."^^ JOHN WRIGHT CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 189I BY HENRY WILLIAMS SAGE Cornell University Library NA 5060. W93 Some notable altars In the Church of Eng "3 1924 015 346 574 DATE DUE ijjftrS^ 4A*m JmirW-- 4Q72 ftfr-' -; ncT" klAMsa&M. w/mW^"^""' ,.,"- jiov V n3 ijo't CAVLORD PPIINTCD IN U.S.A. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924015346574 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 TStia gotfe THE MACMILLAN COMPANY 1908 All rights rfsert'^dW |- | j Copyright, igoS, By the macmillan company. Set up and electrotyped. Published November, xgoS. SToiiBoot) j^ngg J. B. Cashing Co. —Berwick & Smith Co. Norwood, Mass., U.S.A. SOME NOTABLE ALTARS THE MACMILLAN COMPANY HEW YORK ■ BOSTON • CHICAGO ATLANTA • SAN FRANCISCO MACMILLAN & CO., Limited LONDON • BOMBAY • CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Ltd. TORONTO 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 that 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the information was obtainable, though in some cases there was uncertainty on this point, and in others the cost was not for publication.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 utterjy 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 PAGE 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 Holy 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 100 St. John's Church, Hackney, London 103 St. Giles' Church, London 107 Old St. Pancras Church, London 110 St. Mary's Church, Primrose Hill, London 114 St. Anne's Church, Eastbourne 117 St. Mary's Church, Cuddington 120 vii viii ILLUSTRATIONS PAGE St. Cuthbert's Church, Newcastle-on-Tyne ... . . • • 123 Chapel of Marlborough College '^° Chapel of Jesus College, Oxford '^9 Chapel of All Souls' College, Oxford '3^ Chapel of Magdalen College, Oxford *35 Chapel of New College, Oxford '3^ Chapel of Winchester College '4-i Chapel of St.' John's College, Hurstpierpont i44 Chapel of Cheltenham College ^5° St. George's Chapel, Windsor i • • -154 St. Matthew's Church, Northampton ^57 Beverley Minster 160 Christ Church Priory 171 St. Margaret's Chapel, East Grinstead 174 St. Stephen's Church, Clewer i77 St. Margaret's Church, King's Lynn 180 Church of St. Mary Magdalene, Elmstone 183 Christ Church, Bristol 187 St. Paul's Church, Clifton, Bristol 190 St. Mary's Church, Redcliffe, Bristol 193 St. Chad's Church, Haggerston 196 St. Mary's Church, Marsh Gibbon 199 St. Peter's Chapel of Burford Church 202 Minster Lovell, Witney 205 St. Mary's Church, Witney 208 Church of St. John the Baptist, Cirencester 211 Holy Trinity Church, Watermoor 214 Church of St. John the Baptist, Summertown 217 All Saints' Church, Evesham 220 St. Mary's Church, Streatley 223 All Saints' Church, Richard's Castle, Ludlow 226 Christ Church, Reading 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 FAGB Church of St. Edward the Martyr, New York City . ... 264 Church of Zion and St. Timothy, New York City 267 Chapel 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. Timothy's Church, Philadelphia 289 St. Luke's Church, Germantown 292 St. Peter's Church, Germantown 295 Grace Church, Baltimore 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, Conn 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. 348 Chapel of Convent of St. Mary, Peekskill, N.Y 351 Church of the Ascension, Chicago, III 354 Convent of the Nativity, Fond du Lac, Wis 357 St. Mary's Church, Kansas City, Mo 360 Grace Church, Utica, N.Y 3^4 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 Reformation 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 18 18. In his Cathedral Church 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 <;rucifix. 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."^ 1 The Cathedral Church of Winchester. A description of its fabric and a brief history of the Episcopal see, pp. 56-61. THE CATHEDRAL CHURCH OF ETHELDREDA 3 THE CATHEDRAL CHURCH OF ETHELDREDA, ELY 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 flame-like 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, apparently 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 narth 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- By permission of G. H. Tyndall, Ely. ALTAR AND REREDOS IN ELY CATHEDRAL 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 are 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 ;^2oo 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 ;^4ooo. 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. By permission of Witcomb&Son, Salisbury. ALTAR AND REREDOS IN SALISBURY CATHEDRAL rjv^ ^JWJ^J^J^-^-^-^-^' -h c»HO»O*O*O»e*0»^^<$>0»^OO^^i<^»^3H<^i^ i^ 50>«i«a;y<»-».\ j wa aj rggjrgi«iiKo->.-^. .ij^S iSsr''fsssiii'SP^mi . ' ^;;^^f5W5??i?fi.' «^W^fffiJWi«V«iSV'''V'»*iv <''■'»".«• . 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 /1 500. By permission ol Valentine & Sons, Dundee. 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 1788 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 Rere- 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. ' * fiy permission of Valentine & Sons, Dundee. 