HEXAB202  Click on
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| Pulpitum Reredos mediæval painted panels ‘Screen of Seven Bishops’ and carved canopies |
| reredos | furniture |
| wood |
| painted panels |
Reredos – or back screen, in two main parts:—
Upper section ‘Screen of Seven Bishops’:— Gothic framework embracing seven large painted panels of Saints – arranged 3 & 4 with a double vertical division between the groups. The panels are divided by slim Gothic buttress timbers with ramped offsets at about ⅔ height and boss elaborations at intervals. The seven figures [from left: St Alcmund, St Eata, St Wilfrid, St John, St Acca, St Fredbert, St Cuthbert] are set, as if they were 3-dimensional, over projecting moulded shelves (with identifications painted beneath) and beneath elaborate openwork canopies set against upper panels.
Beginning on the left hand we find 1, an eagle or falcon standing on three octagonal annulets, possibly meant to represent the falcon and fetterlock, one of the badges of Edward IV, in which reign [1461–1483] the screens were made; 2, the arms of the see of York impaling the arms of Archbishop George Neville (1464–1476), this coat dates the screens; 3, a plain cross; 4, the Royal arms [England & France Modern]; 5, Percy, quartering Lucy, as worn by Harry Hotspur; 6, Thornton, of Newcastle; 7, a Saltire for the arms of the Priory, or possibly for Neville. Over the archbishop's arms are the words “fundatores hujus loci” (the founders of this place) referring to the bishops. [Hexham and its Abbey, C C Hodges, 1889, p.74]
Lower Section:— Eight smaller shorter panels, set between simple pilasters with capitals supporting a projecting moulded string course. The four western panels have tracery set over the top [in the manner of the pulpitum and the screen to the N of St Etheldreda's Chapel]. Only these four panels are painted each with a scene from “The Dance of Death” or “Danse Macabre”. |
| late 15th cent |
Roger Thornton (died 3rd January 1429/30) is honoured by the arms painted at the top of the screen. (In his will of 1429, Roger Thornton of Newcastle left money for rebuilding the nave, although there is considerable doubt as to whether it was ever completed.
Pre-1907: An old postcard [Taylor's ND3143] shows the Screen of Seven Bishops when it was used as part of the south partition wall of the vestry at the north end of the north transept.
Before the end of the last [i.e. 18th] century, at least one of the side-screens of the Chancel remained in situ. This is the beautiful combination of wood-carving and painting drawn on Plate 51. Like the frith-stool, it has been often moved. The note on Carter's drawing [1795] tells us that it was in his time “placed against the wall of the transept, and removed of late years from the east end of the aisles of the choir.” Since then these paintings have been placed over the rood-screen, but are now made use of to ornament the partition between the modern vestry and the church. Carter's [1795] plan shews the the screen on the north side of the altar, dividing the choir from the aisle. It is clear that it has been in two parts, three of the pictures being in the one, and four in the other. That with four was no doubt on the north side, leaving a space for a door between its western end and the first column from the east. The other portion was probably placed either east or west of the sedilia on the south side, and would serve to fill up the intercolumniation. [Hodges 1888 p.45]
Between the font and the modern [1870] vestry is a wooden partition made up partly of old carved work. The chief portion of this is one or more of the side screens from the choir (p.58). They were removed into the transept before 1780, probably in 1740, and were in 1798 placed over the organ, and have since been more than once moved. Seven compartments remain. Four in one set and three in another. It is quite possible that there were never more than these seven, as there were twelve bishops of Hexham, and seven of them were canonized, and it is the seven sainted prelates who are depicted on the panels. Beginning at the south end of the row they are in this order: St Alcmund, St Eata, St Wilfrid, St John, St Acca, St Fredbert, St Cuthbert. It will be observed that the two archbishops come together where the two portions of the screen join. They also come together on the rood screen on the left hand side of the opening. This seems to shew that in the choir screen they were meant to come on either side of a doorway as being the most conspicuous position. [Hexham and its Abbey, C C Hodges, 1889, p.74]
‘The five centre ones are a portion of the scenes from the “Dance of Death,” and have frequently been commented upon.’ [Hodges 1888 p.47]
The four “Dance-of-Death” panels were not in situ when photographed some time after 1908; see lantern-slide HEXAB9019.19
1990: “Woodworm prevention treatment carried out in refectory pulpitum, dance-of-death panels, …” [Churchwardens Record HEXAB9535 p66, 15 Oct] |
| Two-page article by Dr Sophie Oosterwijk on the Dance-of-Death panels in Abbey News & Views Jan 2006 [HEXAB5019.60] |
| approx. total H over 4,000 | total W over 3,000 |
| North side of chancel. |
| Chancel |
| 1961: “(2) To restore the Mediæval Panel Paintings”; Faculty Regr. no.3. Faculty no. 2195, 10.7.1961 |
HEXAB202.1  Hover on
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| St Alchmund |
| painted-panel | flat art |
| wood |
| Crosier in left hand. Extensive use of red lead, figure stands on a semi-perspectival chequer-board floor. Background may have been green, probably a glazy copper green, but the surface has gone brown, characteristic of the oil-medium and pigment degradation typically seen with verdigris. There appears to be gilding on the crozier hand, but it is not employed for other passages imitating gilt surfaces. Cannot tell from inspection distance whether the gilding is original. |
| 3½ tooled boards (right-hand board continues into adjacent bishop panel). Note that the top left corbel supporting the canopy is missing, but has been painted in instead. |
| Sanctus Alcmundus epus |
| late 15th–early 16th cent |
Alcmund of Hexham (died 7 September 780 or 781) became the 7th bishop of the see of Hexham in Northumberland when he was consecrated on 24 April 767; the see was centred on the church there founded by Wilfrid.
