Giggleswick School Chapel Guide

GIGGLESWICK SCHOOL

Giggleswick School Chapel A guide in support of the Chapel Fund

Foreword

uring early 2017 I initiated a proposal for a Giggleswick School Chapel Fund. My wife, Wendy, Jim Bellis, Matthew Hodge, and David Stockdale supported this idea. It gathered steam with thanks due to the Board of Governors, the Headmaster, Mark Turnbull, and Matthew Hodge, Bursar, thus enabling Barbara Gent, School Archivist, to pursue the production of this excellent Chapel history.

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For the faith and Christian values we may all have felt within this Chapel, we should acknowledge the inspiration and creative drive of the early Christian era. The followers of such men as St Augustine of Hippo and of St Benedict, who created a rule which became the foundation of all western religious houses. By the 16th century there were 186 Benedictine houses in England. Other orders for example the Cistercian Order, founded in France, sited their monasteries in remote country riverside areas and farmed the fertile land. Fountains, Rievaulx, Kirkstall and Tintern abbeys are all fine examples.

Beautifully illuminated manuscripts were produced. St Columba of Iona started the Book of Kells, Durham Cathedral was built to honour St Cuthbert as were the written The Lindisfarne Gospels. The Venerable Bede wrote The Ecclesiastical History of the people of England. King Alfred fostered education and all the arts.

Monasteries, abbeys, cathedrals, parish churches and chapels created by stone masons, carpenters, carvers, glaziers, metalworkers and painters are an irreplaceable legacy to us all.

In spite of the depredations of times past and of our increasingly fast pace of life with its many distractions, these buildings remain necessary spiritual communal social centres. It is an interesting thought that, although many of these buildings may be in ruins, the tourist, as well as those who follow Christian teachings, also seeks them out.

The Chapel is an architecturally important building in the wider context, moulded from centuries of architectural and religious tradition, placed with imagination and vision overlooking the cricket pitch, pavilion and gatehouse.

Wendy and I wished to support the maintenance and disbursements of the Chapel for the long term, hence the Giggleswick Chapel Fund. We hope others will feel the same. It would be a fitting tribute to that great benefactor, Walter Morrison, without whose generosity there would be no Chapel.

If you are interested in supporting this fund, please see the back of the guide for details.

John Duxfield, O.G. (Nowell 1951 - 1956) June 2018

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Acknowledgement owards the end of 2017 John Duxfield OG invited me to write what was to be a comprehensive account of our School Chapel. Over the many years since its opening, there have been several guides but I decided on a different, more detailed approach.

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Since I started to work at Giggleswick in 1989, I have, as countless others, admired this most surprising building set on its hill, overlooking village and school. Its exquisite interior gives up its treasures slowly and one notices on every visit something new and engaging.

I should like to thank, firstly, Mr Duxfield for providing me with the opportunity to write the guide, and for his faith in my ability to do justice to the building. My thanks also go to my colleague and friend, Linda Evans, the School Librarian, whose proof-reading skills are legendary – her eagle eye misses not a single wrongly placed punctuation mark or incorrect spelling; woe betide the hapless author if the spacing of the text is uneven. I am also most grateful to James Bellis, Development and Alumni Officer, who, with a cheerful heart and infinite patience, scanned countless photographs. Thanks, too, to Ben Harris, many of whose photos appear in this guide. I received much help from Dr Judith Allinson, whose expertise in all thing botanical helped me to decipher the local flora carved in the wooden furniture I wish to mention the Archivist at Wadham College Oxford, who

supplied valuable information about the architect, Thomas Jackson, and to the Archivist of Charterhouse for the help given about Douglas Stewart, who worked on the scraffito in the Chapel. Thanks are due to Deborah Carthy, of Carthy Restorations Ltd, who, whilst working on the restoration of the mosaics some years ago, discovered a tiny image, never mentioned before, hidden in the mosaic decoration far above the nave and which is discussed in this guide.

Today the computer is so often the key to unlock many resources not available to the researcher in days gone by and through its magic I was able to gain entry to many collections and specialist archives.

For that I am truly grateful.

However, books have always been my first resource when seeking information and I read many and discovered much. I should at this point like to thank Noel Proudlock OG, who had written an account of the Chapel in 1997 which provided much interesting material, and which I re-read with pleasure.

At Giggleswick we are lucky to have a useful archive of Chapel material into which I dived and surfaced clutching a little fact here or a photograph there, perhaps an unusual observation or detail with which to enliven the account.

May I also thank the Headmaster, Mark Turnbull and the Bursar, Matthew Hodge, for their support and encouragement.

Barbara Gent (Keeper of the School Archives) June 2018

A Guide to the Chapel Sermons in Stones

When we build, let us think that we build for ever.

John Ruskin: The Lamp of Memory from The Seven Lamps of Architecture

Introduction High upon an outcrop of millstone grit, and standing proudly above the school and village of Giggleswick, is a remarkable building. Seen across the Ribble valley for miles around and acknowledged as a loved and familiar landmark to many, the School Chapel has a fascinating story to tell, where good fortune, a sense of occasion, forward thinking and inspirational artists came together.

Around Britain and the Empire, committees were set up to decide how Queen Victoria’s Diamond Jubilee in 1897 should be marked.

Every town, city and village had its discussions, its arguments and its frustrations; some favoured clock-towers, some drinking fountains, some hospitals and others parks, gardens, statues and village halls. Pride was at stake and all agreed that a great historic occasion required a fitting tribute to a great Queen and Empress.

At Giggleswick one School Governor, Walter Morrison, asked himself if he could do something to add interest to the beautiful countryside where he had lived for many years, and which he loved so well. He offered a school chapel.

By so doing he also gratified a whim of long-standing, that of building a dome, if he could find an excuse so to do.

As a young man Walter Morrison had travelled in many lands and had seen countries where domes featured successfully in the landscape. He thought that they were a most beautiful way of roofing a large space. Perhaps he was influenced by his visits to the Holy Land and was greatly interested in excavations there and indeed he was a most generous benefactor of the Palestine Exploration Fund, whose founder was George Grove, later the first director of the Royal Academy of Music and author of the famous

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Dictionary of Music and Musicians, in addition to being a leading expert of Biblical place-names and a practising engineer.

Mr Morrison’s interest in the Near East may have been stimulated, too, by his association with the architectural historian, James Ferguson, who in 1847 published the theory that the Dome of the Rock in Jerusalem was actually not built by the Muslims but was Constantine the Great’s Church of the Holy Sepulchre. This theory was later shown to be nonsense by the work of Captain Charles Warren, R.E., working for the Palestine Exploration Fund between 1867-1870.

Walter Morrison

Whatever impressed Mr Morrison, it is certain that he was sure that such a structure would look right amidst the hills and scars of Craven. Perhaps he had in mind an architect bold enough to carry out his wish. Whatever reason, he recalled his acquaintance, Thomas Jackson, from his Oxford days

when they literally bumped into each other (see appendices), who had gained a considerable reputation as an architect particularly for his work in Oxford.

The poet, Sir John Betjeman, described his style as AngloJackson in his joyous poem, Myfanwy at Oxford. Much later, in 1975, Sir John Betjeman, the guest speaker at the School Speech Day, visited the Chapel and greatly admired it.

Walter Morrison visited Thomas Jackson in the spring of 1897.

Jackson was ready for the challenge and was determined to build a chapel worthy of the school, worthy of the magnificent site and worthy of his name as an architect. On being asked by Mr Morrison if he were interested in an architectural experiment, what architect of the name and one of such an established reputation could resist the challenge? It was in March, 1897 that Mr Morrison, writing from the House of Commons’ Library to the Headmaster, the Reverend George Style, began his short letter:

So the introduction to an idea was complete, and the first chapter in the story began when Mr Thomas W Brassington of Settle, timber merchant, joiner and carpenter, accompanied Mr Morrrison to choose a site. Gazing across the cricket field, Walter Morrison’s eye was led to a rocky outcrop and pushing the tip of his umbrella into the ground and with the words ‘We’ll have it here, Brassington’, the story gathers momentum. The School was informed on 27th March 1897 and we read in the Governors’ minutes that on 23rd April Mr Morrison visited the School with Mr Jackson. They met with the Chairman of the Governing Body, Hector Christie, to discuss the proposed Jubilee Chapel.

A drawing of the proposed new Chapel was sent to Queen Victoria. Her German secretary, Herr Maurice Muther, writing from Balmoral on the 4th October, 1897 states that: The Queen admires it very much and thinks that the Giggleswick Jubilee Chapel will be quite beautiful. Also Princess Alice who saw the picture in the Queen’s room admires the exquisite taste of Mr Jackson’s design.

Herr Muther had been the German secretary of Prince Albert and when the Queen’s diaries were to be edited and published after her death, it was noted that her papers had not been well kept possibly due to the Queen’s insistence on relying only on Herr Muther, who, because of his association with her late husband,

Albert, had made him her German secretary in 1887.

Maurice Muther’s portait was painted by the Viennese artist, Rudolf Swoboda, and can be found in the Royal Collection.

Overseeing the whole project was Mr Richard Evans. Mr Jackson chose to work on the Chapel without a building contractor, relying on the efficiency and expertise of Mr Evans. According to the Chapel accounts, Mr Evans was paid £4.4s a week; the masons 6 ½ d - 9d an hour.

He was born in Wantage, Berkshire. His father was a hatter and Richard was the youngest of four children. By 1871 he was living in Oxford as a stonemason. By 1881, still in Oxford, he was a builder’s foreman, clearly going up in the world, and it most probably was in Oxford where his association with Thomas Jackson began. In 1891 he was working with Thomas Jackson on some new buildings for Uppingham School where he served as the architect’s clerk of works.

According to the 1901 census, Richard Evans was still in Yorkshire living in Craven Terrace, Settle. He died in 1941 back in Oxford at the remarkable age of ninety-three.

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According to the grace of God which is given to me, as a wise masterbuilder, I have laid the foundation, and another buildeth thereon. But let every man take heed how he buildeth thereon.

1 Corinthians 3:10

The Foundation Stone In order to have the Foundation Stone laid during the Jubilee Year, work began speedily and by the end of September the foundations and the lower part of the walls were seen above ground level. As tradition dictates on such occasions, several items to mark the event were put in a bottle and placed under the stone: Jubilee medals in gold, silver and bronze; a sovereign and a half sovereign and other coins of that time; School Class List for July 1897; The Giggleswick Chronicle for April 1897; a description of the Chapel; form of the service used on 7th October, and a copy of The Times, of 7th October.

