When the Catholic Apostolic Church commissioned the church, its vision was of a church filled with paintings of apocalyptic and biblical scenes. In 1892, Phoebe Anna Traquair was selected to fulfil that vision through the painting of murals.
The various murals depict different scenes from the old and new testaments, and while are altogether truly breathtaking, are also easily appreciated as individual art works.
The Chancel arch is one of the most imposing murals, being both 19 metres high and the most formal in style. A rainbow covers four great cherubim - an evangelist holding an open bible; an Apostle clutching a crown; a Prophet holding a harp, and a Pastoral cherub carrying a lamb and a staff. These cherubim (painted four times life-size) are the main focus of this mural, and each is symbolic of one of the four order of the Catholic Apostolic ministry.
Painted in 1895, the two chancel aisles reflected Traquair’s individual style more so than the chancel arch, with more decorative detail in the portraits. Although the colours were still vivid, the hues were subtle and lighter in Traquair’s interpretation of the parable of the Wise and Foolish Virgins. An Italian influence shines through, with the design reminiscent of Botticelli, though the borders on the north chancel aisle pay homage to the Celtic and Scottish tradition – most probably a tribute to the great Arts and Crafts figure, William Morris, who died in 1896.
Traquair adopted a different style when painting the nave – still echoing Italian murals, but edging closer to the style of watercolour illustrations. The north wall was adorned with scenes from the New Testament – various events from the life of Christ – while the south wall depicted stories from the Old Testament, such as Noah, and Adam and Eve.
The west wall was an incredibly important mural, as it was the focal point for the priest during services, and for the congregation on their departure. In this mural, the Second Coming of Christ is glorified by a host of angels singing and trumpeting the news, while the risen are embraced by angels. This mural differs from the others in the impressionistic style exercised by Traquair.
The mural is supported by a large border below, showcasing three images. Two of the images are of angels giving love and relief to mortals, while the third, central image is one of Pentecost. The portraits of the Apostles highlight Traquair’s penchant for drawing portraits from real life, while a woman in pink kneels before them. Whether this figure represents Traquair or not, this Pentecostal scene marked the completion point of her murals.
