Brentwood Cathedral

The construction of Brentwood Cathedral stemmed from the need to accommodate the growing population of Essex and so a new diocese was established in 1917. St. Helen’s in Brentwood was chosen as the cathedral church for this purpose, but it was very quickly clear that the old 1860s church was not large enough to function effectively as a cathedral.

By 1974, efforts to rectify this led to an extension of the Gothic church's north side, creating a larger space accommodating nearly 1,000 people. Unfortunately, within a mere 15 years, severe structural issues surfaced, demanding significant funds for restoration. The possibility of constructing an entirely new cathedral emerged and a large donation made building a grand new cathedral possible.

The cathedral is an amalgamation of two distinct architectural elements: the surviving portion of Gilbert Blount’s church from 1861 and Quinlan Terry’s additions completed between 1989 and 1991. Blount's section, Gothic in style, includes a nave, south aisle, chancel (now the Blessed Sacrament chapel), south chapel, former sacristy, south porch, and southwest tower with a spire. Terry's Classical design, drawing from Italian and English Renaissance influences, combines the original nave to shape a centralized Greek cross plan. Though contrasting in style, both sections share Kentish ragstone walls and slate roofing.

Terry’s addition features outer walls divided by Doric pilasters, the smoother Portland stone finish juxtaposed with rugged ragstone surfaces. A significant north-facing elevation boasts nine bays, featuring a semi-circular Doric portico reminiscent of architectural elements at St. Paul’s and St. Mary-le-Strand. The east and west elevations showcase round-headed windows, with Venetian windows accentuating both sides. A raised clerestory of yellow brick and arched windows culminates in a domed octagonal lantern, a prominent external and internal feature.

The east elevation sees the new structure abutting Blount’s chancel somewhat uncomfortably. Blount’s original chancel displays diagonal stepped buttresses, a Decorated window, and a south side with gabled sacristy and porch projections. The tower, asymmetrically placed at the southwest corner, exhibits two square stages transitioning to an octagonal belfry stage, housing both a newly cast bell and the original bell of 1861. A short stone spire crowns the tower, while a large five-light window adorns the west end of the nave.

The cathedral's day-to-day entrance leads into a narthex area within the Greek cross re-entrant, housing a repository designed by Taylor’s of Bildeston, Suffolk, based on Terry’s designs. The main space, resembling an Italian Renaissance court, features a stone Tuscan column arcade framing the area. The arcade design, reminiscent of Brunelleschi’s Ospedale degli Innocenti in Florence, incorporates roundels in the spandrels. A Doric entablature tops the arcade, leading to a raised clerestory stage with a divided ceiling housing the lantern.

The interior of the Blount church exudes a more intimate atmosphere, illuminated by stained glass, suitable for private prayer. Furnishings within the church are predominantly Terry’s designs or selections by the Bishop. The Blessed Sacrament chapel houses a painted ceiling from 1911 and stained glass depicting the Risen Christ with saints. Other notable pieces include the brass sanctuary lamp from St. Mary’s, Hornchurch, and a polychrome timber tabernacle from Rome. The cathedral also features the organ from St. Mary-at-the-Walls, Colchester, rebuilt and expanded by Daniels of Clevedon, accompanied by a new Classical case by Terry. The cathedra or bishop’s throne, inspired by a design from San Miniato al Monte, Florence, stands in the central bay of the southern arcade, crafted from Nabrasina stone according to Terry’s vision.