A  Story in Stone

The Reredos & East Window

When you visit Geddington Church, there are two great glories that you can’t miss.  The first is the superb 14^th Century Reredos just below the east window and behind the altar. Recently restored to full magnificence as part of a project supported by the Heritage Fund and other donors, it is well worth a visit.  But, what is the reredos, who made it, what is its history, why was a restoration project necessary, and what are the strange heads beneath it all about?  

The great window at the east end of the Church is clearly an amazing piece of art, but have you wondered how old it is, who made it and, with so many different images, what story is it trying to tell? And what do all those bits of Latin mean?

Please read on to see the answers to these questions and more….

The Reredos

One of the glories of Geddington Church is the superb medieval reredos just below the east window and behind the altar. Recently restored to full magnificence as part of a project supported by the Heritage Fund and other donors, it is well worth a visit.

But, what is the reredos, how old is it, who made it, why was a restoration project necessary, and what are the strange heads beneath it all about? Please read on to see the answers to these questions and more….

What is a Reredos?

In the early Christian church, the Altar symbolised Christ’s tomb, and it was here that the holiest part of the Mass was celebrated. Over time, altars became more decorated, with a cross (the crucifixion); candles (Light of the World); and a white cloth (burial shroud) becoming standard items placed on the altar.

In the medieval period altars were also increasingly decorated with artworks depicting aspects of Christ’s passion, like the one on the left. Many then came to be fixed behind and above the altar.

The word reredos comes originally from two Latin words:

arere, meaning ‘behind’

dorcus, meaning ‘back’.

By the 14th Century this had become areredos later shortened to reredos.

 
So, a reredos is a work of art behind the back of the altar featuring the crucifixion and/or scenes associated with it, such as the Last Supper. 

How Old is the Reredos?

The stonework of Geddington’s reredos dates from around 1350 to 1370 and is about 14 ft wide and 4 ft high, with 13 arched niches. Immediately to its left is an Aumbrey of the same date, where wine, bread and water were kept for use in the Eucharist (Holy Communion).

Where did the Reredos Come From?

One highly unusual feature is two stone heads (left) supporting the reredos – a jester and what looks like a monkey – both clearly ancient but of uncertain date.

It is believed that Reredos would have been richly decorated and that the niches would have contained statues of Christ and his Apostles. 

There is a mystery surrounding the origin of the Reredos, because it is highly likely that it was not made for its present location and came from somewhere else.

The two most obvious candidates are:

1. The first possibility is Royal Palace next to the church, which at one time had private chapels for both the King and Queen. Its high quality, both in design and in execution mean it would have been very expensive to create, which supports the possibility of a royal provenance. The ancient heads might well have come from the palace too – was one the Royal Jester, and the other an exotic pet? However, the date of the Reredos (probably not much earlier than 1350) makes it unlikely, though not impossible, that the King’s mother, Queen Isabella of France (who held the Manor between 1333 and 1358) commissioned it, because we know the palace was in ruins by 1374. 
2. The second possibility is Pipewell Abbey, a Cistercian Monastery about 2 miles away. The Abbot of Pipewell had oversight of Geddington from 1358 onwards, and the Reredos from the Abbey Church might have been brought here after it was suppressed by Henry VIII in 1538. Sir George Tresham, who was Lord of Geddington Manor with the right (from 1538) to nominate the Vicar, is known to have taken possession of other features from the Abbey. It is not certain that he shared the Catholicism of the senior branch of the Tresham family at Rushton Hall, but if he was sympathetic, he would have been very interested to preserve this holy item, as would the monks, given their close association with Geddington. However, Pipewell was a Cistercian Abbey, and the Rule of St. Bernard that governed the Order required absolute simplicity in ornament and decoration, though this was by no means always observed. The Abbey was also facing financial troubles by the time the Reredos was made, and this expensive artwork would have been a significant drain on their resources. So, although Pipewell remains a possibility, there must also be a degree of scepticism about it.

