International studio (25.1905)

THK ALTAR RAIL : GLORIFIED CROWN OF THORNS IN BRASS DESIGNED AND EXECUTED
THE RAIL IN COPPER OXIDISED DARK GREY ; MARBLE, DARK IRISH BY W. REYNOLDS-STEPHENS
GREEN. THE STEP IN DARK-GREY BELGIAN FOSSIL MARBLE
^ ^7Y727TJ2^77 t?/ )

to what wiH in the future befaH his ingenious
contrivings.
Correctly enough, ait the adornments which he
has introduced symboiise and illustrate a particular
idea—that of the Resurrection. His purpose is
set forth in an explanatory leaflet which was issued
to the parishioners when the church was dedicated:
" The primary object of Mr. Reynolds-Stephens in
his designs has been to lead the thoughts of the
worshippers onward through his decorations to the
glorified and risen Christ, whose form in the centre
of the reredos is to be the keystone of the whole
scheme. He has made free use of floral forms
throughout the decoration, emblematical of pro-
gressive growth in the earthly life, but still more of
the glorious hope which year by year is emphasised
at Eastertide, the time of floral recrudescence."
This idea is consistently expressed throughout,
and its elaboration gives coherence and complete-
ness to the manifestation of the aesthetic instincts
of the designer. It is practically the story he has
to tell through the medium of his art, the dramatic
motive of which he must never lose sight.

The charm of the colour harmony which makes
the interior so fascinating can be conveyed but
inadequately in words. The dominant notes of
grey and green, with only the warm brown of the
woodwork as a contrast, are played upon with
infinite resource, and yet with a perfect simplicity
that can scarcely be made intelligible by mere
description. In the nave the plain wagon roof
is divided by broad ribs filled with a pattern of
lilies and conventional rose-trees in low relief and
overlaid with silvery aluminium. These ribs spring
from bases of walnut-wood, between which are wall
hangings of green material with stencilled patterns
in shades of dark blue and buff. The chancel is
separated from the nave by a screen in brass
and bronze on a base of green marble, and the
apse beyond, which strikes the highest note in
the whole scheme, has walls and dome of alumi-
nium above a high dado of pale green marble. On
the vault of the dome is a great vine, in low relief,
which rises from behind the reredos and breaks
the plain surface of the dome with an exquisite
play of light and shade. The reredos has in its