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Reredos

A reredos is a usually ornamental screen or partition wall, typically made of wood or stone, placed behind the altar in a Christian church to serve as a decorative backdrop.^[1] The term originates from Middle English, borrowed in the 14th century from Anglo-French reredos or areredos, combining arere (behind) and dos (back, from Latin dorsum), and its earliest recorded use dates to 1387.^[1]^[2] Historically, the reredos evolved from medieval practices of positioning grand images, relics, or simple cloths (dossals) behind altars to emphasize liturgical focus, as outlined in Roman rite texts such as the Caeremoniale Episcoporum (1600), which draws on ancient traditions.^[3]^[4] It developed into more elaborate structures during the Gothic period (12th–16th centuries), often rising from ground level to cover the wall and separate spaces like the choir from the retrochoir or chapels.^[5] By the Baroque era (17th–18th centuries), designs became highly ornate, featuring intricate carvings and integrating with broader church architecture, though such extravagance was more prevalent in continental Europe than in Britain.^[3] The 19th-century Gothic Revival renewed interest, producing grand examples in cathedrals and parishes.^[3] Key features include niches for statues, painted panels, pinnacles, and religious iconography such as biblical scenes or saints, distinguishing it from a retable (a smaller, altar-attached frame) or altarpiece (a painted or sculpted work atop the altar).^[5] Materials commonly encompass carved stone for structural screens or wood for lighter, detailed ornamentation, with occasional metalwork or tapestries in earlier forms.^[5] While primarily associated with Catholic and Anglican traditions, reredos appear in various denominations to enhance the altar's visual and symbolic prominence during worship.^[3]

Definition and Terminology

Description

A reredos is a large, decorative screen or partition positioned behind the high altar in a church, serving to visually frame the altar and enhance liturgical focus.^[6]^[3] It functions primarily as a backdrop that glorifies the Eucharist, reinforcing devotion through sacred imagery that draws the congregation's attention to the central act of worship.^[6]^[3] This structure typically incorporates religious iconography, such as depictions of saints, biblical scenes, or Christological motifs, to edify the faithful and emphasize theological themes.^[6]^[7] Structurally, it is fixed to the wall behind the altar and varies in height, ranging from simple panels to elaborate multi-tiered compositions that may extend to the ceiling.^[5]^[3] Visually, the reredos features ornamentation through carving, painting, gilding, or inlay, with designs that prioritize symmetry and a hierarchical composition centered on the altar to underscore its sacred prominence.^[6]^[5]

Etymology

The term "reredos" entered English through Middle English as "reredos," borrowed from Anglo-Norman "areredos" or "reredos," a compound of "arere" (or "rere"), meaning "behind," and "dos," meaning "back." This Anglo-Norman form ultimately derives from Latin dorsum, denoting the back or rear.^[8]^[9]^[10] The earliest recorded use of the word dates to 1387, initially referring to a practical screen or backing behind a fireplace or open hearth in medieval secular households, serving as a protective or decorative element against heat and drafts.^[2]^[11] Over time, the term underwent a semantic shift, extending to ecclesiastical architecture where it described ornamental screens or walls placed behind altars in churches, evolving from utilitarian hearth guards to elaborate religious backdrops that enhanced liturgical focus and symbolism.^[8]^[1] The term saw renewed application in the 19th century during the Gothic Revival movement, when architects and designers revived medieval styles for richly decorated altar screens in newly constructed or restored churches to evoke historical authenticity and spiritual grandeur.^[3]^[5] In modern pronunciation, "reredos" is typically rendered as /ˈrɛrɪdɒs/ in British English and /ˈrɛrɪdɑːs/ in American English, reflecting variations in vowel quality and stress patterns.^[1]^[12]

