The Making of the Chapel Altar Frontal

by Margaret Wallace

I have been asked to write about the making of the chapel altar frontal which was dedicated to Claire Minkley on February 22nd. Perhaps it would be of interest to put this into the larger context of the liturgical renewal of our times. To quote from professor Mary-Lou Patterson's introduction to Art of the Spirit (in our library): “… the spiritual renewal introduced by Pope John XXIII in 1958 and culminating in the Second Vatican council (l962-65) formed a watershed in liturgical style in North America.”

I came to Victoria in 1985, the year the Book of Alternative Services was first in use, from a parish in southern Ontario whose rector had been on the Doctrine and Worship Committee that had worked on the book. Through the 1970s we had been trying out new liturgies, new arrangements in the sanctuary and new visual decoration. Banners suddenly became popular. I made my first piece for our patronal festival (St. James’ day), which led to my being asked to make vestments and hangings for my church and later for the Cathedral in Hamilton and other Ontario parishes.

During the 70s and 80s there were many remarkable exhibitions of liturgical art, in many of which I participated and some I helped organise. I soon discovered that although the demand was there for new vestments etc., funds were never enough to purchase the expensive brocades used in traditional church stitchery. Beautiful as the old work was, it no longer belonged with the new style of worship. After experimenting with a variety of decorator fabrics I discovered the pleasure of working with silks from Thailand, India and China. They came in such a splendid array of colours that they perfectly complemented any stained glass window. Not only were the colours vibrant they were light to handle, which is a consideration when making a large altar frontal or cope.

This leads me to the making of the frontal for our chapel. It seemed to me that to make the altar “stand out” from the newly painted walls a narrow band of colour that would echo the colours in the window above would be a good idea. I asked whether I might do this and mentally had arranged all the colours I would use without having any idea of a design. After several months without inspiration I was told that John and Melinda Minkley were thinking of a memorial to their daughter Claire, and when I read and re-read Claire's poems which they gave me, certain ideas began to develop.

To start with, I always like a central image on an altar. (Some contemporary designs that are off-centre I find unsettling.) In this case I used a circle, suggesting wholeness and completion, with a descending dove (the Spirit). Following from this I tried to convey the idea of light waves which break up into individual points of light. (Think of the spirit coming with tongues of fire, the flames of Pentecost, the burning bush, the use of candles in worship.) Surrounding the centre I placed green leaves (life and growth and the “green” season of the church year). Green becomes blue (Advent), then red (saints’ days) and finally purple (Lent), where I have copied two cross forms that occur on the border of the window. I have only recently noticed that some one has worked these crosses on the kneelers at the altar rail. The design is not completely symmetrical but has balance and movement and I hope expresses something like joy. I enjoyed making it and I would like all who see it to interpret it as they wish and that it will offend none.