In the realm of altar frontals, there are a few different styles, but within a Catholic context typically if one sees frontals at all, one will either see a Roman style of frontal (typically stretched onto a frame and which employs gold galloon) or, less commonly, one will see the medieval style. (There is also the "Laudian" style, which effectively amounts to a large table-cloth like apparatus that covers the entirety of the altar on all sides -- though in my estimation, this is the least graceful of all the frontal styles and one which tends to draw more attention to itself than it does to the altar, which is what a frontal should draw your attention to).
We've shown many Roman style frontals in the past but today we're going to take a look at three medieval-style frontals which were designed by Sir Ninian Comper for the church of St. Mark's, Philadelphia.
The first, in "Sarum Red," was done in 1902 and executed by the Clewer Sisters. This is an especially beautiful frontal that brings forth all of the riches of medievally inspired art with the full talents and sophistication of the likes of Comper brought to bear. Central to it is an image of the Virgin and child (a detail is found below) and eight, tunicled angelic figures, their hands held together in prayer. Interspersed throughout are stylized images of stars. Along the top is the slender strip called the "superfrontal" which includes further Marian references in the form of Tudor roses and fleur-de-lys.
Next we have a green frontal dated to 1904, this time executed by the famed Sisters of Bethany. Here again the Virgin and Child forms the central imagery, this time enthroned, and once again we see angelic figures surrounding the Virgin and Child, some holding lutes, others the vielle, while others are seen holding up a sort of veil behind the Virgin and Child.
The design includes architectural motifs in the form of gothic shaped arches which, interestingly, proceed from neo-classically inspired vases. The superfrontal is in blue, trimmed by a beautiful, alternating green and blue fringe. In medieval script we see written, "Dilectus meus mihi, et ego illi, qui pascitur inter lilia" (My beloved is mine, and I am his: he feedeth among the lilies.), a scriptural reference taken from the Song of Songs (2:16). Coinciding with this, various lilies are peppered throughout the design, along with roses and white doves.
One interesting symbolic inclusion in this frontal is that the one angel is shown handing a pomegranate to the Christ Child, who reaches out for it. Some may wonder what this means. The pomegranate was considered a symbol of Christ's passion, its red seeds found within understood symbolically as drops of Christ's blood, shed for humanity. In this regard then, it depicts the Christ Child symbolically embracing the Passion and it foretells this destiny.
Last but not least we have this frontal from 1901, once again executed by the Clewer Sisters for Comper. This particular design relies on symbols rather than figures, in this case fleur de lys and the "Maria Regina" monogram topped by a crown. Here again we see a beautiful alternating green and red fringe along the bottom of the superfrontal as well as the frontal itself. The design is very simple in many regards, but also quite striking.
Photo credits: VsurV
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