St Peter’s Parish Church, Clayworth, Nottinghamshire: Traquair murals
When I visited Drakeholes to photograph the canal tunnel my curiosity was piqued by brown tourist road-signs marked ‘Traquair murals’ because I didn’t recognise the name.
That’s because I’m neither Scots nor a fine-art aficionado.
Phoebe Anna Traquair (1852-1936) was Irish by birth, an illustrator, jewellery designer and embroiderer whose mural painting was mostly done in Scotland. Only two of her mural schemes are in England, and one of them is a couple of miles down the road from Drakeholes, at St Peter’s Church, Clayworth.
The church itself is interesting – built in the twelfth century, restored in 1874-5 by John Oldrid Scott, Grade I listed.
Phoebe Anna Traquair, who married a Scots palaeontologist, was a leading figure in the Arts and Crafts movement in Scotland, and the first woman to be elected to the Royal Scottish Academy,
The Traquair Murals dated from 1904-5, and were restored by Elizabeth Hirst in 1996. They were given by Lady D’Arcy Godolphin Osborne as a thank-offering for the safe return from the Boer War of her son, Captain Joseph Frederick Laycock DSO (1867-1952), of Wiseton Hall. As Joe Laycock he competed for Britain in the 1908 Olympics with his friend the 2nd Duke of Westminster.
The murals cover all four walls of the chancel, illustrating in rich colours and gilding a comprehensive figurative scheme and incorporating portraits of local children: several of the figures on the north wall, bringing gifts to the Christ Child, are members of the Laycock family, and some of the adjacent Angel Choir are actual choristers, including Tony Otter (1896-1986), who was Suffragan Bishop of Grantham from 1949 to 1965, and his cousin Jack Martin.
The murals are claimed, collectively, to be the largest artwork in eastern England.
Size doesn’t matter. They’re beautiful, and worth seeking out in this gem of a church, set in the countryside between Bawtry and Gainsborough in north Nottinghamshire.
Clayworth stands on the B1403 road south of Gringley-on-the-Hill. St Peter’s Church is open daily.
St Mary the Virgin Parish Church, West Stockwith, Nottinghamshire
I doubt I would ever have found my way to West Stockwith but for my curiosity to know where the Chesterfield Canal ended.
That’s how I found the attractive Grade II*-listed eighteenth-century church of St Mary the Virgin, which stands beside the River Idle as it joins the River Trent.
It was built in 1722 at the bequest of William Huntington, who died on Christmas Eve 1714 aged forty-one. His monument, carved by E Poynton, sits in the north-east corner with his effigy gazing towards the altar.
The inscription explains that he was a ship’s carpenter, the second son of John and Mary Huntingdon,–
who by his Last Will & Testament after ye death of his Mother and the Marriage or Death of his Widow gave Seven-Hundred and Forty Pounds for ye Building of yeCHAPPEL and HOSPITAL round about it, and for ye Support of a MINISTER SCHOOL MASTER & ten POOR Ship-Carpenters’ Widows and other CHARITYS, bequeath’d all his Lands in West-StockwithGunhouse, and Misterton for ever.
When the River Trent was the only useful transport artery in the district, there was no doubt enough profit in shipbuilding for a second son, presumably without heirs, to amass so much surplus wealth.
The second minister, Rev Robert Pindar, complained in 1743 that the original trustees, once the building work was complete, were misapplying the income from the trust and a Chancery suit was slowly and expensively proceeding.
The church is a simple brick oblong, with a bell-turret, lit by tall round-headed windows filled with plain glass apart from a small panel in one window of stained glass dated 1842.
It was built with the adjoining almshouses on the site of William Huntingdon’s shipyard, replacing an older chapel-of-ease which stood on what is now Canal Lane. The parish church was two miles away at Misterton.
There is no east window. At the east end, two giant Ionic pilasters frame a blank space that seems to need something larger than the carved oak altar and reredos, given as a war memorial in 1922, and a modern cross. Apparently, much of the original furnishing and decoration was removed in 1887.
Presumably the church once had box pews. The present pine benches are dated c1900.
West Stockwith became an independent parish in 1892, and remained so until it was reunited with Misterton in 1957. A Local Ecumenical Partnership with the local Methodist congregation was formed in 2000.
