Category Archives: Liverpool’s Heritage

First-class fishery

Lister Drive Baths, Liverpool: first-class swimming pool (2019)

Some conversions of old buildings to new uses are an uneasy compromise – cinemas converted into apartment blocks, places of worship adapted as pubs.

The former Lister Drive Baths in Liverpool is an example of reuse as pure genius.

Lister Drive, connecting Newsham Park with Green Lane, was laid out in the late 1890s and furnished with a series of Corporation buildings, all of them overseen, but not all designed by the City Surveyor, Thomas Shelmerdine.

At the west end of the Drive, nearest the Park, was the tramway electricity generating station (c1902, demolished), and to the east Green Lane Council School  (1907, demolished) and Thomas Shelmerdine’s Green Lane Carnegie Library (1904-05, currently being restored), and in the centre the Lister Drive Baths, designed by the Corporation Baths Engineer, W R Court (1901-04) on the basis of “sketch designs” by Shelmerdine.

The Baths is an essay in terracotta, inside and out, in what is described as a “free English Renaissance” style.  The tiles and bricks were supplied by Pilkington & Company, including fish and leaf designs by Charles Francis Annesley Voysey (1857-1941).  The layout provided first- and second-class plunge baths for men (60ft × 30ft and 75ft × 35ft respectively), first-, second- and third-class private baths for men, and women’s private baths.  Women were allowed access to the first-class men’s bath on certain days.

Hot water for the baths was supplied by the nearby electricity generating station.

The Baths were closed because of bomb damage during the Second World War, and were repaired and reopened in August 1949.  They finally closed in 1987 and were appropriately adapted as a welcoming pet shop, with the first-class pool given over to koi carp.

During opening hours the public are welcome to look around, without any obligation to buy so much as a packet of bird-seed. And if you have a pet, it seems the Lister Fisheries & Pet Centre has everything they might need or want:  http://www.listerpetcentre.co.uk/index.html.

The rescheduled Unexpected Liverpool (June 7th-11th 2021) tour includes an informal visit to the Lister Drive BathsFor further details please click here.

Old Dock

Old Dock, Liverpool

Quentin Hughes’ 1964 study of Liverpool’s architecture, Seaport, begins with the inimitable sentence, “The quality of Mersey is not strained”.

The book, reissued in 1993 but now out of print, is illustrated with atmospheric monochrome photographs taken just before the decline in the North and South Docks became terminal.

Nowadays, you can see where the great port started by peering through a porthole in the pavement of the glitzy shopping centre, Liverpool One, to glimpse part of the Old Dock, built by the pioneering civil engineer Thomas Steers (?1672-1750) between 1710 and 1716.

Steers’ career is shadowy, simply because the historical evidence is vague about his achievements.  He came to the north-west from Rotherhithe, and constructed the Mersey & Irwell Navigation (1721-25), the Newry Canal in Ireland (completed 1742) and much else, perhaps more than is now recorded.

In Liverpool Steers was commissioned to build the world’s first commercial wet dock, using lock gates to provide protection from the tides so that boats remained at a constant level for convenient loading and unloading.

He adapted the natural inlet on which the port had developed, building a substantial twenty-foot-high brick wall directly from the bedrock to enclose a 3½-acre stretch of water large enough for a hundred vessels.

The whole project was made possible because the borough corporation had bought the manorial rights from Lord Molyneux in 1672.

Costing £12,000 – twice Steers’ estimate – it was a huge gamble which paid off and laid the foundations for Liverpool’s dominance as a port that grew rich on the notorious triangular trade of cotton, rum, sugar, spices and slaves.

By the beginning of the nineteenth century the Old Dock became too small to be useful and was badly polluted by the sewage of the surrounding streets.  It was closed in 1826 and filled in.

On the site the architect John Foster Jnr (1786-1846) built his magnificent domed classical Custom House (1828-38) which was gutted in the 1941 Blitz and, regrettably, demolished soon after the end of the War: http://liverpoolremembrance.weebly.com/the-custom-house.html.

At the time of the Millennium the redevelopment of Liverpool One provided the opportunity to retrieve part of the site’s archaeology, so that visitors can see the literal foundations of the port on escorted guided tours arranged by the Maritime Museum:  https://www.liverpoolmuseums.org.uk/maritime/visit/old-dock.aspx.