The Reformation

At the Protestant Reformation of the mid-16th century, medieval altars were generally removed and replaced with a ‘communion table’ at the western end of the Chancel or in the Nave; the flamboyant art of medieval churches was frowned upon and painted over; and statues were regarded as idolatrous. It is therefore likely that the statues were removed and the Reredos little regarded for around 300 years. Somehow it survived, however.

The Gothic Revival

From the 1830s onwards there was a strong revival of interest in ‘catholic’ thought and practice, which had been largely suppressed, both within the Church of England and in wider society, since the Reformation. Leading members of the Oxford Movement, centred in the University of Oxford, argued that the Anglican church, though no longer part of the Roman church, was nevertheless ‘catholic’ in its history and identity and could trace its line of bishops directly back to the earliest days of the church. The ideas had a major impact on Geddington church, including restoration of the high altar and reredos.

Sir George Gilbert Scott

In 1845, the Rev. William Montagu Higginson Church became Vicar of Geddington. Strongly influenced by the Oxford Movement and keen to expand the church’s seating capacity, he (together with the Duke of Buccleuch, with whom he shared the costs) commissioned the already well-known architect, George Gilbert Scott, to carry out an extensive re-ordering and renovation of the church. According to the builder ’s estimate (1855) this included “the reredos to be carefully restored and the ancient heads in the Chancel”. We know that this included painting gold fleurs de lys on blue backgrounds in the niches, together with the names on saints in gothic script, and it was reported that statues were re-introduced as well. Some traces of this scheme were found during conservation work on the reredos in 2023.

Sir Ninian Comper

in 1888 a rising young architect, Ninian Comper, was appointed to carry out his very first church restoration project – the renovation of Geddington’s reredos. His scheme filled the niches with exquisitely-painted zinc panels and decorated the stonework with delicate patterns. The larger central panel features the crucified Jesus, with Mary Magdalene kneeling at his feet. The other 12 panels feature eleven Apostles and Mary, mother of Jesus.

In detail, these reredos panels depict the following:

The central panel shows the Crucifixion of Christ with St. Mary Magdalene kneeling and the cross inscribed ‘I:N:R:I’, which stands for Iesus Nazarenus, Rex Iudaeorum, meaning ‘Jesus of Nazareth, King of the Jews’ – the inscription given in John’s Gospel Ch.19 v.19. Beneath the Cross is a skull, representing Jesus’ victory over Death in the Resurrection. A follower and supporter of Jesus, Mary Magdalene probably came from Magdala on the Sea of Galilee and was present at Jesus’ Crucifixion and burial and at the Resurrection, for which she is known as ‘apostle to the apostles.’ She has been the Patron Saint of Geddington Church since the 16th Century.

To the left are:

