Category Archives: Pugin and the Gothic Revival

St Anne’s Roman Catholic Church, Keighley

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St Anne’s Roman Catholic Parish Church, Keighley, West Yorkshire

Augustus Welby Northmore Pugin (1812-1852) began his career as an architect in the early 1830s, empowered by two events, the Roman Catholic Relief Act (1829) and his own conversion to Catholicism in 1834, which led him to become the great pioneer of the Gothic Revival in the British Isles and across the world.

John Talbot, 16th Earl of Shrewsbury (1791-1852) enlisted him to design Catholic churches, monasteries and schools, and Sir Charles Barry (1795-1860) hired him to contribute detailed designs to the rebuilding of the Palace of Westminster for which he was never in his lifetime accorded adequate credit.

In a short career lasting barely a decade Pugin directed his prodigious artistic talent to provide inexpensive church designs for impoverished congregations alongside opulent commissions for wealthy Catholic patrons.

He was capable of devising simple, dignified parish churches for as little as £3,000, yet when he had access to a generous budget – and when he was footing the bill himself – he spent lavishly and designed richly.

St Anne’s, Keighley is typical of his low-budget commissions, a modest nave with a short chancel and a belfry which fell down during construction and had to be rebuilt.  The current edition of Pevsner’s Buildings of England:  Yorkshire West Riding – Leeds, Bradford and the North (Yale University Press 2009) points out that the simplicity of the lancet windows were “popular among less exacting architects”;  given the chance, Pugin would have insisted on tracery.

The Pevsner volume (p 353) shows an 1843 engraving of the building in its original form – modest, simple, elegant, and instantly recognisable as essentially Pugin.

However, by the end of the nineteenth century the congregation had outgrown the building and the Bradford architect Edward Simpson (1844-1937) turned the place on its axis and more than doubled its floor area in 1907.

Pugin had observed the tradition that worshippers should face east towards Jerusalem, but his chancel became the entrance, and at the west end Simpson added a florid new chancel and a pair of double transepts.  They are clearly by a different hand, yet Simpson shows respect for the original design.  This layout is practical, providing direct entry from North Street, and is visually harmonious.

The interior was extensively beautified in the period 1908-1915.  Pugin’s 1841 east window by Thomas Willement (1786-1871) remains above the entrance doors, and the original altar is now in the Chapel of Our Lady.  The main sanctuary has an imposing high altar and reredos, installed in 1915:  Taking Stock – Catholic Churches of England and Wales (taking-stock.org.uk).

It’s ironic that when a similar rearrangement was proposed at the former St Aidan’s, Small Heath, Birmingham, now All Saints’, in 1998, the Victorian Society strongly objected, until firmly told by the Chancellor of the Consistory Court that worship took precedence over antiquarianism.

St Anne’s amalgamated with the nearby parish of Our Lady Of Victories Keighley in 2016 and it’s apparent from the parish website that the congregation is thriving:  St Anne’s Catholic Church – Priest’s Welcome (stanneskeighley.org.uk).

The parish has a long tradition of welcoming strangers to its community – “…not only the Irish immigrants but later on the Italians, Poles, Slovenians, Ukrainians, Hungarians, Latvians, Czechoslovakians, people from many African countries and most recently Indians from Kerela as well as many migrant workers from Eastern Europe” – and supports socially and economically disadvantaged members of the local community through its charity shop and at the Good Shepherd Centre:  St Anne’s Catholic Church – Good Shepherd Centre (stanneskeighley.org.uk).

Edward Pugin’s masterpiece

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All Saints’ Church, Barton-upon-Irwell, Manchester

Edward Welby Pugin (1834-1875) was the eldest son of the better-known Augustus Welby Northmore Pugin (1812-1852), and after his father’s early death at the age of forty-one continued the practice until his own early death at the same age.

