Moses in the Bullrushes and Sacrifice of Isaac - Lyddington Rutland

walwyn mer, 10/08/2025 - 14:12
12/1870
dim, 04/05/2009 - 14:51 - East window.Parish church of St. Andrews, Lyddington, Rutland 05/04/2009
link to flickr

This two panels (1870) from the east window of Lyddington church in Rutland depict the discovery of Moses in the Bullrushes and the Sacrifice of Isaac. Is probably by Lavers, Barraud & Westlake.

The panel on the left depicts Pharaoh's daughter discovering Moses in the bulrushes (Exodus 2:5-10). The central crowned figure, Pharaoh's daughter, wears a regal crown and flowing robes in deep reds, greens, and purples with gold accents, standing beside a cradle or basket containing the infant Moses. The second standing figure, Miriam (Moses' sister), is dressed in similar vibrant tones, likely watching over the scene and poised to offer her suggestion to fetch a nurse (Exodus 2:7). The crouching figure, Jochebed (Moses' mother), has her hand resting on Moses' head, symbolizing her maternal bond and her role in nursing him after Pharaoh's daughter adopts him (Exodus 2:9).

The crown clearly identifies Pharaoh's daughter, aligning with Victorian stained glass tendencies to highlight key figures with symbolic attributes. This arrangement reflects the biblical narrative: Pharaoh's daughter as the royal discoverer, Miriam as the watchful sister, and Jochebed as the reunited mother. The hand on Moses' head highlights Jochebed’s care, linking to the theme of divine providence and the memorial’s honor to the deceased wife.

The panel on the right shows Abraham’s near-sacrifice of Isaac (Genesis 22), with Abraham in a green robe raising a knife, an angel intervening, and Isaac kneeling or lying bound on an altar. A ram in the thicket symbolizes the substitutionary sacrifice. The vibrant reds, blues, and greens, with the angel’s white robe and golden wings, frame the scene.

The hands on Moses and Isaac connect themes of maternal care (Jochebed) and paternal faith (Abraham), reflecting a narrative of divine protection and covenant. The hands on the heads of Moses and Isaac across both panels may intentionally connect the themes of protection (Miriam) and faith (Abraham), reflecting a cohesive narrative of God’s plan. This aligns with Lavers, Barraud & Westlake’s use of symbolic gestures.