Easter Vigil marks a special time for many. It is the theologically rich watershed period between sunset on Holy Saturday and sunrise on Easter Sunday, and it also signals the time many believe to be the most appropriate for undertaking Baptism and Confirmation ceremonies.
Whilst Epiphany or All Saints’ Day are also deemed appropriate for initiation into Christianity in Common Worship, doing so on Easter Vigil is in line with ancient practice. In this practice, the pre-eminent commemoration of Christ’s paschal mystery aligns with a Christian’s paschal mystery through Baptism.
Of course, requirements can vary from denomination to denomination. However, most candidates for Baptism and Confirmation will indeed embrace the underpinning theology of what it means to be Christian by attending classes throughout Lent. In these classes, broad and deep-reaching subjects like Baptism, the Bible, the Eucharist, and Prayer will be explored. In doing so, the candidates are asked to fully consider the commitment of the faith they are immersing themselves in. This is by no means a small undertaking.
Whether you are the priest overseeing this education, the bishop carrying out the sacrament, an individual supporting family or friends marking their commitments, or a person personally embracing this journey, here at Watts, we want to take a moment to immerse ourselves in the depths with you!
To embrace this transitional practice, we will consider our Sacramental Life of the Church banner for York Minster.
Sacramental Life of the Church banner for York Minster. Designed by previous Creative Director, David Gazeley, then handcrafted and hand-embroidered by Watts and Co.
Visually striking, our banner is a cacophony of Christian celebration. Depicting the key aspects of Christian sacramental life, our banner presents an entwined palimpsest rich in symbolism, intricate embroidery, and a vivid colour palette that reflects the reverence of the commitment made at Baptism and Confirmation.
The banner is vertically oriented and has a symmetrical and structured design. It prominently features Christian iconography arranged in tiers, leading the viewer’s eye upward in a spiritual progression.
In the lower register of the banner, the importance of the sacrament of Baptism is squarely established.
Lower corner of the banner, depicting waves of appliqué silk, Japanese Gold thread, and French knots, and a custom tassel
Baptism, the first sacrament of initiation into the Christian Church, symbolises both spiritual cleansing and the transformative rebirth of the person into the Christian faith.
Whilst there are variations in the gospels on the finer details of Christ’s Baptism by John the Baptist in the River Jordan, Matthew 3:16-17 outlines the event as follows:
‘And Jesus, when he was baptised, went up straightway out of the water: and, lo, the heavens were opened unto him, and he saw the Spirit of God descending like a dove, and lighting upon him:
And lo a voice from heaven, saying, “This is my beloved Son, in whom I am well pleased.”’
This moment marks the beginning of Christ’s earthly ministry and is signified with approval from God the Father, who, in immense power, opens—“ripping” σχιζομένους in Mark 1:10—the heavens as decisive confirmation of his beloved son’s Baptism.
A sign of this Divine approval is sent down from the opened heavens in the form of the Holy Spirit, who descends like a dove. Nothing short of God’s heavenly acclimation for his mortal son, this is a truly spectacular moment where Divine transcendence directly meets with Divine immanence.
This meeting of transcendence and imminence is evoked in the calamitous crash of swirling waves in our banner, where the river Jordan is depicted with undeniable energy. Here, the swirling waves are created with delicately cut aquamarine and livid shades of blue silk, gestural couched golden Japanese silk thread, and spontaneous sprays of pearls. Whilst a work of beauty, reflecting the dignity of the scripture, these design choices create a symbolic tonal depth that is amiss in more conventional depictions of Baptism.
Details of the hand-embroidered waves
Indeed, the waters of our banner are not the calm, receding shallows seen in Andrea del Verrocchio and Leonardo da Vinci’s Baptism of Christ, where the gentle contrapposto of Christ’s feet create only small ripples in the crystal clear waters, instructing a scene of overwhelming stillness. Not even the leaves on the trees move in the presence of the Divine ovation from the opened heavens.
Andrea del Verrocchio & Leonardo da Vinci, Baptism of Christ, 1470 - 1475, Uffizi Gallery
Instead, the commotion of our banner could be more quickly compared to the crashing sea foam of Adolph Hirémy-Hirschl’s The Birth of Venus. In Hirémy-Hirschl’s piece, gone is the hazy romanticism of Verrochio’s Baptism. Instead, the waves are imbued with unpredictability, frothing and crashing in a way that marks the pagan goddess’s birth with chaos. As Aphrodite lays bare, her name deriving from the surf she is borne from (Aphros, ἀφρός meaning foam or of the sea), she is caught in a state of repose and response: embracing the waves that gave her life and recoiling from submersion in the harsh reality of the salty surf.
Adolph Hirémy-Hirschl, The Birth of Venus, 1888, Private Collection
While this is an entirely different iconography, and so might not appear relevant to this discussion, there is a worthwhile similarity between the birth of Aphrodite/Venus and Christian Baptism.
As Rowan Williams outlines, in Mark 10:38, Christ speaks of the tumultuous suffering and death that he is to endure as a ‘baptism.’ In other words, Jesus accepts that he must be immersed in the depths of unpredictable suffering before his work on behalf of humanity can be complete (Luke 12:50).
In this context, Baptism does not imply calmness or stillness. Truly, this is not the gentle rippling seen in Verrochio but rather the calamitous crash of Hirémy-Hirschl.
