Kingss Chapel Fulham Road, Chelsea

Transcription

King’s Chapel
Fulham Road, Chelsea
Report on the condition
of the leaded and stained glass windows
© Léonie Seliger ACR, Dean and Chapter of Canterbury, 2013
The Cathedral Studios 8A The Precincts, Canterbury, Kent CT1 2EG
Tel 01227 865 265
email: leonie.seliger@canterbury-cathedral.org
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Frontispiece:
Stained glass in the clerestory of the apse, with the attribute of St Mark.
William Wailes, probably early 1840s
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Contents
..................................................................................................................................................... 0
1.
2.
3.
4.
Introduction .............................................................................................................................. 4
1.1.
Purpose ............................................................................................................................. 4
1.2.
Author ............................................................................................................................... 4
1.3.
Access for survey and photographic recording ................................................................... 4
1.4.
Sources .............................................................................................................................. 4
1.5.
Numbering ......................................................................................................................... 5
1.6.
Blocked windows ............................................................................................................... 5
1.7.
Terminology ....................................................................................................................... 5
Overview ................................................................................................................................... 6
2.1.
Physical make-up ............................................................................................................... 6
2.2.
Significance ........................................................................................................................ 6
Detailed description of the glazing ............................................................................................. 8
3.1.
Early Victorian stained glass ............................................................................................... 8
3.2.
High Victorian stained glass.............................................................................................. 13
3.3.
Victorian diamond glazing ................................................................................................ 16
3.4.
Arts and Crafts glazing...................................................................................................... 18
3.5.
Post-WWII stained glass ................................................................................................... 20
3.6.
Late 20th century glazing .................................................................................................. 22
Proposals ................................................................................................................................. 25
4.1.
Repairs ............................................................................................................................. 25
4.2.
Relocation – re-ordering .................................................................................................. 25
4.3.
Secondary glazing ............................................................................................................ 26
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5.
4.4.
Opening casements............................................................... Error! Bookmark not defined.
4.5.
Replacement of glazing .................................................................................................... 28
4.6.
Re-opening the blocked windows..................................................................................... 28
Plates ...................................................................................................................................... 29
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1. Introduction
1.1. Purpose
This report records the content and the condition of the glazing of King’s Chapel, Fulham
Road, in London, Chelsea, and assesses its historic significance in relation to the building it
is housed in. It gives recommendations for the conservation / restoration treatment of the
glazing and discusses re-location of some of the dispersed glass and the introduction of
secondary and protective glazing.
The report was commissioned by Spire Property Developments Llp to help inform the
emerging revised scheme of converting this listed chapel to residential use.
1.2. Author
The author, Léonie Seliger ACR, is Director of Stained Glass at Canterbury Cathedral, and a
PACR accredited conservator with 25 years’ experience.
She advises the dioceses of
Canterbury and Rochester on faculty applications regarding glazing in churches.
1.3. Access for survey and photographic recording
A survey of the windows was carried out on 16 July 2013 by the author. Physical access to
the windows was only given from the inside, where most of the glazing is at least partially
within reach from ground level or from the upper floors. Externally the inspection was
carried out visually with the aid of binoculars.
Digital photographs of each lancet including details of damages were taken by the author
on the day of the survey. A DVD of the full record will be deposited with Tenhurst.
1.4. Sources
Apart from some engravings and historic photographs illustrated in the 2013pre-application
heritage report by KMHeritage no documentary evidence was available to the author of
this report. The assessment of the current glazing is therefore largely based upon the
physical evidence which the objects themselves present. The dating of the various types of
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glazing was carried out based upon type of glass and paint, manufacturing method, and
condition of lead and glass. Stylistic analysis and web-based research allowed not only
dating but also the attribution to artists for most of the stained glass.
