10. Icons of St Luke and St Frideswide

The icons of St Luke and St Frideswide hold a prominent place in St George’s Chapel. Positioned on either side of the 1956 statue of St George and the aumbry where the reserved sacrament is kept, they enrich the chapel with their spiritual and artistic presence.

St Luke: Patron of Physicians and Healing

To the left is the icon of St Luke, the author of the Gospel and the Acts of the Apostles. He is also the patron saint of physicians and healing. In Christian tradition, he is often associated with a winged bull, a symbol of sacrifice, which appears at the top of the icon.

St Frideswide: Oxfordshire’s Patron Saint

On the right is the icon of St Frideswide, who founded the first church in Oxford in the 7th century on the site now occupied by Christ Church Cathedral. The patron saint of Oxfordshire, she lived for a time in nearby Eynsham and may have visited Witney. Her story includes the miraculous well at Binsey, known for its healing properties, and her dedication to faith is reflected in the intricate details of the icon, including a belt with a Witney pattern used by the Witney blanket company, Early’s .

Symbolism and Reflection

Icons are designed to inspire contemplation and provide a glimpse into the divine. The intricate layers of paint and gold in these works symbolise light, both physical and spiritual, inviting visitors to reflect on the virtues and lives of St Luke and St Frideswide. Their presence in St George’s Chapel ties the timeless values of healing and faith to the local heritage of Witney.

Visitors to St Mary’s Witney are encouraged to spend time in St George’s Chapel, where the icons serve as a focus for prayer and reflection.

About the Artist

Dr Irina Bradley is a distinguished iconographer specialising in the Russo-Byzantine tradition of icon painting.

Irina Bradley created the icons of St Luke and St Frideswide using traditional techniques rooted in the Russo-Byzantine style of iconography. Each icon was painted on a poplar wood board, carefully prepared with multiple layers of gesso to create a smooth surface. Using a liquid tempera technique, she applied pigments mixed with egg yolk, vinegar, and water, layering the paint to achieve a luminous, translucent effect. Genuine gold leaf was gilded onto the icons, with the process incorporating local elements, such as King Goblin beer from Witney, to adhere the gold.

Throughout the creation, Bradley viewed her work as a prayerful and meditative process, striving to reveal the spiritual light and depth inherent in each icon.