• St. Thaddeus, holding a club in his left hand. Commonly called ‘Jude Thaddeus’ to distinguish him from Judas Iscariot, he is sometimes identified as the brother of Jesus, but more commonly as the brother of James the Less. He is also closely associated with St. Simon, with whom he was said to have been martyred in Beirut in 65AD. He is usually depicted holding a club.
• St. Jacobus:A [James, the son of Alphaeus: also known as ‘James the Lesser’] holding a book in his right hand. There is much uncertainty over his identity: some think he was the son of Jesus’ aunt, Mary of Clopas; others think James, the brother of Jesus; and even possibly the brother of St. Matthew. He is often also depicted holding a fuller’s club. His martyrdom is said to have been at the hands of Herod Agrippa (Acts 12.1-2), but there is a tradition he was crucified in Egypt.
• St. Matthaeus, holding a halberd in his left hand. Originally a tax collector, ‘Matthew the Apostle’ has often been identified as the writer of Matthew’s Gospel, although many scholars dispute this. He preached first in Judea and then in Ethiopia where, according to tradition, he was martyred at the hands of King Hirtacus.
• St. Jacobus:Z, [James, the son of Zebedee: also known as ‘James the Great’] holding a staff in his left hand and wearing a pilgrim’s hat with the pilgrim’s symbol of a scallop shell. His mother, Salome, was a sister of Jesus’ mother, Mary. One of the first disciples, together with his brother John and with Peter, he was close to Jesus; and he was the first to be martyred at the hands of Herod Agrippa in Jerusalem. The patron saint of Spain, his relics are held at Santiago de Compostella, one of the great pilgrimage sites.
• Stus. Petrus, [St. Peter, also called Simon Peter] holding a key in his right hand (symbolising the keys to heaven) and an open book (the Gospels) in his left hand. The founder of the Church in Antioch, he is venerated as the first Bishop of Rome, and the first Pope. Two letters in the Bible (1 Peter and 2 Peter) are traditionally attributed to him, though modern scholars discount this. He was crucified in Rome under the Emperor Nero, and St. Peter’s basilica in Vatican City bears his name.
• Beata Maria, [the Blessed Mary, mother of Jesus] with her arms crossed. Usually portrayed wearing ‘Marian blue’, St. Mary the Virgin – the mother of God - is generally regarded as the greatest of all the Saints. She is especially venerated in the Catholic tradition, in which she carries the title of ‘Blessed’. She is also recognised as the greatest among women in Islam. Countless churches are named in her honour.

To the right are:

• S. Johannes, [St. John] holding a closed book in both hands. The brother of James, son of Zebedee, John the Apostle was the youngest apostle and is usually identified as ‘the disciple whom Jesus loved’ and as John the Evangelist, writer of John’s Gospel, 3 letters in the Bible and the Book of Revelation. He was the only apostle to die naturally - it is believed this was in Ephesus in modern-day Turkey at some time after 98 AD.
• S. Andreas, [St. Andrew] leaning against a cross saltire, holding an open book with both hands. A Fisherman, he was the first to follow Jesus, bringing his brother Simon Peter with him. He is said to have preached from Byzantium (later Constantinople) along the Black Sea and up the River Dnieper to Kiev and on to Novgorod, becoming a patron Saint of Ukraine, Russia and Romania. Tradition said he was crucified in 60AD on a saltire cross at Patras in Greece, deeming himself unworthy of the cross of Christ. Relics of Andrew came with St. Augustine to Britain and thence to Scotland, which adopted him as patron too.
• S. Phillipus, (St. Phillip] holding a staff in his right hand. Said to have come, like Peter and Andrew, from Bethsaida, Phillip the Apostle had strong connections with Greek communities and features prominently in John’s Gospel. Sent with his sister Mariamne and Bartholomew to preach in Greece, Phrygia, and Syria, and was martyred at Hieropolis in modern-day Turkey having upset the king by converting his wife. Crucified upside-down with Bartholomew, he continued to preach, persuading the crowd to release Bartholomew, but refusing release for himself, he died. Relics of Philip are held in Rome, and the possible site of his tomb in Hieropolis was discovered in 2011.
• S. Bartholoaeus, [St. Bartholomew the Apostle] holding a knife in his right hand and a closed book in his left. After Christ’s death Bartholomew went to India, where he left a copy of Matthew’s Gospel, later returning to preach alongside St. Jude Thaddeus in Armenia, where both are patron saints. Accounts of his martyrdom vary, eitherbeing crucified upside-down at Hieropolos or beheaded near Baku in modern
  Azerbaijan.
• S. Thomas, [St. Thomas, also called Didymus, meaning ‘twin’, or ‘Doubting Thomas’’] holding a scroll in his right hand and a staff in his left. Tradition says he preached the Gospels in India, travelling to the far south and many churches in India and the Middle East claim Thomas as founder, including at St. Thomas’ Mount, Chennai where he was reportedly martyred with a spear in AD 72. His relics were said to have been taken back to Edessa.
• Stus Simon, [St. Simon the Apostle, sometimes called ‘The Zealot’ to distinguish him from Simon Peter] holding an open book in his right hand and a cross-cut saw with his left. Little is known of him after Jesus’ death, but he is said to have travelled to Persia with Jude Thaddeus, where he was martyred by being cut in half with a saw. However, another account says he died peacefully at Edessa.

