Category Archives: Sheffield’s Heritage

Industrial hamlet

Abbeydale Industrial Hamlet, Sheffield

Abbeydale Industrial Hamlet, Sheffield

Sheffield’s Abbeydale Industrial Hamlet museum illustrates the entire history of the city’s traditional metal trades on a single site.

Before the railway came and made possible Sheffield’s heavy steel industry in the East End, the manufacture of cutlery and edge tools took place on the fast-flowing river valleys of the Don Valley, mainly to the north and west of the town itself.  Only with the arrival of steam power did the “little mesters” begin to concentrate their works in town.

The Abbeydale Works can be traced back to at least 1714, perhaps to the “New Wheel” mentioned at the site in 1685.  The present buildings date from the late eighteenth and early nineteenth centuries, and show the full range of processes involved in producing edge-tools using the crucible steel methods developed  by  Benjamin Huntsman in 1742.

The Abbeydale works made scythes in a sequence from the manufacturing of clay crucibles, the furnace, to the forging and grinding, boring and setting of scythe-blades ready for the handle to be fitted elsewhere, laid out logically around a spacious courtyard.

The vernacular buildings, including the workmen’s cottages and the Manager’s House of 1838, all built of local sandstone, sit easily in the wooded landscape, and it’s possible to forget the large millpond behind, holding back a placid-looking, prodigious weight of water that provided power for the works.

The waterwheels, tilt-hammers, blowing-engine and grindstones show that, because materials were simple and technology primitive by modern standards, the high level of precision and workmanship achieved in the trade depended on the skill and physical hardiness of the craftsmen who worked here.

For all its peaceful, rural setting, the site also recollects the “Sheffield Outrages”, a series of terrorist acts by which trade-union members sought to intimidate non-members by sabotage and violence.

In November 1842 an explosion in the middle of the night destroyed the grinding shop and practically immobilised the works, presenting, according to the Sheffield Iris, “a scene that is rarely witnessed in a country not at war”.

The manager, Mr Dyson, had employed two workmen “who, though industrious and efficient workmen, did not belong to the union, and therefore Mr Dyson came under the displeasure of the men who compose the committee appointed by the union”.

Twenty years later, a subsequent tenant, Joshua Tyzack, was shot at:  the fact that the only casualty was his top hat didn’t make the incident any less threatening.

Tyzack, Sons & Turner finally closed the works down in 1933, and two years later the charitable trust set up by the Sheffield philanthropist J G Graves purchased it complete and largely intact.

Indeed, the works briefly resumed during the Second World War.

In 1964 the Council for the Conservation of Sheffield Antiquities began to investigate and restore the site, and since the 1970s it has been a popular tourist site as well as an invaluable educational resource.

The 60-page, A4 handbook for the 2017 ‘Sheffield’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.

Benjamin Huntsman

Britannia Inn, Worksop Road, Attercliffe Sheffield (2010)

Britannia Inn, Worksop Road, Attercliffe Sheffield (2010)

Benjamin Huntsman (1704-1776), a Quaker clockmaker from Doncaster, was dissatisfied with the inconsistent quality of the blister steel manufactured in cementation furnaces.  He needed consistent quality in the steel he used for the springs of his timepieces.

He evolved cast steel during the 1740s by melting bars of blister steel in closed fireclay crucibles and went into commercial production in 1751.

Huntsman’s process generated steel of far higher, more consistent quality, but it was expensive.

He moved to the outskirts of Sheffield to be nearer to collieries, first to Handsworth, and then to a larger site at Attercliffe before 1763, by which time he was producing up to ten tons of cast steel a year.

Hunstman did not patent his process and Sheffield cutlers at first refused to use cast steel.  He sold his entire output to French cutlers, and in the face of competition his neighbours surreptitiously spied on his works and stole his expertise.

His business nevertheless prospered and was passed to his son, William Huntsman (1733–1809).

The site of his Attercliffe works was commemorated in the name of the now-demolished Huntsman’s Gardens Schools.

The only remaining reminder on the site now is the cast numerals which form the date 1772 on the Britannia Inn, Worksop Road.

Benjamin Huntsman is buried in the graveyard of Hill Top Chapel, Attercliffe.

The 60-page, A4 handbook for the 2017 ‘Sheffield’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.