Historical Development

Origins and Early Use

The origins of reredos trace to early Christian architecture, where elements like apse mosaics in basilicas served as decorative backdrops behind altars, emphasizing spatial separation and visual focus. These drew on Roman basilical forms repurposed for Christian worship.^[6] Constantine's 4th-century church-building initiatives, including sites like Santa Pudenziana in Rome, incorporated fixed altars with apse mosaics serving as rudimentary backdrops to symbolize divine presence while maintaining functional division.^[6] The term "reredos," derived from Anglo-French meaning "behind the back," was also applied in medieval secular contexts to hearth screens in European homes and great halls, constructed from wattle, wood, or stone to reflect heat and block drafts.^[13] However, ecclesiastical reredos developed independently from medieval liturgical practices, evolving from simple cloths (dossals) or images placed behind altars to emphasize the liturgical focus, as outlined in texts like the Caeremoniale Episcoporum.^[3] By the late 13th century, reredos appeared in English and French churches as basic rear altar screens for liturgical purposes such as supporting candle arrangements or enhancing acoustics. Early examples include painted panels depicting Passion scenes, shifting toward functional altar backings.^[14]

Medieval and Renaissance Periods

During the 14th and 15th centuries, Gothic advancements in reredos design marked a significant evolution toward greater height, intricacy, and integration with cathedral architecture, particularly in England and France. In England, reredos shifted from simpler forms to tall, traceried stone screens that served as both structural elements and decorative backdrops, often incorporating canopied niches for statues of saints and narrative relief panels depicting biblical scenes. A prime example is the 14th-century reredos at Exeter Cathedral, which featured elaborate stonework with statues and reliefs emphasizing Christological themes, though much was lost during later renovations.^[15] In France, similar developments occurred in late Gothic cathedrals, where reredos adopted rectangular formats with spiky pinnacles and traceried openings, allowing for the placement of sculpted figures and reliefs that enhanced the altar's visual prominence; the polyptych reredos at the Church of St. Martin in Ambierle (1466) exemplifies this with its multi-paneled wooden structure housing statues and carved narratives.^[16] These innovations reflected a broader Gothic emphasis on verticality and light, transforming reredos into immersive backdrops that drew the eye upward during Mass.^[17] In late medieval Northern Europe, particularly in the Netherlands, Germany, and Scandinavia, reredos designs were influenced by polyptych altarpieces, adopting elements like layered wooden panels for sacred imagery, though fixed stone screens remained common in southern regions. These emphasized themes of Marian devotion and eucharistic scenes, serving as focal points for prayer. This style contrasted with the more fixed stone screens of southern Europe.^[18] Renaissance innovations in the 15th and 16th centuries, influenced by Italian and Flemish artists, introduced greater depth and humanism to reredos design, incorporating motifs from altarpiece traditions such as predella bases and classical frames. In Italy, reredos incorporated gilded elements and linear perspective for spatial realism, replacing earlier Gothic gables with pilasters and friezes.^[19] Flemish contributions added oil glazes and columnar supports, enhancing the reredos' role in church architecture. These advancements marked a departure from medieval linearity toward a more immersive presentation.^[20] Throughout these periods, reredos served profound symbolic roles, embodying sacramental theology and acting as visual sermons that reinforced doctrines like transubstantiation. Positioned behind the altar, reredos symbolized Christ's tomb and the real presence in the sacrament, with imagery guiding worshippers toward contemplative union with the divine during the Mass.^[16] This theological depth positioned the reredos as an essential didactic tool, edifying the faithful through narratives that paralleled the sacraments' role in spiritual elevation.^[18]

