| Merton Abbey became the powerhouse of creativity | | | | hierarchy of the factory the foreman and colour-mixer |
| in William Morris designs, and at a time when Morris | | | | were rated highly. One young by, John Smith started |
| designs were at the peak of their popularity. The | | | | out as an errand boy and when he became too big |
| design workshop had originally been accommodated | | | | for this role Morris trained him in dyeing and eventually |
| within the Wardle factory, however Morris was | | | | John Smith rose through the ranks to chief dyer. |
| becoming increasingly frustrated with aspects of this | | | | With an increased interest in religious tapestries during |
| business and decided to seek out his own premises in | | | | the nineteenth century Merton Abbey became the hub |
| order to pursuer the peace and tranquillity of space | | | | at the centre of a number of commissions for church |
| that artists need in order to breathe energy and | | | | furnishings. Three of Edward Burne-Jone's designs |
| inspiration into their work. The lack of space to create | | | | proved very popular at this time. Angeli Ministrantes |
| and challenges with the Wardle business had in some | | | | and Angeli Laudantes were first designed for Salisbury |
| respects de motivated one of the best known | | | | Cathedral in 1878 as stained glass windows and are |
| designers in Britain. His requirements for the new | | | | now in different formats. With the original tapestries |
| factory included endless supplies of soft water and | | | | being woven in 1894 smaller panels were used in a |
| plenty of natural light so when Merton Abbey was | | | | variety of church decorations. |
| discovered by William de Morgan as a potential site for | | | | Morris and Co's most popular religious tapestry was |
| pottery, Morris viewed the site and found it an ideal | | | | The Adoration of the Magi, originally woven for Exeter |
| spot for his creative talents. | | | | College, Oxford. The tapestry has been described as, |
| An Inspirational Find | | | | "so perfect, indeed, in every detail, that there is nothing |
| The factory at Merton Abbey was originally | | | | left to desire, and one feels inclined to linger over it until |
| constructed in the eighteenth century for Huguenot silk | | | | its perfections have been fully grasped." |
| throwers and then became a print works. Just prior to | | | | Tapestry Conservation |
| the takeover by Morris the factory had been operated | | | | Morris and Co were also known for their tapestry |
| by Welch Brothers, as a calico printers. Standing on a | | | | conservation techniques at Merton Abbey. It is known |
| seven acre site the factory had a supply of water | | | | that missing areas of historical tapestries were |
| from the River Wandle which turned the water wheel | | | | replaced with sections woven at Merton Abbey, a |
| and proved ideal for madder dyeing. The property had | | | | now defunct technique. Bread was used to clean |
| an orchard as well as a vegetable garden and offices. | | | | tapestry as it was felt to be less damaging, and |
| The workshops themselves were red bricked two | | | | absorbed a fair amount of dirt. Cleaning and re hanging |
| storey buildings and proved easily adaptable to glass | | | | tapestries occupied other sections of the Merton |
| painting, fabric weaving, tapestry weaving, and block | | | | Abbey workforce with staff travelling to stately |
| printing. | | | | homes such as Woburn Abbey to work on site in |
| Artists require space and tranquillity in order to think | | | | conservation. |
| creatively and to be inspired. The natural beauty and | | | | The 1929 recession and the Second World War finally |
| freshness of Merton Abbey gave Morris the impetus | | | | took its tool on Morris and Co as tapestry weaving |
| to begin designing once more. From working in the dye | | | | became more time consuming and therefore less |
| house on indigo dyeing experiments to creating some | | | | financially viable. With a lack of work the war |
| of the most prolific and captivating of his designs, the | | | | eventually sealed the fate of Morris and Coo and the |
| Merton Abbey Works and Morris spun into action | | | | receivers were called in during 1940. |
| once more. One of the features of Merton Abbey | | | | Despite the financial crisis the designs created in |
| was its ability to diversify in producing beautifully | | | | Merton Abbey and the tapestry weaving are still in |
| crafted furnishings and dyes. | | | | evidence today and remain very popular. Floral |
| The Creative Nature of the Staff | | | | patterns reflecting the love of nature that Morris had |
| Morris trained his dye house staff as few were | | | | have stood the test of time and remain a creative |
| already experienced. They developed skills to work in | | | | legacy of the Arts and Crafts Movement. |
| the industry and were paid on piece work. Within the | | | | |