St Albans

St Albans Abbey

Wall Paintings

[Mid-19th Century Account]

Some interesting frescoes have lately been laid open on the west faces of the Norman piers between the Nave and north aisle, and also on the soffits of the arches, which will be best seen by the visitor on returning from the west end.

For the following notice of them the editor is indebted to Mr. J. G, Waller.

The ancient distemper paintings in the Nave of St. Alban's Abbey Church are in accord with the simplest plan of decoration; the same subject being repeated several times. In the small village church at Ulcombe, Kent, the same plan is followed, on each pier the figure of Christ crucified being repeated in the same manner.

The earliest example is that on the north side, where the more recent additions join the ancient pier. It represents the Crucifixion, the cross taking the form of a tree, or being in heraldic language raguly. St. John is on the left of the cross and is holding a book; the Virgin is on the right side. Beneath this is the Virgin and Child; the former is crowned, seated upon a throne, and holding a sceptre in her right hand. Above, on each side, issuing from clouds is an angel censing. The general treatment of the subjects, the ornamentation, especially the key pattern, show that this must be very early in the 13th or, perhaps late in the 12th century.

On the south side of the pier are the remains of a gigantic figure of St. Christopher with the infant Christ, but it does not appear to be earlier than the 13th century, and is so much defaced that details are difficult to be made out. The head of St. Christopher seems to have on a large hat of Flemish shape, and there appear to have been scrolls bearing the usual legends which accompany this subject.

The next pier repeats the subject of the Crucifixion - the Virgin with clasped hands is on the left side, St. John on the right. The background has a simple form of diaper. The Virgin and Child enthroned as before, beneath a cinque-foliated arch or canopy, is placed underneath. This from the details must belong to the early part of the m century.

The third pier again repeats the subject, but the tree-like form to the cross is given up. The Virgin is on the left side with hands clasped together; St. John on the right resting his head on one hand. Beneath this we get a pointed arch subdivided into two compartments; in one of which is a figure of an angel, and in the other the Virgin Mary. This, of course, represents the Annunciation. The date is of the 14th century, and is mostly executed in simple outlines.

The fourth pier also repeats the Crucifixion, but by a single figure only, of very rude execution; the termination of the arms of the cross are cut off at an acute angle. The Annunciation is repeated beneath, both figures being represented standing beneath two pointed arches: date 14th century.

The fifth again repeats the Crucifixion; it is given on a red ground, and the figure of Christ is much draped, the Virgin and St. John are introduced by the sides of the cross in the usual manner. Beneath is the subject of the Coronation of the Virgin. Both figures of the Virgin and that of Christ are seated upon a throne, the latter holds the book of the Gospels, the cover of which is shown as richly ornamented. Above, on each side, are angels censing, the thuribles hanging down below the arched canopy, have been mistaken for gloves, but their true character is, when closely examined, unmistakeable. The whole of this work is of the best time of the 14th century, and is well executed. On the south side of this pier the Crucifixion with the Virgin and Child beneath is again repeated, but it is very slightly executed, and by a feeble hand of the same age.

On the sixth pier are the remains of a large figure of Christ in his glory, such as is seen at St. Stephen's Chapel in Winchester Cathedral. It is too much effaced to describe, but there are indications of a scroll on which doubtless was inscribed, "Salus Populi I ego sum." On the south side of the nave on one of the clustered piers of the 14th century, are some very slight remains in outline. There are portions of the figures of the Virgin and Child, and a king kneeling, which proves the subject to have been the Adoration of the Magi. Close beside this, turning into the aisles, are remains also of what must have been the same subject repeated. Traces of the Virgin and Child are upon one of the columns, and near it there is a standing figure, very simple in composition, which appears to be one of the Magi with presents.

Most probably these paintings indicated "stations" as now observed in continental churches, at which prayers were offered up during processions, &c. This accounts for the arrangement, as well as for the repetition of the subject.

The frescoes were laid open by the late Dr. Nicholson in 1862.

Page created January 2008