The Foundation Stone was laid on 7th October, 1897 by the 8th Duke of Devonshire, whose family, the Cavendishes, had close associations with the School. Two of his brothers had been Chairman of the Governors, the one succeeding the other when Lord Frederick Cavendish was assassinated in Phoenix Park, Dublin by Irish extremists in 1882.

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Giggleswick and owners of a large estate at nearby Bolton Abbey, it is not surprising that members of the Cavendish family have served on the Giggleswick Governing Body over the years. In more recent times the 11th Duke presided at the opening of Morrison House - the boys’ boarding house.

He was succeeded by his son, Peregrine, Marquess of Hartington, no stranger to the school, as he opened the new Dining Hall in April 1999.

For the occasion of laying the Foundation Stone of the Chapel, the Duke arrived in fine style by a special train at Giggleswick station. A procession to the site of the Chapel was formed, headed by the Settle Brass Band; the Duke and the principal guests bringing up the rear. After the view had been admired, and a special form of service given, the hymns sung very heartily, the Duke laid the Foundation Stone with a silver trowel, tested it with a spirit level, and pronounced it well and truly laid. It is set in the exterior north wall and bears an interesting

inscription, the cutting of which cost £2. 3s.61/2d.

To the Glory of God And in Commemoration of the Sixtieth Year of the Reign of Victoria Queen and Empress Of the Blood Royal of England’s Darling Alfred the King This Stone was laid by Spencer Compton Cavendish Duke of Devonshire, K.G. On October 7th, 1897

There is a fine portrait of the 8th Duke in the National Portait Gallery by Lady Julia Abercromby (1840-1915). Lady Julia was Lady of the Bedchamber to Queen Victoria from 1874-1885. Her portraits may be found in the National Portrait Gallery, Balliol College, Oxford, and the Royal Naval College at Dartmouth.

Let the work not delay, time and the arm not waste, Let the clay be dug from the pit, let the saw cut the stone. Let the fire not be quenched in the forge.

T.S.Eliot from: The Rock, 1934

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The Exterior Set in the midst of hills, our beacon hill In new-crowned pride of majesty shall stand.

From A Constant Witness. By an OG (anon)

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The Exterior Replying to a toast to honour him on 7th October, 1897 at the Laying of the Foundation Stone, Walter Morrison said: The site cries out for a noble building and thus for centuries to come your Chapel will stand up grandly, on its rock against its fine background of limestone scars, a landmark for miles down Ribbledale. It will give you another reason to be proud of your school.

On the same occasion, Thomas Jackson told how : My old master, Sir Gilbert Scott, I remember, in one of his Academy lectures, expressed his longing to try his hand at a Gothic dome.

In the School Chronicle of the time we learn that the building, mainly owing to the exceptionally fine weather, made wonderful progress since the laying of the Foundation

Stone. On 6th November, 1897 in a letter to the Head, George Style, Mr Morrison writes: The weather has been excellent; no rain for 20 days.

The walls of the Chapel are fitted into the bare rock which comes to the surface. Advantage was taken of the inclined planes of the stratification in the positioning of the building so that the whole both the natural rock formation and the building itself - are in harmony.

They are made of millstone grit, quarried on site faced with yellow Idle sandstone and red Lazonby stone from the Crowdundle Quarry, of HR Simpson; with bands and chequers of sandstone and black limestone from Mr Delaney’s quarry in Horton nearby.

It is interesting to note that John Delaney, who was born in Ireland

in 1846 during the Great Hungerthe Potato Famine - and worked for some time at Christie’s mill in Langcliffe, later exploited the limestone in Horton and Threshfield. He made a fortune and on his death in 1921 left to each workman in his employment £5.

The wrought masonry outside including the window traceries is of Messrs Obank’s Lees-moor sandstone, known for its durability.

Thomas Obank of Idle was a Master Builder. The village of Idle – now a suburb of Bradford – grew up with industries based on the coal measures and sandstone; the stone and coal being exported by canal until the introduction in 1874 of the railway to the area.

The whole effect of the subtle colours of the stones chosen gives a sense of harmony so fitting to the Chapel surroundings.

The Dome Perhaps the most striking feature is, of course, the octagonal dome

covered in copper, which over the years turned a soft green. It was that green dome that many so clearly remember.

Thomas Jackson, writing in his recollections, says that he believed that the construction of a dome without centring was something probably never attempted before, at least in England. The whole plan of the Chapel, a happy blend of Gothic and Byzantine, was rarely seen at the time in this country.

Symbolically, a dome has certain implications: a circle, for example, represents perfection, eternity and the heavens.

The dome was constructed in a novel way, with hollow interlocking blocks of terra cotta filled on the outside with a very light but strong concrete, graduating in thickness from one foot to six inches at the top. Each course of blocks when in position keyed the whole together. This concrete was invented by Mr Pulham of London and Broxbourne, Hertfordshire.

The outside of the dome is of timber covered with copper. The dome is surmounted by a stone

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lantern and a cross of gilded metal.

The firm of James Pulham and Son was established in 1865, although James Pulham had been in production from 1845. Essentially they were a landscape design firm who also designed water features, follies, grottoes, building work and terra cotta garden ornaments.

They developed a form of artificial stone called “pulhamite� cement, which was made in two colours: buff and a deep red. So real did this artificial stone appear that even geologists sometime had difficulty in distinguishing it from natural stone. Awarded Royal Warrants for work carried out on the Royal Sandringham Estate and at Buckingham Palace, the firm received commissions from, amongst others, the Rothschild family of Waddesdon Manor and

The workers in front of the West Wall and Rose Window

the RHS at Wisley. A richly ornamented vase was made by James Pulham for the 1851 Great Exhibition for which he won a prize. Sadly, all official records of the firm were lost during the Second World War after which the firm closed its doors.

However, the site of the Chapel, so imposing to all who gazed on it, was exposed to the prevailing westerly winds which so often bring with them heavy rain. The Chapel ceased to be fully waterproofed and as early as 1957 the lead roofing over nave, transepts and chancel had to be repaired. Again in 1971 a second reroofing was carried out. By 1995 it had become obvious that watertightness of the dome was no longer certain and ultrasonic readings were taken to establish the degree of thinning of its copper covering. It was found that there was major thinning of the copper sheeting and replacing it was vital.

So it was that from October 1996 until January 1997 the familiar dome and roof were shrouded in a cover which hid the scaffolding from the eye. When the cover was removed gone was the familiar green dome; in its place was a new copper one in a bright coppery brown colour. The locals, so used for so long to the green dome, were not happy. It may be many, many years before the dome becomes green again. Because the dome has always been such a distinctive landmark, it is alleged that it was used by the Luftwaffe during World War Two as a guide on their way to bomb Liverpool.

The Interior Peace be within Thy walls and prosperity within Thy palaces.

Psalm 122:7

The Interior Visitors usually enter by the south door above which in stone is the date of Queen Victoria’s Diamond Jubilee, 1897, and the escutcheon of the Royal Coat of Arms. The School uses the west door as do members of the public when concerts and recitals are held.

The exterior of the Chapel gives

little indication of the splendour within, but once inside the glory of art and craftsmanship amazes.

The plan of the interior is based on a Latin cross with a dome over the intersection of the four arms of the cross. There are narrow aisles opening to the nave by an arcade of three arches each side.

The Mosaic Decoration: The Dome Turning east towards the altar the attention is taken by the gloriously decorated and colourful dome. Towering above are sixteen angel figures in groups of three angels playing diverse musical instruments, divided by a single angel with arms raised in praise.

The androgynous faces of the figures, draped in sinuous robes in green, blue, soft violet and a coppery brown all intricately decorated, are reminiscent of the Pre-Raphaelite and the Art Nouveau styles. This New Art, also called Jugendstil and Art Nouveau in Europe, was a movement which

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The trouble was worth it, for Murray won the Gold Medal in 1901.

Murray’s many commissions, apart from the mosaic designs for Giggleswick, included the Ashton Memorial in Lancaster – interestingly also a landmark with an imposing dome. He was paid £250 for the work on the Chapel dome and £80 for the pendentive design. The catalogue of works exhibited at the Royal Academy in 1901 includes Murray’s designs for the mosaic decoration of the dome of Giggleswick School Chapel.

drew inspiration from organic and natural forms and made use of flowing lines. It was this Art Nouveau movement that most embraced the decorative use of mosaics. These angels were designed by Thomas Jackson, the cartoons drawn by George Murray, a member of the Scottish group of artists generally called the Blairgowrie Boys, less well known than the more famous Glasgow Boys; all were artists of considerable artistic ability. Murray was both artist and mosaicist, who won many prizes when studying at the Edinburgh School of Art and the Royal Academy to which he was admitted in January 1897.

He won several major awards including the Landseer Travelling

Scholarship in 1901. From the recollections of William Nicholls, who was one of the sgraffito artists working on the Chapel, we learn that the subject set by the Royal Academy in 1899 was The Witch of Endor . Nicholls knew of a cave up in the Giggleswick scars and told Murray that it might be a source of inspiration to him.

Murray, who in his London studio was working on the angels for the dome, rushed to Yorkshire. William Nicholls goes on to write: We used to toil up at night to that cave with bags of firelighters on moonlit nights and I had to pose in the cave... The witch (originally me) was in the smokey firelight inside the cave.

Returning to look at the angel design in the dome we see that their wings are interlaced producing an intricate and pleasing pattern; there are styalized white peacocks at their feet and above them soft pink clouds mix with flights of white doves. In Ancient Greece the peacock was a symbol of immortality, adapted by the early Christians. Above them the background changes from gold to a heavenly blue with a circle of cherubim and seraphim round the

Detail of angles in dome

eye of the lantern, the top of which is eighty-three feet above the marble floor below. According to the Christian tradition these two angelic forms, whose purpose was to guard Paradise, were the highest in the order of the angels.

The execution of the mosaic designs was carried out by Robert Gregory and his team of workmen, who had previously worked on the WB Richmond’s mosaics in St Paul’s Cathedral.

