MACHINE-MADE GOTHIC
Most of the alterations in the Eton Chapel were lamentable in the extreme. Nevertheless they excited great admiration amongst many who had sat there in its unrestored days. Apparently they were quite satisfied that the fine old panelling, in all probability designed by Wren, should be removed. One of these lovers of novelty wrote: “Those who only know the Chapel in its present nobly restored state could with difficulty go back to the simply glazed windows, bare walls, and cold cheerless aspect of the whole interior in former times.”[5] How such a “noble restoration” (consisting in the destruction of every vestige of ancient woodwork in order to substitute a quantity of machine-made-looking Gothic stalls and some poor cusping to the roof) can have moved any one to enthusiasm it is almost impossible to understand. Nor can the crudely coloured stained-glass windows be said to be a great improvement upon the old plain glass, which at least caused no pain to the eye.
The true and artistic restoration would have been to have retained the old stalls against the western walls, while contriving a method by which portions of it could be temporarily removed in order to afford a view of the frescoes. The high box-like pews might have been modified, the old woodwork being utilised to the utmost extent, or at least preserved for use in other parts of the College. If the position of the stately old organ-loft opposite the second window of the west end was found to be absolutely unsuited to modern requirements, together with its wooden pilasters of admirable design, it might have been re-erected at the junction of the choir with the Ante-Chapel, the stalls being continued farther back. As for the magnificent organ-case, there would have been no difficulty, as has been proved at Rugeley, about furnishing it with a modern interior and new pipes. The roof should have merely been freed from paint, etc., and not been adorned with the meaningless cusping, which, never contemplated by its original designer, is so obviously out of place.
The present organ-screen, erected in 1882 by Mr. G. E. Street in memory of Etonians who fell in the Zulu, Afghan, and Boer wars of 1879, 1880, and 1881, cannot be called a masterpiece of architectural design, but in certain other respects the interior of the Chapel has been somewhat improved within recent years. An elaborately designed floor of black and white marble has been laid down at the east end. This, together with a handsome if not altogether appropriate altar, forms part of the memorial to the Etonians who fell in the South African War (1899-1902). As stated before, the names of those who died for their country in this deplorable contest are inscribed upon a roll of honour in Lupton Chapel.
The fine tapestry behind the altar, executed by the firm of William Morris from the designs of the late Sir Edward Burne-Jones, was presented by an art-loving Eton Master, Mr. H. E. Luxmoore, in 1895, whilst the picture of Sir Galahad, hanging on the western wall, was presented by its painter, Watts.
The great stained-glass east window—a source of grumbling and discontent to several generations of Etonians, who were obliged to contribute what was known as “window-money”—was executed by Willement between 1844 and 1849, being set up in bits as the contributions wrung from the boys increased. Within recent years the crude and violent tints of this costly example of the work of a bad period have been softened. The irregular curve of the external arch-mould over this window is said to be due to the circumstance that when the College Chapel was built the stones of the Parish Church (which stood in the present graveyard and was built in 1441) were used over again.
A TRANSPARENT FAILURE
If the great east window is now somewhat less of a “transparent failure” than of yore, the other windows on the north and south sides of the Chapel remain specimens of bad design and colour. Those in the Ante-Chapel, however, are less glaring. The two large windows by Hardman on the north and south form the memorial to Etonians who fell in the Crimea; those at the west end are personal memorials. Below these windows are a number of tablets commemorating Etonians of note. On the floor of the Ante-Chapel is a fine slab to the memory of the late Bishop Abraham. There is also a marble statue of the Founder, by Durham, and another of Provost Goodall, who in all probability would have been appalled by the changes of 1847.
The Rev. John Wilder, whose munificence served to modernise the College Chapel he had known all his life, is also here commemorated by a tablet. Besides giving £5000 to the restoration fund, he presented fourteen stained-glass windows in the choir, and decorated the reredos and east end as well as the new organ and case. Though his benefactions were animated by a generous and unselfish spirit, it is much to be regretted that he did not devote his money to some better purpose.
THE LOST FONT