Category Archives: Survivals & Revivals: past views of English architecture

Castle for the weekend

Castell Coch, Tongwynlais, Cardiff:  Drawing Room chimneypiece

Castell Coch, Tongwynlais, Cardiff: Drawing Room chimneypiece

While William Burges was unhurriedly transforming Cardiff Castle for the 3rd Marquess of Bute, the question arose of what to do about the crumbling Castell Coch (the Red Castle), an outlying Bute property in Tongwynlais, north of the city centre.

Presenting William Burges with a medieval ruin inevitably led to a plan to rebuild it.  Presenting the Marquess of Bute with a project to rebuild a castle could have only one outcome.  He opened his cheque-book.

The result is a beguiling Victorian fantasy of medieval life and art, a wealthy magnate’s weekend retreat into a Gothic dream world.

Though the project was compromised by being brought to a conclusion after Burges’ death, it contains some of the finest examples of his design genius, such as Thomas Nicholls’ figures of the three Fates, Clotho spinning the thread of life, Lachesis measuring its length and Atropos with her shears.

Lord Bute’s bedroom is fairly spartan, but a spiral stair leads from it to Lady Bute’s bedroom, a huge vaulted space decorated with symbols of love.

And to ensure privacy, this High Victorian castle was fitted with a fully functioning drawbridge.

Castell Coch is administered by Cadw:  http://cadw.wales.gov.uk/daysout/castell-coch/?lang=en.

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

 

Burges and Bute – architectural dream team

Cardiff Castle:  boundary wall

Cardiff Castle, South Wales: boundary wall

John Crichton-Stuart, 3rd Marquess of Bute (1847-1900), was born with every advantage.  His father, the second Marquess, had tapped the trading wealth of the South Wales coalfield by establishing Cardiff Docks on his ancestral lands from 1822 onwards.  John came into his vast patrimony when he was just over six months old.

Though he was a conscientious Victorian aristocrat and landowner and nurtured his great inheritance, he had time and energy to spare for his fascination with art, architectural and the medieval.

The architect William Burges (1827-1881) was also born with advantages.  His civil-engineer father, who outlived him, provided him with an ample private income, so he could travel extensively and, when he set up his practice, pick and choose his collaborators, and pick and choose his clients.

When the 3rd Marquess of Bute came of age, he called for Bruges to transform the Roman, medieval and eighteenth-century structures that made up Cardiff Castle, first into a bachelor residence which was then extended, after his marriage in 1872, into a palatial residence from which to dominate the port and city growing on the doorstep.

Burges’ capacity for solid, sculptural, dramatic skylines and mysterious, whimsical interiors makes Cardiff Castle a fascinating place.  Every surface is thronged with colour, relief and meaning.  The craftsmanship is of the highest quality.  And the humour is quirky and irreverent, like medieval manuscripts and misericords – a monkey bell-push, a crocodile sitting at the top of a bannister eyeing a baby beneath.

Such was Bruges’ creative power that his team of craftsmen – William Frame (1848-1906), Horatio Walter Lonsdale (1844-1919), the Carrarra-born sculptor Ceccardo Egidio Fucigna (1836-1884) – that after his unexpected death the work carried on for years.  The sculptor Thomas Nicholls (c1825-c1900) completed a typical piece of whimsy, the boundary wall of Cardiff Castle, bristling with escaping animals, designed in 1866 but only executed ten years after Burges’ death.

Cardiff Castle is open to the public:  http://www.cardiffcastle.com/content.asp?nav=4,57&parent_directory_id=1&id=159.

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

Terra-cotta city: The Red Palace

Red Palace, Hockley, Birmingham

Red Palace, Hockley, Birmingham

Birmingham’s answer to New York’s Flatiron Building is commonly known as the Red Palace, standing at the sharp angle between Constitution Hill and Hampton Street.

Originally it was the factory-workshop of H B Sale, die-sinkers.

Designed by William Doubleday & James R Shaw in 1895-6, it demonstrates the value of terra-cotta as a material that was relative cheap to manufacture and produced rich architectural effects – in this case, according to Andy Foster’s Pevsner Architectural Guide, Birmingham (2005), “eclectic Gothic with Spanish touches”.

This adaptable material had obvious benefits for a commercial organisation that wished to make an impact without extravagant expense.

Its unusual layout was put to practical use.  Each floor was a triangular open-plan workshop with an office at the apex.

The modern fifth storey is unfortunate.

