The Chapel of the Holy Spirit in the Church of St. Peter's, Cranley Gardens, S.W.

by Percy C. Morris

ORNAMENTAL CARVING.

All round the chapel on either side, above the arcading and sedilia, and in the recess in which the Holy Table is placed, runs, carved in stone, the trailing vine with leaves and grapes, emblematic of our Saviour, “The True Vine,” and of the Wine of the Holy Eucharist; and in the carving of the arcading and sedilia and of the small bosses of the quatrefoil work of the arch that carries the east window, will be found the pomegranate, the lily, and the rose, symbols of Hope and Immortality, of Purity and Love, together with the eagle of St. John and the crossed keys of St. Peter.

THE REREDOS.

At the back of the Holy Table stands the Reredos, of richly-carved Bath stone, the general idea of the sculpture being “the one great sacrifice of our Blessed Lord,” made with blood-shedding upon the Cross, represented in the Crucifixion. Examining the reredos more in detail, it will be observed that the whole is divided into three sections of richly canopied niches by slender buttresses, upon which are angel figures holding shields carved with the emblems of the Four Evangelists. In the central section our attention is first of all directed to the offering of the Great High Priest of the “one oblation of Himself once offered on the Cross.” The sculptor has succeeded in combining that which it is so difficult to do, the true pathos of human suffering with the dignity of the Divine personality of the Holy Victim. On either side of the crucified Son of God are the Blessed Virgin Mary and St. John, whilst in the two smaller niches are the figures of the two Maries, Mary the wife of Cleopas, and Mary Magdalene.

The reredos and the whole of the carved work throughout the chapel are the work of Mr. Nathaniel Hitch, the well-known sculptor of Harleyford Road, Vauxhall, who has been ably assisted throughout by Mr. Harold Whitaker.

THE ALTAR AND ITS FURNITURE.

The altar itself, which is of carved English oak, and made by Messrs. Dart & Francis of Crediton to Mr. Caröe’s design has a front divided by carved work into three recessed compartments, into which will fit frontal panels of plain oak, or of beautifully embroidered work, as occasion demands. There are four separate sets of these embroidered panels (white, red, green and purple) the material of which is in all cases a rich brocade, upon which very beautiful designs specially made by Mr. Caröe, have been embroidered by Miss Hilda C. Morris (with the assistance of Miss Parson and Miss Butler) at her studio, 10, Victoria Grove, S.W. It would take too long to describe the designs in detail, as, though small, they are very full of thought and work, and have taken a long time to carry out, but to those who are interested in church embroidery they will doubtless prove of very special interest.

It may be of interest to mention here the eucharistic vessels and the candlesticks and flower vases, all of which are of silver, and have been made from Mr. Caröe’s designs by Miss Woodward at her studio, 5 and 7, Johnson Street, Notting-hill Gate. The chalice, which is of the late Gothic type, is about 7 inches high, having a circular bowl, round the rim of which are engraved in appropriate lettering the words: “Calicem Salutaris accipiam et nomen Domini invocabo.” The stem and foot are hexagonal, and with the knop are richly decorated with Gothic ornament. The paten fits on to the top of the chalice, forming a cover thereto. Round its edge runs the inscription, “Hoc est corpus meum quod pro vobis datur,” whilst across its entire surface is embossed a cross, in the centre of which is the sacred monogram in low relief, as are also the squares of Gothic leaf ornament at the end of the arms.

The flower vases are some 6 inches high, oval in section with slight angular ribs, and narrowed below the neck and above the foot. Each has a marguerite engraved upon it, emblem of the donor’s name, and an ornamental initial letter M.

The candlesticks are oblong in section, with one broad side forming the front, the shafts being decorated with emblematic marguerites and tracery work upon a background of blue enamel. An Ornamental initial letter M and the date are engraved upon the fronts of the feet, which, like the bowls, are of simple form in hammered silver, the decoration being confined to the shafts.