Gothic and Art Nouveau at St. Mary Magdalen's in Wandsworth, London

One of the 'modern' styles that gets far too little expression in sacred architecture and art in my estimation is Art Nouveau. Art Nouveau found its primary historical expression between the last decade of the nineteenth century and first decade of the twentieth. It is a style that is characterized by a sense of movement (akin to the baroque) and it most especially saw the influence of organic forms taken from the natural world. Perhaps one of the reasons why this style seems to be so well suited to the Catholic liturgical idiom is precisely because these sorts of influences and emphases are not foreign to this tradition, often finding similar expression in the liturgical art of previous historical styles. In that regard, there is a clear opportunity and ability to exercise the Catholic principle of development in continuity (rather than rupture). 

For that reason, I was interested to come across St. Mary Magdalen's Catholic Church located in Wandsworth, East Hill, London.  The church itself was built between 1905-1906 and elements of both Art Nouveau and Gothic Revival -- both popular within this period of time -- are evident.  The internal decoration of the church was designed by the priest-artist, Fr. George Fayers, who was himself reportedly a student of the Pre-Raphaelite artist, Edward Burne-Jones (+1898) -- who some of our readers may also know in connection with his equally esteemed colleague, William Morris. 

In the photo above we see an overall view of the sanctuary with the altar, triptych-style reredos and rood beam (which, at one time, was a complete rood screen, but regrettably this was removed in the 1960's or 70's). What is not visible here is the newly installed altar rail, seen here below:

Photo credit: Andrew Cusack

As you will note, the design of the altar rail, rather than following Victorian, baroque or strictly gothic models, has continued on with the Art Nouveau inspired theme of the church's art, intelligently and sensitively borrowing from the design found on the rood beam above.

While we can rightly lament the loss of the rest of the rood screen, the rood beam itself is really quite remarkable both in its basic form as well as for reason of its polychrome decoration. Especially noteworthy are the Burnesean angels found upon it, which naturally draw your eye upwards from the altar to the great crucifix which is medieval and Italianate in form, depicting Christ the Priest: 

The altar itself is quote noble and one will note the beautiful polychromatic designs inlaid into the marble. Behind the altar we see some of the distinctive Art Nouveau designs, coming in the aforementioned arabesque forms that characterize this style. 

I'd be remiss to not also highlight the beautiful triptych-shaped reredos which includes not only these naturalistic designs, but also numerous images of the saints.  (The central depiction of Christ crucified is a later addition). 

Finally, one might also take note of the decorated coffered ceiling that includes stylized IHS monograms paired with portraits of numerous saints of the Church. 

Photo Credit: Joseph Shaw

A gem of contemporary Catholic liturgical art and architecture.

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