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Statue of our Lady
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 Statues, stained glass, religious paintings and icons all serve to provide a focus as an aid to devotion and prayer. The statue of the Blessed Virgin Mary in the Lady Chapel at St. Matthew's has an interesting history. In 1912 the statue was taken by some people known as ''Kensitites' who were puritans and objected to new high church ways which they thought of as idolatry. They took the statue on the train to York to show it to the Archbishop and to complain of 'Popish' practices within a parish church in his province. It is said that the day was a great disappointment for them. Because the statue was so large, it took up quite a bit of room on the train and the guard insisted that they pay full adult fare for the seat that the statue took up! When they got to the Archbishop's Palace in York they knocked the door, and when the Archbishop answered, they shouted out accusingly 'What do you think of this then?' 'Very nice', replied the Archbishop who refused to be drawn into the controversy. A year later the statue was decapitated by members of the Kensitites and a legal case of criminal damage ensued so that, when the statue was repaired, there wouldn't be a reoccurrence.
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The Reredos
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St Matthew's has had an interesting and distinguished history, and, as part of its rich Anglo-catholic tradition has been beautifully ornamented with original works of religious art. Recent years have seen important restoration work being undertaken at the church and in September 2002 the highly ornate Reredos and central painting were removed from its position behind the High Altar for much needed restoration and repair.
Many people will remember the painting to be a rather dull, dark and gloomy picture, hardly the representation of 'Adoration' which the artist originally intended as a focal point
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for the High Altar and Reredos at the east end of the church.Until the recent restoration work began, the artist who painted the picture was unknown, but then the work began on the painting, a signature of the artist Nathaniel Westlake was found, along with the date of 1890. The artist was obviously present when the painting was originally placed in position as it is thought that he was able to 'touch up' with various brush strokes any imperfections which came to light when the picture was finally in place Unfortunately, the painting was never varnished and it became coated with carbon deposits as a result of the use of incense in worship, along with industrial pollutants commonly found in the atmosphere of a highly industrial city centre of the time. Some restoration work was undertaken during the 1960's, although the technology and restorative knowledge to c
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complete the task was not available until the present day. Much work has therefore been undertaken to remove the unwanted deposits and uncover the original artistic work in all its glory. The picture has been coated in a modern conserving glaze and it is now thought that the colour and light of what is considered to be an authentic 'Pre-Raphaelite' piece of work is now akin to what the original artist first envisaged, a representation of the adoration of the baby Jesus as the centre piece of a gilded Reredos, Italianate in style.
Many of the decorative works of art found in St Matthew's contribute to the cultural ethos of the city's heritage and it is fitting that the restoration has also been undertaken by highly skilled local artists and craftsmen. Nicholas Morgan of Filibuster and Booth Antiquarians first envisaged the project and has overseen its progress through all its stages. Russell Light was the architect supervising the removal and repair of the Reredos, Mike Howden undertook the gilding work, Gillian Walker was the main artist working to restore the painting and Steve Topham was the man responsible for the removal and reinstallation. English Heritage Lottery Funding provided funding for this most important restoration project.
On Sunday February 2nd 2003, the Bishop of Beverley was present at St Matthew's for a special service. During the course of the service a student from China was baptised and confirmed, and the restoration work of the church was blessed and re-consecrated. Thus Christ's Church was built up, restored and renewed physically, numerically and spiritually. Also present were the Lord Mayor of Sheffield and the Master Cutler and champagne and a special lunch were served afterwards for all who attended the service. The chief feature of the reredos is a painting, oil on canvas, of the Nativity. Mary and Joseph are grouped around the Holy Child, while shepherds adore him, the angelic choir is in the background.
The upper corners of the painting are rounded and there is a semicircular ogee at the top in the centre. The whole surround is in gilded wood. At the centre top is a carved and gilded figure of God reigning, seated on a throne and with orb and sceptre, the whole covered with a crocketed pinnacle.
The figure is flanked on each side by two members of the angelic orchestra. At each side of the picture are two niches occupied by statues in carved and gilded wood- The lower left represents St.Ann and the child Mary, The upper St.Crispin seated at his trade the lower right shows the emperor St.Henry, and the upper right St.Lawrence. Over each pair of statues is a crocketed pinnacle.
Below the picture is an inscription
"Natum videte regem angelorum.
In addition, below that a row of nine roundels showing the head and shoulders of figures in varying attitudes of worship.
The carver was F.Tory, who taught at the Sheffield School of Art.
The wooden platform occupying the place of a tabernacle is a later addition, designed to bring the top of the altar crucifix in line with the tops of the candlestic
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The Lady Chapel
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Divided from the sanctuary with an iron grill screen and gate topped by three chandle holders in iron and brass, the bottom of the gate shows a hammer and pincers.
Plain glass window with diagonal leaded panes. The altar is in medium oak above which is a hanging Pyx.On the step are altar rails to the left and right. Brass plate en left altar rail below left aumbry "In memoriam Stephanie."
On the wall is a picture of Our Lady of Perpetual Sorrows.
A second aumbry on south wall, both are in panelled dark oak, the
first contains winding gear for Pyx.