Augustus Pugin was inevitably a hard act to follow, and though his son’s designs are less intense Edward was prolific and his work is impressive.  He designed over a hundred churches and a few secular buildings, and at the height of his powers he completed seventeen projects in the years 1865-68.

Nikolaus Pevsner identified E W Pugin’s “masterpiece” as All Saints’ Church, Barton-upon-Irwell (actually in Urmston, west Manchester).  Paid for by the local landowner Sir Humphrey de Trafford, 2nd Bt (1808-1866) and his wife Lady Annette at a cost of £25,000, it was built in 1867-68 alongside the de Trafford family’s mortuary chapel (1863).

Edward Pugin had previously built another church for the de Traffords, St Ann, Chester Road, Stretford (1862-7), and within the same few years designed his Monastery of St Francis, Gorton (1866-72), larger in scale but coarser in detail because it lacked the generous funds provided by the de Traffords. 

The exterior of All Saints’ echoes some of his other churches in the North West and elsewhere, with a nave and apsidal chancel and an elaborate bell-turret in the form of a flèche, set diagonally above the west front.

The interior is richly decorated and narrows towards the sanctuary, emphasising the height of the building.  The nave columns are alternately banded with Runcorn red sandstone and buff Painswick stone, and the roof is made of English oak and Savannah pitch-pine.

To embellish the interior as the de Traffords required – “a grand church…erected to the glory of God” – Edward Pugin brought together craftsmen from his father’s favourite ecclesiastical artists, Hardman & Co of Birmingham, including J Alphege Pippett (1841-1903), whose ‘The Adoration of the Lamb’ on the south side of the chancel depicts the de Traffords accompanied by Edward Pugin in medieval dress holding a plan of the church.

The walls of the sanctuary are of Caen stone and the columns of Painswick stone;  the floor is crimson marble and encaustic tile;  the altar itself is built of Caen stone, finished with Carrara, Siena and Devonshire marble, with flights of angels standing on the alabaster tabernacle, its doors marked by a bejewelled cross. 

The surviving nineteenth-century stained glass, disarranged as a result of Blitz damage, is by Powell & Hardman of Birmingham.  The late-twentieth-century glass in the west rose window is unfortunate.

Sir Humphrey’s son and heir sold most of Trafford Park for £360,000 to Ernest Terah Hooley (1859-1947) who became known as “The Splendid Bankrupt”, but retained the western portion, including Barton, until 1924. 

The canal bisected the parish, and the unpredictable closing of the Barton swing-bridge meant that parishioners were frequently delayed to the extent that it became impossible to fix Mass times precisely.  The population gradually moved away:  by the 1950s Catholic churches were opening on the new housing estates, and All Saints’ remained open only out of deference to an ageing congregation who had worshipped there all their lives.

All Saints’ finally closed as a parish church in 1961, and in September 1962 it was handed over to the Franciscan Friars Minor Conventual, who had provided priests for the parish since 1928.  They renamed it the Church of the City of Mary Immaculate, but it is still commonly known by its original dedication.  The church was listed Grade I on May 9th 1978.

All Saints’ isn’t easy to visit because the site is an operational friary.  It’s open on an occasional basis, and it would be prudent to enquire about arrangements before visiting:  https://www.nationalchurchestrust.org/church/all-saints-friary-barton-upon-irwell. Though not as heavily atmospheric as Augustus Pugin’s masterpiece, St Giles’ Roman Catholic Church, Cheadle, Staffordshire, it’s a very beautiful building by a first-rate architect whose career stands in the shadow of his father’s work.

Father Michael Fisher (1943-2021)

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Father Michael Fisher, St John’s Parish Church, Alton, Staffordshire (September 19th 2019)

I was sad to learn that Father Michael Fisher, teacher, priest and scholar, has died.

He was a leader in studying the work of the architect Augustus Welby Northmore Pugin, who was sponsored by John, 16th Earl of Shrewsbury, building Catholic churches in the Gothic Revival style across the North Midlands and particularly around the Earl’s seat at Alton Towers, near Cheadle in Staffordshire.