1.5. Numbering
The numbering of the windows was applied by the author using the CVMA window
numbering system. The numbering assumes clerical orientation and ignores the actual
orientation of the building. The numbering begins with the windows in the axis of the choir
and continues towards the west, taking north and south sides simultaneously. Clerestory
windows are distinguished from aisle level windows by the addition of the letter ‘c’ to their
label. There is always only one east and one west window for each level. North windows
are labelled ‘n + number’, south windows ‘s + number’. Plates 1 and 2 show plans of the
aisle level and clerestory level with the window numbers marked.
1.6. Blocked windows
Several windows are bricked up and contain no glazing; they are: s7,9,10, n7,8,9,10, Nc10,
Sc10)
1.7. Terminology
•
‘Lancet’ – a single uninterrupted opening in the stonework.
•
‘Panel’ – a single unit of glazing; the glazing of a lancet usually (although not always)
comprises two or more panels. Panels are usually rectangular; those at the top of a
lancet conform to the shape of the window opening.
•
‘Head’ – the topmost panel within a lancet (usually from springing upwards).
•
‘Roundel’ – an independent stained glass panel of any shape (not just round) which
may form part of a larger panel.
•
‘Saddle bar’ – a horizontal metal bar attached to the lead matrix of a glazing panel
with tie wires or lead strips; the ends of the bar are embedded into the surrounding
stonework to give lateral stability to the glazing.
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•
‘Clerestory’ – the upper level of windows
•
‘Aisle level’ – the lower level of windows
2. Overview
The overview below is only intended to give a very broad outline. Detailed descriptions, together
with discussions of significance and recommendations for their treatment, can be found under point
3. in the individual detailed descriptions.
2.1. Physical make-up
The windows of King’s Chapel contain a very inhomogeneous collection of stained glass and
plain leaded glazing with a range of different dates and origins.
All of the chapel's glazing consists of classically made stained glass or leaded glass. The panels
are set into a rebate from the outside and are mortared in. Structural support is given by
ferrous saddle bars of various sizes and sections; those variations appear to be caused by
successive partial replacements with whatever section and size was available. The original bar
size is now difficult to determine. With the exception of one window all saddle bars are
internally located. Several nave clerestory windows have (now inoperable) opening casements
for ventilation. Several windows were bricked up in the past; others are bisected by later floors
insertions or covered by internal furnishings.
2.2. Significance
Plans and elevations showing the location of the different types of glazing with levels of
significance colour coded can be found in plates 3 and 4.
Significance has been ascribed to the glazing based upon the following criteria:
•
High:
Glass which is almost certainly part of the original 1840s decorative scheme and reflects the
original use of the building as well as the high level of sophistication of the original iconography
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and artistic ambition.
This level only applies to the early Victorian stained glass in the apse
clerestory and south transept described under point 3.1.
Glass in this category should be retained, conserved and protected to preserve it to the highest
standard. Relocation should only be considered if the glass has been displaced from its original
position, and moving it can be done without endangering its integrity.
•
Medium:
Glass which was made specifically for the chapel although not part of the original scheme, and
either has historical relevance to its previous use and/or contributes significantly to the
aesthetic quality of the building. This level applies to the glazing of the west window above the
porch (point 3.5) and to the glazing of the porch itself (point 3.4).
Glass in this category should be retained if at all possible, and be preserved to a high standard.
Some flexibility as to re-location within the building might be entertained.
•
Low:
Glass which is probably not part of the original 1840s fabric, is of limited historic interest, and is
not rare, nor artistically distinguished. The Victorian cast / rolled diamond quarry glazing falls
into this category (point 3.3).
Also classed as of low significance are four extraneous figures of saints which have been inserted
into windows if the nave. Although in themselves of good quality, they do not appear to have
any relation to the chapel and were transposed here from another building in the 20th century.
They do not therefore contribute to the historic nor to the artistic significance of the building
(point 3.2).
Relocation, re-ordering, and possibly also replacement of glass in this category could be
considered.
•
Neutral:
Machine-made glass of no aesthetic or technical merit or historic significance. The majority of
the current glazing, comprising most of the diamond quarry glazing, falls into this category
(points 3.5, 3.6).