The Old Dock tour is included in the rescheduled Unexpected Liverpool (June 7th-11th 2021) tourFor further details please click here.

Everton landmarks

Everton Library, Liverpool: entrance (2019)

One of the destinations on the Unexpected Liverpool (June 1st-5th 2020) tour is the iron church of St George, Everton, which I first visited so long ago – in 1978 – that I could photograph on the opposite side of the road the Catholic Church of Our Lady Immaculate, the only vestige of Edward Welby Pugin’s Catholic Cathedral to be built in 1853-6.

Our Lady Immaculate was knocked down in the early 1990s but there are still other significant buildings to see in the vicinity of St George’s.

Almost directly across the road on a triangular site is Everton Library (1895-6), a bold, varied but taut freestyle design – a blend of Jacobean and Arts & Crafts – by the versatile Corporation Surveyor Thomas Shelmerdine (1845-1921) who, between 1871 and 1912 built several other branch libraries and the grand Hornby Library in the city centre, the ponderous gates to Sefton Park, the fire station and tramway offices at Hatton Garden, another fire station at Kirkdale, several schools and a couple of colleges and a tactful extension to the Town Hall.  He laid out St John’s Gardens once it was decided that the Anglican Cathedral wouldn’t be built there.

Everton Library closed in 1996 and is now in a parlous state because of vandalism and neglect alike:  [https://www.liverpoolecho.co.uk/news/liverpool-news/stop-rot-plans-evertons-jewel-10961779 and https://www.liverpoolecho.co.uk/news/liverpool-news/signature-living-plans-transform-decaying-15342770].   Repeated efforts to convert it into a community hub and enterprise centre have foundered, and it figures in the Victorian Society’s 2019 list of endangered buildings:  https://www.victoriansociety.org.uk/news/everton-library-liverpool.   

A few yards from the Library stands the lively, turreted half-timbered The Mere Bank public house (1881), bristling with terracotta panels and plasterwork, and until recently still trading, though they haven’t updated their Facebook page since Hallowe’en:  https://www.facebook.com/MerebankPub.

In the distance, and visible for miles across the Mersey, is Everton Waterworks (Thomas Duncan, 1853-7) [https://www.youtube.com/watch?v=OTRfHTX0bJE], which consists of an underground reservoir and a Piranesian high-level water-tank, 90 feet above ground-level, holding 2,700 gallons, dwarfing the two Italianate pumphouses, built to provide a head of water in the time before 1891 when Liverpool took its water from Lake Vrynwy in mid-Wales.  Everton Waterworks has been long disused, yet a mystery buyer purchased it for £71,000 in March 2019:  https://lbndaily.co.uk/mystery-buyer-pays-70000-evertons-victorian-water-tower.  It remains to be seen what they plan to do with it.

The rescheduled Unexpected Liverpool (June 7th-11th 2021) tour not only includes a visit to St George’s Church, Everton, but also to the sister iron church of St Michael-in-the-Hamlet, ToxtethFor further details please click here.

Park Palace Ponies

Park Palace Ponies (the former Park Palace Cinema), Dingle, Liverpool

The Park Palace Theatre in Toxteth was built for James Kiernan, a Liverpool theatre proprietor and designed by J H Havelock-Sutton, a Liverpool architect.

The auditorium is a simple rectangle, with the balcony (now removed) around three sides.  There were two boxes (also now gone), decorated with tall oval bevelled mirrors and lit with brass gas brackets.  Corinthian pilasters with acanthus-leaf bases flank the proscenium and support a broken pediment.  The proscenium is thirty feet wide.  Backstage there were four dressing rooms but no fly-tower.

Some accounts mention a gallery, and the Royal Arms mounted above the proscenium following a visit by King Edward VII in 1903, but there is no present-day evidence of either.

The original audience capacity was 1,100 (600 in the pit and stalls, 500 in the balcony) and it opened on December 4th 1893 as a variety theatre.

Though it retained its music-hall licence, the building was used as a cinema from 1905.  For a time the Sheffield cinema impresario Jasper Redfern ran it, and the Weisker Brothers took it over and renamed it the Kinematodrome in 1910.  

