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Main Areas of the Cathedral
Westminster Cathedral
Westminster Cathedral is a living space of worship and community. The Mother church for Catholics in England and Wales, it has been at the heart of Catholic life for over 100 years. The Cathedral is free to enter and welcomes people of all faith and none. Experience the beauty and majesty of this unique church.
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Westminster Cathedral
Westminster Cathedral was built between 1895 and 1903. Designed by the architect John Francis Bentley, the cathedral is 360 ft long and 156 ft wide. The height of the nave is 109 ft. A variety of bricks were used for construction – over 12 million in total: blue Staffordshire – impervious to water – for underground work and damp courses; fine Bracknell red facings for the exterior and rough Faversham stocks for the interior, to provide adherence for future facings of marble and mosaic. The building was built in Byzantine style – partly for reasons of economy; it could be constructed quickly with internal decoration added later as funds permitted.
A strong white Portland stone provides the distinctive white banding of the exterior. The great domes are made from brick and concrete with three over the nave and one over the sanctuary.
EXTERNAL DECORATION
The tympanum mosaic above the West Door is by Robert Anning, completed in 1916. It depicts Christ seated with the Blessed Virgin and St Joseph; kneeling on either side are St Peter and St Edward the Confessor – patrons of Westminster Cathedral. St Edward is holding a cramp ring which was believed to transfer royal power to cure disease. Above the mosaic is an inscription – the dedication of the Cathedral: DOMINE JESU REX ET REDEMPTOR PER SANGUINEM TUUM SALVA NOS: Lord Jesus, King and Redeemer, save us by your blood.
Lettered tympanum mosaic above the north door at west end (now sealed) by Nicolete Gray 1982, installed to commemorate the visit of Pope John Paul II to the Cathedral. It reads: PORTIA SIS OSTIUM PACIFICUM QUI SE OSTIUM APPELLAVIT JESUM CHRISTUM: May this door be the gate of peace through Jesus Christ who called himself the gate.
FEATURES OF INTEREST
Sculpted medallions either side of the main entrance. Note the sculpted Alpha and Omega above the two side doors – indicating Christ as ‘the beginning and the end’.
The Campanile
A favourite among visitors, The Campanile or Bell Tower is nearly three times the height of Big Ben and affords exceptional views of the London skyline.
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The Campanile
Dedicated to St Edward the Confessor, the bell tower is 30 ft square and 284 feet high. This was the final section of the Cathedral to be completed. The cross at the apex contains a fragment of the true cross, reputedly found by the Empress Helena in Jerusalem in 326AD. The tower is faced with Bracknell red facings, interspersed with Portland stone. At 218 ft there is a viewing gallery with arched coupled balconies on each side.
DECORATION
12 buttresses support a circular drum beneath the cupola – each one surmounted by a stone eagle, a symbol of St John the Evangelist who was the patron saint of the architect John Francis Bentley.
FEATURES OF INTEREST
The campanile contains a single bell given by Gwendoline, Duchess of Norfolk in 1910. The bell is named Edward, after St Edward the Confessor one of the patrons of Westminster Cathedral (you can see his image above the West Door).
The Hollywood film director Alfred Hitchcock used the tower in his 1942 film Foreign Correspondent in which the villain is dramatically thrown off the balcony.
The Lower Gallery
This is the lower gallery; the original gallery, at a much higher level, was closed off to the public for safety reasons.
St Edward’s Bell
‘Edward’ bears the inscription: ‘While the sound of this bell travels through the clouds, may the bands of angels pray for those assembled in thy church. St Edward, pray for England.’
The bell was cast at the historic Whitechapel bell foundry in East London. The foundry was the original manufacturer of the Liberty Bell – a famous symbol of American independence – and was also commissioned to re-cast Big Ben. See the bell in virtual 3D.
The Narthex
The entrance into the Nave features marble stonework that includes door frames of green Carystian marble and walls panelled in Violet Breccia.
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The Narthex
The Greek word ‘narthex’ means a ‘small casket’. This is the lobby area of the Cathedral under the arcade. The West Door leads directly into the narthex; two flanking side doors access the area via small porches.
DECORATION
The side porches are faced with white Pentelic marble. The door frames are cut from green Carystian marble, a favourite stone of Byzantine and Roman builders and a signature marble of JF Bentley. The side walls are panelled in violet breccia. Two apsidal (semi-dome shaped) mosaics decorate the narthex: one of St Francis and one of St Anthony, both designed by Leonard McComb RA and installed in 2009 in memory of Mgr Francis Bartlett, a former administrator of the Cathedral, and his brother Anthony, gentiluomo or gentleman-in-waiting to several Cardinals.
FEATURES OF INTEREST
The statuary plinths in the side porches came from the church of Our Lady of the Assumption and St Gregory in Warwick Street. The marble inscription in the floor by the West Door records the historic visit of Pope Benedict XVI in 2010. On the north side, a holy water stoop with Latin inscription: ASPERGES ME, DOMINE, HYSSOP ET MUNDABOR, LAVABIS ME ET SUPER NIVEM DEALBABOR: ‘Purge me with hyssop and I shall be clean. Wash me and I shall be whiter than snow.’ On south side, a small shrine to St Anthony of Padua.
The Nave
The nave is the main body of the church. It is punctuated by magnificent marble piers on either side that draw the eye towards the High Altar and the Sanctuary of the Cathedral.
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The Nave
The nave is the main body of the church from the Latin NAVIS meaning ship. The Rood Cross and the view of the sanctuary dominate the nave. On entering the Cathedral, you are aware of the vast internal space; this is not an interior divided up into sections like a Medieval Cathedral. Westminster Cathedral was designed so that the focus is the High Altar for the celebration of Mass. The Nave carries the people to God.
DECORATION
The piers of the nave are clad in a pale red marble from Middleton, Co Cork, contrasting with the dark rosso antico balustrade that divides off the sanctuary. The floor between the piers is paved with marble. Eight columns of verd antique support the galleries of the nave, a marble from Thessaly prized by the builders of ancient Greece. Bentley left detailed diagrams for the marble decoration of the nave floor which incorporated fish and sea creatures. The floor of St Andrew’s chapel was a ‘pilot’ scheme for the whole. Sadly, for reasons of economy a wood block floor was laid.
FEATURES OF INTEREST
Eric Gill Stations of the Cross carved from Hopton Wood limestone; the panels adorn the piers that hold up the raised gallery in the Cathedral.
