The Corona Redemption Window in Canterbury Cathedral
Introduction and Plan
Stained Glass Window Photo Gallery
Ancestors of Christ
Corona Redemption Window
Typological Window 2
Becket Miracle Windows
The Corona Redemption Window is an impressive typological window in the center of the Corona at the east end of Canterbury Cathedral. It centers on five scenes related to the Passion and Resurrection of Christ, each of which is surrounded by four parallel scenes from the Old Testament known as "types."
The visual impact is heightened by the alternating shapes: a central square with four semicircles (quadrilobes) and a central diamond with four roundels. The quadrilobe design is also seen among 12th-century metalworkers in Flanders, who used it to express typological imagery related to the Crucifixion.
The date of this window has been estimated to about 1200-07 based on the developed draperies of the figures and miniaturization of the scenes. Several different artists have been associated with this window, but the primary hand is probably that of the Master of Jordan Fitz-Eisulf, named for panels in Becket Window 6. He employs some techniques used by the Master of the Parable of the Sower (see Typological Window 2) and might have been trained by or helped by him.
Note: This page is illustrated by large photos, which may take some time to load - but they are worth the wait! Note 2: Most English windows are "read" from top to bottom, but this one is the other way around, so you may wish to scroll down to the bottom.
 Typology of Pentecost (1) At the top is Christ in Glory, from whom come the "tongues of fire" that touched the apostles at Pentecost (Acts 2:1-4). (2) On the left is Moses Consecrating Aaron, where the anointing oil is a parallel for the tongues of fire. (3) On the right is Jethro before Moses. Jethro advised Moses to delegate to advisors, which parallels the mission given to the apostles. (4) At the bottom is the Law Given to Moses, which was a manifestation of God through fire like Pentecost. |
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 Typology of the Ascension The central scene - with Christ's feet disappearing into the clouds while the apostles look up - reflects an Anglo-Saxon tradition, which differs from Early Christian representations of Christ ascending a mountain towards God's hand or lifted up in a mandorla by angels. Very similar compositions are in the St Alban's Psalter and Eadwine Psalter. (1) On the top left is the Ascent of Elijah, which parallels the Ascension of Christ both visually and because Elias took up the mantle to carry on the departed leader's work, like the apostles. (2) On the right is King Hezekiah, Isaiah, and the Sundial of Ahaz (Isaiah 38:1-8). God granted Hezekiah 15 more years of life, and the sundial belonging to his father Ahaz moves back ten degrees as a sign. Here it represents deliverance and the "ascent" of the sundial by God's will. (3) At bottom left is the Entry of the Priests into the Holy of Holies (3 Ki 1:8), in which the Ark of the Covenant is opened and "the glory of the Lord had filled the house of the Lord." (4) The roundel on the bottom right depicts the Ascent of Enoch (Gen 5:21-24; Heb 11:5), who was taken up bodily into heaven. Enoch is shown twice: praying on the right and ascending on the left. |
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 Typology of the Resurrection Parallel Old Testament scenes include the dove returning to Noah on the left and Jonah emerging from the whale at the top. |
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| Typology of the Entombment (1) At top right is Samsom Sleeping with Delilah in Gaza (Judges 16:19), which is primarily a visual parallel to the Entombment. Solomon sleeps, like Christ does in the tomb, and in both cases guards are waiting outside. The inscription further explains: "For the sake of the Church the flesh of Christ was shut in the marble, just as Solomon slept for the sake of his beloved." It is also notable that Samson was initially defeated by Delilah but was victorious in the end. The faces of Samson and Delilah are modern replacements. (2) At top left is Jonah Swallowed by the Whale, a type already explored in the New Testament (Matthew 12:39). Jonah was punished by God through a storm at sea, which led to him falling overboard and being swallowed by a whale. He spent three days and three nights in the belly of the whale but through prayer he was cast up onto dry land. This symbolizes both the Resurrection after three days and redemption from sin through confession and prayer. All the faces and part of the boat are modern replacements, but the whale is original. (3) ? (4) ? |
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 Typology of the Crucifixion The central panel was fully recreated in 1853, but the surrounding typological scenes are medieval originals. (1) At the top is the Sacrifice of Isaac, widely regarded as a foreshadowing of God's sacrifice of his own Son. The parallel with Christ is further emphasized by the crossed sticks on the altar, a fairly rare device seen also in the mosaics of the Capella Palatina in Sicily. (2) On the bottom are the spies who were sent by Moses to explore the Promised Land, who return with the Grapes of the Valley of Eschol. The T-shape reflects the cross and the grapes the wine of the Eucharist. Further, the inscription explains: "The one refuses to look back at the cluster and the other thirsts to see it; Israel knows not Christ, the Gentiles adore him." (3) On the right is the Tau on the Lintel, representing the Passover instructions to mark the lintel with lamb's blood to be spared from the plague (Ex 12:1-13). Exodus doesn't indicate the shape of the mark, but medieval iconography imagined it as a cross to emphasize the link with Christ, the Lamb of God. (4) On the left, Moses strikes a rock and miraculously makes water flow, saving the Israelites from their thirst in the desert (Ex 17:6-7). Similarly, Christ was stabbed with a spear and produced blood and water (Jn 19:34) for the salvation of the people. |
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