The burning fiery furnace

Doncaster Street Cementation Furnace, Shalesmoor, Sheffield

Doncaster Street Cementation Furnace, Shalesmoor, Sheffield

Standing incongruously in a car-park, the Doncaster Street Cementation Furnace is a precious relic of the origins of Sheffield’s steel industry.

A cementation furnace is a distinctive conical structure, which resembles the bottle-kilns of the Staffordshire potteries and serves a similar function.

Swedish or Spanish bar-iron and charcoal, sandwiched like a layer cake, was heated to a temperature of 1,100-1,200°C in sealed sandstone vessels heated by an external coal fire.

The resulting product was called blister steel and was uneven in quality because the outer blistered surface of each bar was tougher than the core and no two bars were consistent.

The earliest surviving cementation furnace in Britain is the stone-built example at Derwentcote, Tyneside, dating from c1730.

The Sheffield furnace, dating from 1848, is the very last survivor of around 250 such furnaces which dotted the city until the end of the nineteenth century.  It formed part of a group of five in the works of Daniel Doncaster & Sons.

It remains complete, with the hearth and the surrounding flues that directed the heat around the two parallel sandstone chests which contained alternate layers of charcoal and iron, sealed by a crust of “wheelswarf”, that is, debris from blade-grinding combined with sandstone dust.

Each firing produced up to 35 tons of steel.

The blackout mask on top of the conical chimney was added after it was damaged in the Sheffield Blitz.

When the rest of the works was demolished the new landowners, Midland Bank Ltd, now HSBC, fenced it off and restored it.  It’s easily visible from the surrounding streets, and can be inspected more closely by picking up the key from Kelham Island Industrial Museum.

Update, January 2023:  Three years after planning permission was granted for residential development with the furnace as a centre-piece, the site has been cleared but no building work has started, and the location has been added to the Heritage at Risk register by English Heritage.

The 60-page, A4 handbook for the 2017 ‘Sheffield’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.

Bishop Heaslett

St Alban's Church, Shiba-koen, Tokyo, Japan

St Alban’s Church, Shiba-koen, Tokyo, Japan

St Andrew's Cathedral, Shiba-koen, Tokyo, Japan

St Andrew’s Cathedral, Shiba-koen, Tokyo, Japan

When I explored the material in Sheffield Archives about the parish of St Cecilia, Parson Cross, I came upon a complete run of parish magazines from before the church was consecrated in 1939 until the mid-1950s.

The bulk of these magazines were edited by the first vicar, Fr (later Canon, and latterly Bishop) Richard Roseveare SSM (1902-1972), charting the sprouting of streets and houses on what had been farmland, the establishment of one of the biggest parishes in the Church of England with three churches and six or seven clergy, and the impact of the Second World War and its aftermath on the initial high hopes and ambitious plans for Parson Cross and St Cecilia’s.

He was a powerful figure, with a finger on the pulse of Sheffield working-class people – he formally opened the Parson Cross Hotel in June 1939 and ended up in the News of the World for his pains – and also a strict Anglo-Catholic who exhorted his parishioners to worship with due decorum.

St Cecilia’s parish started out with high-status helpers.  Lady Mabel Smith, the socialist daughter of the Earl Fitzwilliam, was a strong supporter until her death in 1951, and Mary Jane, Dowager Countess Ferrers, built a house on Halifax Road so she could help in the parish.

When Lady Ferrers died in 1944 her house became the home of Bishop Samuel Heaslett (1875-1947), who was Bishop of South Tokyo from 1921.  After the attack on Pearl Harbor in 1941 he was given a very hard time by the Japanese authorities, who couldn’t grasp the idea that a Church of England was not a government agency, and after four months’ imprisonment and interrogation he was expelled from Japan.

Back in England Bishop Heaslett was offered a role as Assistant Bishop of Sheffield and came to Parson Cross in 1944.  He returned to Japan with his opposite number, the Bishop of North Tokyo, an American Episcopal Bishop, Charles S Reifsnider, to help the reformation of the Anglican church in Japan, Nippon Seikōkai, in May and June 1946.

The cathedral that Bishop Heaslett knew had been obliterated in the bombing of Tokyo towards the end of the war.  A wooden replacement building, St Alban’s Church, opened in 1956, designed by the Czech-American architect Antonin Raymond (1888-1976).  It stands alongside the more substantial St Andrew’s Cathedral (Hisao Kohyama 1996).