The Rood Cross that hangs between the nave and the sanctuary dominates the space; the image is of Christ Crucified with symbols for the four evangelists punctuating the ends of the cross. The Rood Cross is 30ft high and was designed by Bentley with the decoration by William Christian Symons.
Terminating the nave, at the foot of the sanctuary steps, is a marble inscription recording the visit of Pope John Paul II (St John Paul II) to the Cathedral in 1982. The lettering was designed by Nicolette Gray and is based on inscriptions found in the Roman catacomb of St Callistus: ECCE VESTIGIA SUMMI PASTORIS IOANNIS PAULI II QUI IN ANGLIA PEREGRINATOR PRIMAM MISSAM HIC CELEBRAVIT DIE 28 MAI 1982 IN OMNIBUS GLORIFICETUR DEUS: Behold the footsteps of the Supreme Pastor John Paul II, who as a pilgrim to England, celebrated here his first Mass, 28 May 1982. May God be glorified in all things.
Two former archbishops of Westminster are buried in the nave: Cardinal John Heenan and Cormac Murphy O’Connor.
Enthroned bronze statue of St Peter at the west end, a replica of the Arnolfo di Cambio 13th century statue in St Peter’s Basilica in Rome. A bronze wall plaque by Laurence Shattock, records the lineage of the Archbishops of Westminster with the names of popes and archbishops.
The pulpit by Laurence Shattock was installed by Cardinal Francis Bourne to mark his jubilee of priesthood and restoration of the pilgrimage to Walsingham. Changes in liturgical practice mean that it is rarely used. The pulpit replaced and re-used elements of the original Cosmatesque design of an earlier structure. Cosmatesque is a style of geometric decorative inlay stonework typical of Medieval Italian architecture which was used extensively for the decoration of church floors.
The opus sectile panel of Our Lady of Walsingham is by John Trinick, an Australian by birth, who is better known in England for his exquisite stained glass. Opus sectile mosaic work uses large pieces to complete a design rather than small pieces (or tesserae). Popular in ancient Rome this style was revived by the Arts and Crafts movement and is used in several panels around the Cathedral.
St Anne And St Joachim Apsidal
Located towards the end of the south aisle, this pair of mosaics depicts Our Lady’s parents St Anne and St Joachim. These are mirrored on the north aisle by mosaics of St Nicholas and St Christopher.
St Nicholas And St Christopher Apsidal
St Nicholas is depicted in Roman style as the saint of seafarers. A small wren sits atop an anchor. The mosaic was given in memory of Dame Vera Laughton Matthews of the WRNS (Women’s Royal Navy Service commonly referred to as ‘Wrens’). St Christopher is depicted with the Christ child, patron of travellers by land and sea.
St John Henry Cardinal Newmam
The large mosaic panel in the north aisle is by Tom Phillips RA and was installed in 2008. The artist took inspiration from a bust of Newman at Trinity College, Oxford, the eyes closed to reflect contemplation and prayer. The mosaic reads: ‘Prayer is a vital act of faith.’ Cardinal Newman was canonised by Pope Francis I in 2019, the first English saint in nearly 50 years.
The Grand Organ
The Grand Organ was built by Henry Willis III and is one of the finest organs in England. The original specification – only 33 stops – was inaugurated by Marcel Dupre in 1922. Over 100 years the specification has been augmented. The Grand Organ can now be played from the Apse console.
Westminster Cathedral runs a series of organ festivals attracting some of the finest musicians in Europe. See The Grand Organ in virtual 3D.
The Sanctuary
John Francis Bentley's brilliant design for the Cathedral was focused on the sanctuary, the place where Mass is celebrated and where the bread and wine are consecrated to become the body and blood of Christ. The dramatic baldacchino frames the space within the dark interior.
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The Sanctuary
Bentley wanted the Cathedral’s lines of perspective to run to the sanctuary without interruption and the baldacchino, the canopy over the High Altar, is the dominant focus. The area is 62 ft deep by 50 ft wide. The sanctuary was the last area of the Cathedral designed by the architect before his death in 1902 and he left scale drawings of the marblework tinted to show the intended colours.
DECORATION
The marble piers of the sanctuary dome are deliberately plainer and more subdued so as not to detract from the baldacchino. The sanctuary floor – partly covered – is a stylised combination of bold Languedoc red and verd-antique. Two circles of rosso antico either side of the altar enforce the thematic dedication to the precious blood; the same marble is used throughout the sanctuary floor.
The mosaic ceiling of the baldacchino is by John Marshall – a beautiful floral design of blue and silver, mother of pearl and lapis lazuli. The sanctuary is not accessible to the public and may only be accessed on a private tour.
FEATURES OF INTEREST
The baldacchino was inspired by the church of Sant’Ambrogio in Milan. The High Altar is a single block of unpolished Cornish granite (the architect wanted a very elaborate high altar). The altar cross and matching candlesticks were made from designs by Bentley, Son and Marshal – the architectural firm founded by JF Bentley. Read more about The Cathedral Treasures.
The raised choir beyond the sanctuary is narrower increasing the sense of length and distance. This explains why the Cathedral looks much longer from the West Door; the perspective is reversed looking down from the sanctuary.
A relief of Christ behind the High Altar by Captain Philip Lindsay Clark. When Masses faced east this was said to have been installed to stop the celebrant being distracted by the over-enthusiastic Master of Music conducting the choristers.
The chair or ‘Cathedra’ of the Archbishop of Westminster to the north side of the sanctuary. This is what gives a Cathedral its name. The Cathedral’s chair was gifted to Cardinal Herbert Vaughan by the bishops of England and Wales. It is based on a chair in the historic church of St John Lateran, Rome.
The Sanctuary Mosaics
Christ in majesty dominates the area above the sanctuary. Mosaic panels on the sanctuary walls have been chosen for their special significance to the wider Church and the charism of priesthood.
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The Sanctuary Mosaics
High above the sanctuary is an arch of mosaic depicting Christ in majesty in the heavenly sphere with the evangelists in symbolic form and contemplated by the 12 apostles in glory. The mosaic is the work of Gilbert Pownall who designed the mosaics of the Lady Chapel. The tympanum arch is partially obscured by the Great Rood and has been the subject of controversy ever since it was installed in 1934 (Cardinal Bourne moved the great Rood so that the mosaic could be better seen; in 1937 he was persuaded to put it back). Alternative designs for the space were suggested by Eric Gill and Boris Anrep but public opinion was against removing the Pownall mosaic.