The replacement of this type of glazing could be considered.
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3. Detailed description of the glazing
Six distinct groups of windows can be distinguished:
3.1. Early Victorian stained glass
(Ec1, Nc2, Sc2,6,8,9)
Nc2
Ec1
8
Sc2
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Sc6
Sc8
Sc9
3.1.1.Age and original location
An illustration of the interior of the chapel looking east and dated 1846 (plates 5 and
6) shows stained glass in the apse clerestory with a very similar arrangement of three
roundels in each clerestory lancet (two circular roundels top and bottom with a
multifoil roundel in the centre). Probably all of the richly coloured glass in Late
Romanesque style now located in the apse and in the south transept originated in the
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chancel. The displaced roundels fit the openings and the iconographic scheme of the
apse.
3.1.2.Iconography
The design of the glass fits perfectly with the Late Romanesque style of the chapel.
The three windows of the eastern end of the apse are probably in situ. They show
Christ in Majesty, flanked on either side by the evangelists Mark (the original patron of
the chapel) and Luke. It is possible that the position currently occupied by St Luke was
originally occupied by a now lost St John, reflecting the patrons of the college, and that
St Luke was moved one position closer to Christ at a later date.
The identically framed figure of St Paul in window Sc9 in the south transept
doubtlessly formed part of this series, as would the figure of St Simon the Zealot in
window Sc8. The latter, although possible slightly later, still looks as if it may fit the
shape and size of the apse clerestory windows (tbc when access allows exact
measurements).
Based upon this evidence it is likely that the designer of the iconographic scheme
placed Christ in Majesty in the east window of the apse clerestory, to be flanked by
evangelists and apostles.
The lower windows of the apse are also shown filled with stained glass in the 1846
engraving. Assuming the design followed the medieval practice, the lower windows
would have contained narrative scenes filled with small figures designed for closer
observation and referencing the larger figures in the clerestory windows above. The
roundels now in windows Sc6, Sc8 and Sc9, showing Acts of the Apostles, are certainly
part of that scheme.
3.1.3.Attribution
This is very high quality early Victorian stained glass, most probably by William Wailes.
Comparison of known work by him with the glass in King’s Chapel leaves really no
doubt as to his authorship (plates 7 and 8).
William Wailes, 1808 – 1881, was one of the most prolific and influential designers and
manufacturers of stained glass in the early and high Victorian period. His early
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collaboration with A. W. Pugin from 1842 - 45 established his credentials with other
Victorian architects, and his practice in Newcastle upon Tyne grew from small
beginnings to become a major supplier of ecclesiastical stained glass with over 70
employees.
If the glass is indeed that shown in the 1846 engravings it is part of Wailes’s earliest
period. The figure of the apostle Simon the Zealot, however, compares very closely to
his east window for St Alphege’s Church, Solihull, of 1860 (plate 8). It is therefore
possible that this figure post-dates the fire of 1859.
3.1.4.Condition
•
External protection
Windows Ec1, Nc2 and Sc2 were given external protection by a sheet of glass. This
appears to be a recent addition, probably as a reaction to impact damages.
•
Glass
There are a number of fractured pieces, and several holes. At least two previous repair
campaigns can be distinguished, replacing missing or damaged pieces with new glass.
One campaign used mouthblown coloured glasses with fired vitreous paints in the same
technique as the original (although rather lacking in technical finesse). The other
campaign was essentially unskilled, employing colourless glass crudely daubed with
transparent coloured gloss paint. This unfired paint is now flaking off (plate 9).
