Nave Ceiling, St Mary's, Wellingborough
St Mary's, Wellingborough is the masterpiece of Sir Ninian Comper built between 1908-1930, a no expense spared exercise in ecclesiastical sumptuousness.
Located to the east of the town centre, this grand edifice appears impressive externally, an essay in Neo-Perpendicular in deeply coloured ironstone with lighter dressings, but doesn't fully prepare one for the richness within.
Stepping into this church for the first time is an unforgettable experience, The structure itself echoes late medieval forms but the details take it a step further, most noticeably in the gorgeous vaulted ceiling that extends the full length of the building and is a riot of ornament in its snowflake-like bosses. Comper's original intention was to have the entire ceiling coloured and gilded, the eastern half adorned with blue whilst the western half would have been a more restrained gold on white, but in the end only the bay over the choir screen and those at either end of the church received their coloured treatment and give a hint of what the full effect might have been.
The eye is drawn down the nave to the richly gilded rood screen above which is the Crucifixion group and a strikingly youthful Christ in Majesty (Comper often favoured using the image of a beardless Christ) surrounded by a radiance suspended from the ceiling. Beyond this screen the chancel is an enclosed area surrounded by further screens and features a similarly ornate gilded baldachino over the high altar (which interrupts the view of Comper's glass in the east window, but its design allows for this).
There are further chapels flanking the east end, that on the north side being the richer space and the burial place of Comper's wife. On the south side is the much simpler space used as a day chapel finished mainly in white.
The church is furnished throughout with elaborate fittings and furnishings all to Comper's design (the font was completed by his son). This includes the stained glass, though it is used sparingly here in the main east windows and side chapel with just one memorial window in the nave (presumably a full scheme was envisaged by Comper but never realised).
St Mary's is normally kept locked and may require a prior arrangements to get inside: Two keyholders are listed in the courtyard next to the church, but one was out when I called and the other just about to leave and thus reluctant to part with the key. In the end I resorted to calling the churchwarden for help and she very kindly appeared at short notice and opened the church for me. She was delightful company and her time and clear enthusiasm for the church were hugely appreciated.
Nave Ceiling, St Mary's, Wellingborough
St Mary's, Wellingborough is the masterpiece of Sir Ninian Comper built between 1908-1930, a no expense spared exercise in ecclesiastical sumptuousness.
Located to the east of the town centre, this grand edifice appears impressive externally, an essay in Neo-Perpendicular in deeply coloured ironstone with lighter dressings, but doesn't fully prepare one for the richness within.
Stepping into this church for the first time is an unforgettable experience, The structure itself echoes late medieval forms but the details take it a step further, most noticeably in the gorgeous vaulted ceiling that extends the full length of the building and is a riot of ornament in its snowflake-like bosses. Comper's original intention was to have the entire ceiling coloured and gilded, the eastern half adorned with blue whilst the western half would have been a more restrained gold on white, but in the end only the bay over the choir screen and those at either end of the church received their coloured treatment and give a hint of what the full effect might have been.
The eye is drawn down the nave to the richly gilded rood screen above which is the Crucifixion group and a strikingly youthful Christ in Majesty (Comper often favoured using the image of a beardless Christ) surrounded by a radiance suspended from the ceiling. Beyond this screen the chancel is an enclosed area surrounded by further screens and features a similarly ornate gilded baldachino over the high altar (which interrupts the view of Comper's glass in the east window, but its design allows for this).
There are further chapels flanking the east end, that on the north side being the richer space and the burial place of Comper's wife. On the south side is the much simpler space used as a day chapel finished mainly in white.
The church is furnished throughout with elaborate fittings and furnishings all to Comper's design (the font was completed by his son). This includes the stained glass, though it is used sparingly here in the main east windows and side chapel with just one memorial window in the nave (presumably a full scheme was envisaged by Comper but never realised).
St Mary's is normally kept locked and may require a prior arrangements to get inside: Two keyholders are listed in the courtyard next to the church, but one was out when I called and the other just about to leave and thus reluctant to part with the key. In the end I resorted to calling the churchwarden for help and she very kindly appeared at short notice and opened the church for me. She was delightful company and her time and clear enthusiasm for the church were hugely appreciated.