ARTS & ANTIQUES
Beauty In The Message: Mary Watts And Her Chapel At Compton
There’s a little known village called Compton, set in the scenic Surrey Hills, about 35 miles south of London. It features a spectacular chapel dating to the Arts and Crafts period (c1880-1910). One of the many things that makes this chapel so unique is that it was created almost entirely by the local people. Mary Seton Watts (1849-1938), the wife of prominent Victorian artist GF Watts (1817-1904), was at the helm of the enormous construction task. Born in India to Scottish parents, and trained at the Slade and South Kensington School of Art in London, she made an indelible mark on the arts world in Surrey. The historically significant Watts Chapel (fig 1) was built between 1896 and 1898, designed by Mrs Watts, and financed by portrait commissions of GF Watts. Elements of Art Noveau, Byzantine, Romanesque, and Celtic Revival styles are all represented (fig 3) there. Now Grade 1 listed, it is situated a short walk from the main compound of what is called ‘The Artists’ Village’, on the outskirts of Compton. Included in this genuinely idyllic situation are the (GF) Watts Gallery, the Watts Studios (fig 2), Limnerslease (the former home of GF and Mary Watts), Watts Contemporary Gallery, and now also the DeMorgan Collection of Ceramics.
A Tea Shop, which serves all sorts of really delightful offerings, and a substantial Gift/Book Shop round out the compound. Playing a major role in the formation of the Chapel was the Home Arts and Industries Association (HAIA), which was a central component of the Arts and Crafts Movement in Britain. Founded in 1884, the organisation maintained, as its primary objective, the promotion of the revival of traditional rural crafts. Some of the classes offered by the HAIA were woodcarving, pottery, textiles and brasswork. Mrs Watts recruited a large group of local people, some of whom were HAIA members, to assist in the creation of her Chapel. She believed that everyone had a contribution to make, regardless of their particular educational level, trade or occupation, and Mrs Watts was eager to nurture their abilities (fig 3). She was firmly committed to the concept that decoration must be beautiful. The Chapel stands as a timeless example of the success of her theory, as it continues to stand in virtually pristine condition as the focal point of the village burial ground in Compton. Based on the Church of the Holy Sepulchre in Jerusalem, the Chapel’s design is inspired
by Byzantine models of the Greek cross. The physical structure is made from naturally occurring clay found on the Watts’ property, but the interior, unlike anything seen before in Britain, was created using a primarily gesso technique. Watts adopted two methods for using gesso. The first, known as gesso duro, was a plasterwork technique which originated in Italy, and which became widely acknowledged and used by British artisans of the period. Gesso duro was desirable mainly due to its hardness and durability when dry. Another technique which Mrs Watts found useful in the interior decoration of the Chapel was gesso grosso, which was deemed superior for adding layers, textures, and colour. The Chapel is brimming with spiritual iconography, and the visitor can spend as much or as little time as desired to either investigate every precise detail, or to appreciate the workmanship solely from a decorative perspective. It is preferable to try to visit on a sunny day, as there is artificial illumination available, but the imagery can be best enjoyed in some degree of natural light. Tours are scheduled throughout the week, when the Watts home, Limnerslease (fig 4), can
Fig 3 - Mary Watts and her collaborators decorating interior panels for the Chapel, c1902. (Source: Watts Gallery - Artists’Village)
Fig 1 - Watts Chapel, Compton (Source: Author)
Fig 2 - Watts Studios, Artists’Village (Source: Author) 38
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Fig 4 - Limnerslease, Home of Mary and GF Watts, Compton (Source: Author)