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Little Chapel V2

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Little Chapel V2 RODBOROUGH TABERNACLE UNITED REFORMED CHURCH Welcome to our Little Chapel a place o spiritual serenity and a valued example o Arts and Cra ts Movement design. The Little Chapel is a place o tran)uillity and prayer a retreat rom the hustle and bustle o everyday li e. It is used regularly or worship and or special occasions such as weddings and baptisms. Its under- cro t is still used as meeting,room and head)uarters by the local Scout group. providing a valued lin/ with the wider community. We also wel, come visitors who are interested in the Arts 0 Cra ts Movement. as well as those simply see/ing a place to re lect. The Little Chapel was built circa 1835, originally as a coach house and stables to the Church, at a time when the sanctuary in the main church building was enlarged to accommodate a growing congregation. Subsequently, during the pastorate o the Rev. C. Ernest Watson (1909-1942) the number o young people in the church increased considerably. This began in 1909 when Rev. Watson was inspired to start a Scout Troop. , -uide Company was added in 1914. .n Sunday a ternoons, meetings attracted about i ty young people and Rev. Watson had the vision o converting the coach house into a worship centre or what was to become the -uild o the Tri-Sigma. The idea caught the imagination o local businessman Reginald Tyrell, who lived about hal a mile away on Wal/ley 0ill. 1n 1925 he generously inanced the cost o the conversion. The vestibule contains a plaque commemorating the s/ills o the cra tsmen who carried it out. The alterations were designed and supervised by Sidney Barnsley rom Sapperton, a renowned e3ponent o ,rts and Cra ts 4ovement design and now approaching the end o his long and illustrious career. The eventual result is the Little Chapel sanctuary that we see, unchanged, today. 5oorways were converted, leaded windows added and the interior was trans ormed with the light oa/ panelled wainscot, pews and matching urniture that we see today. 6loors were raised or the pulpit at one end and or the entrance with an oa/ screen and curtain at the other. The green glass pendant lights were made by esteemed local blac/smith ,l red 2uc/nell, who wor/ed with -imson and the other Sapperton cra tsmen. The urniture and ittings were made under the direction o 5utch cabinetma/er 1eter van der Waals at his Chal ord wor/shop. Waals was employed by the 2arnsley brothers and Ernest -imson, a ellow ,rts and Cra ts 4ovement designer and cra tsman o great repute. Rev. C E Watson (served 1909- 1942 as minister) whose idea it was to convert the coach house and stables. ,dditions were made in 1934, when the .riel bay was erected behind the pulpit, plus the entrance vestibule with a lin/ing corridor. These e3tensions were built in such a way as to avoid the two ancient beech trees o Rodborough Wood which became unsa e and were elled in 1950. The Little Chapel in the 1330s 1n the .riel bay are three stained glass windows o special interest. The central window (circa 1937), by Henry 1ayne. depicts the 8ativity and is dedicated to the memory o 4rs. Tyrell. .n the table below the 8ativity window are urther symbols o the Christian aith 9 a 2ible, a wooden cross and a candle. 6rom the 2ible we learn o -od:s great love. The cross symbolises our Lord and 0is sacri ice. The candle represents the light o the risen Christ shining in the world. The le t hand window (circa 1937) by Edward 1ayne, 0enry:s son, is in memory o 4r. Tyrell. 1t is a ter 0olman 0unt:s amous painting and shows Christ the :Light o the World:. Jesus is /noc/ing at the door o a person:s heart, see/ing admission. The door, however, can only be opened rom the inside. ,n interesting touch is the little bat which eatures in the top le t o the window. The opposite window depicts Jesus the -ood Shepherd returning with the lost sheep. 1t is aptly dedicated to Rev. Charles Ernest Watson who served the Tabernacle as its greatly beloved pastor or 32 years. .n the hilltop behind the igure is a small cross. The window was made by White riars o London, associates o the 2arnsleys, amous or their glassware as well as stained glass. Their signature is identi ied by a tiny igure o a riar on the right hand side o the window. 