St Georges Church, Jesmond

Walking Tour of the Church - Part Two
The Chancel and Sanctuary
On the chancel floor the mosaics portray an olive branch representing the entry of Jesus into Jerusalem when the crowds waived palm branches, a peacock, three fish, a crown, a lily, a lion and a hart. Over the arch on the north side are angels of praise with trumpets and bells. On the south side above the organ there are angels with sword and olive branch, and orb and cross, representing the Kingship of Christ. The panelled ceiling is painted with a rich variety of decorative patterns and Christian symbols.

View of east end of Church The altar and reredos are of white pavanozza marble, by Emley & Sons of Newcastle, as are the two top steps of the sanctuary steps, the third step is of rouge jasper and the fourth and fifth of Sienna marble. The altar table is a solid block of marble ten feet long and carved with great skill. The veins in marble make it notoriously difficult to work, with the constant danger of the material splitting along the veins. It is a tribute to the local craftsmen employed that they could produce such deep and detailed work. The altar was displayed at the Newcastle Exhibition of 1887.

Above the altar are three mosaic figures, the work of Charles William Mitchell. In the centre is a figure of the risen Christ with the Greek letters Alpha and Omega, (the beginning and the end). To the left of the central figure stands St Gabriel the messenger and to the right St Michael the Archangel, these figures were also designed by the younger Mitchell who became the patron of the Living on the death of his father in 1895. Under the figure the inscription reads: Glory to the Father, and to the Son, and to the Holy Ghost. There is fine stonework enshrining these three figures, terminating in a cross.

On either side of the east windows the mosaics are worked in an intricate art nouveau pattern which must have been considered very advanced at the time the Church was consecrated.

For more information about the stained glass go here



Mosaics of apostles (north side)Mosaics of apostles (south side) High on the walls of the Sanctuary to either side of the High Altar are twelve mosaic figures depicting the Twelve Apostles each bearing an implement representing some part of their life or the manner of their death. On the south side (right) from left to right can be seen: St Matthias who was chosen to take the place of Judas Iscariot, this figure caries a lance with which it is said he was put to death; St Simon the companion of Jude carries a saw because he was killed by being sawn in half; St Thomas, the patron saint of builders, carries a builder's square; St James the Less carries a fuller's bat with which he was beaten to death; St Matthew has a purse to indicate that he was a tax gatherer and St Jude is seen with a sword. On the opposite side (left) also looking from left to right can be seen St Peter with the keys of the Kingdom; St Andrew with a cross on which he was crucified; St James the Great with his pilgrim staff; St John with a poisoned chalice; St Philip who was stoned to death and St Bartholomew with a flaying knife which was used to execute him. All these figures are by Charles William Mitchell.


Wall tiles in sanctuary Looking below the mosaics in the above pictures, and at the picture to the left, you will see elaborately patterned tiles which include more Christian symbols. The four evangelists are represented in the traditional representations of St Matthew as a winged man, St Mark as a lion, St Luke as an ox and St John as an eagle, (by GW Rhead). Intricately worked into the tiles can be seen the symbols of Christ's passion - the cross, a cup, a bunch of hyssop, a ladder with a reed and sponge, a pillar, a scourge, a crown of thorns, a wounded heart and hands and dice. Also to be found are a six pointed star, the lamb of God with banner of victory (left), a pelican plucking her breast to feed her young and two roundels with extracts from the Te Deum, the Church's great hymn of praise. All the flowing curves in the background are echoed in the aisle, baptistry windows and church gates.




The Organ
For more information about the organ take a small detour here.


The South Aisle
Memorial to Charles William Mitchell, son of benefactor This aisle contains the memorial to Charles William Mitchell who contributed much to the interior design. This memorial, from Frampton's studio, is almost blatantly secular with its figures of art and literature flanking the simple inscriptions.

To find out about the stained glass the tour continues here.

There is much to see in St George's, and it is rewarding just to sit in one of the pews and reflect upon the people who were responsible for this beautiful church. You are welcome to visit whenever you are in Jesmond, Newcastle upon Tyne. Pennefather and Mitchell had the vision to build a new church. Mitchell was not like the wealthy industrialists of other major cities, he did not endow an art gallery or indeed leave his name on any institution, but the church which he paid for is a testament to his vision and generosity.

Spence and Hedley were able to develop their skills in the newly confident society of Victorian Newcastle and were able to gather round them craftsmen of considerable ability. C W Mitchell may of course only worked on St George's because his father was the patron and benefactor, but his contribution has enhanced Spence's great masterpiece. The building cannot be understood on one brief visit, it requires the quiet searching for detail, and for themes replicated in various materials. Patient looking brings the reward of previously unseen delights. While sitting reflectively it is worth looking for the wire hangers for the top hats of those Victorian worthies of Jesmond who came here to worship God.

This beautiful church is not a museum piece, nor is it just a fine example of Victorian craft at its best, it is a living place where people still worship as Christians have for two thousand years. Sunday by Sunday, old and young, all God's people bring their offerings to this beautiful place. The congregation of today accepts the responsibility of caring for this building and through the Church Council undertakes a continuing programme of care and maintenance: there are no endowments.