St Mary’s Church continues to function, is well looked-after, and is a haven of quiet in a particularly quiet part of north Nottinghamshire.
Nottinghamshire is a surprisingly large county. It’s difficult to imagine, strolling in the East Midlands countryside that surrounds the city of Nottingham in the south, that the north-eastern corner is fenland, and feels like Lincolnshire.
The eastern boundary with Lincolnshire is the River Trent, always an important transport artery and notoriously unreliable in drought and flood.
Up to the late eighteenth century the hinterland of western Nottinghamshire, south Yorkshire and Derbyshire was badly served by roads and waterways. Sheffield’s cutlery had to be carted by road as far as the River Don at Rotherham from 1740 and at Tinsley from 1751. Chesterfield’s trade, including coal, iron and Derbyshire lead, had to be taken by road to Bawtry to join the nominally navigable River Idle, which joins the Trent at West Stockwith.
When a canal was proposed from Chesterfield to the Trent in the late 1760s, there were alternative proposed routes – to the Idle at Bawtry, to the Trent at Gainsborough or via Retford entering the Trent downstream of Gainsborough at West Stockwith.
The cheapest alternative – a 46-mile canal from Chesterfield to West Stockwith, recommended by James Brindley, was built.
Bawtry was cut out of the waterway traffic, but continued to prosper as a staging post on the Great North Road. The River Idle practically ceased to be a commercial waterway, though navigation remained technically possible.
Retford gained greater importance because it was situated on both the Chesterfield Canal and the Great North Road.
West Stockwith is a quiet little place, out of the way for road-travellers, but still significant if you travel by boat. It’s possible to walk in less than ten minutes between the canal and the River Idle, which has long been unnavigable, its tendency to flood moderated by a huge floodgate.
The canal wharf is now a marina and the original tollhouse of 1789 still overlooks the lock that leads down to the tidal Trent.
The 60-page, A4 handbook for the 2018 ‘Waterways and Railways of the East Midlands’ tour, with text, photographs, maps and a reading list contains a section on the Chesterfield Canal and is available for purchase, price £15.00 including postage and packing. To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.
White Swan Hotel, Drakeholes, Nottinghamshire (2018)
Chesterfield Canal: Drakeholes Tunnel
When my navigator Richard directed me to Drakeholes to photograph the tunnel on the Chesterfield Canal the first thing we saw was not the canal but a very large, very Gothick, very derelict building which turned out to be the former White Swan Hotel.
This marks a major transport interchange from the days when everything that moved along roads and canals was propelled by muscle power.
It sits where the junction of four roads, where the old Roman road between Bawtry and the Trent ferry at Littleborough crosses the road from Blyth to Gainsborough. Here it coincides with the canal, which burrows under the road in a 154-yard-long tunnel as it turns north on its way to its terminus at West Stockwith.
Almost opposite the White Swan is a pair of lodges, beautifully restored after years of dereliction, flanking what used to be the gateway to Wiseton Hall. The pair was in fact a single dwelling, one lodge for living, the other for sleeping.
It forms only part of the work of Jonathan Acklom, local landowner and the instigator of the Wiseton Enclosure in 1763, who marked the “surrounding eminences” with elegant farms, such as Pusto Hill Farm and Blaco Hill Farm, described by the late-eighteenth historian John Throsby as “ornaments to the domain,…highly creditable to the taste of the owner”.
At the time that Jonathan Acklom rebuilt his family seat at Wiseton Hall in 1771 the Chesterfield Canal was under construction. He stipulated that it should not approach his estate nearer than two hundred yards.
He built the White Swan to serve traffic coming along the roads to reach the canal company’s wharf at the southern end of the short tunnel, which opened in 1776.
Drakeholes was the Georgian equivalent of a modern transport interchange, and it was all created within a decade.
Though the Hall has gone, replaced by a smaller neo-Georgian house in 1962, its stables survive opposite the old gateway, along with the newer avenue which crosses the canal by the ornate Lady’s Bridge, otherwise known from its decayed carving as Man’s Face Bridge.
The 60-page, A4 handbook for the 2018 ‘Waterways and Railways of the East Midlands’ tour, with text, photographs, maps and a reading list contains a section on the Chesterfield Canal and is available for purchase, price £15.00 including postage and packing. To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.
