The Parish Magazine October 2025

20 The Parish Magazine — October 2025
FEATURE — 3
The Parish Magazine — October 2025 21
Christopher Bailey writes Part 3 of his series about the
unique stained glass windows in St Andrew's Church
Scenes from the
life of St Andrew
The Oxford Dictionary defines a reredos as 'an ornamental
screen covering the wall at the back of the altar'. It is derived
from the 14th century French word 'areredos' which has its
Latin roots of 'arere' meaning behind, and dorsom — ie back.
The reredos at St Andrew’s comprises four separate parts set
within a beautiful carved stonework frame. There is a main
centre panel, two side panels with statuary, and an arcade below
'encased' in a beautiful carved stonework surround.
In the Parish Magazine of January 1876, the stonework is
attributed to Mr Wheeler of Reading. He could have been Samuel
Wheeler (1819 - 1902) whose father, also Samuel, founded the
Tilehurst Potteries at Kenwood Hill. He turned from clay tile
making to stone masonry together with his brother Francis.
The Centre Stained Glass Panel
There is little detail of what the previous East Window looked
like prior to the installation of the reredos between 1868-1869,
although it is recorded that it was of 'painted glass', being
without decoration but in some ecclesiastical design.
Painted glass was introduced in Middle Ages to reduce glare from
the sunshine and is said to be the forerunner of stained glass.
What replaced it was not what you see now. It was a window
of painted glass by William Wailes (1808-1881), the subject being
the Transfiguration of Christ.
It is recorded that there was insufficient time given for the
work the re-opening after the reconstruction of the church.
As a result the finished work was considered 'inferior',
presumably by Henry Woodyer the architect and the Reverend
Hugh Pearson.
The figures were considered too large and the whole 'wanting
in refinement', because of the haste in completion and skills
required for painted glass were not readily available.
The Wailes window was removed and re-sited in the South
Chancel in 1869, and Hardman and Company were engaged
to provide the replacement which we now see. Both firms are
referred to in the previous article in this series.
The funds for the work were generously donated by the Palmer
family and is a memorial to them.
The central panel is of the Crucifixion, and the accompanying
side panels are scenes from the life of St Andrew, the hauling
in of the fishermen’s nets Jesus pointing out where they should
cast them, and the distribution of loaves and fish among the
assembled crowd. Above are three trefoil-style panes.
The topmost is thought to be Adam 'raising the brazen
serpent', and the two beneath Elijah and the widow of Sapeta on
the left, Abraham and Isaac on the right. Not surprisingly there
are St Andrew’s crosses at the bottom of the reredos to set the
whole in the context of our church, two at the foot of each of the
three panels. The finished works were described by the Rev High
Pearson as 'being exceedingly rich, and without darkening that
part of the church is a most beautiful ornament and a help to
devotional feeling'.
The Statues
Because of the beauty of the stained glass window the
adjacent statues flanking it might be considered superfluous.
However, they do have local references of interest and are
considered to be of great quality. The statues in the reredos
are recorded as being executed by 'Mr Nicholls the eminent
sculptor'. Further research suggests that this was
a Mr Thomas Nicholls of Lambeth (1825–1896). He
was almost certainly recommended by architect
Henry Woodyer as evidenced in an entry in
Public Sculpture of Britain: 'Nicholls’s reputation
for producing high quality work spread, with two
architects in particular – the above-mentioned Woodyer……… entrusting him
with the majority of their sculpture contracts. Nicholls’s executant work
includes a reredos and pulpit for Christ Church, Reading (1861–62).
According to reports in The Sonning Magazine the figures in the top row
are said to be St Andrew, St Peter, an angel holding a banner and St John
the Evangelist.
St Andrew has two staves representing the cross and Peter has a crowing
cock at his feet and a key which suggests being for the gates of heaven.
The angel’s banner has initials inscribed purporting to represent 'All
Saints' to represent the four churches in the Sonning Parish at the time that
served Sonning, Charvil, Sonning Eye, Dunsden, Woodley and Earley.
St John the Evangelist has an eagle at his feet which symbolises the
farsightedness and the heavenly visions described in his gospel.
The second row is said to be the emblems of the Evangelists holding
scriptures. They are accompanied by various animals and in one case a
child, the identities of both are difficult to discern.
It is interesting to speculate that all four are seated because of
insufficient height for them to be standing.
The eagle is seen as a creature that lives closest to heaven and can
look into the sun without being blinded. This is thought to symbolize
John's deep, mystical spirituality and his ability to gaze into the divine, as
described in his Gospel.
The next article in this series will focus on some of the other stained glass
windows in St Andrew's Church Sonning according to Rev Pearson and the
findings of other experts who have provided information about them.