James Powell

The manufacturer of the glass mosaics was James Powell and Sons of Whitefriars in London, whose firm had existed from the 17th century. In the 19th century the Gothic Revival in the arts once more brought stained glass into prominence. Powell had a close association with the leading architects of the time. The Whitefriars Company was admired for its high quality glass and produced exquisite tableware as

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the mosaic decoration in St Paul’s, which was also carried out by James Powell. It is thought to be the glassmaker’s mark. In a stained glass window in Staveley Parish Church, Cumbria, there is a tiny image of a hooded monk. Again the glass is by Powells of Whitefriars, although the little image in the Chapel mosaic design is not the same. Some detective work into its origins is on-going.

The practice by a glassmaker of leaving a mark of identity may be seen in many churches in England; sometimes the glassmaker signs his name as, for example in the well as decorative stained glass.

Powell experimented with chemical mixes to achieve glass such as had been produced in medieval times; for example he added uranium to colour a presentation service to mark Queen Victoria’s Accession in 1837.

He knew and worked with such famous artists of the time, such as: Burne –Jones, Ford Madox Brown, George Cattermole and was introduced to William Morris, the leading light in the New Art, by Burne-Jones.

therefore, not surprising that Jackson and Powell worked together on the mosaics in the School Chapel. One interesting feature to be found high up in the mosaic-lined dome is the tiny image of a figure, as yet unidentified, hidden from the naked eye at ground level. It is an oval piece of mosaic or tessera, and placed among the white tesserae which make up the tail feathers of one of the two large birds at the feet of the angels. The tiny image is also found among

Thomas Jackson’s close friend and travelling companion was James Crofts Powell. They met in 1866 when Jackson ordered a window of painted glass for Lyndon Church in Rutland, which he was restoring. He used to design windows for Powell and sometimes for his own churches.

Thomas Jackson was a skilled designer of glassware and at that time he designed a good deal of table glass for the Powells. It is,

Detail of tiny figure in mosaic

case of Capronnier whose glass may be seen in the churches at Rathmell, and Long Preston near Giggleswick.

The technique of mosaic making is ancient: for example it may be found in ancient Roman buildings and across the Byzantine world where, perhaps Hagia Sophia in Istanbul is the most well-known and was a building which Thomas Jackson admired very much.

The technique of mosaic decoration used on the dome of the Chapel is called the “direct” method where the tiny glass

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tesserae are placed face up on to the walls to be so decorated. In the dome designs much delicate gold leaf is placed on the mosaics, catching the light and sparkling adding to the beauty.

Around the base of the drum in letters of mosaic is the text:

MEMENTO CREATORIS TUI IN DIEBUS IUVENTUTIS TUAE ANTEQUAM VENIAT TEMPUS AFFLICTIONIS This chapter from the Old Testament is read at the annual Foundation Day service held in Chapel.

The Pendentives

The Evangelists

One of the problems for builders of the past was how to support a dome without centring. In other words how to place a circular dome over a square space.

Matthew, the author of the first Gospel, is usually accompanied by the figure of a winged man or angel.

The Romans carried out an architectural experiment to solve this, but it was not until Byzantine times that the possibilities were realised by using pendentives (from the Latin ‘prebens’ meaning hanging).

Pendentives are triangular segments of a sphere that spread at the top and taper to points at the bottom – an inverted triangle in fact. By this means it was possible for internal domes to rise to greater heights and to create geometrically interesting spaces to be ornamented, as here where the four triangular spaces are filled with images of the four Evangelists each with his symbol, wrought in colourful mosaics.

Other fine examples of the use of decorated pendentives include, the Pantheon in Paris, St Paul’s Cathedral and Hagia Sophia.

Mark, the author of the second Gospel, has a winged lion as his symbol; Luke, who wrote the third Gospel and the Acts of the Apostles, is accompanied by a winged ox or bull and John, the author of the fourth Gospel, is accompanied by an eagle, believed by early Christian scholars to be able to look directly into the sun. The faces of these figures illustrate the skill of the artist who designed and completed them. They are full of character and this is a feature of all the representation of figures throughout the whole Chapel.

In each of the four vaults the design consists of a circle in the crown of the arch bearing a sacred monogram, and scrolls of vines and grapes bearing texts in Latin. (see appendices).

Remember Thy Creator in the days of thy youth, while the evil days come not, Ecclesiastes 1:12 from the Old Testament

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Marble Floor The floor of the chancel and the colourful disc in the centre directly under the dome is made up of fine marble. The pavement is of black and white marble: the black, sometimes called Noir Belge come from Mazy in southern Belgium.

It is not a true marble but a type of limestone. It tends to be free from veins of patterns and polishes to a deep lustre. The white marble, from Serravezza in the heart of Tuscany in Italy, is a very hard substance, suitable for flooring and building, but not of statuary quality. It is referred to in letters from Michelangelo, who used the Carrara marble from the district for much of his work.

In the mosaic borders a variety of marble is used: verde antica from

Casambala in Thessaly and porphyry – coloured rosso with its slender black veins and traces of manganese which gives the marble its red colour. The ancient quarries of Scutari in the Peloponnese were rediscovered in 1830 and once again this unusual marble could be quarried.

The central disc is of red Pavonazzetto breccia from Skyros in the Cyclades – Greek islandsand was one of the most important marbles used by the Roman sculptors and architects. In 1897 a British company started working on marble quarries in Greece but this was brought to an end in the Second World War. Two of the four smaller discs in the centre are made from cipollino – the onion stone- so called because

the markings resemble those of sections of an onion. This beautiful marble is wonderfully grained with shades of green. It was mined on the island of Euboea in Greece and used in Ancient Greece, Homer, writer of The Iliad and The Odyssey, knew of it. It was sent also to Ancient Rome; Pliny in his Natural History, a copy of which dated 1535 is held by the school, refers to it.

A third disc is of Irish green from the Lissoughter Quarry close to Recess in Galway. The marble was known in the trade as Lissoughter Green Marble and in the 1880s sold for sixteen shillings per cubic foot. This serpentine-rich rock has been popular since ancient times as a decorative facing stone. It is said to be one of the rarest forms of marble due to the limited supply. The rock itself is over 600 million years old. The quarry from which this marble came belonged originally to a Richard Martin, an Irish landowner, politician and campaigner against cruelty to animals; he was nicknamed “Humanity Dick” by George IV. At one time he had enormous wealth and there is a story that his stables were lined with Connemara marble. Eventually the quarry was owned by the Joyce family. It is now mostly worked out.

The fourth disc is of a yellow breccia compact and fine-grained with patches of brown, golden yellow, violet and pink; it came from Stazzema, Tuscany. Later, during the Second World War, Stazzema would be remembered as a place of massacre.

The white background in which these coloured marbles are laid is from Crestola near Carrara in Italy.

The small brass cross at the centre of the marble disc indicates the exact centre under the dome.

The marble was supplied and laid

by Farmer and Brindley of London and with whom Thomas Jackson had worked on other buildings such as the Sheldonian Theatre in Oxford, Wadham College, Oxford, Brighton College, Radley College, Berkshire and many more. For executing the marble floor the firm of Farmer and Brindley was employed.

Farmer and Brindley, active between 1851 and 1929, was a firm of skilled architectural sculptors, marble merchants and importers, and stone masons. Of William Brindley, George Gilbert Scott, perhaps one of the most prestigious architects of the time said: The best carver I have ever met...

The firm also worked for Alfred Waterhouse on the Town Hall, Manchester; the Natural History Museum in Kensington, and countless churches and public buildings in the country.

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William Farmer died in 1879 leaving Brindley to run the business. At that time coloured marble decoration was becoming more and more fashionable, as one may see from buildings such as the Albert Chapel, Windsor, the Royal Mausoleum at Frogmore and the Opera Garnier in Paris.

Brindley sought out old Roman quarries in Europe, Africa and Asia and, travelling in Turkey and Greece, for example, he discovered the ancient workings of cipollino marble and verde

antica. His discoveries were swiftly followed by negotiations to reopen the quarries and extract any workable marble. A fine example of Brindley’s work at this time may be seen in Westminster Cathedral – a stunning showcase for his artistry.

Sadly, this outstanding firm did not last long into the 20th century, it merged with another company and did not long survive after the Great Crash. It closed its doors in 1929 and all the records were lost.

The Sgraffito Decoration This highly colourful decorated east end of the Chapel continues with claret red and green sgraffito decoration in the four great aches which support the drum of the dome, and on the nave ceiling.

The technique of sgraffito is to be found in African art and more notably in Renaissance Italy. It was in the 1890s during the period of Art Nouveau in Europe or the Arts

and Crafts Movement in England that this form of decoration was revived.

The technique might be compared to that of fresco painting in that small areas only may be decorated whilst the plaster is damp. The word comes indirectly from the Greek for ‘to write’ and the Italian from’ graffiare’ to scratch. It is done by cutting through a white damp thin layer of plaster down to

the coat below which has been mixed with the desired colours for whatever design the artist has in mind.

It was pioneered in England by Heyward Sumner, a member of the newly formed Art Workers’ Guild, a fraternity which united stainedglass makers, book-binders, sculptors, architects, painters, printers and other crafts. The best known member must be William Morris.

Sumner’s wonderful sgraffito decoration in the church of St Peter in Sunbury, Surrey is a

fine example with beautifully expressive figures covering the walls. He decorated eleven churches. As a decorative art form it is to be seen on both the interior and exterior of buildings in Vienna, France and Belgium and in southern Germany.

Over twenty years earlier Thomas Jackson had worked on the design for St Peter’s church in Hornblotton, Somerset.

The interior of this little church from floor to ceiling is decorated with sgraffito, clearly something which

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interested him very much, so it is not surprising that he used that technique in the Chapel at Giggleswick.

In the Chapel the sgraffito was cut and worked by two pupils of Thomas Jackson. William Nicholls (1875-1949), educated at Rugby and Hertford College, Oxford, was articled to Thomas Jackson and remained as his assistant from 1900 to 1904. He later worked in India on New Delhi with Sir Edwin Lutyens and in 1907 was appointed the chief architect for the Madras Government.

The school is fortunate to have a transcript of Nicholls’ recollections and he writes: “I was on the Chapel job for two years and when it was approaching completion, Jackson asked me to do the Sgraffito decoration in it. I said I did not know what Sgraffito was and he said that did not matter, told me where to see some, got a book about it and said I could experiment as much as I liked in the boiler basement of the Chapel.”

Of course, the boiler walls have been whitewashed many times since, so no trace unfortunately is to be seen. The compiler of this guide has been to look!

Nicholls later recalled that the Headmaster’s wife, Mrs Style, was critical of him and his co-worker, remarking that they seemed to spend much time playing golf or up on the moors. She did not understand that they could work only when the walls were ready and the plaster still damp.