Post-Reformation and Modern Eras

The Protestant Reformation of the 16th and 17th centuries profoundly impacted reredos in northern Europe, particularly through waves of iconoclasm that targeted religious imagery as idolatrous. In England, the Henrician and Edwardian Reformations led to the systematic destruction or whitewashing of many reredos in churches and cathedrals, creating a nearly three-century gap in elaborate church decoration as Protestant reformers, influenced by figures like Archbishop Thomas Cranmer, sought to eradicate perceived superstitious elements.^[21]^[22] In Germany, early Lutheran practices similarly resulted in the removal of altarpieces and reredos from churches, though some were later reinstated as theological views evolved to permit non-idolatrous artistic expressions.^[23] By contrast, in Catholic strongholds such as Spain and Italy, where the Reformation failed to gain traction due to aggressive suppression by the Inquisition and the decrees of the Council of Trent (1545–1563), reredos not only survived but continued to flourish as integral elements of liturgical spaces.^[24] The Counter-Reformation spurred a resurgence in opulent reredos designs during the Baroque and Rococo periods of the 17th and 18th centuries, particularly in Catholic Europe, where they served as visual tools to inspire devotion and counter Protestant austerity. Baroque reredos emphasized dramatic effects through twisted columns, gilded sculptures, and marble inlays that manipulated light to heighten emotional intensity, as seen in Roman and Italian churches rebuilt to affirm Catholic orthodoxy.^[25] Rococo developments softened these forms with playful asymmetry, pastel accents, and intricate shell motifs, often adorning high altars in southern German and Austrian churches to evoke a sense of divine whimsy and accessibility.^[26] These styles reinforced the Church's theatrical appeal, with reredos becoming focal points for elaborate narratives of saints and sacraments. In the 19th century, the Gothic Revival movement prompted both restorations of surviving medieval reredos and the creation of new ones in Anglican and Catholic settings, drawing on principles of historical authenticity to revive pre-Reformation aesthetics. Architect A.W.N. Pugin championed Gothic forms in England, designing reredos with intricate stone tracery and figurative carvings for churches like St. Giles in Cheadle, arguing that such styles embodied true Christian morality against industrial modernism.^[27] In France, Eugène Viollet-le-Duc oversaw restorations of Gothic cathedrals, including elements like reredos at Notre-Dame de Paris, where he integrated medieval motifs with structural reinforcements to preserve and enhance liturgical heritage. These efforts, inspired by a romanticized view of the Middle Ages, extended to Anglican contexts amid the Oxford Movement's push for ritualistic renewal. The 20th and 21st centuries have seen reredos evolve toward minimalist and abstract expressions in contemporary church designs, adapting to ecumenical liturgies and vernacular worship by incorporating materials like glass and metal to symbolize transparency and modernity. Mid-20th-century examples in American and European sacred architecture often featured sleek, unadorned metal screens or etched glass panels behind altars, prioritizing spatial flow over ornamentation in response to post-Vatican II reforms.^[28] Simultaneously, heritage preservation initiatives have focused on conserving historical reredos, such as fire-damaged examples in mission churches or Victorian Gothic screens, using advanced techniques to maintain cultural and spiritual significance amid urban development pressures.^[29]^[30]

Design and Construction

Materials and Techniques

Reredos have traditionally been constructed from durable and workable materials suited to ecclesiastical environments, with stone serving as a primary choice for its longevity and capacity for intricate detailing. Alabaster, a soft gypsum-based stone prized for its translucency and ease of carving, was extensively used in medieval English reredos, particularly for relief panels depicting religious scenes.^[31] Marble, valued for its hardness and veined aesthetic, provided structural support in larger stone reredos, often forming colonnettes or bases in 19th-century Gothic Revival examples.^[32] Wood, including oak for its strength and resistance to warping, and limewood for its softness and relative lightness, dominated Renaissance and later constructions, allowing for complex paneling and sculptural elements.^[33] Metals such as brass and silver were incorporated for decorative inlays and ornamental accents, enhancing the opulence of reredos through contrasting sheens against stone or wood.^[34] Byzantine influences introduced mosaics composed of glass tesserae set in plaster for vibrant, enduring surfaces.^[35] Fabrication techniques emphasized precision and enhancement of natural material properties, with carving being fundamental for shaping both stone and wood. Relief carving, where figures project from a flat background, and intaglio, involving incised designs, were common in alabaster and limewood reredos to create narrative depth without excessive weight.^[36] Painting and polychromy followed carving, applying tempera in medieval periods for its matte finish on wood panels or oil paints in Renaissance works for richer tones and durability; pigments such as vermilion for reds, ultramarine for blues, and chrome yellow were mixed to achieve lifelike hues.^[32] Gilding, the application of gold leaf over a bole ground, was a hallmark technique across eras, burnished to a high sheen on wood or stone to symbolize divine radiance, with water gilding preferred for its adhesion on absorbent surfaces like limewood.^[37] Assembly methods varied by material: wooden frames employed joinery techniques like mortise-and-tenon for stability, while stone reredos relied on masonry bonding with lime mortar to distribute weight evenly behind altars.^[33] Techniques evolved to address aesthetic and functional demands over time. In the medieval period, limewood's lightness facilitated transport and installation of large-scale wooden reredos in remote churches.^[33] Renaissance advancements included patination on metal elements, using chemical treatments to develop colored oxides on brass for subtle tonal effects in decorative inlays.^[38] Modern conservation employs epoxy resins for repairs, injecting consolidants into decayed wood or stone to restore structural integrity without altering appearance, particularly in exposed church settings prone to humidity and weathering.^[39] Practical considerations in reredos construction prioritized environmental resilience and structural balance. Stone materials like marble offered superior weather resistance in outdoor or damp interiors, preventing erosion from moisture, while wood required protective coatings to mitigate insect damage and humidity-induced cracking.^[32] Weight distribution was critical, with lighter woods and modular stone assemblies ensuring stability against altar back walls without compromising architectural integrity.^[40]