Four panels adorn the Sanctuary all by the artist Christopher Hobbs whose work in the Cathedral includes St Alban and the Vaughan Chantry. Two of the panels are visible from the nave. Two are visible from the altar only. All the sanctuary mosaics may be viewed on a private tour of the Cathedral.
ST STEPHEN
Deacon and protomartyr, the mosaic is on the north side of the high altar facing the nave and was paid for by members of the Guild of St Stephen, the society for altarservers. St Stephen was stoned to death; his killing was witnessed by a young man named Saul (later Paul, the apostle).
ST LAURENCE
St Laurence was one of the seven deacons of Rome responsible for almsgiving. Asked by the Roman Prefect to hand over all the treasures of the Church he instead distributed the goods to the poor and said the poor were the true treasure of the Church. He is often depicted with a grid iron, the instrument of his torture and martyrdom. The Cathedral mosaic depicts him with the palm of the martyr and a bag with alms for the poor. The mosaic is on the south side of the high altar facing the nave.
THE CURÉ D’ARS
The mosaic of St John Vianney (1786 – 1859) better known as the Curé D’Ars, faces the altar on the south side of the sanctuary. A French Catholic priest, known for his priestly and pastoral work, he is the patron saint of parish priests.
ST THERESE OF LISIEUX
St Thérese, The Little Flower, faces the altar on the north side of the sanctuary. Her relics were brought to the Cathedral in 2009 as part of an international tour. She carries an image of the child Jesus, and roses, associated with her sanctity, adorn the background. She is known for The Little Way.
The Sacristry
The Sacristry is where priests prepare for Mass. This room is not open to the public and houses some of the great treasures of the Cathedral.
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The Sacristry
The Sacristy is the hub of the Cathedral’s sacramental life where priests vest for Mass, and Mass offerings are prepared. The word means ‘repository for sacred things’ and comes from the Latin root sacer – ‘sacred’. Sacred vessels – chalices and ciboria – books and vestments are kept here.
Items of Interest
A large marble bust of Cardinal Herbert Vaughan founder of the Cathedral. A watercolour of the Ramsden Carr Monstrance. Note the piscina with a drain directly to the earth for the washing of communion vessels. Above, is an Italian terracotta plaque of the virgin and child.
Crucifixes designed for chapels in the Cathedral are on display in the cabinet including a crucifix designed for the chapel of St George and the English Martyrs and other Cathedral treasures including the so-called Henry VIII chalice
The Song School
Westminster Cathedral is known across the world for its choral music, and the Song School is where the choristers rehearse under instruction from the Master of Music.
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The Baptistry
The chapels of Westminster Cathedral depict the journey from life to death, and The Baptistry represents the beginning: birth. It is yet to be finished, but still adorned with marble and features a large octagonal font.
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The Baptistry
Baptism is the first sacrament, and The Baptistry is the first chapel that you come to in the Cathedral, accessed by a broad archway to the south of the Narthex. Cardinal Vaughan wanted the chapels to physically represent the journey from life to death, ending with the Chapel of the Holy Souls on the north side.
The baptistry is largely unfinished. It is a square, cross-vaulted compartment lined with marble; the upper walls and ceiling are bare brickwork, yet to be covered in mosaic but this enables you clearly to see the structure beneath. It is railed off with a gate fastened by a lock; this reflects the practice of the Church ensuring the sanctity of the space. The baptistry is dominated by the large octagonal marble font, designed by Bentley and made in Rome in 1901. Originally there was an altar dedicated to St Anne, given in memory of Canadian Servicemen who fell in the Second World War.
DECORATION
The font is made of moss-green marble on a plinth of white marble. The marble panelling of the baptistry was paid for by the daughters of the architect: Mrs W De L’Hopital and Miss HM Bentley.
FEATURES OF INTEREST
On the marble alongside the gates is a small finely carved wooden statue of St Christopher given by Hilaire Belloc for the protection of troops setting off for the First World War. Belloc had seen his son sail for Flanders.
A hollow Cornish tin cast of John the Baptist after the model by Bertel Thorwaldsen, a Danish Lutheran. The original was made for the Protestant Cathedral in Copenhagen.
The Chapel of St Gregory and St Augustine
This chapel is dedicated to the two great apostles who brought Christianity to England - St Gregory and St Augustine. It is the first chapel in the Cathedral and is located next to the Baptistry.
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The Chapel of St Gregory and St Augustine
One of the most beautiful chapels in the Cathedral dedicated to St Gregory and St Augustine, the two great apostles of the English church. There is early evidence of Christianity in England from the Roman occupation after Claudius and in the 5th century, the religion was well advanced in the north of Britain through the ministries of St Patrick and St Aiden. Pope Gregory sent his monk Augustine to England in the 6th century, he landed at Ebbsfleet in 597, to consolidate and expand the Church under Rome.
St Gregory the Great was born in around 540 and was Pope from 590 to 604. He is credited with promoting a higher liturgical standard in the Church and encouraging liturgical music – hence Gregorian chant. He is the patron saint of the Cathedral Choir School.
DECORATION
The mosaic decoration depicts the story of St Augustine’s journey to England. He is received by the pagan Ethelbert, King of Kent and is later appointed the first Archbishop of Canterbury. Early saints of the British Isles decorate the ceiling including St Wilfrid, St Cuthbert and St Bede the Venerable who wrote the ‘History of England’. These saints stand in green grass, sown with flowers, though to reference St John Henry Newman’s description of the revival of the Catholic Church as ‘The Second Spring’.
Two opus sectile panels tell the Old Testament story of the Wisdom of King Solomon, and Pope Gregory’s encounter with Anglo Saxon slave children in the market in Rome, prompting his words: ‘Not angles, but angels if they are Christians.’
FEATURES OF INTEREST
The tomb of Cardinal Basil Hume, ninth archbishop of Westminster from 1976 to 1999. Hume was a Benedictine monk, appointed Abbot of Ampleforth Abbey in Yorkshire in 1963. He was an immensely popular archbishop, credited with bringing Catholicism back into public life in England through his humility, prayerfulness and foresight. Shortly before his death, he was awarded the Order of Merit by Her Majesty the Queen, a unique honour for a Catholic prelate.
