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The Charterhouse London E1 RICHARD GRIFFITHS ARCHITECTS The Charterhouse London E1 Heritage Impact Statement The beautification and refreshment of the Great Chamber: Proposed Works June 2018 Richard Griffiths Architects is the trading name of Richard Griffiths Architects Ltd RICHARD GRIFFITHS ARCHITECTS Contents Introduction 3 Historic development of site/buildings 4-5 Heritage significance 6-8 Issues facing the building 9 Summary of brief and proposals 10 Heritage Impact Assessment 11 Policy Context 12 Drawings as Proposed 13-20 Material Palette 21 22 Stakeholder Consultation Appendices 23 Appendix I : Listing Description 24 Appendix II : List of Attached Drawings Appendix III : attach CMP The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 2 RICHARD GRIFFITHS ARCHITECTS Introduction Richard Griffiths Architects have been appointed by the Charterhouse to provide a Heritage statement for the repair and restoration of the Great Chamber. This report is to be read in conjunction with drawings and other documents submitted for this listed building consent application. The Great Chamber is one of a suite of large rooms on first floor of main building at the centre of Charterhouse estate. This clustered around Master’s Court is set within larger grounds that also include smaller courts and garden. It is a grade I land has long been recognised by Islington as a building of architectural, historical and cultural merit, both locally and nationally. This report includes: • Analysis of the development history of the Chamber within the context of the Charterhouse. • Analysis of the significance of the room in its present form and of its contribution to the history of the building • Analysis of the impact of the current proposal on the character and appearance of the listed building • Analysis of planning and heritage policies relating to the project The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 3 RICHARD GRIFFITHS ARCHITECTS Historical Background The Great Chamber is steeped in history. The room dates from the 1540s, and in 1558 it was referred to as the “Throne Room” after Elizabeth I’s first visit to the mansion, which she made on the very day she heard that she was to ascend to the throne. During this five day visit she is said to have convened the Privy Council in the Great Chamber. Like Elizabeth, James I of England also held Court in the Great Chamber at the time of his accession to the throne when he is thought to have created up to 133 new barons. King James went on to become the first Royal Governor of the charity founded by Thomas Sutton which inhabits the site to this day. BOMB DAMAGE 1941 TO OLD LIBRARY AND GREAT CHAMBER Like much of the Charterhouse, the Great Chamber has been subtly altered over the years. The two dominant features today are the fireplace with its distinctive overmantel and the ornate heraldic ceiling, featuring the coats of arms of the fourth Duke of Norfolk and his family (the mansion was the Duke’s London residence). Both of these suffered greatly in World War II when incendiary bombs caused a firestorm that engulfed swathes of London on the 10th- 11th May 1941. On this night 1,436 Londoners were killed and the damaged buildings included the House of Commons and Westminster Abbey. The buildings were evacuated, and the Great Hall and Great Chamber were protected by a temporary ceiling until a major refurbishment programme, led by architects Seely and Paget, was started in 1950. This work began after the site was scheduled as an Ancient Monument, which greatly helped the Governors to secure the support of the Government for the restoration. The Charterhouse was formally reopened by HRH The Queen and The Duke of Edinburgh in 1958. Since that time, the Great Chamber has hosted many key events in the life of the Charterhouse but little restorative work has been undertaken, and its appearance no longer reflects the room’s centrality to the charity. BOMB DAMAGE 1941 EXTERNAL VIEW FROM CHAPEL COURT The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 4 RICHARD GRIFFITHS ARCHITECTS The Historical Development of the Great Chamber Pre-18th century The chimneypiece predates Sutton’s Hospital, but accounts from 1626 exist cornice, dado, and the ungainly light fittings all survive from Seeley and for its painting and gilding. The geometrical pattern in the centre of the Paget’s reconstruction. The Charterhouse had its origins in the Carthusian monastery that was overmantle bears the royal arms and cipher thought to be those of Charles founded on the site in 1370, at what was then the edge of the City of London. I. Detailed analysis has confirmed that the painting is by Rowland Buckett Following the Dissolution the religious community of Carthusian Brothers executed during the refurbishment works in 1626. The dates of the other was disbanded 1538 and the priory was acquired and converted into a large panels, including