Old Oak Panelling formerly in Eton Chapel, now in Entrance Hall of Frampton Court, Dorset.
“NOBS”
In 1842, when the so-called Gothic revival first began to sweep over England, destroying much worthy to be preserved and creating comparatively little of artistic merit, it was determined to restore the Chapel. At first this was limited to tearing down the classical altar-piece, pews, and panelling at the east end and erecting ponderous so-called Gothic altar rails, pulpit, and the like, all of stone. These, however, were discarded a few years later, when, in 1847, a regular scheme of destruction and innovation was undertaken by Deeson, one of whose chief artistic crimes was tearing down the noblemen’s stalls, then standing against the walls at the western end. Up to the so-called restoration of 1847, boys who were noblemen or baronets used to occupy special seats of honour ranged along the Chapel walls. When one of these privileged youths—known as “Nobs”—first took his seat in one of these stalls he would, according to immemorial custom, distribute amongst his neighbours small packets of almonds and raisins, called “Chapel sock,” which were eaten in the Chapel itself. These seats, finely designed with carving at the top, were ruthlessly torn down, whilst no exact record of their appearance was preserved. A considerable portion of the panelling, which formerly covered the east end, adorns the hall at Frampton Park, Dorchester, but the writer has been unable to trace the noblemen’s seats which were swept away to make room for the present stalls.
The behaviour of the College authorities in having discarded work of high artistic interest, probably designed by Wren, is much to be deplored. The evidence as to Wren having designed the panelling is not absolutely conclusive, but much leads one to think that he was concerned in its design. The Mr. Banks, “surveyor,” whose name has been preserved as the designer of the costly woodwork, is probably identical with Matthew Bankes, “master carpenter,” who, under Wren’s direction, carried out the interior decoration and fitting of Kensington Palace, Hampton Court, and other historical buildings.
Carved and Decorated Organ Case formerly in Eton Chapel.
Specially photographed for this work with the kind permission of the Very Rev. Felix Couturier, Prior of the Dominican Monastery of St. Thomas, Rugeley.
THE OLD ORGAN CASE
The huge organ-loft, about twenty-five feet in depth, was approached by a flight of steps, which Provost Godolphin placed across the church within the choir. This loft or screen was a very fine piece of work, with fluted columns of oak, two of which are preserved in the Victoria and Albert Museum, and elaborate carving, by Grinling Gibbons, much resembling the one which still remains at Trinity College, Cambridge. The organ-case, which, curiously enough, has hitherto escaped all detailed notice in books about Eton, was of oak, and consisted of four towers and three flats of pipes—the pipe shades, lower frieze scrolls, side brackets and centre shield of arms being beautifully carved and well designed, while characteristically English in style. Above was a scroll ending in a point, for the carving of which Bird (who executed much fine woodwork under the direction of Sir Christopher Wren) was paid £24 in 1703. The organ itself, built by either William Smith or Father Smith, was erected in 1700, and cost a large sum of money for that day. This organ and its beautiful case is specially mentioned in Organ-Cases and Organs of the Middle Ages and Renaissance, the erudite and artistic work written and illustrated by the greatest English authority on the subject, Mr. A. G. Hill, who speaks of the old Eton College organ as being perhaps the best of all similar organs still remaining in England. It may be mentioned that the example formerly at Whitehall, and now in St. Peter’s Church at the Tower of London, much resembles it. After the Eton Chapel restoration of 1844-1847 this old organ, with its beautiful case, was discarded in order to make way for a new one which was placed half-way up the choir on the south side. No one seems to have thought the old organ worth preserving, and the case was eventually found by a member of the famous organ-building firm of Hill, lying about in bits in the yard of those who had taken it down. Mr. Hill at once recognised the high artistic value of the magnificent woodwork, and, after the various portions of the case had been fitted together, adapted it to a new organ, which passed into the possession of the late Mr. Josiah Spode, of Hawkesyard Park, Rugeley, who put it up in his hall. Mr. Spode left his property to his niece, with a proviso that at her death a certain portion should be applied to founding a monastery. This lady, however, preferred to carry out this wish during her own lifetime, and, expending a far larger sum than was stipulated by the will, founded at Rugeley the Dominican Monastery of St. Thomas, in the beautiful chapel of which the old Eton organ-case was put up. In connection with its history it is curious to recall that this splendid specimen of Jacobean woodwork was thrown out of the Eton Chapel because it was supposed to be “out of place” in a Gothic building. The Chapel at Rugeley is a singularly successful example of modern Gothic at its best, and the organ-case accords perfectly with its surroundings. A feature of the old case, adorned with scrolls and carvings lovingly wrought by the hand of a master craftsman of a past age, is its heraldic embellishment, the ornamentation including three shields bearing coats of arms. The large central one at the top shows the Royal arms of England, enriched by the legend “Honi soit qui mal y pense.” The smaller left-hand shield in the hands of an angel at the bottom of the case bears the familiar arms of Eton, whilst another on the right-hand side shows those of the sister foundation of King’s.
After the Eton authorities had cleared their Chapel of all the old Jacobean woodwork, they turned their attention to the roof, it being at first proposed to construct a new one of stone. Happily, however, fear of the Chapel collapsing checked such a scheme, and the architect, Deeson, merely stripped the paint and plaster from the roof, whilst adding some pseudo-Gothic cusping.
A RUTHLESS RESTORATION