For years now its lower storeys have been occupied by a succession of restaurants.  The elaborate cupola is sprouting vegetation.

This fine ornament to Birmingham’s streetscape is clearly underused.

For details of Mike Higginbottom’s Birmingham’s Heritage lecture, please click here.

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

The Elwells of Beverley

45 North Bar Without, Beverley, East Yorkshire (detail)

45 North Bar Without, Beverley, East Yorkshire (detail)

Just outside Beverley’s North Bar stands a riotously decorated black-and-white revival house 4-6 North Bar Without, loaded with dormers and turrets, statues, mottoes and coats of arms, and two endearing carved caricatures of Gladstone and Disraeli, dating c1890.

This is the work of the Beverley carver James Edward Elwell, whose fine carvings can be found in churches, public buildings and houses across the East Riding.

In Beverley he executed, among much else, Sir George Gilbert Scott’s Gothic organ screen in the Minster (1878-80) and John Oldrid Scott’s reredos at St Mary’s Parish Church (1880-1).

He also provided carvings at his own house at 43 North Bar Without (Oak House) (Smith & Brodrick 1880) and the house next door, 45 North Bar Without, which he designed himself (1894).

He died in 1926 aged  ninety:  his work, much of it for the architects Temple Moore and F S Brodrick, dates from the 1880s to around 1910.

His son was Frederick William Elwell (1870-1958), a painter with a national reputation who chose to live most of his life in Beverley with his artist wife Mary Dawson, née Bishop, (1874-1952).

His portrait-subjects included King George V, whose lying-in-state he also painted, and the Earl and Countess of Strathmore, and he painted numerous civic leaders in Hull and the East Riding.  He is now most celebrated for his genre-paintings of local life, including several of the kitchen-staff at the Beverley Arms Hotel, such as ‘Preparations’ and ‘Three Maids’ (both c1940-45), which are displayed on weather-proof panels around the streets of Beverley.

By this means Beverley is embellished by the talents of both father and son.

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

The 80-page, A4 handbook for the 2016 ‘Humber 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.

Tribune Tower

Tribune Tower, Chicago

Tribune Tower, Chicago

The southern end of Chicago’s Magnificent Mile is marked by two magnificent buildings, the grey limestone, Gothic Tribune Tower (1922-5) by the New York architects, John Mead Howells (1868-1959) and Raymond Mathewson Hood (1881-1934), opposite the white faience, Renaissance Wrigley Building.

The Tribune Tower was built for the publisher of the Chicago Tribune, Robert Rutherford “Colonel” McCormick (1880-1955) – a tall, authoritative, notably hard-working arch-conservative, described by an opponent as having “the greatest mind of the fourteenth century”.

His great-uncle was Cyrus Hall McCormick Snr (1809-1884), the developer of the mechanical reaper who brought its manufacture to Chicago.  His maternal grandfather was Joseph Medill (1823-1899), Mayor of Chicago and the founder of the Tribune.

The Tribune was never knowingly undersold:  it claimed to be the “World’s Greatest Newspaper”, and its radio- and television-stations each took the call-sign WGN.

McCormick turned the architectural competition to build “the most beautiful and distinctive office building in the world” into a long-running promotional campaign as part of a circulation war with William Randolph Hearst’s Herald-Examiner.

Howells & Hood’s design must have appealed to McCormick because of its essential conservatism:  it is the last of the line of Gothic skyscrapers that began with Cass Gilbert’s Woolworth Building in Manhattan.  Its composition is a triumph of perpendicular lines, surmounted by a turret based on the Butter Tower of Rouen Cathedral, 34 storeys and 463 feet high.

McCormick encouraged his correspondents to obtain stone fragments from monuments around the world, 120 of which are now embedded in the lower storeys.

The entrance door is surmounted by a celebrated stone screen depicting Aesop’s Fables, and the architects are commemorated by a pair of rebuses, that is, heraldic puns – a howling dog and a figure of Robin Hood.

The Tribune Tower is a fine example of an honourable architectural tradition, yet it’s ironic that the more influential competition entry was second-placed:  the design by the Finn Eliel Saarinen (1873-1950) was the basis for the Gulf Building (1929) in Houston, Texas.

For details of Mike Higginbottom’s lecture Windy City:  the architecture of Chicago please click here.

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

Home from home

Alton Castle, Staffordshire

Alton Castle, Staffordshire

Photo:  Maureen Mannion

When you drive down the hill from the entrance to Alton Towers, into the steep valley of the River Churnet, you see on the opposite cliff the gaunt outline of Alton Castle, built by Augustus Welby Northmore Pugin for Charles, 16th Earl of Shrewsbury.

