of God which taketh away the
sins of the world.'
" On either side are two smaller panels, and the same idea of witness
is still the dominating note. In the upper panels St. John is deliver-
ing his message and preparing the way, whilst in the lower panels the
Holy Ghost is descending and taking up the work and sending men
forth with strength and power to carry on the life of witness among
their fellow-men.
" On the left-hand or dexter side the two texts illustrated are : first
the prophecy, ' He shall baptize with the Holy Ghost,' and the fulfil-
ment, ' They were all filled with the Holy Ghost' Above we have St.
John baptizing in the Jordan, and the crowd standing watching on
liy iJermission of Cyril Ellis, London.
ALTAR AND REREDOS IN ST. JOHN'S CHURCH, HACKNKV, LONDON
ST. JOHN'S CHURCH 105
the bank recalls the story of St. Luke who tells us of the people and
the publicans and the soldiers who came to ask what the prophet
would have them do. Below we see the outpouring of the Holy
Ghost on the great day of Pentecost and the tongues of fire descend-
ing upon the waiting Apostles.
" On the other side the two texts are : ' He must increase, but I
must decrease,' and ' The Holy Ghost came on them.'
" The idea would seem to be expressed by the word of the prophet,
' Not by might, nor by power, but my spirit, saith the Lord of Hosts.'
Reliance must be placed, not on man, but upon the Holy Spirit of God
working within us. Above the first text there stands St. John preach-
ing to the people, at once the boldest and the humblest of obedient
messengers. Below we have a picture of an early Confirmation, the
simple laying-on-of-hands by an Apostle upon two young men, kneel-
ing to receive God's gift of the Holy Spirit, that they may do the
work whereunto God has called them."
io6 SOME NOTABLE ALTARS
CHURCH OF ST. GILES, CRIPPLEGATE, LONDON
The Reredos is modern and was erected about twelve years ago.
The middle painting represents Christ as the King of Kings and
Lord of Lords. On the Epistle side is a figure of St. Paul and on the
Gospel side one of St. Giles. All the three paintings were executed
by Mr. C. E. Buckeridge. The carvings of angel heads, the eagle, the
vine and grapes are effective and artistic.
By permission of Cyril Ellis, London.
ALTAR AND REREDOS IN OLD ST. PANCRAS CHURCH, LONDON
OLD ST. PANCRAS CHURCH in
OLD ST. PANCRAS CHURCH, LONDON
The present Vicar, the Rev. Robert A. Eden, writes : " At old St.
Pancras Church, London, we are still in possession of the old Altar
stone which has come down to us apparently from Norman times.
In 1848 the tower at the west end of the Church was pulled down to
lengthen the nave. At that time the Altar stone was discovered,
buried about six feet below the surface of the ground. It must have
been placed there in Reformation times, either, if the Vicar of that day
was a man of Catholic views, to save it from desecration at the hands
of the destroyer, or else, if he was of Puritan sentiments, to prevent
such a ' monument of superstition ' from ever again seeing the light.
However that may be, the stone was, on its discovery, placed under the
Altar, where it formed part of the Sanctuary pavement. It was there,
at any rate, safe from desecration and could not be trodden upon, as
the Altar stood over it. In 1 888 the Chancel was rearranged, and at
that time the present Altar was constructed in the following way.
The front and the two ends were made of the fine-carved and inlaid
oak panels of a seventeenth-century oak pulpit, which then stood in
the Church, but which had to be removed. Three panels were in
front and one at each end. A new oak mensa was made, and the old
Altar stone was inserted in the midst of it, so that its surface was flush
with the surface of the rest of the mensa. The Altar stone is quite
small, being about seventeen inches long and nine inches wide.
When the new Altar was made, orders were given that every part of
the table which had served as the Altar in recent times, say for two
hundred years, should be employed in the backing or some other part
of the new structure ; so our present Altar may be said to be three Al-
tars formed into one. The size of the present Altar is thirty-eight inches
high, twenty-six inches wide, and seven feet long. The Reredos consists
of a carved oak triptych, with mahogany panels richly colored and
gilded. It was made in 1897 by Thompson of Peterborough from a de-
sign by the late Sir A. W. Blomfield, A.R.A. The painting and gilding
are the work of Messrs. Buckeridge and Floyce, artists of great promise,
112 SOME NOTABLE ALTARS
who both died in very early life. On the central panel is represented
our Lord upon the Cross, with St. Mary on the one side and St.
John on the other. On the lower panel of the left wing or folding
door of the triptych is St. Pancras, the boy-martyr, holding in his left
hand a book, and in his right a sword and a palm branch, the one the
instrument and the other the symbol of his martyrdom, while he
tramples upon a fallen idol, an action indicating the moral effect of
his faithfulness unto death. On the opposite wing appears St. Paul,
the Patron Saint of the Cathedral of the Diocese. He is introduced
to mark the connection between the Cathedral and Old St. Pancras
Church, the vicarage of the latter having been in the gift of the Dean
and Chapter of St. Paul's from about the year i loo. The four panels
over the two patron saints contain the apocalyptic emblems of the
four Evangelists. The Triptych rests upon the upper shelf of a
Retable of black marble; the lower, a broader shelf of the same ma-
terial, is some ten or twelve inches above the Altar, and supports the
Altar cross and candlesticks. The back of the folding doors, which
are kept closed in Lent, is simply treated with a powdering of conven-
tional flowers in gilt upon a dull red ground."
"4 By ptTTiii^siiin of tlif Vicar.
ALTAR AND TRIPTYCH IN THE CHURCH OF ST. MARY THE VIRGIN, PRIMROSE HILL,
LONDON
CHURCH OF ST. MARY THE VIRGIN 115
CHURCH OF ST. MARY THE VIRGIN, PRIMROSE
HILL, LONDON
The Triptych was designed by Sir G. F. Bodley at a cost of £ 700.
The material is wood painted red with gilding. In the centre are the
Virgin and Child with an angel on either side. In the same row are
Isaiah and St. John the Baptist. The Annunciation is below. The
Altar is nine feet one inch long, two feet eight inches wide, and three
feet three inches high. The mensa rests on an arcade of wood.
There are four iron posts, with copper sconces for candles by Harold
Staller. The cost of the Altar was £'20. The dorsal, the frontal of
tapestry, and frontlet of velvet are the work of the St. Dunstan Society.
The cost was ^19. The Vicar of this parish is the Rev. Percy
Dearmer, M.A., widely known as the author of The Parson s Hand-
book. The Altar of the parish is arranged according to the directions
of this book.
ii6 SOME NOTABLE ALTARS
CHURCH OF ST. ANNE, EASTBOURNE
The central subject of the Altar Screen is our Lord, as the Saviour
of the world, attended by six adoring angels.
On either side are figures of St. William of York and St.
Georee of England. St. William was chosen in reference to the
name of one of the persons commemorated in the memorial, St.
George as the saint of the country.
In the remaining and outside niches of the Altar Screen are fisfures
of the angel Gabriel and the blessed Virgin Mary, representing the
Annunciation.
Beneath is a row of angels with shields. These figures are of
stone in full relief, painted and gilt.
In the middle panel of the Reredos proper are two seated figures,
with space for the Altar cross between them. These are, on one side,
St. Anne, to whom the Church is dedicated ; on the other side, our
blessed Lord as a child, in the arms of his mother St. Mary, to whom
the mother Church of the old parish is dedicated. These figures were
chosen, therefore, in allusion to the two parishes.
In the two next panels are figures of St. Anne with St. Mary
as a child, in further allusion to the dedication of the said parishes ;
and St. Elizabeth with St. John Baptist as a child, St. Elizabeth being
chosen in reference to the name of the other person commemorated by
the memorial.
The same references are to be found in the remaining figures of
St. Anne and St. Joachim, and St. Elizabeth and St. Mary in the Visi-
tation in the two end panels of the Reredos.
Between each of these panels is a small angel with uplifted wings
in full relief.
The figures on the panels are, on the contrary, in low relief, and
gilt all over, upon a gilt background broken by a small colored
diaper. The whole of the Reredos proper is of pine. W. Bucknall
and J. N. Comper were the architects. The cost was about ^600.
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By ixrniission of Cyril KIHs. Ton-lnn.
ALTAR AND REREDOS IN THE CHURCH OF ST. ANNE, EASTBOURNE
By permission of Cyril E1H=, London.
ALTAR AND REREDOS IN ST. MARY'S CHURCH, CUDDINGTON
ST. MARY'S CHURCH 121
ST. MARY'S CHURCH, CUDDINGTON
The Altar is of oak and was in an earlier Church that stood on this
spot. The Reredos was unveiled on Whitsunday, 1902. It is built
of Carrara marble with alabaster supports. The compartment in the
centre represents Christ blessing little children. St. Peter, St. James,
and St. John are on the Lord's right hand, a group of parents and
children on his left, and a child on his knee and others at his side.
The Reredos was given by Mr. C. W. Wismith in memory of his wife.
At the time he was the church warden. The architect was J. A.
Thomas, and the builders. Farmer and Brindley. The walls of the
apse are beautifully finished with polished stones.
12:
SOME NOTABLE ALTARS
CHURCH OF ST. CUTHBERT, NEWCASTLE-ON-TYNE
The whole apse of this Church is rich in its incentives to the
Christian life as represented in its art creations. The Reredos is an
epitome of the leading scenes from the life of our Lord as narrated in
the New Testament. Towering above all is the Crucifixion, and in the
central panel below this is the Transfiguration and still lower the Last
Supper. On each panel on either side of the Transfiguration are the
Baptism of Christ and his Temptation. On the side panels of the Last
Supper are Christ washing the feet of the disciples and the woman
annointing our Lord. On the south door of the Reredos are represen-
tations of Christ presented in the temple and the Adoration of the Magi.
On the back of this door, not seen from the front, are Christ before
Herod and our Lord bearing his cross. On the north door are the
Annunciation and the Nativity. On the back of the door are Christ in
the Garden and Pilate washing his hands. On the lower and smaller
south door is a representation of Christ driving out the traders from the
Temple, and on the back of the door the Betrayal by Judas. On the
lower north door is the scene of Christ entering Jerusalem on an ass, and
on the back of the door St. Peter's denial of his Master. The decora-
tion of the walls of the apse on each side of the Reredos is a paneling
in mahogany and lime-tree divided by the words, " The Holy Church
throughout the world doth acknowledge Thee, the Father of an infinite
Majesty; Thine honorable, true and only Son; the Holy Ghost, the
Comforter." In the upper portion are sixteen paintings. Those on
the Epistle side are Abraham, Moses, Aaron, David, Isaiah, St. John
the Baptist, the Blessed Virgin Mary, and St. Peter. On the Gospel
side the paintings represent St. Paul, St. Stephen, St. Alban, St.
Ambrose, St. Hilda, St. Cuthbert, St. Gregory the Great, and St. Anselm.
The wood carving, which is exceedingly decorative and effective, was
designed by Mr. Ralph Hedley. The Reredos was the result of designs
by Hicks and Charlewood, the paintings in the Reredos by Burlison and
Grylls, and the sixteen paintings on the sanctuary walls by Bacon Brothers.
For much of this description of the Reredos of St. Cuthbert's
Church we have drawn from the account written by the Rev. W. E.
Nowell, D.D., the first Vicar of the parish.
By permission of F. & W. I>o<is»()rih, Ntwiasllr-on Tync.
ALTAR AND REREDOS IN THE CHURCH OF ST. CUTHBERT, NE\VCASTLE-ON-TVNE
By ixrmission of MarlborouKli Coiicge.
ALTAR AND REREDOS IN THE CHAPEL OF MARLBOROUGH COLLEGE
CHAPEL OF MARLBOROUGH COLLEGE 127
CHAPEL OF MARLBOROUGH COLLEGE,
MARLBOROUGH
The Altar and Reredos are built of Corsham stone, colored. In
the central compartment is a representation of the Crucifixion with St.
John and St. Mary. Above this the Adoration of the Magi. The top-
most pinnacle contains a figure of the Saviour. The eight figures
on each side are : i. Angel with staff. 2. Archangel with trumpet.
3. Angel of principalities. 4. Angel of powers. 5. Angel of virtues.
6. Angel of dominations. 7. Angel of thorns. 8. Cherub singing.
128 SOME NOTABLE ALTARS
CHAPEL OF JESUS COLLEGE, OXFORD
The Altar is a granite slab resting on six pillars of the same ma-
terial. The Reredos dates from 1864. There are three panels of
marble. The central one represents the Crucifixion with a group of
four figures at the foot of the cross. The panel on the right indicates
Christ bearing his cross, and the one on the left has our Lord sup-
ported on the knees of St. Mary. The Reredos was erected at the
time of the restoration of the Chapel by Mr. Street. The builder was
Mr. Wyatt of Oxford. The whole cost of the restoration was about
' " v., ,,., I :.,!.., lull of llcnr) W. r.nini ,\ I ' Kforil.
ALTAR AND REREDOS IN CHAPEL OF JESUS COLLEGE, OXFORD
By [Krmission iif Hi-nry \\ . l\uiiu\ Co., Oxford.
ALTAR AND SCREEN IN THE CHAPEL OF ALL SOULS' COLLEGE, OXFORD
CHAPEL OF ALL SOULS' COLLEGE 133
CHAPEL OF ALL SOULS' COLLEGE, OXFORD
The Reredos dates from the foundation of the College about the
year 1438. The chapel and its adornments were greatly mutilated
during the Reformation by the Puritans. A wall of mortar was built
across the rear of the Altar, completely covering up the canopied figures.
Streeter, the court painter of Charles II, painted a fresco of the Last
Judgment on this wall. It was not pleasing to all, for Evelyn thought
it "too full of nakeds, for a chapel." About 1770 this fresco was re-
placed by one by Sir J. Thornhill representing the apotheosis of Arch-
bishop Chichele, the founder of the College. Mr. C. Grant Robertson
writes : " The Chapel, in short, took the form it was to wear for two
centuries, and it is almost pathetic to observ^e how effectually these
changes obliterated the memory of its original appearance. All Souls'
literally forgot that it once had a Reredos and a hammer beam roof,
and De Wenman, writing at the end of the eighteenth centurj', does not,
for all his erudition, betray the faintest glimmer of a suspicion as to
what lay behind the lath and the plaster of 1665."' In 1872 the fif-
teenth-century roof came to light and then the sculptured treasures
behind the plastered wall. In 1878-79 the Chapel was completely re-
stored at an expense of over ^10,000. Mr. Robertson, in speaking
of the original condition of things, says, " The High Altar was adorned
with the image of the Holy Trinity gilt and painted, and in the
space over the Altar was placed a representation of the Crucifixion,
while at the summit of the Reredos immediately under the roof was
the figure of our Lord seated in judgment surrounded by archangels
and marked with the inscription, ' Surgite mortui, venite ad Judi-
cium.' "^ The structure is built of Bath freestone. At the restoration
the sculptor Geflowski introduced the features of some of the modern
Fellows of the College. Thus on the right of the crucifix, between
Archbishop Warham and Bishop Goldwell, he has depicted Lord Salis-
bury as John of Gaunt.
^ All Souls' College, pp. 139, 140. '^ Ibid., pp. 14, 15.
134 SOME NOTABLE ALTARS
CHAPEL OF MAGDALEN COLLEGE, OXFORD
The Rev. Frank E. Brightman, M.A., a Fellow of Magdalen,
writes : —
" The arrangement of the Screen behind the Altar which is the
same type as that of New College and All Souls' is probably on the
lines of the original Screen of about 1475, which was defaced in 1549.
The present restoration was made in 1829 to 1834, except in regard to
the statues, which were not added until 1884, though they were in-
cluded in the architect L. N. Cottingham's plans of 1829. The statues
in the niches are all Old Testament personages with the exception of
one, that of St. John the Baptist. In the centre of the top story is the
' Noli me tangere.' The picture over the Altar is our Lord bearing
the Cross, by Ribalta. It was taken from a Spanish ship at Vigo in
1702, brought to England by the Duke of Ormond, and presented to
the College in 1745, by one W. Freman, an undergraduate of the
College in 1 719. It was placed in the centre of the present Screen
in 1758, and so remained until the restoration, when it was set in the
stone work that now surrounds it. The Altar is of stone and is part
of the restoration of 1829."
By permission of Henry W". T.iuni & Co., Oxford.
ALTAR AND SCREEN IN THE CHAPEL OF MAGDALEN COLLEGE, OXFORD
By permission of Henry \V. Taunt and Co., Oxford.
ALTAR AND SCREEN IN THE CHAPEL OF NEW COLLEGE, OXFORD
CHAPEL OF NEW COLLEGE 139
CHAPEL OF NEW COLLEGE, OXFORD
The Screen represents generally the Orders enumerated in the
Te Deum. In the highest row we have the Agnus Dei accompanied
by Angels. In the second row a representation of the Crucifixion
has six Apostles on the right and left. The third row has the Virgin
and Child in the centre with King Richard II, St. Stephen, St. Cecilia,
St. George, St. Catherine, and St. Alban on the north side, and
William of Wykeham, St. Augustine, Bede, St. Anselm, Warham, and
Ken on the south side. The fourth row contains Moses holding
the Tables of the Law, with the four greater prophets, Isaiah, Jere-
miah, Ezekiel, and Daniel in the centre and Samuel, David, Elijah,
and St. John the Baptist on the north side and St. Paul, St. Jerome,
St. Chrysostom, and St. Ambrose on the south side. The design of
the niches is supposed to be of William of Wykeham's time, that is
of 1379. The statues that stood in them were removed and broken up
in the reign of Edward VI, and the niches were filled up in accordance
with an injunction of Robert Horn, Bishop of Winchester in 1567.
Later in 1 789 the Reredos was restored in plaster. The niches were
replaced in stone in 1879 under Sir George Gilbert Scott, and the
statues were restored in 1890-92 under Mr. J. Pearson. The con-
tractors for the work were Farmer and Brindley of London, and
N. Hitch, an English workman, executed the statues. The entire
restoration was made possible through the gifts of members of the
College.
I40
SOME NOTABLE ALTARS
CHAPEL OF WINCHESTER COLLEGE
The original stone Reredos dates from the building of the College
from 1387 to 1393. In later years its suffered from changes and
mutilations. There are still traces of original painting, but not
enough to form a design or pattern. Sir W. Earl restored the
Reredos in 1866. The figures, also of stone, were erected in 1876,
by the Master of the College. The statues represent St. Peter, St.
John, St. James, St. Stephen, St. Paul, St. Augustine, William of
Wykeham, Alfred the Great, and others. There is no record of the
first cost of the Reredos, or of its restoration, but the stone figures
were erected at an expense of £2 5 each.