•
Lead
The glazing still retains its original extremely fine lead matrix. The rather widely spaced
milling marks visible where pieces have fallen out are consistent with early Victorian
lead. This is a rare survival and should be noted as significant and to be retained as a
high priority. Structurally, the lead matrix of all William Wailes panels and roundels is in
sound condition, with minor breaks and distortions where damages were incurred to
the glass. A portion of Ec1 was re-leaded to allow insertion so replacement glass (plate
11)
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•
Painted decoration
The original painted decoration consists of vitreous glass paints which were fired onto
the coloured glass pieces. In addition, yellow stain was applied to some pieces. Most of
the vitreous paint and all of the yellow stain is in sound condition, but there are a few
areas where the vitreous paint shows damages (plate 10).
Those are caused by
moisture deteriorating insufficiently fired or poorly composed paint.
3.1.5.Significance – High
The evidence of the 1846 engraving shows that this glass is either part of the original
fabric of the chapel, or a very close re-creation of the iconographic scheme following
the 1859 fire. It is the product of the best period of a highly influential Victorian
stained glass artist and technically as well as artistically very refined and accomplished.
Even though only a small part of the programme now remains, and some of that
displaced within the building, it is enough to gain a sense of the original iconographic
scheme; a scheme which illustrates the scholarly engagement of architect and
designer with the late Romanesque idiom. This glass should therefore be considered
to be of high historical significance and be preserved in the best possible manner.
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3.2. High Victorian stained glass
(n11,13 and s11,13): four roundels, each comprising a complete small lancet, inserted into
the diamond quarry glazing of the lower nave windows.
n11
n13
s11
13
s13
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Windows s11 showing the inserted roundel (left), and n13 from the outside (right) showing full
extent of roundel with lower part covered by inserted floor.
This high Victorian stained glass is clearly extraneous and was relocated from a decorated
gothic style building as evidenced by the cusped heads of the panels. No architectural
feature in the King’s Chapel corresponds to these shapes. This is good quality stained glass,
still in its original lead, but unconnected to the building.
It may have come from a
redundant church or may have been rescued from a ruined church.
3.2.2.Iconography
Each panel contains a single full figure in a foliate version of an architectural surround. The
inscriptions that identify the figures are covered by the inserted floor; based upon their
attributes they are: St John the Baptist, St Peter, an unidentified prophet, an unidentified
saint.
3.2.3.Attribution
Based upon the design style and painting techniques, this glass was most probably made by
the London firm of Ward & Hughes in the last quarter of the nineteenth century.
3.2.4.Condition
•
Glass
There are many serious damages – fractures, holes, and entire missing pieces. Previous
repairs were undertaken in a very unskilled and crude manner, using silicone rubber and
unsuitable glass insertions. The same unskilled painter who treated the early Victorian
glass also worked on these panels; the unfired coloured transparent paint used for
repairs here is the same as there (plate 12).
The internal surfaces are very soiled with a black deposit which may be soot from
candles or from a fire (plate 13). This was definitely not caused by the 1859 fire, as the
glass post-dates that event by at least ten years. Oddly, this soot deposit is not found
on the surrounding quarry glazing; this means that the insertion of the stained glass into
the nave windows did not include even a light cleaning of the stained glass.
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•
Lead
The lead is the original lead and is still structurally sound, but in many places damaged
by the insertion of repairs.
•
Painted decoration
The original vitreous paint is in perfect condition. The unfired paint on the later
insertions is beginning to fail.
3.2.5.Significance
Without evidence for its original location it is of no historical significance for the chapel, in
fact it obscures the original clear distinction between the most holy and richly decorated
space in the apse, and the plain nave.
The stained glass itself is of a good artistic and technical standard typical for Ward &
Hughes, and similar to the output of several late nineteenth century firms.
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3.3. Victorian diamond glazing
(s6, perhaps n6, Nc8, perhaps Nc6,7, and 9)
n6
s6
Nc9,8,7
Nc6
Although the 1846 engraving indicates diamond quarry glazing in all windows except those
of the apse, the survey revealed no plain glass that was without doubt of that early age.
Given that the 1859 fire was followed by a complete re-building of the roof, it is quite
possible that all plain glazing was replaced then. Windows s6 in the south transept and Nc69 contain textured cast glass in green and pink tints that is typical of Victorian low-cost plain
glazing. Window n6 is currently obscured with internal furnishings.