Confessional on south wall behind wall arching up and across the ceiling. Above confessional is a picture of St.Mary Magdalene. There is a central brass hanging sanctuary lamp. In the
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corner behind the arch on diagonal oak wall mounted shelf, is a statue of The Blessed Virgin Mary with her child in her amrs, predominately in blue and gold. There is a small sanctuary lamp hanging beside this statue. On the base of the statue are the words carved Raffl Paris. On wall arch a tile of the Golden Jubilee of Our Lady of Walsingham.
there is stall seating in dark oak for six in three rows, also there are three extra chairs.
First Station of the Cross - A Thanksgiving.
On the iron gate into the Chapel is a copper plate in relief
"In memory of Fredrick Clifton died December 4th 1904 and Elizabeth on whose souls may God Have mercy
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War Memorial in The Lady Chapel
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To the right of the altar on oak panelling is a plaque of copper on marble
"In loving memory of Matthew Hale, churchwarden died September 16th 1908, George Edward’s, choirmaster died March 5th 1910, William Crumpton, churchwarden died December 10th lylO, William Mettam, verger died July 23rd 1910. May they rest in peace." ?
To the right of the gate into Lady Chapel beside choirstalls on
the wall is a Memorial of copper on marble
The Regimental coat of arms of Lincolnshire,
"To the glory of God and in loving memory of Edwin Inman aged 21 years altar server in St.Matthew’s Church and Noel Inman ag-ed 18 years brothers. Both of the 10th Lincolnshire Regiment and killed in Battle on July 1st 1916 in France. The three Sanctuary Lamps in this church were given. Lord all pitying Jesu Blest grant them Thine Eternal rest. "
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War Memorial
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Diane Gascoyne is a member of the Volunteers associated with the National Inventory of War Memorials. In the days when students play such a prominent role in Sheffield, she thought that we might like to remember a particular student formerly attached to St Matthew's. Many people walk past the War Memorial every day, and to most, the memorial is merely a list of names. The following is an extract from the Yorkshire Telegraph and Star, 27th November, 1916.
'Many friends in Sheffield will hear with keen regret of the death of Lance-Corporal John Philip Chellingworth, of the Coldstream Guards. He enlisted on October 6th, 1915, although still under 18 years of age. But he was a fine vigourous specimen of young manhood, being over 6 feet 2 inches tall, and broad in proportion, and looking older than his years. So keen was he on taking his share of the fighting, that he would not wait until he had reached the age limit, but insisted on going as soon as he could be accepted. It is a pathetic and tragic coincidence that re reached the hospital in London after some months at the front, on October 6th, a year to the day after joining the army. The body is to be brought to Sheffield and the funeral will take
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place at the General Cemetery tomorrow, part of the service being held at St Matthew's church, where the coffin will be conveyed on a gun-carriage, accompanied by a military escort. Lance-Corporal Chellingworth was a scholarship student at the Sheffield School of Art, and had done much promising work that seemed to indicate a successful career. His father, Mr F. J. Chellingworth, is a member of staff of the 'Sheffield Telegraph'.'Diane notes however that, although the Inventory has photos and descriptions of the memorials to E. And N. Inman and to the parishioners of St Matthew's (outside), they do NOT have any historical background about these memorials, such as how much they cost, when they were unveiled and dedicated, who designed them etc. Any information that anyone might have concerning the memorials could be of valuable historic interest. If this is a project that you might undertake, please let Fr. Simon Know.
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The Sanctuary
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The High Altar is of oak, inlaid with copper. Except in Advent and Lent, the decorations are covered by an altar frontal.
The Reredos behind the altar has an alabaster base. The oil painting by Westlake shows the Adoration of the Shepherds. The row of angels below bear scrolls with the words "Naium videte regem angelorum" ("Come and behold him bom, the King of Angels"). The four gilt figures are St. Henry the Emperor, St. Laurence, Deacon, St. Anne, mother of Our Lady, and St. Crispin the shoemaker — God's s aints from all walks of life.
The altar, reredos, crucifix and candlesticks were all designed by John Sedding, who died in 1886 before the work was completed.
The East Window shows the Virgin and Child, with St Matthew and St. Wilfrid, Archbishop of York, on her right side; on her left are St. Peter and St. George. Angels bear scrolls with words from the Te Deum: "We praise thee, O God." "And to thee all angels cry aloud, Holy, Holy, Holy."
Also in the Sanctuary are two memorial tablets, on the left, to the first Vicar, Rev. J. F. Witty; on the right one to two brothers killed in the 1914-1918 war, in whose memory the three hanging lamps were given.
The Choir Screens. The Iron screens at the back of the choir seats are copies of those in Pisa Cathedral in Italy. They were made locally.
The Choir Stalls were designed by Sedding's successor, Henry Wilson. The carving of all kinds of living things illustrates the words of the Benedicite, "O all ye works of the Lord, bless ye the Lord." The mouse is the signature of the Yorkshire carver Robert Thompson. Six of the eight panels of hammered copper illustrate the days of the creation of the
world; that in front of the Vicar's stall shows the worship of all men and women before the heavenly child, and opposite this is the Day of Pentecost
Other examples of copper work include the panels on the chancel gates and on the pulpit, memorials to Father Larchin and Father Weekes, curates who died in office.
The Hanging Rood. Designed and made locally, it was dedicated as the memorial to Father Ommanney (see the tablet near the entrance to the Lady Chapel).
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