Setting A.J. Youngson called St George's dome "one of the most notable features of the Edinburgh skyline". St George's occupies a site designated for a church in
James Craig's initial plan for the New Town. Both George Hay and the
Buildings of Scotland guide to Edinburgh note that while the building is out of proportion to its surrounding terraces, it forms an effective visual terminus to the view along George Street.
Ian Gordon Lindsay and
William Forbes Gray also note the church's lack of proportion to
Adam’s surrounding buildings. Gray surmises that Reid designed the church relative to the overall size of the square rather than to its neighbouring terraces.
Robert Adam's plan 's unexecuted plan for St George's (left) compared to
Reid's finished plan (right) In his plan for Charlotte Square,
Robert Adam designed a church for this site. Modelled after
St Paul's Cathedral, it was to have an advanced portico with a
pediment supported on coupled columns. Pavilions with
pilasters on the corners would have flanked this arrangement while supporting small
domes on
peristyle drums. The central dome would have been similar, albeit shallower and with four pedimented faces on the drum.
Exterior The facade of the building, facing onto
Charlotte Square, centres on a
balustraded
portico supported by four
Ionic columns
in antis and accessed a flight of shallow steps. Within the portico, two rectangular entrances flank an arched entrance. All are filled in with smoked glass, which replaced wooden doors at the time of the building's secularisation. The building's prominent green
copper dome and
gilded cupola are supported by a two-stage
drum. The bottom part of the drum is
peristyled with every fourth
bay blocked in by a
niche. The shorter upper section is pierced with oculi. The drum and dome rise from a stout square base over the former
vestibule at the front of the building. The building's plan is 112 ft (34m) in width and length while its total height is 160 ft (49m). At the intersection of the cross’ limbs, piers in each corner spanned by
coffered
segmental arches supported a shallow, coffered dome centring on a circular light. The church was able to accommodate 1,600 worshippers, the interior was, prior to conversion, relatively plain though distinguished by a large pulpit in Spanish
mahogany by
William Trotter. This stood at including its canopy, which was removed some time before 1940. The
Royal Commission on the Ancient Monuments of Scotland's survey in 1951 found most of the furnishings were then modern while the doors to sanctuary were likely original. The surround of the central door to the sanctuary was fashioned as a memorial after the
First World War. These doors connected the sanctuary to a spacious
vestibule with gallery stairs. The organ was a two-manual
Father Willis installed in 1882 and upgraded to three manuals by the same firm in 1897 and again enlarged by them in 1932. The organ was removed in 1962 and parts of it were reused at
St Mary & St Giles Church, Stony Stratford. The current interior, dating from Robert Saddler's conversion of the building between 1964 and 1970, consists of five storeys. These are accessed via a two-storey entrance hall with
mezzanine floor.
Criticism Early critics, including
The Scots Magazine, drew negative comparisons between
Reid's design and
Adam's, noting that the latter could have been built for the ultimate cost of Reid's. A.J. Youngson found harsher criticisms of the building unjust while also concluding "it is certainly a pity the Adam design was not used". ==See also==