In 1911, Peter Dunn acquired it and ran it as cine-variety for nearly twenty years.  During the 1920s there was a seven-piece orchestra.  The variety acts and the orchestra ceased abruptly with the introduction of sound movies on January 8th 1930.  By then the capacity had reduced to 961. 

After Peter Dunn’s death in 1934, the proprietor was Miss Sheila Dunn, presumably his daughter.

The final film show – Russ Tamblyn in The Young Guns and John Payne in Hold Back the Night – took place on March 11th 1959. 

After its demise as a cinema the Park Palace was successively used as a factory, a chemist’s shop and a store for motor-vehicle spares.  For a period from 1984 it became the Mill Street Chapel. 

Subsequently the building was largely left to deteriorate. 

It was briefly revived as a performance space in 2008, and was once used as a location for the Channel 4 soap-opera Hollyoaks, but from 2010 onwards it was advertised to let. 

It remained unused until 2017, when Keith Hackett and his daughter, Bridget Griffin, set up Park Palace Ponies, to provide a riding school aimed at local children under ten, bringing them the benefits of spending time with horses and the perception that horse-riding isn’t only for the affluent.  Hundreds of children from south-central Liverpool (defined as postcodes L8, L17 and L18) have since taken part in riding lessons at the Palace:  http://www.parkpalaceponies.com

The community benefits of this scheme are palpable, and not confined to the children and their families.  The horses graze at the local allotments, where their manure is much appreciated.

Park Palace Ponies is included in the itinerary of the rescheduled Unexpected Liverpool (June 7th-11th 2021) .  For further details of the tour, please click here.

The Florrie

The Florence Institute for Boys, Dingle, Liverpool

When Sir Bernard Hall, a Liverpool businessman and alderman, suffered the loss of his 22-year-old daughter Florence in 1887, he commemorated her by building the Florence Institute for Boys in the inner-city riverside suburb of Dingle, “in the hope that it might prove an acceptable place of recreation and instruction for the poor and working boys of this district of the city”. 

It quickly came to be known, almost universally, as “The Florrie”.

Bernard Hall’s work as a city magistrate made him aware that a lack of recreational amusements led working-class adolescents to mischief and petty crime, and he commissioned one of the earliest purpose-built boys’ clubs in Britain, providing facilities for football, boxing, baseball, gymnastics and billiards.

The Florrie was not the first boys’ club in Liverpool.  The Gordon Working Lads’ Institute in Kirkdale preceded it.  Designed by Birkenhead-born David Walker (1840-1892), it was built in 1886 at a cost of £50,000 by another Liverpool merchant, William Cliff, as a memorial to his deceased eleven-year-old son. 

In the same period, Manchester businessmen funded the Hulme Lads’ Club (1887), the Adelphi Ragged School Lads’ Evening Club (1888), the Openshaw Lads’ Club (1888), the Sharp Street Lads Club and Ragged School (c1890) and the still surviving Salford Lads’ Club (1904).

The Florrie, designed by C Sherwood and H W Keef, is a magnificent essay in Jacobethan-style terracotta, with a concert hall, a library as well as a gymnasium.  It was completed in 1889 and the club opened the following year.  

Weekend camps at Heswall on the Wirral, a short ferry-trip across the Mersey, and summer camps in the Lake District were regularly run to give Toxteth and Dingle kids a healthy break away from the streets.

The Florrie served generations of boys and young men, some of whom achieved fame.  The Florrie is where Gerry Marsden (b 1942) learnt to play guitar and performed his first skiffle gig at the age of ten, and the club can claim to have nurtured the careers of a legion of boxers, including Dick Tiger (1929-1971), Tommy Bache (b 1938), Alan Rudkin MBE (1941-2010) and Larry Paul (1952-2017).

The 1980s were sad, bad times for the communities that make up the district of Liverpool 8, and the Florrie was a casualty of those grim days.  The funding that had kept the Florrie going ceased, so the building was sold in 1987 and its management company, The Florence Institute Incorporated Company, was dissolved the following year.

By the legal device of bona vacantia [“ownerless goods”] the premises passed to the Duchy of Lancaster, the private estate of the monarch, but neglect and vandalism eventually reduced the building to a wreck which was rendered roofless and burnt-out after a fire in 1999.

