Category Archives: Victorian Architecture

Building schools for Sheffield

Former Carlisle Street Schools, Sheffield (1985)

Former Carlisle Street Schools, Sheffield (1985)

I have the publisher’s word that I was the very first person to hand over money for the Victorian Society South Yorkshire group’s excellent new publication Building Schools for Sheffield, 1870-1914 – even before the Lord Mayor received his presentation copy.

When I browsed through it at the book launch, over tea and fruit-cake, I saw that one of the very few Sheffield Board Schools for which there appeared to be no satisfactory image was the Carlisle Street Schools (1891), in the heart of the east-end steelworks.

I had to confess to Valerie Bayliss, the Group Chairman, that I had a couple of images that I’d taken when the steelworks were being cleared in the mid-1980s.  I’ve now passed them on to be in good time for the second edition.

Indeed, the panorama that is included on page 48 of the book demonstrates vividly why this long-forgotten school needed a capacity, after an extension in 1894, of 1,121 pupils.

Very few people have lived in the Lower Don Valley now for decades, but when the School Board handed over its responsibility to Sheffield Corporation in 1902, it had provided places for over 12,000 pupils in the heart of the steelmaking east end of the city.

Building Schools for Sheffield, 1870-1914 is obtainable from http://www.victoriansociety.org.uk/publications/sheffield-schools.

 

Country house survivor

Duncombe Park, North Yorkshire

Duncombe Park, North Yorkshire

After decades of talk of “the destruction of the English country house” it’s refreshing to find more and more houses that were given over to institutional use have been restored as homes in the past twenty years.

One such is Duncombe Park House, North Yorkshire, (1713) designed by the gentleman-architect William Wakefield, possibly with assistance from Sir John Vanburgh, who was at the time coming to the end of his work at Castle Howard.

It’s a house that has survived a succession of crises.

All but the shell of Duncombe Park was destroyed by fire on a snowy night, January 11th 1879.  The parish magazine describes how the maids woke to the sounds of crackling and extremely hot carpets.  The water-supply to the house had been turned off to prevent frozen pipes, so the main block burnt to a shell although all of the family, guests and servants and – after desperate efforts – many of the contents were saved.

Work on rebuilding the main house stopped when the heir, Viscount Helmsley, died unexpectedly in 1881, leaving a two-year-old son to inherit from his grandfather, the 1st Earl of Feversham.

When rebuilding resumed in 1891, the architect William Young based his plans on the original design and some surviving fabric, but with an additional bay projecting the east front further into the garden.  He also made the original round-headed windows square, and reduced the interior size of the entrance hall, converting the design of its plaster ceiling from an oblong to a forty-foot square.

In 1894 a further fire destroyed furniture, tapestries and £6,000-worth of jewellery that had escaped the 1879 fire.  The damage was quickly restored, with the addition of a chapel by Temple Moore, in 1895.

When the second earl, grandson of the first, was killed in 1916 at the Battle of the Somme, a year after inheriting the title, his son took the title at the age of ten, inheriting an estate encumbered with two sets of death duties in rapid succession.

Duncombe Park House was let to the Woodard Foundation and opened as Queen Mary’s Girls’ School in 1926.  The third earl throughout his life lived at Nawton Tower elsewhere on the estate.

At his death in 1963 the earldom died out but the older barony passed to his fourth cousin, the 6th Lord Feversham, at the age of eighteen.  It now belongs to his son, the 7th Lord.

The school’s lease did not cover repairs, and Lord Feversham was not prepared to allow modern buildings to be added, so when a break-lease fell due in 1986 Lord and Lady Feversham chose to reclaim the house, and the school removed to Baldersby Park near Thirsk – another fine early-eighteenth century house, though much altered, by Colen Campbell.

The restoration of Duncombe Park was carried out by Martin Stancliffe to such a standard that it’s difficult to visualise that the place was for sixty years a thriving, though apparently well-disciplined boarding school.

It’s a shame that it’s no longer possible for the general public to tour the house at Duncombe Park, though the gardens remain open:  http://www.duncombepark.com/index.php.

