Baptistry
The South facing window
The first of a set of four windows installed in the Baptistry in 1929, and another in 1930, by Sir Ninian Comper, widely considered to be the greatest church architect of his day. In a handsome Mediaevalist style, each of these windows is dedicated to members of the family of David MacDonald (including himself), who was headmaster of the Episcopal School in Stonehaven. This window depicts St. Nathalan, a local Saint of the seventh century, legendarily a local farmer and pilgrim. He is depicted as a Bishop, vested for Mass, and holding a sprig, with the attribute of a vase. Text at the bottom of the window reads: ‘In Memoriam N.L.M.’ (In Memory of N.L.M.). On first glance Comper’s style is not terribly different from many other artists of the day, but their are some notable differences. He was not merely concerned with using Mediaeval aesthetics to create Victorian art. He was acutely aware of the role which art plays in worship, understanding that stained glass is the western answer to eastern Iconography.
The South-West window
The next window in the series depicts ‘David, Rex Scotiae’ (lit. David, King of Scots), sometimes “St. David of Scotland”. He was King of Scotland between 1124-1153, and he had been partly educated in England, bringing many reforming ideas to Scotland during his reign, including the feudal system as it was understood on the continent. Amongst other ecclesiastical reforms, he is the founder of our diocese; Brechin. He is seen as a King, holding a sceptre and church, accompanied by the attribute of a dove, representing the Holy Ghost. The inscription follows on from the previous window; ‘Ad Maiore Dei Gloria’ (To the Greater Glory of God). Comper must have felt compelled to include this Saint; David being the King that established the city status of Aberdeen, Comper’s hometown. In his early work, he wished to revive Mediaeval technique as well as style, but later in life took inspiration from Spanish, Sicilian, and Greek churches, by the use of a principle which he termed “Unity by Inclusion.” As a result, his style is Gothic, but with the best of eastern, and more modern styles as well. This can be seen rather markedly in this window; an entirely Medievalist window would have preferred to depict the figure side-on.
The West Window
The west window shows us John the Baptist, a very popular Saint in mediaeval Britain, and therefore almost mandatory for Comper’s style. He is depicted as he usually is; barefoot and wearing animal skins, albeit with the additions of a cloak, sash, and gold cross, an idealised depiction. Scripture refers to him as an ascetic mystic, who was sent to prepare the way for Jesus’ coming, and successor to the prophet Elijah. Indeed, he is one of the first to realise Jesus’ divinity. He was also responsible for baptising Jesus, hence his title. An often forgotten facet of his story though, is that he is Jesus’ cousin, and had a similarly miraculous conception; his mother was far too old to bear children. His attribute is the Lamb of God, referencing his famous words: ‘Behold the Lamb of God that takes away the sin of the world.’ The inscription reads ‘et in Piam Memoriam’ (and in Loving Memory).
The North West window
The last of the initial series of Comper’s windows shows us St. Francesca. She was an Italian noblewoman of the late 14th and early 15th centuries, who turned her home into a hospital, and later founded a religious order. She spent much of her life performing acts of charity, including selling her jewelry in order to better care for those in the hospital. After the death of her husband in 1436, she herself joined the order she helped found. She is the patron of oblates, widows, and automobile drivers. The latter two possibly explain her inclusion in this series. It has also been suggested there may be a connection to R.W. Thompson, a local man and inventor of the pneumatic tyre. She is dressed modestly, but richly, indicating her Sainthood. Common to most of these windows, is the depiction of armour being worn on their feet; a reference to the armour of God. She lacks an attribute, instead having an angel smiling upon her, and she returns the favour. This window, along with the next, is signed with Comper’s trademark – a wild strawberry – a heartfelt tribute to his father, who collapsed while giving out strawberries to people in Duthie Park. The inscription contains only initials: ‘D.M. et F.F.M.’ (D.M. and F.F.M.)
The North window
This window is a stand-alone addition installed the year after the others. This represents St. Ciaran (or ‘Kieran’, ‘Piran’), historically the patron Saint of this parish, and the namesake of the River Carron, which the window is directly opposite. The Ciaran depicted is one of two Irish Saints, both contemporaries of St. Columba. In actual fact, the Ciaran in question is more likely a local pre-Christian holy man who was inducted into the canon by later evangelists. One of the earliest churches in the area is dedicated to him, and built very near the site of a funeral barrow, popularly thought to have contained the remains of King Malcolm I, who is actually buried on Iona, but did die in the area. The barrow, in reality, was constructed for some local worthy, likely a holy man, or chief. It is now a housing estate bearing Malcolm’s name. Nonetheless, the conflation of St. Ciaran with this long-forgotten local man stuck, and so he is depicted as a missionary bishop. It has been suggested that his attribute (two pieces of wood joined by a nail) could have masonic significance, and was requested by the patron of the work. This is not known. The inscription: ‘In Memoriam A.M.M.’ (In Memory of A.M.M.).