The other young man who worked with Nicholls was Douglas Stewart (1874-1934), who, after Oriel College, Oxford, was a student at the oldest school of architecture in Britain, the Architectural Association School of Architecture founded in 1847. Later he worked, amongst others, on buildings at Charterhouse School where he was educated.

Thomas Jackson wrote that these two pupils of his put on linen blouses and worked for plasterers’ wages. The Chapel accounts book states that they were paid one shilling and sixpence per hour.

Generally plasterers were paid a mere 8 ½ d per hour.

The Stained Glass And not by eastern windows only, When daylight comes, comes in the light, In front the sun climbs slow, how slowly, But westward, look, the land is bright.

Arthur Hugh Clough 1819-1861: Say Not the Struggle Naught Availeth

The four vaults are decorated with scrolls of vines and grapes highlighted with gold leaf; each vault bears a sacred text in Latin: in the western arch reference is made to Christ as the true vine; the other vaults bear texts from both the Old and New Testaments. (see the appendices for full texts and translations).

Sgraffito work is also used on the walls of the antechapel in a diaper pattern. Diaper here means a repeated pattern usually of squares, rectangles or lozenges which enhance plain surfaces. The text in Latin over the entrance to the nave: INTROITE PORTAS EIUS IN CONFESSIONE ATRIA EIUS IN HYMNIS Enter into His courts with thanksgiving, and into His courts with praise.

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Above the altar is the large east window. As with all the glass in the Chapel, it was made by Burlison and Grylls. It depicts scenes from the life of Christ.

Chapel was built. It was said of him that he was never happier than when he heard the sound of hammers at work! These figures were drawn by Sir James Linton.

The middle figure represents Christ in Glory; to His right is the Sermon on the Mount; to the left the Ascension. Below from left to right are scenes representing: the Annunciation; the Salutation; the Angels appearing to the Shepherds; the Visit of the Magi; the Presentation in the Temple; the Flight into Egypt and Christ among the Doctors. Below is a passage from the Bible in Greek.

(See the appendices).

The various coats of arms of people connected to the School include those of Paley, Nowell, Cavendish, Shuttleworth, Lister and The Bishop of Ripon, William Boyd Carpenter, who presided over the Dedication of the Chapel on 4th October, 1901; Lord Shuttleworth, who was appointed in 1864 as a Governor of the School and under whose guidance the school began a new prosperous phase, Hector Christie, Chairman of the Governors, Henry Tennant of Cleatop, who was instrumental in petitioning Edward VI to grant a Royal Charter, John Nowell, who had been a chaplain to Edward VI, and other family crests, including those of Coulthurst, Markham and Piers.

The large window in the south wall refers especially to Giggleswick School, for it illustrates figures and coats of arms of importance to the school. In a letter written in 1899 to Thomas Brayshaw, the local antiquarian and clerk to the School Governors, and after whom the Brayshaw Library in the school is named, Mr Morrison wrote about the figures which might be included in this window. One of his heroes was John Lambert, whom he admired because of his attempt to uphold the Republic after the Civil War. Major-General Lambert was born in Carlton about seven miles from Giggleswick. He had fought at Marston Moor where the Royalist suffered a great defeat and became Oliver Cromwell’s secondin- command. He also helped to defeat King Charles at Worcester.

However, in the end he prevented Cromwell from becoming King. Mr Morrison in the same letter goes on to say that he thinks the

Restoration of the Monarchy was the best thing for England. What Mr Morrison admired was conscience and sacrifice, qualities he thought Colonel Lambert demonstrated. However, Lambert was not included in the Giggleswick window.

In the centre of this south window is the representation of Edward VI, copied from the Royal Charter given by King Edward VI to the school in 1553. The other figures are James Carr, who founded the school in 1512. This is a representation of the priest as no portrait of him is extant. He holds a model of the first school, which was built close to the parish church. In the other lights are Walter Morrison, the benefactor, holding a model of the Chapel, Archdeacon Josias Shute, an alumnus and benefactor and Reverend George Style, the Head at the time during which the

James Dromgole Linton (18401916) was to become a fine water -colourist few could excel; this in spite of his father’s opposition. He was, however, allowed to become apprenticed in a stained glass workship in London. He also later worked as an illustrator on The Graphic, but was to make his mark as a water-colourist and by 1863, he began to paint with watercolour and mastered that art. A member of the Royal Institute, he became their first President in 1883 and was knighted in recognition of this service in 1885.

The six clerestory windows showing Christian worthies of various periods of history, types and denominations, which, with the exception of St Thomas More, General Gordon and Sir Phillip Sydney, designed by Thomas Grylls, were drawn by Sir James Linton and the School is fortunate in owning the original watercolour drawings of these figures.

They are grouped in threes: on the north side: Martyrs, Divines, Teachers and on the south side: Warriors, Missionaries and Poets.

Below them a band of sgraffito round the nave bears texts in Latin from the book of Ecclesiasticus in the Apocrypha and read at Founder’s Day (see appendices).

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Gilbert Scott. Grylls and his father had designed many hundreds of windows and thousands were shipped overseas.

As a firm Burlison and Grylls were known for the human representation of their figures; they were rarely idealised; they used figures of the time from real

life to achieve a realistic look. After the 1st World War they were sadly in demand for war memorials, for example at Bergholt, Suffolk; Bransgore, Hampshire; the Great Eastern Railway Memorial, the City of London and the India Office, London. Their premises in Great Ormond Street in London were bombed during the 2nd World War and all records lost; it was shortly after this time that they closed.

Thomas Jackson respected their work for they had worked together on several buildings including the Chapel of Radley School in Berkshire and the Drapers’ Hall in London. The firm had also worked on prestigious buildings such as Westminster Abbey and Worcester Cathedral.

He painted mainly genre scenes from British history and historical figures to whom he gave personality. His portraits were exceptional and bordered on the photographic. This may be seen when looking at the figures in the clerestory windows of the Chapel.

The circular west window, designed by the architect, represents The Creation and is strikingly modern in appearance.

The creatures are wonderfully executed and the colours vibrant.

The firm Burlison and Grylls was founded in 1868 and by 1890 had an unparalleled reputation for stained glass of great beauty.

Thomas Grylls was the main designer and John Burlison, who died in 1891, the business partner.

They had met when apprentices to the firm of Clayton and Bell.

Burlison’s father had been the personal assistant to Sir George

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The Woodwork Oh, all that is moulded of iron Has lent to destruction and blood; But the things that are honour’d of Zion Are most of them made from wood.

Herbert E. Palmer 1880-1961 Woodworker’s Ballad

All the Chapel furniture is of cedar wood imported from the province of Tucaman in Argentina. This wood is known for its scent and its fine sheen.

Walter Morrison and his brother, Charles, had invested a portion of their father’s immense fortune in the railways of central Argentina.

He became Chairman of the company in 1887 and owing to his reorganization of the Buenos Aires and Rosario railways, the company became very prosperous and flourished. There are today a town and a railway station on the Central Argentina Railway in Cordoba which changed names in 1907 to Morrison as a tribute to these extraordinary Englishmen.

According to the report of 8th October, 1897, the plan of the Chapel showed seating for 344.

The pew ends and the stone capitals are beautifully decorated with flora many of the locality: beech, sycamore, bramble, ivy, mountain ash, poppy seed heads, cranesbill, wood anemone, geum and marsh marigold. All of these

plants are carved in much of the decoration, sometimes in a stylized fashion. There is a vague, unsubstantiated reference to the fact that many wild flowers and leaves were brought to the Chapel to be copied by the carvers - a nice conceit. Many of these plants have a symbolic meaning besides being of themselves things of natural beauty.

The raised stalls at the west end were originally for the Headmaster and his staff or guests. These western stalls have carved and pierced standards to the canopies which contain the figures of the four Evangelists attended by their emblems. The carving is of a high order and the faces of these figures are exceptionally fine. In the canopies are figures of six prophets: Moses, Elias, Esaias (Isaiah), Jeremias, Ezekiel and Daniel. Once again the quality of the carving is outstanding, each face is full of character.

theme of local flora is continued on the carvings on the choir stalls.

The Tudor rose is also carved in some of the woodwork. This rose emblem represents peace and reconciliation, for it is the traditional emblem of England and takes its name from the House of Tudor, which united the House of York and the House of Lancaster

bringing to an end the War of the Roses. It is worth taking time to look for this emblem in the Chapel, which is also found on the altar hangings.

The whole of the carving both in wood and in stone was undertaken by Messrs Farmer and Brindley of London.

Wood carving at this time was part of the

The elaborate carving of seed heads and leaves is also to be seen on the communion rails. The

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imaginatively and may have symbolic associations, for the acanthus is thought to stand for immortality and healing.

The chief stone carver for Farmer and Brindley was Robert Maples, who had worked with Mr Jackson for over twenty years. Mr Jackson had complete trust in his work and could always rely on Maples to execute to the highest standard whatever the architect asked of him. From 1876 to 1883 they worked together on the Examination Schools in the High, Oxford. Mr Jackson had won the competition to design this new building and as a result his name was made – certainly in Oxford and gave rise to his unofficial title: Oxford Jackson!

wider revival of handicrafts in the mid-late Victorian age and was greatly stimulated by the Arts and Crafts Movement at the end of the 19th century. Farmer was a sculptor for George Giles Scott and, apart from the School Chapel, his work may be seen in Chester Cathedral, St John’s College, Cambridge, the Albert Memorial in London and All Souls in Leeds among others.

The wood carving in the Chapel was directed and partly executed

by Francis Childs (1832-1919), who was the chief carver for the firm and had worked with Mr Jackson on other buildings, notably

Unfortunately, Robert Maples died shortly after arriving at Giggleswick and his place was taken by Francis Busby who had been born in Cambridge in 1854, and eventually moved to Deptford, London in 1891 where he described himself as sculptor and marble carver. He died in 1927.

Burlington House (The Royal Academy) Piccadilly, and Wadham College, Oxford. The wood carving in oak, which he carried out in the remodelled great entrance hall of Burlington House, is outstanding and illustrates his skill and artistry, which can be seen in the School Chapel.