The tomb of Bishop Richard Challoner marked by a simple slab at floor level. Challoner was the leading figure of the Catholic Church in England in the 18th century, and vicar apostolic at a time when the Church was still suffering under penal laws. He narrowly escaped with his life during the Gordon Riots (described in Charles Dicken’s Barnaby Rudge). His remit extended to the ‘colonies’; he is therefore regarded as the first Catholic bishop to the Americas.
The Chapel of St Patrick and the Saints of Ireland
Sheathed in green marble from Irish quarries, the great saint of Ireland is glorified here along with the Irish regiments who served in the British Army in World War One.
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The Chapel of St Patrick and the Saints of Ireland
St Patrick is venerated as the great saint of Ireland, credited with bringing Christianity to its shores in the 5th century. He taught the mystery of the Trinity using a three-leaved meadow clover, the shamrock, and its distinctive design recurs throughout the chapel. The regimental badges lining the walls are the Irish regiments that served in the British army in the First World War. A casket by the altar contains a book of remembrance inscribed with the names of the 50,000 Irish soldiers who died in the conflict. Every year a special memorial service in the chapel commemorates the Irish dead.
On St Patrick’s Feast Day, a chaplain celebrates Mass in the chapel using the Fitzgerald chalice, a very rare example of Catholic plate made in 1719 for the Fitzgerald family of Galway and gifted by them to the Cathedral in the 1950s.
DECORATION
Green dominates and much of the marble was especially chosen from Irish quarries. The floor of the chapel is unique in the Cathedral, inlaid with beautiful Celtic designs. The mosaic decoration remains to be completed and an appeal has been launched by the Friends of Westminster Cathedral.
FEATURES OF INTEREST
The mosaic of St Oliver Plunkett, the martyred Archbishop of Armagh, and the last of the Catholic martyrs executed at the Tyburn tree in 1681. The designer is the Russian artist, Boris Anrep.
The unusual modern statue of St Patrick in gilt bronze is by Patrick Pollen, placed in the chapel to mark the 1500th anniversary of the saint’s birth.
The snakes which curl around the altar frontal recall the legend of St Patrick driving the snakes from Ireland. A mosaic of St Patrick in the south aisle outside the entrance to the chapel is by Trevor Caley depicting the saint as an old man. Note the serpents writhing at his feet.
Chapel of St Andrew and the Scottish Saints
St Andrew is the patron saint of Scotland and one of Christ's twelve disciples. This chapel is regarded as one of the finest in the Cathedral with its comprehensive design and decorative scheme that includes references to St Andrew's occupation as a fisherman and highlights Scottish influences.
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Chapel of St Andrew and the Scottish Saints
This chapel is dedicated to St Andrew, the patron saint of Scotland, and to the Saints of Scotland – namely Ninian, Margaret, Bride and Columba. The names of other Scottish saints are inscribed into the walls of the chapel. Andrew was one of Christ’s first disciples and together with John – the Gospel writer – was a follower of John the Baptist. He was a fisherman, and the floor of the chapel reflects his occupation with innumerable sea creatures in marble. St Andrew is represented on the West Wall; opposite him is the saltire, the diagonal cross on which he was crucified.
Of all the chapels in the Cathedral, this is the most ‘unified’. It was one of the first chapels to be completed – thanks to the generosity of the 4th Marquess of Bute, and the design and workmanship exemplify the principles of the Arts and Crafts movement. The entirety of the marble and mosaic work was designed by the Glaswegian, Robert Weir Schultz, an expert and master in Byzantine design who had travelled extensively in Italy, Greece and Turkey. (Because of anti-German sentiment in Britain after the First World War he changed his name to RWS Weir).
DECORATION
A review in Country Life in 1916 described the completed chapel as ‘no mere archaeological exercise, no dead copy of the churches of Rome or Ravenna, but a live piece of design’. The ceiling vault was designed to shimmer, like the scales of a fish.
FEATURES OF INTEREST
The Ernest Gimson stalls in ebony and ivory. Gimson travelled with Schultz through Turkey and the Mediterranean and is one of the leading designers of the Cotswold School, an acclaimed Arts and Crafts designer. A prototype of the stalls is in the Cheltenham Art Museum. The stalls are remarkably comfortable.
Cities associated with St Andrew are depicted in the mosaic including St Andrews in Scotland, Constantinople and Patras, the place of his exile. The sea creatures of the marble floor are a firm favourite with visitors especially the mottled crab and the eels. The feet of the bronze candlesticks on the altar are in the form of little fish, continuing the theme.
The central lamp and grille include representations of the ostrich egg, the Byzantine symbol of eternity.
The mosaic work is by Signor Gaetano Meo who had worked on the mosaics of St Paul’s Cathedral in London. It is amongst the best work in the Cathedral. The marble on the walls is subdued to represent the colour of the sea. The blue and white stained glass of the windows reflects the colours of Scotland’s national flag.
The Chapel of St Paul
The story of St Paul's conversion is one of the most dramatic in the bible. His influence on the Church is recognised in the important feast of SS Peter and Paul. This chapel tells the story of his life with details including the sword of his martyrdom.
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The Chapel of St Paul
Paul was the great missionary apostle of the early years of the Church. As a young man he ruthlessly persecuted Christians but on the road to Damascus, he was blinded by a dazzling light, fell from his horse and heard the word of God: ‘Saul, Saul why do you persecute me.’
Paul is regarded as the patron of those who convert to Christianity and also those who are persecuted for their faith. St Paul’s extensive journeys are recounted in the Acts of the Apostles and in the many letters which he wrote to the new Christian communities around the Mediterranean. With St Peter he founded the Church in Rome. In shape and size this is a companion chapel to the Chapel of St Joseph on the north side.
DECORATION
The mosaic decoration depicts scenes from the saint’s life including his conversion, the shipwreck in Malta, escape from Damascus and his martyrdom. The ceiling represents a velarium – a type of awning used in Roman times over the seating area of an amphitheatre. This may be a reference to Paul’s early life as a tentmaker or possibly a reference to the martyrdom of the early Christians in Rome, many of whom suffered death in the amphitheatres.
The work is by Justin Vulliamy who was supervised by Boris Anrep – the acclaimed Russian mosaicist. There are similarities with Anrep’s Blessed Sacrament Chapel. The mosaic was installed in 1963 and in colour and execution it is modern in contrast to other chapels in the Cathedral.
