Tempera on oak, left panel of two forming a pair of doors, representing Principalities (top panel of left) and Archangels (bottom panel of left). Anon British, 15th century. Framework probably late 16th or early 17th century.

Originally these panels probably formed part of a reredos representing the Nine Choirs of Angels. Each side is comprised of two panels, making four in total. The left side represents Principalities (top panel) and Archangels (bottom panel). For the right hand side of the door (see W.35-1912). The two doors are framed together in a 20th century museum frame; W.34-1912 on the left, W.35-1912 on the right.

Two of four panels, probably from reredos representing the Nine Choirs of Angels. The four panels are framed as a pair of doors, probably in the late Sixteenth Century. Purchased, 1912. Said to have come from a Northamptonshire church.

Historical significance: These panels are one of a considerable number of examples of 15th century English paintings on panels to have survived, most of which are of a rather humble and craftsman-like quality.

The object consists of two panels. The upper left-hand panel depicts the Principalities. Five winged figures in standing position, with four seated figures below. The angelic figures have large crown-like head-dresses and wear robes trimmed with fur; two of them are adorned with conventional devices in gold. Figures in the foreground represent a bishop and a pope on the left, a king and queen on the right. The bishop wears a cope and mitre, the pope a triple-crowned tiara.
The lower left-hand panel depicts the Archangels. Five figures in albs, apparelled amices and dalmatics. The centre figure holds a cruciform church with a spire; he is in a red dalmatic. On the left is another figure in a red dalmatic, on the right is one in a dalmatic with horizontal bands of gold embroidery; these two hold a scroll. Of the two other figures, that on the left is in green and that on the right holds a model of another cruciform church with a central spire. All the angels have amice apparels; three have large apparels on their albs, beneath the scene are the towers of a city.

The idea that there are several classes of angels arose partly from the various functions assigned them in the Bible, partly from the names given to them by St Paul- Ephesians 1:21, Colossians 1:16. Angels were also arranged into hierarchies by Dionysius the Pseudo-Areopagite, in his Celestial Hierarchy of ca.1500, which translated into Latin in 9th century, became the standard text.

More examples of paintings on panels, of this period, survive in reasonably good condition than any others. Typically well preserved examples of 15th century painting include Friskney, Lincolnshire and Pickering, Yorkshire. Yet, it is in East Anglia and more especially in Norfolk that most of the surviving pictures of this style are found. Symbolism of earlier centuries tends to be abandoned for a frankly genre and narrative treatment. Local and little known saints, both English and foreign become more common, clearly to satisfy the tastes of the trading community.

A reredos (also spelt raredos) is a screen or decoration behind the altar in a church, usually depicting religious iconography or images. It is a visually immovable appendage to the altar, which is holds neither liturgical significance or necessary importance in its position behind the altar.

The reredos can be made of stone, wood, metal, ivory or a combination of materials. The images depicted on the reredos may be painted, carved, gilded, composed of mosaics, and/or embedded with niches for statues. Sometimes a tapestry is used, or fabrics such as silk or velvet. The reredos developed slowly from paintings on the wall against which the altar was placed, to carved or painted panels, of which these panels are an example, which were then fixed in place behind the altar.

They developed slowly from paintings on the wall against which the altar was placed, to carved or painted panels, of which these panels are an example, which were then fixed in place behind the altar.

W.34-1912