A succession of saviours took on the challenge of bringing the Florrie back – pressure groups such as the Friends of the Florrie and the Dingle Community Regeneration Trust, supported by the Liverpool Echo’s ‘Stop the Rot’ campaign.  A popular, vociferous campaign prompted the formation in 2004 of the Florence Institute Trust Ltd, chaired by the Bishop of Liverpool, the Rt Revd James Jones.

The trust ensured the upgrading of the ruined building from Grade II to Grade II*, and in 2010 secured a package of funding from the Heritage Lottery Fund (£3.7 million), the Northwest European Regional Development Fund (£1.5 million) and the Northwest Regional Development Agency (£536,000).

Meanwhile HRH the Prince of Wales had visited the site in 2007, and was surprised to discover that it belonged to his mother as Duke of Lancaster.  He promised the support of his Prince’s Regeneration Trust and persuaded the Duchy to give the building to the Florence Institute Trust.  He duly returned to open the refurbished building in January 2013.

The rebuilding was problematic, for lack of original plans:  the detailed restoration was planned around existing photographs, archaeological evidence and oral testimony.  This meant that, against the wishes of the local community, much of the specialist contracting had to go outside the city.

Since its reopening the Florrie has developed as “a multi-purpose community hub”: https://www.theflorrie.org.

In human terms, this means that it serves and supports the local community, girls as well as boys, adults as well as children, earning its keep through events and conferences and providing employment, training opportunities and learning and leisure experiences.

Once again it strives to be “an acceptable place of recreation and instruction”, as Bernard Hall intended.

The Florrie is a lunch-stop in the itinerary of the ‘Unexpected Liverpool’ tour, June 1st-5th 2020.  For further details of the tour please click here.

Tyson Smith

21107-Liverpool-city-centre

21109-Liverpool-city-centre

Cenotaph, St George's Plateau, Liverpool

Cenotaph, St George’s Plateau, Liverpool

I first came across the work of the sculptor Herbert Tyson Smith (1883-1972) in a roundabout way.

I was struck by the majestic war memorial on Hamilton Square in Birkenhead, because alongside the set-piece Portland stone cenotaph by Lionel Bailey Budden (1887-1956), embellished with Tyson Smith’s sculptures, lies a phalanx of simple black marble slabs placed by local community groups to remember their own heroes – those who were killed at Dunkirk, in the Blitz, in Normandy, in the Burma campaign, Korea, numerous regiments including the Welsh Guards and the Irish Guards, “all shipmates who crossed the bar in the service of their country”, Merchant Navy seafarers and Merseyside aircrew.

Somehow, these recognisable cohorts are more immediately moving than the huge list of 1,293 names of the individuals killed in the First World War.  The names of those who died in the Second World War are recorded in a Book of Remembrance in the Town Hall.

The original plan was to locate the Great War memorial on the north side of the square, but by popular demand the statue of William Lever, the founder of Birkenhead, was moved to the west so that the war memorial could stand foursquare in front of the Town Hall portico.

Tyson Smith did the sculpture for other civic war memorials for Widnes (1921), Accrington (1922), Southport (1923) and Fleetwood (1927), but his reliefs on the Liverpool cenotaph outside St George’s Hall, unveiled in 1930, are the most powerful.

The cenotaph is a simple, shaped block of Stancliffe stone, designed like the Birkenhead memorial by Lionel Budden, carrying two 31-foot bronze relief panels of haunting poignancy.

The panel facing St George’s Hall shows ranks of grim-faced soldiers, each face distinct and individual, marching relentlessly from left to right, above a quotation from Ezekiel 38:15 – “OUT OF THE NORTH PARTS A GREAT COMPANY AND A MIGHTY ARMY”.

On the other panel, facing Lime Street Station, Tyson Smith depicts those left behind, the mourners, of all ages, men, women and children, in contemporary dress, some bringing wreaths and flowers.  Underneath is a verse from the second book of Samuel 19:2 – “AND THE VICTORY THAT DAY WAS TURNED INTO MOURNING UNTO ALL THE PEOPLE”.

It’s impossible to walk past this monument and not remember what it stands for.