3.3.2.Attribution
Un-attributed. This is standard fare of any glazing firm of the time.
3.3.3.Condition
•
Glass
The glass is of a type variously called cast or rolled glass; this type of glass was available
throughout the nineteenth century and is very difficult to date precisely. It is made by
pouring molten glass onto a steel bench and rolling it flat. The shock of the cold metal
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produces ripples in the surface that are more lively and varied than the modern
machine-made version known as ‘Cathedral’ glass (plates 14 and 15).
Many pieces have been replaced with this more modern glass. The entire bottom panel
of s6 dates to the late 20th century.
The glass in Nc8 is severely stained with rust deposits (plate 16); these are caused by the
externally located saddle bars – the only window where they are located on the outside.
•
Lead
The lead is in reasonable condition given the repeated in situ repairs. It is unlikely to be
older than ca 100 years. Windows Nc6,7, and 9 and the bottom panel of s6 have been
re-leaded within the last few decades.
3.3.4.Significance
This type of glazing was in widespread use throughout the Victorian age.
It was a
convenient low-cost alternative to stained glass, and was often used as a place-holder until
donors were found for stained glass windows. The texture of the glass also prevented any
distraction of the congregation by views through the windows. Because of the repeated
repairs, replacements of glass, and re-leading, the authenticity of the glazing is severely
diminished to the point where some of these windows could equally be grouped into the
late 20th century glazing listed under 2.5. below.
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3.4. Arts and Crafts glazing
(porch)
The west porch was added in the late 19th century. The glazing is in situ but the choice of
materials and the condition of lead and glass date it to the first half of the 20th century.
3.4.2.Iconography
Square quarries with the Chi Rho monogram included as part of the lead matrix.
3.4.3.Attribution
Un-attributed.
3.4.4.Condition
•
Glass
Mouth-blown reamy glass. Many fractured and holed pieces. Only about half of the
original reamy glass survives; the rest are later machine-made textured glasses.
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•
Lead
Very wide lead profiles; the flanges are distorted by the insertion of replacement glass.
Still structurally sound enough.
3.4.5.Significance
A good quality if rather dilapidated example of late Arts and Crafts glazing, made for the
chapel.
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3.5. Post-WWII stained glass
(w1, Wc1, overdoor fanlight in south transept)
Wc1
w1
south transept overdoor
Stylistically typical of mid-20th century design; made for this location and installed shortly
after the latest date on the dedication (1949).
3.5.2.Iconography
West window: Christ in Majesty on a mandorla of rays, set on a background of diamond
quarries. The dedication lists five individuals, all educational staff of the college. The face of
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Christ is currently covered by a later floor. Rather unusually, it repeats the subject of the
east window in the apse clerestory.
West rose: plain glazing using colourless textured glass with some green tints in the smallest
openings.
South transept overdoor fanlight: plain glazing using colourless textured glass and float (?)
glass.
3.5.3.Attribution
Un-attributed.
3.5.4.Condition
•
Glass
Mouthblown coloured glass; the surrounding quarries are made from colourless rough
cast glass.
•
Lead
The lead is original to the glazing.
•
Painted decoration
The glass is decorated with vitreous fired paint and yellow stain, both in sound
condition. Later insertions are painted with unfired coloured transparent paint, which
has failed and is flaking off.
3.5.5.Significance
This is a very formulaic and technically fairly undistinguished window of a standard design.
The dedication to several educators reflects the link of the chapel to the college.
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3.6. Late 20th century glazing
(e1, n2-5, n11-14, s2-5, s8, s11-14, Nc3-5, Nc11-13, Sc3-9, Sc11-13)
n5
Nc5
n4
n3
Nc4
n2
e1
Nc3
s2
Sc3
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s3
Sc4
s4
Sc5
s5
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s12
n12
s8
Nc11
Nc12
n14 and s14
Nc13
Sc11
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Sc13
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The great majority of the chapel’s glazing uses modern post WWII machine-made glass
similar to the tints and the texture of Victorian cast glass.
