The Cathedral-like Interior
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On entering the church, one's first impression is probably of its cathedral-like size, the length from east to west being 179 feet (55m), the greatest width across the transepts being 109 feet (34m) and the height of the roof over the nave being 72 feet (22m). The tower is placed in the north-east corner of the church which now seats up to 700.
The high altar below the great east window is of marble on a wooden frame. The reredos is of alabaster, marble and Italian mosaics with pictorial panels of the four Evangelists. The altar and reredos formed part of Sir George Gilbert Scott's original design, and were completed by his grandson Giles. The Florentine crucifix was added later. Two mosaics to either side of the reredos are memorials dated 1882, by Salviati from Venice. The sanctuary murals include, on the north wall, a large wall painting in oils entitled Feed my Sheep, showing the Risen Christ with 11 Apostles and with sheep grazing and resting. This mural has recently been restored and relit. Two other wall panels on the south wall of the sanctuary and on either side of the sedilia are of the Virgin Mary and St Catherine. The murals were painted by John Clayton jnr. The lectern was given to the church in memory of Mrs Elizabeth France who founded the Chapel of St Elizabeth of Hungary in the Kensington workhouse (later to become St Mary Abbots Hospital). Mrs France was the wife of one of the workhouse guardians. The brass eagle follows the design of an earlier example in the Chapel of University College, Oxford, the pedestal following a similar example in Eton College, Chapel. |
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The Architect, Sir George Gilbert Scott (1811 - 1878)
In early 1868, the Vicar of Kensington, Archdeacon Sinclair, commissioned Sir George Gilbert Scott to produce a sketch design of the new parish church of Kensington. Scott was probably the most famous and most sought after architect of his day. Scott’s first estimate of the cost was for £35,000, though the final figure was closer to £50,000. The main building of the church was finished in early 1872 and consecrated on 14th May of that year. The spire and tower were not completed until 7 ½ years later, a year after Scott’s death. They cost a further £24,000. Much of the internal finishing and the addition of the cloister was carried out by his second son, John Oldrid Scott.
Sir George Gilbert Scott was the archetypal Victorian architect, confident and eclectic in his range of buildings and styles. His designs included cottages and stately homes, gaols and workhouses, town halls and government offices. His most famous secular buildings are probably the Foreign Office, Glasgow University, the Midland Grand Hotel at St Pancras railway station and the recently restored Albert Memorial in Kensington Gardens. He encompassed all the architectural styles of the day within his gamut. Above all though, to both his contemporaries and to subsequent generations, he was a church architect who worked in a neo-Gothic style. He and his office built or restored many hundreds of churches. Many of Britain’s mediaeval cathedrals such as Lichfield, Chester, Chichester and St David’s, to name but a few, owe much of their modern appearance to Scott’s restoration.
St Mary Abbots, his last but one major church, represents Scott’s work at its best. Broadly based on early Decorated style, sometimes known as Geometric, it is characterised by a relatively plain interior in the main body of the church which serves to focus attention on the more elaborate chancel, altar and reredos. The exterior elements are excellently grouped and balanced, one of Scott’s great architectural skills. With the exception of the spire, exterior elaboration is eschewed. Instead, there is an effect of great strength and confidence, speaking silent volumes about Victorian society and its religion. Given his constant involvement with church and cathedral restoration, it is inevitable that there are echoes of other older buildings, demonstrated by the two most dramatic exterior features. The West front, with its tall window and excellent carved tympanum, is loosely based on Dunblane Cathedral, whilst the 278 ft high spire is clearly influenced by that of St Mary Redcliffe, Bristol. Of Scott’s other original churches, All Souls’, Haley Hill, Halifax (1855-59) and his final building, St Mary’s Cathedral, Edinburgh (1874-79) are most similar to St Mary Abbots.
Sir George Gilbert Scott was the archetypal Victorian architect, confident and eclectic in his range of buildings and styles. His designs included cottages and stately homes, gaols and workhouses, town halls and government offices. His most famous secular buildings are probably the Foreign Office, Glasgow University, the Midland Grand Hotel at St Pancras railway station and the recently restored Albert Memorial in Kensington Gardens. He encompassed all the architectural styles of the day within his gamut. Above all though, to both his contemporaries and to subsequent generations, he was a church architect who worked in a neo-Gothic style. He and his office built or restored many hundreds of churches. Many of Britain’s mediaeval cathedrals such as Lichfield, Chester, Chichester and St David’s, to name but a few, owe much of their modern appearance to Scott’s restoration.
St Mary Abbots, his last but one major church, represents Scott’s work at its best. Broadly based on early Decorated style, sometimes known as Geometric, it is characterised by a relatively plain interior in the main body of the church which serves to focus attention on the more elaborate chancel, altar and reredos. The exterior elements are excellently grouped and balanced, one of Scott’s great architectural skills. With the exception of the spire, exterior elaboration is eschewed. Instead, there is an effect of great strength and confidence, speaking silent volumes about Victorian society and its religion. Given his constant involvement with church and cathedral restoration, it is inevitable that there are echoes of other older buildings, demonstrated by the two most dramatic exterior features. The West front, with its tall window and excellent carved tympanum, is loosely based on Dunblane Cathedral, whilst the 278 ft high spire is clearly influenced by that of St Mary Redcliffe, Bristol. Of Scott’s other original churches, All Souls’, Haley Hill, Halifax (1855-59) and his final building, St Mary’s Cathedral, Edinburgh (1874-79) are most similar to St Mary Abbots.
The PCC of St Mary Abbots with Christ Church and St Philip is a Registered Charity : Number 1132235