Edward Maufe, St Thomas the Apostle, 1933–4, with Eric Gill, Calvary Group, 1933, Hanwell, London.
By the 1930s ambitious modernism in church architecture tended to exclude individual artist-craftswomen and men. Francis X. Velarde and Nugent Cachemaille-Day designed every aspect of a church’s interior decoration themselves. But Edward Maufe, influenced by Swedish architecture and by his wife Prudence who from 1915 was an interior decoration consultant at Heals and organised art and craft shows in the firm’s Mansard Gallery, tried both to be modern and to work collaboratively with artists and makers. The results were curious. His church of St Thomas the Apostle at Hanwell (1933–34) was an exemplary building with a Calvary group by Gill on the external East wall and keystone sculptures over doors by Vernon Hill. Inside there is plenty of individual work—a font carved by Vernon Hill, wood panelled screens carved with angels, fish, squirrels and birds by James Woodford, cross and candlesticks by the Artificers’ Guild, a mural of the Adoration in the Children’s Corner by Elizabeth Starling and small stained-glass windows by Moira Forsyth. His collaborators were given their freedom but on a miniaturised scale that ended up looking reticent almost to the point of invisibility.
—Tanya Harrod, 1999