Boot’s Folly

Boot's Folly, near Strines, Sheffield

Boot’s Folly, near Strines, Sheffield

I dislike the term “folly”, referring to extravagant and apparently useless buildings and structures.

Quite often, the constructors of eccentric buildings had a purpose, and knew exactly what they were doing.

The Wentworth Marquises of Rockingham and Earls Fitzwilliam constructed what are now called the Wentworth Monuments to embellish the landscape and to commemorate important events.

Eye-catchers such as Deer Park Lodge at Scampston Hall, North Yorkshire, and Sir Thomas Tresham’s famous Triangular Lodge at Rushton, Northamptonshire though decorative, doubled as functional estate buildings.

Boot’s Folly, a plain square tower, 45 feet high, that can be seen across the hills north-west of Sheffield between Bradfield and Strines, is unambiguously a folly.

It stands over a thousand feet above sea-level, and is built of the stones of three demolished farms.

Its builder was the canny construction magnate Charles Boot (1874-1945) who lived at Sugworth Hall in the valley below.

He was the son of Henry Boot (1851-1931), who founded the family company and built it from nothing. Charles took over from his father just before the First World War, made a fortune from military contracts during the war and then continued to grow his wealth through post-war construction, particularly housing in Britain and on the continent. He was also the founder of the Pinewood film studios.

In the spirit of all the best follies, there’s no clear reason why he built his tower. A customary explanation is the desire to provide employment for the unemployed, like Joseph Williamson at Edge Hill or the 5th Duke of Portland at Welbeck. A more distinctive story is that Charles Boot wanted a vantage point within sight of Bradfield churchyard where his wife was buried in 1926, the year before the tower was built.

Originally, a staircase led to a panelled room at the top of the tower, but this was dismantled – so the story goes – after a cow strayed up the stairs and had to be rescued with difficulty.

There is a fine set of images of the tower at http://www.derelictplaces.co.uk/main/showthread.php?t=30431#.VUOvKOl0zcs.

Lafite, 2014

Joanna Vasconcelos, 'Lafite, 2015' (one of a pair), Waddesdon Manor, Buckinghamshire

Joanna Vasconcelos, ‘Lafite, 2015’ (one of a pair), Waddesdon Manor, Buckinghamshire

I’m habitually suspicious of modern art, sensing that some of it is a repository for rich people’s spare capital and much of it is artists’ scratching their imaginative itches in preference to providing pleasure for non-artists.

On the contrary, I took an immediate liking to a pair of sculptures that I found installed at the entrance to Waddesdon Manor, the great French-style chateau that Baron Ferdinand de Rothschild built on a bare hilltop in Buckinghamshire between 1874 and 1889. Though Waddesdon was given to the National Trust in 1957, it is run by a Rothschild family trust, and the nearby subsidiary house at Eythrop is the residence of Jacob, Lord Rothschild.

Joanna Vasconcelos’ Lafite, 2015 celebrates the family’s connection with wine and their great Bordeaux estate, Château Lafite Rothschild. It consists of a pair of giant candlesticks composed of over a thousand magnums, neatly connecting the magnificent Rothschild fine art within the house with the produce of the family vineyards: http://www.joanavasconcelos.com/info_en.aspx?oid=3570.

At night the candlesticks light up.

Joanna Vasconcelos’ trademark is to construct artworks from everyday forms, such as Piano Dentelle, 2008-2011 [http://www.joanavasconcelos.com/info_en.aspx?oid=755], Pavillon de Thé, 2012 [http://www.joanavasconcelos.com/info_en.aspx?oid=2085] and Call Centre, 2014 [http://www.joanavasconcelos.com/info_en.aspx?oid=2864]. For more illustrations of Joanna Vasconcelos’ work, see http://www.joanavasconcelos.com/obras_en.aspx.

Waddesdon Manor is one of the National Trust’s most popular sites, and is best visited at off-peak times: http://www.nationaltrust.org.uk/waddesdon-manor.

You can treat yourself to a bottle of wine if you’ve a bob or two to spare: http://www.waddesdon.org.uk/shop-and-eat/wine-shop.

Majestic picture palace

Former Majestic Cinema, City Square, Leeds (June 2015)
Former Majestic Cinema, City Square, Leeds (June 2015)
Former Majestic Cinema, City Square, Leeds (July 2024)

A highlight for me of the Abbeydale Picture House Revival weekend was watching the first film ever shown there, The Call of the Road, with Vincente Stienlet, the grandson of the architect of the building, Pascal J Stienlet. As Mr Stienlet pointed out afterwards, his grandparents almost certainly watched the same film, in the same space, on the opening night in December 1920.

