Apparently, since the new ‘set’ was first used on Easter Day, there have been several enquiries about the symbolism of the design and Nicholas asked if I would try and explain my thoughts in this direction.

The design, which was approved by the standing committee, I based on “St. James the Fisherman” wanting to incorporate the shell emblem of St. James (extremely difficult not to end up with it looking like an advertisement for a well known oil company!).

The colour scheme was chosen for me by the beautiful terracotta mosaic tiles of the chancel. As the high altar is not frequently used for communion I felt the frontal should blend with the background as a whole. I wanted the cross to be the dominant feature rising out of the turbulent sea (world) and the ‘waves’ to appear from the distance of the nave as bowed heads. I suppose it really developed as the “Fisher of Men” with the cross drawing up the net from the world of fish (men/women).

Apparently someone asked why the fishes were outside the net; in all honesty, I must admit they just balanced the design better that way (could they be ‘the ones that got away’? or perhaps they’re trying to join in).

I must just add that I thoroughly enjoyed the exercise (and technically it was indeed ‘an exercise’) and have been quite overwhelmed by the kind response to my efforts. I would like here to formally thank Jack Gostling who made me not only the frame to work on but the one to mount the frontal on; both were excellent. Lastly, my gratitude to Mrs. Jennings of the Hampton School of Needlework who was a great source of help and encouragement and a wonderfully experienced “sounding board” for my ideas."

Source: Margaret Lawrence, The Spire Magazine - 1985 June