ST. JOHN'S COLLEGE 145
ST. JOHN'S COLLEGE, HURSTPIERPONT
The story of the building of the Altar and Reredos is admirably
told in the Hurst Johnian Magazine. After speaking of the starting
of a special fund in 1865, this publication proceeds to say: —
"Seven years passed, and Christmas, i872,saw the work finished, a
tribute to the honor of God, the beauty of which is hardly to be matched
in England. With the exception of the centre sculpture, given by
one since gone to his rest, all this was done by no large subscriptions,
but by the patient ingathering of small sums, gifts, and thank-offerings,
savings, profits, and earnings, in wonderful variety. The secret of
success was the determination to go on with the work step by step, as
money was forthcoming. The Rev. Lewin Pennell gave the crowning
ornament of all, — 'a Pelican in her piety,' the ancient emblem of
him whose Body was torn, and whose Blood was poured out on
the Cross for his people.
" The four figures below were added in memory of the Rev. John
Gorham, by the many friends who mourned his loss in 1866, and thus,
gradually, memories and associations came to add interest to the
work. Bishop Gilbert was moved to tears, as he ministered at the
Altar, by the pathetic beauty of the Virgin Mother's sculptured form,
standing by the Cross of Jesus. John Keble helped with advice and
money. William Campion of Danny and many other friends since
fallen asleep lent their aid. The three chief groups of sculpture
represent the 'Agony in the Garden,' the ' Crucifixion,' and the
' Burial of our Lord.' The base of these three sculptures is raised
one foot nine inches above the top of the Super- Altar; the height and
width of the central one are respectively ten feet and seven feet ; and
of the side compartments, nine feet and five feet six inches. The
figures are a little under life size.
" Each of the three groups of sculpture stands in an arched and
canopied recess, the arches being supported on piers of stone and
clustered marble columns, and flanked by lofty pinnacles. The space
below the central sculpture is of course filled by the Altar, but under-
neath the compartments on ^either side are four arched and canopied
,46 SOME NOTABLE ALTARS
niches, and the side pinnacles are continued downward as columns to
the footpace, on which the Altar stands. Immediately above the
Super-Altar, and below the base of the sculpture, runs a richly
moulded cornice of varied alabaster, ornamented with semi-balls of
sienna, Irish green jasper, and Blue John spar. On this rests the base
of the piers, supporting the columns and pinnacles. These piers con-
sist of a centre of moulded Caen stone, in front of which are four
detached columns, supporting the canopies and pinnacle above, and
on each side are two pillars, from the capitals of which spring the
arches of the great canopies over the sculptures. These columns are
of Cat Down spar, Galway-green marble, and alabaster; they have
moulded bases of alabaster, and are tied together by annulets, also of
alabaster. The capitals are of Caen stone, carved and ornamented
with bosses of red and green marble, with alabaster neckings. The
height from the cornice above the Altar to the top of the caps is five
feet six inches, the total height from the floor to the top of the centre
finial being twenty feet. The main arch over the central group of
sculpture rises above five feet, and is of richly moulded Caen stone ; and
below it is a subordinate trefoil cusped arch, also of moulded stone.
The circles and spandrels between these two arches are filled in with
marble mosaics. In the circles are the Alpha and Omega, in white
alabaster, on a ground of emperor's red marble ; and the mosaics in the
spandrels are in patterns of contrasted marbles on a dark green ground.
" The triangular spandrels above the great main arch, and the
pediment mouldings, are inlaid with a ground of varied and polished
alabaster; immediately above the point of the circle is a quatrefoil-
shaped panel of moulded Caen stone, inlaid with agate. Touching
the four points of the quatrefoil is a moulded cross of pure white
alabaster, one foot high, the centre being formed by a faceted circle
of green marble ; the spaces between the arms of the Cross and the
mouldings of the quatrefoil are filled with bosses of Pyrenean jasper
on a green marble ground. The great spandrel is also ornamented
with inlays and bosses of sienna, green marbles, and Blue John spar.
" The mouldings of the pediment are of Caen stone ; on the upper
side are richly carved crockets and bases, on which stand the four
ST. JOHN'S COLLEGE 147
Evangelists, two on either side. On the south side, St. Matthew and
St. Mark, and on the north side, St. John and St. Luke. The mould-
ings terminate at the top in a carved and moulded finial, resting on
which is the pelican shedding its blood to feed its young. Supported
on the capitals of the previously described four detached and project-
ing columns, are the bases of the niches, and the pinnacles above.
The canopies of the niches are formed by moulded arches, resting on
columns of Brocatella marble, with bases and caps of Caen stone.
There are three figures in each of these four niches; the twelve fig-
ures being probably as follows, commencing at the north side: St.
Jude, St. Philip, St. Matthias, St. Thomas, St. Peter, St. Barnabas,
St. James, St. Paul, St. Andrew, St. Bartholomew, St. Simon, St.
James the Less. St. Matthew and St. John are omitted, as occupying
a place in their character of Evangelists. These figures are about one
foot eight inches high.
" The moulded pediments of the niche canopies are ornamented
with carved crockets and finials, into which are introduced bosses of
green marble and alabaster. The spandrels above the arches are
filled with marble mosaics on an alabaster ground. Resting on these
canopies is the cylindrical base of the pinnacle, on which are eight
columns of jasper, sienna, green, and red marbles, surrounding a stone
centre, with carved caps, supporting a moulded and carved cornice,
ornamented with bosses of sienna marble. The top of the pinnacle
is circular, and inlaid with bends and patterns of dark alabaster, and
terminates in a richly carved stone finial. As before mentioned,
there are on each side of the Altar, below the great side groups of
sculpture, four recessed niches; these are formed by moulded and
cusped arches of alabaster, supported on shafts of colored marbles,
with bases and capitals of alabaster. These bases rest on a moulded
plinth of red Mansfield stone, which also forms the plinth of the whole
composition. The arches of the niches are surmounted by crocketed
pediments of alabaster, the finials and crockets of which are orna-
mented with bosses of marble. The spandrels of the arches are filled
with marble mosaics. The alabaster moulded cornice over the altar is
continued, and is intersected, by these pediments. The projecting
148 SOME NOTABLE ALTARS
flank pinnacles are supported on shafts of polished granite, with ala-
baster caps and bases. In these niches stand Caen stone figures of
the cieht Doctors of the Eastern and Western Church. The first on
the north side is St. Gregory, W., St. Basil, E., St. Jerome, W., St.
Athanasius, E. The first on the south side, next the Altar, comes
St. Ambrose, W., St. Chrysostom, E., St. Augustine, W., and St.
Gregory Nazianzen, E. These have all been special gifts, and have
cost sixteen guineas each. The centre sculpture contains nine large
figures, besides two smaller figures of angels. Our Saviour hangs
dead on the Cross, his arms wide stretched, his head bowed towards the
right, on which side is a group of the Holy Women ; Salome, mother
of St. John, and St. Mary, the wife of Cleophas, supporting the almost
fainting form of the blessed Virgin, and St. Mary Magdalene kneeling
in loving humility, embracing the feet of Christ ; beside her, that ala-
baster box of ointment wherewith she ' did what she could.' On the
other side is the Centurion, who was the first to make confession of the
Godhead of the Crucified, also kneeling ; and behind him stand St.
Joseph of Arimathaea, Nicodemus, and St. John, the beloved disciple.
" The sculpture on the north side represents the Agony ; St. John
sleeps in the foreground, his head resting on his hand ; whilst further
back our Saviour kneels, as in that mysterious hour of woe, one angel
reverently supporting Him, and others of the Heavenly hosts look-
ing on, with folded hands, in wonder. Beneath a great stone a serpent
lies crushed — emblem of him who first, in a garden, won victory, and
again, in a garden, was bruised and vanquished by a Stronger than he.
" The sculpture on the south side represents the Entombment, in
which St. John, and St. Joseph of Arimath^ea, and another, tenderly
lay the dead Body of our Lord in the Tomb, while the women stand
or kneel in various attitudes of grief.
" All these sculptures were executed by Mr. Forsyth, of London ;
the canopies by Messrs. Poole, of London, and Allen, of Leicester.
The whole has cost about ^2000.
" The Super- Altar is white Carrara marble, and has stones inlaid in
various designs ; the stones include agate, jasper, cornelian, crystal,
malachite, amber, pink coral, bloodstone, etc."
CHAPEL OF CHELTENHAM COLLEGE 151
CHAPEL OF CHELTENHAM COLLEGE
" In Memory of old Cheltonians who fell in the South African War
of 1 899-1 902" is the inscription upon the Cheltenham Reredos.
This is indicative of the patriotic spirit that stimulated the erection of
this artistic production. The Reredos has been rightly described as
"a great work, a worthy memorial, an inspiring history in stone."
The architect and builders are residents of Cheltenham ; the former
Mr. H. A. Prothero, and the latter R. L. Boulton and Sons. The
material used is clunch from Cambridgeshire. The cost reached
The central compartment represents Christ on the cross, not in
agony, but with a face full of tenderness and hope as he looks out
over a world he has redeemed. On either side of his head is an ador-
ing angel and below are St. Mary and St. John. The large figures
about the cross in niches represent prominent characters associated
with the history of England. On the Gospel side in the upper row
are Becket and Langton. In the lower niches are Dunstan and
Anselm. On the Epistle side in the upper niches are Bede and
Cranmer, and in the lower Wycliffe and Tyndale. Below the cross in
a small grouping is the Adoration of the Magi, and on one side are the
archangels, Michael, Gabriel, Raphael, and Uriel, and on the other side
are the saints, David, Patrick, Andrew, and George. Returning to the
larger statues, those on the upper row, on the Epistle side, are Wesley,
Rakes, and Howard, and those in the lower niches, Keble, Colet, and
Wilberforce. The symbols below the pedestals represent Fortitude,
Truth, and Justice. The three large statues on the Gospel side are St.
Alban, King Arthur, and King Edmund, and below are Columba,
Augustine, and Aidan. The symbols below the feet are Faith, Hope,
and Charity. The large figures are each four feet high, and appear in
the costume of their time. The small figures, two feet high, are ar-
ranged in the four buttresses. Beginning on the left we have in art
and science Chantrey, Reynolds, Wren, Handel, Claxton, and Newton.
In the second buttress, administration, education, and leadership are
,53 SOME NOTABLE ALTARS
indicated by Lawrence, Simon of Montfort, Arnold, Wykeham,
Gordon, and King Alfred. In the third buttress, representative of
literature, learning, and leisure, are Shakespeare, Milton, Bunyan, Scott,
Butler, and Walton. The fourth and last buttress illustrates various
professions, as suggested in the statues of Herbert, Livingstone, More,
Jenner, Gresham, and Sir John Franklin.
The grouping of all the figures is most historic and instructive as
representing the place and power of Great Britain in the world.
These ideas are accentuated in the statues first, of founders and cham-
pions; second, in the builders up of Church and State; third, the
promoters of the National Bible and Prayer Book; and fourth, the
leaders of great movements in the spiritual, intellectual, and social
world. Such a splendid array of human endeavor should be an in-
spiration to the youth of England. The floral ornamentation of the
Reredos throughout is rendered highly symbolical by the graceful use
of the emblems of the rose, thistle, shamrock, leek, oak, and vine. As
a whole the Reredos is regarded as one of the most beautiful examples
of perpendicular Gothic in modern times.
ST. GEORGE'S CHAPEL 155
ST. GEORGE'S CHAPEL, WINDSOR
The Reredos constructed of alabaster was erected in the years
1862-63. It was provided by the Dean and Chapter at a cost of
^1200. It was executed by an ecclesiastical sculptor named Philip
from designs by Sir George Gilbert Scott. It was completed in time
for the marriage of the present King Edward VII in March, 1863.
The central subject represents the eleven disciples offering their
adorations to the resurrected Lord. In one of the side panels Christ
is instructing a group of his disciples and in the other he is appear-
ing to St. Mary. These three panels are made in white marble. The
panels on either side of the Reredos with the angel heads were added
later, as also the rich canopy with its row of statues. At either end
is the figure of St. George and the Dragon. These additions were
put up in 1867 as a memorial to the Prince Consort.
,56 SOME NOTABLE ALTARS
ST. MATTHEW'S CHURCH, NORTHAMPTON
The Parish Souvenir iox 1902 contains the following account: —
" Raised upon a marble foot-piece, eight steps from the nave floor,
and placed some distance from the east wall of the apse, is the Altar,
composed chiefly of wood, but with an alabaster front, which is di-
vided into three main compartments, surrounded with moulded fram-
ing; and the compartments, of which the centre is the widest,
are treated in sunk and moulded panel-work and tracery, beneath
which are figure subjects in sculptured relief as follows : In the centre
is the Feeding of the Multitude, in which Our Lord is represented
as distributing the loaves and fishes to the disciples, and the disciples
to the multitude. The men are seated on the ground according to
the gospel story, while the women and children are seen standing on
the outskirts of the throng. Below is inscribed the appropriate text
— 'If I send them away fasting, they will faint by the way.' The
compartments on each side have typical subjects taken from the
Old Testament. On the left hand is shown Melchizedek giving bread
and wine to the patriarch Abraham, with the inscription, ' A Priest of
the Most High God.' On the right hand is shown the angel appear-
ing to Elijah under the juniper tree, with the inscription — 'Arise and
eat, for the journey is too great for thee.'
" The whole of the sculptures are parcel gilt, and the backgrounds
and mouldings are in gold and delicate colors. They are the work of
Mr. W. Aumonier, of New Inn Yard, Tottenham Court Road, London.
" A Retable, or Gradine, of moulded and polished alabaster is built
up from the floor of the apse at some clear distance east of the Altar,
and from it rises the Reredos to a height of sixteen feet. The general
composition is an arrangement of figure subjects in tiers and under
canopies, with gables and intervening buttresses, and headed work
running horizontally in the lowest stage. The central compartment
contains the Crucifixion, with St. Mary and St. John ; and arranged
on either side are two tiers of saints and martyrs, chosen from all
ages and some with reference to Church history of our own country.
They are: St. Stephen, St. Ignatius, St. Polycarp, St. Vincent, St.
Lawrence, St. Alban, St. George, St. Edmund, St. Giles, St. Co-
lumba, St. David, and St. Patrick. Below are female saints : St. Mary
Magdalene, St. Lucy, St. Agnes, St. Margaret, and St, Helena."
ALTAR AXn RF.RF.DOS IN ST. M A TIIII- \VS ClUkc II.
^ W TiunlSc Co., Orford.
I II \.MI'I()X
BEVERLEY MINSTER i6i
BEVERLEY MINSTER
In the York Diocesan Magazine for July, 1897, there appears an
account of the restoration of the Altar Screen of Beverley Minster
from the pen of the Rev. Canon Nolloth. This enters so decidedly
into all the details of the work, and gives such an exhaustive descrip-
tion of the various statues, that it is by permission reprinted in full.
" The Reredos or Altar Screen of Beverley Minster has just
been restored by the Vicar as a memorial to his father, the late
Captain H. O. Nolloth, R.N. It was erected in 1826, and was an
exact restoration of the old Screen which was constructed in the
reign of Henry III and was defaced by the reforming zeal of
the Puritans under Cromwell. The design contained two stages,
each divided into twenty-four niches, those on the lower com-
partment having crocketed pediments, while the niches in the upper
story are surmounted by beautiful tabernacle work, and on the top is
an open battlement. The whole of these forty-eight niches and
panels have been filled with mosaics and statues, the former by
Messrs. Powell, and the latter by Mr. N. Hitch, of Vauxhall. The
work has been exceedingly well designed and carried out, and the
effect is such that the Altar Screen will henceforth be one of
the' greatest attractions of the interior of the Church. In the base
of the Screen, below the two statues on the extreme right, the fol-
lowing inscription has been incised in Gothic letters : —
AD MAj : DEI GLOR : Translated : — To the Glory of God
ET IN MEMORiAM DiLECTissiMAM and to the belovcd memory of
HENRici OVENDEN NOLLOTH, Hcnry Ovciiden Nolloth,
IN CLASSE REGAU NUPER PRAEFECTi, latc Commander in the Royal Navy,
PONUNTUR IN HOC PARIETE the Statues and Mosaics
STATUAE ET MusivuM . are placed in this Screen
A.D. MDCCCXCVII. A.D. 1 89 7.
" At a short service held in the Choir of the Beverley Minster,
on Tuesday evening, the Vicar, the Rev. Canon Nolloth, D.D., gave
a description of the work, together with an account of the saints,
kings, and ecclesiastics commemorated in it from their connection
i62 SOME NOTABLE ALTARS
with Beverley and the north of England. The service began with
the hymn ' Hark, the sound of Holy Voices.'
" The Vicar at this point said : —
"'The completion of the Reredos or Altar Screen was chosen
as the subject of this memorial to one the last years of whose long
and happy life were spent here, for two reasons: First, because it
obviously appeared to be the work needing most to be taken in hand
in the interior of the Minster — the one object in this Choir unsur-
passed in beauty by any in Christendom, which seemed bare and
unworthy, and yet occupying the most conspicuous position therein,
the very focus of all its hallowed associations ; and secondly, because
of the danger that one day it might be taken in hand after the man-
ner of a design which I have seen, without due consideration either
of the historic and sacred interest which might be thrown into it, or
of the paramount importance of harmonizing it with its surroundings.
In saying this I am not unmindful that he who has ventured to
attempt this task may possibly be held by not a few to have fallen a
victim to this very danger, and to have failed in his high aim. For
where architectural, antiquarian, and artistic tastes are all concerned,
as in this instance, it were idle to imagine that all will approve. The
author of this work can only reply that matters of this kind have
been to him objects of deep interest and study and much travel all
his life ; that for the seventeen years of his sojourn in Beverley this
work of restoration has been frequently in his mind, and he has had
from time to time the opportunity of unfolding his views to, and
having them approved by, many persons of high taste and culture.
'"The Reredos was erected about the year 1330, some eight or
ten years apparently before the Percy Shrine. The eastern side of
it, fronting the Chapel of St. John of Beverley (or, as it is now com-
monly but erroneously called, the " Lady Chapel "), remains very much
in its original condition, with the two beautiful niches, " waving " string
course, and delicate ornamentation which made Rickman declare it to
be " the best school for decorated details in Enorland." The Screen
was intended to separate the Choir with its constant services from
interruption by the stream of pilgrims and diseased persons visiting
BEVERLEY MINSTER 163
the shrine of St. John of Beverley, who was described by Professor
Bright as "an object of greater reverence than any northern saint,
except Cuthbert." The gallery on the top of it would probably con-
tain a diminutive " pair of organs," possibly a Rood ; and behind the
Rood a cell of carved woodwork for the watcher of the shrine. The
front of it is that with which we have to do. At the dissolution of
the society of St. John, in 1547, or probably soon after, the statuary
was broken down, and the rich tabernacle-work defaced. Later it
was covered with a coating of plaster, on which the Commandments,
the Lord's Prayer, and the Apostles' Creed were rudely painted. In
the beginning of the last century a high and incongruous Screen of
oak, with eight Corinthian columns supporting a triumphal arch, sur-
mounted by a gilded eagle, the emblem of St. John the Evangelist,
was erected in front of it. About 18 15 the upper part of this Screen,
which was so high as to block out the view of nearly the whole of the
east window, was taken down, leaving its huge pedestal. Mr. Comins,
the clever master mason then employed at the Minster, carefully ex-
amined the mutilated remains of the ancient Reredos, took casts of
the ornaments and mouldings, and persuaded the trustees that it was
practicable to restore it in all its details. This was done, and com-
pleted in February, 1826. Plenty of fragments of every part of the
original work remain which show that the reproduction was most
careful and exact.
