Sleeping children. Francis Chantrey.

             In April 1801, Ellen Jane Woodhouse, daughter of the Dean, married William Robinson. William died of tuberculosis (consumption) in March 1812. In 1813, Ellen Jane moved to Walcote, Bath, with her two daughters. In March 1814, Marianne, the youngest aged seven, died from burns sustained when her nightdress caught fire after standing too close to an open hearth. The older daughter, also called Ellen Jane, was suffering from tuberculosis and she died in 1815, aged thirteen.[1] Many stories have been woven around this tragedy, but the basic facts say much about life and death at this time.[2] Over four years the mother had lost her family. Ellen Jane commissioned Francis Chantrey to sculpt a monument in memory of her two daughters.[3] 

Francis Chantrey’s monument to Ellen Jane and Marianne. It is thought to be based on Thomas Banks sculpture of Penelope Boothby, aged 5, in Ashbourne Church.

    In 1817, the monument was exhibited in the Royal Academy to high acclaim.[4] In 1818, it was in Lichfield Cathedral and has become a focus for prayer and meditation on lost children.[5] Ellen Jane married twice more, lived until aged 87 (1870) and is buried in Christchurch cemetery. This was adjacent to her house at Beacon Place, later Beacon Park.[6] She left a legacy for the church and school at Christchurch.

     Francis Chantrey,[7] 1781–1841,  was aged 35 when approached to sculpt the monument. Chantrey drew the design, but it is unclear how much sculpturing he did and how much his team, headed by Francis Legé, did. The cost was £650. Using Carrara marble from north Italy showed its importance to Chantrey since this work confirmed him as a top English sculptor. Marianne holding snowdrops, the delicate folds of the girls nightdresses, the hollowed bed they were lying on and their finely lined faces with curled hair show both sensitivity and realism.[8] It was moving away from the Neoclassical style of posed ideal beauty prevalent at this time to a Naturalism in which sculpture portrayed both a realism and sensitivity.[9]

 

Sir Francis Chantrey, 1831, (Wikipedia, cropped. Public Domain). Remarkably he was blind in his right eye.

            Chantrey also sculpted Bishop Henry Ryder, Bishop of Lichfield 1824–1836, displayed in the north transept. It was exhibited in the Royal Academy in 1841, a few months before he died. The bishop was said to have evangelical fervour and awesome energy.[10]

 

Henry Ryder, the kneeling bishop.(Wikipedia, cropped. Public Domain.)

[1] There are conflicting accounts of the tragic story of the two daughters, but this is taken from G. Frost, The Sleeping Children 1816–2016, Unpub. article in the Cathedral Library (2016) and refers to death certificates. See also cathedral booklet P. Scaife, H. Scaife and R. Prentis, The carvings of Lichfield Cathedral. (2010).

[2] It is said the mother moved to Bath to allow the cleaner air of the town to help her ailing oldest daughter to breath. It is said Marianne went into the garden to pick snowdrops for her suffering sister, got cold and then stood too close to a fire.

[3] The monument has the words ‘remembrance of heaven loved innocence’.

[4] Reports state mothers and children were weeping at the monument, which had to be barriered. Small replicas were made and sold.

[5] There is a notion this location in the south aisle was always where the altar to St Nicholas stood in the medieval cathedral, but this is probably fanciful.

[6] An estate of 100 acres area. From Anon, Chantrey’s Sleeping Children, Unpub. article in cathedral library, undated.

[7] S, Dunkerley, Francis Chantrey, Sculptor. From Norton to Knighthood. (Sheffield: 1995).

[8] A lump left under the toes of Ellen Jane are said to show Chantrey thought only perfection was shown by God, but most likely this was technically required to strengthen the toes.

[9] This explains why it looks like the children are sleeping, though folded hemp sacking under the pillow indicates it is also concerning grief.

[10] R. Prentis, Chantrey’s kneeling bishops. Unpub. article in cathedral library (2005).

Skidmore's choir screen

             In 1789, James Wyatt removed the stone screen between the choir and the Lady Chapel and used the stone to build a screen between the crossing and the choir. A new organ was placed on top of the stone wall in 1790. It occupied the first choir bay, an estimated area of 9 m x 6 m (30 feet wide and 20 feet long). The stone screen, organ and an added window stretching upwards to the roof separated the nave from the choir and thus the congregation from the clergy. In 1856, the organ was removed and placed in the north choir aisle. In 1857, the stone screen was dismantled.