Church of the Holy Name of Jesus, Oxford Road, Manchester
The Church of the
Holy Name of Jesus, Oxford Road, Manchester, stands as a symbol of
permanence in an area that has seen huge changes since the parish was founded
in middle of the nineteenth century.
In the decade after the Great Famine of 1845-49, thousands
of Irish immigrants settled to the south of the River Medlock.
The first Bishop of Salford, William Turner (1799-1872), invited
the Society of Jesus to provide clergy for a new parish to be located in a
temporary church in Burlington Street.
This structure, named Gesù after the Society’s mother-church in Rome,
was opened on Easter Tuesday, April 4th 1868.
The foundation stone of what came to be called Holy Name Church was laid in June 1869.
The shell of the building without interior fittings cost
£14,000 and was opened on October 15th 1871.
The architect was Joseph Aloysius Hansom (1803-1882), famed as the inventor of the ‘Patent Safety Cab’ that bears his name. He designed Birmingham Town Hall (designed 1831-32, completed 1861). His other major churches are Mount St Mary’s Church, Leeds (1851-57), St Walburge’s Church, Preston (1854), Plymouth Cathedral (1856-58) and Arundel Cathedral (1869-73).
Built of brick, faced with Warwick Bridge stone outside and
terracotta within, Hansom’s design is in fourteenth-century Gothic style.
The façade is asymmetrical: the baptistery with its conical roof extends to the south, and because of the street-layout the footprint is trapezoidal, so that the liturgical east end (actually north-east) is wider than the entrance. This is disguised by the layout of chapels along the south aisle, which are balanced by confessionals, each with its own fireplace, to the north.
The nave is wide, light and spacious, reflecting the Jesuit
preoccupation with preaching. The
rib-vault of hollow polygonal terracotta blocks by Gibbs & Canning Ltd of
Tamworth is supported by slender columns.
J A Hansom intended a slender lantern and spire 240 feet high with twin windows and gables, but it was abandoned for fear of overburdening the foundations.
Instead, a shorter, tapered tower was designed by Adrian Gilbert Scott (1882-1963), younger brother of Sir Giles Gilbert Scott, the architect of Liverpool Cathedral. It was completed at a cost of £17,000 in 1928. Its carillon of bells was dedicated on October 13th 1931.
During the ministry of Fr Bernard Vaughan SJ (1847-1922,
brother of Cardinal Henry Vaughan), the church had a powerful influence on the
surrounding community.
In the year 1900 the parish, with a population of 3,500,
registered 25 converts, 125 baptisms, 2,850 Easter Communions and 32,815
confessions. A bazaar in 1893 raised £7,350,
supplemented by a donation of a thousand guineas by Sir Humphrey Trafford, then
the owner of Trafford Park, and his friends.
In 1895 the funeral of Sir Charles Hallé took place at Holy
Name Church: the cortège reached Weaste
Cemetery four hours after the start of High Mass, which included a performance
of the Mozart Requiem and Beethoven’s Eroica
symphony.
The removal of local families to outer-Manchester housing
estates from the end of the 1920s, the upheavals of the Second World War and
the post-war clearance of the surrounding streets radically changed the setting
of Holy Name Church.
The area became a collective campus for what are now the
city’s three universities – the University of Manchester (formerly the Victoria
University of Manchester), the Manchester Metropolitan University (previously
Manchester Polytechnic) and the Royal Northern College of Music (founded by Sir
Charles Hallé as the Royal Manchester School of Music).
The Jesuits moved away in 1985 and from 1992 the church was run by the brothers of an Oratory of Saint Philip Neri. In 2003 the Oratorians moved to St Chad’s, Cheetham Hill, the mother-church of Manchester Catholics, and the Jesuits were invited back to Holy Name to run the Manchester Universities’ Catholic Chaplaincy: http://www.muscc.org.
For details of Mike Higginbottom’s ‘Manchester’s Heritage’ lecture, please click here.
The 60-page, A4 handbook for the 2019 ‘Manchester’s Heritage’ tour, with text, photographs, maps and a reading list, is available for purchase, price £15.00 including postage and packing. To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.
Necropolis Receiving Station, Chippendale, Sydney, Australia
Just outside Sydney Central Station stands a high-quality Gothic structure which commuters pass without a second thought.