" ' But in this state the Screen was after all only a series of twelve
niches without the statues, and thirty-six frames without the pictures.
Its abundant, rich carving was only noticed by the close observer,
and its effect from the body of the Choir was that of a stone wall,
relieved only by a pierced parapet. The problem was, how best to
reproduce the combined effect of statuary with gold and color in the
original : and at the same time to make it tell something of the his-
tory of the kings and great men who had to do with the bringing of
Christianity into these parts in the days of old, and of the saints of
Holy Writ.
" ' In the centre were twelve flat panels, showing that the Twelve
Apostles were represented above the altar, as at St. Alban's, Bampton,
i64 SOME NOTABLE ALTARS
and Bridlington Priory. On either side were six niches for statues,
which, from the evidence of other figures and carved heads which
remain here, and from the general practice of mediaeval sculpture in
this country, would contain statues of saints and worthies of more or
less local renown. Over the whole are twenty-four shorter panels,
twelve narrow and twelve wider. The Twelve Apostles have there-
fore been replaced in the centre in mosaic by Messrs. Powell, who
have executed the great mosaic work at St. Paul's and elsewhere, and
by long study and experiment have succeeded in producing much of
the effect of the old Italian work. The vermilion and gold diaper
of the ground is a reproduction of the ancient pattern which was
discovered by carefully washing a piece of the old stonework. It
corresponds with the carved rose diaper of the pilasters.
" ' The twelve statues, six on either side of the Apostles, were
intrusted to Mr. Hitch, of Vauxhall, on account of his great expe-
rience of such work under Mr. J. L. Pearson, the eminent R.A. and
architect of Truro Cathedral, and many important churches, including
Dalton Holme in this neighborhood. Mr. Hitch had executed the
figures in the Altar Screens of Truro Cathedral and New Colleare
Oxford, and figures at Peterborough and Lincoln Cathedrals, etc.
Mr. Pearson has most carefully superintended the execution of these
figures, Beverley Minster and this Screen having been familiar to
him from youth. Full-sized clay models of all the statues were
approved by him, and an exact model of the niches made for the
purpose. He had the small bases on which the figures rest modeled
and altered three if not four times over, ideas for them being supplied
by drawings of bases in other parts of the Minster. With Mr. Pearson's
full approval the niches have been lined with mosaic of the same
ancient pattern. This has the twofold advantage of throwing the
figures into bold relief and securing uniformity of tone by carrying
the effect of gold and color over the whole Screen. I am not aware
of any other instance of this treatment in England, but it is to be met
with in Italy, notably in a fine example at Ravenna.
'" Let me here turn aside to deal with one or two criticisms. It
may be asked: Does not the second Commandment prohibit "graven
BEVERLEY MINSTER 165
images" ? Yes, but only when made to be " bowed down to " and " wor-
shipped." This is clear from the words which follow, " nor the likeness
of anything that is in the heaven above, or in the earth beneath," which
would, if unlimited, render it equally wrong to take a photographic
likeness of your nearest relative. In the Jewish Tabernacle itself,
there were figures of cherubim made by command of God Himself:
so was the brazen serpent. But when, long afterwards, the Israelites
offered incense to it, Hezekiah ground it to powder. The same abuse
brought the same fate upon the statues with which our Cathedrals and
Minsters were adorned three centuries ago ; and we can scarcely
blame, though we may deplore, the destructive zeal of our Puritan
forefathers.'
" The Vicar then proceeded to deal at length with other possible
objections; pointing out the need of some warmth and color, and the
difficulty of introducing it. He said he hoped that by confining it to
the sunk portions, the rich carving of the rest of the Screen would be
thrown into relief as it never was before, and at the same time a disas-
trous contrast with the Percy Shrine would be avoided.
" In the central mosaics each Apostle bears his emblem — St.
Peter the keys, St. Andrew his cross, etc. In the twelve panels
above an angel displays over each Apostle a scroll inscribed with
the portion of the Creed traditionally assigned to him. In the
fifteenth-century glass preserved in the upper portion of the east
window, Apostles are seen bearing the scrolls themselves.
" The twelve statues represent : —
" I. King Lucius. The register of Simon Russell, a valuable manu-
script of the date 14 16, commonly known as the ' Provost's Book,' and
now happily restored to the Minster, commences with the statement
that Lucius, son of Coil, founded the Church of Beverley in the year
187. As the story of Lucius, and his foundation of churches in Lon-
don, Gloucester, and elsewhere, is generally regarded as apocryphal, this
apparent sanction of it has been condemned by some critics. But as
Archbishop Usher gives a list of no less than twenty-three authorities
who mention him, and as the story was current in both the Celtic and
Saxon branches of the Church in Britain, there seems no reason to
,66 SOME NOTABLE ALTARS
doubt that there was a British chief of that name who became Christian.
Even if we regard him as purely legendary, it seems to me that legend
has as legitimate a place in the sculpture of a Gothic Minster, 'a poem
in stone,' as in the verse of Tennyson. If he be entirely a myth, then
his figure as the founder in primitive crown and armor, and bearing the
model of a very early Church in his hand, may be taken as the em-
bodiment of a fact — that the foundation of this venerable sanctuary
goes back beyond the historic period into the realm of legend.
" 2. St. Hilda, Abbess of Whitby ; preceptress of St. John of
Beverley.
"3. St. John of Beverley, born at Harpham-on-the- Wolds ; sent
as a boy to the school of Canterbury, taught by the African Hadrian,
the fellow-laborer of Archbishop Theodore, of Tarsus. From Can-
terbury John passed to Whitby. No less than five students under
Hilda, this mother in Israel, became Bishops of various Sees. On
Sunday, August 25, 687, John was consecrated Bishop of Hexham, nine-
teen years after he was translated to York. He was a true missionary
Bishop, a light shining in a dark place, preaching the Gospel from
an open Bible, as portrayed in that figure, and always surrounded
by a little band of scholars whom he trained for evangelistic work.
His skill in medicine, which, with mathematics, astronomy, and music,
as well as theology, he had learned in the school at Canterbury,
enabled him to perform cures which in those simple days were
thought miraculous. Most of us remember the story of his treatment
of the deaf and dumb youth. In the year 718, he retired to Beverley,
where he had rebuilt the Church, and founded, not as commonly
reported, a monastery, as that term is now understood, but a half
parochial, half missionary establishment, to be a centre of light and
Christian teaching in the forest of Deira. Three years later he died,
and was buried in what was then the apse of St. Peter, now the east
end of the Nave.
"4. Brithunus, disciple of St. John, and first Abbot of Beverley;
buried in the Minster near him. The ancient sixth bell, formerly
the second, cast about the year 1366, bears this inscription: —
" ' Ista secunda tonat ut plus Brithunus ametur.'
BEVERLEY MINSTER 167
"5. The Venerable Bede, disciple and biographer of St. John of
Beverley, by whom he was ordained deacon and priest ; a learned man
of science and historian. He finished the translation of the gospels
into Anglo-Saxon, which St. John had begun. It is almost impossible to
exaggerate the influence which he exercised upon the learning of the
early Middle Ages. No less remarkable was his piety and humility.
Time would fail to mention the beautiful stories treasured in his
ecclesiastical history. Various explanations are given of the origin of
his being called ' The Venerable.' (Two of these were related.) The
story of his death is minutely told by an eye-witness. It occurred on
the eve of Ascension Day, in the year 735. Shortly before, he had
composed an antiphon which seems to have been the original of our
Collect for the Sunday after Ascension Day: ' O King of Glory, Lord
of might, who didst on this day triumphantly ascend far above the
heavens, we beseech Thee, leave us not comfortless, but send to us the
promise of the Father, even the Spirit of Truth, Hallelujah.'
" 6. King Athelstan ; bearing in one hand the dagger, which he left
as a pledge on the Altar here, and which is still preserved with the
remains of St. John, and in the other his famous charter to the Church
of Beverley, on which are seen the words ALS PRE.
"7. Eborius, first recorded Bishop of York, 314.
" 8. St. Gregory the Great. In the west window of the south
aisle you may remember how he is displayed walking through the
slave market at Rome, and struck by the three fair children, who are
said to have been sons of a Prince of Holderness, a district into which
our parish extends: 'Call them not Angles, but Angels,' he said
(non Anglos, sed Angelos). Asking the region whence they were
brought, he was told ' Deira.' ' Then will we deliver them from the
wrath (de ira) of God.' He never forgot his vow, and when he became
Bishop, soon sent St. Augustine to our shores. He is represented
frequently, as in this figure, with a dove whispering into his ear: The
emblem of inspiration.
" 9. St. Augustine of Canterbury.
" 10. St. Alured of Beverley. A great historian. ' The English
Florus.' Born at Beverley, 1109; Sacristan, Canon, and Treasurer of
,68 SOME NOTABLE ALTARS
the Minster. Afterwards Abbot of Rievaulx. One of the Saints of
the Cistercian Order; his day the 2d of ALirch.
" II. Ethelberga, a Christian Princess of Kent, married to
"12. Eadwinc, King of Northumbria, by PauHnus, 625. Edwin
was baptized Easter Eve, 627.
" Paulinus appears in the second panel of the upper tier of mosaics.
He was tlie first Saxon Bishop of York, 627.
" Coifi, the last High Priest of Thor. Converted by Paulinus at
Goodmanham, he was the first to cast his spear at the old sacred
enclosure of the Temple and trample his idols under foot. Bede has
preserved for us the story of the Northumbrian thane, who, when
King Edwin at this same Conference at Goodmanham asked his
council to decide whether the missionary Paulinus should be heard,
gave his voice for Christianity, for he said the human soul seemed to
him like the little bird which fluttered in winter into a lighted hall,
and then out again into darkness. No one knew whence it came, and
whither it went. 'This man says that he can tell us. Let us hear
him.'
" Alchfrid, King of Northumbria, by whom St. John of Beverley
was made Bishop of Hexham.
" St. Wilfrid, Bishop of York, 665.
" St. Chad, Bishop of York, and afterwards of Lichfield, reversing
the order of our own Diocesan.
" Winwald, disciple of St. John of Beverley, and second Abbot,
733. Buried in the Minster.
" Alcuin, preceptor of Charlemagne, Canon and Chancellor of
York: a link between Bede and the learning of the Middle Ages.
" Kinsius, Archbishop of York, 105 1 ; he built a high tower to the
Church of Beverley, and placed in it two great bells, which are seen
above him, while he holds the model of the tower in his hand.
"St. William of York, Archbishop, 11 44.
"St. Thomas a Becket, Provost of Beverley, 11 39; Archbishop of
Canterbury, 11 62; murdered in Canterbury Cathedral, 11 78.
"At either end of this row is placed a subject appropriate to him
to whose memory this work is dedicated. At the north end appears
BEVERLEY MINSTER 169
St. Nicholas, Bishop of Myra, the Patron of sailors, said to have
quelled by his prayers a violent storm in llie Mediterranean; his hand
rests upon an anchor. In almost every seaport, and near many a
riverside, as at Beverley, was to be found once a Church bearing his
name. The south end closes the entire series with the old ecclesias-
tical emblem — the ' Navis,' or ' Ship of the Church ' ; over her bulwark
hangs another ancient symbol, an anchor enclosed within a circle,
suggestive of eternal hope. Almost from the time when a little vessel,
tossing upon the Sea of Galilee, bore the Redeemer of the world and
the twelve Apostles, we find this symbol in ecclesiastical imagery.
' The Church,' says an old father, 'is like a ship, bearing over the
unquiet sea mariners from every clime, but all bound for one haven.'
We find the same thought in Charles Wesley's hymn : —
" 'There all the ship's company meet,
Who sailed with the Saviour beneath.' "
,-o SOME NOTABLE ALTARS
CHRISTCHURCH PRIORY, HANTS
This is an ancient stone Reredos, probably earlier than the fifteenth
century. It is arranged into three tiers with five compartments in
each, the central one wider than those on either side. The Reredos is
carved with a representation of the tree of Jesse. The Rev. Thomas
Perkins writes : " Above the Altar in the central compartment Jesse
lies asleep ; on the left hand David plays upon his harp ; on the right
sits Solomon deeply meditating. Above Jesse we have in one carving
an amalgamated representation of the birth of Christ and the visit of
the Wise Men. On the left hand sits the Virgin Mary with her Child,
fully clothed in a long garment, not wrapped in swaddling clothes,
standing in her lap. Behind her stands a man, probably Joseph, and
before her kneels one of the Wise Men, offering his gift of gold in the
form of a plain tankard. On the right behind him stand his two fel-
lows, one carrying a pot of myrrh, the other a boat-shaped vessel,
probably intended for a censer containing frankincense. On a bracket
above the head of the kneeling Wise Man, the shepherds kneel in adora-
tion ; nor are the flocks that they were tending forgotten, for several sheep
may be seen on a hilltop above their heads. Thirty-two small figures
may be counted in niches in the buttresses dividing the compartments.
Crockets, finials, and pinnacles decorate the various canopies over the
carvings." ^
1 Wimborne Minster and Christchurch Priory, pp. 112-113.
ALTAR AND SCREEN IN CHRISTCHIRCH PRIORV, HANTS
I!y i»TmK-,iuTi .il Cxril F.llis, loiiiLiii.
ALTAR AND RERIvDOS IN THE CHAPEL OF THE CONVENT OF ST. MARGARET, EAST GRINSTEAD
CHAPEL OF THE COiNVENT OF ST. MARGARET 175
CHAPEL OF THE CONVENT OF ST. MARGARET, EAST
GRINSTEAD
Both Altar and Reredos are built of beautifully polished material.
The Altar is built of alabaster at a cost of £ 1 50. The Reredos is
also of polished alabaster with panels containing figures in marble.
The middle one represents the Crucifixion of our Lord, with four
others of scenes in Scripture story. The Reredos cost $1000, and
with the Altar was built by Earp and Hobbs, Lambeth, London.
176
SOME NOTABLE ALTARS
1
ST. STEPHEN'S CHURCH, CLEWER
The Reredos was built in 1875 by Mr. Woodyear, and the decora-
tions were executed by Mr. George Ostrehan, brother of the Vicar.
The central figure is that of Christ holding the cross in his right hand
and an orb in his left. The highly polished material and the graceful
proportions make the Reredos very effective. The Altar is constructed
of oak with mensa of stone. On the front are representations of the
nine orders of angels, finished in gold and color.
Hv [vrmivsion nf Cyril KIlis, i^n^lon.
ALTAR AND REREDOS IN THE CHL'RCH OF ST. STEPHEN, CLEWER
ATTAR AMn r>Trr>T-T^^r, ,,, ~ Hv psrmission of Cyril Ellis, London.
ALTAR AND REREDOS IN THE CHURCH OF ST. MARGARET, KING'S LYNN
ST. MARGARET'S CHURCH i8i
ST. MARGARET'S CHURCH, KING'S LYNN
The Reredos is a fine illustration of artistic carving in wood. It
was erected at a cost of ;^iooo. That sum was left for the purpose by
Miss Blencome of Lynn. The material used is carved oak, painted and
gilded. The design was made by Mr, Bodley and executed by Mr.
Bridgeman of Lichfield. The central figure is that of Our Blessed
Lord. On his right hand and left are figures of St. Jerome, St. Augus-
tine, St. Ambrose, and St. Gregory.
,82 SOME NOTABLE ALTARS
CHURCH OF ST. MARY MAGDALENE, ELMSTONE,
CHELTENHAM
In the issue of the Gloucestershire Chronicle for September 25, 1886,
there is an account of a thanksgiving service in the Church of St.
Mary Magdalene on the festival of St. Matthew. It reads : —
" The main feature of the day was, however, the benediction of a
new Reredos, erected under a faculty issued by the Chancellor of the
Diocese, and by the munificence of two parishioners (the Misses Holt),
at a cost of ;i^i50. The Reredos consists of three principal and six
subsidiary compartments. The central compartment, which is projected
somewhat forward, and so breaks the ordinarily monotonous straight
line which is characteristic of most Reredoses, springs from a base on
which, in the midst of rich diaper work, are carved the sacred letters
' I. H. S.' Above this base, and deeply recessed, is a crucifix in bas-
relief, with, at its foot, figures of St. Mary and St. John, also in bas-
relief. Above is a canopy, surmounted by a spire of crocketing
work, terminating in a finial. A similar but smaller spire surmounts
the other two principal compartments, — that on the north side
being occupied by an image of the Blessed Virgin, holding the
Divine Child ; that on the south by an image of St. George, the treat-
ment of which is strikingly original and effective, a sword tak-
ing the place of the conventional spear, and the convolutions of
the dragon exhibiting great vigor of treatment. The six
subsidiary compartments are occupied, on the south side of the
central compartment, by images of St. Augustine of Hippo, St. Mary
Magdalene, the patron saint of the Church, and St. Ambrose ; on the
north side by the images of St. Gregory, St. Alphege of Deerhurst
(Elmstone Church being an offshoot of that religious house), and St.
Jerome. The images and the Crucifixion group are of Seaton stone,
the pure white of which contrasts most effectively with the deeper tint
of the fine Corsham stone of which the rest of the Reredos is composed.
Each image stands upon a carved capital, and the pillars of the arcad-
ing are of red Mansfield stone. The general line of the top of the
By iATini>Muii ut Csril Kllis. Lomlon.
ALTAR AND REREDOS IN THE CHURCH OF ST. MARV MACIDALENE, ELMSTONE
CHURCH OF ST. MARY MAGDALENE 1S5
Reredos consists of perforated and richly carved cresting. The
gradines are of white alabaster, capped with Sicilian marble, and ex-
quisitely carved with passion flowers, ears of corn, vine leaves, and
grapes. The bases of the two extreme compartments are richly
diapered. The Altar rails, presented by the churchwardens, arc of
alabaster, combined with Seaton stone, and supported by alabaster
bases, shafts, and capitals. The whole was designed and executed by
Mr. A. B. Wall, of Cheltenham, who is to be congratulated upon the
completion of a Reredos which will add greatly to the reputation
which he already enjoys, not merely in his own locality but through-
out the kingdom. Independently of the stately beauty of the design
as a whole, the Reredos is remarkable for the unusual excellency of its
carving, the expression and pose of the images, and a conscientious care,
even in the most minute details, which deserves the highest praise."