Samuel Heaslett is commemorated in Sheffield Cathedral by a wall-tablet, and he appears in the Te Deum window in the Chapel of the Holy Spirit.

From the pages of dusty old magazines, a memorial tablet, a face in a stained-glass window, fascinating stories emerge of lives lived in times that feel very different from the present day.

Update on St Cecilia’s

St Cecila's Parish Church, Parson Cross, Sheffield:  Cousens organ console (2014)

St Cecila’s Parish Church, Parson Cross, Sheffield: Cousans organ console (2013)

A couple of years ago I went to some lengths to involve myself in the debate about the future of the practically redundant church of St Cecilia, Parson Cross, Sheffield.

I’d seen the demise of a nearby parish church of the same period, St Hilda, Shiregreen, which slipped past the attention of members of the local community who would have wished to find a productive use for the building if they had been alert to the fact that it was threatened.

The latest development over St Cecilia’s is a draft pastoral scheme to appropriate the building for residential purposes and to dispose of its contents – a welcome alternative to the earlier proposal simply to demolish it, because it will, in the words of the Statutory Advisory Committee of the Church Buildings Council, “preserve the external envelope of the church and therefore preserve the townscape presence of the building”.

I researched the parish records held in Sheffield Archives to try to discover why this substantial building, completed in 1939, had presented such intractable problems of maintenance that its decreasing congregation abandoned it in favour of a smaller mission church, St Bernard of Clairvaux, elsewhere in the parish.

It seems that, in common with other buildings of its period, it was designed in the expectation that a large new parish on a vast housing estate could support regular, skilled maintenance.  The architect, Kenneth Mackenzie, did no other church designs, as far as I know.  He was the nephew of the Sheffield industrialist, Albert Reaney Heathcote, who contributed £13,000 towards its construction.

In fact, the Parochial Church Council minutes show that £600-worth of repairs were pending by 1953.  By 1961 the vicar described the building as “jerry-built”, which is perhaps unfair – it’s actually a substantial structure – but mortar was disintegrating from the stonework and plaster regularly fell away from behind the altar.

When I visited the building in 2013 it was like the Marie Celeste.  Although services had ceased three years before, there were vestments hanging in the vestry, hymn-books stacked in their cupboards, and music was still propped on the organ music-stand.

All the internal fittings must go, taking with them much of the history of seventy-seven years of parish life – the Stations of the Cross, given in memory of the Sheffield Coroner, J Kenyon Parker, the rood, the installation of which in 1949 caused a feline spat between the Vicar, Canon Roseveare, and the Chancellor of the Diocese, the reredos designed for Holy Trinity, Bolton (1923), and the huge Cousans organ, provided by the Church Burgesses in 1987 incorporating parts of earlier organs from the churches of St George, Sheffield, and St Luke’s, Crookes.

It’s a blessing that the small, cohesive congregation worshipping at St Bernard’s will be relieved of the responsibility for the much bigger building at St Cecilia’s.  The residents of Chaucer Close, which is in places within yards of the church, won’t have the noise and pollution of a brick-by-brick demolition.

And a fine mid-twentieth century building can survive in a part of Sheffield that has all too few significant pieces of architectural to enliven the sea of houses.

Timbertop

Timbertop public house, Shirecliffe, Sheffield (west aspect)

Timbertop public house, Shirecliffe, Sheffield (west aspect)

Timbertop public house, Shirecliffe, Sheffield (east aspect)

Timbertop public house, Shirecliffe, Sheffield (east aspect)

When I came to live in north Sheffield in 1973, the pleasantest place to go for a couple of pints in the evening was Timbertop on Shirecliffe Road at the top of a hill looking out across the Lower Don Valley, then still an expanse of smoking steelworks.

Timbertop was the most exciting and innovative of three 1960s public-house designs by the versatile Sheffield practice, Hadfield, Cawkwell & Davidson.  The others were the Jack in a box, Silkstone Road, Frecheville (1966) and The Domino, Egerton Street (1967, demolished).

Timbertop was commissioned by Bass Charrington (North) Ltd, built in 1969 and opened early in 1970.  It was an adventurous design, taking advantage of its sloping site five hundred feet above sea level.

The load-bearing brick walls support a timber structure, with a roof that presents as a valley on the entrance front and as a pyramid when seen from downhill.

All the service facilities were located in the basement, along with the tenant’s bedrooms;  the tenant’s living accommodation was, unusually, on the ground floor rather than above the public areas.