Forms and Styles

Reredos exhibit a range of basic forms, from simple single-panel screens that function as unadorned backdrops behind the altar to more elaborate multi-tiered structures incorporating gradines—shelves designed to support candlesticks, crucifixes, and other liturgical elements. These foundational designs prioritize functionality while providing a visual frame for the Eucharist, often rising directly from the floor to integrate seamlessly with the chancel architecture. In simpler iterations, a single panel might feature minimal relief or painting to denote sacred space without overwhelming the altar itself.^[41]^[40] More complex styles expand on these basics, incorporating architectural embellishments for dynamic liturgical use. Canopied structures, prevalent in Gothic designs, feature ogee arches and baldachin-like enclosures over sculpted figures, creating a sense of elevation and enclosure that draws the eye upward toward divine representation. These often include arcades, niches for statues, and tabernacles to house relics or icons.^[41]^[42] Regional variations highlight distinct aesthetic priorities within these forms. In English ecclesiastical architecture, the Perpendicular style employs intricate tracery with vertical emphasis and fan vaulting motifs, as seen in the ornate stone screens of late medieval chapels that emphasize linear grace and light penetration. Italian Renaissance reredos favor symmetrical compositions crowned by classical pediments, reflecting humanist ideals of proportion and balance in painted or sculpted ensembles. Spanish examples in the Plateresque manner showcase profuse ornamentation resembling filigree silverwork, with swirling foliage, grotesque masks, and heraldic motifs layering intricate detail over structural forms.^[43]^[41]^[44] Iconographic conventions unify these diverse forms through consistent thematic hierarchies. Centralized motifs often depict pivotal events such as the Crucifixion or the Assumption of the Virgin, positioned at the structural apex to command focal attention and symbolize core doctrines. Supporting these are lateral panels with sequential scenes from the lives of Christ, Mary, or patron saints, to provide contextual depth and instructional value for worshippers.^[45]