,86 SOME NOTABLE ALTARS
CHRIST CHURCH, BRISTOL
The Church of St. Ewen stood for many years opposite Christ
Church, but in 1787 the two Hvings were consolidated. St. Ewen's
was demoHshed in 1820. The Reredos was constructed of stone in
1883. The central panel is a representation of the Crucifixion. In
a niche on the right is a figure of St. Ewen. The niche on the left
contains a statue of St. John the Baptist. The south aisle of St.
Ewen's was dedicated to St. John the Baptist and was the Chapel of
the Merchant Tailors' Guild. The four heads, two above and two
near the ground, in the Reredos represent four Latin Fathers. Above
are reliefs of angels with censers. The Reredos is a memorial. Tow-
ard its erection Mrs. Cole and the Misses Cole, the then Rector's
mother and sisters, gave ^100, in memory of Thomas Bulman Cole.
The entire cost of the Reredos was £ 180.
H\ (■(TiMi's-.inn uf l'\ril Kills. London.
ALTAR AND REREDOS IN CHRIST CHURCH. BRISToE
I
ST. PAUL'S CHURCH 191
ST. PAUL'S CHURCH, CLIFTON, BRISTOL
The Reredos is built of teakwood, while the base is of marble and
the sides of alabaster. The three pictures represent the revival of an
ancient art. A good and rich glass is subjected to great heat, and then
it is painted on. Again it is submitted to heat with the result that the
colors are burned in and the work becomes permanent. It is an im-
provement on the old mosaics, inasmuch as the human face and form
are more natural and graceful. Messrs. Powell of Whitefriars designed
and executed the pictures, and Mr. Henry Hirst of Bristol was the
architect. The central panel represents the glorified Christ. As our
great High Priest he is represented as blessing the congregation.
The crucified Lord is on the left, and the Nativity on the right. The
whole design of the Reredos is to accentuate the doctrines of the
Atonement and the Incarnation. The Reredos was finished in Sep-
tember, 1903, and with the other decorations of the sanctuary was the
gift of Mr. George White, of Bristol, commemorating his daughter's
marriage in the Church. The cost of the Reredos was ;^iooo, while
^350 more were spent on the adjacent enrichments.
,92 SOME NOTABLE ALTARS
CHURCH OF ST. MARY'S, REDCLIFFE BRISTOL
The Reredos is modern, having been erected in 1866-67. It was
designed by Mr. Godwin, the architect of the Church. All except the
three middle panels was carved by Mr. Rice. The whole of the Altar
and Reredos is of Caen stone. The central panel is Christ blessing
the loaves and the fishes. The panel on the right hand represents
the distribution of the loaves and the one on the left the distribution
of the fishes. These three panels were carved in London out of very
fine Caen stone. The cost of the entire work was about ;^iooo.
J. W. I^iUMJM, nrLstul.
ALTAR AND REREDUS IN THE CHURCH OK SI. MARV, REDCi.l 1 1- K, liRISTOL
ALTAR AND REREDOS IN ST. CHADS CHURCH,
1'.' I ' nMi--sion of C\Til Ellis, London.
HACIGERSTON
CHURCH OF ST. CHAD 197
CHURCH OF ST. CHAD, HAGGERSTON
The Altar is of massive oak, with a stone slab. It was presented
by Mr. J. Scott Chad, of Thurstone Hall, Norfolk. The Reredos was
erected in 1889. It is constructed of white stone inlaid with marble.
The architect was Mr. Brooks and the sculptor was Mr. Earp, of Lam-
beth. The figures in the centre of the Reredos represent Our Lord on
the Cross, while at his feet are the Blessed Virgin Mary and St. John.
On the right hand are Joseph of Arimathea and the Roman Cen-
turion. On the left are St. Mary Magdalene and St. Mary, wife of
Cleophas. The Reredos was the gift of several friends, but is not a
memorial. The foundation stone of St. Chad's Church was laid by the
late Rt. Rev. Charles T. Quintard, D.D., L.L.D., M.D., Bishop
of Tennessee, on Shrove Tuesday, February 25, 1868.
198 SOME NOTABLE ALTARS
CHURCH OF ST. MARY THE VIRGIN, MARSH GIBBON
The Altar is built of oak and was erected in 1880. A carved
stone Reredos reaching the length of the Altar was added in 1902.
It represents the institution of the Holy Communion. Our Lord is
standing in the act of blessing the cup, and surrounded by the Apostles.
A border of vine leaves and grapes surrounds the whole. At the
same time a painted east window was constructed. The Reredos and
window were dedicated by the Lord Bishop of Oxford at a special
service on October 20, 1902. The cost of the Reredos and window
was ^170. The Reredos was executed by Earp and Hobbs and the
window by Heaton, Butler, and Bayne, of London.
Uv |,rmi~-i..ii "I llrnr\ \V. Tiunt S: Co.. Oxtoril.
ALTAR AND RKRKDOS ].\ 1111. CIH KCH Ol' ST. MAKV TIIK \1K(,IN, MAR.'^II C.IUHON
By ixmiission of Iknry W . raiml & Co., 0\ford.
ALTAR AND REREDOS IN ST. PETER'S CHAPEL OF BURFORD CHURCH
ST. PETER'S CHAPEL OF BURFORD CHURCH 203
ST. PETER'S CHAPEL OF BURFORD CHURCH
The Reredos is an antique structure dating from about 1490. It
is built of stone with a canopy of wood. A figure of Our Blessed
Lord is in the centre, with the Virgin Mary on his right hand and St.
Dorothea, virgin and martyr, on his left. These were the Christian
names of two sisters who restored the Chapel in memory of a sister.
The topmost figure represents St. Peter, which was found under the floor
of the nave at the restoration in 1S72. The figures were carved in
London, but the name of the artist is unknown. The same can be said
of the original builder. The architect of the restoration was Mr. G. E.
Street. The cost of this, which included the coloring of stone and
woodwork, was ^74.10.
204 SOME NOTABLE ALTARS
MINSTER LOVELL, WITNEY
The Reredos is of white stone, and was erected in 1876 in memory
of Lady Maria Taunton. It consists of five panels. Starting from
the left we have the Annunciation, the Nativity, the Crucifixion, the
Resurrection, and the Ascension.
By pLTinUsiun of Mr. \V. Adam?, WUney.
ALTAR AND REREDOS IN ST. MARY'S CHURCH, WITNEY
ST. MARY'S CHURCH 209
ST. MARY'S CHURCH, WITNEY
The Reredos is of stone and was erected in 1884. The statues
are of alabaster, delicately accentuated with gold. The Saviour is rep-
resented in the central group, willi an angel on either side. The other
figures placed in recesses are the Blessed Virgin Mary, St. John, St.
Mary Magdalene, and St. Peter. The whole symbolizes the doc-
trine of Our Lord's Resurrection, and leads up to the further scrii>
tural truths in the painted window above. The work is a memorial, as
indicated by the following inscription : " To the glory of God, and in
memory of Augustine Batt, M.D., son of Edward Augustine Batt,
surgeon." The Reredos was built by Clayton and Bell, and Mr.
Nicholls was the sculptor. The cost was between ^300 and /'400.
2IO
SOME NOTABLE ALTARS
CHURCH OF ST. JOHN THE BAPTIST, CIRENCESTER
The Reredos was erected in 1867, and later, in 1889, was colored
and gilded. The architect was Sir George Gilbert Scott, and the
sculptor was G. E. Geflowski, Brinton Street, London. The material
used is stone. The central panel represents the Agony, the Cruci-
fixion, and the Resurrection of our Lord. The side panels to the
north represent the Annunciation and the preaching of St. John the
Baptist. Those to the south the Nativity of Christ and his Baptism.
The figures in the niches are the four Evangelists with their symbols.
I 11 II il H II II II
II n M p I
.Ma^'fiifmt'^m'Xtimj' " n '"',
By iKTiniv^ion (i( I(;iili-> & W'iMKls. I"ircn*c5lcf.
ALTAR AND REREDOS IN THE CHIRCH OF ST. JOHN THE HAPIIST. CIRKNrESTER
HOLY TRINITY CHURCH 215
HOLY TRINITY CHURCH, WATERMOOR
The Altar was erected in 185 1, and the Reredos in 1881. Sculp-
tured freestone is the material used, with columns in marble. The
central panel represents Our Lord in glory. On one .side is the
Entombment of Christ, and on the other the Women at the Tomb
after the Resurrection. The sculptor was Mr. Geflowski, and the
builder, Mr. Bridges, of Cirencester. The architect was Sir George
Gilbert Scott. The work was subscribed for by the ladies of the
parish.
2i6 SOME NOTABLE ALTARS
CHURCH OF ST. JOHN THE BAPTIST,
SUMWERTOWN
The Reredos was erected during the time that the late Arch-
bishop of Capetown was Vicar of the parish. The material used is
stone, which is constructed in three panels. The central one is a
representation in relief of the Crucifixion. On one side of the figure
on the Cross stands St. Mary the Virgin, and on the other side St.
John. At the foot of the Cross is the figure of St. Mary Magdalene.
The two side panels are rich in mosaic work.
liy itTniis^iim <it Hcnrv \\ . i ;iuni iV t o., i Ulord.
ALTAR AND RERKDOS IX CHLRCH OF ST. JoHN THK BAPTIST, SIMMK.RTOW \
ALL SAINTS' CHURCH, EVESHAM 221
ALL SAINTS' CHURCH, EVESHAM
This Church was built by the monks in the time of Edward HI,
shortly after the battle of Cressy, in memory of those who fell ; hence
the name of the Church. It was connected with an Abbey founded in
701 by the Bishop of Worcester, who resigned his sec and became
the first Abbot. The Reredos is modern and was built in 1876, at a
cost of £130, and is of marble. The central part depicts the Descent
from the Cross. The side panels contain angels in the attitude of wor-
ship. The architect was E. Purdy, of London, and the builder, R. L.
Boulton, of Cheltenham. The Reredos was the gift of the Holland
family. The Altar is of oak and was erected sometime before 1870.
222 SOME NOTABLE ALTARS
ST. MARY'S CHURCH, STREATLEY
The Reredos was erected in 1893, and is constructed of alabaster.
The central panel represents Our Lord on the Cross, with St. John and
the Virgin Maiy on either side. The panel on the Epistle side con-
tains the Resurrection and on the Gospel side the Holy Family. The
figures in the canopies are the four Evangelists and Moses and Aaron.
The work was erected as a memorial to Mrs. Stone of Streatley Hall.
Mr. Pearson was the architect, and the builder and sculptor was
Mr. Hitch, of Vauxhall. The cost was about £ 200.
y.
r.
-^
a:
y.
<
ALL SAINTS' CHURCH. RICHARU'S CASTLE 227
ALL SAINTS' CHURCH, RICHARD'S CASTLE,
LUDLOW
The Altar and Triptych were erected in 1892-93. The central
compartment represents the Crucifixion, and the side panels contain St.
Mary and St. John. The panel on the Epistle side has the figures of St.
James and St. Peter, and that on the Gospel side of St. Catherine and
St. Cecilia. The panels on the extreme right and left contain adoring
angels. The Triptych is one of the finest examples of the noted artist,
Charles E. Buckeridge. The architect was Norman Shaw. The cost
was about £800.
228 SOME NOTABLE ALTARS
CHRIST CHURCH, READING
The Reredos was erected in 1862-63. It is constructed of Caen
stone, with forest of Dean shafts. The central representation is that
of the Ascension. The eleven disciples are arranged in groups, two
groups on either side of Christ. The sculptor was Mr. Thomas
Nicholls. The designer of the Reredos was Mr. Burnie Philips, the
architect the late Mr. Henry Woodyear, and the builders Messrs.
Wheeler Bros., of Reading. The spaces on the east wall on either
side of the Reredos are filled with frescoes executed by Heaton, But-
ler, and Bayne in 1897.
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ALTAR IN THE CRYPT OF THE CATHEDRAL OF ST. JOHN THE DIVINE, NEW YORK CITY
CATHEDRAL OF ST. JOHN THE DIVINE 233
CATHEDRAL OF ST. JOHN THE DIVINE, NEW YORK
CITY
This Altar was exhibited at the World's Columbian Exposition in
1893. Afterward it was purchased by Mrs. Celia W. Wallace, of Chi-
cago, and presented to the Cathedral of St. John the Divine, New York,
and there placed in the crypt, where daily services are now held. This
remarkable example of mosaic work was designed by Mr. Louis C.
Tiffany. There are nearly one million pieces of opalescent glass, pearl,
and semi-precious stones used in its construction. The Altar is com-
posed of mosaic and white marble, with the monogram of the Holy
Name and the Apocalyptic emblems of the Evangelists in mosaics of
mother-of-pearl and semi-precious stones. The Retable carries an in-
scription in mosaic from the sixth chapter of the Gospel of St. John, re-
lating to the Eucharistic office. The door of the tabernacle is of filigree
metal work enriched with gems and semi-precious stones. The Reredos
is of iridescent glass mosaic, the design being the vine, symbolical of
the Sacrament of the Eucharist, and the Peacock, a symbol of immor-
tality. The Ciborium consists of a series of arches, the faces of which
are covered with ornaments in relief, with overlays of gold and settings
of glass jewels, and inlays of mosaic inscriptions. These arches are
supported by columns, composed entirely of mosaic, and contain over
two hundred thousand pieces of glass. The Predella is approached by
a series of steps with risers of glass mosaic bearing inscriptions from
the Psalms of David. From the floor of the Chapel to the Predella are
five steps, symbolizing the five wounds of Our Lord and Saviour. The
three upper steps upon which the Predella and the Altar rest are typical
of the Holy Trinity, the foundation of the faith.
This account was chiefly supplied by the Tiffany Co.
234 SOME NOTABLE ALTARS
CHRIST CHURCH CATHEDRAL, LOUISVILLE, KY.
The Reredos is seventeen feet high in the centre and thirteen
feet six inches on the sides. It is divided into seven panels with
shafts that support arches. The three larger ones contain niches
crowned by gabled canopies. These contain statues of Our Blessed
Lord in the attitude of benediction, with the Virgin Mother on the
one side and St. John on the other, all carved of white statuary marble.
The statues stand upon pedestals under richly cut canopies with a
gold-colored background. The minor niches, four in number, are of
Caen stone carved in relief with the passion flower, the lily, the wheat,
and the vine. The Retable is of white statuary marble and has two
gradines and a throne for the cross. The central panel under the
cross has a chalice in relief, and the lower riser has on its face the
ascription, " Holy, Holy, Holy, Lord God of Hosts." The shelving is
of Piedmont marble, of a rich warm gray. The architect was Mr.
Henry M. Congdon,
ALTAR AND REREDOS IN CHRIST CHURCH CATHEDRAI,, LOll.-.X 11.1,1.. K^.
ALTAR AND REREDOS IN ALL SAINTS' CATHEDRAL, MILWAUKEE, WIS.
ALL SAINTS' CATHEDRAL 239
ALL SAINTS' CATHEDRAL, MILWAUKEE, WIS.
The Altar and Reredos were erected in 1902. The material is
white oak. The central statue is that of Our Lord, and St. Matthew
and St. Luke with symbols are on his right and left. The statues
were carved at Munich in Bavaria. The architects were Brielmaier
and Sons, Milwaukee. They were also the builders.
240 SOME NOTABLE ALTARS
CATHEDRAL OF ST. JOHN, QUINCY, ILLINOIS
The following description, written by the Very Rev. Wyllys
Rede, D.D., which appeared in Tfie Cathedral Chimes for July, 1907,
is reproduced with his consent : —
" Through the generosity of the family of the late Richard F.
Newcomb, Esq., who was for many years an active member of the
Cathedral congregation, we have now a Reredos in the Cathedral at
Quincy worthy to rank with the best at home or abroad. It will at
once be recognized by all competent critics as a work of the highest
order both in design and execution. It is marked by great originality,
beauty, and significance. Its purpose is not merely ornamental ; it is
intended to tell a most high and important story, to set forth some of
the chief truths of our religion in such a way as to stimulate and
assist devotion. It is pervaded by a feeling of exaltation, of aspiration,
of solemn repose which is most worshipful. Although many minds
and hands have been employed in its production, all its features are
harmonized into a remarkable unity.
" The theme of the Reredos is ' The Final Harvest' It is an
attempt to express in painting and sculpture the teachings of Our
Lord as to the consummation of our redemption. Its scriptural basis
is found in St. Matthew xiii. 24-30 and 36-43. In this beautiful pas-
sage of Holy Scripture the great Teacher describes the gathering in of
the harvest of souls at the end of the world, — the final harvest home.
'The field is the world; the harvest is the end of the world; and the
reapers are the angels. This noble conception is worked out in the
Reredos with great fullness and force.
" In the central painting are seen three bright and beauteous
angels in mid-air, one bearing grapes, another wheat, the third bending
over the earth "to curse the tares. Behind and beneath them stretches
a wide landscape of smoking ruins, crumbling towers, and tottering
walls, sinking into the shadows cast by the lurid light of the last day.
The skillful management of light and shade in this wonderful painting
and its striking color effects are worthy of careful study. It is an
ALTAR AND REREDOS IN THE CATHEDRA], ()!• ST. JOHN, QL INCV, ILLINOIS
CATHEDRAL OF ST. JOHN 243
original creation and will rank high amongst the great paintings of
America.
" Above this central scene and closely connected with it is another
of exceeding interest and beauty. Enthroned in the clouds sits the
Lord of the harvest, a majestic and benignant figure, waiting to receive
the fruits of the harvest, which are being borne up to him by his
angelic ministers. A refulgent, heavenly light streams down upon
him, indicating the presence of the Father and his participation in
the great harvest home together with that of the Holy Spirit, who
hovers between in the form of a dove. Thus we have the three
persons of the Holy Trinity joining in the consummation of our
redemption — God the Father represented by the light from above,
God the Son on the throne receiving the fruits of his redemption, and
God the Holy Spirit as the agent in this great work. The Lord of
the harvest is attended by a great company of saints and angels who
have labored in the harvest field. Close about him is clustered a
group of angels radiant with the joy and the triumph of the occasion,
each of whom has the most marked individuality and should be closely
studied. They blend into a wonderful harmony of coloring and add
much to the impressiveness of the scene. In the buttresses at each
side are other carved figures of angels bearing instruments of worship
with which they celebrate the ingathering of the harvest. But they
are not the only nor the chief attendants of the great King. This
honor is reserved for the saints who by his incarnation and redemptive
work have been united with him, some of whom appear in this
Reredos as representatives of them all. First and foremost are the two
who were most closely identified with him in his earthly ministry, —
his Virgin Mother and the beloved disciple St. John. They stand at
either side as witnesses and participants in the scene. The artist has
pictured them in mature life, with the fair complexion which belonged
to the descendants of the house of David, and in attitudes most
striking and appropriate. Each of these paintings is a masterpiece,
that of St. John being especially notable for power and originality.