The carved capitals of the stone pillars of the nave of the Chapel again are decorated with images of local flora but there are examples of stylized acanthus leaves, too. Acanthus leaves are seen on the Corinthian capitals of Ancient Greece and Rome. Here in the Chapel they are used

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At this time Dr Warre’s son was a pupil of Thomas Jackson and he and William Nicholls were invited to stay at Tarn House in Malham with Walter Morrison. A good time was had by all and, as it was the grouse-shooting season, Mr Morrison got up a special shoot for them. They also went with him to Kirkby Malham church where Mr Morrison would read the Lessons.

The Pulpit The School is fortunate to possess the architect’s original drawings of the Chapel and on looking at them two things are clear: firstly, Thomas Jackson was a fine water colourist.

Throughout his life he had travelled far and wide always with his sketch book. In the book

Recollections: The Life and Travels of a Victorian Architect edited by his grandson, Nicholas, there are superb examples of his skill as an artist. The second observation is that the present pulpit is nowhere to be seen! It was a puzzle until one consults the Giggleswick Chronicles, which mark the events

of the school. We read that on 9th November, 1902 there was a service to mark the inauguration of the new pulpit. Why this lack of a pulpit at the original opening in 1901 is an unsolved mystery. It is presumed that before then a preacher would have stood in the centre of the chancel at the lectern which in early drawings was placed at the centre of the chancel. The addition of a pulpit was clearly necessary for, in the recollections of William Nicholls, the sgraffito artist, we read that at the Opening Ceremony two sermons were to be delivered, one being by the friend of Walter Morrison, Dr Warre, Headmaster of Eton.

He had a voice like a bull and it resounded so under the dome that nobody could distinguish a word of all he said. He might have been talking double Dutch, and possibly was!

The pulpit is of carved cedar of the most beautiful and ornate kind.

The lower half is in the shape of a pentagon , the upper canopy is a hexagon in shape and is intricately wrought with delicate carved leaves and a pinnacle at each corner. On a wooden panel on the back of the pulpit in Latin are the words of St Paul in 2 Timothy:4 Predica verbum insta opportune importune Preach the word, be instant in season and out of season.

The text of this letter from St Paul is concerned with the work of pastors in caring for their community; a fitting topic for the School. The carver’s name is not given, but one may assume that is was the work of one of the woodcarvers, who had been working on the Chapel earlier.

At this inaugural service the Guest Preacher was the Rt Reverend JJ Pulleine, Bishop of Richmond. The member of school who reported this event in the Giggleswick Chronicle wrote : It is satisfactory to find that the School can now hear the preacher much better than previously.

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The Organ

There is no passion in the human soul, But finds its food in Music.

George Lillo, 1693-1739 English Dramatist

Occupying the north gallery is the mighty three manual Willis organ. It is probably the last one under the direct supervision of ‘Father Willis’ as he liked to be called, because he died before it was completed.

However, some may say that the organ of St Bee’s Priory was the last under his supervision in 1899.

His father was a builder with a love of music, so Henry Willis grew up in a musical household. He learnt the organ from a very early age.

As a teenager he was the organist of a church in Hoxton.

Probably the most famous organbuilder of his day, he worked on about one thousand organs. Willis organs may be seen in many fine cathedrals such as: Durham, Carlisle, Exeter, Salisbury, Lincoln, Oxford and many more. He built an organ for the Great Exhibition for which he won a gold medal.

This organ was later placed in Winchester Cathedral. The organ which he built for the Royal Albert Hall in 1871, with its four manuals and one hundred and eleven

stops, was considered to be the largest in the world at that time.

The organ he installed at Windsor Castle was destroyed in the fire of November, 1992. In great demand because of his meticulous craftsmanship and design, he could be abrupt and difficult, but his skill overrode any other concerns. The attractive, carved casing was designed by Mr Jackson and is not unlike the casing which he designed for the Sheldonian Theatre organ in Oxford.

The specification for the Chapel organ was drawn up by Sir Walter Parratt, born in Yorkshire 1841.

(See the appendices) His father was the organist of the Huddersfield Parish Church and Walter Parratt played the organ at a local church by the time he was eleven. Interestingly, in 1851 when Mr Jackson was a pupil at Brighton College, he went to a musical party and heard a little boy play in a marvellous way on the piano. The little boy was Walter Parratt and Mr Jackson described him as The greatest on

his instrument that I have ever listened to. Walter Parratt rose to become Professor of Music at Oxford and was the organist at St George’s Windsor. He travelled the country as an examiner of music

and was appointed Professor of Music at the Royal College of Music. Like many organists, before and since, JS Bach was his favourite composer and at the recital he gave after the luncheon

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party on the 4th October, 1901, he played, amongst other compositions, Bach’s thrilling Prelude and Fugue in D major.

It seems that the organ was mostly left untouched apart from some minor alterations: a new electric blower was added in late 1922. However, major alterations were carried out in 1960. Two organ building firms H Willis and W Hill, competed for the work and once again the fourth member of the Willis family was given the task. Henry the fourth was an Old Boy of the school. The main aim was to increase the variety and brilliance of tone. Opinions between organ builders are strongly held and often arguments between conflicting opinions are no rarity. This is true in the case of the Chapel organ and its protagonists! In a letter to the Head at that time, NST Benson, we learn that Dr Francis

Jackson of York Minster, who had been approached for his opinions on what exactly needed to be done – we must remember that any work carried out on an organ is always very costly and schools do not like to waste their money – complained of the ‘Unnecessarily aggressive attitude of young Willis that he very nearly withdrew’.

Writing in May, 1960, Henry Willis writes of his differences with Dr Jackson and adds: ‘This opinion is not the passing phase of a juvenile amateur but the result of considerable study, experience and practice….!’

Clearly life in an organ loft can be very combative indeed!

However, by the early 1970s, the organ was again showing wear and tear. The action had become very noisy; many of the pipes were suffering from metal fatigue and

the instrument was not as responsive and reliable as it should be. By 1976 the repair work was placed in the hands of J W Walker and Sons, who had held the contract since 1973. This time it involved a complete restoration of the actions, windings, installation of a new blowing plant and a new humidifier plant. By the late 1990s it became evident that the 1901 mechanical action was less reliable, so it was decided to electrify the key and stop action.

So work began. The organ builder Gary Owens of Liverpool was chosen.

In September 2005 a splendid recital was given to celebrate the restoration of this mighty Willis organ.

To demonstrate its adaptability and tonal variety, the guest organist, the notable Scottish musician, Dr John Kitchen, provided an imaginative programme; perhaps the most impressive piece being Bach’s’ St Anne’ Prelude and Fugue. The opening item, An Edinburgh Fanfare by Francis Jackson, neatly spanned the distance between Yorkshire and Scotland, for Dr Jackson, was for much of his life the organist at York Minster. On the day after the Opening Recital the Bishop of Bradford rededicated the instrument.

Before the improvements to the organ were made, an indication of life as a “blower” is given by RC Saunders, OG. Writing in the OG News of November 2005, we read: In the mid-to-late 1940s I was a member of what those of us

concerned called the Worshipful Company of Organ Blowers; the organ was hand-blown until some years after I left in 1949. The manual pump was operated by two blowers who stood in a little alcove at the top of the stairs giving access to the organ loft.

There was a weight attached to the end of a cord, which had to be kept above or below (I cannot remember now) a fine line painted on the panelling, to ensure the desired sound output.

Occasionally, over-enthusiastic pumping would cause a creak to be audible in the choir – a black mark!

He goes on to say: On “heavy “ occasions, such as a performance of ‘Messiah’, we gained a vivid impression of the life and trials of the rowers in the oar-propelled warships of classical times!

Professor Ian Tracey wrote after his recital in 2007: ‘I find the organ to be most satisfying to play ….and I was impressed with the responsiveness of the action………

I congratulate all those involved in the project most warmly, and Gary Owens is to be especially commended on a fine job both mechanically and tonally which will be source of inspiration and joy to generations of Giggleswick teachers and scholars for many years to come’.

An interesting article on the Chapel organ may be found in the magazine, The Organ , volume 85, No 338.

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Apart from the two statues in the Chapel, Frampton’s many other works includes the statue of Queen Victoria in Leeds, the monument to Edith Cavell, a British nurse who working in German-occupied Belgium during the First World War nursing both Allied and German soldiers, was arrested and shot by the Germans in 1915 for treason. Sir George Frampton’s statue close to the north-east corner of Trafalgar Square in London, was upgraded to Grade 1 status in 2014; Peter

The Sculpture

Pan in Kensington Gardens, London, the Founder’s Statue at Uppingham School and the Boer War Memorial at Radley School.

He was knighted in 1908 and at the time of his death in 1928, he was one of the most well known sculptors in Britain.

The sculptor gave to the school the cast of the Edward VI statue, which is now placed in the atrium to the dining hall, and looks down on the queues waiting to be fed.

Memorials Perhaps the most poignant memorials are those to mark the names of the Old Boys of Giggleswick who died during the two World Wars.

The two figures above the west door are those of King Edward VI and Queen Victoria looking down. They are the work of George Frampton (1860-1928).

He was arguably one of the greatest sculptors of the New Sculpture Movement in Britain which flourished between 1880s and the 1920s and which rejected the classical prototype which had been endlessly copied, in favour of neo-allegorical subjects, a dynamism, energy and physical realism.

George Frampton was the son of a stone carver and trained as an architect. He studied at the Lambeth School of Art and the Royal Academy School where he won a gold medal and a travelling

scholarship to Paris. He set up the Central School of Arts and Crafts in London. By 1893 he taught sculpture at the Slade School of Art and from 1911-12 he was President of the Royal School of British Sculpture. Success came early and he received many commissions. His range of work was large and included architecture, decoration, jewellery, silver-smithery and monumental sculpture. His style was a mixture of his own innovative ideas with a reference to the Italian Renaissance – particularly Donatello - and the PreRaphaelites, although he was also influenced by French artists.

Frampton remained true to the ideologies of the Arts and Crafts Movement.

anniversary of that war. Above it are placed some ceramic poppies, given by an OG, who wished to

The First World War tablet is found on the pillar opposite to the pulpit. It is a noble piece of work and was designed by Sir Gilbert Scott. It is of white marble and executed by Messrs. Stubbs of Liverpool. The memorial was unveiled and dedicated in 1922. A Guard of Honour was mounted to receive Lieut-General Sir Noel Birch, KCB KCMG, who had been a pupil at the school. The Headmaster, Robert N. Douglas, read the Role of Honour, and General Noel Birch unveiled the memorial.

