John Canning & Co continues to restore the hidden gem of the Belmont Chapel at Island Cemetery in Newport, Rhode Island. Before restorations began, the chapel was near-completely hidden, as a blanket of wisteria and ivy had engulfed the building, almost tearing down the roof and destroying what little was left of the family memorial chapel. Upon discovery of the few remaining decorative artworks on the interior, Canning was recommended for the task of investigating and recreating what was originally adorning the walls. For our team, the Belmont Chapel is an opportunity to continue the legacy of the renowned craftsmen who worked on it and further the timeless artistic philosophy that we share: that architecture and the decorative arts are inextricably tied and ought to imbue every corner of a sacred space with meaning and intention.

Built in 1887 for the deceased daughter of August Belmont and his wife Caroline Perry, this chapel memorialized many family members for the rest of the century, either through services, proximity to the family graves, or commemorative stained-glass windows. The architect was George Champlin Mason Sr., a self-made man, who skillfully designed the chapel with his son. Unfortunately, four years into its use, the chapel began to suffer from pervasive damp, slowly causing paint to peel, and a constant draft in the building. The Belmont family hired their friend and celebrated architect, Richard Morris Hunt, to advise in resolving the structural issues as well as add his design flair acquired in Paris.

Hunt was the only American allowed to study architecture at the Academie des Beaux Arts in 1846 and had designed many well-known projects, including the New York City mansion of William Vanderbilt, the base for the Statue of Liberty, and the Fifth Avenue entrance of the Metropolitan Museum of Art. The Belmont family had many connections both in America and France, as well as a love for the early Gothic French style, making a partnership with Hunt both prestigious and aesthetically cohesive.

Neither Hunt’s reputation, nor his contribution to the chapel can be understated since it is likely that his improvements are the reason the chapel still stands and can be restored at all. According to BCA Studios’ thorough pre-restoration report, Hunt “excavated a basement level for the installation of a furnace, constructed a double wall on the interior to aid with climate control, added additional Gothic-style structural and sculptural elements to the exterior of the chapel, and very likely added the polychromatic painted decorations to the interior as well.” But the motifs necessary to make the chapel into a Gothic Revival masterpiece required a skill set outside of Newport’s own artisans, leading Hunt to reach out to connections across the pond and add other master craftsmen to the chapel’s provenance over the next few years.

Many of these designers had worked either exclusively in France or in the homes of Vanderbilt and Marquand, making it likely that “Belmont would have been delighted by Hunt’s suggestion to bring Oudinot, Merson, and stained-glass manufacturer Gaudin into the project,” according to Paul Miller, Curator Emeritus of The Preservation Society of Newport County and an expert in Gilded Age interiors.

These designers each had a part to play in the chapel. According to BCA’s analysis, the chancel windows behind the altar and the four small square windows on either side wall of the chancel were designed by E.S. Oudinot, along with the window to the immediate right of the chapel nave entrance. F. Gaudin custom manufactured the three nave windows, those being the window above the front door and the two large windows on either side of the nave. Louis C. Tiffany, a prestigious New York-based glass designer, contributed the window to the left of the nave, unfortunately now lost.

Each window from the three studios showcases beautiful techniques for glassmaking at the time, since stained glass had made a comeback as a fine art by the late 19th century. This resurgence in decorative arts, gothic styles, and the necessary techniques created a confluence as the preeminent designers of the time made this chapel into what it ought to be: a harmonious composition of both art and architecture.

