Christopher Stell's notes.

Trinity Congregational Chapel.

Whilst sorting through some books I found an unsigned letter which I believe was written by Christopher Stell, the deceased leading authority on chapel architecture. Titled ‘first impressions’ it reads as follows:

‘OUTSIDE perfect example of 1820 (of St John’s Downshire Hill Hampstead).

WITHIN ditto the columns

‘But the gallery front foxed me - the iron-work is slightly later - designed for ladies’ hooped skirts.

Hooped Skirts.

All Images from The Metropolitan Museum, New York.

Trinity Chapel railings

The original gallery front would have been plain flat white woodwork probably without panels. But if you paint the existing iron-work white, the appearance tends to suggest a swimming-bath. For that reason, I would suggest a pale green for the metal-work, but probably white for the woodwork (save for the green and gilt horizontal beams).

The piece de resistance is, of course, the pulpit (William IV?). [now missing]

It demands a communion table of the same period, a mahogany hall-table from an antique shop (being higher than a domestic dining table). Deacons’ chairs could be 19th cent dark chairs.’

THE ORGAN: I suspect from a private house, ought to loose its ghostly paint! 1820 organs had gold front pipes. A little later, the pipes would have been brown or green Or peony red, with black and gold stencilled patterns. What colour you decide on could be left until the walls and gallery have been new-done.

The pulpit deserves a cushion for the bible - boxed, red velvet, with very large red tassels at the corners.

Platform front - this is a problem. The late Victorian “Jacobean” is good of its kind, but it does not really fit in with 1820. Perhaps a dark stain or paint - the darkest green possible? - with only an “egg-shell” finish.

A square of red turkish carpet (with dark green and blue pattern) in front of the pulpit would be welcome! But, like anything else introduced, it should not be brand new. New stuff of any kind would shout.

For the same reason, cut flowers should not be used - they came in as a result of the Oxford Movement! But the occasional pot fern on a window ledge would be in keeping; and perhaps the occasional huge jar of evergreens standing on the floor at festivals.’

Pictures to follow. JG