127 OGs lost their young lives in that disastrous conflict. Next to this memorial is the Book of Remembrance created as part of the School’s commemoration of the

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Quis Desiderio sit pudor aut modus tam cari capitis What impropriety or limit can there be in our grief for a man so beloved?

remain anonymous. They were were originally on display as part of the Seas of Red Installation at the Tower of London. It was designed by Paul Cummins OBE ceramic artist and Tom Piper OBE, a set designer for the Royal Shakespeare Company.

One of the Second World War Memorials stands on the south side of the altar; another, of four wooden panels, is to be found behind the choir stalls on the north side. 64 OGs lost their lives in that conflict.

The Reverend George Style This memorial carved by Mr JE Hyett is located on the north side of the altar.

Mr Style was Headmaster from 1869-1904. The memorial to him was unveiled in 1923.

The Service of Dedication was conducted by The Reverend GJT Harker, OG who had known Mr Style for fifty years. George Harker

refusing a chance to go home, returned to the front in command of two companies of Yeomanry.

He died of enteric fever at Kroonstadt . had been a pupil from 1871 -1877, made Head Boy and became a scholar at St John’s College, Cambridge. He was ordained in 1890.

John Hyett (1867-1936) was born in Gloucestershire where he was probably apprenticed to one of the wood and stone carving businesses in the region. By 1901 he had moved to London and began to study sculpture. He established himself as a portrait sculptor and exhibited regularly at the Royal Academy from 19041935.

On the north side aisle are to be found tablets in memory of three OGs: Sidney Arthur Slater Attended Giggleswick from 1888 to 1889. He served in the South African War as a lieutenant. He made a daring capture of Bulfontein with only ten men. He was wounded afterwards, but,

John Druville Slater A pupil who died in 1915 aged only 12; his school life was thus sadly shortened.

James Micah Birtwistle Attended Giggleswick from 1909 but died the following year whilst still at school aged 14.

The additional seating in the aisles is in memory of Hue Mason Fitz Hammond who was Classics master for 42 years. He was appointed Second Master and retired in 1938, although he kept his connection with Giggleswick as the OG Secretary. He was a keen sportsman and excelled at cricket and fives. The pupils called him The Little Nipper but his colleagues referred to him as The Gentle Ham. There is also a small commemorative brass plate on one of the stalls at the back of the Chapel to his memory. The Latin inscription from one of Horace’s Odes reads:

Jack Brassington OG was responsible for making and installing the seating in memory of Mr Hammond, so the connection with the Chapel and the Brassington family of father, Thomas William Brassington, who worked with Mr Jackson, and son, Jack, was maintained. It was, incidentally, Jack who supervised the pointing round the dome and the repair of the cross on the top of it in later years. He had his photograph taken standing on the top of the building admiring the marvellous view of Pen-y-Ghent, which was clearly seen over the tops of the scars.

On the south side aisles are the memorials to two other school masters: Gifford Bromley Mannock The master in charge of Bankwell, the house for twenty of the younger pupils, and an outstanding assistant master, who supported the Head, Reverend Style, in the many schemes on which the Head worked. He died at school in 1908.

Stephen Pellatt Smith Graduated from Heidelberg University and was a much admired assistant master at school for fifteen years and who was fortunate enough to be at Giggleswick during the building and completion of the Chapel. The

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The Brass Lighting The Chapel was originally lit by ten pendant gasoliers made from the architect’s designs by Strode and Co. of London who were gas engineers established in 1820.

Latin memorial celebrates this fact: In Laudem Domini et in memoriam Stephani Pellatt Smith huius scholae quindecem annos e magistris qui hanc aedem inceptam salutavit confectam amavit in conspectus eius mortuus et sepultus est.

To the glory of God and in memory of Stephen Pellatt Smith who was a master at school for fifteen years and who greeted the beginning of this building and delighted in its completion,died and was buried.

He died at the Ashfield Hotel in Settle on 22nd December, 1945 and was buried in Holy Ascension Church, Settle.

That's rosemary - that's for remembrance Shakespeare; Hamlet Act 4 scene 5

Much of their work consisted of brass fittings and fixtures for theatres. After fifty years of use these were replaced by fluorescent lighting with tubes mounted in the nave and along the aisles to either side. Additional lighting was placed within and under the galleries and vertically on either side of the altar. One dreads to imagine how it all looked in such a beautiful setting.

In 1987 the lighting was, thankfully, replaced to its original form, substituting electricity for gas and now there are ten Flemish pendants in glowing brass. These were made by Best and Lloyd Ltd of Birmingham. The owner, John Best, and Harold Shaw worked from photographs of the originals, and they are as far as is possible exact replicas. This restored

lighting was the gift to the school in memory of the life of WH Watson, OG, a sometime Governor and Chairman. It was the gift of his two sons. There is a shining brass plate on the reading slope of one of the western stalls in his memory: To the Glory of God and in ever-grateful memory of William Hainsworth Watson, pupil of the school, sometime Governor and Chairman the lighting of this Chapel has been restored.

The Lectern This is of bronze and made from the architect’s design by Hart, Peard and Co. This firm of architectural metal workers was based in London and Birmingham and were mostly associated with ecclesiastical work.

They were represented at many exhibitions and won medals for their work, in London in 1851 and 1862 and in Paris in 1855, 1867 and 1868. They closed shortly before the First World War. The lectern is in the form of an eagle, a design frequently seen in churches. The eagle has a somewhat symbolic meaning in that it is reputed to be the only creature which can look directly at the sun as it soars in the heavens, and may, therefore, remind Christians that they should look to eternity without flinching. The eagle as seen in the mosaic

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pendentives in the Chapel and on the western stalls, is closely associated with St John the Apostle.

to a generous legacy from the sister of Sir Roy Strong, launched a competition for a piece of art. It was won by Simon Beer, whose design was of an 18ft corona set with candles to be placed above the sanctuary altar.

Beer describing himself as a real outside horse was thrilled.

Around the base of the lectern is inscribed: Ex dono gualteri Morrison de Malham istius capellae fundatoris. AD 1901. The gift of Walter Morrison of Malham the founder of this Chapel.

Altar Furniture

The Lord said to Moses, ‘Receive whatever offerings any man wishes to give. These offerings are to be: gold, silver and bronze; fine linen: blue, purple and red wood.’

The Altar Frontal was renewed in 2005, replacing the damaged one, which was not the original. The design by local designer, Sally Figgins, was inspired by the sgraffito work and was intended to unite the decorative elements of the dome and choir stalls. The stylised grape and vine motifs are appliqued on to the ivory brocade cloth, as is the ribbon ornamentation with the wording in Latin: HOC FACIT IN MEAM COMMEMORATIONEM.

Do this in remembrance of me, words spoken by the priest during the Eucharist. The claret red and green wools, dyed for use, echo the design. The edging, either in blanket stitch or cross stitch, was partly undertaken by prison workers trained by the charity Fine Cell Work. The cloth used is from local mills.

The charity, Fine Cell Work, was the inspiration of Lady Anne Tree whilst she was a visitor at HMP Holloway in the 1960s. Aware of the boredom and frustration experienced by prisoners confined to their cells for many hours a day, Lady Anne, who was on the committee of the Royal School of Needlework, thought it a worthwhile idea to teach prisoners a skill which may help combat boredom and perhaps provide

Exodus 25

The current altar furniture was designed and made by Simon Beer of Lewes, Sussex, who studied metalwork at Bryanston School, moving to Sheffield to learn and study the skills of cutlery- making and silversmithing.

He produces many innovative designs that have won major awards. His designs tend to have clear, clean lines as may be seen in the Chapel. Each piece of the

silverware is made of sterling silver and Brazilian rosewood. This altar set was presented in 1987 in memory of Sir Douglas Glover, OG and former Chairman of the Governors.

A Service of Dedication of the new altar furniture and lighting, conducted by the Right Reverend Robert Kerr Williamson, the Bishop of Bradford, was held on November 15th 1987.

In 1992 Hereford Cathedral, thanks

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them with a skill useful to them in the future. It was not until 1995 that the Home Office finally agreed and in 1997 the charity was registered and teaching began. It has been an unqualified success wherever it has been tried.

The chosen prisoners are taught embroidery, patchwork quilting, cushion - making and giftware.

Many learning these skills are men.

The aim is to teach the prisoners self esteem, discipline and a work ethic, besides earning money which might be sent home or saved. These handicrafts are sold in the Fine Cell Work shop in London; the prisoners receiving about 37% of the price of the goods sold.

The Heating This was supplied by the firm of Haden and Son, Trowbridge.

George Haden was an inventor and engineer, who developed a warm air heating system.

It was put in the vault under the ante chapel, although it has been

much improved since those days.

The firm of Haden and Son had installed heating systems in Windsor Castle and The Houses of Parliament. According to the late WR Mitchell, MBE, local historian, writing in The Dalesman; until 1963 the Chapel was heated by a boiler that used coke. The fire was lit from Thursday until Sunday in winter and the variations in temperature led to the mosaic work in the dome being damaged.

It was recommended that a temperature of 55 degrees be maintained, which led to the installation of a gas central heating system.

So the story is told and the Chapel visitor may leave perhaps enlightened, perhaps uplifted but, it is to be hoped, will carry away something of the beauty of the place and some of the secrets of the Chapel up on the hill, referred to by amazed local Dalesmen on seeing the Chapel capped with a dome back in 1901: They’re building a heathen temple up yon!

And in this place I will give peace, declared the Lord of Hosts Haggai 2:9

Appendices

62

Although he was a shy man, he had many private visitors, men of great standing in England and included such as Charles Kingsley, author of The Water Babies which was inspired in part by the setting of the tarn and surroundings; Thomas Hughes, author of Tom Brown’s Schooldays; John Stuart Mill, Charles Darwin and John Ruskin.

Walter Morrison 1834-1921

The heart benevolent and kind The most resembles God. Robert Burns 1759-1796: A Winter Night

A man of many parts: business man, landowner, politician, benefactor; a man whose actions spoke of a generous and a highprincipled spirit.

In some respect the character of Walter Morrison was shaped by the life of his father, James, who not only made a great deal of money but who gave service to his country as a radical politician and cherished a desire to improve the lot of less fortunate mankind.

Walter Morrison was educated at Eton and Balliol College, Oxford, taking a First in Greats. His education was completed with the usual Grand Tour taken by young men of his class. He not only went to Europe but also, more daringly, to Syria and Egypt. His travels in the Middle East stimulated his interest in the history and archaeology of that part of the world. It is thanks to Walter Morrison that the Palestinian Exploration Fund is still housed in central London in the premises bought freehold by him in 1911.

