Cliveden’s Chapel

A comprehensive guide to Cliveden’s Chapel through the ages, from Tea Room, to private Chapel

You’re entering a special place on the Cliveden Estate. It’s both a Chapel and a final resting place. Originally designed and built in the 18th century, its sober stone exterior conceals a rich, decorative scheme conceived in the late 19th century for William Waldorf Astor (1848-1919).

Astor first proposed the idea of converting the 18th century Tea Room into a splendid private chapel in 1897. He wrote on the 7th July that year to the ‘Vicar’ of the Parish of Taplow, W. G. Sawyer, expressing that he had ‘it in contemplation to convert what is called the “Temple” at Cliveden into a Chapel’.

Astor commissioned the architectural firm of John Loughborough Pearson to complete the works. Pearson was the leading gothic revival architect of the day, and previously undertook the refurbishment of the Mansion at Cliveden. He died in 1897 and the work was carried out by Pearson’s son, Frank.

This involved major structural alterations to change the former two storeyed building in to a double height space. Frank Loughborough Pearson worked with Messrs Clayton and Bell, at that time, the prime workshop specialising in stained glass.

Introduction

The same firm provided the drawings for the intricate mosaic panels which adorn the walls for Robert Davison, who also executed the alabaster work, the Altar and the Cosmati marble floor. Davison’s letterhead outlined the work that could be undertaken by the company; ‘architectural, decorative and monumental work in marble, granite and stone, mosaic decoration in enamel and gold, marble and ceramic, mosaic pavements in marble and tile’, - much of which would have been employed in the creation of the Chapel.

Pearson as managing architect, presented some of the costs to Mr Coode-Adams, Astor’s agent, on 26th June 1901; ‘Marble floor – £390.0.0, Bronze door - £218.10.0, Bronze windows £200.10.0 and the altar £204.10.0.’. Davison recorded that the work on the Chapel was ‘practically finished’ on the 6th April 1901. Davison used the traditional craft to produce the mosaic panels for the walls.

The process of transforming the drawings of Clayton and Bell into an elaborate design in pieces of coloured Venetian glass, known as tesserae was completed in several stages.

In the first phase, the tesserae would have been laid onto facing paper over sections of a reversed version of the Clayton and Bell design. The cubes of glass would have then been cut to size and shape and when correct, glued to the facing with a water-soluble adhesive.

The completed mosaic panel would have been transported to Cliveden flat and once on-site, assembled into manageable sections, largely along lines which exist in the design to reduce the appearance of seams. When the sections were ready, they were lined up and pushed onto the bedding mortar. Once the panels were in place and the mortar set, the facing paper would be washed off, leaving the design in all its glory.

The floor in the Chapel is a decorative style called Opus Sectile, often referred to as Cosmati after the late-medieval Roman family who developed the style in Europe. It is comprised of thirty-seven types of cut, trimmed and polished stone from Europe, North Africa, Western Asia and the British Isles. The large purple-red central sphere and four corner roundels are Egyptian Imperial Porphyry, historically used for the tombs of the Roman Emperors.

The complexity of the floor is expressed in the 337 different shapes of stone which surround the central sphere alone. Its style is in the manner of ‘Opus Alexandrinum’ seen in connection with the shrine of St Edward the Confessor at Westminster Abbey.

The theme of the decoration is based on a complex iconographic scheme, based on the type and antitype illustrated in the 15th century Biblia Pauperum. This text used medieval theology to examine the way in which the Old Testament was fulfilled in the New Testament.

In an overview of the scheme in the Chapel, William Waldorf listed the type as for example, ‘” The serpent tempting Eve.”’ and its antitype of ‘”The Annunciation”’.

This explores the concept that Eve brought sin in to the world, but that redemption was brought about by the Virgin Mary who gave birth to the Saviour.

The Chapel floor Iconography

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.

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

Biblical Narrative

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

2. The Presentation of Jesus in the Temple and Samuel Dedicated to the Temple flanked by Prophets Isaiah and Jeremiah

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

3. The Adoration of the Shepherds & The Burning Bush flanked by Saints Matthew and Mark

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

6. Agony in the Garden

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

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

8. The Resurrection

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

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

10. Latin inscription below cornice

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

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

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

Christ - Alpha and Omega

2 Samuel CAP 3 V:6-38

ABNER VENIT AD DAVID CUM VIGNTI VIRIS

Abner visiting David at Hebron

REGINA SABA AUDITA FAMA SALOMONIS VENIT

The Queen of Sheba visiting Solomon

EGO SUM RESURRECTIO ET VITA

I am the resurrection and the life. – John CAP:11 V:25

Christ as the Resurrection and the Life

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 is made from polished marble and mosaic inlays. The roundels on the front divided by Corinthian pilasters are, from the left, the Hexagram, the Greek cross and the Star of David, which are potent symbols of Islamic, Christian and Jewish faiths.

This triptych altarpiece, made by Barkentin and Krall, the foremost liturgical metalworkers of the era, depicts the Adoration of the Magi in the arched central

panel. On the left leaf there is an image of a saint, globe in his right hand and a beaming boy and an angel.

On the right leaf, there is a saint with a model of a church in his right hand and a beaming boy with a gift before him and angel above.

Above the central panel is the Lamb of God, surmounted by two angels playing the harp and two trumpets.

The Stained Glass Windows

The stained-glass windows show depictions of the six Cardinal Virtues of the Christian Faith. They are; Faith [Fides] and Hope [Spes], Charity [Caritas] and Purity [Puritas], Strength [Fortitudo] and Truth [Veritas].

The two circular windows in the transepts show demi-angels, one bearing crowns and the other bearing palms.

Conservation

The complexity of the iconography is matched by the complexity of the materials used to decorate the chapel, each responding differently to environmental conditions. The situation of the chapel on the downward slope from the mansion aggravates the problem creating a damp environment which is detrimental to the conservation of metal, marble and mosaic. The conservation of this special place requires regular monitoring and maintenance to ensure the viability of the chapel and its precious decoration for the future.

The structure of the Chapel is nearing 300 years old, with the interior decoration dating from over 120 years ago and with any building of this age, there are visible signs of decay. The nature of the building, which was cut into the cliffside, means that there is a cool damp climate.

This has caused the salts to leach out of the stone panelling on the walls and crystallise. The damp conditions can also cause the mosaic to become detached from the mortar. Where this has happened the white fabric you can see helps keep loose tiles in place.

Another way we reduce the deterioration is by reducing the relative humidity (RH) in the Chapel. The cables and sensors that you see are monitoring the temperature and RH and controlling the heating, switching it on automatically when the RH rises above the optimum, and switching it off when it comes back down.

Please check our website or call in advance to check the Chapel is open for your visit. For more information, ask one of our knowledgeable stewards inside the Chapel.

Website: nationaltrust.org.uk/cliveden/ features/the-chapel-at-cliveden

Phone: 01628 605069

*Please note, if the weather is below 10c the Chapel will be closed in order to protect the delicate tiles from the elements.