Michael was educated at Leek High School and the universities of Leicester and Keele and, after serving as Head of History at King Edward VI Grammar School, Stafford, was ordained in the Church of England in 1979. 

He had visited Alton Towers from boyhood, and remembered the dismemberment of the house in 1951.

In the late 1990s the Tussauds Group, then owners of the ruins and the gardens as part of their theme park, commissioned Michael to investigate the history of the site and make recommendations about how they should be conserved.

This work led to his detailed study Alton Towers:  a Gothic wonderland (Michael Fisher 1999), which was followed by a succession of books on Pugin’s work in and around Staffordshire.

His knowledge of Alton Towers enabled him to guide and encourage the present owners to respect the history of the place.

He contributed to the understanding and conservation of St Chad’s Roman Catholic Cathedral, Birmingham – an Anglican priest on a Catholic committee, bringing what was described at his funeral as a “warm, ecumenical heart” to the enhancement of one of Pugin’s major buildings.

On the day of his funeral at the church where he ministered, St Chad’s, Stafford, requiem mass was sung in his honour and remembrance at St Chad’s Cathedral.

I met him only once, when I was planning my Pugin and the Gothic Revival tour which took place in September 2019.

One of my regular tour-guests happened to be Michael’s school contemporary, who gave me the privilege of enlisting him to show the group St Giles’ Roman Catholic Church in Cheadle and the tiny parish church of St John, Alton.

I couldn’t possibly have asked for a finer introduction to the area and the architect than Michael’s elegant, insightful guiding.  We were very, very lucky to have him show us round.

The Heineken effect

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Chapel of St Peter, Alton Towers, Staffordshire

I like my tours to include the “Heineken effect”, reaching the parts that other tours don’t reach.

I was particularly pleased when a professional architect guest on my ‘Pugin and the Gothic Revival’ tour in September 2019 remarked that he’d been on a previous Pugin tour but I’d taken him to two places he’d never visited before.

One was Alton Castle, normally inaccessible to the public because its use as a retreat for Catholic school pupils involves strict safeguarding rules. We were allowed an hour between school groups departing and arriving to see Pugin’s interiors.

The other was the spectacular Chapel in the ruins of the house at Alton Towers.

I’d never seen this space, and thanks to the theme park’s Corporate Events team we were able to visit another rarely accessible Pugin interior.

The chapel was designed in 1832-33 by Thomas Fradgley, Joseph Ireland and Joseph Potter of Lichfield for the devout Catholic 16th Earl of Shrewsbury.  The nave is 90 feet long, 30 feet wide and 60 feet high.  It has a slender tower with ogee windows and pinnacles that were reduced in height in the 1950s.

Augustus Welby Pugin brightened the Chapel in 1839-40 with carved and painted panels, some of medieval date from Magdalen College, Oxford – and a new reredos and altar. 

Later, in 1850, he decorated the previously plain ceiling in blue, red and gold and added a frieze with Latin texts painted on canvas. 

The angels on the roof corbels are plaster (which Pugin would be unlikely to have countenanced) but after he had designed the reredos and altar screen in 1839-40 he is known to have been “fixing figures in the chapel gallery” in 1840 and supervised the decoration of the ceiling between 1849 and 1851.

The sixteenth Earl inherited a personal estate of £400,000 from his uncle.  At one point he was spending £20,000 a year on building and restoring churches across his many estates.

When he died in 1852 the title passed to his invalid nephew, Bertram, who himself died without an heir four years later.  At his death the estate amounted to some 50,000 acres, the income from which was in excess of £50,000.

There followed a legal dispute about the succession of the titles and estates, in the course of which the contents of Alton Towers were auctioned over a period of a twenty-nine days in 1857. 

The property eventually passed to a distant Protestant member of the family, Henry, Earl Talbot of Ingestre, who became the 18th Earl of Shrewsbury.