Reredos versus Retable

The primary distinction between a reredos and a retable lies in their position relative to the altar: a reredos is a screen or decorative structure that rises from ground level and is affixed directly to the wall behind the altar, often forming part of the church's architectural framework.^[45] In contrast, a retable is a smaller structure positioned atop the altar table itself or on a low support immediately behind it, maintaining closer proximity to the liturgical space.^[45] This positional difference underscores the reredos's role in defining the spatial enclosure behind the altar, while the retable integrates more directly with the altar's surface for ceremonial use.^[6] Regarding attachment, the reredos is typically independent of the altar table, being fixed to the surrounding architecture such as the chancel wall, which allows it to function as a permanent screen or partition.^[45] The retable, however, is often designed to be removable or integrated with the mensa (the altar slab), enabling it to be placed on or affixed temporarily to the altar without structural reliance on the wall.^[6] These attachment variations reflect practical considerations in ecclesiastical design, where reredoses provide enduring architectural emphasis and retables offer flexibility for liturgical adjustments.^[5] Terminologically, the terms have experienced blurring in English usage, with "retable" sometimes applied interchangeably to smaller reredos-like structures, leading to occasional confusion in art historical descriptions.^[5] In Romance languages, distinctions are often stricter: the French "retable" frequently encompasses both concepts, referring broadly to wall-affixed screens or altarpieces, while the Spanish "retablo" emphasizes ornate painted or sculpted panels integrated into such structures, highlighting decorative rather than purely architectural elements.^[6] This linguistic divergence arises from shared Latin roots like "retro tabulum" (behind the table), but evolved differently across cultural contexts.^[6] Functionally, both reredos and retable serve as altarpieces, accommodating sculptures, paintings, or relics to enhance devotional focus during worship.^[45] However, the reredos prioritizes spatial enclosure by screening the area behind the altar, creating a visual and symbolic boundary in the chancel, whereas the retable's liturgical proximity allows it to support immediate ritual elements like candlesticks or reliquaries on or near the altar table.^[6] This overlap in purpose, combined with terminological fluidity, has led scholars to emphasize contextual analysis in identifying specific examples within ecclesiastical art.^[5]

Reredos versus Other Altar Screens

A reredos serves as a permanent, architectural screen or structure positioned behind the altar in a church, typically constructed from stone, wood, or other solid materials to provide a fixed backdrop that integrates with the building's design. In contrast, a dossal is a hanging cloth or tapestry suspended behind the altar, often made of rich fabric and used for decorative or seasonal purposes, allowing for easy replacement or variation during liturgical seasons. This distinction highlights the reredos's enduring role in ecclesiastical architecture versus the dossal's flexible, textile nature, which facilitates changes in visual emphasis without altering the permanent structure.^[46]^[47] Riddel posts and curtains differ markedly from the reredos in both placement and function, as they are movable elements located at the sides of the altar rather than behind it. Riddel posts are vertical supports, often ornate and positioned at the altar's corners, from which curtains—known as riddels—are hung to enclose the altar space symbolically during the Mass, creating a sense of enclosure and focus on the liturgical action. Unlike the fixed and elaborately decorated reredos, which provides a vertical, rear-facing screen for imagery or ornamentation, riddel posts and curtains emphasize lateral screening and can be adjusted or removed as needed, serving a more transient ceremonial purpose.^[48]^[49] The ciborium, also referred to as a baldachin or ciborium magnum, functions as an overhead canopy sheltering the altar, typically supported by columns and constructed in durable materials like stone, metal, or wood to evoke a sense of sacred enclosure from above. This contrasts with the reredos, which acts as a vertical panel or screen rising behind the altar to offer a backdrop for religious iconography or decoration, without providing any overhead coverage. The ciborium's primary role is to honor the altar through its canopy-like form, often integrated into larger architectural features, whereas the reredos focuses on enhancing the altar's rear visual and symbolic context.^[50]^[51] The term "reredorter" refers to a communal latrine or privy located at the rear of a medieval dormitory in monastic communities, designed for utilitarian purposes. This is wholly unrelated to the reredos, which remains strictly an ecclesiastical element tied to altar decoration and liturgy, with no functional overlap in sanitation or daily monastic life.^[52]

