21. REFUGEE ALTAR

Following around the Stations of the Cross we arrive at the Lady Chapel. The rear of this chapel has a different altar for which the theme is the plight of the many refugees today. The candlestand in the shape of an octahedron (with added struts) emphasizes the triangle theme of this Cathedral.     PLAN

22. CROSS AND STATEMENT

On the altar is a small flickering lamp of hope, and above, a Lampedusa Cross – a rough cross made from the wreckage of a boat carrying refugees which sank off the coast of Lampedusa – a rocky island off Sicily. Details are given in the nearby information sheet.

23. LADY CHAPEL

The main part of the Lady Chapel faces a simple altar bearing a statue of the Virgin. There is a candlestand nearby, and the doors in the wall at left lead to three confessionals.

24. LADY CHAPEL DETAILS

The statue of Mary, Mother of the Lord, is made of bronze, and was created by Terry Jones. Christians have traditionally held this woman of faith in great veneration because of the way she responded to God’s grace. The candlestand carries a simple Cross, and the first and last letters of the Greek alphabet, Alpha and Omega, which represent Christ (Rev 1:8).

25. VIEW FROM THE SANCTUARY

Looking back across the nave from the sanctuary, we get a better idea of the construction of this Cathedral. A great deal of thought has gone into designing this Cathedral to make it environmentally sound, giving it good acoustics, and ensuring that all the congregation is ‘close’ to the altar. To the right of this view we observe the baptismal font, and it is there that we go now.

26. BAPTISTERY

To the north of the Cathedral there is a wide open space joining the St Peter Door and the St Paul Door – an ‘entrance hall’ or narthex. Since the rite of baptism is regarded as entry into the Church, this is a logical place to locate the baptismal font. The font is the work of Simon Verity: the base is carved out of Portland Stone and the bowl from Spanglebed Purbeck. Fishes carved in the bowl represent Christ; the doves in the base, the Holy Spirit. Around the rim is carved the text: ‘Once you were no people but now you are God’s People’ (1 Peter 2:10). The font appears to float above the pool beneath ... .

27. THE FONT SETTING

The white light streaming down over the font speaks of God’s approval, and of illumination being given at the time of this step of faith. Behind the font is a simple Cross. To the right of this Cross and further back is a single window. We shall look at this shortly.

28. ORIENTATION

This is another orientation view! From here, to the right of the font we can see the main nave, the Stations of the Cross, the altar, and a little of the organ. Just to the left of the font we see through to the Blessed Sacrament Chapel, and at extreme left, recesses containing the holy oils.

29. THE HOLY OILS

The tiles in the recesses bear the letters SO, OI and OC. ‘Oleum Sanctum’ is the Oil of Catechumens which is used in baptisms, in the consecration of churches, the blessing of altars, and the ordination of priests. ‘Oleum Infirmorum’ or The Oil of the Sick is used in unction. ‘Sanctum Chrisma’ or the Holy Chrism (Oil of Gladness) is olive oil mixed with a small amount of balm or balsam. It is used in confirmation, baptism, and the consecraton of a bishop.

30. CHAPEL OF THE BLESSED SACRAMENT

This is the second of the dedicated chapels in the Cathedral. Looking first at the rear of the chapel we find a large and spectacular painting. The painting depicts Christ on the Cross in a graphic way, and there is an image of God the Father behind, signifying the giving of his Son and support for his Son. It is an ideal choice for this situation, but appears to be a print in need of some attention.

31. FRONT OF CHAPEL

Looking forwards, we observe a simple altar flanked by a lectern and a curious chair. Behind are a crucifix, and a tabernacle at centre. Of special interest is the little sanctuary lamp to the right of the tabernacle: the form of the tabernacle is repeated in the design of the lamp. The doors at left open into the east ambulatory.

32. CHAPEL DETAILS

The lectern is similar to the nave lectern, only smaller. The tabernacle is made of stainless steel and is the work of John Alder. It is placed so that there is easy access both from the chapel and from the sanctuary. The tabernacle holds Elements of the Eucharist which have been previously blessed, and are available for use – for example in taking Communion to the sick.

33. EAST AMBULATORY

The east ambulatory is a passageway which leads from the narthex with its coloured glass windows, back around behind the sanctuary to the private area of the sacristy. In this view we see the doors through to the Blessed Sacrament Chapel at centre, and some interesting plaques on the wall at left.

34. BRASS PLAQUE

The Roman Catholic Church has had a troubled history in Britain, and some of this is outlined here. It shows that the Diocese of Clifton encompasses the ancient Sees of Worcester, Salisbury, Bath and Wells, Gloucester and Bristol. Then are listed the various Vicars Apostolic, followed by the Bishops of Clifton. The plaque was transferred from the Pro Cathedral in 1974.

35. CRESTS AND PLAQUES

Next to the large plaques are two crests, a list of the Administrators of the Clifton Mission, and a brief note on the consecration of the Cathedral. I have no details about the crests.

36. NARTHEX

Rather perversely, we finish our tour of the Clifton Cathedral in the narthex – the designated entry! But the windows are a highlight of our visit. At right in this view we see the font and the sacred oils. Then there are two long window walls ... . The windows are the work of Henry Haig. Following a method developed in France in the 1930s, over 8000 pieces of glass have been cut to shape and set in epoxy resin. The glass making up these windows comes from Britain, Germany and France.

37. JUBILATION WINDOW

This window is concerned with the growing awareness of the presence of God’s Spirit, as expressed in the sense of happiness or freedom that may be experienced on an open beach where earth, sea and sky meet and intermingle.

38. WINDOW CORNER

The two window walls meet at an 120° angle. Between is a mysterious door! A small display blocks the entrance..     

39. PENTECOST WINDOW

This window seeks to express the spiritual force of God’s presence as experienced at Pentecost, ‘when suddenly they heard what sounded like a powerful wind from heaven ... and something appeared to them that seemed like tongues of fire: they were all filled with the Holy Spirit’. Acts 2:1–4. This completes our tour of the Clifton Cathedral.