The altar and reredos were removed in 1860 from the Chapel to St Peter’s Catholic Church, Bromsgrove where they remain;  most of the other Pugin work was stripped out in 1951 and only fragments remain.

The eighteenth Earl was the first to open the gardens to the public in 1860.  By the 1890s the annual August grand fêtes were attracting crowds of up to 30,000, mainly brought by train to Alton station.

His grandson, the twentieth Earl, died in 1921, and three years later the Alton Towers estate was sold to a business consortium, Alton Towers Ltd, which ran the estate as a tourist attraction and place of entertainment until the War. 

The house was requisitioned as an Officer Cadet Training Unit, and when the owners regained possession in 1951 the dilapidations were such that they chose to strip almost the entire interior of lead roofs and internal timber. 

The grounds were reopened to the public in 1952. 

From 1958 to 1993 the Chapel interior was obscured by a tented ceiling, beneath which spread a gigantic model railway.

In the late 1970s installing concrete floors and wooden stairs within the Towers ruins enabled visitors to appreciate the scale of the house from a variety of levels up to the roof. 

The collapse of a beam on to the Chapel floor in 1993 prompted a full structural and decorative restoration of the ceiling in 1994.

Since the late 1990s further conservation programmes have restored some parts of this exceptional building, but the owners’ priority is inevitably to encourage visitors looking for thrills and spills on amusement-park attractions.

I was particularly grateful to the Alton Towers management for allowing my tour-group to see parts of the ruins that other groups can’t reach.

The 56-page, A4 handbook for the 2019 ‘Pugin and the Gothic Revival’ tour, with text, photographs 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.

Muscular Gothic

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Bestwood Lodge, Nottinghamshire

On my 2019 ‘Pugin and the Gothic Revival’ tour, we took a lunch stop, between the parish church of St Mary, Derby and St Barnabas’ Cathedral, Nottingham, at the astonishing Bestwood Lodge, now a Best Western hotel:  https://www.bestwoodlodgehotel.co.uk.

Dropping Bestwood Lodge into a tour themed around the work of Augustus Welby Northmore Pugin was, as Londoners would say, “’avin’ a larf”.

The architect for this extravaganza was Samuel Sanders Teulon (1812-1873), who after twenty years of steady work within the mainstream of the Gothic Revival was beginning to take the theoretical principles of Pugin and Scott to extremes.  He appears to have decided that the time and the market had arrived for him to throw stylistic caution to the wind and build aggressively.  Some modern writers have labelled this style “muscular Gothic”.

Teulon’s client was William Beauclerk, 10th Duke of St Albans (1840-1898), who had the vestiges of a medieval hunting lodge removed to make way for a completely new and quite startling country retreat, in Nottingham pressed brick with Mansfield stone dressings vigorously carved by the Nottingham-born sculptor Thomas Earp (1828-1893).

The house stands high on a defined level terrace;  its gables, dormers, chimneys and spires give it a lively skyline and its elevations bristle with a succession of varied bays, turrets and buttresses.

The main porch is a weird collection of Gothic ingredients – vaulting supporting an oriel, flying buttresses at right angles to each other and quirky pinnacles set diagonally.  Carvings of Robin Hood and his merry men peer down from this bizarre composition. 

The wing to the left of the entrance looks for all the world like a chapel but was designed originally – to the expressed disapproval of the ultra-orthodox Ecclesiologist – as the servants’ hall.  Later on it did in fact become a chapel.

The most impressive interior space is the central hall, top-lit by an octagonal lantern, its Gothic arcading almost certainly modified by a later owner.  The heavy stepped fireplace shows how far Teulon was prepared to squash, stretch and distort orthodox Gothic forms.  It seems not to have harmed his commercial prospects;  Pevsner relates that it was on the recommendation of his work at Bestwood that he was invited to work at Sandringham.

