The architectural sculptor William Mitchell was commissioned to make the Stations of the Cross for the new Clifton Cathedral, built 1969–73 to designs by Ronald Weeks in close collaboration with clergy and theological advisors. The concrete church, almost entirely monochrome and undecorated, is notable for the success of its integration of the ideas of the liturgical reform movements of the twentieth century, and its expression of the principles of the Second Vatican Council – a ‘sermon in concrete’, in the words of Nikolaus Pevsner. 

Intended to resemble the Hagia Sophia, with a monumental concrete dome, the neo-Byzantine St John the Baptist church was built in 1927. The interior is dominated by a magnificent mosaic scheme which covers the sanctuary apse, designed by the art critic and artist Eric Newton for Ludwig Oppenheimer Ltd., a mosaic firm set up by his grandfather. The scheme, which took a year to build, draws on Newton’s considerable knowledge of art history and his study of early Christian mosaics, although there are echoes too of more recent religious art, such as the prints of William Blake. It depicts Christ the King in the central semi-dome, surrounded by the four Evangelists, with processions of angels bearing wreaths and the apostles as sheep in tiers below. Behind the altar is a shimmering expanse of gold, shot through with finely patterned vertical lines. To each side are scenes from the life of John the Baptist – Christ’s Baptism and John’s beheading. The deep arch connects the human congregation of the nave to the eternal life within – four saints are depicted, Jerusalem, Noah’s ark, the Bishop of Salford’s coat of arms. Here are some of the most dramatic parts of the scheme: to the right, a blue-black winged Satan casts the damned into Hell, and above, angels blowing horns frame an enormous, explosive star. No part of the scheme lacks detail and imagination: robes, wings, edges all boast rich patterning; behind the tearing of the veil, an olive tree bends in the storm.

George Mayer-Marton’s work in mosaic for the Franciscan church of St Clare, Blackley, is one of several commissions by the Roman Catholic church in the north-west of England, but only one of three that survive.

George Mayer-Marton’s Crucifixion mural at the Church of the Holy Rosary (1954–5) was one of several commissions by the Roman Catholic church in the North-West, but only one of three that survive.

The opening of English Martyrs RC church in 1953 marked the completion of F X Velarde’s (1897–1960) most ambitious post-war building. An expressionist brick basilica filled with colour and decorative elements; not added but embedded as intrinsic aspects of the architecture. As with all Velarde’s churches the detail was tightly controlled, work with artists being a collaboration. The most successful and longest of these collaborations was with the sculptor Herbert Tyson Smith (1883–1972).

These two marble panels by Tom Phillips (2003) flank the entrance to the Chapel of Holy Souls at Westminster Cathedral. They have since been joined by an accompanying mosaic depicting St John Henry Newman (2008), and a mosaic scheme for the ceiling of the adjacent St George’s Chapel (2016).

One of many ovoid domes in the Cathedral which has been given imagery and decoration using mosaic. The works depict St Francis preaching to the birds and St Anthony to the fishes.

Ceri Richard's reredos and stained glass were conceived as a single triptych, abstractly flowing one into another. The tabernacle has more obvious imagery: the heavens, the chalice and the cross.

Graham Sutherland's Crucifixion, unveiled in 1963, was the third he had created for a church and the first and only commission that he received from a Roman Catholic Church, despite being a Catholic himself. It taps another theme found within the revival of sacred art, a focus on the horror of crucifixion. For Sutherland this derives from reflection on the terror inherent in both Grünewald’s Isenheim altarpiece and the reality of the Holocaust.

In response to the invitation by the Westminster Cathedral Art and Architecture Committee to Giacomo Manzu that he should produce a low relief bronze wall panel showing St Thérèse of Lisieux for the Cathedral, Manzu submitted a sketch in 1956. This was immediately approved and the commission awarded. Manzu then proceeded to design and produce the bronze in Italy with casting taking place in Milan.

Cocteau completed the murals between the 3rd and 11th November 1959. The theme he chose to depict was the Annunciation, the Crucifixion and the Assumption. It is said that he spoke out loud to the characters as he was drawing them. While painting the virgin he is quoted as saying, ““O you, most beautiful of women, loveliest of God’s creatures, you were the best loved.

Still Point is a meditative spatial work incorporated into the cathedral grounds. It has three associated parts: a stone element, a poem and a song.

Painted in 1961 for the Church of the same name, Mary is depicted as the strong Mother of Mankind. The child, sleeping peacefully on her arm, represents humanity undisturbed by the chaos of the world, shown in the blazing explosion of the background.

Following a major refurbishment in 2010 it was apparent the reconfigured space lacked visual cohesion. Monsignor Curry wished to commission suitably qualified artist-designers to produce a new, unified scheme of furnishings.

Jonah Jones' concrete-glass window, baldacchino and mosaics are installed at the Catholic Church of St Patrick, Newport, Gwent. The large window shows the saint in purple archbishop’s vestments.