" Across the base of the structure stretches an array of carved fig-
ures of saints representative of the laborers in the harvest field in all
244 SOME NOTABLE ALTARS
ages of the Church. In the centre stand four representatives of Apos-
tolic times — on the left two Apostles to the Jews, St. Peter and
St. James, and on the right two missionaries to the Gentiles, St. Paul
and St. Barnabas. At the extreme left appear two great leaders of the
undivided Church, St. Ambrose and St. Augustine. The correspond-
ing position at the right is occupied by two great representatives of
Anglican Christianity, one from ancient and the other from modern
times, St. Anselm and John Keble. All these are exquisitely carved,
and each of them exhibits a most striking individuality. Together
they form a noble group of laborers in the harvest. As signs of the
toil and suffering with which the harvest was gathered in, the marks
of the Passion are seen near the summit of the Reredos. Attached to
the central buttresses is the highly colored coat of arms of the
Cathedral, and upon the outer buttresses that of the Diocese, both of
these having been designed by the eminent authority in heraldry,
Mr. Pierre de Chaignon la Rose, of Boston. The woodwork of the
Reredos, which is of carved oak and is colored a soft grayish brown,
was designed by Messrs. Cram, Goodhue, and Ferguson, of Boston, and
executed by William F. Ross and Co., of Cambridge. The paintings are
the work of the artist-priest, the Rev. Johannes A. Oertel, D.D., of
Washington, D.C., a painter who works in the spirit of the old
masters and whose canvasses enrich many of our churches."
The central painting has been valued at $5000. The cost of the
rest of the work is stated at $3000. On July 7, 1907, being the sixth
Sunday after Trinity, the Altar and Reredos received a benediction
through Bishop Fawcett. He was assisted in the Holy Eucharist by
Dean Rede and Canon Gustin, v/ho acted as gospeller and epistoler.
The sermon was preached by the Rev. Edward A. Larrabee, Rector of
the Church of the Ascension, Chicago. He was a former Rector of
St. John's Church at the time when it became the diocesan Cathedral.
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TRINITY CHURCH 247
TRINITY CHURCH, NEW YORK CITY
The architect, Mr. Frederick Clarke Withers, furnishes the follow-
ing description : —
"The memorial to the late William B. Astor, whicli has been
erected by his two sons in Trinity Church, is in the form of an Altar
and Reredos, the latter occupying nearly the whole width (thirty-five
feet) of the Chancel, and carried up as high as the sill of the large
seven-light window which is about twenty feet from the floor.
" The Altar is eleven feet long, and is constructed of pure white
statuary marble, with shafts of Lisbon red marble supporting capitals
carved in natural foliage dividing the front and side into panels. In
the centre panel, which is carved with passion flowers, is a maltese
cross in mosaic, set with cameos, a head of Our Lord being in the
centre, and the symbols of the Evangelists at the extremities of the
four arms; this panel is flanked by two kneeling angels, the one in
adoration and the other in prayer. The other panels in front which
are carved with ears of wheat are also in mosaic, and contain the ' Peli-
can' and the 'Agnus Dei,' and those at the side the sacred monograms.
The white marble mensa is set on a cornice composed of grapevines,
and is inlaid with five crosses of red marble. The Super-Altar is of red
Lisbon marble, with the words ' Holy, Holy, Holy,' inlaid in mosaics
on its face, and its shelf is continued on each side the whole length of
the Reredos for the reception of flowers at festivals.
"The design of the Reredos is in the perpendicular style of Gothic,
so as to be in keeping with that of the Church. It is constructed of
Caen stone, elaborately carved, a great deal of the carving being after
natural foliage. In the lower portion on each side of the altar are
three square panels filled with colored mosaics in geometrical patterns.
Above the line of the Super-Altar are seven panels of white marble,
sculptured in alto-relievo, representing incidents in the life of Our
Blessed Lord immediately preceding and subsequent to the Last
Supper ; this is modeled after the celebrated picture by Leonardo da
Vinci, and fills the centre panel over the Altar; underneath this ap-
248 SOME NOTABLE ALTARS
pears in raised letters the words, ' Having loved his own which were
in the world, he loved them unto the end.' On the right of this panel,
under a canopied niche, stands a white marble statuette of St. Raphael
with a flaming sword in his hand, and on the left, St. Gabriel, holding
a bunch of lilies and a scroll. On the extreme right of the Reredos, in
the other panels, are : I. St. Mary Magdalene pouring ointment on the
feet of Our Lord, inscribed underneath with the words, ' She hath done
what she could'; II. The triumphal entry into Jerusalem, with the
words, ' Hosanna to the Son of David'; III. Our Lord washing the
disciples' feet, with ' I am among you as he that serveth.' On the left,
in continuation, is: IV. The agony in the garden, with the words,
'On Him was laid the iniquity of us all'; V. The betrayal, inscribed
with, 'This is your hour and the power of darkness'; and VI. Our
Lord before Pilate, who is in the act of saying, ' I find no fault in this
man.'
" The Reredos is divided into three bays by buttresses, which con-
tain, under canopies on their face, four doctors of the Church : I. St.
Jerome, represented in the act of translating the Bible, accompanied
by the Lion endeavoring to show his gratitude for taking the thorn
out of his foot; II. St. Ambrose, in bishop's costume, in the attitude
of delivering a discourse, with the Beehive, his characteristic emblem, on
his left; III. St. Augustine, in same costume as St. Ambrose, in the act
of giving the benediction; and IV. St. Gregory, in the act of writing
his Homilies. In the centre bay, under a large multifoiled arch, is
represented the Crucifixion in high relief. On the right of the Cross
stand St. John and St. Mary, the Mother of our Lord; St. Mary Magda-
lene kneeling embraces the feet which brought such mercy to her; and
on the left are the other Mary and the Centurion. This subject is
supported on an elaborately carved cornice composed of passion
flowers, and underneath are the words, ' Behold the Lamb of God.'
Ranged on either side in the two other bays are statuettes of the
Twelve Apostles, thirty inches high, each with his characteristic
attribute: —
" I. St. Jude carrying a book, and with a club, the weapon with
which he was killed.
TRINITY CHURCH 249
"II. St. Bartholomew carrying a large knife, the instrument
of his martyrdom.
"III. St. Thomas with a builder's rule.
" IV. St. Matthew, who was a tax-gatherer, with a money-box in
his left hand, indicative of his calling.
" V. St. John holding a chalice with a serpent issuing from it.
" \T. St. James Minor, first Bishop of Jerusalem, with pen and
book, and the fuller's club, the instrument with which he
was beaten to death.
" VII. St. Peter with the keys in his right hand and a book in his
left.
" Ylll. St. Andrew with a transverse cross, similar in shape to that
on which he was crucified.
" IX. St. Simon with a saw, the instrument with which he was
sawn asunder.
" X. St. Matthias with a book, and an axe to indicate that he was
beheaded for his preaching.
" XI. St. Philip holding a tall staff with a Latin cross at the top.
"XII. St. James Major bearing a pilgrim's staff, to which a wallet
is suspended, and with a scallop-shell on his flapped hat.
"These statuettes are placed in niches, with traceried heads, carried
by polished Bay of Funday red granite shafts, with the background
carved in diaper and gilded. On the extreme ends of this line, facing
north and south, are the figures of St. Michael and St. George, under
canopies similar to those over the Doctors.
" In the centre bay, above the Crucifixion, are sculptured in panels
set in diaper work the Resurrection and the Ascension. In tiie gab-
let which surmounts it, and inclosed in a Vesica Piscis, is represented
Our Lord in his Majesty, holding the globe in his left hand, and bless-
ing with his right ; and on either side, and filling the spandrils, are
sculptured Angels kneeling in adoration. Underneath the main cor-
nice of the side bays, and forming part of it, is inscribed in raised let-
ters, ' To the Glory of God, in Memory of Wm. B. Astor, this Reredos
is erected a. d. 1877.'
" Angels, with uplifted wings, playing on musical instruments (viz.
250 SOME NOTABLE ALTARS
the Tambourine, the Pandore, the Lyre, and the Cymbals), emblematic
of the Church Triumphant, crown the four buttresses.
" The statuary and mosaics were executed in London, and the
whole of the carving, Caen stone work of Reredos, and marble work
of Altar, including the setting up, was done by Messrs. Ellin and Kit-
son of this city."
ALTAR AND REREDOS IN TRINITY CHAPEL, NEW YORR CITY
TRINITY CHAPEL 253
TRINITY CHAPEL, NEW YORK CITY
The lower part of the Reredos against which the Altar is built is
of Sienna marble. The design is in the early English Gothic, in keep-
ing with the rest of the building. The upper part is made of Caen
stone and is divided into three panels. The figures are of marble, on
a background of alabaster. In the centre is the Crucifi.vion, and on one
side, in full relief, St. Mary, and on the other side St. John. The side
compartments are subdivided by slender onyx columns into smaller
panels with trefoiled heads. On the right of the centre compartment are
the figures of St. Peter and St. James the Great and on the left those
of St. Andrew and St. Paul. The Altar and Reredos were erected
by the congregation of Trinity Chapel in memory of the late Rev.
C. E. Swope, D.D. The work was executed by Ellin, Kitson and Co., of
New York City, from designs of the architect, Mr. F. C. Withers, of the
same city.
254 SOME NOTABLE ALTARS
CHURCH OF THE TRANSFIGURATION, NEW YORK
CITY
The Reredos is constructed of Caen stone, and was erected by
Mrs. Zabriskie as a memorial to her mother. It is divided into three
parts. On the central one is a representation of Our Lord's Trans-
figuration. In the side divisions are figures of St. Matthew and St.
Luke. Mr. Withers was the architect. The Altar is of white
statuary marble and was designed by the Rev. Dr. G. C. Houghton,
the Rector of the parish. Borgia Bros, were the builders. A
cross and crown form the decoration on the front of the Altar,
between the mosaics. On the left the mosaics represent St. Michael
in the vestments of a Priest and those on the right St. Gabriel in
the vestments of a Deacon. The windows on the side of the Altar
were placed by the Altar Society in memoiy of their first president.
Miss Ballow, who held the oiifice for twenty years. Each has the form
of an angel carrying a censer, while below are the words, " Holy, Holy,
Holy, Lord God of Sabaoth."
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CHURCH OF ST. IGNATIUS
S59
CHURCH OF ST. IGNATIUS, NEW YORK CITY
The Altar is of Vermont statuary marble with Italian marble
steps, in white. It was erected in i8S6 and the architect was Mr.
Kivas Tully, now of St. Louis, Mo. The builders were Fisher and
Bird, of New York City. The cost, including the statues, was about
$5000. The figures of St. Ignatius and the two others, St. Mary the
Virgin and St. Michael, are well executed. The Reredos was enlarged
three years ago.
26o SOME NOTABLE ALTARS
CHURCH OF THE INCARNATION, NEW YORK CITY
What is known as the Constable Chapel was added to the Church
in 1903. It was erected to the memory of the late James M. Con-
stable by his children. The Altar and Reredos are constructed of
Caen stone. The central representation is that of the Lord's Supper.
Figures of the four Evangelists are arranged on each side in canopied
niches. The Chancel steps are of marble and the floor mosaic. The
words "Wonderful, Counsellor, The Mighty, God, The everlasting
Father, The Prince of Peace, " are worked in designs in the floor.
The architect was Mr. Henry Vaughan, of Boston, and the builders,
Evans and Co., of the same city. The cost of the Chapel, Altar, and
Reredos was upward of $30,000.
ALTAR AXD RFREDOS IX THF. COXSTARLF. CHAPFL IX TUF CIURrH OF TUF IXCAKXATIOX,
Xi;\\ \ORK CITY
L
CHURCH OF ST. EDWARD THE MARTYR 2O5
CHURCH OF ST. EDWARD THE MARTYR, NEW
YORK CITY
The Altar is of white marble and was given by Mrs. Harriet B.
Ranney in memory of her two sons. It was made and erected by R.
Geissler, of New York. The Reredos was added later. It is fifty feet
high and twenty feet broad. It is constructed of finely carved oak.
The central panel contains a rich mosaic of Christ in Benediction,
while the side panels are filled with adoring angels. The richness of
the mosaic work in the upper part of the Reredos, the blending of
gold and various colors, all present a most pleasing harmony. The
Bishop of Fond du Lac writes of the Reredos that " it marks a new
stage in the progressive development of ecclesiastical art. The con-
trast in color between the Choir and the Sanctuary is very effective
and significant. The figure of Our Lord vested with outstretched
hands, in welcome, not in agony, tell the worshipper of his presence
with his people. The details of the work are suggestive and beauti-
ful." The Reredos was executed by J. and R. Lamb, New York
City.
266 SOME NOTABLE ALTARS
CHURCH OF ZION AND ST. TIMOTHY, NEW YORK
CITY
The Altar is of white marble and the Reredos of alabaster and
Caen stone. They were built in 1891-92. In the niches are five
statues. The central one represents Our Blessed Lord and the two
on each side the Evangelists. The Altar is eleven and a half
feet long and the mensa a solid slab of faultless marble. Between the
Altar and Reredos is a narrow Ambulatory to allow the placing of
flowers and other ornaments on the Retable. The structure is known
as a tomb Altar. The whole is a memorial to the late Rev. George
Jarvis Geer, D.D. The architect was Mr. William Halsey Wood and
the builder R. Geissler. The cost was about $6000.
ALTAR AND RF.REDOS IX THE CIHRCll OF ZloX AM) ST. TIMOTIIV. MAV VoKK CUV
ALTAR AND REREDOS IN THE CHAPEL OF THE GENERAL THEOLOGICAL SEMINARY,
NEW YORK CITY
GENERAL THEOLOGICAL SEMINARY
GENERAL THEOLOGICAL SEMINARY. CHELSEA
SQUARE, NEW YORK CITY
The Altar and Reredos were built in 1888 of English alabaster.
The mensa is of white marble and is supported upon pillars of red
marble. The Reredos, which is twenty feet wide and sixteen feet
high, is constructed with arches supported upon pillars of red marble.
The nine niches contain figures of white marble. The central one
represents Christ as the Good Shepherd. Those on the Epistle
side are St. John the Baptist, St. John, St. Luke, and St. Paul. Those
on the Gospel side are Moses, St. Matthew, St. Mark, and St. Peter.
The Altar, Reredos, and Rood Screen were the gifts of Mrs. Glorvina
R. Hoffman in memory of her husband, Samuel V. Hoffman.
These persons were the parents of the late Dean Hoffman. The
architect was Mr. Charles C. Haight and the builder Mr. R. C. Fisher,
both of New York City. The cost of the Altar and Reredos with-
out the statuary was $5975.
272 SOME NOTABLE ALTARS
ST. JAMES' CHURCH, PHILADELPHIA, PA.
The Altar and Reredos were the gifts of Mrs. Howard J. Gibson,
in memory of her deceased husband. The material used is Caen
stone for the Reredos and Iowa marble for the Altar. There are
twenty-eight statues of stone, the principal and larger ones being
arranged in a row of ten. The subjects of these, going from left
to right, are as follows: i. St. Columba; 2. St. Edward the Martyr;
3. St. Thomas of Canterbury; 4. St. John the Baptist; 5. The
Blessed Virgin Mary ; 6. St. John; 7. Isaiah; 8. Aaron; 9. David;
10. Moses. The Sedilia and Credence are of stone built up solidly
from the floor. The designers were Cram, Goodhue, and Fergu-
son, and the builders were J. F. Whitman and Co., of Philadelphia.
ALTAR AM) RKRmOS I\ Till, {lURCIl f)\- ST. JAMKS. I'llll, \1 )| l.l'lll A. I' A.
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ST. STEPHEN'S CHURCH 277
ST. STEPHEN'S CHURCH, PHILADELPHIA. PA.
The Reredos was unveiled on January 17, 1889. It was erected
by Mrs. James Magee in memory of her mother. The Last Supper
fills the central part and was designed by Salviati. The workmen
of this artist executed the work under the direction of Mr. Henry
Holiday, of London. In a letter of July 6, 1888, the latter writes:
" Your mosaic is at length completed. It was on view last Saturday
and Sunday. I ought to say that Mrs. Holiday, who has great experi-
ence in embroidery, an art closely allied in spirit to mosaic, has as-
sisted me in the execution of the work. All the heads have been
executed by Mrs. Holiday and myself." The mosaic measures twelve
by five feet. It is said to contain upwards of 180,000 pieces.
278
SOME NOTABLE ALTARS
ST. ELIZABETH'S CHURCH, PHILADELPHIA
The following description appeared in The Living Church for
August II, 1906: —
"A magnificent altar was dedicated on the Eighth Sunday
after Trinity at St. Elizabeth's Church by the Rt. Rev. William Walter
Webb, D.D., Bishop Coadjutor of Milwaukee, who was the second
Rector of the parish, succeeding the late Rev. Henry Robert
Percival, D.D., the founder of the parish. The Altar and Reredos
are in 'English-Italian' and 'American Pavanazia' marbles, with
carver caps and ornaments in Caen stone, gilded. The tabernacle
is of white Alabama marble with gilded ornaments and the door
is of bronze, made in Paris, gilded, and contains precious stones,
and a Latin cross with Ag7itis Dei in centre. The subject of the
large painting in the Reredos is ' The Resurrection and the Four
Evangelists,' copied especially for St. Elizabeth's Church, by
Eugenio Capelli, of Florence, who has painted a number of other
pictures for this Church. The original of the Altarpiece is in the
Pitti Gallery, Florence, by Fra Bartolomeo. The inscription on
the pediment is D. O. M. stib Invocatione S. Elizabeth. The first
design for the Altar was drawn by the Rev. W. H. McClellan, one
of the priests connected with St. Elizabeth's, and Messrs. Bailey and
Bassett were the supervising architects. The marble work was done
by Sharpless and Watts. Some five hundred members and friends of
the parish contributed toward this Altar, many of its parts being
special memorial gifts. The pilasters and gradines were given by
the Sunday Schools of the parish, who have raised over ^600 for the
same during the past year. The total cost is $2600."
ALTAR AND REREDOS IX ST. KLTZAHETHS CIURCH, rilll.ADKI.PHIA, V.\.
A^a *»0 K„HBOS ,N THE C„„.C„ „r T„. SAV.OUH, WEST P„,E,.OEEP„,», P.
CHURCH OF THE SAVIOUR 283
CHURCH OF THE SAVIOUR, WEST PI HLADFI-IMl I A
Back of the Altar there is a marble elevation with the Agnus Dei
at the top and on the slab are the words " Blessing and honor and
glory and power, be unto him that sitteth upon the throne and unto
the Lamb for ever and ever."
