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Cliveden's Chapel

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Cliveden's Chapel Cliveden’s Chapel A comprehensive guide to Cliveden’s Chapel through the ages, from Tea Room, to private Chapel Introduction You’re entering a special place on Astor commissioned the the Cliveden Estate. It’s both a architectural firm of John Chapel and a final resting place. Loughborough Pearson to complete Originally designed and built in the the works. Pearson was the leading 18th century, its sober stone exterior gothic revival architect of the conceals a rich, decorative scheme day, and previously undertook the conceived in the late 19th century refurbishment of the Mansion at for William Waldorf Astor (1848- Cliveden. He died in 1897 and the 1919). work was carried out by Pearson’s son, Frank. Astor first proposed the idea of converting the 18th century Tea This involved major structural Room into a splendid private chapel alterations to change the former in 1897. He wrote on the 7th July two storeyed building in to a double that year to the ‘Vicar’ of the Parish height space. Frank Loughborough of Taplow, W. G. Sawyer, expressing Pearson worked with Messrs that he had ‘it in contemplation to Clayton and Bell, at that time, the convert what is called the “Temple” prime workshop specialising in at Cliveden into a Chapel’. stained glass. The same firm provided the The process of transforming the drawings for the intricate mosaic drawings of Clayton and Bell into panels which adorn the walls for an elaborate design in pieces of Robert Davison, who also executed coloured Venetian glass, known as the alabaster work, the Altar and tesserae was completed in several the Cosmati marble floor. Davison’s stages. letterhead outlined the work that could be undertaken by the In the first phase, the tesserae would company; ‘architectural, decorative have been laid onto facing paper over and monumental work in marble, sections of a reversed version of the granite and stone, mosaic decoration Clayton and Bell design. The cubes in enamel and gold, marble and of glass would have then been cut ceramic, mosaic pavements in to size and shape and when correct, marble and tile’, - much of which glued to the facing with a water- would have been employed in the soluble adhesive. creation of the Chapel. Pearson as managing architect, The completed mosaic panel would presented some of the costs to Mr have been transported to Cliveden Coode-Adams, Astor’s agent, on flat and once on-site, assembled into 26th June 1901; ‘Marble floor – manageable sections, largely along £390.0.0, Bronze door - £218.10.0, lines which exist in the design to Bronze windows £200.10.0 and the reduce the appearance of seams. altar £204.10.0.’. Davison recorded When the sections were ready, they that the work on the Chapel was were lined up and pushed onto the ‘practically finished’ on the 6th April bedding mortar. Once the panels 1901. Davison used the traditional were in place and the mortar set, the craft to produce the mosaic panels facing paper would be washed off, for the walls. leaving the design in all its glory. The Chapel floor Iconography The floor in the Chapel is a The theme of the decoration is decorative style called Opus Sectile, based on a complex iconographic often referred to as Cosmati after scheme, based on the type and the late-medieval Roman family antitype illustrated in the 15th who developed the style in Europe. century Biblia Pauperum. This It is comprised of thirty-seven types text used medieval theology to of cut, trimmed and polished stone examine the way in which the Old from Europe, North Africa, Western Testament was fulfilled in the New Asia and the British Isles. The Testament. large purple-red central sphere and four corner roundels are Egyptian In an overview of the scheme in the Imperial Porphyry, historically Chapel, William Waldorf listed the used for the tombs of the Roman type as for example, ‘” The serpent Emperors. tempting Eve.”’ and its antitype of ‘”The Annunciation”’. The complexity of the floor is expressed in the 337 different This explores the concept that Eve shapes of stone which surround brought sin in to the world, but that the central sphere alone. Its redemption was brought about by style is in the manner of ‘Opus the Virgin Mary who gave birth to Alexandrinum’ seen in connection the Saviour. with the shrine of St Edward the Confessor at Westminster Abbey. The following pages describe the type and antitype from the Old and New Testaments which can be found on the lower level, and scenes from the life of Christ on the upper levels. Together with the saints and angels depicted in each panel. Biblical Narrative 1. Annunciation & Temptation of Eve flanked by Prophets Ezechiel & Daniel ECCE ANCILLA DOMINI FIAT MIHI SECUNDUM VERBUM TUUM ‘Behold the handmaid of the Lord; be it unto me according to thy word.’ – Luke Cap: 1 V:38 [King James Version] Angels holding scrolls for Genesis Cap 3, V:1 “Now the serpent was more subtil than any beast of the field which the LORD God had made. And he said unto the woman, Yea, hath God said, Ye shall not eat of every tree of the garden?” – King James Version 2. The Presentation of Jesus in the Temple and Samuel Dedicated to the Temple flanked by Prophets Isaiah and Jeremiah IPSE ACCEPTIT EUM IN ULNAS SUAS ET BENEDIXIT DEUM Then took he him up in his arms, and blessed God. – Luke Cap:2 V:28 [King James Version] Angels holding scrolls for 1 Samuelis CAP: 1. V24 “And when she had weaned him, she took him up with her, with three bullocks, and one ephah of flour, and a bottle of wine, and brought him unto the house of the LORD in Shiloh: and the child was young.” – King James Version 3. The Adoration of the Shepherds & The Burning Bush flanked by Saints Matthew and Mark VERBUM CARO FACTUM EST ET HABITATVIT IN NOBIS And the Word was made flesh, and dwelt among us. – John Cap:1V:14 [King James Version] Angels holding scrolls for Exodus CAP: 3. V:2 “And the angel of the LORD appeared unto him in a flame of fire out of the midst of a bush: and he looked, and, behold, the bush burned with fire, and the bush was not consumed.” – King James Version 4. The Flight to Egypt & Rebecca Sending Jacob to Laban flanked by Saints Luke and John ACCEPIT PUERUM ET MATRUM UJUS NOCTE ET SECESSIT IN AEGYPTUM When he arose, he took the young child and his mother by night, and departed into Egypt – Matthew CAP:2 V:14 [King James Version] Angels holding scrolls for Genesis CAP: 27. V.43 “Now therefore, my son, obey my voice; and arise, flee thou to Laban my brother to Haran;” – King James Version 5. The Transfiguration HIC EST FILIUS MEUS DILECTUS IPSUM AUDITE This is my beloved Son: hear him. – Luke CAP:9 V:35 [King James Version] The three saints depicted underneath the inscription are: - St Ambrose [Ambrosius] with a pastoral staff - St Andrew [Andreas] with a white saltire - St Jerome [Hieronymus] with a quill pen 6. Agony in the Garden PATER SI VIS TRANSFER CALICEM ISTUM A ME ‘Father, if thou be willing, remove this cup from me.’ – Luke CAP:22 V:42 [King James Version] The three saints depicted underneath the inscription are: - St Cecilia [Caecilia] with a musical instrument - St Peter [Petrus] with a book and a key - St Catherine [Catharina] with a Catherine wheel 7. The Crucifixion POSUIT DOMINUS IN EO INIQUITATEM OMNIUM NOSTRUM ‘Laid on him the iniquity of us all’ – Isiah CAP:53 V:6 [King James Version] The three saints depicted underneath the inscription are: - St Stephen [Stephanus] with a stone - St John [Joannes] with a book depicting him as writer of a gospel - St Alban [Albanus] with a sword 8. The Resurrection NUNC CHRISTUS RESURREXIT A MORTUIS Now Christ is risen from the dead. – 1 Corinthians CAP:15 V:20 The three saints depicted underneath the inscription are: - St Agnes with a lamb - St Paul [Paulus] with a sword and a book - St Helena with a cross 9. The Ascension ASCENDO AD PATREM MEUM ET PATREM VESTRUM I ascend unto my Father, and your Father - John CAP: 20 V:17 The three saints depicted underneath the inscription are: - St Augustine with a Bishop’s staff - St James [Jacobus] with a pilgrim’s staff and a book - St Gregory [Gregorius] with a cross with three bars 10. Latin inscription below cornice EGO SUM PRIMUS ET NIVISSIMUS ET VIVUS ET FUI MORTUUS ET ECCE SUM VIVENS SECULA SECULORUM ET HABEO CLAVES MORTIS ET INFERNI I am the first and the last, the Living one. I was dead, and behold I am now alive. Throughout the centuries I hold both the keys of death and of hell. – Revelations CAP:1 V:17-18 The Sanctuary Christ - Alpha and Omega EGO SUM PRINCIPUM ET FINS I am the beginning and the end I am Alpha and Omega, the beginning and the end, the first and the last – Revelation CAP:22 V:13 Abner visiting David at Hebron 2 Samuel CAP 3 V:6-38 ABNER VENIT AD DAVID CUM VIGNTI VIRIS The Queen of Sheba visiting Solomon REGINA SABA AUDITA FAMA SALOMONIS VENIT Christ as the Resurrection and the Life EGO SUM RESURRECTIO ET VITA I am the resurrection and the life. – John CAP:11 V:25 Astor final resting places The Sanctuary holds the remains of: - William Waldorf, 1st Viscount Astor [1848-1919] - Waldorf, 2nd Viscount Astor [1879-1952] - Nancy Astor, Viscountess Astor [1879-1964] - William Waldorf II, 3rd Viscount Astor [1907-1966] - Robert Gould Shaw III [1898-1970] The Altar The altar within the sanctuary panel.
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