There is, to our mutual regret, no material about the Abbeydale in the archive of the Pascal J Stienlet & Son practice. However, Mr Stienlet showed me some fascinating images and plans of what was probably Pascal Stienlet’s largest cinema commission, the Majestic Cinema, City Square, Leeds.

The old Majestic is a much loved Leeds landmark. Designed by Pascal Stienlet in partnership with Joseph C Maxwell, and opened in June 1922, its dignified Beaux Arts façade, of Burmantofts ‘Marmo’ terracotta, is a delicate cream which for years was darkened by Leeds’ polluted atmosphere.

In the 2,600-seat auditorium, giant fluted Ionic columns and a Grecian frieze based on the Parthenon supported a coffered dome 84 feet in diameter. On either side of the proscenium were the pipes of the three-manual Vincent organ. In the basement below was a restaurant 110 feet × 110 feet with a sprung floor for dancing.

The Majestic became part of the Gaumont chain in 1929, and remained a premier film venue well into the 1960s – its run of The Sound of Music extended from April 1965 to September 1967 – but it went over to bingo in 1969. It’s unusual among city-centre cinemas because it was never subdivided. It was listed Grade II in 1993.

In 1997 the entire building became two night-clubs, the Majestyk in the auditorium and Jumpin’ Jacks in the ballroom below.

It was closed in 2006; an application for a casino licence was refused and the site became vacant.

In 2011 the Leeds developer Rushbond financed a clever refurbishment for retail use.

When the redeveloped building was almost ready for opening it caught fire on the evening of September 30th 2014. The fire brigade declared a major incident, closed off much of the city centre for over twelve hours, and by their skill and good judgement, though they lost the roof, saved the exterior walls.

Within a matter of days a 32-year-old man was arrested in connection with his suspicious behaviour at the scene. He was cleared of all charges in March 2015: http://www.yorkshireeveningpost.co.uk/news/latest-news/top-stories/leeds-majestic-blaze-man-cleared-of-arson-charges-1-7183724.

Rushbond revived the burnt-out shell which became the national headquarters of Channel 4 in September 2021.

The story of the Majestic is neatly encapsulated in a Yorkshire Evening Post article – http://www.yorkshireeveningpost.co.uk/news/latest-news/top-stories/proud-history-of-a-leeds-landmark-1-6871416 – and there is an illustration of the interior in original condition at http://cinematreasures.org/theaters/2718.

Abbeydale Picture House Film Revival

Abbeydale Picture House, Sheffield:  Film Revival, Sunday July 18th 2015

Abbeydale Picture House, Sheffield: Film Revival, Sunday July 18th-19th 2015

Photos:  Scott Hukins [SCOTT HUKINS : PHOTOGRAPHER (wordpress.com)]

For the first time in forty years, a sizeable audience sat in the stalls of the Abbeydale Picture House, Sheffield’s finest surviving suburban cinema, and watched feature films on the big screen over the weekend of July 18th-19th 2015:  Picture House Revival – Exposed Magazine

Thanks to the inspired vision of the arts platform Hand Of, run by three recent Sheffield graduates, Rob Hughes, Louise Snape and Ismar Badzic, several hundred people – some of them from surprisingly far afield – experienced this very special building doing what it was designed to do, making people happy.

Pullman-style seats – more comfortable than the originals – were installed, together with three bars, one of which sold sarsaparilla, the traditional temperance drink of pre-1960s Sheffield. Outside in the car-park there was a rich choice of street food and cakes; in the foyer, the distinctive fragrance of popcorn hung in the air.

The choice of films touched on Yorkshire’s film heritage – Brassed Off (1996) and Four Lions (2010) – and the Abbeydale’s heyday – two Laurel & Hardy titles, the short Brats (1930) and the feature A Chump at Oxford (1940), together with the first feature-film ever shown at the Abbeydale on its opening night, December 20th 1920, The Call of the Road, starring the British boxer-turned-actor Victor McLaglen.

The Call of the Road was a very special opportunity to see a silent movie as it was originally presented, on a big screen, with a fully improvised piano accompaniment by the virtuoso Jonathan Best.  Any other experience of pre-1929 feature films pales in comparison with watching a clear print, run at the correct speed, with live musical accompaniment in a crowded auditorium.

The afternoon was made even more special by the presence in the audience of Vincente Stienlet, grandson of Pascal J Stienlet who designed the building, and Cynthia Allen McLaglen, the niece of the film-star Victor McLaglen.