The mural decorations, by Mr. Edwin H. Blashfield, are memorials
to the late Anthony J. Drexel, a prominent banker and philanthropist
and the founder of the Dre.xel Institute of Philadelphia. He was also
the Senior Warden of the Parish.
Of the decorations the art editor of The Public Ledger thus
writes : —
" The scheme of the composition presents a choir of angels sur-
rounding a figure which holds the Grail. The color scheme ulti-
mately resolves itself into a burst of golden light, although blues
predominate amidst a related mass of pale tints, the latter serving
to modulate the color into rich harmony. Gold has been freely used
everywhere. The flat massing of the halos and the simple treatment
of the figures suggest the old masters studied by tlie pre-Raphaelite
school, Mr. Blashfield's treatment being thoroughly modern, however.
What the old art has to teach is here assimilated and made part of an
art new and beautiful and strong.
" The planets in nebulous spots of gold and the cloud masses,
although hazily suggested in the composition with amazing skill, con-
sidering the difficulty of the heavy color, are brilliantly handled so as
to suggest the idea of being in some place that is other-worldly. The
idea and the means are trite, but the artist's treatment is such that the
philosophical concept of the whole design becomes an inseparable part
of the execution. In this it recalls the Sargent decoration in the Bos-
ton Library and the Velasquez ' Coronation of the Virgin ' in Madrid.
" The decoration is brilliant rather than calm. Yet even this
vibrant quality contrives to carry the eye, and the mind, too, direct to
the central figure, which is of great beauty and dignity. Here the
gold is touched into a vivid flame of scarlet, this being the highest
284 SOME NOTABLE ALTARS
note in the composition, toward which all leads and from which all
modulates.
"The lower wall behind the Altar presents conventionalized figures,
eleven in number, presenting various types of humanity. Gold is here
used again, but in subordination, on the thin line of the halos and the
embossed embroidery of the rich draperies. The decorative use of the
unopened bud of the lily is brought into the composition effectively
and with something of novelty."
ALTAR AND REREDOS IN ST. MARY'S CHURCH, WEST PHILADELPHIA, PA.
ST. MARY'S CHURCH 287
ST. MARY'S CHURCH, WEST PHILADELPHIA, PA.
The Altar and Reredos are fine examples of modern mosaic
work made in the studios of Rome. The marble sculpture is by
Valenzi, the Byzantine mosaic by Leonardi, and the Roman mosaic
by Rubicondi, each famous in his line. The marble forming the
framework of the pictures is twenty-two feet eight inches in height
by ten feet eight inches in breadth. In the ape.x of the Gothic
Reredos is a representation of the Ascension. Below this in the great
central panel is a mosaic of the Crucifixion after Guido Reni. On a
broad panel nearly the whole width of the Retable is the Nativity,
with the adoration of the wise men and the shepherds. The smaller
panels are symbolical. Those on the left contain the emblems of
the Passion and those on the right the symbols of the Eucharist.
Many of the stones in the panels were gathered in Palestine, Syria,
Egypt, and the East. The twisted columns are also inlaid with
colored stones in Byzantine style. The face of the Altar has the
Agnus Dei, flanked by Alpha and Omega. The Altar was built
under the direction of the Rev. J. Bloomfield Wetherill as a memorial
to his mother, Mrs. Isabella Macomb Wetherill, widow of Dr. William
Wetherill, who died on Christmas Day, 1871. The Altar was
exhibited in the Italian art department at the Centennial Exposition
in Philadelphia in 1876. After the death of Rev. Mr. Wetherill in
1886 it was made a memorial of him as well as of his mother, and
the ends of the Altar bear inscriptions to this effect. It was
presented to St. Mary's parish by Mr. William H. Wetherill, the
letter of the Vestry accepting the gift bearing date of January 22,
1890. The original cost of the Altar, aside from its transportation
and putting in place, was $25,000.
288 SOME NOTABLE ALTARS
ST. TIMOTHY'S CHURCH, ROXBOROUGH, PHILADEL-
PHIA, PA.
The Altar was erected in 1893 of pink African marble. It has
two gradines of colored French marble. The central panel of the
Reredos is made of vitreous mosaic, the workmanship of Hardman
and Sons, of London. It represents the Lord in glory, crowned,
and holding a globe, while surrounded by angels, swinging censers. In
the wing of the Reredos, on the left side as you face the Altar, are
Moses, Aaron, Noah, David, and St. John the Baptist. The wing on
the other side contains five of the Apostles. All these figures are
in the attitude of adoration looking toward the glorified Christ.
The two wings were constructed as a memorial to Mary Sophia
Merrick and were erected in 1898 at the cost of $1500. The total
cost of the whole work was ^3500. The marble builders were Atkin-
son and Mylhertz, and the architects, G. W. and W. D. Hewitt, of
Philadelphia.
ALTAR AX
XD REREDOS IX ST. TIMOTHYS CHURCH, ROXHOROlc;!!. PIULAOKI.rHIA
ALTAR AND RKREDOS IN ST. LUKE'S CHURCH, GERMANTOWN, PA.
ST. LUKE'S CHURCH 293
ST. LUKE'S CHURCH, GERMANTOWN, PA.
The Altar and Reredos were erected in 1903, and dedicated on the
eve of Whitsunday of that year. The material used in construction is
Caen stone. The architect was Mr. George T. Pearson, of Philadelphia,
and the builders were J. P. Whitman Co. of the same city. The middle
of the Reredos represents the Crucifixion, and the niches on each side
will in time be filled with Scripture characters. This beautiful work of
art is a memorial of the late William Penn Troth, Jr.
294 SOME NOTABLE ALTARS
ST. PETER'S CHURCH, GERMANTOWN, PA.
The Altar and Reredos were erected in 1896. The material used
is Caen stone. There are six carved figures. Looking east toward
the Altar, on the extreme left is St. Peter and on the extreme right, St.
Paul. Between these are St. Matthew, St. Mark, St. Luke, and St.
John. The architect was Theophilus P. Chandler, of Philadelphia, and
the builder, William J. Gruhler, of Germantown. The cost was $2500.
The work is a memorial to Henry Howard Houston, by his widow.
The beauty of the Altar and Reredos are much enhanced by the
artistic surroundings of the Chancel and Sanctuary.
ALTAR AND REREDOS IN ST. PETER'S CHIKrH. CKRMAXTOW N. V\.
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GRACE CHURCH 299
GRACE CHURCH, BALTIMORE. MD.
Erected in 1898. The architect was Henry M. Congdon. The
main subject of the Reredos is the Institution of the Lord's Supper.
The side figures represent St. John the Baptist and St. Luke. The
subjects in bas-reHef on the Altar front are Sacrifice of Noah, Melchiz-
edek, and Abraham, and Sacrifice of Isaac. The cost was !J59000. It
was erected by Mrs. William M. Innez to the memor)' of her husband
and children.
300 SOME NOTABLE ALTARS
CHURCH OF THE EPIPHANY, WASHINGTON, D.C.
The Reredos was erected in 1902 and is constructed of Indiana
limestone. The architecture is Gothic. The central representation is
the Institution of the Lord's Supper carved in high relief. A sculp-
tured angel is placed in a niche on each side of the Altar. An
elaborate canopy gives beauty and effectiveness to the whole structure.
The Reredos w-as the work of Mr, Henry Randall, architect, and
Mr. W. O. Partridge, sculptor.
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ALTAR AND REREDOS IN ST. PAUL'S CHURCH, WASHINGTON, D.C.
ST. PAUL'S CHURCH 305
ST. PAUL'S CHURCH, WASHINGTON, D.C.
The Reredos was erected during the summer of 1898 and is con-
structed of Caen stone and Tennessee marble. The pillars of the
arches in which stand the statuettes and also the pillars of the Altar
supporting the mensa arc of alabaster. In the Reredos are figures of
the four Evangelists, and at each end larger figures of St. Peter and
St. Paul. The passion vine adorns the central arch, and on the Taber-
nacle are panels of grapes and wheat. The Reredos is a memorial of
Mrs. Henry Harding Carter, a benefactress of the parish. The archi-
tect and builder was Mr. R. Geissler of New York City. The Altar
is a general memorial of departed communicants. The cost of the
Altar was about $1200, and of the Reredos $1700.
3o6
SOME NOTABLE ALTARS
EMMANUEL CHURCH, BOSTON, MASS.
The Altar and Reredos were erected in the summer of 1899.
The material used is Caen stone, which against the soft gray of the
Indiana limestone forming the walls of the apse is extremely effective.
In the central canopy is the figure of Our Lord, with hands out-
stretched. In the side canopies are adoring angels in a kneeling atti-
tude. The bas-relief below represents the Lord's Supper. As we
face it the canopied figures on the right are St. Mary and St. John
and those on the left St. Peter and St. Martha. Directly over the
Altar are two small angels bearing a scroll with the words, " Holy,
Holy, Holy, Lord God Almighty." The Altar and Reredos were
given by Mrs. Winthrop Sargent as a memorial to her father and
mother, Mr. and Mrs. Benjamin P. Rotch, and their son and daughter.
This work of art was designed by Mr. Francis R. Allen of Boston and
the erection completed by John Evans and Co., also of Boston.
Mr. Mora, an artist in their employ, modeled the figures. The cost of
the Altar and Reredos was $10,000.
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ALIAR AXD REREOOS I\ EMMAXIEI. nUKC-II, HOSTON", MASS.
ALTAR AND REREDOS IN THE CHURCH OF THE ADVENT, BOSTON, MASS.
CHURCH Ul- IHE ADVENT 311
CHURCH OF THE ADVENT, BOSTON, MASS.
The High Altar, with the lower portion of the Reredos, including
the Crucifixion, was designed by Mr. John H. Sturgis, the architect of
the Church. The upper part of the Reredos, with the open tracery,
was designed by Mr. Harold Peto, of London. The Altar and Rere-
dos were put in at different times and were the gifts of Mrs. Gardner
in memory of her husband, Mr. John Lowell Gardner.
312 SOME NOTABLE ALTARS
ALL SAINTS' CHURCH, DORCHESTER, MASS
The Reredos was erected in 1898 of Caen stone. It was designed
by Cram, Goodhue, and Ferguson and executed by John Evans and
Co., of Boston. The central statue is Our Lord, blessing his Church,
and holding the orb of dominion. On the right of Christ is St. Michael
the Archangel and on the left is St. Gabriel. The smaller figures rep-
resent a scheme of Church history, Jewish and Christian. They are
Aaron, St. John the Baptist, David, St. Clement, St. Peter, St. Athana-
sius, St. Stephen, St. John the Evangelist, St. James the Less, St. Alban,
St. Paul, and St. Columba. The designer and sculptor of the fig-
ures was Mr. Mora. The cost of the Altar and Reredos was ^11,000.
They are in memory of Colonel Oliver White Peabody.
ALTAR AND RKRKDOS IN ALL SALXTS' CHURCH, IXJkCHESTER, NL\.SS.
ALTAR AND REREDOS IN CHRIST CHURCH, NEW HAVEN, CONN.
CHRIST CHURCH 317
CHRIST CHURCH, NEW HAVEN, CONN.
The Altar and Reredos were completed in time for Christmas Day,
1906, and consecrated at a special service on the first Sunday after
Epiphany, January 13, 1907. The Altar is constructed of Knoxville
marble and the Reredos of Caen stone. The central subject that
stands out prominently is the Crucifixion. It is admirably executed
and most attractive. The face of Our Lord is expressive of the peace-
fulness of death combined with the confidence and majesty of one who
has conquered. On either side of the cross are the figures of the Vir-
gin Mother and St. John. At the foot of the cross is a pelican nourish-
ing her young with her own blood, symbolizing Christ giving his life
for his children. Below this, under a canopy, is depicted the Nativity,
with St. Mary and St. Joseph adoring the holy Child. The four figures
on the sides of the Nativity are St. John the Baptist, St. Stephen, St.
Anne, and St. Elizabeth. In the niches at the top of the cross are the
four angels, St. Michael, St. Uriel, St. Raphael, and St. Gabriel. The
large niches on the sides of the Reredos contain statues of St. Atha-
nasius, St. John Chrysostom, St. Augustine, and St. Ambrose. The
laro;e figrures in the niches in the wall are St. Peter and St. Paul. On the
front of the Altar is a relief of the Entombment. On either side are
angels bearing scrolls. The architect of the work was Mr. Henry
Vaughan, of Boston, and the builders John Evans and Co., of the same
city. This artistic work was not a memorial but the generous gift of
Mrs. Mary E. Ives, who made it, as she says, " expressive of the
honor and glory of the risen Lord."
3'8
SOME NOTABLE ALTARS
CHURCH OF THE HOLY TRINITY, MIDDLETOWN,
CONN.
The Altar was erected in 1890 by Coxe Sons and Vining of New
York City. It is the gift of Mrs. Hugh T. Dickey, formerly of Chi-
cago, and a sister of the late Rev. James De Koven, D.D., of Racine.
It is in memory of her two sons. The Reredos is the gift of the same
donor in memory of Judge Dickey, her husband. It is of Caen stone
with panels of white marble carved to illustrate Moses and Elias on
each side of the central panel of the Crucifixion. It was erected
in 1894. Mr. J. M. Rhind of New York was the sculptor, and Mr.
Haight of the same city, the architect.
ALTAR AM) RKRKDOS IN TIIK CHURCH OF THK H( >1A TRlMr\,
MIUDLETOWN, CONN.
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GRACE CHURCH
323
GRACE CHURCH, WINDSOR. CONN.
The Altar and Reredos were erected in January, 1907, and blessed
by Bishop Brewer, January 31. The material is white Carrara mar-
ble, slightly veined, relieved by small columns and panels of yellow
Siena marble, with considerable dark veining. The three picture
panels represent the Conversion of Cornelius, the first army officer to
enter the Church, for the whole is a memorial to the late Colonel John
Mason Loomis, of Chicago, who raised and commanded the Twenty-
sixth Illinois Volunteer Infantry during the Civil War. On the left
is seen the Roman Captain kneeling, with the angel standing over
him. Below are the words: "Thy prayers and thine alms are come up
for a memorial before God." On the right Cornelius sits and St. Peter
stands, proclaiming : " He that feareth God and workcth righteousness
is accepted with him." The mosaics were suggested by the Rector of
the parish, the Rev. Dr. Harriman. They are as follows: In the
centre Christ with Cleopas and the other disciple at the Supper at
Emmaus. Inscribed below are these words in gilt letters : " He was
known of them in breaking of bread." The side pictures above are of
glass mosaic, made in London by Heaton, Butler, and Bayne. The
pavement of small mosaic blocks and the carved steps arc of gray
Knoxville, Tennessee, marble. All the work was done by the Gorham
Co. of New York City, and their designer Mr. Schweichart made
the whole plan. The cost of the work was a little over $4000.
324 SOME NOTABLE ALTARS
ST. JOHN'S CHURCH, STAMFORD, CONN.
The Altar and Reredos were erected in 1890. The material
used is Caen stone. The lower panels of the Reredos represent
the Agony in the Garden and the Entombment of Christ. The upper
panels portray the Crucifixion and the Resurrection. The central
compartment indicates the Last Supper. Angels and Evangelists
are in the niches. The sculptor was James Smith, the architect,
William A. Potter, and Norcross Bros, the builders.
ALTAR A\U KEKKUUS IN ST. JoHXS CHL kCll, STAMKuKU, C(J.NN.
ALTAR AND REREDOS IN TRINITY CHURCH, TORRINGTON, CONN.
TRINITY CHURCH 329
TRINITY CHURCH, TORRINGTON, CONN.
The Altar is constructed of Caen stone, ornamented with polislied
marbles and inlaid work. It is nine feet long and two and one-half
deep. The Reredos is of the same stone and has upon the riser of the
Retable the words: "Behold, O God, our defender, and look upon
the face of thine anointed." In the central niche is the figure of
Our Lord in the attitude of invitation. On either side stand St. Mary
and St. John, flanked at either end by St. Gabriel, bearing the lily
of the annunciation and St. Michael with the sword of the warrior.
These are in niches with detached and separating shafts of polished
marbles of varying colors, while the background is of golden Siena
marble. The upper part of the Reredos in gabled canopies and
carved work is surmounted by carved cornices and battlemented
cresting, flanked by turrets, and showing a floriated cross in the
centre. The width of tlie Reredos is ten feet and the height from
the Sanctuary floor to the top of the central cross is sixteen feet.
As a fitting suggestion of the service of the Altar, above it are
painted on the wall kneeling angels in robes of white and swinging
golden censers. The architect was Mr. Henry M. Congdon of New
York and the builders Peter Theis' Sons.
330 SOME NOTABLE ALTARS
CHAPEL OF ST. PAUL'S SCHOOL, CONCORD, N.H.
Erected in 1894. The architect was Henry Vaughan, and the
builders were Irving and Casson, of Boston. The paintings were done
by Clayton and Bell, of London. The large painting directly over
the Altar represents the Adoration of the Magi. The four smaller
ones on the side give scenes in the Nativity of Christ. The large
pictures to the right and left indicate the Annunciation to the Virgin
Mary and the Baptism of Our Lord. The two pictures in the second
row are the Transfiguration and Resurrection of Christ. The carved
figure under the central spire of the Reredos is a seated statue
of Christ with his left hand resting on a globe and his right hand
raised in benediction. To his right and left arranged in niches are
six fathers of the Church. Six smaller figures are arranged about the
Reredos, who represent angels bearing shields having on them the
emblems of the Passion. The Altar is of Tennessee marble and is a
memorial of Mrs. Richard Conover, of South Amboy. It cost ;^iooo.
The Reredos is of oak and is a memorial to the eldest son of Mr.
Cornelius Vanderbilt and was erected at a cost of $15,000.
ALTAR AXD REREDOS IX THE CTIATEL OF ST. I'ALT.S .SC1U)1)E, CCJ.NCHkl), N.II.
ALTAR AND REREDOS IN ST. STEPHEN'S CHURCH, PROVIDENCE, R.I.
ST. STEPHEN'S CHURCH 335
ST. STEPHEN'S CHURCH, PROVHJENCE, R.I.
This large Reredos is about twenty feet high and is divided into
seventeen compartments filled with a series of paintings. Around the
whole is a carved framework of pierced foliage, with projecting wings
on either side of open tracery. The Altar and Reredos were con-
secrated on St. Stephen's Day, 1883, by the Bishop of the Diocese.
The sermon was preached by the Rev. Lucius Waterman, D.D., at
that time a professor in the Seabury Divinity School at Faribault,
Minn. This work of art was erected in honor of a former Rector, as
the following inscription shows : —
"This Altar and Reredos
are consecrated to
the greater glory of
GOD
in grateful remembrance of
Henry Waterman-,
Priest and Doctor,
who, by the grace given him,
restored to the Church in Providence
some forfeited treasures of primitive piety,
notably,
the Daily Service in the Season of Lent,
and
the Weekly Celebration of the
Holy Eucharist.