The 40-page, A4 handbook for the 2009 Country Houses of North-East Yorkshire tour, with text, photographs, a chronology 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.

Exploring Melbourne: St Patrick’s Cathedral

St Patrick's Roman Catholic Cathedral, Melbourne, Australia

St Patrick’s Roman Catholic Cathedral, Melbourne, Australia

As Australian cities grew up in the second half of the nineteenth century, the Anglicans in each place set about building their cathedral but were often trumped by the Catholics, who were mostly poor Irish settlers escaping the penury and famine of their native land.

Catholic cathedrals in Australia usually stand on top of a hill, and are richly ornate.  Their builders – congregations, priests and architects – went out of their way to state that only the best was good enough for God.

In Melbourne, the Anglican Cathedral, St Paul’s, is particularly fine, yet the Catholic Cathedral, St Patrick’s, is magnificent.  Its spire, 344 feet high, is the highest in Australia.

The architect of St Patrick’s Cathedral was William Wilkinson Wardell (1823-1899), a London-born convert to Catholicism, trained by Augustus Welby Northmore Pugin.

The cathedral was begun in 1858 and consecrated in 1897:  William Wardell was one of the few architects of Gothic cathedrals to see his design substantially completed in his lifetime, though the spires were added in 1939 by Archbishop Daniel Mannix, the politically powerful Irish-Australian who held the see from 1917 until his death at the age of 99 in 1963.

Mannix’s statue by Nigel Boonham (1997) stands outside Wardell’s cathedral, gazing across to Parliament House, symbolising the lengthy struggle to overcome the early disdain towards Irish and Catholic settlers in Australia.

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.

 

Exploring Melbourne: Coop’s Shot Tower

Coop's Shot Tower, Melbourne Central shopping centre, Melbourne, Australia

Coop’s Shot Tower, Melbourne Central shopping centre, Melbourne, Australia’

Apart from eating and drinking my way round Melbourne with Gabe and Dave [Eat your way round St Kilda, Eat your way round central Melbourne and Exploring Melbourne:  Madame Brussels] I’d come to the city to work.  This was the starting point for my lecture tour with the Australian Decorative & Fine Arts Societies [ADFAS:  http://www.adfas.org.au], and as soon as I met my Melbourne host Christine Penfold I knew I was in good hands.

Christine brought to my hotel not only a fat folder of air-, train- and bus-tickets, but also a beautiful bowl of fruit to sustain me.  This told me that I was being looked after, as I had been with the New Zealand Decorative & Fine Art Societies, by warm-hearted, civilised people with imagination and a flair for enjoying life.

ADFAS put me up at the Mercure, Spring Gardens [http://www.accorhotels.com/gb/hotel-2086-mercure-melbourne-treasury-gardens/index.shtml] which meant that when I wasn’t needed for their programme I could find everything I wanted on the doorstep – food and wi-fi at the Spaghetti Tree [http://www.spaghettitree.com.au] and a memorable independent bookshop:  http://www.hillofcontentbookshop.com.

The one tourist site I fitted in within my work-schedule was the 165-feet-high Coops Shot Tower (1889) [http://www.walkingmelbourne.com/building543_coops-shot-tower.html] spectacularly enclosed in the dome of the Melbourne Central shopping-centre, built in 1991.

Built to manufacture lead shot by dropping molten lead through a copper sieve, it’s not even the tallest shot-tower in Melbourne:  the sister Clifton Hill Shot Tower of 1885, [http://vhd.heritage.vic.gov.au/vhd/heritagevic#detail_places;295] built by the same Coops family, stands 263 feet high.

I’d never paid any attention to shot towers in the UK, though I knew there was one in Derby that was demolished in 1931-2 to make way for the bus station.

There are remaining examples in Chester (1799) [http://www.imagesofengland.org.uk/details/default.aspx?id=205292], Twickenham (late 18th-/early 19th-century) [http://www.britishlistedbuildings.co.uk/en-205292-shot-tower-twickenham] and Bristol (1968) [http://en.wikipedia.org/wiki/File:Shot.tower.bristol.arp.jpg].

