Virgin and Child
detail from The Virgin and Child with Annunciation, Visitation, Baptism of Christ and Resurrection
Photo © Martin Crampin, Imaging the Bible in Wales
about 1920
Carved, wooden reredos with hinged wings.
size: 370 cm (width)
designer: John Coates Carter
Church of St Mary the Virgin, Herbrandston, Pembrokeshire
east wall of the chancel
Inscription: A Virgin shall conceive and bear a son and shall call his name Immanuel.
Dedication: To the glory of God a thank offering for the safe return of all the men of the parish from the Great War 1914-18.
The depictions of the Annunciation, Visitation and Baptism are conventional compositions, but for the Resurrection Carter has departed from the Biblical narrative, and chosen instead to show the early tradition that the Risen Christ appeared first to His mother. The composition shows the standing figure of the Lord and Mary in the same posture of prayer that she familiarly adopts in images of the Annunciation. Thus Carter, by this 'balance' reaches to the very heart of the doctrine of the Incarnation. An interesting comparison with Esmalte Limosino's painting of the same subject, in the Museo Nacional de Soares dos Reis in Oporto, Portugal - which is wrongly designated 'Anunciacao'. It also closely matches a depiction of the same scene from the early-sixteenth century glass at Fairford, Gloucestershire.
Carved, wooden reredos with hinged wings.
size: 370 cm (width)
designer: John Coates Carter
Church of St Mary the Virgin, Herbrandston, Pembrokeshire
east wall of the chancel
Inscription: A Virgin shall conceive and bear a son and shall call his name Immanuel.
Dedication: To the glory of God a thank offering for the safe return of all the men of the parish from the Great War 1914-18.
The depictions of the Annunciation, Visitation and Baptism are conventional compositions, but for the Resurrection Carter has departed from the Biblical narrative, and chosen instead to show the early tradition that the Risen Christ appeared first to His mother. The composition shows the standing figure of the Lord and Mary in the same posture of prayer that she familiarly adopts in images of the Annunciation. Thus Carter, by this 'balance' reaches to the very heart of the doctrine of the Incarnation. An interesting comparison with Esmalte Limosino's painting of the same subject, in the Museo Nacional de Soares dos Reis in Oporto, Portugal - which is wrongly designated 'Anunciacao'. It also closely matches a depiction of the same scene from the early-sixteenth century glass at Fairford, Gloucestershire.
Record added by Martin Crampin, Additional contribution by John Morgan-Guy. Last updated on 14-12-2011
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This work is indexed under the following main subject(s):
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- baptism of Christ in the river Jordan: John the Baptist pouring out water on Christ's head: the Holy Ghost descends [Matthew 3:13-17; Mark 1:9-11; Luke 3:21-22; John 1:29-34]
- Christ, perhaps dressed as a pilgrim, appearing to his mother, who is usually shown praying
- Madonna: Mary standing (or half-length), Christ-child close to her bosom
- the Annunciation: Mary, usually reading, is visited by the angel [Luke 1:26-38]
- the Visitation [Luke 1:39-56]
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Further reading
Martin Crampin, 'Biblical Art from Wales: The Mediaeval Influence' (Sheffield: Sheffield Phoenix Press, 2010), p. 131.
Sarah Boss, 'Biblical images of Mary in the visual tradition of Wales' (London: SPCK, 2008), pp. 175-8, 184-5.
ReferencesThomas Lloyd, Julian Orbach and Robert Scourfield, The Buildings of Wales: Pembrokeshire (New Haven/London: Yale University Press, 2004), p. 227.
Click to show suggested citation for this record
Martin Crampin (ed.), Stained Glass in Wales Catalogue, University of Wales Centre for Advanced Welsh and Celtic Studies, Aberystwyth, 2011. (with a contribution by John Morgan-Guy)
https://stainedglass.delweddau.cymru/object/34 (accessed 24 November 2024)
https://stainedglass.delweddau.cymru/object/34 (accessed 24 November 2024)
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