Behold its spire. It soars 227 feet above London. We’re standing before All Saints Church on Margaret Street. This isn’t just another church. All Saints is a masterpiece of High Victorian Gothic architecture.
All Saints’ Church embodies the vision of the Oxford Movement. This movement sought to restore spiritual pride to the nation. It revitalized the Church of England. Academics looked to pre-Reformation times. They emphasized tradition and the sacraments.
In the late 1840s, this area was already built up. Architect William Butterfield faced a challenge. He had limited space. Butterfield strategically included a courtyard. He designed a grand nave and sanctuary. He manifested the medieval world in modern London.
Look at the exterior. Notice the different colored bricks. The deep red contrasts with black brick lines. Limestone offsets them beautifully. This is structural polychromy. The decoration isn’t just on the surface. The materials themselves support the building.
The courtyard is riotously decorative. It foreshadows the church’s bold colors. The interior is diverse. The colors are intense. This reminds some of the cathedral in Siena.
An important critic influenced the design of All Saints. John Ruskin made medieval Italy important. He believed architects should build honestly. They should look to the past. Ruskin looked to continental Europe. He focused on materials and techniques. He also liked medieval piety. Ruskin criticized industrialization. He felt authentic life was lost.
The Ecclesiological Society sponsored All Saints. A.J. Beresford Hope funded its creation. He was a politician and writer.
Inside All Saints is a beautiful quiet space. Light descends from above. The sanctuary is brighter. The east wall depicts the life of Christ. The Eucharist is central here. It makes the spiritual physical. All Saints is a sensory kaleidoscope.
The ornament is concentrated at the east end. The altar is here. A low stone screen separates the congregation. It highlights the special things happening in the sanctuary. Bread and wine are broken. They are then distributed.
The screen reminds some of Santa Sabina in Rome. That basilica is an early example of Christian architecture. All Saints captures generations of Christian history.
William Dyce painted saints on the east wall. Later, John Ninian Comper repainted Dyce’s work. Comper loved early Italian Renaissance painting.
Even geological time is present in All Saints. Stone with fossils is included in the screen. It is also in the font. The passage of time is part of the holy threshold.
All Saints Church has undergone restoration. Over £2.8 million has been invested since 1995. The roof was renewed. The interiors were restored. The Harrison and Harrison Organ was rebuilt. Lighting and electrical systems were modernized.
All Saints endures as a symbol. It shows Victorian artistry and spiritual solace. It offers an unparalleled experience. It stands in the heart of Fitzrovia. This church exemplifies faith and craftsmanship. Its Gothic Revival artistry endures. Its stained-glass windows create a serene interplay. The decorative carvings feature Biblical themes. Frescoes and mosaics combine color with narratives. The main altar is framed by marble. The pulpit has carved angel figures.
All Saints Margaret Street remains a vibrant hub. It is a space for worship. It is a place for community. It is a location for education. Its legacy is one of cultural impact.