            In 1859, as part of the complete restoration of the choir and presbytery by George Gilbert Scott, 1811–1878,[1] drawings were prepared for an innovative open metal screen to separate the nave from the choir which would still allow sight of the high altar.[2] The screen was designed by Scott, manufactured by Francis Alfred Skidmore,[3] 1817–1896, at his works in Coventry (Alma Street, Hillfields) and installed in 1861. The estimated cost was £800 and another £132 paid for gates across the adjacent aisles. Drawings were submitted for a new pulpit in 1864 and installed a year later. Skidmore almost certainly went on to make the lectern in brass.[4]

 

Scott's original drawing of a screen. It is less ornate than the final screen.

The chancel screen at Lichfield is as original in its conception as in its execution; it is absolutely unsurpassed, (Arts Journal, London, 1862)

            The screen is a highly-ornamented structure in wrought-iron, copper and brass with polychrome in red, green, gilt and other oxide colours. The capitals are hammered copper and there are imitations of various fruits (blackberry, red currants, strawberries, rose hips and grapes) in ivory, onyx, and red and white cornelian. On each side at the top of the screen are eight bronze angels playing ancient musical instruments representing  the heavens singing as Bede described when Chad died.[5] There is much representation of plants and it has been suggested the screen harks to a hedge.

     Scott had previously designed a wooden screen at Ely and had it installed in 1851. This was his first open screen in a cathedral. Making a screen in metal at Lichfield was new to the UK and  others followed at Hereford, Worcester (1873) and Salisbury. Durham rejected a metal screen and instead installed one in marble and alabaster. The Hereford screen was first displayed at the London International Exhibition in 1862 at which it was said to be ‘the finest piece of modern metalwork in existence’.[6]  It consisted of eight tons of iron, copper and brass with 50,000 pieces of mosaic, enamels and stones. Others thought it added gloom to the cathedral after its installation in 1863. In 1967, after fierce argument for and against the merit of the screen, it was taken out of the cathedral and first stored in Coventry and then the V & A Museum in London. Its restoration began in 1999 and by 2001 was on display in the metalwork section of the museum.

 

Drawing of the Hereford screen at the 1862 Exhibition. From Illustrated London News, 30 August 1962. It took over 70 men and 5 months to make.  

 

The screen at Salisbury, erected 1869–72, was removed in 1959 and sold as scrap metal.[7]

 

Screen in Salisbury Cathedral .

    Lichfield’s metal screen remains the only one left in place in a cathedral. It has been little altered; there was some restoration in the 1970s. It harks to the new gates of Jerusalem in the Book of Revelation. Like the stalls, reredos, statues, presbytery tiled floor and cathedra it shows off the finest Midlands craftsmanship.

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[1] Best remembered for his design of the Midland Hotel at St Pancras and the Albert Memorial. Scott also designed the Workhouse on Trent Valley Road, now part of Samuel Johnson hospital. When appointed he had a staff of 27. After his death his work at Lichfield was continued by his son, John Oldrid Scott, 1841–1913.

[2] There are records of much discussion on the location or not of a screen, its form and material and what it should represent. Opening up the visual aspect of the cathedral was deemed to be paramount. The general view is George Scott more-or-less had his ideas executed. The screen reflects the growing use of ironwork due to its lowered cost of production and manufacture.

[3] He was recognised as a premier metalworker of the 19th-century, yet sadly died in poverty. His silver-gilt and enamel chalice exhibited in the Great Exhibition, 1851, launched his career. It is now in the V & A. !n 1867, Coventry held its own International Exhibition, and Skidmore had a large section for his exhibits.

[4] D. Wallington, Scott and Skidmore. The Lichfield legacy. Unpub. article in the Cathedral Library. 44–60.

[5] Angels playing musical instruments is a motif for Chad around the cathedral and particularly in St Chad’s Head Chapel.

[6] Quoted from I. Brown, ‘The Hereford Screen’, Ecclesiology Today. (2014), Issues 47 & 48, 3–44.

[7] R. Mount, ‘Screens and vistas in Cathedral. An old controversy revived’, Country Life, (September, 1960).