DOI Heft:
No. 66 (September, 1898)
DOI Artikel:A mortuary chapel
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21969#0276
A Mortuary Chapel
DETAIL OF ORNAMENT
DESIGNED BY MRS. G. F. WATTS
is extant in proof. All the clay has been moulded
in one of Mr. Watts’ studios by four and some-
times five permanent workers, and by neighbours
who have asked to do a simple bit to show their
interest in the work, and also by the class held on
Thursday evenings at Limnerslease. The terra-
cotta, in which all the ornamental details are
wrought, was actually fired in a small kiln in
the garden, waggon load after waggon load of
clay from an adjacent village having been brought
to the studio, moulded under Mrs. Watts’ super-
vision, fired, and transported to the site of the
building. The oak doors were carved in the village,
the ironwork forged at its smithy.
Some published descriptions of the consecration
of the building included imaginary estimates of its
cost; but here it is not the money value of the
gift which the dwellers at Limnerslease have
bestowed on the village, but the love which has
prompted it, the thought and wisdom that has
carried the idea to completion, and the unstinted
labour to perfect its art, which demand our sym-
pathy.
That the chapel is in a way an architectural
triumph must not be left unsaid, because that fact
239
The western frieze has as its central motive
Love, a cross with hearts intertwined, supported
by the pelican, an ancient emblem of self-sacrifice.
On the roundels are Purity, Peace, Joy, Service,
each represented by symbols.
On the north frieze Light is the central motive,
supported by eagles, and the roundels bear God-
like : the crescent; God-ward : five lamps trimmed
by the wise virgins ; God-lit: the eye; and God-
ship : the twelve flames of Pentecost.
All the symbols on the roundels are accom-
panied by the words here quoted, inscribed each
on a ribbon across the circle.
It is hard in comparatively few words to give
even a rough idea of the extremely elaborate sym-
bolism which Mrs. Watts has brought together,
adapted, or invented to carry out the teaching of
the building. To her not only is the idea due, but
its practical shape also; if ever one person can be
said to have built the whole structure it would be
true of this. It has been conceived, designed, in
part actually wrought, and every detail super-
intended by her (with the kind advice of Mr.
George Redmayne, an architect who overlooked
the work, to see that no mistakes were made).
The first model in cardboard, as it left her bands,
DETAIL OF ORNAMENT
DESIGNED BY MRS. G. F. WATTS
DETAIL OF ORNAMENT
DESIGNED BY MRS. G. F. WATTS
is extant in proof. All the clay has been moulded
in one of Mr. Watts’ studios by four and some-
times five permanent workers, and by neighbours
who have asked to do a simple bit to show their
interest in the work, and also by the class held on
Thursday evenings at Limnerslease. The terra-
cotta, in which all the ornamental details are
wrought, was actually fired in a small kiln in
the garden, waggon load after waggon load of
clay from an adjacent village having been brought
to the studio, moulded under Mrs. Watts’ super-
vision, fired, and transported to the site of the
building. The oak doors were carved in the village,
the ironwork forged at its smithy.
Some published descriptions of the consecration
of the building included imaginary estimates of its
cost; but here it is not the money value of the
gift which the dwellers at Limnerslease have
bestowed on the village, but the love which has
prompted it, the thought and wisdom that has
carried the idea to completion, and the unstinted
labour to perfect its art, which demand our sym-
pathy.
That the chapel is in a way an architectural
triumph must not be left unsaid, because that fact
239
The western frieze has as its central motive
Love, a cross with hearts intertwined, supported
by the pelican, an ancient emblem of self-sacrifice.
On the roundels are Purity, Peace, Joy, Service,
each represented by symbols.
On the north frieze Light is the central motive,
supported by eagles, and the roundels bear God-
like : the crescent; God-ward : five lamps trimmed
by the wise virgins ; God-lit: the eye; and God-
ship : the twelve flames of Pentecost.
All the symbols on the roundels are accom-
panied by the words here quoted, inscribed each
on a ribbon across the circle.
It is hard in comparatively few words to give
even a rough idea of the extremely elaborate sym-
bolism which Mrs. Watts has brought together,
adapted, or invented to carry out the teaching of
the building. To her not only is the idea due, but
its practical shape also; if ever one person can be
said to have built the whole structure it would be
true of this. It has been conceived, designed, in
part actually wrought, and every detail super-
intended by her (with the kind advice of Mr.
George Redmayne, an architect who overlooked
the work, to see that no mistakes were made).
The first model in cardboard, as it left her bands,
DETAIL OF ORNAMENT
DESIGNED BY MRS. G. F. WATTS