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Lot Essay
This perspective was executed by the architect in August 1952 and shows the High Altar of the cathedral and the liturgical East wall (the cathedral is not aligned along a geographical east-west axis).
It is important in several respects: first, it predates Sutherland's acceptance in 1952 of Spence's commission to design the tapestry to hang behind the altar. Hence, the degree to which this design corresponds to the final work underlines the fact that it was Spence, rather than Sutherland, who was the originator of the Christ in Majesty composition. Second, it predates the architect's decision to move the East wall back, behind the Lady Chapel, to accomodate Sutherland's tapestry. It also shows his original development of a solid faceted concrete vault, rather than the lighter vault formed of spruce facets on a concrete frame, which was eventually built. There is a similar perspective now in the Royal Collection at Windsor.
We are very grateful to Anthony Blee for his help in cataloguing this lot. For further information see Exhibition catalogue, To Build a Cathedral 1945-1962, Warwick, 1967.
It is important in several respects: first, it predates Sutherland's acceptance in 1952 of Spence's commission to design the tapestry to hang behind the altar. Hence, the degree to which this design corresponds to the final work underlines the fact that it was Spence, rather than Sutherland, who was the originator of the Christ in Majesty composition. Second, it predates the architect's decision to move the East wall back, behind the Lady Chapel, to accomodate Sutherland's tapestry. It also shows his original development of a solid faceted concrete vault, rather than the lighter vault formed of spruce facets on a concrete frame, which was eventually built. There is a similar perspective now in the Royal Collection at Windsor.
We are very grateful to Anthony Blee for his help in cataloguing this lot. For further information see Exhibition catalogue, To Build a Cathedral 1945-1962, Warwick, 1967.