Displaying objects from Private Chapel

French shutters - Panel - 17th c
Early 17th Century French carved Panels/Shutters.

French shutters - Panel - 17th c
Early 17th Century French carved Panels/Shutters.

French shutters - Panel - 17th c
Early 17th Century French carved Panels/Shutters.

French shutters - Panel - 17th c
Early 17th Century French carved Panels/Shutters.

Two Saints Panel Diptych - Painting - 15th c
An oak panel painted with two Irish saints beneath a carved canopy. The size could indicate that the piece was designed for ease of transport. The trefoiling of the carved arch indicates that the piece dates from the Late gothic period. Figure on left has staff and Bishop’s mitre, and holds a book

Italian cassone - Furniture - 15th c
An Italian 15th Century Chest decorated with Biblical scenes

The Last Supper - Painting - 17th c
This scene shows the last meal which Christ took with the disciples in Jerusalem before his arrest, the Feast of the Passover, and at which he announced one of the twelve would betray him. In this scene, his companions all react with shock, amazement or denial. John, seated beside Jesus, rests his head on his breast, as described in John 13:25: ‘He reclined, leaned back close to Jesus and asked, “Lord, who is it?”’. The others react by holding their heads in their hands as Andrew, seated to the left of John, does. Andrew is identified by the forked grey beard, often attributed to him. The figure at the bottom of the composition holds his hand to his mouth. Judas, who would go on to betray Jesus, can be seen in the bottom right of the composition. He is generally represented with dark hair and beard, his expression sly. Here, his expression sly, he also appears in clothing of less quality than his companions with his hands at prayer. The shape at the top of the highly carved gothic frame matches the form of the figures beneath, the central ogee of the arch encompassing the halo above Jesus, as it does with the two outer saints. Leonardo da Vinci is recognised as the first artist to portray the human drama of the event, but followed a Renaissance tradition in which Jesus was portrayed in the midst of his disciples, with the Passover chalice before him and in the act of consecrating the bread.

Medieval sword - Weapon - 16th c
A large mediaeval Sword of State, plain, straight steel guard.

Helmet - Armour - 16th c
A late 16th, early 17th Century Helmet with five bar visor, central comb and spike for attachment of crest.

Stone carving - Carving - 16th c
A piece of early Stone Carving.

Religious marble panel - Religious artefact - 16th c
A Marble Panel, carved in high relief depicting six scenes from the Passion of Christ. Italian, 16th Century.

Statue of St. Catherine of Alexandria - Statue - 16th c
An early sixteenth century carved and polychrome Decorated Figure of a Saint holding a book. Representing St. Catherine of Alexandria.

Missal box - Casket - 16th c
An Iron Bound Missal Box, decorated with wrought iron tracing over leather, the lock applied with Gothic buttresses. French circa 1500

Linen altar cloth - Religious artefact - 17th c
A linen and lace altar cloth.

Candlesticks - Candlestick - 17th c
A pair of 17th Century bell metal Pricket Candlesticks. Purchased by the Trustees.

Statues of St. Anna, Mary and Jesus - Statue - 15th c
A Carved Oak group of St. Ann, May and Christ. French, 15th Century. Traces of Polychrome.

Alms dish - Plate - 17th c
A deep silver Alms dish, an engraved coat of arms in the centre surrounded by depressed lobes. German, 17th Century.

Vereker Diptych - Painting - 15th c
Annunciation – (Immaculate conception is conception of Mary within her mother, Anne). 25 March – 9 months before Christmas. 3 essential elements – dove, virgin and messenger. Mary reading book of Isiah. He says Ave gratia plean Dominus Tecum (greetings most favoured one! The lord is with you), (Luke 1:28), Virgin replies Ecce Ancilla Domini (here I am lord, I am the lords servant) (Luke 1:38). Mary’s words appear upside down in order for god to read them. Mary usually kneels. God is a cloud (as here). Early examples Gabrial holds a sceptre tipped with a fleur-de-lys, which later becomes a lily. Luke says ‘Angel went in’, so Italian Renaissance shows a loggia or portico. Walled garden and tower shown (hortus conclusus), both symbols of charity. Visitation – Visit of Mary to cousin Elizabeth, just after Annunciation. Rejoicing. Mary has just conceived, and Elizabeth is heavily pregnant with John the Baptist after lifetime of barrenness. Gothic art shows them bowing, Counter Reformation Elizabeth bows to Mary, Renaissance art they embrace. Usually in open, before Elizabeth’s home with husband Zacharias, Priest of the Temple. Holy Family at Circumcision – late them in Christian art, after 15th century, Joseph appears later 15th Century, cult of St Joseph promoted him and he appears more frequently in devotional art after this time. Images of him grew younger over time, so this is an older piece. Domestic life appeared later in 16th century. Circumcision – Luke 2:21, one week old, performed by parents or priests (Elizabeth’s husband was Priest) under Mosaic law. Luke does not relate circusmcision, Christian art depicts it in Temple, usually being held by Mary with Priest holding blade. Italian Renaissance painting, theme occurs, first occasion he sheds blood.

Lectern - Furniture accessory - 16th c
A late 16th Century Wrought Iron Lectern.

Cushion - Furniture accessory - 18th c
A cushion of red velvet and early needlework, with two tassels, very worn.

Silver processional cross - Religious artefact - 16th c
A Silver Gilt Processional Cross, the lower part of hexagonal shape faintly decorated with diapers and leaves. The central part consisting of a platform supporting six figures of winged Saints beneath canopies of Gothic tracery. The Cross above with crocket type decoration of fleur de Lys, and inset enamel panels. Continental, late 15th Century.

Pewter flagon - Alcohol container - 18th c
An 18th century Pewter Flagon of tapering form, with domed top, scroll handle and plain thumb piece.

Statue of Christ - Statue - 14th c
A Carved wood figure of Christ, as at the Crucifixion. The cross missing. French, 14th Century.

Large casket - Casket - 16th c
A 16th century casket shaped table Cupboard, carved and gilded mouldings and bun feet. The remains of the original crimson velvet covering with gold appliqué.

St Jerome Translating Leviticus - Painting - 16th c
Born in Dalmatia, Eusebius Hieronymous Sophronisu settled in Bethlehem in 386 A.D., where over many years he translated the bible into Latin from Greek. Always with a grey bearded, he is shown as a man of learning, seated at work in his study. As here, Jerome is often shown with his cardinal’s hat. He was never made a cardinal as the role did not exist at that time, but he did hold an important role under Pope Damascus I. This image shows St Jerome translating the Bible, and in particular, the book of Leviticus, as marked on the edges of the page. Having worked for many hours through the night, his inkwell stands empty on the edge of the table, and the candle has burnt itself out. Between these two objects, his eye-glasses are cast aside. We feel sympathy for St Jerome, who is exhausted with the effort and looks at us imploringly. Through the window, in the landscape we see a figure in red kneeling at prayer before a crucifix, as our translator feels he perhaps should be if only he was not so tired. Beside the book from which he works, a skull, with the words sic tu, literally ‘as follows thee’ warns that death will come to us all. Particularly from the end of the 16th century, the skull was popularly shown with Saints at prayer and particularly with St Jerome.

Small rug - Rug - 18th c
A small rug, very worn.

Ceiling - Furniture - 16th c
The ceiling of the upper Chapel, mainly copy of original 16th century ceiling destroyed by fire.