Notable Examples

Contemporary Examples

In the post-Vatican II era, reredos designs embraced minimalism and abstraction to align with liturgical reforms emphasizing simplicity and community participation. A prominent example is the reredos in the Blessed Sacrament Chapel of Liverpool Metropolitan Cathedral, completed in 1967 by Welsh artist Ceri Richards. Crafted with mosaic tesserae and stone textured with fossils, it integrates with the chapel's stained glass windows and tabernacle to form a unified triptych-like composition, featuring abstract modernist motifs inspired by cosmic and spiritual themes that evoke the Eucharist's universal significance.^[30] Ecumenical reredos in the 20th century often symbolized interfaith dialogue and healing, particularly in response to global conflicts. The Coventry Cathedral reredos, installed in 1962, exemplifies this through Graham Sutherland's monumental tapestry Christ in Glory in the Tetramorph, woven by the Pinton Frères atelier in France. Measuring 75 by 38 feet, the upper section serves as a reredos behind the high altar, depicting Christ enthroned amid symbols of the four evangelists, while the lower Crucifixion panel functions as a reredos for the adjacent Lady Chapel. Created for the cathedral rebuilt after its 1940 bombing in World War II, it underscores themes of reconciliation and renewal central to the site's postwar mission.^[53] Restoration projects in the 21st century have revived historic reredos while applying modern conservation methods to preserve their integrity. At Westminster Abbey, the high altar reredos—originally designed in 1866–67 by Sir George Gilbert Scott in Caen stone with Gothic tracery and statues—underwent post-1990s conservation efforts as part of the abbey's ongoing structural maintenance program, harmonizing original medieval-inspired elements with contemporary techniques like laser cleaning and climate-controlled monitoring to combat decay from pollution and wear.^[54]^[55]

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### Definition and Etymology of "Reredos"
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[50]
The Liturgical Construction of the Altar - Part 2 of 2
Aug 4, 2020 · Behind the altar may be (1) a cloth hanging (dossal), (2) an altar piece (for example, a triptych), (3) a reredos carved in wood or stone, with ...<|separator|>
[51]
Where Heaven and Earth Meet: 2015 - Liturgy and Architecture
May 29, 2015 · The form of reredos complementing the English Altar falls into two principal varieties : (a) a dossal or curtain of rich fabric, suspended from ...
[52]
Architecture and the Tabernacle - Romanitas Press
3 A dossal is a curtain suspended behind the altar; the side curtains were hung from riddel posts, thus were known as riddel curtains. Some excellent ...
[53]
Baldachinum of the Altar - New Advent
A dome-like canopy in wood, stone, or metal, erected over the high altar of larger churches, generally supported on four columns.
[54]
Bernini's baldacchino is actually a ciborium - Catholic Review
Dec 2, 2020 · A ciborium, unlike a baldachin, is a permanent canopy over an altar supported by columns, but that they have a similar purpose as a reverential covering is ...Missing: reredos | Show results with:reredos
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RERE-DORTER Definition & Meaning - Merriam-Webster
The meaning of RERE-DORTER is a latrine situated at the rear of a medieval convent or monastery.
[56]
Mass at the High Altar of York Minster - New Liturgical Movement
The reredos is Smirke's archaeological restoration of the mediaeval stone stone in the same position which before the 1829 fire this was fronted by a wooden ...
[57]
Duccio, Maestà - Smarthistory
Siena had a unique style that emphasized decorative surfaces, sinuous lines, elongated figures and the heavy use of gold.
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Gian Lorenzo Bernini, Cathedra Petri (Chair of Saint Peter)
Gian Lorenzo Bernini, Cathedra Petri (or Chair of Saint Peter), gilded bronze, gold, wood, stained glass, 1647–53 (apse of Saint Peter's Basilica, Vatican City ...Missing: backdrop | Show results with:backdrop
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[PDF] Methodology for the Conservation of Polychromed Wooden ...
embodied in a structure of carved and gilded wood, whose forms reflect a moment in time of the society in which they were created. The structure is designed ...
[60]
Graham Sutherland: Christ in Glory | Victoria Emily Jones - ArtWay.eu
Oct 2, 2016 · Graham Sutherland: Christ in Glory in the Tetramorph, 1962. Tapestry, 75 × 38 ft. Coventry Cathedral, Coventry, UK. Graham Sutherland (1903–1980) ...
[61]
High Altar | Westminster Abbey
The present wooden altar table, normally covered by an embroidered frontal, and reredos above it were designed by the Abbey Surveyor Sir George Gilbert Scott in ...High Altar · Altar Decoration And Detail · Around The AltarMissing: 1990s 2000s
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Architecture | Westminster Abbey
Sir George Gilbert Scott in the mid-19th century restored the Chapter House and the south transept gable (now with a modern carving of Christ in Majesty on it), ...Architecture · North Entrance Figures · Restoration Of The FiguresMissing: reredos | Show results with:reredos<|control11|><|separator|>