From the street, in an area called Chippendale, it’s more obvious and impressive.
It was built as the Necropolis Receiving Station, from where funerals departed by rail to the Rookwood Cemeteryout at what was then Haslem’s Creek and is now called Lidcombe.
It was designed in Venetian Gothic style by the Colonial Architect, James Johnstone Barnet (1827-1904), a Scot who worked with the first generation of New South Wales architects – Edmund Thomas Blacket (1817-1883), William Wilkinson Wardell (1823-1899), both English, and the Canadian John Horbury Hunt (1838-1904).
Funeral trains began operating in April 1867. Passengers were required to buy return tickets, but corpses travelled free.
Though rail-borne funerals practically ended in 1938 and the mortuary station became disused, a service for mourners continued from the main Central platforms through the Second World War until the cemetery railway was closed in 1948.
The station was subsequently renamed Regent Street Station and used to dispatch animals such as dogs and horses, and later as a parcel depot, until in the late 1980s it became an unlikely and ultimately unsuccessful pancake restaurant.
Subsequently it became an even less likely wedding venue.
Manchester is not only the home of the oldest free public reference library in the United Kingdom – Chetham’s – but boasts one of the thirty-odd surviving independent subscription libraries in the country, thePortico Library, founded by a consortium of Manchester businessmen in 1802 and opened on Mosley Street in 1806.
Originally set in a fashionable part of town, the Portico
Library provided an exclusive, politically neutral meeting-place for the
professional and business communities, enabling members to read, research and
keep up with the news in quiet, comfortable surroundings.
The architect Thomas Harrison of Chester provided an
impressive entrance through an Ionic portico which led to a galleried newsroom
lit by a glazed dome, “larger by 700 square feet than the coffee room of the
Athenaeum in Liverpool”. Bookcases lined
the first-floor gallery. The total cost
of construction was £6,881 5s 3d.
By the 1830s the properties on Mosley Street were given over
to trade, as the merchants moved out to such suburban developments as Victoria
Park. Members commuted into town for
business and used the library mostly in the daytime. By 1900 most of the members were described as
“gentlemen”, though some were cotton manufacturers and merchants.
The Portico Library is rightly proud of its distinguished members. Paul Roget (1779-1869), a physician at the Infirmary and the author of the famous Thesaurus, was the first Secretary. The scientist John Dalton (1766-1844), a lecturer in a Manchester dissenting academy, was accorded honorary membership in return for “superintend[ing] the going of the clock”. The Rev William Gaskell (1805-1844), minister at Cross Street Chapel and a noted academic, was Chairman for thirty years and is commemorated in the library by a portrait and a bust.
Others included the engineer Sir Joseph Whitworth Bt (1803-1887), the cotton manufacturer, merchant John Rylands (1801-1888) whose widow founded the Library that bears his name on Deansgate, and the industrialist and politician Ernest Simon (latterly Baron Simon of Wythemshawe, 1879-1960).
Members’ families visited the Library from the outset. An irritable notice of 1817 declared
“Children should not on any account be suffered to…touch the prints, or to turn
over the leaves”. “Ladies of the
respective families of the Subscribers” were allowed to use the Library, and
one of them, Mrs Ann Frost, was allowed membership in 1853, though limited
formal membership for women was only introduced in 1873.
Towards the end of the nineteenth century the social and cultural environment in which the Library operated changed increasingly rapidly. Though the cotton trade remained robust, Manchester’s prominence in national politics had shifted to the Chamberlains’ Birmingham. Municipal free libraries, scattered across the city, reduced the need for the Portico’s book collection. The Proprietors debated at length amalgamating with the Athenaeum, selling the book-collection, or selling the entire building.
A practical solution was found after the end of the Great
War. In 1920 the ground floor and
basement was leased to the Bank of Athens, which paid for an internal glazed dome
to allow the library to occupy the first-floor level with an independent
entrance on Charlotte Street. The Manchester Evening News commented that
if the Portico “cannot claim to be rolling in money, it may claim that there
will be plenty of money rolling beneath it”.
The building was listed in 1952, which both ensured its
survival and limited the scope for adaptation.
Eventually, after Lloyds’ Bank, successors to the Bank of Athens, moved out, the internal dome was replaced by a solid floor, separating first-floor library from the area below, which became a public house called The Bank.
