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Facing main doorway. Three figures; theology is represented by a standing female figure holding in her left hand a volume of Holy Writ, and with her right hand she directs Science, who is depicted as an old man studying a globe. Art is shown as a youthful metal worker who is making a chalice, and is depicted in the act of listening to Theology.

Champneys's original plan for the vestibule appears to have included three niches in the main wall, niches that would hold sculpture. Mrs Rylands developed the idea for the statuary though she made it clear to Champneys that her preference was to place any statues in front of the niches rather than inside them. Early in 1893 she approached John Cassidy, who was already working on a statue of John Rylands, to prepare designs for a sculpture to occupy this important position. Her instructions are not recorded but she may already have been envisaging a symbolic sculpture relating to Theology. Cassidy's ideas did not reach Mrs Rylands' own expectations: 'The present appearance of three statues in a line all one height and size looks to me anything but striking and too much like the statues one sees in a cathedral.' But if changes were made to the niches, she told Champneys, then she would be able to suggest to Cassidy 'a treatment of the subject more in harmony with what I should like, independent of the details which I must leave him to design.' Further discussions followed but no immediate commission was offered. When the question of the sculpture was returned to in the following year it was now conceived of as a group of three figures, representing Theology, and Art and Literature or Poetry, standing on a base in front of a shallow recess. As in the treatment of the statues in the library, Mrs Rylands ' wish to have the statues standing proud of any niches had been realised. Cassidy was asked again to submit a sketch. Champneys used the opportunity to advance George Frampton as the sculptor. But it was Cassidy who received the commission, agreeing to complete a group of three figures in red shawk stone for £300, adapting all sketches and models to Mrs Ryland's 'entire approval.' Champneys could not have been informed of the selection because a fortnight later he was enquiring whether any decision had been made on the sketch submitted by Frampton. Cassidy prepared his design though it unclear exactly who proposed replacing Literature with Science. Champneys' response to Cassidy's design was qualified praise. He judged the central figure representing Theology as too tall for the vestibule, and that the base of the figure required a symbolic lift. 'This might be a rock to symbolise confidence, or it might be a dragon to imply that religion subdues and keeps down the power of evil, a symbol very often used in early Italian art', Champneys informed Mrs Rylands. Some reduction was made to the height of the figure but no response was made to the base. Champneys' concern over the weakness of the base may have still been concerning him when he submitted his design of the frame for the sculpture. He included a coat of arms on the corbel, but it was an embellishment that did not receive Mrs Rylands' approval. Cassidy installed "Theology directing the Labours of Science and Art" in February 1898, putting the finishing touches to it in July.

Theology, science and art.

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At risk

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Sandstone