Having completed work on the reredos, the parish was clearly very pleased, for he was commissioned to create new window glass for the great East Window, which he completed in 1892.

A Conservation Project

Sadly, both the stonework and the painted panels of the reredos suffered damage as a result of unsuitable materials being used to repair surrounding stonework in the 1940s. This allowed moisture to penetrate - corroding the panels’ paintwork and crumbling some of the stonework. In 2023 a project to renovate the reredos and mount an education programme about the church’s history was awarded grants by the National Lottery Heritage Fund and other donors. The renovation work was awarded to Hirst Conservation Ltd. and, 6 months later, the reredos has been restored to its full glory.

The Great East Window

When you visit Geddington Church, one of the features you can’t miss is the great window at the east end of the Church. It’s clearly an amazing piece of art, but have you wondered how old it is, who made it and, with so many different images, what story is it trying to tell? And what do all those bits of Latin mean? 

Please read on to see the answers to these questions and more.

How Old is the Window?

The window’s stonework dates from the second half of the 13th Century (probably from around 1280) and is made up of five sections (called ‘lights’) topped by a large circle, all under a pointed arch. The circle is filled with three-leaved sections called ‘trefoils’, which symbolise the Holy Trinity of Father, Son and Holy Spirit, with the circle symbolising the unity of these three different aspects of God.

Originally there would have been richly-decorated stained glass filling the window, but this was removed at the Reformation in the 16th Century and replaced with plain glass. The reformers viewed ornate decoration and imagery as ‘popish idolatory’. Plain simplicity was the order of the day and remained so until, in the mid -19th Century, the Oxford Movement sought a renewal of ‘Catholic’ thought and practice which had been largely suppressed, both within the Church of England and in wider society, since the Reformation.

In 1857, these ideas inspired a major re-ordering of the church carried out by the famous architect George Gilbert (later Sir) Scott, and one of the many changes was to fill several of the windows with stained glass. The East Window had glass by well-known Victorian glassmakers, Clayton and Bell. Their style can be seen in the two adjacent windows which were both installed around the same time.

However, in 1888 another famous architect, Ninian (later Sir) Comper was engaged to renovate the Sanctuary (the area behind the altar rail). He began with the Reredos (the artwork beneath the window) and followed this with the new window glass we see today. Dedicated on 17th December 1892, the window cost £340 (worth about £54,000 in 2024) and was paid for entirely by public donations from villagers!

So, what Story does the Window tell?

Sir Ninian Comper said the overall theme of the window is ‘the power of Divine Love shown in overcoming evil’. Each of the individual elements of the window underscore this theme through the symbolism of saints and prophets and passages (in Latin) from the Bible.

The left-hand panel

This shows “Sanctu[s] Petrus” (Saint Peter) holding the keys to heaven. Above him is the Old Testament Prophet, Isaiah; and below him is an angel, and the emblem of St. Matthew. There are two pieces of Latin text:

“Dicite filiae Sion: Ecce Salvator tuus venit”. This means: “Say to the daughters of Zion: Behold your Saviour is coming” This comes from Matthew 21.5, which recalls directly the words in Isaiah 62.11.

"Recordatus est Petrus verba Jesu” which means: “Peter remembered Jesus’ words”. This is a quotation from Matthew 26.75: “And Peter remembered the saying of Jesus, ‘Before the rooster crows, you will deny me three times.’ And he went out and wept bitterly.”

These sayings are both about the fulfilment of prophesies: in the first case that the Saviour will come to save the Jews; and in the second, that the Saviour will be denied by his own people. And yet, God’s love is so strong that a repentant Peter is entrusted with the keys to the gates of heaven – he is to become the first leader of the Church.