In 1861 he contested Plymouth as a

Liberal and held his seat until 1874.

When Gladstone introduced his Home Rule for Ireland Bill in 1886, Morrison disagreed and broke with Gladstone and the Liberals.

Consequently, he became a Unionist and stood for Skipton, being defeated by a narrow margin. He stood again in 1895 against JA Farrer of Ingleborough and won. He retired from the political scene in 1900.

Throughout his life Walter Morrison stood by his political principles, supporting the Cooperative Movement and the sufferage of women. This last rather surprising since he was known not to be fond of the fairer sex and if meeting a lady whilst out, it is said that he invariably looked down and spoke aloud to himself. His housekeeper at Tarn House, Malham which he made his home after inheriting it from his father, was one of the few women with whom he had close dealings.

As a landowner Walter Morrison was greatly respected, for although he would stand no nonsense, he was a kind and

benevolent presence on the estate. He rode out the storm of two inaccurate and damaging slurs on his character, being forced on one occasion to take his case to court. He was completely vindicated but was distressed by the unpleasant and public accusations. In his capacity as landowner, he held the usual shoots and luncheon parties and invited local groups such as the Boy Scouts, amateur geologists , ramblers and fishermen to share in the beauty of the estate. He was a good estate owner and repaired and built several new houses for his workers and local farmers. He often arrived unannounced at the farmhouses and cottages on the estate. When sitting in the kitchen of one of the estate cottages, to the embarrassment of the woman who was baking at the time, he remarked that he had always wondered how the jam got into the tarts!

Tarn House was his greatly- loved home for over sixty years. A keen walker, he thought nothing of walking to and from Settle or Giggleswick where he was a Governor for many years and twice elected Chairman. He was greatly interested in all aspects of education and this is clearly demonstrated by the countless large sums of money he gave to universities, libraries – he gave £50,000 to the Bodleian in Oxford - and schools; indeed he built two schools in Malhamdale.

It was Walter Morrison who formed the North Craven Volunteers, later to become the North Craven Rifle Corps. By 1860 a rifle range was built at Attermire and Morrison built a drill hall for the Corps in Settle. When the Volunteer Corps ceased in 1908 and were translated into the Territorials, Walter Morrison gave a £1000 for clothing and boots for them. After the First World War, he presented to every ex-serviceman, or to the families of those soldiers killed, a book of remembranceCraven’s Part in The Great War. Elsewhere in this guide mention has been made of his enterprises in Argentina, but nearer home he

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was Chairman of the Yorkshire Dales Railway and Director of the Craven Bank, becoming its Chairman in 1905. He had interests in the Carlton Iron Co. in the northeast, and was made a Director in 1870. True to his liberal and benevolent character, he helped to develop homes of a decent standard for the one thousand workers and their families. The village is now called Stillington and virtually nothing remains of the original settlement except the name Morrison as a street name.

During the depressions and slumps which dogged industry and trade at that time, Walter Morrison gave money to the company to keep the works open and the men in work.

His life might be summed up in the countless, often anonymous , usually unexpected, generous

gifts, not least being this glorious Chapel standing proudly on a hill overlooking the countryside he loved so well.

Let it stand as a memorial to him.

Alas there are no statues of him in any part of the country; it was not in his nature to wish that sort of public recognition. However, in recognition of his magnificent gift to the School, a subscription fund was set up and a portrait of him was commissioned. The artist, Hubert von Herkomer, who had given drawing lessons to Queen Victoria, and who was an acclaimed painter, was selected and this portrait of Mr Morrison hangs on the stairway of the Memorial Library. But if one is searching for a fitting memorial to a great local man then: circumspice!

Thomas Graham Jackson , Bart.,RA 1835-1924 Architecture is the mother of all Art, yet how disdainfully is she treated by her children. It is to such men as Mr Jackson that we look to raise her to that high pedestal which is her right.

Builders’ Journal and Architectural Record IV 1896

One of the most distinguished architects of his generation, Thomas Graham Jackson, was best known for his work in Oxford; he designed buildings for twelve colleges – perhaps his best known landmark being the Bridge of Sighs over New College Street, many other university and city institutions and he worked on buildings at many public and other schools and churches throughout England.

Thomas Graham Jackson was born in London; his father was a solicitor. He was educated at Brighton College and on being offered a scholarship, he entered Wadham College, Oxford. By chance whilst rowing for his College Eight which had “bumped” Christ College on the first night of the “Bumps” race, (a race rowed both at Oxford and Cambridge where boats in single file chase one another attempting to catch or” bump” the boat in front without being caught by the boat behind); Brasenose was next on the second night. After that there remained only Balliol, the head boat in the race, with, believe it or not, Walter Morrison stroke.

Wadham made its bump when Balliol was halfway past the winning post and so gained the headship of the river. Forty years later when Jackson and Morrison came together over the Giggleswick Chapel proposal, Morrison said; Ah, that bump rankled my mind ever since!

had shown one of Thomas’s sketch-books to Scott, who was a neighbour in Hampstead. Scott felt that it was too late for him to become a painter. On meeting the great architect for the first time, Thomas Jackson writes in his Recollections: In his disregard of personal appearances I think he outmatched my father. His negligent dress and ill-brushed hat were counterbalanced by a certain unconscious dignity in his manner and were part of the modesty and simplicity of the man.

During their conversation Scott described the Pre-Raphaelites as painting like madmen Jackson, who at that time was steeped in Ruskin and admired the PreRaphaelites, defended them. Scott replied: Well bring your pre-Raphaelitism into architecture, for it is what architecture is most in need of at this present time.

So began his life as an architect.

Jackson took his degree in Literae humaniores in 1858. He served his apprenticeship in the office of Sir Gilbert Scott until 1861. His father

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Receiving his fellowship at Wadham in 1864, he travelled abroad a great deal, as he was so to do for the rest of his life. On reaching Italy the young tyro was inspired by the glories of the Renaissance. In 1866 he first met James Powell of the famous Whitefriars Glassworks and with whom he developed a deep friendship, becoming travelling companion on many trips abroad.

Much of his early work was standard – a restoration of a church here, a couple of houses and a rectory there. But there was one exception to this: the church of St Peter in Hornblotton, Somerset, with its floor to ceiling sgraffito work. (mentioned earlier in this guide) This is a glorious building and a most competent early work. His first design for the church of All Saints at Annesley in Nottingham was hung in the Royal Academy in 1873 and in fact his work was shown there almost every year until his death. There was an exhibition in 2004 at the Royal Academy of Jackson’s water- colour albums.

Thomas Jackson was to win many prestigious prizes at a number of international exhibitions: Paris in 1878; Sydney in 1879; Adelaide in 1887 and St Louis in 1904. By 1886 he was a full Academician. In 1887 he produced a three volume work on the history of Dalmatia, (Croatia): Dalmatia, the Quarnero and Istria, with Cettigne in Montenegre and the Islands of Grado. Jackson was a man of many talents for not only was he an eminent architect but a watercolourist of great skill and beauty;

a designer of stained glass, reference of which is made in this guide; a designer of table glassware and he even turned his hand and skill to the design for a grand piano to be built by Broadwood.

He designed metalware and bookplates and he was a fine writer of prose and completed six ghost stories: in an idle hour for the amusement of the home circle. Five of the six little stories have now been republished.

Fine examples of his skill with water - colour may be seen in his book Recollections which chronicles his life, work and many travels at home and abroad. Such was his skill as an architect that he was asked to finish the campanile of the cathedral in Zara (Zadar), Dalmatia, which had been partially built in the late fifteenth century. Incidentally, in 2017 an international conference was held in Split, in modern- day Croatia, to mark the 130th year of the publication of his book on Istria and Dalmatia.

The undertaking for which he was made a baronet was the restoration of Winchester Cathedral which took six years, being completed in 1912. It was an enormous project; the most difficult part being the underpinning of the cathedral’s foundations, which meant going down to the gravel sixteen or seventeen feet below ground and substituting concrete for the old wooden piles, submerged in water on which the building rested. The cathedral had been built on a bog.

This dangerous work, at the

suggestion of Francis Fox, consultant engineer, was performed by a diver. Wisely Mr Jackson realised this was no work for an architect! This enterprise occupied much of Mr Jackson’s time and thought and cost tens of thousands of pounds. To celebrate the completion of this complex restoration, a thanksgiving service at Winchester Cathedral was held on 15th July, 1912, in the presence of the King and Queen. The next day The Times announced that the engineer, Mr Fox, was to receive a knighthood. It was not until December of that year that the Prime Minister, Mr Asquith, sent Jackson a letter proposing that with the King’s approval he would be honoured in the New Year’s Honours List with a baronetcy.

After 1913 he designed little but his energy remained and during the Great War he went off once a week to make munitions, and, of course, at the end of that war he was required to design many memorials. Between 1913 and 1923 he worked on his seven volume series: Byzantine and Romanesque Architecture; Gothic Architecture in France, England and Italy; The Renaissance of Roman Architecture.

The buildings of Thomas Graham Jackson have come to be appreciated for their high quality – as the School Chapel so well illustrates- and few of his buildings have been demolished, although the School House at Harrow is an exception. Jackson was the Oxford architect par excellence – perhaps he was the only Oxford architect of national standing. He

died on the 7th November, 1924.

His buildings, additions and restorations are too numerous to list here but include: Bath Abbey, King’s College, Cambridge, The Sedgwick Museum of Geology, Cambridge, which is named after Adam Sedwick, the geologist, who for a short time was a pupil at Giggleswick School; King’s College Hospital, The Royal Naval Hospital, Greenwich, South Kensington Museum, The Whitefriars Glassworks, Norwich Cathedral and countless other buildings throughout the country.

In March 1901 he was invited to make a design in a competition for the national memorial to Queen Victoria. The work was to be a setting to Brock’s monument. Sir Thomas Brock (1847-1922) was the sculptor responsible for the statue of Queen Victoria outside Buckingham Palace. Writing in his memoir, Jackson writes that the Queen’s Diamond Jubilee: brought me in a flood of work.

However much work he had, he was able to give the school our beautiful Chapel ! His energy and drive were phenomenal.

Finally, at the Opening of the Chapel and in reply to a toast, Mr Jackson said that no more inspiring scheme could have been offered to an architect than the one set before him. He had a beautiful site surrounded by a lovely landscape and he had no anxiety about the cost. Everything had been of the best and nothing had been forgotten. It was an architectural experiment, and he was proud of the opportunity to carry it out.

