This particular chair was privately owned, as opposed to those available for public hire. It is made of black leather, with green damask cushions and curtains. The carrying poles are missing, but all the internal fittings are original, including the adjustable seat. It was probably made in London, or could have been copied from a London chair by a local coach maker.

The sedan chair was introduced into England in the 1630s, and by the 18th century was used throughout Europe. Most of those used in the United Kingdom were of British manufacture, the majority being made in London.

Sedan chairs were a very popular means of transport, providing shelter in all weathers, and safety from the many horse-drawn vehicles which clogged the streets. Chairs for public hire had to be licensed by the local authority and in Cheltenham, the Town Commissioners, appointed in 1786, were responsible for issuing the licences.

Locally, chairmen were obliged to wear a uniform consisting of a long blue coat, black breeches, white stockings, buckled shoes and a black hat. Their official scarlet badge was worn on the coat, and every owner of a chair had his individual name and number painted on it.

The fare for a ride depended on the distance travelled, starting at 6d (2 1/2 pence) for 250 yards, increasing after midnight to one shilling (5p). Journeys were usually limited to 2 miles. If a chairman was kept waiting for a long time, he might demand a higher fare. Should there be a dispute between a chairman and the hirer, it could be resolved by the local Magistrates. In bad weather, chairs could be carried into a building, and even upstairs, when the usual 10 foot poles were exchanged for two just 7 feet in length.

In Cheltenham, there were probably no more than ten chairs at first, but as the resident population increased, due to the popularity of the Spa town, so the number of sedans grew. In an 1830 letter from one William Barton, working in Cheltenham at that time, he writes of ‘chairs in great request.’

From July 1816 there were fixed stands, like taxi ranks, at Cambray Street, Winchcombe Street, New Street, and at Colonnade Road, which no longer exists. At one time, no chair might stand within 60 yards of another, presumably to avoid disputes. The work was seasonal as chairs were mostly used in bad weather, so many of the chairmen found alternative employment in the summer months.

Schultz and Barnsley had travelled to Greece and Turkey in the 1880s and were experts on Byzantine architecture. This is the architecture of the Greek Orthodox Church in the Middle Ages in Greece, what’s now Turkey, and can be seen in some places in Northern Italy, such as Venice and Ravenna. Gimson didn’t visit Greece or Turkey, but he visited Venice and Ravenna in 1889.

It was an interesting design process. First Schultz sent a design with his idea for the chairs, and then Gimson adapted that, agreeing each stage with Schultz. They had to send the designs backwards and forwards by post, but the post was often very fast in the early 20th century. The friends had collaborated before, and their styles were very much in tune with each other and Sidney Barnsley, who designed the kneelers for the chapel.

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No doubt Gimson had seen the many photographs of Greek churches brought back by Schultz and Barnsley, but he had his own travels for inspiration, too. You can see influences from as far apart as Ravenna and Durham in the roundels at the top of each chair – they are all different.

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Making the furniture in ebony was very expensive, so Gimson had to get it right first time. To ensure he did, he made a prototype chair, finished to every detail, in the much cheaper wood, walnut. This is now in the collections held by The Wilson. It was bought by Robert Weir Schultz, and lived in his house in Hartley Wintney in Hampshire. When Sidney Barnsley’s son, the furniture maker Edward Barnsley, got married, they had the wedding reception at Schultz’s house, and the clergy chair was the bride, Tania Kellgren’s seat!

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We are fortunate to have Gimson’s log book of the work done by the furniture workshop for this time. We know through this that there were four makers, Percy Burchett, Fred Orton, Ernest Smith and Mr Ward, all supervised by Gimson’s foreman, Peter Waals. It took them 502.5 hours to make the prototype, which cost £44.13.0. The seven ebony seats were estimated at £423 delivered, and took 3218.5 hours.  They were finally installed in 1915, with Gimson writing to Schultz in July that year about his concerns: ‘We are trying to get the St. Andrews Chapel seats taken … , but the chances are against success in our workshop – the seats are now quite finished, but as Waals &amp; the men are going to Cambridge for three weeks &amp; the Chapel floor is not complete we will keep them here, till the end of the month – they look better for the few alterations [since] you saw them.’

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