It was given him also
to teach
to some penitents the joy of Absolution
and
to some mourners the comfort of prayer
for the faithful dead.
In such works
of restoration,
which could not but trouble some quiet hearts,
he himself was called to endure grief deeply,
to the shortening of his days
for JESUS' sake.
Think upon him, my GOD, for good
according to all that he hath done
for this people."
336 SOME NOTABLE ALTARS
Nine years later the work was completed by filling the panels with
paintings. The artist of these designs and of the Tabernacle was
Mr. Rot^-er Watts of the firm of John Hardman and Co., London.
The subjects of the paintings follow a carefully prepared plan as indi-
cated in the words of another, who says : " The whole scheme is gov-
erned by the principle of ancient English Church symbolism, that the
Chancel, being emblematic of the Church triumphant, should portray
only scenes of life and joy. The Rood Screen is the gate of death,
and so there should be depicted the Crucifixion. With this idea,
the large central panel of the Reredos, dominating the entire work,
represents Jesus Christ in glory, enthroned as King of Kings and
Lord of Lords. He wears a splendid crown, from which rays of glory
stream, forming a cross. He holds the orb and cross, the sceptre of
the world. On his breast shine the letters Alpha and Omega. His
throne is supported by four archangels, proclaiming to the four
quarters of the universe his praise, as they hear the legend : ' Holy
Holy, Holy, Lord God of Sabaoth.' Around his throne bends the
rainbow. Surrounding him is a rosy circle of angel faces — the ser-
aphs, on fire with love. Another outer circle of angels with azure
wings are the cherubs.
" On the Epistle side of this picture is the Adoration of the Magi,
to teach us of the Nativity and of Christ's Manifestation to the
Gentiles. On the Gospel side is the Annunciation, to set forth the
fact of the Incarnation, ' conceived of the Holy Ghost.'
" In the central panel of the next lower tier are the Madonna and
Child. Around the Virgin's Throne are placed four figures represent-
ing Old Testament types of Mary, the second Eve. These are Eve,
Judith, Esther, and Rachel. On the Epistle side of the Virgin are St.
Paul, closely associated with the introduction of Christianity into Britain,
and whose conversion has always been believed by holy men to have
been an answer to St. Stephen's dying prayer for his murderers ; then
St. Athanasius, as a great champion of the Catholic faith, treading
under his feet a scroll marked Arians, and then St. Chrysostom, as
representing the Greek Church, and whose name is so familiar to
Anglicans from the prayer ascribed to him in the Daily Offices.
ST. STEPHEN'S CHURCH 337
" On the Gospel side of the Blessed Virgin is St. Stephen, the name
saint of the Cliurch, ne.\t to him St. Alban, the first British martyr,
and then St. Ambrose, as representing the Latin Church, and whose
name has always been traditionally associated with the Te Dcum.
The row of pictures nearest the Altar is designed to teach the Resur-
rection. The front of the Tabernacle (made in London, of elabo-
rately carved oak, richly gilded) is supposed to be the door of the
Sepulchre. Here is a lovely figure of the Angel of the Resurrection
seated on the stone. From tlic Epistle side approach the three
Mark's, Mary Magdalene, Mary, the wife of Cleophas, and Maiy
Salome, with their boxes of sweet spices, while on the Gospel side
are St. John, St. Peter, and St. James."
The final additions took the form of a separate memorial, as ex-
pressed in the following inscription : —
" The Tabernacle
and
The Paintings of the Reredos
are consecrated
to the greater Glory of God
and in loving memory
of
Lyman Klapp,
sometime Vestryman of this Church
who entered into Rest
Sept. 27th, A. D. 1889.
Requiescat in pace."
The architect of the Altar and Reredos was Mr. Henry Vaughan, of
Boston. The painted panels after their execution in London were
put in position by Irving and Casson, also of Boston. The carving of
the Reredos was executed by Evans and Tombs.
33S SOME NOTABLE ALTARS
ST. PAUL'S CHURCH, CHATTANOOGA, TENN.
The Altar and Reredos were erected in 1886 at the completion of
the Church. The architect was William Halsey Wood, and the
builders the Endolithic Marble Co., of New York City. The central
figure is that of Christ with outstretched arms in an attitude of welcome.
The side panels represent adoring angels. The figures are painted
and burned according to the Endolithic process. The Altar and Rere-
dos are in memory of William Wadley Yonge, who was a vestryman
at the time of his death in 1885. The cost was $1800.
ALTAR AND REREDOS IN ST. PAIL'S CIURCII, CHATTANOOGA, TENN.
ALTAR AND REREDOS IN THE CHURCH OF ST. MICHAEL AND ALL ANGELS, ANNISTON, ALA
CHURCH OF ST. ^^CHAEL AND ALL ANGELS 343
CHURCH OF ST. MICHAEL AND ALL ANGELS,
ANNISTON, ALA.
The Altar and Reredos were consecrated on St. Michael's and All
Angels' Day, 1888. The Altar is of Italian marble and is twelve feet six
inches long by two feet six inches wide. The Reredos from floor to pin-
nacles is built of English alabaster. In the central niche is a figure of
St. Michael five feet high. On the right is St. Gabriel and on the left
St. Raphael. These two latter figures are four feet six inches high.
Seven figures, also of alabaster, crown the pinnacles. These are four
feet high. The architect was Mr. William Halsey Wood, and the
builders, Stewart and Hendr}', of Newark, N.J. The whole Church,
including the Altar and Reredos, was the splendid gift of John W.
Noble, Esq., of Anniston, the whole being a memorial of his father and
brother. The cost of the Altar and Reredos was $10,000.
^u^iux li}. gagman
344 SOME NOTABLE ALTARS
ST. LUKE'S CHURCH, SCRANTON, PA.
The Altar and Reredos were completed for Easter Day, 1905.
The architect was Mr. Tiffany, of New York, and the builders, the
Whitman Co., of Philadelphia. The Altar is built of white statu-
ary marble, and the Reredos of Caen stone. The front of the Altar
has three panels, the central one representing the Ark of the
Covenant, with the outstretched wings of the cherubim covering the
mercy-seat. This is a reproduction of M. Tissot's picture. On each
side panel is an adoring angel with upturned face. The Reredos has
also three panels with figures in half relief. The middle one represents
the Crucifixion with a grouping of St. Mary, St. Joseph, and St. Mary
Magdalene. The left panel facing the east represents Melchizedek
bringing forth bread and wine and blessing Abraham, pointing to that
" pure offering " which prophecy declared should be offered to the Most
High. The right panel contains a representation of the Supper at
Emmaus, where Our Lord made himself known to the disciples in the
breaking of bread. These panels also are reproductions of the pictures
of Tissot. This artistic work was erected by the Jermyn family as a
memorial to the late John Jermyn, who was Warden of the parish from
1887 to 1889.
ALTAR AXD RF.RFDOS IX ST. T.rKF'S nilRril, SCRAXTON, PA.
ALTAR AND REREDOS IN TRINITY CHURCH, GENEVA, N.Y.
TRINITY CHURCH 349
TRINITY CHURCH, GENEVA, N.Y.
The Altar and Reredos were erected in 1906 and consecrated on
All Saints' Day. The material used is Caen stone. The figures on
either side are St. Gabriel and St. Michael. The architect was George
T. Pearson, of Philadelphia. The sculptors and builders were the
J. Franklin Whitman Co. The Reredos is a memorial to Bishop Coxe
and the Altar to Mr. and Mrs. A. M. Patterson. The cost was $5250.
350 SOME NOTABLE ALTARS
CHAPEL OF THE CONVENT OF ST. MARY,
PEEKSKILL, N.Y.
The Altar and Reredos were erected in 1893 of various kinds of
marble. The central statue represents the Virgin Mary and the Holy
Child. On the south side in niches are: i. St. Michael; 2. Angel of
the Passion, with instruments of the Passion ; 3. Angel of Praise with
Censer. On the north side are: i. St. Gabriel; 2. Angel of the
Passion; 3. Angel of Praise. The architect was Henry M. Congdon,
of New York. The sculptor was Joseph Sibbel. The cost was
about $7000.
ALTAR AND REREDOS IN THE CHAPEL OE THE CONVENT OF ST. MARY, PEEKSKILI., N.Y.
ALTAR IN THE CHURCH OF THE ASCENSION, CHICAGO, ILL.
CHURCH OF THE ASCENSION 355
CHURCH OF THE ASCENSION, CHICAGO, ILL.
The present High Altar of the Church of the Ascension, Chicago,
was erected in 1893. It is the gift of Mrs. AHce Lord Wheeler, since
deceased, and was placed in the Church as a memorial of her father,
Mr. Gilderoy Lord, of Watertown, N.Y. The Altar was designed
by Edward J. N. Stent, of New York. Vermont statuary marble was
used in its construction, the mensa being a single slab of eleven feet
in length. For the more delicate carving, such as the capitals of
the pillars and the ornamentation of the canopy, Carrara marble was
used. The pillars themselves are of Mexican onyx. The two angels
are of alabaster and were made in Southwark, London. The mosaics
of the Tabernacle door, and of the panels in the face of the Altar,
are from the works of Salviati in Venice.
356 SOME NOTABLE ALTARS
CHAPEL OF THE CONVENT OF THE NATIVITY,
FOND DU LAC, WIS.
The Altar and Reredos were erected in 1906, and are constructed
of quartered white oak. In the Reredos are five carved figures. The
central one is that of Christ in the attitude of the Teacher. On his
one hand are St. Hilda and St. Mary the Penitent, and on the other,
St. Catherine of Siena and St. Martha. The cost was ^3000. The
designers and builders were the American Seating Co., of Manitowoc,
Wis.
I
ALTAR AND REREDOS IX THE COXVEXT OF THE XATIVITV, FOXI) DU LAC, WIS.
ALTAR AND RF.REDOS IN ST. MARY'S CHURCH, KANSAS CITY, MO.
ST. MARY'S CHURCH 301
ST. MARY'S CHURCH, KANSAS CITY, MO.
The Altar and Reredos were erected in 18S7 of white marble
richly colored. The decoration is known as Endolithic work. The
stone is heated and the colors applied, which sink in, for the most part,
through the whole thickness. It is a patent process, not now on the
market. The four figures in the Reredos represent St. John the Evan-
gelist and St. Anna on the Epistle side and St. Joseph and St. Eliza-
beth on the Gospel side. This work of art is a memorial to the Rev.
Henry David Jardine, who was for some time the Rector of the jiarish.
He died January 10, 1886.
The following inscriptions are on the Altar: —
On the base of the Reredos: " benedictus fructus ventris tui."
Above the panel: " benedicta tu in mulieribus."
On the base of the Altar: "in honorem beata mariae virginis: ad
GLORIAM DEI : IN MEMORIAM HENRICA DAVIDIS, SACERDOTIS."
The design of the door of the Tabernacle of the Altar is taken
from the Catacomb of St. Pontineus at Rome. It represents a jeweled
cross beautified with a rose of Sharon on each side.
The following description is given by Caryl Coleman, the de-
signer of the Altar : —
" The central panel of the Altar is intended to illustrate the text
of Scripture, ' Blessed art thou among women.' The Holy Mother is
the central figure, enthroned as the queen of womanhood, and holding
upon her knees her Divine Son, through whom she has a right to her
position in the scheme of Christ's redemption. On her right, kneeling,
is the virgin martyr, St. Agnes. Behind her, St. Theresa (who, al-
though a woman, holds the rank of a Doctor in the Church), a virgin,
a religious, and a reformer. At her side and upon her knees is the
fiarure of St. Catherine of Siena, one whose life carried out the com-
bined qualities displayed in the lives of Martha and Maiy. Behind
her, and standing up, is the figure of St. Mary Magdalene de Pazzi,
a recluse and contemplative. On the left of the Blessed Virgin, and
kneeling at her feet, worshiping her Divine Son, is represented the
o
62 SOME NOTABLE ALTARS
ih-?
chief of penitents, St. Mary Magdalene. Behind her and standing, the
figure of St. Bridget of Sweden, a saintly and holy widow, whose
prayers reached the highest point of union with God. At her side
and upon her knees, St. Elizabeth of Hungary, the saint who has a
right to three crowns, as she represented three lives, the virgin, the
wife, and the widow. Behind her and standing up, with head bowed,
in all humiUty, that most wonderful of all penitents, St. Margaret of
Cortona. The background is composed of flowers, symbolical of the
various states of life represented in the panel. The idea was to gather
in this panel women of every nation, to show the broadness of Catho-
licitv, and that all women were to choose the Holy Mother as their
model. As we go over the names we note a Hebrew, a Roman, a
Spaniard, a Swede, a German, and an Italian. All the personages
represented are treated in their proper religious habits and symbolic
colors ; St. Theresa is habited in the Carmelite costume, St. Margaret
of Cortona in the Franciscan, St. Bridget of Sweden in the habit of the
order of Sion, while St. Elizabeth of Hungary is in her princely garb.
Those who were married are without the virgin's wreath but wear the
marriage veil ; St. Mary Magdalene, neither crowned nor veiled, is yet,
as she always appears to us in Holy Scripture, at the feet of Jesus."
ALTAR AND REREDOS IN GRACE CHURCH, UTICA, NEW YORK
GRACE CHURCH 365
GRACE CHURCH, UTICA, N.Y.
The Chancel was rebuilt and enlarged about the year 1890. The
younger Upjohn of New York was the architect, as his father had been
the original architect of the whole church. The late John F. Hughes,
of Utica, was the contractor.
The exterior of the Chancel, like the Church, is of gray sandstone
with white limestone trimmings. The window trimmings, tracery, and
large chancel arch, also the niched wainscot inside, are of Indiana
limestone. There is a barrel-vaulted ceiling of Georgia pine.
The ends of the roof beams are carved singing angels, the corbels
of the Chancel arch are praying angels, the capitals of the columns
represent different sorts of foliage. The panels of the stone wainscot
are incised with a conventional diapering of different designs.
The Reredos and Altar are of Caen stone. The conventional
work, designed by Upjohn, was executed by Karl Bitter. The large
central panel represents the Ascension, after the idea of Dore's paint-
ing of the same subject.
The whole Chancel, including Altar, windows, and Reredos, was
designed to be a memorial to Alfred and Elizabeth Munson, Samuel
Alfred Munson, and James Watson Williams, the parents, brother, and
husband of Helen Elizabeth Munson Williams. As her death oc-
curred during the progress of the work, her daughters agreed to build
it and join their mother's name with the others commemorated.
The six mosaic panels were mide by Pellarin, of New York, the
mosaic being made on purpose for the designs, in Italy. They repre-
sent on each side furthest from the Altar the Rose of Sharon, the next
two panels represent the Passion Flower, and the two nearest the
Altar represent the Vine. They also are a memorial to Helen Eliza-
beth Munson Williams, and to all those in the church not otherwise
remembered.
366 SOME NOTABLE ALTARS
ST. JOHN'S AMERICAN EPISCOPAL CHURCH,
DRESDEN, GERMANY
This Church was erected and beautified chiefly by the American
residents of Dresden. The Altar, Font, and Pulpit were the gifts of
Mrs. J. E. Thompson, of St. Paul, Minn., and were given in mem-
ory of her husband, while she was a resident of Dresden. All the
marble work is of the finest Italian quality. The front of the Altar
represents the Last Supper, and is a work of art. The chief decora-
tion of the Reredos is a Crucifixion scene finely executed in marble.
The three gifts footed up the sum of ^7000.
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ST. MARK'S CHURCH 371
SILVER ALTAR IN THE LADY CHAPEL OF ST.
MARK'S CHURCH, PHILADELPHLA, PA.
The following description is taken from a pamphlet bearing the
imprint of Barlcentin and Krall, Regent Street, London : " Visitors to
Florence will recall, amongst the treasures of that great treasury of
all the arts, the superb silver Altar which is now exhibited in the
Museum of the Cathedral, and which is, or rather was, carried year by
year to the Baptistery of the Cathedral, to be used on the Feast of
St. John the Baptist. Since Ant. Pallajuolo (1429-98) and his brother
artists designed and made that celebrated Altar, nothing, so far as we
know, has been produced at all approaching it in elaborate magnifi-
cence, until the present time, when Mr. Krall, and the artists and crafts-
men associated with him, have made the Altar for the Lady Ciiapel of
St. Mark's, Philadelphia. It will add to the interest of those who visit
St. Mark's, as well as of those who are accustomed to worship there,
to have at hand some description of the construction, the arrange-
ment, and iconography of this very splendid piece of modern ecclesi-
astical art.
" The Altar, seven feet in length by two feet in depth, and three
feet three inches in height, consists of a mensa or slab, in one piece
of gray and black Irish marble, supported on a frame of solid silver,
backed by wood. The original idea was to provide simply a movable
frontal to the existing alabaster Altar, to be used only on Feasts of
Our Lady. But as the work proceeded and grew in elaboration, it
was felt that to move so fine a piece of work to and fro, several times
in the course of every year, would be to expose it to great risk of
damage. It was therefore determined to make the whole Altar — with
the exception, of course, of the mensa — of silver, and to fix it perma-
nently in its place. This has now been accomplished.
" The ends of the Altar are comparatively plain. Each is divided
into four panels, with moulded framing, and the panels are filled
with simple designs in leaf work. The front of the Altar strikes the
spectator at once by its extreme richness, and by the enormous quantity
372 SOiME NOTABLE ALTARS
of figure-design that has been lavished upon its limited space. Eight
scarf-columns project from the front surface to serve as supports for
the mensa, and these columns divide the whole surface into seven spaces.
Six of these spaces are further divided at half their height by a band.
The seventh space — the central and somewhat larger space — is left
undivided, and is filled by a niche. Compound twisted coluinns, with
carved and jeweled bases and capitals, carry the richly cusped arch of
the canopy of the niche ; the spandrils above this arch are filled with
open-work foliage, and the point of the arch is surmounted by a flori-
ated crown. A diaper of fleur-de-lys, on a ground of pale blue enamel,
covers the back of the niche. Within this niche stands a stately figure
of Mary, holding in her arms her Child. The Holy Child grasps with
one hand his Mother's robe ; in the other he holds the orb of the
world. It is a singularly lifelike, childlike, happy figure. The figure
of the Mother is full of dignity, and especially noteworthy for the
beauty of its finely modeled drapery. The twelve panels, which, with
the exception of the niche, occupy the whole of the front, measure
each of them seven inches by eleven and one-fourth inches. They
are filled with subjects from the life of the Blessed Virgin. The series
begins on the extreme left of the upper row.
" I . The Aiigefs Message to St. Anne.
St. Anne, the wife of Joachim, kneeling at a prayer-desk,
receives from an angel the glad tidings that she will have a
daughter, who shall bring forth the Saviour of the world.
"On the same level, to the right, we have —
" 2. T/ie Birth of Mary.