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Analysis of Building Accounts April 1902 CONSTRUCTION Payments for day labour and materials on the building and approaches

£ 14,614

S 4

d 6

WORK UNDER CONTRACTS Iron and Brass work Wood Flooring Dome, Masonry Plumbing Concrete Floor Carpentry Joinery Safe Door Heating and Ventilation Lightning Conductor

261 19 587 962 251 1,017 486 23 149 44

16 16 10 0 15 19 10 0 15 10

9 1 0 0 0 6 0 0 0 0

TOTAL COST OF CONSTRUCTION

18,418

16

10

DECORATION Wood Carving Stone carving Marble Floor

£ 635 402 286

s 12 12 9

d 0 0 4

1,324

13

4

Mosaics Statues Stained Glass Sgraffito Work

FURNITURE Furniture including cupboards, tables, chairs, hassocks etc Gas fittings Organ and case

Specification of Organ CHIOR

GREAT ORGAN

1,324 3,633 450 1,426 183

13 1 0 3 13

4 7 0 5 5

7,017

11

7

1 Open Diapason 2 Wald Flute 3 Dulciana 4 Principal 5 Stopped Flute 6 Twelfth 7 Fifteenth 8 Mixture

8ft 8ft 8ft 4ft 4ft 2⅔ft 2ft 3 Ranks (19-22-26)

SWELL 9 Violin Diapason 10 Lieblich Flute 11 Gamba 12 Gemshorn 13 Flageolet 14 Mixture 15 Contra Oboe 16 Trumpet

8ft 8ft 8ft 4ft 2ft 2ft Ranks (12-15) 16ft 8ft

17 Gedacht 18 Nason 19 Nazard 20 Piccolo 21 Tierce 22 Clarinet PEDAL 23 Sub Bass 24 Violone 25 Bourdon 26 Principal 27 Bass Flute 28 Fifteenth 29 Octave Flute 30 Piccolo

317 554 1,380 2,253

16 18 6 1

9 3 0

TOTAL COST OF CHAPEL

27,689

9

7

OTHER BUILDINGS: CRICKET PAVILION Cost of building Clock and terraces

1,351 262

2 11

1 8

TOTAL

1,613

13

9

COUPLERS Swell to Great - mechanical Swell to Choir - mechanical Great to Pedal - mechanical Swell to Pedal - mechanical Choir to Pedal - mechanical Great to Pedal Piston - pneumatic

GATEHOUSE Cost of building Approaches, walls and yard TOTAL

1,342 171 1,513

2 15 17

6 2 8

TOTAL COST OF WORKS

30,817

1

0

8 ft 4 ft 2⅔ 2 ft 1⅗ft 8 ft

32ft 16ft 16ft 8ft 8ft 4ft 4ft 2ft

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Translations of the Latin & Greek Texts In the Eastern Arch EGO SUM RESURRECTIO ET VITA QUI CREDIT IN ME ETIAM SI MORTUUS FUERIT VIVET ET OMNIS QUI VIVIT ET CREDIT IN ME NON MORIETUR IN AETERNAM I am the resurrection, and the life: he that believeth in me, though he were dead, yet shall he live. And whosoever liveth and believeth in me shall never die.

St. John 11:25.26 In the Southern Arch EGO SUM VIA ET VERITAS ET VITA NEMO VENIT AD PATREM NISI PER ME NON RELINQUAM VOS ORPHANOS VENIAM AD VOS QUIA EGO VIVO ET VOS VIVETIS I am the Way , the Truth, and the Life: no man cometh unto the Father, but by me. I will not leave you comfortless: I will come to you. Because I live, ye shall live also.

St John 14:6,18,19 In the Western Arch EGO SUM VITIS VERA ET PATER MEUS AGRICOLA EST MANETE IN ME ET TE IN VOBIS EGO SUM VITIS VOS PALMITES QUI MANET IN ME ET EGO IN EO HIC FERT MULTUM FRUCTUM I am the true vine, and my father is the husbandman. Abide in me, and I in you.

I am the vine, ye are the branches:

he that abideth in me, and I in him, the same bringeth forth much fruit.

St. John 15 :1,4,5 In the Northern Arch BENEDIC ANIMA MEA DOMINO ET OMNIA QUAE INTRA ME SUMT NOMINI SANCTO EIUS IUBILATE DEO OMNIS TERRA SERVITE DOMINO IN LAETITIA Bless the lord, O my soul: and all that is within me, bless his holy name.

Psalm 103:1 O be joyful in the Lord, all ye lands.

Serve the Lord with gladness.

Psalm 100:1

Below the Ascension: ΕΙΡΗΝΗΝ ΑΦΙΗМΙ ΥМΙΝ ЕΙΡΗΝΗΝ ΤΗΝ ЕМΗΝ АΙΔΩМΙ ΥМΙΝ Peace I leave with you, My peace I give unto you.

St. John xix.27 Below the seven lower subjects: ЕΩΣ ΤΟΥ ΘΑΝΑΤΟΥ АГΩΝΙΣΑΙ ПΕРΙ ΤΗΣ ΑΛНθЕΙАΣ ΚΑΙ ΚΥРΙΟΣ Ο ΘЕΟΣ ПΟΑЕМНΣЕΙ ΥПΕР ΣΟΥ. МΗ ГΙΝΟΥ ΤАΧΥΣ ЕΝ ГΛΩΣΣΗ ΣΟΥ ΚАΙ ΝΩΘРΟΣ ΚАΙ ПАРΕΙМΕΝΟΣ ΕΝ ΤΟΙΣ ЕРГΟΙΣ ΣΟΥ Strive for the truth unto death. For the Lord God shall fight for thee.

Be not hasty in thy tongue, and in thy deeds slack and remiss.

Ecclus. Iv. 28,29 Below the band of sgfaffito round the nave: LAUDEMUS VIROS GLORIOSOS

ET PARENTES NOSTROS IN GENERATIONE SUA. HOMINES DIVITES IN VIRTUTE PULCHRITUDINIS STUDIUM HABENTES PACIFICANTES IN DOMIBUS SUIS. CORPORA IPSORUM IN PACE SEPULTA SUNT ET NOMEN EORUM VIVIT IN GENERATIONEM ET GENORATIONEM. SAPIENTIAM IPSORUM NARRENT POPULI ET LAUDEM EORUM NUNTIET ECCLESIA Let us now praise famous men, and our fathers that begat us. Rich men furnished with ability, living peaceably in their habitations.Their bodies are buried in peace, but their name liveth for evermore.

The people will tell of their wisdom, and the congregation will show forth their praise.

Ecclus. 44:1,6,14,15

At the base of the east window are the following inscriptions in Greek Below Christ in Glory

ВАΣΙΛΕΥΣ ΒΑΣΙΛΕΏΝ ΚΑΙ ΚΥΡΙΟΣ ΚΥΡΙΏΝ King of Kings, and Lord of Lords Rev. xix.16 Sermon on the Mount: ΚΑΤΑΜΑΘΕΤΕ ΤА ΚΡΙΝА ΤΟΥ АГΡОΥ ΠΩΣ ΑΥΞΑΝΕΙ ОΥ ΚΟΠΙА ΟΥΔЕ ΝΗΘΕΙ Consider the lilies of the field, how they grow; they toil not, neither do they spin.

St.Matt. vi.28

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Bibliography Dakers, C. (2011) A Genius For Money. Yale University Press Eliot, T S. (1969) Complete Works. Faber & Faber Feely, M. (2002) Galway in Stone. Dublin: Geoscapes Holy Bible: Authorised Version. London: Oxford University Press Jackson, T. (1920) Byzantine and Romanesque Architecture. 2nd edn.

Cambridge Jackson, T. & Jackson, N. (2003) Recollections: The Life and Travels of a Victorian Architect: Sir Thomas G Jackson. London: Unicorn Press Mitchell, W. (1988) Gossip from Giggleswick. North Yorkshire: Castleberg Murray, P. & Murray, L. (1998) The Oxford Companion to Christian Art and Architecture. New York: Academic Press Nicholson, B. and Clapham. A.R. (1986) Oxford Book of Trees.

Littlehampton Book Services Ltd Notes on the History of the School and an account of the New Chapel (1901). Oxford Proudlock, N. (1997) Giggleswick School Chapel. Leeds: J.N.D. Proudlock Sutton, I. (2000) Western Architecture. Thames and Hudson Oxford Dictionary of Quotations (1974). London: Oxford Univ. Press Ward, Y. (2014) Censoring Queen Victoria - how two gentlemen edited a queen and created an icon. Oneworld Publications Watkins, D. (2015) History of Western Architecture. 6th edn. Laurence King Pub. Mitchell, W.R. (undated) Notes. (In Giggleswick School archives) Nicholls, W.H. (undated) Reminiscences. (Transcript in Giggleswick School archives) Journals and Newspapers Bradford Argus 1901 Craven Herald 1901 The Organ Magazine November 2006, Nov 2007 The British Architect Oct 1897 The Architects Journal 2004 Manchester City News 1923 The Dalesman 1985

Online Sources Bundy, R & Anderson, B (2007) Walter Morrison, A man of many parts.

Available at http://www.kirkbymalham.info/KMLHG/morrison/morrison.html https://sculpture.gla.ac.uk Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851-1951 https://www.britishnewspaperarchive.co.uk British Newspaper Archive http://www.victorianweb.org/art/stainedglass literature, history and culture in the age of Victoria https://www.londonremebers.com London Remembers is a website aiming to capture all memorials in London https://www.gracesguide.co.uk Graces Guide to British Industrial History https://thetownmouse.wordpress.com/2012/06/65 The personal blog of Joanna Moore, an artist based in London, England. https://stchrysostoms.wordpress.com/2016/10/19/burlison -The Blog of St Chrysostom's Church, Manchester UK https://www.royalcollection.org.uk/collection/404661/maurice-mutherd-1912 The Royal Collection is one of the most important art collections in the world https://www.the-athenaeum.org Database of over a quarter of a million artworks https://www.britannica.com/ - Encyclopaedia Britannica Archives consulted Giggleswick School Charterhouse School Wadham College, Oxford Royal Collections archive Tate Gallery archive Fine Art society Royal Academy archive

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From the rising of the sun unto the going down of the same, The Lord's name is to be praised.

Psalm 113: 3 King James' Bible

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