Quite why Lord Shrewsbury wanted a Bavarian-style mock castle on top of the twelfth- and fifteenth-century remains of the original Alton Castle is unclear.

He might have wanted a more compact retreat from the extravagant splendours of Alton Towers.  He could have intended it as a dower house for his mother.

He was a major patron of the Catholic Church, a great deal more pious than his predecessor, and the unfinished castle includes a spectacularly tall, narrow, unexpectedly tiny private chapel.

Lord Shrewsbury also had Pugin design a chapel, schoolroom and almshouses for “decayed priests”, which became known as Alton Hospital (in the original sense of a home, rather than a medical facility).

The Earl rarely constrained the great architect’s genius with a budget, and the result – though not fully complete – is an exquisite complex of Victorian Gothic buildings by the greatest architect of the day, working for one of the most generous patrons.

Alton Castle was used by the Sisters of Mercy for a prep school from 1919 to 1989.  It stood empty until 1996 when the Archdiocese of Birmingham put it to good use as a retreat centre run for, and largely by, young people:  http://www.altoncastle.co.uk.

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.

Country house with a theme park attached

Alton Towers, Staffordshire (1977)

Alton Towers, Staffordshire (1977)

Individual adult visitors to the Alton Towers theme-park currently pay around £50 (unless they book online) for a thrilling day out:  http://www.altontowers.com/tickets/#Booking_for_a_visit_today_or_tomorrow.

It’s a pity that there isn’t a way of enjoying the place for its own sake at any reasonable price.

Alton Towers was one of the greatest of all British country estates.  The gardens were developed on an unpromising valley site by Charles, 15th Earl of Shrewsbury (1753-1827), who adapted a lodge into an increasingly grand residence which he spuriously named Alton Abbey.

The writer Christopher Hussey described it as “…the last achievement in England, and on the grand scale, of the Georgian passion for creating private elysiums, which produced Stowe, Stourhead and their derivative landscape parks in the eighteenth century.”

Charles’ nephew and heir, John, 16th Earl (1791-1852) carried on his work, and after a fire at his main house at Heythrop, Oxfordshire, he relocated to Alton after 1831.  He was a champion of the Catholic Revival, and the principal patron of the architect Augustus Welby Northmore Pugin, who contributed, among much else, the Banqueting Hall and Chapel of the vast house.

The 16th Earl’s heir, Bertram, 17th Earl (1832-1856) was his second cousin once removed.  After his early death the title was disputed between Bertram’s designated Catholic heir and a Protestant descendant of the Jacobean 7th Earl.

As a result the entire contents of the house were sold in a forty-day auction.  When the Protestant Henry, 18th Earl (1803-1868) took possession, a quarter-mile-long procession of tenants and yeomanry welcomed his train at Uttoxeter station.  The incident figures in Benjamin Disraeli’s novel Lothair (1870).

The eighteenth Earl refurnished the house, but it was never as splendid again.  Henry’s grandson, Charles, 20th Earl (1860-1921), caused a great scandal by running off with Ellen Miller-Mundy, the wife of a Derbyshire coal-owner, in 1881.

They eventually separated, and she lived at Alton Towers, which he neglected in the hope of driving her away.

This, rather than wartime neglect, started the physical decline of the building, which was sold with the estate in 1924.

Between the wars it was a highly successful and entirely decorous entertainment centre.  The Coronation Street actor William Roache discovered that his enterprising grandmother, Zillah Waddicor, ran the catering operation there, providing lunches for up to a thousand covers at once:  http://www.bbc.co.uk/programmes/b01n2thm.

After military use in the Second World War, the house was dismantled in 1951, stripping out roofs, floors and fittings, and destroying much of the remaining decorative craftsmanship.

From 1973 onwards John Broome, son-in-law of the majority shareholder Denis Bagshaw, began to develop the spare land away from the house and garden as an adventure theme park, which was taken over by the Tussauds Group in 1990.

As a business it’s clearly never looked back, and provides entertainment to millions.  But it’s a pity you can’t spend a day exploring the house-ruins and the gardens for less than a year’s subscription to the National Trust.

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.

Back to black-and-white

St Michael's Row and Arcade, Chester:  1912 façade

St Michael’s Row and Arcade, Chester: 1912 façade

St Michael's Row and Arcade, Chester:  1910 interior

Much of the centre of Chester is a Victorian reconstruction in the black-and-white idiom of the medieval buildings of the famous Rows.