In addition to the names of Hunt, Oudinot, Merson, and Gaudin, the chapel sports the works of the Audsley brothers in its exquisite interior. William and George Audsley, two Scottish brothers who started their own architecture firm, were staunch champions of the Gothic Revival style, especially in Liverpool, as well as the shared philosophy of keeping art and architecture unified, declaring that “True architectural decoration is an integral part of architecture, and should grow out of it, assisting its expression and beautifying its constructive elements.”[1] The Audsley brothers worked with Hunt and the Belmont family in designing the decorative elements in French styles, modelled off the works of Eugène-Emmanuel Viollet-le-Duc in his restoration of Notre Dame in Paris from 1845 to 1864. Viollet-le-Duc’s philosophy on design was one of total harmony, stating: “In France, the art of architectural painting reached its culminating point in the twelfth century. The stained glass, the miniatures of manuscripts, and the fragments of mural decorations of that epoch announce an advanced state of art, singular comprehension of the value of color and its harmonious arrangement, and a coincidence between that harmony and the forms of architecture.”[1] It is this idea of architectural and decorative harmony that their chapel exemplifies.

The beauty of the Gothic revival philosophy is certainly in the details. John Canning & Co has made great strides in recreating the crowning details of this project: the decorative paint. Our team restored the sanctuary with white lilies on blue walls instead of its previously all white paint, alluding to the very same design in Paris’ Notre Dame. The borders surrounding the pointed arch were brightened, breathing new life into the grapevines and keyhole trim. The delicate colors once lost to damp and drafts have been matched and revitalized, staying true to W. & G. Audsley’s own color palette and producing a warm and welcoming interior.

Dark red, brown, and black skirting the bottom of the wall makes the simple nave seem to extend higher without feeling empty; while the more delicate colors along the arches, windows, and inside the sanctuary lighten the room without feeling cluttered or overwhelming. This design is part of W.&G. Audsley’s insisting that “such garish pigments… have during late years been freely used, to the utter destruction of repose and artistic effect.”[1] A chapel dedicated to those in eternal rest must reflect this peace and harmony, making the restoration process particularly dedicated to the details. The meticulous stenciling, striping, and outlining changes the eyes perception of color on the walls and unifies the interior in organic, symmetrical forms that create a timeless garden within the confines of this holy space.

In the spirit of Viollet-le-Duc’s words, Hunt and the Audsley brother’s collections of patterns, color palettes, and natural motifs all carry symbolic meaning along with direct ties to the timeless cathedral in Paris. Hunt’s wife noted in her diary during the restoration: “…The interior is entirely remodeled, and every detail has a meaning, every carving a significance, following the conviction so strongly held by RMH that all church decoration should be symbolical, and every bit of color and carving was carefully studied so that it should convey its meaning.” Each plant in this architectural garden lends itself to a symbolic meaning: lilies for the purity of the Virgin Mary and St. Gabriel; grape vines for both Eucharistic wine and abundance; and acorns, ivy, and olives on the pews for strength, fidelity, and peace respectively. The stained glass especially shine, since each one incorporates the mystical rose if not biblical quotes and imagery. These and many other elements imbue the Belmont chapel with profound reverence from each of its craftsman, both then and now.

Throughout the restoration process, the craftsmen at Canning have harmoniously united the two philosophies; ours being the first principle of designer Owen Jones in his work, The Grammar of Ornament: “The Decorative Arts arise from, and should properly be attendant upon, Architecture.”[2] According to Miller, the Belmont Chapel is a final celebration of the Gothic Revival and its techniques, nearly lost to time. Revitalizing the design in each part of the project with care has brought the Belmont community and conservators together to carry on the tenets codified by these great artists so that, just as the Belmont family dedicated their chapel to their faith and family legacy, this work may become part of a greater legacy in the restoration of liturgical art.

Paint condition is often where restoration projects begin and is the most obvious indicator of where works needs to be done. The first step is always determining what designs, materials, and conditions exist in a space before work begins and deciding how to proceed. If your building suffers from paint loss or damage, you may want to start here. Read More 

Stenciling is one of the oldest and most reliable techniques for decorative painting and lends itself perfectly to any project, no matter how modest or complex. As one of our specialties, Canning Liturgical Arts craftsmen have mastered pattern design and restoration for cathedrals, chapels, synagogues, and more for the sake of preserving this ancient art form. Read More