the Last Supper, the Annunciation, and a set of portrait stately home by Lord North. The Great Chamber was intended as Lord heads, are not known for certain: the latter may be representations of the North’s grandest Chamber for private dining and granting audiences. It sons of the fourth Duke of Norfolk and therefore made before 1569. dates from the 1540’s and is a variant of the typical long gallery which can be found in grand houses of the late medieval and early modern periods. It The Great Chamber had two fireplaces, of which only one remains, at the was originally a single space: Its length was broken only by two fireplaces of west end. The painted and gilded chimneypiece is considered to be one of which only one remains at the West end. the most important artistic features of the Charterhouse. It suffered fire and water damage in 1941 and was extensively restored by Robin Ashton between The house subsequently passed onto Thomas Howard, 4th Duke of Norfolk, 1955 and 1958. who further embellished the interior of the room. The Great Chamber had been used as the Throne Room when Elizabeth I held court at Charterhouse 18th - 19th century on her accession in 1558, and was the location for the Privy Council meeting VIEW OF THE GREAT CHAMBER THE MID 19TH CENTURY held during her five-day stay. Due to its size and the availability of rooms within the building, the Great Chamber had very intermittent use which led to the suggestion, in 1767, that The decorative design of the ceiling dates from Norfolk’s ownership, it could be turned into an infirmary. The proposal was not adopted and the and there are accounts relating to plasterwork carried out in 1572-3. The room’s decline continued until renovation was carried out in the 1830s. combination of thistles and roses may refer to the Duke of Norfolk’s intended marriage to Mary Queen of Scots, which led to his part in a failed plot against Shortly afterwards Blore added the west window, to compensate for blocking the Queen and his subsequent downfall. light from the alcove window and the room was re-decorated by Crace and Son. His second son Lord Suffolk sold the estate to Thomas Sutton who made it into a hospital and almshouse in 1611. At this stage the Chamber was 20th century subdivided and the ante-room created as part of the hospital works. During the War the whole of the floor and ceiling was destroyed, with the sole exception of the ceiling within the alcove. In the post-war reconstruction It was initially used for Governors’ meetings (an eight piece set of tapestries the wall of the ante-room was moved, making it a little smaller and the Great was bought when the Charterhouse was converted for Sutton’s Hospital) Chamber longer. The ceiling was restored to its original decorative pattern, but it proved too large and by 1639 it was superseded, for at least some though with more restrained gilding than may originally have been used. The meetings, by rooms in the Master’s lodgings. VIEW OF THE GREAT CHAMBER AND FIRE PLACE IN THE EARLY 20TH CENTURY The Charterhouse Great Chamber, London | Heritage Impact Statement | June 2018 5 RICHARD GRIFFITHS ARCHITECTS Summary of Heritage Significance Policy statesmen, and was where James I held court in the room following his Artistic Significance ascension to the throne in 1603. The policy context for assessments of heritage significance is set by the ‘The Charterhouse has a fascinating collection of historical portraits of National Planning Policy Framework (2012), and summarised in its Glossary Thomas Sutton’s purchase of the site in 1613 and subsequent refurbishment Governors and former members of staff, which illustrate just how closely as follows: saw the room divided in two - the ‘Great Chamber’ and Antechamber. Its connected this institution was to the centre of power in the late seventeenth main function during this period was a Governor’s Room for meeting and century. These figures include some of the most powerful and influential “Significance (for heritage policy): The value of a heritage asset to this and assemblies. In the 18th century it fell into disuse and was principally known figures of their day, and the paintings themselves come from the workshops future generations because of its heritage interest. That interest may be as the ‘Tapestry Room’ derived from Flemish tapestries that were hung of a range of the most significant portrait painters of the period. The survival archaeological, architectural, artistic or historic. Significance derives not only here. of these images in this very important setting gives both paintings and from a heritage asset’s physical presence but also from its setting.” building particular historical resonance and they should be preserved and After considerable re-modelling following bomb damage in World War II Recent guidance (March 2015) on the topic can be found in Good Practice protected for the future.
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