Both glass and lead are no older than a few decades. It quite possible that the Victorian
diamond quarry glazing was sufficiently shattered, dilapidated and stained to make
replacement with new glass more economical than re-using some of the surviving old cast
glass. The deeply stained Victorian glazing of window Nc8 may in fact illustrate the problem;
externally located ferrous bars are notorious in depositing dense and very unsightly rust
staining on glass. It is quite possible that the saddle bars were originally all located on the
outside, and were – very sensibly – moved to the inside when the windows were re-glazed.
3.6.2.Attribution
Standard fare of any leaded glazing supplier.
3.6.3.Condition
•
Glass
Fractures and holed pieces in some of the windows. Otherwise in sound condition.
•
Casements
Four of the lancets have opening casements which pre-date the current glazing; they are
all not in working condition, mostly due to the fact that their mechanical parts (the
pullies) are mostly missing or broken. They are all rusted; one of them is quite badly
bent.
•
Lead
Sound.
3.6.4.Significance
The pink and green tinted textured glass presumably reflects a previous (but perhaps not
the original) glazing with cast tinted glass.
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4. Proposals
4.1. Repairs
4.1.1.Saddle bars
All of the saddle bars are rusted to a greater or lesser extent. They will be replaced with
phosphor bronze bars of 9mm round section for the apse windows, and 12mm round
section for the remainder of the building. All bars will be located on the inside of the
windows.
4.1.2.Repairs to stained glass
Given the high quality of the Victorian stained glass, repairs will be undertaken only by a
highly skilled restorer / conservator and be guided by the relevant guidelines of the Institute
of Conservation (ICON) and the Corpus Vitrearum Medii Aevi (CVMA).
Wherever possible, the lead matrix will be retained as part of the object. Fractured pieces
will be mended with conservation grade materials in favour of replacing glass; lost glass and
sub-standard previous repairs will be replaced with new glass using the same traditional
techniques as the original.
The extraneous roundels by Ward & Hughes in the nave windows add nothing to the historic
significance of the place, but rather confuse the original clear division between richly
coloured glass in the apse and plain glazing in the nave. They will be offered as a charitable
donation to the London Stained Glass Repository 1 for possible re-housing in another church
elsewhere.
The understated but very fine Arts and Crafts glazing of the porch will be carefully restored,
replacing unsuitable later additions with handmade reamy glass matching the original in tint
and texture as closely as possible.
4.2. Relocation – re-ordering
The most important glass in King’s Chapel is without doubt the early Victorian stained glass
by William Wailes. Some of it is currently displaced into the south transept, where it
1
The London Stained Glass Repository is a charitable trust which rescues good quality glass and seeks to find
new homes for it. Redundant Churches form the main source of rescued glass. It is administered by the
Worshipful Company of Glaziers and Painters of Glass. http://www.worshipfulglaziers.com/The-LondonStained-Glass-Repository-11.htm
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introduces an element of colour that was probably not part of the original design. Its
current location also obscures its contribution to the original iconographic scheme. The
displaced roundels will be returned to the apse: the figure of St Simon the Zealot and the
narrative roundels with Acts of the Apostles and of Christ will be place into the lower
windows either side of the east window. This arrangement is suggested by the 146
engraving. The figure of St Paul will be returned to the clerestory, to the south of the three
existing stained glass windows, so that the figure turns east towards the figure of Christ.
Plates 17 and 18 show the proposals for re-locating the dispersed roundels into the apse.
4.3. Secondary glazing
The proposed residential use of the chapel will require wind and weather tight glazing. In
addition to that, a certain level of energy efficiency and comfort will also be looked for,
which calls for secondary glazing.