The marble floor references the Cosmati pavement of the sanctuary at Westminster Abbey. The grey marble on the walls is from the Greek city of Athens where Paul preached to the Athenians.
FEATURES OF INTEREST
The mosaic over the arch depicts a magnificent Lion, surrounded by buzzing bees: DE FORTI EGRESSA EST DULCEDO – from strength comes forth sweetness, a reference to Paul’s former persecution of Christianity and his subsequent conversion.
A pair of piscinas, Latin for fishpond, either side of the altar. In a church a piscina is a place for the washing of communion vessels and disposal of holy water, direct to the earth.
Churches of the martyr. As a Roman citizen, Paul was beheaded. Tradition says that his severed head bounced three times and at each place a spring of water began to flow. Churches were built over these springs and these are shown in the mosaic of the north wall. The triptych above the altar depicts Paul with a sword, the instrument of his martyrdom.
Mosaic Panel Of St David
The patron saint of Wales, design by contemporary Welsh artist Ivor Davies and executed by Tessa Hunkin. St David stands on a lump of dolorite rock from the village of Llanddewi Brefi where the saint ministered in the 6th century. The mosaic was installed in 2010 and blessed by Pope Benedict XVI on 18 September of the same year, during a state visit to Britain. The prominent use of silver echoes the silver mosaic of the Holy Souls chapel.
Mary’s Domain: South Transept to Lady Chapel
Mary's Domain dominates the south-eastern corner of the Cathedral, a reflection of Catholic devotion and love for the Mother of God. The chapel is especially beautiful.
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Mary’s Domain: South Transept to Lady Chapel
The mother of Jesus, known as Our Lady, has a special place in the heart of all Catholics. Our Lady’s fiat, her response of ‘yes’ to the Angel Gabriel enabled God’s plan for the salvation of the world. Catholics ask Mary to intercede for them. The Lady Chapel is loved for its beauty and the morning and evening prayers of the Cathedral are said here. Originally, the chapel was intended for the north side of the Cathedral where the Blessed Sacrament chapel is located; note the AVE above the side entrance on Ambrosden Avenue. It was moved for liturgical reasons and Mary’s domain extends from the chapel, down to the Shrine of Our Lady of Westminster and incorporates a pulpit image of Our Lady of Walsingham.
Mosaics illustrating the life of Mary form a frieze round the whole chapel, starting at the north-west corner with a depiction of Joachim and Anne, Our Lady’s parents, and King David enthroned (Mary is of the House of David). There follows: her birth, her presentation in the Temple, her espousal to St Joseph, the Annunciation, the Visitation to her cousin Elizabeth and the scene of Christ’s birth in the stable at Bethlehem. The story continues round the apse: the presentation of the child Jesus in the temple, the Holy Family’s home and the carpenter’s workshop at Nazareth and the Marriage Feast at Cana, the place of the first miracle. Moving round from the reredos Mary is depicted bidding farewell to her son at the start of his public ministry. She hands him the seamless robe – the same robe that the Roman soldiers will draw lots for at the crucifixion. The Way of the Cross follows showing Mary as the Stabat Mater at the foot of the cross. The sequence ends in joy as St John and St Peter bring news of the resurrection.
The chapel is 70 feet long, 21 feet wide and 38 feet high. Jane Charlotte Baroness Weld, a convert to Catholicism and a great benefactor to the Church, bequeathed the money for the chapel in memory of her son Gordon Samuel Weld. The liturgical life of the Cathedral began here – the first Mass was celebrated in the chapel on Lady Day, 25 March 1903.
The design of the marble floor is by JF Bentley, installed in the 1950s.
DECORATION
The marble colour scheme of the chapel is light and includes giallo antico, mined from ancient Roman quarries in Africa.
The extraordinary mosaic decoration is by Gilbert A Pownall. An estimated one million tesserae were used in the decoration which represents the life of the Blessed Virgin, the Rosary and figures and places connected with Mary.
FEATURES OF INTEREST
The ‘London’ images in the Lady Chapel mosaic: The Tower of London, Tower Bridge and a Thameside warehouse. Our Lady is patroness of London. St Peter, patron of Westminster, is shown before an image of Westminster Cathedral.
Angels on the barrel roof hold the garlands of the rosary which terminate with the cross of the tree of life and the image of Our Lord. Scenes from the life of Our Lady form a frieze around the whole chapel, starting at the north-west corner with St David enthroned.
A circular golden plaque depicting an image of Mary as Ostra Brama (Our Lady of the Dawn) presented to the Cathedral by the Polish Fighter Squadron of Vilna in 1944. Ostra Brama in Vilnius in modern-day Lithuania, is a Marian shrine in Eastern Europe and a symbol of freedom against Nazi and communist oppression. The inscription calls on Our Lady to ‘restore Vilnus when, ever watchful, you bestow your favour upon the destiny of our homeland’.
Beneath the thirteenth station is a 15th-century statue of Our Lady and the Christ child, acquired for the Cathedral in 1955 and installed as Our Lady of Westminster. English alabaster – likely from Chellaston near Nottingham – a major production centre pre-Reformation. The statue depicts Our Lady seated on a throne – the Queen of Heaven – with a lily sceptre in her left hand; her right arm supports the Christ child. Nottingham alabaster was brightly painted. Note the flecks of paint: blue and red on the gown, and at Our Lady’s feet a green meadow strewn with daisies. The back of the statue is flat; it was meant to be set within a niche.
The Lady Chapel reredos in a white marble surround is by Robert Anning Bell RA who also designed the mosaic tympanum above the west door. Bell did work for the Palace of Westminster. There is a memorial to him in St James’s church, Piccadilly.
The 1950s bronze plaque of St Thérèse of Lisieux – the Little Flower – by the sculptor Giacomo Manzù who depicted the saint in her Carmelite habit. Bronze plaques of St Benedict and St Vincent de Paul in the south transept, by Bryan Kneale.
An opus sectile image of Our Lady of Walsingham on the pulpit (references the restoration of the Catholic pilgrimage to the Shrine of Walsingham in 1954) by the Australian artist John Trinick.
The Blessed Sacrament Chapel
A tour de force in its own right, The Blessed Sacrament Chapel was created by renowned Russian artist Boris Anrep and is one of the most memorable spectacles in Westminster Cathedral.
