St Peter’s Anglican Cathedral, Armidale, New South Wales, Australia

St Peter’s Anglican Cathedral, Armidale, stands just round the corner from its Catholic neighbour.  Though both are Gothic in style, their differences are distinctive.

St Peter’s was designed by John Horbury Hunt (1838-1904), the Canadian-born original architect of Christ Church Cathedral, Newcastle (begun 1869) on the New South Wales coast and Christ Church Cathedral, Grafton (1881).

Hunt favoured brick, an unexpected material for a cathedral, because its relative cheapness ensured that as much as possible could be built with the limited amount of money available.

The first Bishop of Grafton & Armidale, James F Turner, commented, “Our architect has studied carefully to give the church a certain stateliness of character, and therein has succeeded admirably…it is real, honest, and true; and shows what may be done in a material often too little regarded, viz, common brick.”

Hunt used local blue brick sourced from clay on the Saumarez estate, with Uralla granite dressings and a scissor-truss roof.  Building began in 1873 and after two years the first phase was opened.  The vestries and chapter house were added in 1910, and the tower completed in 1938.

I visited Armidale to lecture to the local decorative and fine arts society on Chicago.  Illustrating skyscrapers in that city, I remarked the Mies van der Rohe’s IBM Tower ignores its surroundings while the earlier Wrigley Building is carefully shaped to fit into its geographical context on the bend of a river – very like, I said, the modern annexes to St Peter’s Cathedral, which blend in a neighbourly way with Hunt’s original design.

At the end the gentleman who gave the vote of thanks remarked how pleased he was that I’d mentioned the extensions to St Peter’s Cathedral because he was Tony Deakin, the architect who designed the Parish Hall:  http://focusmag.com.au/ne/interviews/tony-deakin.

When you address an audience, you never know who’s listening.

Mike Higginbottom’s lecture Gothic Down Under:  English architecture in the Antipodes explores the influence of British architects, and British-trained architects, on the design of churches and other buildings in the emerging communities of Australia and New Zealand.  For details, please click here.

Catholic Cathedral of St Mary & St Joseph, Armidale, New South Wales, Australia

Sited in the midst of the Northern Tablelands above the Hunter Valley, Armidale is a strange city to British eyes:  it has two cathedrals, a university, and a population of slightly more than twenty thousand.  Its oddity to most Australians is that because of its altitude, over 3,000 feet above sea-level, it has seasons, so they call the region “New England”.

Many of the early settlers were Irish, and Catholicism has remained a significant force in the community.

The fine Catholic Cathedral of St Mary & St Joseph was designed by Joseph Ignatius Sheerin (1846-1915) & John Francis Hennessy (1853-1924) of Sydney, and built in polychrome brick and Pyrmont sandstone by the Armidale building contractor George Nott in 1911-12.

The Anglican George Nott (1865-1940) owned timber mills and brickworks in the area, and supplied the 1.1 million bricks for the cathedral, the largest project of his career.  Built in a little over twenty months, it cost A£32,000.  Its needle spire, 155 feet high, is a major landmark.

It was one of the last works of the Sheerin & Hennesssy partnership, designers of a series of prestigious Catholic buildings in and around Sydney – the Archbishop’s House (1885) and St Patrick’s Seminary, Manly (1885-1889), St Joseph’s College, Hunters Hill (1884-94), St Vincent’s College, Potts Point (1886), Our Lady of the Sacred Heart Church, Randwick (1888)and the Sacred Heart Monastery, West Kensington, Sydney (1895).

When St Mary & St Joseph’s Cathedral celebrated its centenary, a member of the congregation was George Nott’s daughter, 91-year-old Peggy Becke, wearing the gold chain from the watch that the parishioners presented to her father when the building was completed:  http://www.armidaleexpress.com.au/story/410529/armidale-catholic-cathedral-turns-100.

Mike Higginbottom’s lecture Gothic Down Under:  English architecture in the Antipodes explores the influence of British architects, and British-trained architects, on the design of churches and other buildings in the emerging communities of Australia and New Zealand.  For details, please click here.

St James’ Church, Morpeth, New South Wales, Australia

The final church that Phil and Jane Pullin showed me when I stayed with them on my ADFAS tour is a contrast to Edmund Blacket’s other churches in the area.

Whereas St Mary’s, West Maitland and St Peter’s, East Maitland replaced earlier functional buildings, St James’ Church, Morpeth [http://www.stjamesanglicanchurchmorpeth.com.au/page/315332271] is Blacket’s 1860s adaptation of an existing building of 1837-40:  he added the sanctuary and sacristy and designed the font and pulpit.