Arguably, Baptism in this light speaks more closely to the watery chaos we come from in Genesis. Like the birth of order in the chaos of creation, Christ emerges from the depths of his baptismal submersion, and when he does so, this dark chaos meets with the clarity of the new beginning of a Christian life. As such, so too must we, following in Christ’s path, submerge ourselves in the depths before we can be born again.
Therefore, this cleansing chaos, depicted in Hirémy-Hirschl’s The Birth of Venus and in our banner, speaks most closely to the spiritual cleansing and transformative rebirth of Christian Baptism.
From the turbulence of these watery foundations rises a majestic golden tree and calls the powerful motif of Christ’s teaching in John 15:5: “I am the vine, you are the branches.”
Through this declaration, Jesus emphasises the necessity of remaining spiritually connected to him, as branches draw sustenance from the vine. Just as branches cannot thrive apart from the vine, so too are Christians called to abide in Christ, drawing strength and life from their relationship with him. As such, this imagery conveys the mortal Christian’s dependence on Christ for spiritual nourishment and growth and reinforces the theme of unity between Christ and his followers, who allowed themselves to be washed by the waves of Baptism in his image.
The presence of grape clusters and wheat sheafs adorning the tree further deepens this symbolism by speaking directly to the wine and bread consecrated and celebrated as the Blood and Body of Christ in the Eucharist. As such, entwined with the bark of the tree, the sacrament of Communion instructs this sacred transformation that continues this reciprocal relationship between Christ and the humanity he saves as a result of his sacrifice.
The centre of the banner: sheafs of padded wheat highlighted in Japanese Gold thread, surrounded by grapes
Thus, the Eucharist is not merely a ritual but a profound reminder of the sacrifice made by Christ and the grace bestowed upon us when the faithful are once again reunited with Christ on the Day of Judgment.
Moreover, this two-fold relationship between the Eucharistic and the resurrection can be further identified in the Early Christian sarcophagus of Santa Constanza. The monumental sarcophagus, made from solid red porphyry, was created to hold the remains of one of the daughters of Emperor Constantine, most likely Constantia, who died in 354 A.D. Richly carved with robust angels, they are depicted plucking grapes from the vine. When paired with the rich red of the stone, these grapes take on Eucharistic undertones, embodying the restorative blood of Christ as a reminder of the Resurrection Constanza hoped to enjoy in her death.
Sarcophagus of Santa Constanza, 340 AD, the Vatican Museums
As such, the depiction of grapes and wheat on the golden tree reinforces the banner’s broader sacramental theme, highlighting the mystery of Christ’s presence in the Eucharist and the nourishment it provides for the soul.
Beyond its connection to the Eucharist, the golden tree also evokes the imagery of the Tree of Life, first introduced in Genesis 2:9 as a central feature of the Garden of Eden.
In biblical tradition, the Tree of Life symbolises God’s gift of eternal life and divine sustenance. Though humanity lost access to this tree through the Fall, its promise is ultimately fulfilled in Christ, who restores the possibility of eternal life through His death and resurrection. Consequently, the presence of the golden tree on the banner serves as a reminder of this promise, pointing toward salvation and the hope of eternal Communion with God— a concept reinforced by the baptismal waters below that feed the tree above.
The bottom of the banner: hand-embroidered crashing waves
Therefore, the depiction of flowing water also resonates with the imagery of the River of Life described in Revelation 22:1, where a river flowing from the throne of God signifies divine renewal and the promise of eternal life. This biblical allusion strengthens the symbolic link between water and the life-giving presence of God, highlighting the themes of spiritual regeneration and eternal sustenance that are also met in the Tree of Life directly above.
The interconnectedness of Baptism and Eucharist are met in the crowning glory of the radiant sunburst. Positioned at the top of the composition, we, the viewer, are reminded that God’s divine presence, the Holy Spirit, is present at both our Baptism as the dove-like figure (either in visual appearance or the manner in which the Spirit descends) and as the host in the Eucharist. This radiating light draws the viewer’s eye upward, emphasising the heavenly source of grace and sacramental life, illuminating God’s presence as the heart of the commitments we make in our Baptism and Confirmation.
The top of the banner: the Holy Spirit, radiant in spangles and French knots
The use of our Sarum Red 'Holbein' silk also marks the presence of the Spirit. Red, on the other hand, is reflective of the Eucharist wine and is often associated with the Holy Spirit. Since red represents the power, love, and warmth of the Holy Spirit, it is often the colour choice for Baptisms and Confirmations. Thus, the proximity of the Spirit will feel all the more special this Easter Vigil for those making their commitments. Ultimately, it is this presence of the Spirit that underpins the entirety of our banner.
Detail of the grapes: layers of encircling Japanese Gold thread, hand-embroidered as Or Nué
Therefore, by intertwining these layers of meaning—Christ as the True Vine, the Eucharistic significance of the grape clusters, and the salvific imagery of the Tree of Life—the banner presents a profound visual representation of divine sustenance, redemption, and the believer’s abiding relationship with Christ. The radiant sunburst, the True Vine, and baptismal waters visually reinforce the core tenets of Christian faith and sacramental life. Every symbol—whether grape clusters, golden embroidery, or prayerful figures—points to the Church’s role in administering grace through the sacraments, making this a profoundly theological and visually powerful piece.