St. Peter and St. Paul’s Church, Gosberton
What is a Reredos?
Sitting behind the main altar at the eastern end of the church is a splendid reredos. A reredos is a large altarpiece, a screen, or decoration placed behind the altar in a church. It often includes religious images. Gosberton’s reredos consists of five panels – a central panel with two smaller panels on either side – and at either end a hinged door, with paintings on their inside. When the doors are fully open (as they are in Gosberton’s church), all seven painted scenes are on view, but the doors can be closed, which would hide and protect all the artworks when moving the reredos.
Gosberton’s Mini-art gallery
Gosberton’s reredos consists of copies of Italian Renaissance art of the 15th century. Many Renaissance artworks were originally painted as altarpieces, so this Gosberton example is keeping that tradition alive.
Who can we thank for providing Gosberton with this mini-gallery of renaissance art? None other than one of Gosberton’s most respected residents, Mrs. Gwladys (Gay) Welby-Everard. The Welby-Everards lived in Gosberton House, the grand home situated next to St. Peter and St. Paul’s church. The building is now in use as a residential care home. The Everards, and later the Welby-Everards, tenure in Gosberton House spanned around a century, from the mid-1800s to the mid-1900s. Mrs. Welby-Everard spent a total of seven years painting and gilding the reredos. She completed the panels in September, 1909, and the two doors were completed and fitted in May, 1911. The press reported at the time, “Gosberton is very fortunate in receiving such a magnificent gift, and honour is due to Mrs. Everard, whose skill and years of work have given this gem of art to the parish.” (Boston Guardian, 10 June 1911)
Spot the dog
The reredos, with all its wonderful renaissance iconography to explore, contains a hidden gem that has been all but forgotten, but for a fortunate discovery of a local newspaper article from 1969. Mrs. Welby-Everard, in the best traditions of the renaissance artists, included something personal to her in her wonderful work. It was, and still is, not uncommon for artists to include a portrait of themselves or their pets in their paintings. In the case of her reredos, she managed to include her beloved pet dog, Bat. Bat is not easy to spot; an extra hinderance today is that, after over 110 years, the varnish on the paintings has discoloured and muted the artwork. He is to be found on the right door, amongst the multitude of saints. In the bottom right of the door, the fourth Saint from the right on the bottom row is Saint Agnes. Since the Middle Ages, Saint Agnes has traditionally been depicted as a young girl with her long hair down, with a lamb, the symbol of her virginal innocence. In Mrs. Welby-Everard’s interpretation, Saint Agnes carries, not a lamb, but her pet dog Bat.
This hidden gem is the icing on the cake of a wonderful historical item worthy of examination. Long may it continue to provide enjoyment and education to generations to come.