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The Blessed Sacrament Chapel
The Blessed Sacrament chapel is the heart of the Cathedral. At all times of day people are to be found here in private prayer and there is a timeless quality about the space. The body of Christ – the consecrated host – is reserved in the veiled tabernacle at all times. Devotion to the Blessed Sacrament is a central feature of Catholic life and practice. If you have limited time for your visit, make sure you come here.
The chapel was originally designated for the south side, where the Lady Chapel is located but was moved because of practical considerations; a procession leaving the sacristy would need to kneel before the sacrament, delaying the liturgy. The Cathedral architect wanted a baldacchino for the Blessed Sacrament, but Cardinal Vaughan chose a simple canopy suspended over the altar. The chapel is enclosed by beautifully ornate grilles and gates that close off the chapel from the transept.
Funding for the work came mainly from overseas including subscriptions from the Royal family of Spain, and donations from South America.
DECORATION
The mosaic design of the chapel is by the celebrated Russian artist Boris Anrep and was completed in 1962. The chapel is distinctive; instead of the usual gold background, a rose-pink tesserae was chosen. Anrep’s commissions in Britain include the Royal Military Chapel, Sandhurst, and the stone mosaic floor in the entrance of the National Gallery, London; he was closely associated with the Bloomsbury Group in London. He is remembered chain-smoking as the mosaic was installed.
The mosaics show biblical scenes that lead from Abel to Christ. The archangels Michael and Gabriel stand guard, symbolising the significance of the chapel, a meditation on its special purpose and its dedication to the Blessed Trinity. The Eucharist figures prominently with recurring motifs for bread and wine.
FEATURES OF INTEREST
The bronze pelican atop the chapel gates. The pelican is a symbol of the Eucharist; the pelican is said in folklore to feed its young with the blood from its own breast.
The lampadarium in the sanctuary of the chapel, suspended before the altar with three oil lamps – a symbol of sanctity and the presence of God.
The mosaic of the peacock – a symbol of immortality, and the phoenix – a symbol of the resurrection, both designed by Anrep. These decorate two apsidal (curved) recesses at the entrance to the chapel. The phoenix was first introduced into Christian symbolism by St Clement of Rome, as early as the 1st century. This mythical bird was said to renew its life every few hundred years by burning itself on a funeral pyre. It sometimes features on gravestones, representing Christian belief in the life to come.
The communion rails feature enamel plaques depicting objects associated with the Passion of Christ.
The tabernacle veil hangs on gold wedding rings, donated by members of the congregation.
The Shrine of the Sacred Heart and St Michael
The shrine of the Sacred Heart is adjacent to the Blessed Sacrament Chapel. Its dedication recalls the Sacred Heart of Jesus, a central tenet of Catholic theology. St Michael is the archangel and defender of the faith.
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The Shrine of the Sacred Heart and St Michael
This jewel of a chapel is the north aisle of the Chapel of the Blessed Sacrament. It terminates in a small apse dominated by a statue of the Sacred Heart of Jesus donated by the Sisters of the Sacred Heart; the marbles in the chapel were donated by those educated in their convent schools. Devotion to the Sacred Heart is at the root of Catholic theology. The Catechism states that the prayer of the Church honours and venerates the Heart of Jesus which ‘out of love for men, he allowed to be pierced for our sins’.
The front of the altar is a sculpted bas-relief of St Michael slaying a dragon, symbolising the spiritual enemies of the Kingdom of Christ. Facing the altar, the mosaic of Christ wearing the crown of thorns is based on an image from St Mary’s church, Cadogan Terrace, Chelsea. The original design, based on a painting by William Christian Symons, was removed after complaints from the donor.
DECORATION
The mosaic decoration has been likened to a Persian carpet with its intricate and jewel-like design. The designer is John A Marshall, Bentley’s loyal assistant who succeeded him as Cathedral architect. The chapel is small, a large pictorial design would have been overpowering, and the mosaic represents conventional motifs: hearts, foliation and geometric forms. Red and gold predominate. The mosaic was produced by James Powell and Sons, better known as Whitefriars Glass and closely associated with the Arts and Crafts movement in England.
Red marble also dominates the small chapel- a reminder that the Cathedral is dedicated to the Precious Blood of Christ. The deep red marble of the altar slab is from Co Cork, Ireland.
FEATURES OF INTEREST
The electric light cruciform pendants are inspired by ancient light crosses in Hagia Sophia in Istanbul.
The silver vault lamp was designed by Osmond Bentley, elder son of the Cathedral architect.
The Vaughan Chantry: The Chapel of St Thomas Becket
Small yet glittering, this jewel of a chapel is dedicated to St Thomas Becket of whom Henry II famously declared, 'Who will rid me of this turbulent priest?’
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The Vaughan Chantry: The Chapel of St Thomas Becket
The small chapel dedicated to St Thomas Becket of Canterbury in the north transept is Cardinal Vaughan’s Chantry. The Cardinal, at his request, was buried at the Missionary College of St Joseph at Mill Hill but in March 2005, with the sale of the property imminent, his remains were disinterred and brought back to the Cathedral which he founded.
Pray for the soul of Herbert Vaughan
Cardinal Priest of the Holy Roman Church
Third Archbishop of Westminster
And founder of this Cathedral
– Born April 15, 1832; died June 19, 1903 RIP
DECORATION
The Chantry is dominated by the white Pentelic marble memorial designed by JA Marshall and carved by Henry McCarthy. Pentelic marble was used for the major monuments of Classical Athens and is mined from quarries at Penteli to the north of the city. It is a distinctive white with touch of gold. The Cardinal faces the altar and is ‘more slender than this imposing figure had been in real life’.
The mosaic decoration of the chapel is recent (2006) designed by the artist Christopher Hobbes and paid for by the Friends of Westminster Cathedral. It depicts scenes in the life of St Thomas Becket who was murdered on 19 December 1170, at the altar in Canterbury on the instructions of King Henry II: ‘Who will rid me of this turbulent priest?’ Thomas had angered the King by defending the rights of the Church.
The gilt bronze gates and grilles of the chantry bear the initials and coat of arms of the Cardinal. These were the gift of secular clergy nationwide.
FEATURES OF INTEREST
On the altar are reliquaries holding relics (remains) of St Thomas Becket. From the earliest days of the Church, Catholics have venerated the relics of martyrs as a focus for prayer and petition to God.