4.3.1.Internal secondary glazing
For the great majority of the chapel’s windows, new single sheet internal secondary
glazing will be suitable; this will be designed to allow easy access to the internal face of
the outer, leaded, glazing.
Leaded glazing will always require some form of maintenance:
Leaks may occur when the glazing grout between lead and glass decays after a few
decades, and insects may find a way through the lead matrix.
Broken glass pieces can be repaired in situ by lifting up the surrounding lead flanges.
Any maintenance will require access to the inside of the glazing, so the interior
secondary glazing will be designed to permit reasonably uncomplicated access through
large sliding sashes.
4.3.2.External protective glazing
The windows of the apse clerestory are currently protected by single sheet external
glazing; those include the three William Wailes windows that are in situ.
Because of the high number of fractures in the Victorian stained glass, and because
some of the painted decoration shows damages, external protective glazing is
necessary as a preventive measure. Protection from the elements also permits the
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retention of more original material (glass and lead) during conservation, and extends
the life of any repairs carried out with e.g. resins. External protective glazing must be
well-designed to suit the requirements of the individual case. For King’s Chapel, the
outer protective glazing will be sealed against the elements, and the historic stained
glass be suspended in custom-made frames on the interior, with a sufficient interspace
to provide thermal buffering, and ventilation slots at the bottom and the top to enable
air exchange to the interior. This system, commonly called ‘isothermal protective
glazing’, has been shown to provide the most stable environmental conditions for
fragile stained glass.
4.3.3.Partial protective glazing
Where stained glass roundels are set into diamond quarry backgrounds a partial
protection of only the roundel may be the best solution. This applies to the re-located
roundels from the south transept. The roundel is separately framed and suspended on
the inside of the outer glazing. The outer glazing will follow the usual diamond
pattern, with a piece of laminate glass protecting the suspended stained glass roundel.
Depending on the size of the roundel this will be done by setting it on ‘stilts’ (plate 20)
or by attaching it to saddle bars (plate 19).
The addition of internal secondary glazing makes this a safe and easily maintainable
solution.
4.3.4.External appearance of the secondary glazing
The external appearance of the chapel has always been characterised by leaded lights
in the window openings, and this aesthetic of small pieces of glass held in a latticework of lead profiles will be retained as part of the overall authentic appearance of the
building. The addition of large sheets of modern glass to the inside of the windows
will change their external appearance very little.
The addition of secondary glazing to the outside will certainly result in a change of
appearance. The relatively high potential for vandal damage at King’s Chapel calls for
a reliable protective layer. Single sheets of modern laminate safety glass give a high
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level of physical protection against vandalism; the current protective glazing on the
apse clerestory also consists of single sheets, albeit probably not of laminate glass.
4.4. Replacement of glazing
The current cast/rolled and machine made glazing is of low or neutral significance, and its
replacement is therefore proposed to suit the new residential use.
In the view of this author, the late 20th century tinted diamond quarry glazing is a rather
uninspiring addition, copying with machine-made glass an equally undistinguished Victorian
cast glass that itself may have already replaced the original glazing.
The diamond quarry glazing in the apse, nave and transepts, including the glazing of the
western rose and the plain glass surrounding the 20th century Christ in Majesty will be
replaced using a colourless heritage range glass in the original 1840s diamond lead pattern.
The hand-made quality of traditionally manufactured mouth-blown cylinder glass with its
subtle variations in surface texture will enhance the visual quality of the windows, and will
enable views from the building.
The 20th century Christ in Majesty with it dedication linking it to the historic use of the
chapel will be retained, and incorporated into the new diamond glazing in its current
position.
4.5. Re-opening the blocked windows
Several windows were bricked up in the 20th century. They will be re-opened and glazed
with diamond quarry using heritage range glass as outlined above.
28
King’s Chapel
L Seliger
5. Plates
Plate 1: Window numbers at aisle level
Plate 2: Window numbers at clerestory level
29

Kingss Chapel Fulham Road, Chelsea

Transcription

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