The interior of the Chapel as it appeared before 1700 in no wise resembled that which we at present see. Mural monuments abounded about the chancel; these, after being concealed by the wainscoting put up in 1700, were ruthlessly torn from their places by those responsible for the restoration of 1847. Some of them are in the Ante-Chapel, others were totally swept away. In the original Chapel there were probably only benches at the east end, whilst low wooden stalls with miserere seats occupied the place of the present seats crowned by canopies. The only remnants of the ancient woodwork appear to be some old wooden forms in the Ante-Chapel, on which boys now leave their hats. It is recorded that in 1625 Thomas Weaver, a “Fellow,” gave “four strong forms to stand in the aisles of the Church for the townsmen to sit on.” The seats in question, it should be added, seem originally to have been intended for the townspeople of Eton, who then attended the Chapel as their parish church.
The Chapel before Restoration.
Engraved by D. Havell after E. Mackenzie.
Above the low stalls were paintings, and these in 1560 the College barber was ordered to wash out; his account for the work (6s. 8d.) is still extant. The barber, however, merely covered up the designs with white paint or whitewash, and when the fine old stalls were removed the paintings could be clearly seen upon the wall behind. In 1847, however, in order to produce a surface capable of showing up the canopies of the new stalls then in course of erection, the workmen proceeded to scrape out all trace of the ancient designs, and they had already finished this work of destruction at the top of the walls beneath the string-courses when a Fellow of the College, chancing to stroll in to inspect the work, saved the rest, some of which still remains behind the modern panelling, of which the Eton authorities have certainly very little reason to be proud. After the discovery there was for a time some idea of leaving the paintings exposed to view, or at least contriving an arrangement of sliding panels. Provost Hodgson, however, objected to them as being “superstitious,” and they were consequently permanently covered by the present panelling. The designs, which were fortunately sketched before being covered up, have been described as the finest of the kind ever discovered in England. They were in all probability the work of some Florentine artist of the fifteenth century. Each row of paintings was divided longitudinally into seventeen compartments, alternately wide and narrow. Concerning these Sir Maxwell Lyte, in his excellent history of the College, writes:—
The former contained historical compositions, the latter single figures of Saints represented as standing in canopied niches. Most of these Saints may be identified by their emblems. Under each of the large compartments there was a Latin inscription, explaining the subject of the picture, and giving a reference to the book whence its story was derived. The works most frequently quoted were the Legenda Sanctorum and Vincent of Beauvais’ Speculum Historiale, one of the earliest productions of the printing-press, which had already gone through three editions before 1479. According to a practice which prevailed extensively in the fifteenth century, successive incidents of a story were often represented as forming only one scene, the same figure appearing two or three times in different combinations. The whole series was intended to exemplify the gracious protection afforded by the Blessed Virgin, the Patroness of the College, to her votaries in all ages and countries. No less than six of the compartments were occupied by scenes from the life of a mythical Roman Empress.
GROSS VANDALISM
From first to last the so-called restoration cost over £20,000, £5000 of which was contributed by Mr. Wilder. In reality it was no restoration at all—merely a terrible act of vandalism, only exceeded in lack of taste by the alterations carried out at the sister college of Winchester some thirty years later, when all the priceless woodwork was removed from the chapel. Within recent years this was sold for an enormous sum, and is now at Hursley Park, not many miles away from the College which it once adorned.
Besides the tearing down of the fine old panelling and the partial destruction of ancient frescoes, in all probability a quantity of other interesting old work was destroyed at the orgy of iconoclasm in 1847. The only object of those in power at Eton at that time seems to have been to destroy everything which recalled the past. They gloried in the havoc they wrought within the Chapel, and in their “restoring fervour” actually went so far as to tear up the black and white marble pavement. It is to be hoped that some day this may be replaced. Would that some portion of the fine old woodwork might be recovered and once again find a place in the sacred edifice where for close upon a hundred and fifty years it met the eyes of generations of Etonians!
In place of the stately old noblemen’s seats put up in 1700, Deeson designed seventy oak stalls with carved canopies of modern Gothic design. Each canopy seems to have cost £42, which, considering that the artistic value of the stalls is exactly nil, is a large sum. It would be interesting to know what the value of the noblemen’s stalls which Deeson tore down would be at the present time!
Entering the Chapel through the screen, the first of the canopied stalls on the right is that occupied by the Provost, that on the left by the Vice-Provost. The second stall on the right was given by the Fellows of King’s College, the third by Winchester College, and the fourth by the President and Fellows of Magdalen College, Oxford, like Eton connected with the memory of Waynflete. The Headmaster’s stall is the seventeenth on the right, distinguished by the words Magister Informator. Exactly opposite is the seat of the Lower master (Ostiarius), who, however, usually attends Lower Chapel. A number of the stalls given by Etonians or Etonian families have tablets with inscriptions. Next but two to the Lower master, for instance, is a stall given by the Cust family, of whom some eight generations have been educated at Eton. Beneath the seat is to be found the genealogy of all the Custs who have been at the school. The twenty-sixth stall on either side are those of the chaplains (Capellani Conductitii), known as “Conducts” at Eton. The last stall but one on the left was given by James Rattee, the contractor for the stalls, and the one opposite by Deeson, the architect, who no doubt thought that his imitation Gothic was vastly superior to the stately work which he treated with such contempt.