Page 22 - LOTN Summer Issue 47 2021

FAITH AND CULTURE

Stencil work highlighted in gold
adequate to take the round headed arch where the apse
proper starts.
At this change in section timber imposts bearing on
stone corbels carry an ornamental timber flat arched beam
tapered towards the centre and carrying across the full
width of the church. The ceiling over this raised area is also
panelled in a similar fashion to the main church but painted
stars within the panels relieve the plaster surfaces. The
ceiling to the apse repeats this style and motif. The reason
for this raised ceiling is to provide height to take the arch to
the apse since the ridge of the apse carries through at the

The painting of St Gregory said to be by Annibale Carracci or
from his studio
right of the sanctuary area.
The wall surfaces of the apse and the faces of the framing
arch to the sanctuary are heavily embellished with neo-
Gothic stencil work picked out and highlighted in gold and
are splendid; a study in themselves. The effect is extremely
powerful bringing the whole area alive in both artificial and
Floor tiles in the sanctuary the changing natural light.
same level as the ridge of the church. This permits added Indeed, within the apse/sanctuary with its stencil work,
height .and gives drama to the ornate sanctuary housed altar, reredos, baldacchino and pulpit one can see the
within the apse. This splendid apse designed by Peter Paul hand of genius. The exterior is Romanesque in feeling with
Pugin and built in 1896, is the main focus of the church, with double and single round headed lancet windows (with
the high altar, the reredos and the painting of St Gregory. rounded windows surmounting the doubles) with hood
It was after the generous gift by the last Earl of Findlater
of the painting of the Saint by Annibale Carracci that the
new church was dedicated to Saint Gregory the Great.
The painting is framed and crowned by ornamental
timber posts supporting the baldacchino over. All are
intricately detailed. The style is Neo-Gothic. The high altar
and reredos screen above and behind continue the Neo
Gothic theme. Both are elaborately detailed in stone and are
very well executed. All the work within the sanctuary area is
particularly interesting and worthy of close examination. A
new working altar stands within the sanctuary area facing
the congregation.
An abutment to the north of the church connecting with
both the nave and the sanctuary and having an external
access door provides space for confessional and the vestry.
A splendid lectern fashioned in ornamented timber and
designed in neo-Gothic, Pre-Raphaelite style stands to the
The baldacchino over the painting
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