The Abbeydale has been very lucky in its owners since 1975 – the office-equipment dealers A & F Drake Ltd who found a use for the place into the early 1990s, the Friends of the Abbeydale Picture House who made use of it up to 2012, and the current owner Phil Robins who is developing it as a multipurpose community venue.

The Picture House Revival was a huge step forward in bringing the place back to life. Thanks to Rob, Louise and Ismar, the place was lit up on Saturday and Sunday evening, and after the end of the show crowds of people poured out on to the street, smiling.

Fit for a bishop

St Hilda's Parish Church, West Cliff, Whitby

St Hilda’s Parish Church, West Cliff, Whitby

Churches, like other buildings, don’t get built by accident. They owe their existence to someone’s drive and strength of intention.

On the opposite cliff to the splendidly archaic parish church of St Mary, Whitby, stands the magnificent late-Victorian Gothic church of St Hilda.

Built to serve the Victorian streets of the West Cliff, St Hilda’s is an impressive Gothic Revival composition of 1884-6 by the Newcastle architect, R J Johnson.

It replaced an iron church at the instigation of an ambitious rector, Rev Canon George Austen, who had arrived in Whitby in 1875 from Middlesburgh, where he had initiated a church-building programme [http://www.st-barnabas.net/history], and saw no reason why Whitby and its surrounding parishes should not become a bishopric.

Consequently, St Hilda’s is fit for a bishop, embellished with fine carving and glass by C E Kempe.

The bishop’s throne was installed c1908, and the first suffragan Bishop of Whitby was eventually appointed in 1923, by which time George Austen had become a Chancellor of York Minster.

When he died, aged 94, in 1933 he was, at his own request, brought back to Whitby and buried in the churchyard of St Mary’s, which had otherwise been closed to burials for sixty years.

The tower of St Hilda’s, in the style of the late-Victorian church, was completed by G E Charlewood in 1938

The fine Roman Catholic parish church by Matthew Ellison Hadfield (1867) in the town centre is also dedicated to St Hilda – a source of perennial confusion to visitors.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 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.

Whitby West Cliff

Whitby West Cliff:  Royal Crescent

Whitby West Cliff: Royal Crescent

For a place that has always been far out of the way, Whitby has a remarkable tenacity as a holiday resort.

Even before the early arrival of the railway, the Whitby Public Baths Company tried to promote sea-bathing at the foot of the West Pier, where baths were “replenished with the purest sea and fresh water; and are fitted up with the greatest regard both for the comfort of the valetudinarian and the gratification of the pleasurist”.

A further attempt to utilise another spring led to the building of the Victoria Spa in Bagdale in 1844. Neither of these projects was a lasting success.

A locally-sponsored Whitby Building Company issued a prospectus proposing fourteen lodging-houses on the West Cliff Fields in 1843.

The following year George Hudson, the “Railway King”, who had taken over the Whitby & Pickering Railway, purchased the West Cliff Fields, apparently to establish an interest in the town that would enable him to become its MP. (In fact, he was elected as Conservative MP for Sunderland, where he was expected to promote the Monkwearmouth Dock and the Durham and Sunderland Railway, in 1845, and the Whitby seat went to his associate, the engineer Robert Stephenson, who was returned unopposed in 1847.)

Hudson proceeded, under the auspices of the York Building Company, to construct boarding houses and hotels as a speculation.

By the time East Terrace was finished so was Hudson, discredited by his manipulation of railway finances.

Whitby achieved modest growth as a resort: its population grew from 10,989 to 12,051 between the 1851 and 1861 censuses. Mrs Elizabeth Gaskell stayed here in 1859, and accumulated background material for her novel Sylvia’s Lovers (1863). Other nineteenth-century authors who visited Whitby include Alfred Tennyson in 1852, Lewis Carrol in 1854, Charles Dickens in 1861 and his friend Wilkie Collins, who wrote the novel No Name (1862) while staying in the town. The Punch cartoonists John Leech and George du Maurier were visitors respectively in the 1860s and 1880s and incorporated Whitby scenes into their published work.

The West Cliff Estate passed to the self-made industrialist Sir George Elliot, Bt (1814-1893), who projected the Royal Crescent (John Dobson 1876-9) and the West Cliff Saloon and Promenade (1880, now the Spa Theatre).

One look at the architecture of the Royal Crescent and the gothic Church Square behind it (St Hilda’s parish church itself dates from 1884-6) tells the tale of over ambition and half-completion. There were simply not sufficient Mrs Gaskells to fill the place.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 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.

