AUSTIN CARPET STORES

As followers of the Home Arts and Industries Association, set up by Earl Brownlow in 1885 to encourage handicrafts among the lower classes, the Watts Chapel was the Watts's contribution to this characteristically Victorian preoccupation with social improvement through creative enlightenment. Mary Watts believed that anyone with a real interest and enthusiasm could be taught how to produce beautiful decoration, if in the process it kept them away from the 'gin palaces' of Guildford, this was surely a good thing. With this belief firmly in mind she encouraged all from the village, whatever their social status, up to their house Limnerslease for instruction in clay modelling.

The clay came from a seam that was discovered in the grounds of their house, apparently not unusual for this area. Taking this as a sign, Mary embarked upon the project with her usual determination, writing to the Parish Council in 1895 offering to build a new cemetery chapel, as the old graveyard in the village church of St Nicholas was full to capacity. Her offer was accepted. As early as 1888 concerned parishioners had discussed the problem of space and plans were therefore already underway for land to be purchased from the Loseley Estate. Mary had produced her clay model of the new chapel by August 1895 and later that year the sale of land from William More-Molyneux was agreed.

The first clay modelling class took place at Limnerslease on Thursday 14 November 1895. All were welcome, from the local lady of the manor to her farm boys, as long as there was a genuine desire to learn, Mary was happy. After a few weeks learning how to handle clay and modelling simple decorations, they would begin to make clay tiles from the plates Mrs Watts had prepared.

The design itself is an amalgamation of inspiration, every aspect having symbolic meaning. The Circle of Eternity with its intersecting Cross of Faith is from pre-historic times and symbolises the power of redeeming love stretching to the four quarters of the earth. The dome is traditionally seen as emblematic of heaven, the four panels on the exterior containing friezes symbolising the Spirit of Hope, the Spirit of Truth, the Spirit of Love and the Spirit of Light.

Mary Seton Fraser-Tytler (married name Mary Seton Watts) (1849 – 1938) was a symbolist craftswoman, designer and social reformer. She was born in India, the daughter of Charles Edward Fraser-Tytler of Balnain and Aldourie, but spent much of her youth in Scotland and settled in England in the 1860s.

She was known as a portrait painter, and was associated with Julia Margaret Cameron and the Freshwater community. There she met painter George Frederic Watts and at the age of 36 (he was 69), became his second wife on 20 November 1886 in Epsom, Surrey.

After her marriage, she largely worked in the fields of Celtic and Art Nouveau bas-reliefs, pottery, metalwork and textiles. She supported the revival of the Celtic style, the indigenous artistic expression of Scotland and Ireland. In 1899, she was asked to design rugs in this style for the carpet company Alexander Morton. In cooperation with the Congested Districts Board, Morton had established a workshop in Donegal, Ireland, to employ local women, who had very little opportunity of earning a livelihood.

Tuca Carpet Tiles