Exploring Melbourne: Boroondara Cemetery

Springthorpe Monument, Booroondara Cemetery, Kew, Melbourne, Australia

Springthorpe Monument, Booroondara Cemetery, Kew, Melbourne, Australia

Quite the most astonishing Victorian edifice that Gabe showed me on our trip round suburban Melbourne was the Springthorpe Monument in Boooondara Cemetery, in Kew not far from Villa Alba.

Dr John Springthorpe (1855-1933) erected this tomb in memory of his wife Annie, who died giving birth to their fourth child in 1897 at the age of thirty.  The power of his grief led him to commemorate her in a rich, intense, uplifting memorial.  It cost around A£10,000 – ten times what he spent on his three-storey house and surgery in Collins Street in the city-centre.

Within a massive Greek temple twenty feet square, designed by the architect Harold Desbrowe-Annear (1865-1933), lies an exquisite Carrara marble group by the sculptor Bertram Mackennal (1863-1931) showing the deceased with two angels, one placing a now-lost wreath on her head, the other playing a lyre.

Both these artists were Melbourne natives, though Bertram Mackennal gained prestige for his work in England as well as Australia:  his is the relief of King George V that appeared on British and Empire coinage, medals and postage stamps.  He was also responsible for the tomb of George and Mary Curzon at Kedleston in Derbyshire.

The crowning architectural glory – literally – of this monument is the dome of deep red Tiffany glass, which bathes the statuary in a warm light that is the opposite of funereal.

The tomb is inscribed with a plethora of quotations from the Bible, the classics and from nineteenth-century poetry.  The one omission is Annie Springthorpe’s name.  Instead there is a simple, poignant inscription:

My own true love
Pattern daughter perfect mother and ideal wife
Born on the 26th day of January 1867
Married on the 26th day of January 1887
Buried on the 26th day of January 1897

Professor Pat Jalland, an Australian academic best known in the UK for her fascinating book Death in the Victorian Family (OUP 1996), wrote about the Springthorpe monument in The Age in 2002:  http://www.theage.com.au/articles/2002/03/25/1017004752838.html, and there is further detail in George Nipper’s contribution to http://www.walkingmelbourne.com/forum/viewtopic.php?f=5&t=708&start=6.

Further illustrations can be found at http://www.walkingmelbourne.com/forum/viewtopic.php?t=708.

There is a biography of Dr John Springthorpe at http://adb.anu.edu.au/biography/springthorpe-john-william-8610.

For details of Mike Higginbottom’s lecture Victorian Cemeteries, please click here.

 

 

Exploring Melbourne: Villa Alba

Villa Alba, Kew, Melbourne, Australia

Villa Alba, Kew, Melbourne, Australia

My Melbourne friend Gabe and I share an enjoyment of Victorian architecture and photography.  For Gabe, of course, as a Melbourne resident, the adjective “Victorian” has both a historical and a geographical sense.  So Gabe and I spent an afternoon looking at Victorian Victorian architecture.

Without him I wouldn’t have found Villa Alba in the suburb of Kew, the home of William Greenlaw, a Scottish farmer’s son who rose to be general manager of the Colonial Bank of Australasia and in 1883-4 kitted out his wife Anna Maria in opulent splendour overlooking the Yarra River.

He may have designed the structure himself, but he employed the brothers Charles Stewart Paterson (1843-1917) and James Paterson (1853-1929), also Scots, to provide elaborate painted and stencilled colour schemes throughout the house.  Each room had its own theme, with much use of trompe l’oeil including outdoor scenes of Edinburgh and Sydney, Mr & Mrs Greenlaw’s respective birthplaces, scenes from Sir Walter Scott’s novels and, in the boudoir, a tented ceiling.

The furniture by W H Rocke & Co has largely disappeared, and one satinwood cabinet is in the National Gallery of Victoria.  A satinwood overmantel, illustrating scenes from Romeo & Juliet and A Midsummer Night’s Dream has been returned to the house.