The Bombed Out Church

St Luke’s Church, Liverpool (1979)

St Luke’s Church, Liverpool (1979)

When I first knew Liverpool in the late 1960s, St Luke’s Church was a blackened, bombed-out ruin with trees growing inside the roofless nave and the clock dials stopped at 3.36am, showing the time on the morning of May 7th 1941 when the flames up the tower brought down the floors, the roof and most of the bells.

I didn’t realise at the time that this poignant memento of the Liverpool blitz was under threat, because Graeme Shankland’s Liverpool City Plan of 1965 proposed an inner ring-road aligned directly on the nave, and would have left the tower as a forlorn waymark.

Shankland’s scheme didn’t happen:  the existing bleak dual carriageways behind the Three Graces and eastwards towards the M62 give an idea of how the city would have been carved up if it had gone ahead.

In the time that St Luke’s stood abandoned people became attached to it as a reminder of what the city suffered in the Second World War.

However, if you leave a ruin as a ruin, sooner or later it falls down.

In fact, St Luke’s is a significant building.  Built by Liverpool Corporation as a parish church that would also serve for civic services, it was designed by the Senior Surveyors, John Foster Snr and his son and successor, John Foster Jnr, perhaps with the help of a shadowy assistant, “Mr Edwards”, in an elaborate version of what modern architectural historians call the “Commissioners’ Gothic” style.

Built on a sloping site which accentuates the height of the 133-foot tower, it has rich architectural detail, with octagonal buttresses rising to elaborate turrets and ogee mouldings over the belfry windows.  It opened for services in 1832, and the scale of the nave and aisles made it a useful space for concerts until the completion of the Philharmonic Hall (1849) and St George’s Hall (1854).

St Luke’s became known as the “Doctors’ Church” because of the large number of medical practitioners and their families from Rodney Street who worshipped there.

The stonework has been cleaned to show the fine carving, but nothing of the interior survives.  In the roofless tower, the cast-iron bell-frame – believed to be the earliest to be built (1828) – remains in situ, and a clock similar to the lost original was found and installed.

The churchyard, which has never been used for burials, was developed as a garden, and now contains Aemonn O’Docherty’s Irish Famine Memorial (1998).

The ruins and the grounds of St Luke’s were opened up by the Liverpool arts and events organisation Urban Strawberry Lunch, and are now cared for by the group Bombed Out Church, which runs events, exhibitions and open-air film shows and concerts to keep alive the city’s blitz memorial.

No expense spared 4: Gustav Adolfs Kyrka, Liverpool

Gustav Adolfs Kyrka, Park Lane, Liverpool

Gustav Adolfs Kyrka, Park Lane, Liverpool

One of the most original churches in Liverpool is the Gustav Adolfs Kyrka, now known as the Scandinavian Seamen’s Church, a rendering in brick of the Nordic stave church [http://en.wikipedia.org/wiki/Stave_church].

It was built to minister to the pastoral needs of the transitory population of around fifty thousand Scandinavian seamen and emigrants in Liverpool in the early 1880s. It was completed at a cost of 50,000 Swedish crowns in 1884.

Designed by William Douglas Caröe (1857-1938), who was the son of the Danish Consul in Liverpool and a pupil of the architect John Loughborough Pearson, its octagonal form and pyramidal roof with stepped gables and a spectacular concave lead and timber spire highlight its Scandinavian associations.

The minister’s house adjoins the church.

The original worship space was up a half-flight of stairs and consisted of a galleried octagonal space with an open timber vault.

This was floored at gallery level in 1956-61 to create social and recreational space, and as the numbers of seamen visiting Liverpool declined the congregation adapted to serve the needs and welfare of the Scandinavian community in the city and its surrounding region.

Four plaster reliefs, originally part of the reredos and now relocated to the staircase, are by Robert Anning Bell.

Two sculptures, the Madonna and Christ, are by the Liverpool sculptor Arthur Dooley.

The bell from the former Norwegian Seamen’s Church at St Michael-in-the-Hamlet hangs beside the altar.

The Gustaf Adolf Nordic Congregation in Liverpool operates as the Nordic Church and Cultural Centre, providing a base for Danes, Finns, Icelanders, Norwegians and Swedes in the district and maintaining their unique building for future generations.

Visitors are made welcome, particularly at events: http://nordicliverpool.co.uk. The buffets are memorable.