St Hilda’s abbey

Whitby Abbey, North Yorkshire

Whitby Abbey, North Yorkshire

The instantly recognisable ruin of Whitby Abbey on the cliff-top above the harbour is freighted with fourteen centuries of history.

Founded in AD 657 by a Northumbrian princess who became St Hilda, it was the location for the Synod of Whitby (AD 664), which established that the English church would follow Roman rather than Celtic custom.

Nevertheless, St Hilda’s Saxon abbey was designed in the Celtic manner, for parallel communities of monks and nuns, living in single cells but worshipping together.  Of the monks in her time five became bishops; two of them, like her, became saints – St John of Beverley and St Wilfrid of York.  A lay member of her community was Caedmon, traditionally regarded as the earliest English poet.

The first abbey was destroyed by the Danish invaders in AD 867 and refounded in Norman times by one of the knights who fought at Hastings, Reinfrid, who settled here as a monk and developed a Benedictine community in the 1070s.

The existing ruins represent a massive rebuilding, starting in the 1220s, continuing after a fundraising effort in 1334, followed by a distinctive break when a change from lancet windows to Decorated tracery indicates an interruption to the rebuilding programme of perhaps a hundred years between the thirteenth and fourteenth centuries.  The final installation of the now-vanished Perpendicular west window was only completed in the fifteenth century.

Shortly after the Dissolution, in March 1540 the abbey precinct passed to Sir Richard Cholmley of Kingthorpe, near Pickering, “the great blacke knight of the North”, whose son, Francis, adapted the abbot’s lodging to make a residence. His descendant, Sir Hugh Cholmley (1632-89) aggrandised his residence Abbey House with an imposing classical Banqueting Hall wing (1672-82), the shell of which houses a modern visitor centre.

The Abbey ruins served as a waymark for mariners, but what now remains is only a vestige. Much of the church, including the tower, still stood in 1711, but the south transept collapsed in 1736, the south wall of the nave in 1762, the nave arcade in 1793, the west window the year after, the central tower on June 25th 1830 and part of the presbytery in 1839.

What was left of the west front was bombarded by the German battle cruisers Von der Tann and Derfflinger on December 16th 1914, and later reinstated, with a section of the nave arcade reassembled incongruously by the north boundary wall, after the Ministry of Works took over the site in 1920.

There are easier ways of visiting the Abbey and the nearby church of St Mary than by walking up the 199 steps from the town. There’s a discreetly hidden car-park, and a tourist bus running a half-hour service during the summer: http://www.coastalandcountry.co.uk/openTopCoach.html.

Opening times for the Abbey are at http://www.english-heritage.org.uk/visit/places/whitby-abbey.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 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.

Movies return to the Abbeydale

Former Abbeydale Cinema, Sheffield

Former Abbeydale Cinema, Sheffield

I’ve been providing historical back-up to an events organisation, Hand Of, who are devising an film weekend to commemorate the fortieth anniversary of the last picture show at the Abbeydale Cinema, Sheffield.

Picture House Revival: a Festival of Film takes place on Saturday July 18th and Sunday July 19th 2015, combining films, food, popcorn, ice cream, real ale and a sarsaparilla bar, a recreation of  a once much-loved temperance alternative to Sheffield’s pubs: http://www.eventbrite.co.uk/e/picture-house-revival-a-festival-of-film-tickets-17122290231.

In fact, the event doesn’t take place on the actually anniversary (which would be July 5th) and it doesn’t reproduce the last picture show (Charles Bronson in Breakout, supported by Lords of Flatbush).

Instead, the programme includes the very first film ever shown at the Abbeydale, on December 20th 1920, a costume romance called The Call of the Road, billed as “a picture that will make history”, alongside Laurel & Hardy and more recent Yorkshire favourites, Brassed Off (Mark Harmon 1996) and Four Lions (Chris Morris 2010).

It’s a very exciting development to bring back movies to one of the few surviving Sheffield suburban cinemas: https://www.youtube.com/watch?v=EVD7_x3cb1w.

I hope it’ll be the first of many film revivals in the Abbeydale.

Stately pre-fab

Hill Bark, Frankby, Cheshire

Hill Bark, Frankby, Cheshire

Robert Spear Hudson (1812-1884) was the man who first popularised soap powder, working from his modest shop in West Bromwich. He eventually moved his business to a factory in Bank Hall, Liverpool, and went to live in Chester.