The tenth Duke’s friendship with Albert Edward, Prince of Wales, brought numerous royal visits, sometimes incognito:  the Prince and Princess of Wales stayed at Bestwood for the opening of the Castle Museum in 1878, and Prince Leopold, Queen Victoria’s youngest son, visited when he opened University College in 1881.

After the death of the tenth Duke in 1898 the house was leased for long periods while his son, Charles, 11th Duke (1870-1934) was confined to an asylum.  It was finally vacated when the estate was sold to pay the eleventh Duke’s death duties in 1938. 

The purchaser was Sir Harold Bowden, 2nd Bt (1880-1960), chairman of the Raleigh Bicycle Company.  The house was first requisitioned and later purchased by the Army for headquarters, and became a hotel in the 1970s.

Pugin would have loathed it.

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 Bestwood Lodge 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.

Holy Angels

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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 designed St Martin-on-the-Hill, Scarborough in 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.

“Perfectly plain” Pugin

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St Barnabas Cathedral, Nottingham

After he had begun work on St Mary’s Church, Derby, Augustus Welby Northmore Pugin was invited to design a parish church for Nottingham, a bigger building with a limited budget, and therefore plainer than he liked.

Pugin himself had envisaged St Mary’s as the future cathedral for the North Midlands, but when the Catholic hierarchy was re-established, the East Midlands diocese was based at St Barnabas’ Cathedral, Nottingham.

By the time he designed St Barnabas’, Pugin had already completed the drawings for the much more elaborate St Giles’ Church, Cheadle, yet at Nottingham he contrived dramatic effects in what he claimed was the most economical manner, though he exceeded the initial budget by half.

Always melodramatic, and sometimes hysterical, this talented, obsessive, frantic, fascinating man remonstrated with the Earl of Shrewsbury, who had subscribed £7,000 of the original £10,500 estimate, about whether, and where, to have the tower:

I have no reason for placing the tower of Nottingham at the West end.  It would be a loss, a clear loss of funds.  I have not one tracery window, no pinnacles or any ornament externally.  It will be the greatest triumph of external simplicity and internal effect yet achieved.  Yet I must have outline and breaks or the building will go for nothing.

Looking at the completed church, it’s easy to see what he meant about the position of the tower;  it is equally easy to see that the finished design is not short of external ornament.

Pugin’s stated aim was to build a church “which would give general satisfaction, have a grand appearance, although perfectly plain and admit of a most solemn and rich interior.”  The plain ashlar walls, pierced by narrow lancets and a rose window of plate tracery, give an impression of solidity.  The whole church is 190 feet from end to end, and the spire rises to 150 feet but looks higher as the street slopes downhill towards the east.

But Pugin himself was dissatisfied.  He felt, quite literally, that his style was cramped:

Nottingham was spoilt by the style restricted to lancet – a period well suited to a cistercian abbey in a secluded vale, but very unsuitable for the centre of a crowded town… there was nothing left but to make the best under the circumstances, and the result has been what might be expected;  the church is too dark, and I am blamed for it…

Indeed, Pugin was easily disgruntled.  Having converted to Catholicism only in 1832, he was “a Catholic first and whatever else he was second”.

Monsignor Martin Cummins, in Nottingham Cathedral:  a history of Catholic Nottingham (1985), relates how –

When showing an Anglican friend the Rood-screen, Pugin said:  “Within is the holy of holies.  The people remain outside.  Never is the sanctuary entered save by those in sacred orders.”  Then, to his horror, a priest appeared in the sanctuary showing the screen to two ladies.  Pugin turned to the sacristan, “Turn these people out at once!  How dare they enter!”  But the sacristan replied, “Sir, it is Bishop Wiseman.”  Pugin, powerless, retired to the nearest bench and burst into tears.

Pugin’s architectural career only began in the late 1830s.  By the end of the 1840s the energy he poured into his creativity had wrecked his health, and he died, a broken man, in 1851 at the age of forty.

The 56-page, A4 handbook for the 2019 ‘Pugin and the Gothic Revival’ tour, with text, photographs 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.

