Issue 41 Spring web - Flipbook - Page 28
the details of interface between new and existing stones,
and details of specific micro-architectural elements
required the carver’s inspiration. Careful judgements were
made together with the conservators and the Cathedral’s
Fabric Advisory Committee to determine the right level
of reconstruction in the restoration and conservation of
this shrine base. All medieval stone surfaces were, of
course, cleaned and conserved and the beautiful interlace
patterns were built up in colour-matched mortar repairs,
as were the micro-vaults to the niches above the back
panels.
Following competitive tender, Dr David Carrington and
his team of expert conservators at Skillington Workshop
were appointed as specialist contractors for both the
deconstruction of the Victorian assemblage of stone fragments in the North Ambulatory and the reconstruction
of the shrine in the Chapel of the Four Tapers. After conservation of the surviving medieval polychrome decoration by Perry Lithgow Partnership, the medieval masonry
was meticulously cleaned and conserved in Skillington’s
Workshop in Grantham. Disfiguring shellac was removed
and archaeological evidence of the original methods of
construction of the shrine were investigated and recorded.
The shrine of Amphibalus is now the starting point for
the Cathedral’s new interpretation scheme - logically,
since the story of Alban’s conversion starts with him.
Amplifying Amphibalus’ story has added new dimensions
of spiritual significance - especially centring on
Amphibalus’ role as priest, teacher and evangelist. At a
time when Christianity is less and less understood, the
Church is emphasising the importance of every Christian
being prepared to share their faith with others. The Dean
and Chapter hope that the reconstructed shrine of St
Amphibalus encourages individuals to ‘invite others in’.
Most lost elements were replaced with new Tottenhoe
(clunch) masterfully carved by Alan Micklethwaite and
Martin Coward, or with lime mortar repairs skillfully executed by conservators Simon Ebbs and Albert Traby. The
shafts, all new, are of Purbeck marble, based on Alban’s
shrine base and the new surrounding steps are also Purbeck.
The extraordinary challenges for the conservators and
carvers included pandemic lock-downs, extremely
accurate setting out to graft the new materials onto the
irregular three-dimensional forms of the medieval stone
fragments, and physically moving the monument itself.
The original richly carved decorative scheme and
ornamentation demanded very tight tolerances, and
considerable care.
The masons scheduled and templated all missing sections
of the shrine base using the architectural drawings, but
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Above, original medieval carving to the west panel of the
shrine base
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