Chapel of St. Katherine, Sheffield Cathedral (1935-37), Christopher Webb and W.H. Randoll Blacking

Lest anyone think that ecclesiastical design in the 1930s was simply a rehash of previous decades, I give you the Chapel of St. Katherine at Sheffield Cathedral. Innovative? Not really. Just more of the same old Gothic stuff? Again, not really. The key to understanding design in England in the 1930s is the idea of organic growth. Whether they were conscious of it or not, designers like the brothers Webb and Randoll Blacking were doing something very English indeed when they refused to embrace innovation merely for its own sake. They built upon those from whom they learned their craft and provided their own touch without jettisoning what had come before simply because it came before.

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.

Nicholson at Sheffield

In 1919 Sir Charles Nicholson was engaged to transform Sheffield's newly designated cathedral into a building suited to its new function as the seat of a diocesan bishop. His first proposal was set aside until funds became available in 1936 when he promptly set in motion a radical rearrangement of the existing building which proposed the demolition of the nave and the creation of a new chancel with a large nave extending across the existing churchyard. The 'old' chancel was to become a south transept and the tower was to be replicated on the north side of the new nave. Though unusual, Nicholson was proposing a form seen in England at at least one cathedral already- Exeter- where transeptal towers stand proudly on either side of the crossing.

the 1936 proposal

In 1938 the new vestries, offices, and Chapter House were completed along with a chapel linking them to the existing north transept. Foundations for the new nave were begun but, at the outbreak of war, construction was suspended. Various other bits of construction were consecrated in 1942 and the Chapel of the Holy Spirit which was to form the eastern terminus of the cathedral was dedicated in 1948. In 1950 Stephen Dykes-Bower, Nicholson's successor, revived the design but lack of funds meant that they could never be carried out. Aside from minor work on the west end, the building remains much as it was in 1948. Nicholson's unfinished chancel was transformed into a chapel in 1966.

Nicholson's design depicted in a stained glass window
presented by the Vergers of the cathedral

Now May We Syngyn

The Trinity Carol Roll is the earliest surviving source of English polyphonic carols. It dates from the 15th century and includes this lovely piece describing the purpose for which Christ came into the world, namely, to die for man's salvation. The constant refrain, "And thus it is, indeed, truly, He asks nothing but that which is His" shows forth the biblical doctrine that Christ's death has purchased for Himself a people and that people no longer belong to the world, the flesh, the devil, nor even to themselves, but to God.

detail, The Virgin and Child
window in memory of Fr. Edward Kirby
Egglescliffe Church, Durham
Ninian Comper, 1905

Now may we syngyn as it is Quod puer natus est nobis.

This bebe to us that now is bore
Wyndyrful werkys he hath iwrowt
He wil not lese that was ilore
But baldly ayen it bowth
And thus it is, forsothe iwys
He askyth nowt but that is hys.

Now may we syngyn as it is Quod puer natus est nobis.

This chaffare lovyd he rith weel
The prys was hey and bowth ful dere
Qwo would suffre and for us feele
As dede that prince was owtyn pere.
And thus it is, forsothe iwys
He askyth nowt but that is hys.

Now may we syngyn as it is Quod puer natus est nobis.

Hys raunsum for us hath ipayd
Of resoun than we owyn to ben hys
Be mercy askyd and he be prayd
We may be rith kalange blys.
And thus it is, forsothe iwys
He askyth nowt but that is hys.

Now may we syngyn as it is Quod puer natus est nobis.

To sum purpos god made man
I leve weel to salvacyoun
Qwat was his blood that fro hym ran
But defens agens dampnacyoun.
And thus it is, forsothe iwys
He askyth nowt but that is hys.

Now may we syngyn as it is Quod puer natus est nobis.

Almythy god in trynyte
The mercy we pray with hool herte
Thy mercy may al woo make fle
And daungerous dreed fro us to sterte.
And thus it is, forsothe iwys
He askyth nowt but that is hys.

Now may we syngyn as it is Quod puer natus est nobis.

O Rex Gloriose, Antiphon to Nunc Dimittis on the Feast of the Holy Name

O Rex gloriose inter sanctos tuos, qui semper es laudabilis et tamen ineffabilis: tu in nobis es, Domine, et nomen sanctum tuum invocatum est super nos: ne derelinqua nos, Deus noster ut in die judicii nos collocare digneris inter sanctos et electos tuos, Rex benedicte.