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

Pioneer of the Gothic Revival

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St Mary’s Roman Catholic Church, Derby

St Mary’s Roman Catholic Church in Derby, built 1838-39, was the first complete design of the foremost designer of the English Gothic Revival, Augustus Welby Northmore Pugin (1812-1852).

Its foundation stone was laid on June 28th 1837, the day of Queen Victoria’s coronation.

Previously the few Catholics in Derby had worshipped in a small building in Chapel Street.

Built to the north of Derby town centre, at precisely the time when the approaching railways were about to cause rapid growth in population, St Mary’s was an acknowledgement that many of the workers who would migrate to the new railway works would be Irish in origin.

The site was constricted and funds limited.  Pugin set out the building with the sanctuary to the north and a tall tower, 100 feet high, placed centrally at the south (liturgical west) front.

The church would have been even more prominent if Pugin’s slender spire, supported by flying buttresses, had been built:  its tip would have reached two hundred feet above street level.

In the absence of a spire, a white Portland stone statue of St Mary was mounted on top of the tower and unveiled on Trinity Sunday 1928.

Now that many of the surrounding buildings have been cleared the plainness of the side walls is noticeable.

Though the exterior of St Mary’s is elegant and understated, the interior was richly decorated.

Pugin designed a whole range of fittings and metal furniture in collaboration with the Birmingham manufacturer, John Hardman.  The panoply of lamps, crosses, candlesticks, vessels and altar furniture first seen at the consecration ceremony were the earliest products of a partnership which lasted to the end of the architect’s life.

The Derby Mercury reported that “the appearance of the clergy, upwards of fifty in number, surrounding the Altar, was extremely gorgeous”.

The Catholic newcomers were not welcomed to Derby by the established Anglicans.

In 1846 the great bulk of the Anglican parish church of St Alkmund, designed by the local architect Henry Isaac Stevens (1806-1873), was built, blocking the view of St Mary’s from the town centre.  It was traditionally said to have been the “Anglicans’ revenge” for the construction of Pugin’s church.

Ironically, when St Alkmund’s was demolished in 1967 to make way for the Inner Ring Road, some of its stone was offered for the construction of a new East Porch for St Mary’s.

The footbridge across the underpass leads directly to St Mary’s main entrance, and there is now an unimpeded view between Pugin’s elegant Gothic Revival church and the superb medieval Perpendicular tower of the Anglican cathedral of All Saints’.

St Mary’s Church is listed Grade II*.

The 56-page, A4 handbook for the 2019 ‘Pugin and the Gothic Revival’ tour, with text, photographs 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.

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

Pugin’s Gem

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St Giles' Roman Catholic Church, Cheadle, Staffordshire

St Giles’ Roman Catholic Church, Cheadle, Staffordshire

Of all the architectural work that Augustus Welby Northmore Pugin carried out for John, 16th Earl of Shrewsbury, the finest and most complete is the Catholic parish church of St Giles, Cheadle, Staffordshire.   (The Anglican parish church in Cheadle is also dedicated to St Giles.)

The Earl was keen to provide the finest of parish churches for the Catholic community in the nearest town to his Alton Towers seat.  As an enlightened Victorian landowner, he specified that construction should be entrusted to “resident artisans of the village” so that “all his dependants should…be benefited by the effects of his munificence”.

His architect set out to present “a perfect revival of the English parish church of the time of Edward I, decidedly the best period of pointed architecture”.

There were a few compromises, especially after the £5,000 budget overran, but in essence St Giles’ represents the physical embodiment of the architectural ideals of the first and greatest of Gothic Revival designers.

He set out his basic principles in The True Principles of Pointed Architecture (1841):

The two great rules for design are these:  first, that there should be no features about a building which are not necessary for convenience, construction or propriety;  second, that all ornament should consist of enrichment of the essential construction of the building.