The left-centre panel

This shows “S Maria Magdalena” (Saint Mary Magdalene) holding an ointment jar. Above her is the Old Testament prophet Zachariah, and below her is a lion, the emblem of St. Mark. Here there is a single Latin quotation:

“Exsulta satis filia Sion, Jubila. Ecce rex tuus veniet” which means: Rejoice greatly, daughter of Zion, Rejoice. Behold your king is coming”. This comes from Zachariah 9.9: “Rejoice greatly, Daughter Zion! Shout, Daughter Jerusalem! See, your king comes to you, righteous and victorious, lowly and riding on a donkey, on a colt, the foal of a donkey.”

This is again about the fulfilment (this time in Mark 11) of a prophesy (in Zachariah 9.9) that the Saviour will come riding a donkey. The visual image of Mary Magdalene with a jar of ointment also links with two accounts in Mark’s Gospel. First in Mark 14.3: “While he was in Bethany, reclining at the table in the home of Simon the Leper, a woman came with an alabaster jar of very expensive perfume, made of pure nard. She broke the jar and poured the perfume on his head.” Though this does not mention Mary Magdalene by name, many commentators identify this woman with her, the point being that she recognises Jesus as the Saviour. Secondly in Mark 16.1, which says ”When the Sabbath was over, Mary Magdalene, Mary the mother of James, and Salome bought spices so that they might go to anoint Jesus’ body.” Again, Mary is the first to recognise that Jesus has risen from the grave. Again, divine love triumphs.

The central panel

This depicts “Maria Mater Jesu”, meaning Mary Mother of Jesus. She is holding the baby Jesus. Below them are Adam and Eve with apples and the letters A and E are shown in shields. The Latin script reads:

“Seme mulieris steret caput serpentis”, which means The seed of the woman shall crush the head of the serpent. This is a reference to Genesis 3.15 where Eve has been tempted by the serpent (who stands for Satan) to defy God and eat the fruit of the Tree of Life. God curses the serpent saying: “And I will put enmity between you and the woman, and between your offspring and hers; he will crush your head, and you will strike his heel.”

Jesus is the ultimate seed (offspring) of Eve and although he is damaged by Satan (the serpent), his is the ultimate victory over evil and death itself (crushes the serpent’s head).

The centre-right panel

This shows “S Johannes Bapt.” (St. John the Baptist). Above him is the Old Testament prophet Micah; and below him is an ox, the emblem of St. Luke. The Latin text is simply:

“Ex te” which is short for ex te mihi egredietur qui sit dominator in Israhel, meaning “Out of thee shall he come forth unto me one who is to be the ruler in Israel ”. This comes from Micah 5.2 which foretells that the Messiah will come from Bethlehem Ephratah (Bethlehem and its surrounding area), despite its tiny size. Chapter 2 of Luke’s Gospel tells of how this prophesy is fulfilled with Jesus’ birth in Bethlehem; and in Luke 3.16 John the Baptist, speaking of Jesus says: “one who is more powerful than I will come, the straps of whose sandals I am not worthy to untie. He will baptise you with the Holy Spirit and fire.” Soon after, in Luke 3.21-22, John baptises Jesus: “….it came to pass that Jesus also was baptised; and while He prayed, the heaven was opened. And the Holy Spirit descended in bodily form like a dove upon Him, and a voice came from heaven which said, ‘You are My beloved Son; in You I am well pleased’.” 

Once again, an Old Testament prophesy is fulfilled in the coming of Jesus, who will save the world from evil.

The right-hand panel

This panel shows “S Georgius” (St. George) killing the dragon. Above him is the Old Testament prophet Jeremiah, and below him is an eagle, the emblem of St. John. Each of these figures has a crowned initial in gold in the backcloth. The Latin text says;

“Ecce dicit Dominus suscitabo David germen iustum et sapiens erit et regnabit rex” which means: “Behold says the Lord, I will raise up a seed of David, he will be just and wise and will reign as king.” This refers to Jeremiah 23.5, which says: “the days are coming, declares the Lord, when I will raise up for David a righteous Branch, a King who will reign wisely and do what is just and right in the land.”

