Silver, enamels and semi-precious stones, London hallmarks for 1867-8, made by Barkentin and Krall, designed by William Burges

On loan from St Andrew's P.C.C (Kingsbury)

This chalice was designed by William Burges (1827-1881)and made for St Andrew's, Wells Street. The architect, William Burges was a brilliant and inventive designer and the most antiquarian exponent of Victorian Gothic. The chalice has been inspired by pre-reformation Italian and Spanish designs. The piece of gilded glass set into the base is an early Christian fragment, collected by Burges himself, and added to the chalice in the manner of a relic. Burges succeeded G.E. Street as advisor to the Ecclesiological Society in 1864.

The Ecclesiologist devoted considerable space to a discussion of this work by the Society’s official designer. It described the chalice as 'one of the most remarkable works in the precious metals, in an artistic point of view, that has been produced since the revival'. The Burges album, Orfevrerie ecclesiastique, has an animated colour sketch of the chalice. The church for which it was made, St. Andrew's, near Oxford Circus, was known for its association with the Ecclesiological Society, which promoted the revival of ritual in the Church of England. It was presided over by Benjamin Webb. Although, John Gabb, Superintendent of the Alliance Marine Insurance Company (1851-70) was credited as the donor, the role played by him and his wife Mary in commissioning the chalice is not clear. William Burges' Diary describes it as 'Webb's chalice', and Webb's diary also mentions it. Burges later designed a crucifix and candlesticks to accompany the chalice, which match plate by other designers elsewhere in the church. It seems that Webb kept a very close control over how the plate looked. Perhaps the Gabbs only supplied the money to pay for the chalice.

Furnishing the Church
A new business of church furnishing arose from the great surge in church building and restoration. Between 1840 and 1900, over 100 churches were built each year. Older buildings were restored or expanded. Every denomination from Anglican and Roman Catholic to Nonconformist was reacting to the widespread religious revival and the needs of an expanding population. Fitting out such large numbers of churches required specialist firms who could supply the complete range of furnishings. Clergy no longer commissioned individual tailors, furniture makers and silversmiths. Instead, stained glass windows, cl[Erical vestments and silver altar plate could all be ordered from church furnishers like Jones & Willis, Cox & Sons and John Hardman. These specialists would supply the correct equipment, as prescribed by the church reformers. They offered a choice of material, quality and prices to suit the resources of wealthy and poorer parishes. J. Whippell & Co. About 1902 Kind permission of J. Whippell & Co., Exeter

Leading Taste
The building, restoration and furnishing of churches were important outlets for Victorian creative talent. For some architects it was the mainstay of their business. The taste for the Gothic style, which became dominant though not universal,was led by architects like A.W.N. Pugin. Many Anglican architects were affiliated to reforming societies and closely concerned with design policy. Some were employed by commercial firms such as Cox & Sons to give their products a veneer of authenticity. In England so many medieval church fittings had been destroyed in the Reformation that architects were obliged to invent new forms. William Butterfield, the first official designer of the Cambridge Camden Society, modelled flagons on smaller medieval cruet shapes.

This elaborate and costly chalice, designed by William Burges for St Andrews Church, exemplifies Burges’ approach to the decorative arts, which the Builder in 1887 was to describe as ‘always picturesque, and always original and forcible in his treatment of his subject and material’. St. Andrews, near Oxford Circus, was known for its association with the Ecclesiologist party, which promoted the revival of ritual in the Church of England. It was presided over by Benjamin Webb. The chalice was given by John Baker Gabb, Superintendent of the Alliance Marine Insurance Company, 1851-70, and his wife.

The role played by Gabb and his wife Mary in commissioning the chalice is not clear. William Burges' diary describes it as 'Webb's chalice', and Webb's diary also mentions it. Burges later designed a crucifix and candlesticks to accompany the chalice, which match plate by other designers elsewhere in the church. Perhaps the Gabbs only supplied the money to pay for the chalice. The Ecclesiologist described the chalice as 'one of the most remarkable works in the precious metals, in an artistic point of view, that has been produced since the revival'. The design inspiration came from pre-reformation Italian and Spanish chalices.

The piece of gilded glass set into the base is an early Christian fragment, collected by Burges himself, and added to the chalice in the manner of a relic.

LOAN:KINGSBURY.1-1985