Appreciation of The Beautiful

By Keith Budge, Headmaster, Bedales Schools

This was the sole school aim for a long time.  When the current five aims were framed early in my time, I was adamant that this nugget would find its place in the current aims, as it does in Aim 3, (To foster individuality and encourage initiative, creativity and the appreciation of the beautiful).

This awareness informs each assembly, which begins with music; it certainly informed my assembly on Wednesday, as I begin with Raphael’s Madonna della Seddia and ends with Helen Dunmore’s poem to her newly born daughter, Tess, (All The Things You Are Not Yet).  It informs daily decisions, whether those be about the curriculum, a flowerbed or the balance in an individual student’s life.  And this impulse is animating the lives of Old Bedalian scientists, writers, engineers, inventors, musicians, designers, dancers and actors daily.

But what about utility, I hear you (sensibly of course) say?  How handy (crafty too perhaps) to have our Arts & Crafts heritage, because Morris & Co reverenced what was beautiful and useful; therefore it’s unsurprising that furniture and architecture should be at the heart of the Arts & Crafts movement, with the hand crafting of wood at the centre of both its furniture and its architecture.

Good therefore to learn this week that the suite of furniture at the office for the Secretary of State for Education was designed and made at the Edward Barnsley Workshop in 1960.  I am delighted to hear this from our local MP and now Education Secretary, Damian Hinds.  Edward Barnsley, apprenticed to Lupton after leaving Bedales, made some of the Library furniture.  Edward, carrying on the proud Barnsley tradition of his father Sidney who built the Library to Gimson’s design, carried on working into the 1980s and would no doubt have had a personal hand in this important government commission.  You will recognise the distinctive design of his most famous chair, below.

Edward Barnsley chair - BedalesLeft: chair designed by Edward Barnsley in memory of Basil Gimson and used in the Bedales library. Bedales School: The First Hundred Years, by Roy Wake and Pennie Denton (1993) p.306

 

 

 

 

 

Below: the suite of furniture designed by the Barnsley Workshop and used by the Ministry for Education, reproduced by kind permission of the Edward Barnsley Workshop.

Barnsley Workshop

New views

Gemma Klein Photography

By Keith Budge, Headmaster, Bedales Schools

Saturday morning and I am sitting on a hard bench in the Lupton Hall listening to the music that precedes our Open Day panel.  I am looking up over the stage out of the Oriel window behind the stage at Scots pine branches that are swaying within this stark round frame.  This is the first time I have sat, listened and looked within the newly reborn Lupton Hall.  With the old curtains stripped away and the original stark beauty of the Lupton Hall now evident, its original conception is clear – and it’s stunning.

The New Hall, as it was originally called, is an integral part of Bedales’ founding, being a product of the friendship and early professional partnership of three of the master-craftsmen of the late Arts and Crafts movement, Geoffrey Lupton, Ernest Gimson and Sidney Barnsley.  In 1911 Lupton asked Gimson to draw up plans for new buildings at Bedales – a hall, library, gym and labs around a large open quadrangle.  The New Hall became the Lupton Hall because Lupton supervised the building  and did most of the work himself; it is also thought that he paid for it himself.   The majesty of our Memorial Library, Gimson’s design but built by Lupton and the Barnsleys (Sidney and his son Edward), has overshadowed the Lupton Hall, but the refurbishment of the latter will, I suspect, re-balance matters.

Our architect, Richard Griffiths, has re-captured the original uncompromising conception of the building: the old curtain and the sloping stage have gone, re-capturing the original volume of the room and enabling the stage to be used for music ensemble practices and for concerts across all three schools.  The view I now enjoy over the stage and out that Oriel window hasn’t been enjoyed for a good 90 years because of the curtain.

Reflecting on this I remember another new view: in April 2006, hard hat on, climbing up amongst the scaffolding to the top floor of the Orchard Building site,  I looked across to the Library and could see the Library’s shape from above and the clerestory windows that you wouldn’t know existed without that perspective. Only birds and passing balloonists had seen that before.

It feels just as good to see a wonderful old building restored as it did to see a new one, like the Orchard Building, opened.