Norwich Cathedral has some remarkable paintings, which are all on display in the side chapels. Many of these date from the 14th and 15th century and are very rare and important works of art. All of them are still used for the devotional purposes for which they were first created. From the outset they were intended to uplift the spirit and move the beholder to acts of devotion. These paintings can still have that effect today.
Despenser Retable
One of the most important works is the Despenser Retable, a painting which dates back to the late 14th century and is a rare survival from that period. It was discovered in 1847 when someone looked under a table to see that the underside of the table was a painted panel. When the table was reversed the altarpiece came to light. Sadly, there was some damage to the top section but some of this has been delicately restored and the Retable is now to be seen behind the altar in St Luke’s Chapel.
The Despenser Retable gets its name from a warlike bishop of Norwich, Henry Despenser (1369-1406). He led the fight against the rebels in the Peasants’ Revolt in 1381. The altarpiece was probably commissioned in thanksgiving that the revolt had been contained and a number of shields survive on the painting, which are associated with those who led the attack on the rebels. The five panels are to do with the death and resurrection of Christ. They depict Jesus being flogged, carrying his cross, the crucifixion itself and the subsequent resurrection and ascension. There is an obvious interest in the soldiery as one might expect form donors involved in serious military conflict. The colours are extremely vivid, especially the use of red which in later times became a colour the city dyers, made famous in the production of 18th century Norwich Shawls.
The delicacy of this work contrasts with the probable brutality it celebrates. The young king, Richard II who confronted the original rebels is known to have visited Norwich with his beautiful wife, Anne of Bohemia. She caused a sensation by being the first royal personage to ride side-saddle. Is it possible that the king and queen were present for the dedication of this panel and maybe it was originally displayed behind the high altar?
Whatever the provenance of the painting the work is a moving testimony to how barbaric brutality can be overcome by sacrificial surrender. In three of these panels Jesus is presented as surrendering his life to the engine of the state. The panels showing the resurrection and ascension proclaim that such loving sacrifice conquers death and destruction. Jesus is raised and glorified demonstrating God’s triumph over sin and death.