His son Robert William Hudson (1856-1937) became extremely wealthy and sold the business to Lever Brothers in 1908.

He commissioned the distinguished local architect Edward Ould to build a Black-and-White Revival house in 1891 on a site near Bidston Hill on the Wirral.  It bears more than a passing resemblance to Little Moreton Hall, near Macclesfield – but built in reverse. It was named Bidston Grange.

Typically of its time and its style, Bidston Grange contained sumptuous glass by William Morris, and architectural bric-a-brac with antique associations – dining-room doors from a tea-clipper and a fireplace dated 1577 reputedly from “Sir Walter Raleigh’s former home”.

It was apparently the model, or at least the inspiration, for Cecelianhof, the Potsdam residence of the Crown Prince Wilhelm, son of Kaiser Wilhelm II, built c1911 and subsequently the site of the signing of the Potsdam Agreement of 1945.

In 1921 Bidston Court was sold to Sir Ernest Royden (1873-1960), one of a dynasty of shipbuilders and shipowners.

Because Lady Royden disliked the way its setting was encroached by housing [http://www.geograph.org.uk/photo/218605] the 1891 structure was dismantled and re-erected a property she had inherited five miles away at Frankby.

There it replaced a house of 1868-70, originally built for Septimus Ledward JP, which took its name ‘Hillbark’ from a stone barn that had stood for several centuries.

The Roydens’ transplanted residence became known as Hill Bark.

The original site at Vyner Road South, Bidston, is now a public garden.

When Sir Ernest Royden died in 1960, Hill Bark was purchased by Hoylake Urban District Council and converted into a residential home for the elderly.

It was sold in 1999 for £300,000 and converted first into a catering-facility specialising in weddings, opened in 2000, but using only the ground-floor rooms. In 2002 it was restored as a luxurious 19-bedroom five-star boutique hotel: http://www.hillbarkhotel.co.uk.

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

Leasowe Castle

Leasowe Castle, Cheshire

Leasowe Castle, Cheshire

One of the most distinctive places to stay on the Wirral is Leasowe Castle, which was in fact never a castle, though it has been put to many uses in its four-hundred-year history.

Leasowe Castle is identified with the “New Hall” built by Ferdinando, 5th Earl of Derby in 1593, the year of his accession to his title, possibly as a stand from which to watch horse-racing on the flat shore.

A datestone bearing the Stanleys’ triskelion, the three-legged symbol of the Manx kingdom, is now in the Williamson Museum & Art Gallery in Birkenhead.

Ferdinando, Earl of Derby’s original structure was an octagonal tower with walls three feet thick, to which were later added four square towers, possibly by William, 6th Earl, in the early seventeenth century.

By the late seventeenth century the building was derelict and known locally as “Mockbeggar Hall” and for much of the eighteenth century it was used as a farmhouse.

In 1802 was sold to Margaret Boole, “the kind old lady of Leasowe Castle”, which she had made a refuge for the victims of shipwrecks and wreckers on the Wirral coast.

She set up Dannet’s Rocket Apparatus on the shore in an attempt to prevent shipwrecks and the pernicious activities of the local wreckers, who would show false lights in an attempt to lure vessels ashore.

Margaret Boole died in 1826 as a result of a carriage accident, and the Castle passed to her daughter and heir, Mary Anne, the wife of Col Edward Cust.

Colonel Cust converted the Castle to a hotel with the intention of establishing a resort in the grounds, and when this ambitious project failed in 1843 he turned back it into a residence which he kept until his death.

Edward Cust added most of the features of the building as it now stands –

  • the perimeter wall and entrance gateway
  • the Battle Staircase, its 84 wrought-iron balusters each carrying a painted nameplate commemorating a British victory
  • the dining room panelled with wood ostensibly taken in 1839 from the original Star Chamber in the Exchequer Buildings of the Palace of Westminster
  • the supposedly haunted library fitted with oak timbers from the submerged forest at Moels

– and possibly the oak Canute’s Chair, now lost, which stood above the high-water line, carved with the motto “Sea come not hither nor wet the sole of my foot”.

One of Col Edward Cust’s successors sold the Castle in 1891 to the Leasowe Castle Hotel company.

The original Star Chamber panels are reported to have been sold in the contents sale which took place on September 16th-20th 1895: the existing ones may be reproductions.

In 1910 the Castle was bought by the Trustees of the Railway Convalescent Home and, apart from an interlude during the First World War when it housed German prisoners of war, it remained in their hands until 1970.

In 1982 it returned to hotel use: http://www.leasowecastle.com.

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