It’s odd that the developer, the second Duke of Westminster, and his architect, William Lockwood (1863-????), the rugby-playing son of Thomas Lockwood (1830-1900) who had built much in the city, should have so badly miscalculated public taste when they faced St Michael’s Row and Arcade (1910) with an elaborate Beaux Arts confection of white and gold Doulton tiles, right in the middle of Bridge Street.

There was immediate uproar – from the local press, the City Council and the Bishop.

Within a year, His Grace agreed to demolish the frontage and at his own expense, around £4,000, rebuild it from row-level upwards in black-and-white revival style to fit with the streetscape.

The original Doulton ware remains within, and it is indeed elegant, but not the right style for the centre of Chester.

The Duke’s successors dramatically ignored the lesson when they conceived the gross Grosvenor Precinct in the same block in 1963-5.  No amount of tinkering has tempered its ugliness.

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

The 48-page, A4 handbook for the 2009 Historic Chester tour, with text, photographs, and a reading list, is available for purchase, price £7.50 including postage and packing.  To view sample pages click here.  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.

Watts Warehouse

Former Watts Warehouse, now Britannia Hotel, Manchester

Former Watts Warehouse, now Britannia Hotel, Manchester

In the Manchester cotton trade, a warehouse was not so much a back-end storage facility as a front-end sales facility.

The Manchester merchants displayed their wares in extensive, prestigious premises, with floor after floor of merchandise available to view.

Orders were dispatched and packed through the basement and delivered by road cart, rail and canal.

One of the most endearing surviving examples is the great palazzo of Samuel & James Watts on Portland Street on Portland Street.

James Watts was the socially ambitious owner of Abney Hall, Cheshire, where he hosted Prince Albert for the opening of the 1857 Art Treasures Exhibition.  His firm’s prosperity was founded on wholesale drapery, and it was said that at one time the Warehouse had £10,000-worth of ribbons in one room.

Designed by the architectural partnership of Travis & Magnall from 1851 and eventually opened on March 16th 1858, its successive storeys are in Egyptian, Italian Renaissance, sixteenth-century Dutch, Elizabethan, French Renaissance, Flemish and Gothic styles.

Construction dates are uncertain, but it is likely that work started early in 1855 and was largely complete by the end of 1856.  It was said to have cost £100,000.

Modern visitors take some convincing that this was in fact a warehouse.

After ten years under threat of demolition, the Grade II*-listed Watts Warehouse became the opulently decorated Britannia Hotel, opened in 1982 [http://www.britanniahotels.com/hotels/manchester].  Many of its internal spaces are divided and its ceilings lowered, but the building is intact and in use.

If you pass it, take a look at the magnificent staircase, original to the building and intended to impress the clients who came to do business.

For background information on Watts and other Manchester warehouses, see http://www.manchester2002-uk.com/history/victorian/Victorian3.html.

For details of Mike Higginbottom’s lecture Manchester’s Heritage, please click here.

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

Terra-cotta city: Ikon Gallery

Former Oozells Street School, now the Ikon Gallery, Birmingham

Former Oozells Street School, now the Ikon Gallery, Birmingham

Birmingham’s Ikon Gallery [http://www.ikon-gallery.co.uk/about/introduction] in the middle of Brindleyplace was formerly the Oozells Street School (Martin & Chamberlain 1877), one of the forty-one designs for the Birmingham School Board produced by Martin & Chamberlain between 1873 and 1898, in this case built to three storeys to make best use of a cramped site.

From 1906 it was the Pupil Teachers’ Centre for Girls, later the Commercial College Day Department and latterly the College of Food and Domestic Arts until 1967.

After years of neglect in the blighted Broad Street area, it was redeveloped for gallery use and its saddle-back ventilation tower rebuilt by Levitt Bernstein Associates (1997).

It’s a superb conversion, for the most part using the original classroom spaces, with modern access needs, including a glass-sided lift, carefully inserted.

Its excellent Café Ikon [http://www.ikon-gallery.co.uk/about/visiting/cafe_opus] is open to visitors without entering the gallery itself, and is a particularly pleasant place to sit on warm days.  It’s a good idea to beware of the teapots, though:  they’re good to look at but come adrift in the act of pouring.

For details of Mike Higginbottom’s Birmingham’s Heritage lecture, please click here.

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