Page 28 - LOTN Issue 45

FAITH AND CULTURE

enliven the interior on a bright day
by introducing shafts of light which
move with the sun. The walls are
plastered, plain and painted in a light
tone. There is no stencil work on the
walls although the style of the church
and time of its building would have
suggested its inclusion. The pews are
timber and fixed. Panelled doors of
interesting detail lead from the front
of the nave to the confessional and the
sacristy.
The bold arch which divides
the nave from the sanctuary is not
quite round headed. Whether this
is intended or accidental does not
matter but if accidental it is a fine
commentary on the difference
between man's ambition and his
humanity. The sanctuary is raised
one step above the level of the nave
Church plan where is located the altar dedicated
by Bishop Conti in June 1978. The
level give access to the church. ceiling over the sanctuary is not barrel
Despite the apparently small windows there is an excellent vaulted but pitched to a low pitch reflecting the scissor roof
quality of light on entering. To the left of the entrance door trusses above, which carry the roof.
there is a raised step where it was intended to place the font, this This ceiling is also broken into five panels each side. The rear
area being lit by a small stained glass window in the west wall wall has a shaped dado in timber panelling which is the back
depicting a Celtic cross in tones of moss green. drop to a raised dais on which is located a chair for the priest.
The nave has a segmented barrel vaulted ceiling articulated at The design of this dado is peculiar reflecting more an Art Deco
bay centres by exposed timber ribs bearing through wall posts to style than the Arts and Crafts style. This Art Deco reference is
stone corbels built into the external stone walls. The bays thus repeated in the leaded glass design to the windows. Interestingly
formed are further broken into panels by moulded facings. there is no visual conflict between the styles.
A consistent light through the windows to the north wall A large square window in the south wall of two bays with
provides steady light to the Church while the south windows Gothic shaped window head lights the sanctuary. The main glass
is clear leaded but the small shaped openings at the window
head are coloured. On a bright day the effect of this window
on the light in the sanctuary when viewed from the sanctuary
is very successful.
There are two ambrys within the sanctuary one each side,
located in the corners of the flanking walls. The ambry to the
north wall holds the tabernacle while the ambry to the south
wall is enclosed by a wooden cupboard door with fretted
opening and Crafts hinges and lock escutcheon. A rather fine
kneeler is provided for prayer and contemplation in front of the
votive candle stand. Internally, the church is one of simplicity,
highlighted occasionally by interesting architectural details at
ceiling supports and corbels and changing styles of windows.
The exception to this is the west wall in which is located at high
level a most striking and powerful stained glass window.
This high level window, circular in overall form has three
mouchettes (a symbol of the Holy Trinity) and is predominantly
red in background colour. Within each mouchette is the symbol
of a saint, with Saint Columba represented by the dove, Saint
Andrew by his saltire cross and Saint Margaret by the crowned
white Scottish rose. This powerful window with its jewel colours,
made by Martin Farrelly was designed by Crear McCartney and
is an interesting foil to the building in which it is placed.
The ambry to the north wall holds the tabernacle

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