St. Anne is seen on a couch in the background. In the
foreground are three friends, who are ministering to her child.
" On the right of this panel —
" 3. Marys Presentation in the Tetnple.
Mary, in her girlhood, is seen ascending the steps of the
Temple, to which she has been led by her father and mother.
In the background are the courts of the Temple, and beyond
the courts a glimpse of the Mount of Olives.
" The series is now continued in the left panel of the lower row.
ST. MARKS CllLKCll 373
" 4. The Espousal of Mary and Joseph.
In the presence of the Priest and several witnesses, Mary
is betrothed to St. Joseph. A rose in full bloom stands in
the foreground.
" 5. The Annuiicialion.
Mary, kneeling at a richly carved prayer-desk, and with her
arms crossed upon her breast, turns towards the angel who
kneels near her and is holding a lily in her hand. The holy
Dove hovers above Mary's head. An arcade encloses the
figures, and through the arches of the arcade the trees of a
garden are seen.
" 6. The Visitation.
Mary and St. Elizabeth meet and embrace in the garden
of St. Elizabeth's house. Three women stand by, gazing
sympathetically at the scene. Returning to the upper row
of subjects, we have, in the panel to the right of the
niche, —
" 7. The Visit of the Shepherds to Bethlehem.
In a stable thatched with straw, our Lady is seated with the
divine Infant on her lap. St. Joseph is watching over her,
and the shepherds have come to worship the new-born Saviour.
One of them, his dog by his side, is kneeling with folded
hands, and gazes at the Child.
" To the right of this we have —
" 8. The Flight into Egypt.
Mary, seated upon an ass, holds with both arms her Child.
St. Joseph, carrying provision for the way, leads the ass. In
the background an angel holds up a veil to screen the Holy
Family from their pursuers.
" 9. The Finding in the Temple.
The Child Jesus is seated on the steps inside the Temple.
A large book rests upon his knees, and other books lie about
him. The aged priests and scribes in the background con-
verse, wondering at the Child's questions. Mary, in trouble,
expostulates, 'Son, why hast thou thus dealt with us?' and
374 SOME NOTABLE ALTARS
he is answering, ' Wist ye not that I must be about my
Father's business? '
" The series is now continued at the lower level, where in the panel
on the right of the niche we have —
" lo. The Miracle at Cana.
In the front is the figure of the Lord ; his hands are raised
to bless the water that a servant is pouring into the great jars.
Mary waits and watches. In the background the marriage
feast is proceeding.
"II. At the Foot of the Cross.
Mary and the holy women sit supporting the lifeless body
of the Lord, which has been lowered from the Cross. In the
background the Cross is seen, and two angels are bending
over the sorrowing group in worship.
" 1 2. The Coro7tation of Our Blessed Lady.
This is the climax of the whole series. The Lord Jesus
receives his Blessed Mother unto himself, that ' where he is,
she may be also ' : and he crowns her faithfulness with ' a
crown of glory that fadeth not away.' — St. John xiv. 3 ;
Rev. ii. 10; St. Peter v. 4.
" The eight half-columns which support the Altar slab form a frame
of extraordinary richness to these panels ; each half-column carries on
its face eighteen small niches, arranged in sets of three, one above the
other, and in every niche is the figure of a saint in complete relief.
These figures, 144 in number, have been separately modeled; they
bear their characteristic emblems, and their names. The capitals of
the columns contain, each of them, a group of three kneeling angels,
some with hands clasped in prayer, and some with musical instruments.
A rich band of foliage and scroll work, in deep relief, connects the
capitals, and forms a supporting cornice for the mensa. Lines of roses
with jeweled centres divide the lower from the upper row of subjects,
and each subject from the cornice and the plinth.
"The 144 figures in the niches of the columns are arranged, with
one or two slight dislocations, chronologically, beginning at the ex-
treme right at the top with Adam, and proceeding downwards through
I
ST. MARK'S CHURCH 375
the outer line of figures. From the lowest figure of each line, we re-
turn to the highest figure of the next line to the left, and so on. Fol-
lowing in consecutive order, the little figures represent the saints of
the Old Testament, and the Major and Minor Prophets, passing on
into the saints of the Catholic Church : but the strict sequence is in-
terrupted in order that the saints and angels of the New Testament
may stand on either side of the central figure. Then follow the con-
fessors and martyrs ; holy men and women of the later time ; the great
doctors of the Western Church and of the Eastern Church ; the lesser
theologians ; the founders of religious orders, and the more conspicuous
of the British missionary saints and martyrs.
" The composition as a whole, in spite of its infinity of detail, is yet
a unity, and singularly compact and harmonious in effect. Over 400
jewels are distributed over the work : they are, however, so carefully
placed that nowhere do they draw off attention to themselves, but are
felt to add a subtle refinement and variety to the light and color which
play so delightfully over the whole surface.
" When we consider how many hundreds of figures, in high and low
relief, there are; the interest, variety, and beauty of the arrangement
and modeling of these figures; the wealth of varied design in the deco-
rative parts ; we cannot but feel that the greatest praise is due to all
concerned in the production of this remarkable Altar — artists, de-
signers, and craftsmen. They have achieved a monumental work
which does the greatest credit to them all, and which will remain as a
very splendid and very delightful presentation of twentieth-century
English Ecclesiastical Art.
" The figures in the niches of the columns are grouped in the fol-
lowing order, reading from the right to the left : —
I
" Aaron
Sarah
Adam
Joshua
Melchizedek
Eve
Samuel
Isaac
Abel
David
Jacob
Enoch
Hezekiah
Joseph
Noah
Elijah
Moses
Abraham
376
SOME NOTABLE ALTARS
II
Nahum
Hosea
Habakkiik
Joel
Zephaniah
Amos
Haggai
Obadiah
Zechariah
Jonah
Malachi
Micah
Elisha
[Judas Maccabaeus]
Isaiah
Jeremiah
Ezekiel
Daniel
St. Athanasius
St. Chrysostom
St. Basil
St. Gregory Naz.
Dionysius Areop.
St. John of Damascus
III
St. Irenseus
St. Hilary
St. Ambrose
St. Augustine of Hippo
St. Jerome
St. Gregory the Great
St. Matthew
St. Mark
St. Luke
St. John
St. Justin M.
St. Cyprian
St. Michael
St. Joseph
St. Joachim
St. Simon of Cyrene
St. Veronica
St. Longinus
IV
St. Peter
St. Andrew
St. Jaraes-the-Less
St. Simon
St. Thaddeus
St. Matthias
St. Joseph Arimath.
St. Stephen
St. Paul
St. Barnabas
St. Jude
St. Timothy
St. John Baptist
Zacharias
St. Elizabeth
St. Simeon
St. Anna
St. Lazarus
V
St. John Ap.
St. James-the-Great
St. Philip
St. Bartholomew
St. Thomas
St. Matthew
St. Gabriel
St. Raphael
St. Anne
St. Mary Magdalene
St. Martha
St. Mary of Bethany
St. Alban
St. Denys
St. George
St. Nicholas
St. Perpetua
St. CeciUa
VI
St. Ignatius M.
St. Polycarp
St. Clement Rom.
St. Laurence
St. Sebastian
St. Vincent
St. Clement Alex.
St. Cyril of Jerusalem
St. Anselm
St. Bernard
St. Bonaventure
St. Thomas Aquinas
ST. MARK'S CHURCH
377
St. Monica
St. Giles
St. Augustin Cant.
St. Patrick
St. David
St. Chad
VII
St. Catherine
St. Boniface
St. Edmund K. & M.
St. Edward the Conf.
St. .•\lphege
St. Martin
St. Agnes
St. Agatha
St. Lucy
St. Prisca
St. Faith
St. Margaret
St. Robert of Cit.
St. Bruno
St. Gilbert
St. Francis of Assisi
St. Clare
St. Dominic
VIII
St. Helen
St. Cuthbert
St. Oswald
Si. Thomas of Cant.
St. Anthony
St. Benedict
St. Etheldreda
V. Bede
St. Swithun
St. Dunstan
St. Edmund Abp.
St. Hugh."
This Altar as well as the Chapel in which it is placed is a memo-
rial to the late Mrs. Rodman Wanamaker, given by her husband.
378 SOME NOTABLE ALTARS
CHURCH OF ST. JOHN THE EVANGELIST, ST. PAUL,
MINN.
The Altar and Reredos were built and furnished in 1906, of quar-
tered oak. The central compartment contains a representation of the
Last Supper after Leonardo Da Vinci. The figures on the right and
left indicate adoring angels. The work was designed and built by the
American Seating Company in their Manitowoc Wisconsin shops.
The cost was about ^2500. The Altar and Reredos are Memorials
to the late Mrs. Fanny S. Wilder of St. Paul.
H-;
ALTAR AM) RERKDOS IN THK CHIRCH OK ST. JOHN THK
EVANGKLIST, ST. PAUL, MINN.
INDEX
Aldenham, Lord, 45 ; quoted, 46.
Allen, F. R., 306.
All Saints' Cathedral, Milwaukee, 239.
All Saints' Church, Evesham, 221 ; Richard's Castle,
227; Dorchester, 312.
American Seating Company, 356.
Armstead, H., 74.
Atkinson and Mylhertz, 28S.
Aumonier, W., 156.
Bacon Bros., 122.
Bailey and Bassett, 27S.
Beall, R. S., 62.
Beverley Minster, 161.
Bitter, K., 365.
Blashfield, E. H., 2S3.
Blomfield, Sir A. W., 102, HI.
Bodley, Sir G. F., 55, 85, 92, 115, iSl.
Bodley and Garner, 66, 79.
Borgia Bros., 254.
Boulton, R. L., 40, 221.
Boulton and Sons, 151.
Bridgeman, H., 85, 181.
Bridges, Mr., 215.
Brielmaier and Sons, 239.
Brightman, Rev. F. E., quoted, 134.
Brindley, Mr., 55.
Bristol Cathedral, 50.
Buckeridge, C. E., 106, 227.
Buckeridge and Floyce, III.
Bucknall and Comper, n6.
Burford Church, 203.
Burlison and Grylls, 122.
Cappelli, E., 278.
Cathedral of St. Alban, 45; St. John the Divine,
New York, 233; Quincy, 111., 240; St. Nich-
olas, Nevvcastle-on-Tyne, 62.
Chapel of All Souls' College, Oxford, 133; Chelten-
ham College, 151; Jesus College, Oxford, 128;
Marlborough College, 127; Magdalen College,
134; New College, 139; St. John's College,
Hurstpierpont, 145; Winchester College, 140;
St. Paul's School, Concord, 330.
Chester Cathedral, 49.
Chichester Cathedral, 61.
Christ Church, Bristol, 186; Reading, 228; New-
Haven, 317.
Christ Church Cathedral, Oxford, 55; Louisville, 234.
Christ Church Priory, 1 70.
Church of the Advent, Boston, 31 1; Ascenilon,
Chicago, 355; Epiphany, WashinKtun, 300;
Holy Redeemer, Ixindon, 86; Holy Trinity,
Middlctuwn, 318; Incarnation, New York, 260;
the Saviour, Philadelphia, 283; St. Allian, Imd-
don, 79; St. John the Divine, L<indon, 91;
St. Edward the Martyr, New York, 265;
St. Ignatius, New York, 259; St. Mary
Magdalene, Elmslone, 1S2; St. Michael and
All Angels, Anniston, 343; Traa'figuration,
254; Zion and St. Timothy, New York, 266;
St. John the Evangelist, St. Paul, 378.
Champneys, B., 34.
Chandler, T. P., 294.
Qarke, S., 6i.
Clayton and Bell, 209, 330.
Coleman, C, 361.
Congdon, H. M., 234, 299, 329, 350.
Convent of St. Marg.irct, East Grinstcad, 1 75; St.
Mary, Peekskill, 350; Nativity, Fonddu 1^10,356.
Cottingham, Jr., Mr., 40.
Cottingham, I.. X., 134.
Coxe Sons and Vining, 318.
Cram, Goodhue, and Ferguson, 244, 272, 312.
Davison, R., 39.
Durham Cathedral, 56.
Earp, Mr., 197.
Earp and Hobbs, 175, 198.
Eden, Rev. R. A., quoted, III.
Ellin and Kitson, 250, 253.
Elwell, Mr., 96.
Ely Cathedral, 3.
Emmanuel Church, Boston, 306.
Endolithic Marble Co., 338, 361.
Evans and Co., 260, 306, 312, 317.
Evans and Tombs, 337.
Exeter Cathedral, 13.
Farmer and Brindley, 2, 8, 25, 33, 49, 79, 91, 96,
121, 139.
Field, Mr., 7.
Fisher, R. C, 271.
Fisher and Bird, 259.
Forsythe, J., 102, 148.
Fowler, H., 19.
Gardner, Rev. Canon, quoted, 26.
Geflowski, G. E., 133, 210, 215.
38'
382
INDEX
Gcisslcr, K., 265, 266, 305.
General Theological Seminary, New York, 271.
Gilbert, A., 45.
Gloucester Cathedral, 14.
Gotlwin, Mr., 192
Gorham Co , 323.
Grace Church, Baltimore, 299; Windsor, 323 ;
Utica, 365.
Grant, Miss, 95.
Gruhler, W. J., 294.
Haight, C. C, 271, 318.
Ilardman and Sons, 2S8.
Hardman and Co., J., 336.
Ileaton, Butler, and Bayne, 198, 228, 323.
Medley, R., 122.
Hems, II., 45.
Hereford Cathedral, 40.
IleHitt, G. \V. and \V. D., 288.
Hicks and Charlewood, 122.
Hirst, H., 30, 191.
Hitch, N., 30, 139, 161, 164, 222.
Holiday, H., 277.
Holy Trinity Church, Watermoor, 215; Middle-
town, 318.
Hudson, Mr., 7.
Hughes, J. F., 365.
Irving and Casson, 330, 337.
Johnson, R. J., 62.
Kempe, C. E., 33.
Lamb, J. and R , 265.
Leonard!, 287.
Lichfield Cathedral, 33.
Manchester Cathedral, 34,
Minster Lovell, 204.
Moore, T. L., 96.
Mora, Mr., 306, 312.
Neville Screen, 56.
NichoUs, T., 209, 228.
NoUoth, D.D., Rev. Canon, quoted, 161.
Norcross Bros., 324.
Norman and Burt, 61.
Nowell, D.D., Rev. Canon W. E., quoted, 122.
Oertel, D.D., Rev. J. A., 244.
Old St. Pancras Church, London, 1 1 1.
Ostrehan, G., 176.
Partridge, W. O., 300.
Pearson, G. T., 293, 349.
Pearson, J. L., 30, 50, 139, 164, 22?.
Penrose, G. T., 164.
Perkins, Rev. T., quoted, 170.
Peterborough Cathedral, 39.
Peto, H., 311.
Philips, B., 228.
Phillips, J., 7.
Pomeroy and Cay, 86.
Poole and Allen, 148.
Potter, \V. A., 324.
Powell, Messrs., 85, 191.
Prothero, H. A., 151.
Purdy, E., 221.
Randall, H., 300.
Ratte, Mr., 4.
Rede, D.D., Rev. W., quoted, 240.
Redfern, Mr., 14.
Rhind, J. M., 318.
Rice, Mr., 192.
Rider, J., 86.
Robertson, C. G., quoted, 133.
Rochester Cathedral, 19.
Rose, P. C, 244.
Ross and Co., 244.
Rubicondi, 287.
St. Agnes' Church, London, 96.
St. Alban's Church, London, 79.
St. Anne's Church, Eastbourne, 116.
St. Barnabas Church, London, loi.
St. Chad's Church, Haggerston, 197.
St. Cuthbert's Church, Newcastle-on-Tyne, 122.
St. Elizabeth's Church, Philadelphia, 278.
St. George's Chapel, Windsor, 155.
St. Giles' Church, London, 106.
St. Ignatius' Church, New York, 259.
St. James' Church, Philadelphia, 272.
St. John Baptist Church, Cirencester, 210 ; Sum-
mertown, 216.
St, John's Church, Dresden, 366 ; London, 91,
102; Stamford, 324.
St. Luke's Church, Germantown, 293 ; Scranton,
344-
St. Margaret's Church, King's Lynn, 181.
St. Mary Magdalene, Elmstone, 182.
St. Mary's Church, Bristol, 192 ; Cuddington, 121;
Marsh Gibbon, 19S ; Kansas City, 361 ; Prim-
rose Hill, London, 115; Soho, London, 95;
Streatley, 222 ; Philadelphia, 287; Witney, 209.
St. Matthew's Church, Northampton, 156.
St. Michael and All Angels Church, Anniston, 343.
St. Paul's Cathedral, London, 66.
St. Paul's Church, Bristol, 191 ; Chattanooga, 33S;
London, 80 ; Washington, 305.
St. Paul's School, Concord, 330.
St. Peter's Church, Germantown, 294.
St. Stephen's Church, Clevver, 176; London, 85;
Philadelphia, 277 ; Providence, 335.
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INDEX
3S3
St. Timothy's Church, rhiladclphia, 288.
Salisbury Cathedral, 8.
Salviati, 49, 74. 355-
Schweichart, Mr., 323.
Scott, Sir G. U., 4. ». '3. M. >9. 25. 33. 49. 74. 9^,
"39. «55. 210. 2'5-
SeddinK, J. D., 86.
Sergeant, 1'. W., quoted, i.
Sharpless and Watts, 278.
Shaw, N., 227.
Sibbel, J., 350.
Silver Altar of St. Mark's Church, Philadelphia, 371.
Smith, J., 324.
Southwark Cathedral, London, 70.
Staller, II., 115.
Stent, E. J. N., 355.
Stewart and Hendry, 343.
Street, G. E , 20, 95, 128, 203.
Sturgis, J. H., 311.
Theis' Sons, P., 329.
Thomas, J. A., 121.
Thompson, D.D., Rev. Canon, quoted, 70.
Thornhill, Sir J., 133.
Tiffany, L. C, 233, 344.
Tinworth, Mr., 20.
Trinity Church, Geneva, 349; New York, 247;
Torrington, 329.
Trinity Chapel, New York, 253.
Truro Cathcilral, 26.
Tully, J. C, 259.
Upjohn, R. M., 365.
Valenzi, 287.
\'auchel, !•"., 50.
VauKhan, U., 260, 317, 330, 337.
Wall. A. li., 185.
Watts, R., 336.
West, Sir B., 2, 19.
Wcslinacotl, J. S., 62.
Westminster Abbey, 74.
Wheeler Bros., 228.
Whitman Company, 293, 349.
Winchester Cathedral, I ; College, 140.
Withers, F. C, 247. 253. 254-
Withers, R. H., 80.
Wood, W. H., 266, 338, 343.
Woodyear, H., 176, 228.
Worcester Cathedral, 25.
Wyatt, l'., 128.
York Cathedral, 20.
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