Customers had a choice of social areas spread over an open-plan split-level space, with a snug at ground level leading to a sunken lounge with a 16ft natural stone fireplace and a chimney breast reaching to the roof, and an upper-level gallery floor with a bar and snack-preparation room.

In harmony with the timber structure, the internal walls were lined with pine, and the ceilings were of cedar wood.

Another interior feature, unusual in Sheffield pubs at the time, was a waterfall.

The building was completed in nine and a half weeks.

The pub was opened by Alderman J W Sterland, who drew the first pint.  As chairman of the city licensing committee, he’d visited a few hostelries in his time and declared it “one of the finest pubs I have seen”.

In later years Timbertop gained an unsavoury reputation and was not the sort of place you’d go for a quiet pint.

There were repeated reports in the local press of “a significant number of incidents on the premises” involving “reports of assaults and drug usage and dealing”.

On one occasion the premises supervisor was attacked when he confronted a customer attempting to serve himself.  Further incidents included a stabbing, paramedics attending a customer who was comatose, assaults involving bottles and “a damaged vehicle with a ‘strong smell of cannabis’”.  The final straw must have come shortly after a shooting that led to a court case in September 2015.

Now the place stands empty, and the chances of it reopening as licensed premises are probably nil.  A car-wash operation occupies the car park.

It’s an exceptional building, in a part of Sheffield that has already lost – or may lose – some of the few landmark structures it ever had – such as the Ritz Cinema (Hadfield & Cawkwell 1937;  demolished 2013) and St Cecilia’s Parish Church (Kenneth B Mackenzie, 1939;  redundant).

Café for film-lovers

11165044_602723116542984_6471224512910040619_o[1] 12898385_602720459876583_92727350346026059_o

Abbeydale Picture House, Sheffield:  March 26th 2016

Abbeydale Picture House, Sheffield: March 26th 2016

Photos:  Scott Hukins [www.scotthukins.co.uk]

The latest improvement to the Abbeydale Picture House was revealed at the most recent film-revival night on Saturday March 26th.

The back of the stalls has been converted to a superb café-bar with a flat timber floor and dado panelling in keeping with the architecture, and painted in a relaxing cream and beige scheme which highlights the plasterwork and echoes the original 1920 decoration.

It’s an unobtrusive addition to the auditorium and a welcome asset to help the building once more earn its keep.

The film-night showed comedy programmes by two of the greatest figures in silent cinema, Buster Keaton in One Week (1920) and The Goat (1921) and the most famous of Harold Lloyd’s many films, Safety Last! (1923), with a live piano accompaniment by the immensely talented Darius Battiwalla [http://www.dariusbattiwalla.com/Darius_Battiwalla/Home.html].

More power to the Abbeydale’s owner, Phil Robins, and the team that runs the film nights, Rob Hughes, Louise Snape and Ismar Badzic.  They’re bringing the Abbeydale back to life and filling it with an appreciative clientele that’s clearly growing by word of mouth.

And now you can wake up and smell the coffee at the Abbeydale, where the café is open on Fridays and Saturdays, 10.00am-5.00pm:  http://picturehouserevival.tumblr.com.

Sheffield Central

Park Square supertram junction, Sheffield

Park Square supertram junction, Sheffield

Sheffield’s self-confessed mapaholic, Mike Spick, does a very fine presentation about mapping Sheffield.  It was strongly recommended to me by a friend, and I caught it at a Victorian Society South Yorkshire Group meeting in January 2016.

One map in particular that Mike showed alerted me to a piece of Sheffield history I’d never heard of before.

A plan of c1890-1895 showed a scheme to link Sheffield’s two competing railways, the Midland and what was then the Manchester, Sheffield & Lincolnshire Railway, at a combined triangular station to be called Sheffield Central.

The gradients apparently would have been demanding, because the MS&L (from 1896 renamed the Great Central Railway) runs on a viaduct at the point where the Midland burrows beneath it in a cutting.

Clearly the project came to nothing and as far as I know is not mentioned in published histories, but its chronology explains why the Midland Railway brought in their house architect Charles Trubshaw to double the size of their station in 1905, while the Great Central built a new frontage to Sheffield Victoria in 1908.

The site of the unbuilt triangular station is now occupied by the delta junction which connects the three lines of Sheffield Supertram at Park Square.