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.

The 68-page, A4 handbook for the 2011 Liverpool’s Heritage tour, with text, photographs, maps, a chronology and a reading list, is available for purchase, price £15.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

No expense spared 3: Old Hebrew Congregation Synagogue, Liverpool

Old Hebrew Congregation Synagogue, Princes Road, Liverpool

Old Hebrew Congregation Synagogue, Princes Road, Liverpool

Among the many fine Victorian buildings in and around Liverpool 8, the Old Hebrew Congregation Syngogue is a particular jewel.

Built 1871-4 to the designs of the brothers William James and George Ashdown Audsley, it is constructed, like St Margaret’s Church on the same side of Princes Road, of red brick dressed with red sandstone.

Its façade combines elements of Gothic and Moorish styles, the pointed west door and the rose window contrasting with the oriental arches of the doorframes and the minarets that once surmounted the turrets.

The spectacular galleried interior has a tall arcade, supported by cast-iron columns with acanthus capitals. The horseshoe arches of the arcade lead the eye to the much more elaborate arch at the east end, which frames another rose window above the marble Ark with painted domes and gold stars.

The initial total cost was £14,975 8s 11d.

The marble pulpit, given in 1874 by the widow of James Braham, faces the bimah, the platform from which the Torah and haftarah are read. This was the gift of David Lewis, founder of the Liverpool department store, “in gratitude to Almighty God for His great goodness”.

The Ark is a replacement of the original which with its holy scrolls was destroyed by arson in May 1979: it was reconstructed and the synagogue restored and reopened in December 1980.

This spectacular place is open to group tours, which feature an exhibition about the history of the congregation: http://www.princesroad.org/#!tours/cfvg.

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.

The 68-page, A4 handbook for the 2011 Liverpool’s Heritage tour, with text, photographs, maps, a chronology and a reading list, is available for purchase, price £15.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Liverpool’s life story

Museum of Liverpool:  Liverpool Overhead Railway 3

Museum of Liverpool: Liverpool Overhead Railway 3

Liverpool’s trio of Edwardian buildings fronting Pier Head – the Liver Building, the Cunard Building and the former Mersey Docks & Harbour Board Building – are collectively known as the “Three Graces”.

The design of Liverpool’s “Fourth Grace” – to occupy Mann Island, the space next to the Pier Head group – brought lengthy controversy.

The initial scheme, for Will Alsop’s design “The Cloud”, described by one journalist as a “diamond knuckleduster”, was eventually dismissed as expensive and impractical:  http://www.theguardian.com/uk/2003/nov/21/regeneration.europeancapitalofculture2008, http://www.theguardian.com/uk/2004/jul/20/europeancityofculture2008.arts and http://www.theguardian.com/artanddesign/2004/jul/24/architecture.communities.

The eventual outcome was the Museum of Liverpool by the architects 3XN and engineers Buro Happold, an altogether quieter building that provides a surprising amount of space for exhibits and offers superb views along the river front.

Here at last are opportunities to savour some of the most significant major exhibits that could rarely if ever be displayed in the limited amount of museum space that was previously available.

The Liverpool & Manchester Railway locomotive Lion, built in 1837, latterly the star of the 1953 film The Titfield Thunderbolt and last steamed in 1989, rests alongside a reproduction stretch of the former Liverpool Overhead Railway viaduct, on which stands the one remaining vehicle from that much-mourned fleet.

Upstairs, the great model of the unbuilt Roman Catholic Cathedral designed between the wars by Sir Edwin Lutyens stands before a panorama showing exactly how this vast structure would have dominated the Liverpool skyline and streetscape.

Perhaps most fascinating of all, in the amount of time it demands, is Ben Johnson’s huge, minutely-detailed painting ‘Liverpool Cityscape’ (2005-8) commissioned for the Liverpool Capital of Culture Year and now permanently displayed at the Museum.

These are the star attractions of a rich, constantly evolving museum that celebrates one of the vibrant cities in the UK:  http://www.liverpoolmuseums.org.uk/mol/things-to-see.

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

The 68-page, A4 handbook for the 2011 Liverpool’s Heritage tour, with text, photographs, maps, a chronology and a reading list, is available for purchase, price £15.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.