In the altar and glass of this chapel as well as in its screen we see a kind of traditional design that is perfectly aware of its own family history but utterly comfortable with speaking in a modern accent. So, while the concept of a triptych surmounted by a figure in a tabernacle dates back to the middle ages, the painting of the triptych and the pose of the figure- the resurrected Christ- embrace an almost baroque dynamism as well as a vaguely art deco flatness. The colors are crisp and clear and, in the glass especially, suited to reading at a distance. Gone are the unnecessary leadings of designers like Kempe and the formalized figures of Burlison & Grylls. Now there is a fresh sense of clarity and movement. The stone tracery no longer confines the composition and the figure of the risen Christ stands as part of the total composition: the two flanking panels of the window depict the angel at the tomb and the women come to anoint Jesus. Without the sculptured figure, the panels would seem incomplete.
It is unfortunate that the whitewash once covering the rough, uneven stone of the walls has been removed. The white background is essential to viewing the color and gold of the Webb's work correctly. The sophistication of composition suffers by placement against what is now a ground of patchy color; the furnishings cannot shine. It may yet be that one day the proper atmosphere of St. Katherine's Chapel will be obtained. When this is done, the true freshness of the work of the 1930s will be revealed.