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 ;^i50o. 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 ; while 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 ai-t, 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 Maty 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 form 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 1855, and is 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. Polycarp, 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. s W^^ s «lBf*«(eiiWi?; 4 ^gl^ ^ TTlrfM EKS *.„ -^.:.. IBS CK'MttWmM '«*:=*^ »..-> -^ in Ti' -J^ -^ -jjt »j^ -X- ^ J|» p0i$U$Ji,., '.V^* ?^.;. .^. ■it^^^w y-mm m (>•*•«•• «»«• ••»• *it» t«»ii?t • v «"« »•» -— .■••i»\1n,!"i «i^ii&^^px^ » »e&iS8fi^^sa.'iii^x^£^x^x^iiw:^. By permission of William H. Bowman, Manchester. ALTAR AND REREDOS IN MANCHESTER CATHEDRAL By permission of Valentine & Sons, Dundee. ALTAR AND 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 our 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. 40 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 Ethelbert. Cy permission of Vu.lenlint: &, Sous, Dundee. ALTAR AND REREDOS IN HEREFORD CATHEDRAL By purmisiiiQn. of Valentine &. Sons, Dundee. ALTAR AND SCREEN IN THE CATHEDRAL OF ST. ALBAN THE CATHEDRAL CHURCH OF ST. ALBAN 45 THE CATHEDRAL CHURCH OF 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. Bdow 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 Saxons; St. Etheldreda, the Abbess of Whitby; Adrian IV, Bishop of Rome; St. .^Ifric, 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 Bade, 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 Martyr ; 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 Valentine & Sons, Dundee. ALTAR AND REREDOS IN CHESTER 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 ;^i200, and the Altar an additional expenditure of about i"ioo. 50 SOME NOTABLE ALTARS THE CATHEDRAL CHURCH OF THE HOLY TRINITY, BRISTOL The Reredos in Bristol Cathedral is not only an artistic and statelp structure, but it is rich in its historic suggestions. It not only contains figures 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-Trytti. 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 ;^25oo. By permission of the Deaa ol Caihcclrai. 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- j 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 are 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. Brindley. 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 1 380, 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. By permission of S. B. Solas & Co., London. ALTAR AND PARTIALLY RESTORED SCREEN IN DURHAM 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 satisfactory, 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. 62 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. The 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 F. & W. Dodsworth, Newcastle-on-Tyne. ALTAR AND REREDOS IN THE CATHEDRAL OF ST. NICHOLAS, NEWCASTLE-ON-TYNE 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. * T%e Reredos in Newcastle Cathedral, pp. 12, 13. 66 SOME NOTABLE ALTARS THE CATHEDRAL CHURCH OF ST. PAUL, LONDON The 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 'ISiV Deus 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 permission of C\ril LIhs, London. ALTAR AND REREDOS IN ST. PAUL'S CATHEDRAL, LONDON THE CATHEDRAL CHURCH OF ST. PAUL 69 The enrichments are generally gilt, the steps in front of the Altar are of white marble, and the pavement of rosso antico, Brescia, verde di Prato, like the Reredos." The Reredos rises to a height of seventy-five feet. It cost the sum of ;^ 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 By permission of Canon Thompson. ALTAR AND PARTIALLY RESTORED SCREEN IN SOUTHWARK CATHEDRAL THE CATHEDRAL CHURCH OF ST. SAVIOUR 73 Deum Laudamus. 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." ^ ^ 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." By permission of Cyril Ellis, London. 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-irdn 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. ALTAR AND REREDOS IN ST. PAUL'S CHURCH, By permission of Cyril Ellis, London. KNIGHTSBRIDGE, LONDON By permission of Cyril Ellis, 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 glory, 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 ;^6oo. By permission of Cyril Ellis, London. ALTAR AND BALDACHINO IN THE CHURCH OF THE HOLY REDEEMER, CLERKENWELL, LONDON By permission of Cyril Ellis, London. ALTAR AND REREDOS IN THE CHURCH OF ST. JOHN THE DIVINE, KENSINGTON, 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 : — " ' Benedi VV. TdunliCu., Oxiord. ALTAR AND REREDOS IN ST. MATTHEW'S CHURCH, NORTHAMPTON 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 NoUoth. 