O King of glory among your saints you are always to be praised, yet you are beyond any words that we may speak; you are among us, O Lord, and your holy name has been invoked to protect us: leave us not, our God, so that in the day of judgement you may graciously call us to be among your saints and chosen ones, O blessed King.

canopy over the Tomb of St Cuthbert,
Durham Cathedral
Ninian Comper, 1950

Peccavimus cum patribus, Christopher Tye (c.1505 - c.1572)

"Peccavimus cum patribus nostris is a Prayer-Motet which also bears classification as a Votive Antiphon, specifically a Jesus Antiphon by virtue of the words at the end of the first section. The cadence at the mention of the name of Jesus is heartfelt. The ear is prepared for a plagal cadence (IV–I), but instead the musical canvas is, without warning, illuminated with the colours of the supertonic (II). That the piece is scored for seven voices suggests that it dates from the reign of Queen Mary, and it certainly bears comparison with the other large-scale antiphons written during Mary’s reign by the likes of Tallis, Sheppard, and Mundy. Indeed Peccavimus cum patribus nostris surpasses even the work of Tye’s contemporaries because of its organic growth and purposeful progression. The two extended sections for four voices, and another for three voices, do more than offer textural contrast: they manipulate the listener (and indeed performer) into adopting Tye’s resolute mindset which dictates that the composition exists solely to prepare—on a vast scale—for the arrival of its climax, where all good things (‘holy love, hatred of sin, and a burning desire for the heavenly kingdom’) ‘grow more and more’. In literal terms this piece is a romantic symphony: romantic because its narrative qualities are manifest, and symphonic because polyphonic lines have rarely sounded together so effectively." --- Jeremy Summerly

Listen here.

Peccavimus cum patribus nostris, iniuste egimus, iniquitatem fecimus.
Tuæ tamen clementiæ spe animati ad te supplices confugimus, benignissime Jesu.
Qui ut omnia potes ita omnibus te invocantibus vere præsto es.
Respice itaque in nos infelices peccatores, bonitas immensa. 
Respice in nos ingratissimos miseros, salus et misericordia publica; nam despecti ad omnipotentem venimus, vulnerati ad medicum currimus, deprecantes ut non secundum peccata nostra facias neque secundum iniquitates nostras retribuas nobis.
Quin potius misericordiæ tuæ antiquæ memor pristinam clementiam serva, ac mansuetudini adhibe incrementum qui tam longanimiter suspendisti ultionis gladium, ablue innumerositatem criminum, qui delectaris multitudine misericordiæ.
Ingere cordibus nostris tui sanctissimum amorem, peccati odium ac cœlestis patriæ ardens desiderium, quod magis ac magis crescere faciat tua omnipotens bonitas. Amen. 

We have sinned like our fathers, we have acted unfairly and done wrong.
But encouraged by the hope of your mercy we hasten to you in supplication, most kind Jesus.
Who, just as you can do all things, so to all who pray to you you are truly close.
Look kindly on us unhappy sinners, O great goodness.
Look upon us ungrateful wretches, O mercy and loving-kindness, for we come downcast and in pain into your almighty presence; wounded, we run to you for aid, begging that you will not treat us according to our sins neither repay us for our wickedness.
But rather remembering your long-standing compassion continue your former mercy and increase your gentleness as for so long you have restrained the sword of vengeance; wash away our innumerable sins as you delight in being merciful.
Fill our hearts with most holy love for you, a hatred of sin and a burning desire for the heavenly kingdom: may your all-powerful goodness make that desire grow more and more. Amen.

Resurrexi

I am risen and behold I am with you. Alleluia.
You have placed your hand on me. Alleluia.
How wonderful is your knowledge. Alleluia.

O Lord, you have searched me and known me.
You know when I sit down and when I rise up.

Behold, Lord, you know all things ancient and new.
You have conceived me and laid you hand upon me.

Glory be to the Father and the Son and the Holy Spirit
As it was in the beginning, is now and ever shall be. Amen.

Gentill Jesu

"A, gentill Jhesu!"
Who is that, that dothe me call?
"I, a synner, that offt doth fall."
What woldist thou have?
"Mercy, Lord, of the I crave."
Why, lovyst thou me? "Ye, my Maker I call the."
Then leve thi syn, or I nyll the,
And thynk on this lesson that now I teche the.
"A, I will, I will, gentyll Jhesu."

Imago Pietatis
Giovanni Bellini
1460s