This transformed library was inaugurated in 1987, and its flexibility led to a rebirth of the institution, which in addition to offering books, periodicals and light refreshments as it always did, mounts exhibitions, hosts performance events, hosts weddings, awards literary prizes and welcomes outside visitors.
For details of Mike Higginbottom’s ‘Manchester’s Heritage’ lecture, please click here.
The 60-page, A4 handbook for the 2019 ‘Manchester’s Heritage’ tour, including a section on Ancoats, with text, photographs, maps and a reading list, is available for purchase, price £15.00 including postage and packing. To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.
The town clustering round the Montecatini Terme spa is relatively modern: until the eighteenth century the area on which it is built was a swamp.
The old town is a small, perfect Tuscan hill town, Montecatini Alto, strongly suggestive of the better known San Gimignano, with towers, churches and a market place perched at an altitude of 1,000 feet above the valley floor. Of the twenty-five medieval towers built in Montecatini, six survive.
The easy way to Montecatini Alto is by the Funicolare connecting the historic hill-town with the baths in the valley bottom. This one-kilometre line opened in 1898, in the presence of local resident Giuseppe Verdi. The track was blown up in 1944 and restored in 1949. There was a further closure for upgrading between 1977 and 1982.
The two cars, named Gigio and Gigia (also numbered 1 and 2 for the avoidance of ambiguity) are inclined, with three compartments and external balconies front and back. Gradient markers towards the top indicate increasing gradients from 25% to 38.5%. The views are spectacular and the experience didn’t feel vertiginous. The line stops for lunch between 1.00pm and 2.30pm. A round-trip, taking less than ten minutes, costs €7: https://www.funicolare-montecatini.it/orari-e-prezzi/timetable-and-prices.
At the top I visited the quiet little Church of St Joseph & St Philip and, next to it, the Torre dell’Orologio, a clock tower with an unusual dial showing only six instead of twelve numbers. The Torre dell’Orologio was fitted with a dial facing northwards across the town by 1552, and the existing mechanism dates from 1695. It chimes “alla Romana”, the Roman striking system in which a low note represents five and a high note one.
At the opposite end of the main square, the Piazza Giuseppe Giusti, I climbed another hill to visit the Church of St Peter the Apostle, which has an odd little museum, including a disconcerting relic of Saint Barbara, the patron saint of Montecatini.
I’d never have found my way to Monticatini Terme if I hadn’t booked a Great Rail Journeys ‘Highlights of Tuscany’ holiday [https://www.greatrail.com/tours/highlights-of-tuscany] which was based in the excellent Hotel Francia & Quirinale [https://www.franciaequirinale.it/en], providing four-star quality with individuality and amenity, meticulously efficient service, an elegant lobby, a spacious lounge with many settees and a grand piano and an equally spacious restaurant with a separate area for private parties.
Two minutes’ walk from the hotel is the Parco delle Terme, which contains the spa from which the town takes its modern name, strongly reminiscent of Buxton or Harrogate and utterly enjoyable: https://translate.google.co.uk/translate?hl=en&sl=it&u=http://www.termemontecatini.it/&prev=search. Open courtyards with columned arcades open one into another, with fountains and an apsidal concert stage for music.
Baths on this site are documented back to 1201, and were reported by the Montecatini physician Ugolino Simoni in 1417. In modern times the spa was developed by Grand Duke Peter Leopold, who sponsored the construction of the Bagno Regio (1773), the Terme Leopoldine (1775) and the Terme Tettuccio (1779).
The heyday of the resort was the late nineteenth and early twentieth centuries. Though some parts are in need of restoration they evoke the time when the composer Verdi lived in the town, with such neighbours as Pietro Mascagni, Ruggero Leoncavallo, Beniamino Gigli and Luigi Pirandello.
A series of elaborate marble counters offers a variety of waters through labelled taps: Rinfresco, which “promotes the elimination of waste through the renal pathways and restores lost salts in sports training”, was the only water that was actually flowing and for lack of a cup I couldn’t drink any of it. It wasn’t very warm. Behind the counters a series of tiled pictures show the ages of man, voluptuously suggesting how water improves health at every age.