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. NoUoth, 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 opien 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 \york 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 iiEMORiAM DiLEcnssMAM and to the beloved memory of HENRia ovENDEN NOLLOTH, Henry Ovenden N'oUoth, IN CLASSE REGALi NUPER PRAEFECTi, late Commander in the Royal Navy, poNtnsTUR IN HOC PARiETE the Statues and Mosaics STATUAE ET MusivuM are placed in this Screen A.D. MDCCCXCVn. 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 NoUoth, 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 England." 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 181 5 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 College 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 x66 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 Plorus.' Born at Beverley, 1 109 ; Sacristan, Canon, and Treasurer of i68 SOME NOTABLE ALTARS the Minster. Afterwards Abbot of Rievaulx. One of the Saints of the Cistercian Order; his day the ad of March. "II. Ethelberga, a Christian Princess of Kent, married to "i2. Eadwine, King of Northumbria, by Paulinus, 625. Edwin was baptized Easter Eve, 627. " Paulinus appears in the second panel of the upper tier of mosaics. He was the 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, 1144. "St. Thomas a Becket, Provost of Beverley, 11 39; Archbishop of Canterbury, 1162; 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 the 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 compaxiy meet, Who sailed with the Saviour beneath.' " I70 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." ^ * Wimborne Minster and Christchurch Priory, pp. 112-113. if ■ Jli * i H * 1i:i%^ ;* •■!■«, 4. By permission of Rev. Thomas H. Busli, M.A. ALTAR AND SCREEN IN CHRISTCHURCH PRIORY, HANTS Jj> pcniiitiiiiun of C>ril Ellis, Luiiduii. ALTAR AND REREDOS IN THE CHAPEL OF THE CONVENT OF ST. MARGARET, EAST GRINSTEAD CHAPEL OF THE CONVENT 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 wiih 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 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. By permission ot Cyril Ellis, London. ALTAR AND REREDOS IN THE CHURCH OF ST. STEPHEN, CLEWER , ^ _ , ^ By permission 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. i82 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 ;^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 permission ot Cyril Ellis, London. ALTAR AND REREDOS IN THE CHURCH OF ST. MARY MAGDALENE, ELMSTONE CHURCH OF ST. MARY MAGDALENE 185 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, are 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." i86 SOME NOTABLE ALTARS CHRIST CHURCH, BRISTOL The Church of St. Ewen stood for many years opposite Christ Church, but in 1787 the two livings were consolidated. St. Ewen's was demolished 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 ;^ioo, in. memory of Thomas Bulman Cole. The entire cost of the Reredos was £, 180. By permission ot Cyril Ellis, London. ALTAR AND REREDOS IN CHRIST CHURCH, BRISTOL 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. 192 SOME NOTABLE ALTARS CHURCH OF ST. MARY'S, REDCLIFFE BRISTOL The Reredos is modern, having been erected in 1866-67. ^t 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 blessHlg 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. By iKsrmisiiiun oi J. W. Lauson, Bristol. ALTAR AND REREDOS IN THE CHURCH OF ST. MARY, REDCLIFFE, BRISTOL By permission of Cyril Ellis, London. ALTAR AND REREDOS IN ST. CHAD'S CHURCH, HAGGERSTON 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. igS SOME NOTABLE ALTARS CHURCH OF ST. MARY THE VIRGIN, MARSH GIBBON The Altar is built of oak and was erecred 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 £iyo. The Reredos was executed by Earp and Hobbs and the window by Heaton, Butler, and Bayne, of London. ALTAR AND REREDOS IN THE CHURCH OF ST. MARY THE VIRGIN, MARSH GIBBON By permission of Henry W. Taunt & Co., Oxford. 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 1872. The fi'gures were carved in London, but the name of the artist is unknown. The same can be. said of the original builder. The architect of th€ restoration was Mr. G. E. Street. The cost of this, which included the coloring of stone and woodwork, was ;^74.io. 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 permission of Mr. W. Adams, Witney. 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, with 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 scrip- 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. NichoUs was the sculptor. The cost was between ;^300 and ;^40o. 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. "jtepermission of JJailey & Woods, Cirencester. ALTAR AND REREDOS IN THE CHURCH OF ST. JOHN THE BAPTIST, CIRENCESTER HOLY TRINITY CHURCH 215 HOLY TRINITY CHURCH, WATERMOOR The Altar was erected in 1851, 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, SUMMERTOWN 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. By permission of Henry W. 