Alcmund died on 7 September 780 or 781 and was buried beside Acca outside the church. Virtually nothing is now known of his life, but he was apparently deeply venerated as one of the Hexham saints.
St Alcmund is also depicted in HEXAB133.4 and in stained glass: HEXAB1417 |
| sight W 60.5 cm |
| Chancel |
HEXAB202.2  Hover on
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| St Eata |
| painted-panel | flat art |
| wood |
| Crosier in left hand. Red background with foliate patterns divided into diapering. The chequer-board floor on which the bishop stands is the same as the last panel. Greens visible inside his robe. Colouring hard to make out, as much of it now seems murky and grey/brown. The face and background up high are well-preserved. Again the crozier appears to be gilded. All other details are probably done in lead tin yellow (untested) instead of gold. The gilding may be original, but this is difficult to ascertain under present conditions. |
| Two full vertical boards, two half boards which extend into each of the next panels. Tooled rather than sawn boards. Fills along the vertical boards contain wax and are loose. |
| Sanctus Eata Epus |
| late 15th–early 16th cent |
Eata (died 26 October 686), also known as Eata of Lindisfarne, was Bishop of Hexham from 678 until 681, and then Bishop of Lindisfarne from before 681 until 685. He then was translated back to Hexham where he served until his death in 685 or 686. He was the first native of Northumbria to occupy the bishopric of Lindisfarne.
St Eata is depicted in two other panels: HEXAB133.5 and HEXAB3068.2, and in window HEXAB1417 |
| sight W 59 cm |
| Chancel |
HEXAB202.3  Hover on
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| St Wilfrid |
| painted-panel | flat art |
| wood |
| Primatial cross under right arm. Green background as per other panels-pomegranates have survived well, likewise the gilding. There is real gilding on his trim on his garment and on his cross. He is accorded greater importance due to his archbishop status. This is one of the better preserved panels, but there is retouching as before. |
| Four boards vertical and one side shared with neighbour. Some splits, but stable. |
| Stus Wilfridus achiepus |
| late 15th–early 16th cent |
Wilfrid was born in Northumbria around 633. Wilfrid attended the synod, or council, of Whitby, as a member of the party favouring the continental practice of dating Easter, along with James the Deacon, Agilbert, and Alhfrith. Those supporting the “Celtic” viewpoint were King Oswiu, Hilda, the Abbess of Whitby, Cedd, a bishop, and Colmán of Lindisfarne, the Bishop of Lindisfarne. Wilfrid's speech in favour of adopting Roman church practices helped secure the eclipse of the “Celtic” party in 664, although most Irish churches did not adopt the Roman date of Easter until 704, and Iona held out until 716.
St Wilfrid is also depicted in panel HEXAB133.7 (& possibly HEXAB3068.1) and in windows HEXAB1406, HEXAB1407.5, HEXAB1417 [misspelt ‘Wilfred’], HEXAB1427, HEXAB1431.3 (twice), & HEXAB1431.4 |
| sight W 60.5 cm |
| Chancel |
HEXAB202.4  Hover on
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| St John of Beverley |
| painted-panel | flat art |
| wood |
| Primatial cross in left hand. Green background like Alchmund. Lead-tin yellow, vermilion, red lead. Face well-preserved. Non-original gold-paint present, however what seems convincingly to be original gilding on the cross with green glaze over it. Also, some of his hemline gilding is original. He has been accorded more gilding than the bishops. His condition is a little worse than the Eata panel. |
| Four boards, with evidence of tooling, with the two side-edge boards extending into adjacent boards. |
| Sanctus Johanne B Archiepus |
| late 15th–early 16th cent |
John of Beverley (died 7 May 721) was an English bishop active in the kingdom of Northumbria. He was the bishop of Hexham and then the bishop of York, which was the most important religious designation in the area. He went on to found the town of Beverley by building the first structure there, a monastery. John was associated with miracles during and after his lifetime and was canonized a saint by the Catholic Church in 1037. As this is prior to the Great East–West Schism of 1054, he is also recognized as a saint by the Eastern Orthodox Church.