It was rebuilt by John Horbury Hunt after a fire in 1874:  he raised the nave walls and devised the lightweight hammerbeam roof, but left the tower at its original height so that it now looks undersized.

The organ (1877) is a rarity, one of the few surviving instruments by the Sydney organ-builder William Davison.  St James’ has two fine statues, of St James and the Virgin Mary, by the sculptor Englebert Piccolrauz (b 1942).

All this I would have missed as a tourist.  It makes all the difference to spend time in a foreign country working and receiving the hospitality of people who’ve lived there all their lives.

And in the Hunter Valley coalfield of New South Wales, with its Tyneside place-names, there is a constant reminder to a Brit that Australia is, in many respects, remarkably like home.

Mike Higginbottom’s lecture Gothic Down Under:  English architecture in the Antipodes explores the influence of British architects, and British-trained architects, on the design of churches and other buildings in the emerging communities of Australia and New Zealand.  For details, please click here.

St Peter’s Church, East Maitland, New South Wales, Australia

St Peter’s Church, East Maitland, New South Wales, Australia (interior)

St Peter’s Church, East Maitland (1875-85) was designed by Edmund Blacket in 1875 and built 1884-6 under the supervision of his son Cyril (1857-1937).  It is more ornate than St Mary’s, West Maitland, but lacks the intended 180-foot-high tower and spire, so that the west wall is blank apart from a clearly temporary doorway.  Another aisled church, built of local sandstone, it has an apsed east end has three traceried windows.  The interior columns are granite capped with Melbourne bluestone basalt.  St Peter’s has a fine Willis organ of 1876, installed in the church in 1886:  http://www.ohta.org.au/confs/Sydney/STPETERSANGLICAN.html.

In the years after its completion St Peter’s was richly embellished by local benefactors.  The very fine alabaster and marble pulpit by Rhodes of Birmingham dates from 1893;  the reredos is made of Oamuru stone from New Zealand, with red Girotte marble shafts from the Pyrenees and Ashburton marble from England;  the lectern dates from 1897, and the floor was tiled in 1900-4.

Blacket’s tower will presumably never be built, yet St Peter’s is as fine and impressive a Victorian church as any you could find in Britain.

Mike Higginbottom’s lecture Gothic Down Under:  English architecture in the Antipodes explores the influence of British architects, and British-trained architects, on the design of churches and other buildings in the emerging communities of Australia and New Zealand.  For details, please click here.

St Mary’s Church, West Maitland, New South Wales, Australia

Phil and Jane Pullin were my final Australian Decorative & Fine Arts Society hosts, when I lectured to the Pokolbin DFAS.  I warmed to them immediately because, when I texted to say I was stuck on a train with no buffet, they greeted me on the platform with a bottle of water and a chicken sandwich.

They were also enormously helpful in filling my free time with visits to a collection of Victorian Gothic churches in around the amalgamated towns of Maitland and Morpeth, which lie at the tidal limit of the River Hunter and became an important junction on the Great Northern Railway between Sydney and Brisbane.

The modern city of Maitland is a good place to see the work of the English-born, self-taught Australian architect Edmund Blacket (1817-1883), who is best known for his St Saviour’s Cathedral, Goulbourn, New South Wales (1884) [http://en.wikipedia.org/wiki/File:GoulburnStSaviour%27sCathedral.jpg], St Andrew’s Cathedral, Sydney (1868), and the Great Hall and Quadrangle of the University of Sydney (1861) [http://en.wikipedia.org/wiki/File:SydneyUniversity_MainBuilding_Panorama.jpg].  He was the mentor of other major nineteenth-century Australian architects such as John Horbury Hunt (1838-1904).  Blacket is regarded as a safe, conformist architect, who seems to have been most comfortable designing small parish churches.  In fact, some of his parish churches are quite grand.

St Mary’s Church, West Maitland (1860-7) is a spacious, gracious, aisled church with twin porches and a tower added in 1880, two years after the church was consecrated.  Built of local Ravensfield stone, its oddity is the undersized west window, which lights the west gallery in which the 1881 Willis organ was placed in 1959:  http://www.maitlandanglican.com.au/index.php?option=com_content&view=article&id=49&Itemid=56.

The plainer, brick sister church, St Paul’s, West Maitland (1858) is also by Edmund Blacket.  Its detached bell tower of 1888 was part of an uncompleted enlargement plan.  It is now deconsecrated:  http://www.maitlandanglican.com.au/index.php?option=com_content&view=article&id=50&Itemid=57.

Mike Higginbottom’s lecture Gothic Down Under:  English architecture in the Antipodes explores the influence of British architects, and British-trained architects, on the design of churches and other buildings in the emerging communities of Australia and New Zealand.  For details, please click here.