St Giles’ dominates the skyline for miles around Cheadle, and impresses at close quarters, because the structural features, particularly the 200ft-high tower and the buttresses, are in fact larger than they practically need to be.  Pugin also tweaked the west-east orientation to make best use of the site and to align the west door with the street opposite.

The interior of St Giles’ takes the breath away.  Every inch of wall and column is coloured and gilded.  Each of the windows has tracery of a differing design.  The floor is tiled, and the roof is of English oak.  The painted decoration has tremendous impact:  the ground colours of the north aisle (blue) and the south aisle (red) represent respectively Our Lady and Our Lord.  The glass, floor-tiles, woodwork and ornaments were designed by Pugin, who closely supervised their manufacture.

St Giles’ is special because it is almost entirely the vision of one superbly talented designer.

By the time of the consecration on St Giles’ Day, September 1st 1846, Pugin was putting himself under the stress that five years later led to a complete physical and mental breakdown.

It seems as if he was destined for a short life of brilliant achievement.  He adored the place – “my consolation in all afflictions” – and in many ways it is his finest monument.

He would demur, and no doubt assert that it was built ad majorem Dei gloriam – for the greater glory of God.

The 56-page, A4 handbook for the 2019 ‘Pugin and the Gothic Revival’ tour, with text, photographs 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.

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

Not that sort of hospital

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Parish church of St John the Baptist and Hospital, Alton, Staffordshire

Parish church of St John the Baptist and Hospital, Alton, Staffordshire

Photo:  Maureen Mannion

Alongside the spectacular dwelling at Alton Castle, George, 16th Earl of Shrewsbury commissioned Augustus Welby Northmore Pugin to build a complex of philanthropic buildings that came to be called Alton Hospital – certainly not a medical facility as the word is now used, nor entirely what we’d now call a “hospice”.

It was to be a hospital according to the medieval concept,– that is a complex including a chapel, schoolroom and almshouses for “decayed priests”, which Pugin came to describe with his customary enthusiasm as “a perfect revival of the true thing”.

Pugin was an artistic genius and an irrepressible personality.  As a convert to Roman Catholicism he had developed a rigorous aesthetic philosophy that Britain, as a Christian country, should maintain the traditions of the pre-Reformation Church, in its architecture as much as in religious observance.  To Pugin, Gothic was a matter of purity and integrity, and not merely a decorative style.

He had come to the Earl’s attention, and was entrusted with significant extensions to the main house at Alton Towers, as well as Alton Castle and the Hospital.

Though his architectural legacy is entirely serious, Pugin himself was flamboyant.  Apart from Gothic architecture, his other enthusiasm was sailing.  He once declared, “There is nothing worth living for but Christian architecture and a boat.”

Pugin had begun his career, before his conversion, as a theatre set-painter at Covent Garden, and at the height of his powers he was perfectly capable of throwing what we’d now call a hissy-fit:

I implore and entreat your Lordship, if you do not wish to see me sink with misery, to withdraw that dreadful idea about the alteration to the hospital.  I would sooner jump off the rocks than build a castellated residence for priests.  I have been really ill since I read the letter…for heaven’s sake, my dear Lord Shrewsbury, abandon this suggestion which must be a device of the Devil to spoil so fair a design.

The Earl, a sincere and tolerant man with a fat cheque book, was inclined to indulge his brilliant protégé’s striving for perfection.

The design of Alton Hospital consists of three sides of a quadrangle, with the Guildhall, comprising a school and village institute, almshouse accommodation, latterly used as a convent, and a chapel, which now serves as the parish church of St John the Baptist.

Pugin and the Earl died within two months of each other in 1852 and the earldom and the Alton Estate soon afterwards passed to a Protestant branch of the family.

Nevertheless, the buildings survived intact and in use, and are now part of a Catholic residential centre administered by the Archdiocese of Birmingham.

The 56-page, A4 handbook for the 2019 ‘Pugin and the Gothic Revival’ tour, with text, photographs 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.

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