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History
 | The Village
The 1801 census reveals Whitburn having a population of about 1500 souls against Cleadon's 250. By the mid-nineteenth century Cleadon comprised five large houses: Cleadon House, Cleadon Tower, Cleadon Meadows, Old Hall and Undercliff. They had been built by local families made wealthy by regional industry, including mining and shipbuilding.
Already a significant farming community, records show a burgeoning brick works developing in Cleadon at this time. The new works flourished at the South End and on Moor Lane. This small successful industry began to replace the limestone quarries in providing material for house building.
The northern boundaries of the ancient parish of Whitburn included the present area of Cleadon Park. The Kirkley family of Cleadon Park House, worshipped at St Mary's Whitburn prior to the building of All Saints Cleadon.
The Kirkleys, related to the Pollards, were generous benefactors of All Saints Cleadon.
The villages of Cleadon and Whitburn formed one Anglican parish with St Mary's Whitburn as the parish church. In order that Anglicans would not have to walk to Whitburn to worship, permission was given by the Bishop of Durham to build a church in Cleadon. It was to have a seating capacity of 100. The site was obtained through a legacy and in 1866 the foundation stone was laid by Richard Shortbridge JP of Cleadon Meadows. The completed building was dedicated on March 31 1869 as a Chapel of Ease by the Lord Bishop of Durham, Dr Charles Baring.
New South Aisle
Around the turn of the century Cleadon village was growing. New homes were being built and the population increasing. In those days many believed churches should have an adequate seating capacity for all the local community. So, on August 17 1907, "Cleadon Church Enlargement Fund" was opened at Lloyds Bank, Sunderland. The fund closed on January 5 1912, the money raised totalling £865:13s:7d. It was used to build the "south aisle", to lower the chancel and nave floor, to remove the organ from the west end of the nave to the east end of the new aisle and to make additions to the organ, etc." The south aisle is pictured above, beyond the nave, in a view from the pulpit.
New Vestries
In 1968 it was decided that the original vestry was too small to meet the needs of a growing church. This led to a further structural change, the addition of a vicar's vestry and choir vestry at the east end of the south aisle. |
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Internal Features, Stained Glass and Artwork
 | War Memorials
The names of those fallen in the Second World War appear on the War Memorial Windows[pictured above]. The bronze plaque on the north wall is dedicated to the fallen of the First World War; the plaque on the south wall lists all those from the village who served in the First World War.
War Memorial Windows
The War Memorial Windows at the west end were unveiled and dedicated by the Revd Ralph Moorsom, on Sunday September 19th 1948. The window on the left shows St Michael sheathing his sword having overcome evil. St Michael in the Book of Revelation is the leader of the Angelic host. In the right window the ascended Christ blesses this victory. At the feet of Christ are Flanders poppies which have become to us emblems of man's toil and suffering in war. This window also shows the "crown" emblem of All Saints, and the St Cuthbert's Cross of Durham.
Chancel Windows
The three chancel windows were completed by 1912 by James Eadie-Reid. They are technically very interesting, revealing an experimental attitude to the craft of stained glass. They depict the Feeding of the Five Thousand, the changing of water into wine by Christ at the wedding at Cana in Galilee, and the Transfiguration of Christ.
Nave Paintings
The spandrel paintings on the south side of the Nave are by James Eadie-Reid (1856-1928) who both painted and worked with stained-glass windows. They are particularly fine paintings, capturing the dramatic moment and still retaining their vibrant colours. They depict Jesus' agony in the garden of Gethsemane, the resurrection on the first Easter Day and an angel appearing to Mary at the empty tomb. In the south aisle hang three framed paintings by James Eadie-Reid depicting the same subjects.
Chancel Paintings
Originally the ceiling was painted a chocolate brown colour and decorated in gold leaf with three angels. Following the building work in 1907 it was redecorated in a much lighter colour. More angels and cherubs were added, and on a wooden reredos the six northern saints were painted.
Affectionately known as "The Angels" these late Victorian style paintings were replaced in 1968 after the PCC, reflecting the modern and progressive outlook of Cleadon community, and advised by the Council for the Care of Churches, took a courageous decision. The new work, which now dominates the chancel, is entitled the Transformation Scene. Preliminary sketches for the murals were exhibited at All Hallows on the Wall, a Christian arts centre in London, and attracted wide interest. Designed and painted on to panels in 1966 by Michael Hoare the murals depict the crucified and enthroned Christ flanked by angels.
Organ
In 1968 a fine, new two-manual Harrison & Harrison organ was installed in the original vestry on the north side of the chancel. Electronic couplings link the organ console to the mechanism and pipes located at the east end of the south aisle. The work was done at a total cost of £13,500 "by the parishoners and Friends of Cleadon Church for the more perfect conduct of divine worship and in memory of Col. Sir Robert Chapman Bart. of Undercliff."
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About The Artists
James Eadie-Reid (1856-1926)
James Eadie-Reid was born in Dundee in 1856. He studied at Edinburgh, working with Patrick Geddes and Robert Ashbee. He was a painter of figurative works and landscapes, specialising in oils and watercolours. He exhibited at the Royal Scottish Academy and the London Salon.
Eadie-Reid designed stained glass windows and murals for many churches in the north east and further afield. His works were designed to communicate the Christian gospel; the murals and paintings in the nave and south aisle at All Saints date from around 1907.
Leonard Evetts (1909-1997)
Leonard Evetts was a leading craftsman in stained glass, designing windows throughout the country. He created the War Memorial Windows and The Good Shepherd Window at the west end of All Saints Church. Evetts used medieval recipes for colouring which, together with varying thickness of glass, gave each piece a jewelled appearance.
Michael Hoare (1928-2001)
Painter, muralist, illustrator and teacher, Michael Hoare qualified in fine arts at Croydon College of Art in 1950. He worked in theatre design at the Old Vic Theatre School, Covent Garden, Glyndbourne and Stratford Old Vic.
The murals in the chancel of All Saints are fine examples of his work. |  |
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