When William Greenlaw met the fate of over-confident bankers and was made insolvent in the early 1890s, his home was safely in his wife’s name.  Two years after his death in 1893, she sold up and let the place, and in due course it became a nurse’s home and then a college.  At some point in the 1950s, much of the Pattersons’ decoration was overpainted to “brighten the place up”.

The Villa Alba Museum Inc bought the house and garden in 2004, and is now slowly and surely recovering the lost decorative schemes.  It’s fascinating to see the place in transition, and in time to come it’ll look as glorious as it did in 1884.

For details of the restoration see http://www.villaalbamuseum.org.  A more detailed historical description, which first appeared in Antiques & Collectables for Pleasure & Profit (Spring 2011), is at http://www.acpp.com.au/article03_antiques-collectables.php.  The house is illustrated in glorious detail in Russell Winnell’s photostream:  http://www.flickr.com/photos/65998556@N03.

 

Scott’s best church

All Souls' Church, Haley Hill, Halifax, West Yorkshire

All Souls’ Church, Haley Hill, Halifax, West Yorkshire

At the same time that Colonel Edward Akroyd set out his model village of Akroyden in 1855-6, he began work on his greatest gift to the locality, All Soul’s Church, Haley Hill.

He employed George Gilbert Scott, who also provided the original layout for the village, to design the grandest possible statement of High Anglican pride, a fourteenth-century Gothic church with a tower 236 feet high, one foot higher than that of his carpet-manufacturing rivals, the Crossleys’,Congregational Square Church down in the valley below.

Scott was and is generally regarded as the best architect alive at the time, and Scott himself described All Souls’ as “on the whole, my best church”.

As might be expected, the finest decorative materials were used – Minton tiles, glass by Clayton & Bell, Hardman & Co, and William Wailes, ironwork by Skidmore & Co, the font of Lizard serpentine marble standing on an Aberdeen granite base, Caen stone for the pulpit, alabaster for the reredos.

The tower houses a ring of eight bells by the Whitechapel Bell Foundry, and the four-manual Foster & Andrews organ of 1868 was the biggest in Halifax.

This huge church became redundant in 1979, and stood neglected until 1989 when the Churches Conservation Trust took it over.

Unfortunately, the Steetley limestone Scott chose for the structure reacted badly to atmospheric pollution, and the twin tasks of conserving the fabric and securing it against vandalism are prodigious.

Details of access and coming events at All Souls’ are at All Souls’ Church, Halifax Haley Hill, West Yorkshire | The Churches Conservation Trust (visitchurches.org.uk)

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

The 80-page, A4 handbook for the 2012 Yorkshire Mills & Mill Towns tour, with text, photographs and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Akroyd town

Salisbury Terrace and former co-operative store, Akroydon, Halifax (1992)

Salisbury Terrace and former co-operative store, Akroydon, Halifax (1992)

When Colonel Akroyd came to build his second model village in 1855 (the first was Copley), he went upscale, as the Americans say.

Influenced by the growing permanent building society movement, he planned housing for his Haley Hill Mills, overlooking the centre of Halifax, to be purchased rather than rented by his workers.  He donated the land, adjacent to his own residence, Bankfield, and arranged for the cost of building to be underwritten by the Halifax Permanent Building Society.  The community was named Akroydon and all the streets were named after Anglican dioceses.

He hired George Gilbert Scott, the greatest Gothic Revival architect of the day to design 350 houses in terraced blocks of eight to ten in the style they called domestic Gothic, “the original style of the parish of Halifax”.  Akroyd considered that “intuitively this taste of our forefathers pleases the fancy, strengthens house and home attachment, entwines the present with the memory of the past, and promises, in spite of opposition and prejudice, to become the national style of modern, as it was of old England.”

However, he found that potential freeholders are not so pliable as prospective tenants.  Being Yorkshire people, they first regarded the whole thing as a speculation, and shunned it.

Then they objected to the Gothic style:  “…although they liked the look of it, they considered it antiquated, inconvenient, wanting in light, and not adapted to modern requirements.  The dormer windows were supposed to resemble the style of almshouses, and the independent workmen who formed the building association positively refused to accept this feature of the Gothic, which to their minds was degrading.”