St John of Beverley is also depicted in panel HEXAB133.8 (& possibly HEXAB3068.1), and in windows: HEXAB1417 & HEXAB1431.6 (twice) |
| sight W 59.3 cm |
| Chancel |
HEXAB202.5  Hover on
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| St Acca |
| painted-panel | flat art |
| wood |
| Crosier and cope edge in left hand The red background has again survived better in this case. The decorative flowers which are original do go behind the vertical uprights. Again there is a chequered floor as with the other panels. Hard to conclude about bosses-too dusty and distant to see. Face survives fairly well. Crozier here is gilt, but nothing else. Finger rings appear to be genuine gold leaf as well. |
| Four boards, again shared with adjacent panels. There is a stable split in one board, and wax is present in the joins. |
| Sanctus Acca Epus |
| late 15th–early 16th cent |
Acca of Hexham (c.660 – 740/742) was an early mediæval Northumbrian prelate, serving as bishop of Hexham from 709 until 732, and subsequently commemorated as a Christian saint.
St Acca is also depicted in panel HEXAB133.14 and in stained glass: HEXAB1417 & HEXAB1431.5; Acca's Cross is HEXA6503 |
| sight W 57.8 cm |
| Chancel |
| See also: www.hexhamabbey.org.uk |
HEXAB202.7  Hover on
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| St Cuthbert |
| painted-panel | flat art |
| wood |
| Crosier in left hand, gilded, better preserved background than figure. Cuthbert also has gilt signet rings. Has paint barb in connection with board join along left hand side. Overpaint goes beyond paint barb, i.e. applied when it wasn't in its framework. Painted corbel in top right corner. Extensive loss in face, forehead and hand. |
| 4 boards and join to very far left with just the tiniest piece of the adjoining board showing. This left hand joint might be a bird's mouth joint. Others might be too, but they are covered in wax filler. This waxy fill and restoration goes down the joins. Some splits, most severe is by the left hand edge near the malrand. |
| Sanctus Cutbertus epus |
| late 15th–early 16th cent |
In 684, Cuthbert was elected Bishop of Hexham at a synod at Twyford (believed to be present-day Alnmouth), but was reluctant to leave his retirement and take up his charge; it was only after a visit from a large group, including King Ecgfrith, that he agreed to return and take up the duties of bishop, but instead as Bishop of Lindisfarne, swapping with Eata, who went to Hexham in Cuthbert's place. Cuthbert was consecrated at York by Archbishop Theodore and six bishops, on 26 March 685. But after Christmas 686, he returned to his cell on Inner Farne Island, where he died on 20 March 687, after a painful illness. He was buried at Lindisfarne the same day, and after long journeys escaping the Danes his remains chose, as was thought, to settle at Durham, causing the foundation of the city and Durham Cathedral.
St Cuthbert is depicted in another panel: HEXAB133.1, and in two windows: HEXAB1431.5 (twice) & HEXAB1407.6 |
| sight W 58.5 cm |
| Chancel |
HEXAB202.8  Hover on
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| Caller for Dance of Death |
| painted-panel | flat art |
| wood |
| The figure is about 53 cm including hat |
| A single board of oak with a Roman numeral VIII scratched into the back. It appears to be sawn oak, with subsequently tooled bevels. Wide grain, radial section on left but increasingly tangential towards the right hand edge. This panel is bevelled on all sides on the back. Slight bevel on both vertical sides of the front, presumably to accommodate framing structure. |
| late 15th cent |
Pre-1907: at centre of top row of painted panels on the Smithson screen facing west from 1776 or earlier.
2017: The panel was re-discovered in March, in the triforium of the south transept aisle, behind two pew ends, upright with its face towards the wall, and very dirty on the surface. Its location since the 1960s had been unknown. Spectral imaging performed in June [HEXAB9440].
“There are 10 panels in a wooden framework which has been repaired in the past. … There are 9 painted panels of the passion (the 10th of an indistinct figure) … j) This panel looks different to the others. The paint is very faint a figure can just be seen.” [Report dated 03/03/1990 by Susan Wood] This panel had been immediately to the right of the nine Passion panels when mounted above the Smithson Screen.
“The 10th panel (a vertical plank] contains a single figure in civilian costume of C. 1500, obviously from another source and merely fixed to the end of the others to increase the length. (At one time the two series were fixed on the top of the Rood loft)” [Report dated July 1960 by Pauline Plummer]
1795: “This figure may serve for the introducer or chorus to the following Death's dance painting in the upper panel of the foregoing screen. [the pulpitum] That I might copy the originals of this and and [sic] the following ones, I had a scaffold rais'd for the purpose of bestowing every attention that such pretious and only remains of the like kind in this kingdom deserv'd.” [John Carter, Brit.Mus.Addl.MSS 29,933 f.104]
Feb 2020: Temporary display at right-hand end of Passion Paintings [HEXAB166] in The Big Story exhibition. |
| H 78.2 cm | W 30.9 cm | D 1.2 cm |
| Visitor Centre/Monastic Workshop |