The crucifix, which bears an antique ivory corpus, was designed for this altar. It was made by the Bromsgrove Guild of Metal Workers. Note the image of a hand holding a wreath surrounding a dove – iconography for the three persons of the Holy Trinity.
The galero, a traditional hat that used to be worn by Roman clerics, hangs above the tomb. Tradition says that when the galero falls, the Cardinal’s soul has gone to heaven.
The Chapel of St Joseph and the Holy Family
The chapel of St Joseph and the Holy Family is a bright and beautiful space on the north side of the Cathedral. Here we celebrate the love of the Holy Family. The chapel is especially popular during Advent when we recall Mary and Joseph's journey to Bethlehem.
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The Chapel of St Joseph and the Holy Family
Pope Francis proclaimed the year 2021 the ‘Year of St Joseph’ and this chapel is important in remembering the constancy and support of Mary’s husband. The gentle carpenter is pivotal to the story of human salvation and for centuries has been associated with workers. The chapel is noticeably brighter and more open than other chapels in the cathedral. Bentley intended that there should be an altar canopy, but this was never completed.
DECORATION
The triptych above the altar is cast bronze with a central panel depicting St Joseph and the child Jesus.
The modern mosaic decoration is by Christopher Hobbes who chose to feature the Holy Family as the dominant image above the altar and opposite, the builders of Westminster Cathedral in tribute to St Joseph and the workers. Note the image of the Cathedral in the upper right corner.
FEATURES OF INTEREST
Cardinal Arthur Hinsley, a Yorkshireman by birth and the fifth archbishop of Westminster, is buried here. His motto TALES AMBIO DEFENSORES – ‘I gird myself with such defenders’ – is a reference to St Thomas More and St John Fisher who are commemorated in the adjacent chapel. His galero hangs above the tomb.
The chapel floor – a Byzantine pavement design by Prof. EW Tristram – features four symbols for Christ: the Chi-Rho, an ancient sign of Christ based on the first two Greek letters of His name; the Lamb of God; the peacock, symbolising immortality, and a fish, used by the early Christians to denote their secret allegiance to the faith. The floor includes antique Egyptian porphyry, a purple-coloured stone prized for its colour and used extensively in the ancient world, notably at Hagia Sophia. In late Roman times it was reserved for imperial use.
The central column between the windows has a carved capital of doves in a basket, a reminder of the doves offered by Joseph at the Presentation of Christ in the temple. This was modelled on an original found in the priests’ entrance on the south side of Hagia Sophia in Istanbul.
The Chapel of St George and the English Martyrs
This chapel is dedicated to St George, patron saint of England, and to the Catholic martyrs of England and Wales who died in defence of the faith. The chapel houses the commemoration to those who died in the First World War.
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The Chapel of St George and the English Martyrs
This chapel commemorates St George, the patron saint of England, and the 40 martyrs who died for the Catholic faith between 1535 and 1679. St George was adopted as patron saint in the 14th century – he is often depicted slaying a dragon. The chapel is also a permanent memorial to the men who died in the First World War. The design of the chapel and the marble decoration were prepared by the Bentley office. The mosaic decoration is much later, completed in the early 21st century. An inscription to the left of the altar steps records the names of the donors to the chapel. A later inscription to the right, records the names of major donors to the mosaic scheme.
DECORATION
The First World War Memorial and the figure of St George, by Captain Philip Lindsay Clarke, dominate the north wall. The mosaic scheme is by the artist Tom Philips RA who also designed the mosaic of John Henry Newman to the left of the chapel entrance. The flames on the ceiling bear the names of the saints canonised by Pope Paul VI in 1970. Note the dragon’s tail imagery around the windows. Throughout the chapel the motif of the English rose is repeated, in Mother of Pearl on the walls and as a rosette in marble in the middle of the floor.
The West Wall features an intarsia marble image of the Tyburn Tree where many were martyred for their faith – the site is marked with a stone plaque at Marble Arch, near Hyde Park.
FEATURES OF INTEREST
The body of St John Southworth, the most important relic in the cathedral. Fr Southworth was a Catholic priest from Lancashire put to death at Tyburn in 1654 – one of the last priests to suffer under the penal laws. He ministered to the poor of London, notably in time of plague, and was known as the parish priest of Westminster. He was imprisoned in the ‘Clink’ a number of times before his eventual arrest and trial. His remains were taken to France and rediscovered in 1927; he was brought to the Cathedral in 1930. St John Southworth is the patron of all clergy in the Diocese of Westminster, and patron of the Cathedral Guild that bears his name.
The Eric Gill reredos dominates the altar, depicting Christ crucified as priest and king with St Thomas More to the left and St John Fisher to the right; both died for their faith under the reign of Henry VIII. The reredos was Gill’s last commission, and the work was completed after his death by his assistant Lawrie Cribb. Note the wheatsheaves on the mitre of Bishop Fisher. A carved monkey with arms outstretched – More kept a small zoo at his house in Chelsea – was chiselled off under instruction from Cardinal Bernard Griffin who found it too whimsical.
The book held by St Thomas More is inscribed: CAESARI CAESARI ET QUAE SUNT DEI DEO: to Caesar, the things that are Caesar’s; to God, the things that are God’s.
A mosaic depicting Christ, the divine healer, a memorial to the officers and men of the Royal Army Medical Corps.
ST ALBAN’S SQUARE MOSAIC
At the entrance to St George’s chapel is a square mosaic of St Alban by Christopher Hobbs installed in 2001. Alban was a young Roman British soldier and is the first recorded British Christian martyr, believed to have been beheaded in Verulanium (modern St Albans) during the 3rd or 4th century. Tradition says he sheltered and then changed places with a persecuted Christian priest, swapping his cloak to enable the man to evade capture. When arrested he refused to offer sacrifice to the Roman gods and was martyred. The striking design is strongly influenced by early Byzantine iconography.
The Holy Souls Chapel
The Holy Souls Chapel is a very special place of reflection and prayer as we recall all those who have died and gone to God - the Holy Souls. This chapel is especially important in the month of November when we celebrate the Feasts of All Saints and All Souls.
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The Holy Souls Chapel
This beautiful chapel with its dark marble, ornate grille and glittering mosaics is regarded as the most complete realisation of JF Bentley’s plans for the decoration of the Cathedral. The architect worked closely with the artist W Christian Symons (designer of the images on the Great Rood) in devising the mosaic scheme that glitters in gold and silver. The chapel’s decoration was completed in 1908.