I had lunch – smoked salmon and remarkably tasty white bread accompanied by a litre of aqua naturale – in the high, domed, dignified Caffè Le Terme, far too grand to be called a café in any language but Italian. On a very hot day the air conditioning was natural and effective – huge doors wide open on three sides of the high-ceilinged room.
Elsewhere in the park from the main complex are other spa buildings, the Terme Torretta (1904), the Terme Excelsior (1907) and the Terme Tamerici (1911).
At the edge of the park, I booked a table for dinner at the Profumo Garden Bistrot [https://www.thefork.it/ristorante/profumo-garden-bistrot/307299?cc=18174-54f] and later enjoyed a superlative five-course meal in an open-air setting, as the hot day cooled to warm and the sun dipped lower in the sky. Perfect.
Church of the Holy Angels, Hoar Cross, Staffordshire: chantry chapel
The Hon Mrs Emily Charlotte Meynell-Ingram (1840-1904) was one of the richest women in England, the widow of Hugo Francis Meynell-Ingram (1822-1871), whom she married in 1863.
From her husband she inherited substantial estates in Staffordshire, Lincolnshire and Yorkshire, amounting to 25,000 acres including Temple Newsam, near Leeds, and Hoar Cross in east Staffordshire, ten miles west of Burton-on-Trent.
Her father-in-law died in 1869, shortly after he began building a new house at Hoar Cross to replace the Old Hall. It was completed in 1871, the year that his son’s death in a hunting accident left his widow lonely and socially isolated.
Though the Mrs Meynell-Ingram preferred to spend time at Temple Newsam, she dealt with her bereavement by building Holy Angels’ Church at Hoar Cross, within a short walk of the Hall, so that her husband’s remains could be transferred from the parish church at Yoxall.
Mrs Meynall-Ingram resolved from the outset to entrust the entire design of her church to a single architect.
Her choice, George Frederick Bodley (1827-1907), remained with the project from the initial commission in 1871 until the end of his life. Indeed, the only part of the church that he didn’t design, the narthex, is his own memorial designed by his assistant and successor in the practice, Cecil Greenwood Hare (1875-1932).
Bodley had previous experience of working for a single lady patron with an open cheque-book: he had designedSt Martin-on-the-Hill, Scarboroughin 1861-2 for Miss Mary Craven, the daughter of a Hull surgeon.
He and his business partner Thomas Garner (1839-1906) certainly worked together at Hoar Cross, though Bodley seems to have taken a lead.
Holy Angels’ is an essay in the Decorated style of fourteenth-century English Gothic and is regarded as one of Bodley’s best churches.
The church is oriented to the south, so that daytime sun streams through the six-light east window.
The nave has a timber roof, while the significantly taller east end is elaborately vaulted. These features combine to make the sanctuary a dramatically lit, mysterious space, its sanctity preserved by Bodley’s ornate iron screen.
In 1888, when the Old Hall was opened as a boys’ orphanage, Mrs Meynell-Ingram decided the church was too small and commissioned Bodley to take down the west wall and extend its length from two to three bays.
She added the Lady Chapel to the south of the chancel in 1891, and the corresponding All Souls’ Chapel to the north in 1901, and refloored the nave in black and white marble the following year.
And Mrs Meynell-Ingram incessantly collected artefacts to embellish Holy Angels’ when she travelled in Europe and the Mediterranean. She commissioned the Stations of the Cross copied from the Antwerp carvers Jean-Baptist van Wint and Jean-Baptist de Boeck, coloured in the sgraffito manner which she had seen in the Mariankirche in Danzig (now Gdańsk).
The Chantry Chapel contains the tombs of both Hugo and Emily Meynell-Ingram, their effigies each resting on an alabaster base under ogee arches. The effigy of Hugo Meynell-Ingram is by the Pre-Raphaelite sculptor Thomas Woolner (1825-1892).
This sumptuous church is one of the highlights of Victorian architecture, worth seeking out for its great beauty and richness.
It epitomises what can be done when piety, grief and great wealth combine with artistic excellence.
The 56-page, A4 handbook for the 2019 ‘Pugin and the Gothic Revival’ tour, with text, photographs and a reading list, includes a section on Holy Angels, Hoar Cross, and is available for purchase, price £15.00 including postage and packing. To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.
For details of Mike Higginbottom’s lecture ‘Survivals & Revivals: past views of English architecture’, please click here.
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