Scott’s former pupil, W H Crossland, later the architect of St Stephen’s Church, Copley, recast the scheme as 92 houses “clustered around a market cross in a toned-down Gothic style ‘simple, yet bold in detail’”.

These were duly built, and still remain.  The original owners, long gone to their rest, left their mark as a result of an inspired appeal to their vanity:

The occupiers find their new homes commodious in every respect, with abundance of light;  and their prejudices against the pointed style are now finally uprooted.  They are much gratified by one feature recently introduced, viz, the insertion of the owner’s monogram or device, on a stone shield, placed over the door, with the intent to give individuality and a mark of distinction to each dwelling.

These Englishmen’s homes were indeed their terraced ancestral castles.

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

The 80-page, A4 handbook for the 2012 Yorkshire Mills & Mill Towns tour, with text, photographs and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

The church across the water

St Stephen's Church, Copley, West Yorkshire

St Stephen’s Church, Copley, West Yorkshire

I find it hard to imagine the sheer power of churches in nineteenth-century England.

There’s a specific reason why the magnificent parish church of St Stephen, Copley, West Yorkshire, was built on the opposite side of the River Calder from Colonel Edward Akroyd’s model village beside the mill.

The vicar of All Saints’, Dudwell, objected having a new church so near his own, so the site was moved from the main road to the woods beyond the village.

The £4,000 cost of the building was raised by public subscription, and Colonel Akroyd spent a further £5,000 of his own money on the furnishings, stained glass, and building the chancel and sacristy.

Consecrated in 1865, it’s a complete essay in Victorian church design by the Huddersfield architect William Henry Crossland (1835-1908) – rich in stained-glass, some of it by Hardman & Co, carving, mosaic and painted decoration.

Furthermore, according to Malcolm Bull’s informative Calderdale Companion website http://freepages.history.rootsweb.ancestry.com/~calderdalecompanion/qq_12.html, Colonel Akroyd contributed to the vicar’s stipend.

In 1872 Colonel Akroyd took against the practices of the vicar he’d appointed, Rev J B Sidgwick, and stopped paying his voluntary contribution.  A group of parishioners promptly made up the deficiency, while others decamped to the local Methodist church.

St Stephen’s, which is big enough to seat a third of the village, is now redundant, and is maintained by the Churches Conservation Trust:  http://www.visitchurches.org.uk/Ourchurches/Completelistofchurches/St-Stephens-Church-Copley-West-Yorkshire.

Graham White has an admirable series of photographs of the interior at http://www.flickr.com/photos/strabod72/sets/72157627628722184/with/6227123155.

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

The 80-page, A4 handbook for the 2012 Yorkshire Mills & Mill Towns tour, with text, photographs and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Housing the workers

Copley, West Yorkshire

Copley, West Yorkshire

Tucked by the river Calder, the village of terraced houses at Copley, West Yorkshire, looks a pleasant place to live.

That was exactly the intention of its builder, Edward Akroyd – always known as Colonel Akroyd – when his family firm transferred the business and employees to their new mill at Copley in 1846.

In the political conflicts of the time, Colonel Akroyd became one of the driving forces in the movement to reconcile the interests of workers and capitalists.

To house the workforce at this unpopulated spot beside the River Calder he began a small community which eventually consisted of 136 houses, accommodating by the 1870s a population of about seven hundred.

This was anything but cheap housing, but the village provided excellent facilities, including allotments, a co-operative store, an employees’ canteen-shed seating 600 and serving dinners of meat and potatoes at three-halfpence or twopence each, boys’ and girls’ schools (1849), a burial club (1849), a lending library (1850 – free until 1863), a branch of the Yorkshire Penny Savings Bank (1862) and a clothing club (1863).

Colonel Akroyd admitted he didn’t make much money out of renting houses to his workers, but he believed his business gained “from a more attached and contented population”.

It’s tempting to think of the building-society movement as a nineteenth-century workers’ enterprise, sponsored by radical politicians, but in some cases it was the product of employers’ enlightened self-interest.

The 80-page, A4 handbook for the 2012 Yorkshire Mills & Mill Towns tour, with text, photographs and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.