Eternal rest grant unto them O Lord,
And let perpetual light shine upon them,
May they rest in peace
Amen
As Catholics we believe in eternal life: some people by virtue of their saintliness will go straight to heaven others go to purgatory to await the final purification which will enable them to meet the Lord. The Holy Souls in purgatory are not abandoned but sustained by the prayers of the living and the Communion of Saints. This is a chapel in which to pray for those who have died. We remember the dead especially during the month of November.
DECORATION
Bentley wanted the decoration to be ‘severe and very Greek in character’. The design reflects theological concepts associated with life and death. Adam is depicted next to the forbidden tree, wrapped in the coils of the serpent; Christ is shown triumphant as the second Adam, restorer of mankind.
A column of black Norwegian labradorite at the entrance to the chapel, sets a sombre tone.
FEATURES OF INTEREST
The opus sectile image of the risen Christ on the main altar piece is tender and intense. Christ shows his five wounds, a reminder of the dedication of the Cathedral to the precious blood.
The mosaic archway above the altarpiece is emblazoned with the works of mercy.
The Virgin Mary and St Joseph intercede for the Holy Souls with upraised hands.
In the pavement of the chapel, at the foot of the altar steps, are the arms of the Walmesley family, quartering those of Weld-Blundell. The donors of the chapel were Mary Etheldreda Walmesley (a cousin of Cardinal Herbert Vaughan) and her husband Robert. Mary was the eighth child of Thomas Weld-Blundell ( a prominent recusant family) of Lulworth Castle, Dorset. On her husband’s death she entered the Benedictine Abbey at East Bergholt; Mother Etheldreda as she was known became prioress before her death in 1934. She is depicted in the altarpiece, kneeling on the left in her monastic garments. Her husband is on the right before a depiction of Veronica’s veil, from the legend of Veronica wiping the face of our Lord on his way to the Cross.
THE DREAM OF GERONTIUS MARBLE PANELS
Praise to the Holiest in the height
And in the depth be praise…
St John Henry Newman
Two marble panels in the north aisle outside the Holy Souls chapel, commemorate the first London performance of Edward Elgar’s The Dream of Gerontius (the setting of Newman’s poem), at Westminster Cathedral in 1903 (the work premiered in Birmingham in 1900). Both panels are by Tom Philips RA, the ‘Gerontius’ panel featuring his distinctive individual lettering. Gerontius tells the story of a human soul’s journey through death. Its Roman Catholic theology meant that in the first decade after its premiere the work was rejected by many Anglican Cathedrals and not performed. Dvorak had considered setting the poem to music.
The Crypt Chapel of St Peter
Featuring six monolithic columns of granite and a mosaic of St Peter holding the keys to heaven, the crypt Chapel of St Peter is usually closed to the public and only accessible during a private tour.
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The Crypt Chapel of St Peter
The crypt is lit by eight windows on its northern and eastern sides. Six columns of Norwegian granite support the vaulting. Much of the chapel is unfinished with bare brick and limited decoration. The tympanum above the three main arches displays a large mosaic by Gilbert Pownall (artist of the Lady Chapel) in honour of St Peter to whom the chapel is dedicated. St Peter is depicted enthroned as the holder of heaven’s keys.
Items of Interest
Wiseman’s Gothic monument was designed by Edward Pugin (son of AWM) and was originally intended for the tomb in Kensal Green cemetery where it stood until 1907 when Cardinal Griffin had the remains translated to the Cathedral.
Within the body of the main crypt two further cardinals are buried: Cardinal Griffin and Cardinal Godfrey.
Count Alexander Benckendorff the last Imperial Russian ambassador to the Court of St James is buried in the crypt; the only lay person buried in the Cathedral. The memorial slab over his grave was carved by Eric Gill.
The Crypt Mortuary Chapel
The Crypt Mortuary Chapel is the resting place of Cardinals Wiseman and Manning - the first two archbishops of Westminster. The 3D tour gives unique access to this little chapel which is gated and not open for public view.
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The Crypt Mortuary Chapel
The Crypt Chapel is not usually open to the public and may be viewed on a private tour of the Cathedral. The first two Cardinal Archbishops of Westminster are entombed here, in the mortuary chapel of St Edmund of Canterbury which lies directly beneath the high altar of Westminster Cathedral. The sixth Archbishop of Westminster, Cardinal Bernard Griffin, and the seventh archbishop, Cardinal William Godfrey are also buried in the main body of the crypt chapel. The tombs of Cardinals Wiseman and Manning dominate the small chapel which is dedicated to St Edmund of Canterbury. Relics of the saint are kept in a gated space beneath the chapel altar.
DECORATION
A mosaic by W. Christian Symons above the reliquary of St Edmund of Canterbury depicts the saint by the banks of the Thames with his arm raised blessing London, before leaving England. London landmarks – London Bridge, the Tower of London and old St Paul’s Cathedral – are shown. Beneath the altar is the major relic of the saint who founded the Oxford College, St Edmund Hall.
Boris Anrep designed the mosaic decoration depicting angels and a book for the arch above Cardinal Manning’s tomb. Anrep was called up for service in a Russian regiment in 1914 and the mosaic is unfinished. The original design has been lost.
The tympanum of the crypt chapel is decorated with a large mosaic by Gilbert Pownall in honour of St Peter.
FEATURES OF INTEREST
The mortuary chapel is dominated by the Gothic tomb of Cardinal Wiseman by Edward Pugin, with its wonderful dragon. Heavily Gothic, it was designed for the original tomb in Kensal Green cemetery. The remains of both Wiseman and Manning were moved to the Cathedral in 1907.
The tomb of Count Alexander Benckendorff, former Russian Imperial ambassador to the Court of St James and the only layman to be buried in the Cathedral, is in the crypt marked with a simple memorial slab designed by Eric Gill. The ambassador died in 1917 and by special request, the remains were interred in the Cathedral. Representatives of the King and Queen attended the Requiem Mass and the National Anthems of Britain and Russia were played.
Cardinal Manning’s Celtic crucifix and candlesticks by Bentley furnish the altar of St Edmund of Abingdon.
Three reliquary cases set into the south wall – cedar lined and enclosed by metal grilles – contain some of the Cathedral’s most precious relics.