Spence in Sheffield: St Catherine of Siena, Richmond

St Catherine of Siena Parish Church, Richmond, Sheffield

St Catherine of Siena Parish Church, Richmond, Sheffield

On the strength of his commission for St Paul’s, Wordsworth Avenue, Sheffield, Basil Spence was invited to design a parish church with an attached church hall for the parish of St Catherine of Siena, serving the eastern estates of Richmond and Woodthorpe.

This building was also financed by the compensation payments for bombed inner-city churches – of St Philip, Shalesmoor (1828, demolished 1952) and Christ Church, Attercliffe, (1826, demolished 1953).

The foundation stone was laid on April 11th 1959 and the church was consecrated by Bishop Leslie Hunter on December 5th the same year.

Like St Paul’s, Wordsworth Avenue, St Catherine’s is marked by a tower consisting of two brick pillars, surmounted by a cross, linked by a glazed sacristy corridor to a plain cavity-wall brick nave.

At St Catherine, however, the tower slabs are concave and the nave is lit by narrow slit windows and ends in a windowless semi-circular apse.

The roof consists of laminated timber beams, separated from the walls by a glazed clerestory and a concealed window that lights the sanctuary providing an atmosphere of well-lit privacy.

Basil Spence’s perspective of the proposed design, dated April 1957, shows the original intention to orientate the church north-south with the tower to the east.  The sequence of drawings indicates that in March or April 1958 the decision was taken to realign the church geographically, as well as liturgically, east-west, with the tower to the south.

A glazed screen at the back of the nave, with the organ mounted above the doorway, separates the nave from the community areas which are integral to the design and follow a pattern that Spence had set in designing three churches for the Diocese of Coventry in 1954.

Ronald Pope’s sculpture of St Catherine holding the burning heart before the crucified Christ was placed on the eastern face of the bell-tower and dedicated by Bishop Francis John Taylor on February 13th 1966.

The church was listed Grade II in 1997 for its “strongly sculptural design with a powerful presence”.

Spence in Sheffield: St Paul’s, Wordsworth Avenue

St Paul’s Parish Church, Wordsworth Avenue, Sheffield

After Basil Spence (Sir Basil from 1960) won the competition to rebuild the bombed Coventry Cathedral in 1950 he became one of the architects to go to for parish church designs, particularly on new housing estates.

Bishop Gorton of Coventry invited Spence to design three new suburban churches, St Oswald, Tile Hill, St Chad, Wood End, Henley Green and St John the Divine, Willenhall (all three opened 1957);  in Leicester, Bishop Williams, explicitly on the recommendation of Neville Gorton, commissioned St Aidan’s, New Parks (1959);  in Sheffield, Spence designed two elegant modern parish churches on opposite sides of the city.

Partly funded by the compensation payments for two bombed churches, St James’ (1789) in the city centre and Emmanuel, Attercliffe (1882), St Paul’s, Wordsworth Avenue, opened in 1959, was built to serve the community that came to live in a post-war extension of the Parson Cross housing estate that Sheffield Corporation had laid out north-west of the city in the late 1930s.

Spence’s design has two conjoined elements.  What looks like a tower is actually two brck pillars surmounted by a cross, and the aisleless nave consists of two parallel brick side walls above which floats the shallow barrel-vault roof.  The double-glazed clerestories and the glass screen end walls bring light into the building:  they were also cheaper and quicker to construct.

Ove Arup & Partners designed the diaframe bracing of the roof reminiscent of Gothic vaulting and serving the same purpose.

The pews were designed by Basil Spence and made of agba, an African mahogany now endangered and in short supply.  The organ, bought from Mount Tabor Methodist Church, Hoyland, and installed in 1962, is mounted on the west gallery.

An African teak slatted screen behind the altar gives privacy to the congregation while making services apparent to the outside world.  As the church website remarks, the glazed ends “prevent the worship of the church being a secret from the community or the worshippers being unaware of what is going on in the area”.

Basil Spence gave the altar candlesticks of hammered iron, and the green appliqué altar frontal was made in 1958 by Beryl Dean (1911-2001) to the design of Anthony Blee, Basil Spence’s son-in-law.

The church silver includes a chalice and paten by the Sheffield silversmith Omar Ramsden (1873-1939).

The total cost was around £30,000.

The English Heritage Grade II* listing description describes St Paul’s as “an unusually transparent design and Spence’s best small churches”.