The legend of St. George slaying the dragon (snake) recalls the message of the window’s central panel, that Jesus will crush the head of the snake (overcome evil). Not only will Christ overcome evil, but he will overcome death itself, for in John 6.40 we are told: “For my Father’s will is that everyone who looks to the Son and believes in him shall have eternal life, and I will raise them up at the last day.” This is Jesus’ ultimate triumph, the greatest victory of all. Love truly has overcome all.

Above the 5 panels

Above the outer 4 panels and ‘supporting’ the circle above, are two sets of trefoils that depict the Angel Gabriel announcing to Mary that she is to bear the Son of God (an event known as ‘the Annunciation’). Underneath these two trefoils are the monograms M and HIS (see below for meaning), with two roses between them. In the circle above these 5 panels, we see trefoils of red and blue clad angels carrying the text “Dans gloriam Deo”, which means “Give glory to God”. These angels alternate with the two monograms :

IHS, which is an abbreviation of Iesus Hominum Salvator – meaning Jesus Saviour of Mankind)

M (for Maria) in gold on red background.

These monograms take us back to the central panel: Jesus, the blessed fruit of Mary’s womb, was ordained from the very beginning to save mankind by overcoming the evil that had been let loose in the world when Adam and Eve first tasted the forbidden fruit. And so, we are called upon to give glory to God for giving us his only Son to save us from the evil that we do.

Context

This window is clearly the work of a deeply religious and knowledgeable artist. John Ninian Comper (1864-1960) was the son of a Rector in the Church of Scotland, studied at the Ruskin School of Art in Oxford and worked for the famous Victorian stained-glass artist, Charles Kempe. Working in the ‘Gothic Revival’ tradition of Augustus Pugin and others, his art has a strongly medieval and ‘Catholic’ flavour. 

This window is a prime example of those flavours. The richness and intricacy of its designs and colours contrast dramatically with the austere simplicity of English churches since the 16th Century break with Rome. Comper was strongly influenced by the ideas of the Oxford Movement, (see above); and this is seen, for example, in the central importance accorded to Mary, mother of Jesus; in the use of Latin (the Catholic Mass was at this time still said in Latin); and in the monograms IHS and M, which have strong ‘Catholic’ resonances.

There is a satisfying unity and symmetry to the story told by the window. In the outer four panels we find four Old Testament prophets – Isaiah, Zachariah, Micah and Jeremiah - who each speak of the coming of a Messiah or Saviour; the fulfilment of their prophesies as told by the four Gospel writers – Matthew, Mark, Luke and John; and each linked with the earthly deeds of four earthly saints – Peter, Mary Magdalene, John the Baptist, and George. The central panel carries the core of the window’s message; unifies the stories told by the other panels; and contrasts Adam and Eve, who broke God’s law, with Jesus and Mary, whose roles were to fulfil it.

For many today, this window will seem anachronistic, over-elaborate and obscure in its symbolism and language. Yet for those willing to take the time to consider it carefully and to delve into its deeper meanings, it is much more than an exquisitely painted piece of high art: it is the fruit of a devout man for whom this was an act of piety.

About Sir Ninian Comper

John Ninian Comper (1864-1960) was the son of a Rector in the Church of Scotland, studied at the Ruskin School of Art in Oxford and under the famous Victorian stained-glass artist, Charles Kempe. Working in the ‘Gothic Revival’ tradition of Augustus Pugin and others, his art has a strongly medieval and
‘Catholic’ flavour. The reredos was his very first church conservation project and, in 1892, he also created the glass in the great East Window above. During a long and illustrious career Comper also made the choir stalls (1912) and the East Window of the Lady Chapel (1954). His ashes are buried in Westminster Abbey.