SMM+S

jimmcginlay · Posted: Sat Nov 29, 2008 10:04 pm Post subject: Reid Memorial Church

Reid Memorial Church
Consecrated 1932

Location: West Savile Terrace , Edinburgh, EH9 3HY‎
The church stands at the junction of West Savile Terrace, Charterhall Road and Blackford Avenue.

Architect: Leslie G. Thomson, Edinburgh
Sculptor: Alexander Carrick R.S.A., Edinburgh
www.alexandercarrick.webeden.co.uk

Scotsman Newspaper, Friday 20th May 1932, page 13:
The Reid Memorial Church occupies an important site, and architecturally is a notable addition to the ecclesiastical buildings of Edinburgh. The style used is a free rendering of Gothic, not based on any particular precedents, but used according to the requirements of the programme and the exigencies of the design. The overall length of the church is 150ft., width of nave 28ft., width over aisles 48ft., height of nave 50 ft., height of tower 90 ft.
The plan is unusual in that, in addition to the church proper it has a large cloister court. Around it are ranged the hall, vestries, and church officer's house. Its form was dictated by the shape of the ground, and also the desire to protect the east windows - lest any high buildings should be erected too close and block out the light. The court also contains an open-air pulpit and a fountain basin, above which (under the east window) is a relief, "Christ and the Woman at the Well of Samaria," the sculptor being Mr. Alexander Carrick, R.S.A.
The exterior of the church, which is now completed, relies for its effest almost solely on its proportions - tall, narrow windows and buttresses, with low aisles and adjuncts for contrasts - and on the materials used - Caithness slates and rubble from Craigmillar for faceworks against the hewn Doddington for the windows and buttresses. Carving is sparingly used, and the only sculpture besides the panel in the courtyard are the angel figures at the west door and on the buttresses round the east end. These also are by Mr. Carrick.
The interior is equally simple. It also relies on its proportions for its effect, the feeling of height being enhanced by the tall windows contrasting with the low aisle arches. Three elements are the constituent parts of the nave and transepts - the stone of the windows and the arches, the rough white plaster of the wall surfaces and the coffered wooden ceiling. To contrast with this, the chancel shows the one note of richness - oak choir stalls, the vaulted roof with coloured and gilded bosses and above all the great stained glass window, "The Ascension," by Mr. James Ballantine, F.S.A. Scot.
The architect is Mr. Leslie G. Thomson, Edinburgh.
(The same edition of The scotsman also carried an excellent photograph of the cloister viewed from above on page 12.)

West Door:

Some of the carved emblems above the doors at the west end.

Some of the carved oak tympanums above the doors of the west end. I would think sculptor Alexander Carrick would have modelled these but the never carved in wood and this would have been undertaken by a wood carver.

A Lion at the west end poised to pounce on evil spirits.

The angel's on the tower.

jimmcginlay · Posted: Tue Mar 24, 2009 10:28 pm Post subject:

The most notable sculptural work is the carved relief of 'Christ and the Samarian Woman at the Well' in the cloister by Alexander Carrick.
www.alexandercarrick.webeden.co.uk

Writing of Carrick's Christ in an excellent essay on sculptor Hew Lorimer (a student of Carrick's) Duncan MacMillan wrote that
'In treatment, it recalls Eric Gill's Westminster Stations of the Cross'.
http://www.westminstercathedral.org.uk/art/art_stations.html

The figure of Christ however seems to be based on that of the carved tympanum over the west door of Chartres Cathedral.
http://www.greatbuildings.com/cgi-bin/gbi.cgi/Chartres_Cathedral.html/cid_aj2822_b.jpg

Carrick seems to have taken the idea of the well and water as the basis of his composition. Lines, particularly those of the flowing robes of the figures, literally flow across the scene, emanating from the source, the figure of Christ himself. Christ is portrayed as the font of all knowledge.

The work was executed late in Carrick's career and is unusual in that he abandoned his more usual austere and classical portraiture and introduced some human insight and even humour in his portrayal of some of the figures.

Perhaps for inspiration with his portrayal of Samaria's community well Carrick visited a public laundry, some of the faces are what you would expect to find in your average Edinburgh 'Steamie'.

Crest above the door to the hall.