St. Margaret of Scotland Catholic Church

Lee’s Summit, Missouri

The aim of this design was to create a Romanesque-style interior with a Christ-centric conceptual basis. Much like the descriptions in the Book of Revelation, our design uses metaphor and symbolism to a greater degree than literal representation. Themes like the Marriage Supper of the Lamb, Christ as Bridegroom of the Church, and St. Margaret as the “Pearl of Scotland” are woven throughout the design. Over the triumphal arch, the Latin words “The Word became Flesh” remind us of the power of sacred art, not just to depict, but to transform. The church itself becomes a metaphor: both a physical place of worship and a reflection of Christ’s union with His Church.

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APSE DOME

The half-dome contains a large medallion wherein the Lamb of God is triumphantly depicted, “slain but standing,” atop the Seven Seals from Revelation. The ribbon border unfurls like a screen around the Lamb. Surrounding the central medallion are 24 large rays, for the twenty-four thrones in view of the Throne of Heaven, with seven stars interspersed. These refer to the seven Churches of Anatolia, to whom the opening letters of Revelation are addressed.

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APSE WALLS

On the apse walls, arched panels continue the colonnaded appearance of the proscenium. In each arch’s spandrel, a scallop shell and pearl signifying St. Margaret. This theme is reinforced by the heraldry of Scotland, the red lion and St. Andrew’s cross, in small crests on the left and right. A pattern of palm fronds within the panels suggests Christian martyrs who await the establishment of his Kingdom on Earth.

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PROSCENIUM WALLS

A symbol of the Christogram sits atop the Triumphal Arch, flanked by panels with Romanesque-style Crosses. Running along the arch is a bead-and-rail pattern, underneath which reads “Et Verbum caro Factum est,” or “the Word became Flesh.” The frieze band contains acanthus motifs, often associated with John 15:5, “I am the Vine, you are the Branches.” In this case, rather than continuous strands of foliage, each is framed by an arch. By doing so, orderly repetition is established, echoing the perfection of Heaven and suggesting a Communion of Saints. Like the metaphorical branches, the saints have spread the faith. The pilasters are adorned by scrolling motifs in the style of carved capitals.

CEILING

The ceiling features symmetrical paneling adorned with Romanesque motifs of acanthus leaves. Within the negative space of the leaves, a traditional Cross emerges, while the stems form a saltire Cross, reminiscent of St. Andrew’s. Each panel alternates between these variations, creating subtle variety throughout the ceiling.

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SYMBOLS & MOTIFS

The Fountain of Life image appears several times in scripture. In Isaiah 12:3, the faithful “shall draw water with joy from the wells of the Savior.” Echoing this, John 7:37 quotes Christ that, “He who believes in me-(shall receive)- rivers of living water.” The True Vine, takes a symbol of Israel and personifies it in Christ’s words from John 15:5. The parable of the Grain of Wheat teaches sacrifice for the good of the many. It is a familiar image from the Old Testament grain offerings to the Temple. The Lamp recalls the light imagery in the Genesis and Exodus when Christ declares in John 8:12 that, “I am the light of the world.”

FURNITURE

The newly designed furnishings include a Baldacchino, Ambo, Altar of Sacrifice, and Baptismal Font, featuring a harmonious blend of faux marbles, including Red Verona, Carrara, and Verde Alpi. These pieces draw inspiration from the Italian Renaissance as well as the early Christian churches of the Holy Land.