'l'aunt& Co., Oxtord. ALTAR AND REREDOS IN' CHURCH OF ST. JOHN THE BAPTIST, SUMMERTOWN ALL SAINTS' CHURCH, EVESHAM 221 ALL SAINTS' CHURCH, EVESHAM This Church was built by the monks in the time of Edward III, 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 see and became the first Abbot. The Reredos is modern and was built in 1876, at a cost of ;^i 30, 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 Mary 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. ALL SAINTS' CHURCH, RICHARD'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 NichoUs. 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. 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 statuaiy 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 CATHEDRAL, LOUISVILLE, KY. 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 The 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 CATHEDRAL OF ST. JOHN, QUINCY, 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, who acted as gospeller and eplstoler. 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. 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, which 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. " VI. 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. " VIII. 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 the 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 YORK 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 Crucifixion, 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 memory of their first president. Miss Ballow, who held the office 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." CHURCH OF ST. IGNATIUS 259 CHURCH OF ST. IGNATIUS, NEW YORK CITY The Altar is of Vermont statuary marble with Italian marble steps, in white. It was erected in 1886 and the architect was Mr. Kivas TuUy, 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, CounselloV, 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 1^30,000. ALTAR AND REREDOS IN THE CONSTABLE CHAPEL IN THE CHURCH OF THE INCARNATION, NEW YORK CITY CHURCH OF ST. EDWARD THE MARTYR 265 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. Georg|| Jarvis Geer, D.D, The architect was Mr. William Halsey Wood and the builder R. Geissler. The cost was about jSJ6ooo. ALTAR AND REREDOS IN THE CHURCH OF ZION AND ST. TIMOTHY, NEW YORK CITY ALTAR AND REREDOS IN THE CHAPEL OF THE GENERAL THEOLOGICAL SEMINARY, NEW YORK CITY GENERAL THEOLOGICAL SEMINARY 271 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 a"rches 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. Charlps 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 AND REREDOS IN THE CHURCH OF ST. JAMES, PHILADELPHIA, PA. < 1-1 w h-l W PM u X u w M PM w H H en m O Q W P!| W P^ Q Pi < 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 Agnus 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 Era Bartolomeo. The inscription on the pediment is D. O. M. sub 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 IN ST. ELIZABETH'S CHURCH, PHILADELPHIA, PA. ALTAR AND REREDOS IN THE CHURCH OF THE SAVIOUR, WEST PHILADELPHIA, PA. CHURCH OF THE SAVIOUR 283 CHURCH OF THE SAVIOUR, WEST PHILADELPHIA 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 Drexel 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 the 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 t)^es 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 apex 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 Eb:. 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 jj525,ooo. 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 Softs, 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 AND REREDOS IN ST. TIMOTHY'S CHURCH, ROXBOROUGH, PHILADELPHIA ALTAR ANP REREDOS 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 1 903, 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. t^ 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 ^52500. 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 CHURCH, GERMANTOWN, PA. w S M 1-1 < K o W u u <: AS m O fl W « W Pi Q Pi < 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-relief on the Altar front are Sacrifice of Noah, Melchiz- edek, and Abraham, and Sacrifice of Isaac. The cost was ^^9000. It was erected by Mrs. William M. Innez to the memory 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 was the work of Mr. Henry Randall, architect, and Mr. W. O. Partridge, sculptor. u Q o < < w H W O W u w u w w H O Q W Q 12; < 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 ff^iipporting the mensa are 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. ALTAR AND REREDOS IN EMMANUEL CHURCH, BOSTON, MASS. ALTAR AND REREDOS IN THE CHURCH OF THE ADVENT, BOSTON, MASS. CHURCH OF THE 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 REREDOS IN ALL SAINTS' CHURCH, DORCHESTER, MASS. 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 rhajesty 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 large figures 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 wa:s not a memorial but the generous gift of Mrs. Mary E. Ives, who made it, as she says, " expressive of the hohor and -glory of the risen Lord." 3i8 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 AND REREDOS IN THE CHURCH OF THE HOLY TRINITY, MIDDLETOWN, CONN. iz; % O o Pi O O o u H O