5uring Communion services a simple wooden board is placed between the two pedestals. Christians remember the last supper that Christ shared with 0is disciples, o ering them bread and wine as symbols o 0is bro/en body and the blood 0e shed or man/ind, an act eternally reminding us o -od:s unwavering love revealed in the li e, su ering and death o Jesus. ,t the ront o the Chapel is an oa/en sta mounted by a brass circle enclosing three -ree/ Sigmas, or S:s. This is the symbol o the Tri Sigma -uild. The three S:s represent Sincerity, Sel surrender and Service, e3pressing the three ideals o Christian living. -uild members progressed through various grades and were encouraged to enter ull membership o the church. 8ames o -uild members can be seen on small brass plaques in the .riel bay. ,t the rear o the Chapel a brass plaque records the dedication o the Chapel to the Tyrell amily. 2eside it is a large, blue enamelled cross decorated with a vine and grapes. The cross is o the 1talian school and was purchased by the Tyrells during a holiday in 1taly. 1t is reputed to be the largest piece produced by the artist at the time. , urther brass plaque ac/nowledges the generous inancial support received rom several charities which enabled us to renew the Chapel:s main roo in 2009. 6unds were grate ully received rom the 8ational Churches Trust, the URC West 4idlands Synod, the -loucestershire 0istoric Churches Trust, the Langtree Trust, the -loucestershire Environmental Trust and Rodborough Scouts, in addition to undraising and donations made by the members and riends o Rodborough Tabernacle. THE LITTLE CHA1EL. SIDNE6 BARNSLE6 AND THE ARTS 0 CRAFTS MO7EMENT 1n 1893 three young architects and urniture designers le t London, their erstwhile place o wor/, in order to set up permanently in the Cotswolds. They cared little or the >pro essional networ/ing? (to use the modern parlance) that attached to wor/ in the capital. They pre erred instead to pursue in a peace ul and natural rural environment their ideals o producing simple, honest urniture, made by cra tsmen with respect or the integrity o the raw materials - mainly locally sourced oa/. These three young men developed the practical s/ills required to produce their own urniture and, as they employed more cra tsmen, to supervise the entire process. This was somewhat unusual or the times and at irst local people did not quite /now what to ma/e o them. 0owever, the years went by and their renown grew as their design style developed within a new philosophy that we /now as the Arts and Cra ts Movement. The Little Chapel and the pulpit area o the main church building are both ine e3amples o the genre. Sidney Barnsley. Lucy 4orley, Ernest Gimson, Ernest Barnsley with his wi e ,lice and their two daughters, 4ary and Ethel, at Pinbury, -loucestershire, about 1897 Photograph courtesy of Cheltenham Art Gallery & Museum The Arts and Cra ts Movement was born out o growing concern that the increasing industrialisation o manu acturing at the beginning o the 19th century was destroying true cra tsmanship. The advent o sophisticated machinery during the industrial revolution led to mass production with which village cra tsmen could not compete. 4any ell by the wayside and their traditional s/ills were being lost. 2ut already there were those who recognised the threat and were prepared to spea/ out. The seeds o the ,rts and Cra ts 4ovement were sown. The irst big name to campaign or the return to true cra tsmanship was architect A.W.N 1ugin (Aoint designer o the Palace o Westminster), ollowed by 8ohn Rus/in and William Morris 9 the latter being perhaps the name now most associated with the ,rts and Cra ts 4ovement. The tenets o this movement were simple 9 honesty and simplicity o design, genuine cra tsmanship and use o local materials. The ,rts and Cra ts 4ovement grew to become a hugely important genre that was to in luence the course o 2ritish design throughout the 20th century. .ur three young local architects were to be numbered among the most respected masters o the genre. They were brothers Sidney and Ernest Barnsley and ellow architect and designer, Ernest Gimson. These three men were to become the oremost o those who drew inspiration rom its philosophy, and developed it so aith ully. Their contribution, there ore, to the remar/able phenomenon which was the ,rts and Cra ts 4ovement cannot be overstated. 1t was Sidney Barnsley who, in the early 1920s towards the end o his illustrious career, designed the conversion o Rodborough Tabernacle9s coach house into the Little Chapel. a highly regarded e3ample o ,rts and Cra ts design which has remained unchanged to the present day. ,lthough the 2arnsleys were rom 2irmingham and -imson rom Leicester, they shared remar/ably similar amily bac/grounds and values 9 their parents were liberal thin/ers and sel -made businessmen with a strong humanitarian ethos.
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