Author Archives: Mike Higginbottom

Enterprising potter

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Etruria Hall, Stoke-on-Trent

Josiah Wedgwood (1730-1795) triumphed magnificently over adversity. 

He lost his father when he was nine, and at the age of eleven smallpox left him with a permanently weakened right knee so that he couldn’t become a thrower.  This did, however, enable him to explore the various skills of the pottery trade and gave him the freedom to question and experiment with established practices.

By the age of nineteen he had invented an improved green glaze, become a master-potter and leased a pottery in Burslem with his cousins, John and Thomas Wedgwood.

His business soon outgrew these facilities, largely because of his personal energy, his multiplicity of skills and his adventurousness both as a designer and a businessman. 

He was more prepared than any of his competitors to try new methods.  He insisted on a clean, tidy working environment and his products had a better finish and more shapely proportions – and, indeed, uniformity of size – compared with the rest of the market.

In 1765 he was appointed the Queen’s Potter, and contributed £500 towards new roads in the Potteries area, the first step in a lifelong campaign to gain secure, rapid transport facilities for his precious and fragile wares, which led to his association with the Trent & Mersey Canal, opened in 1777.

Two years later, with his second cousin Thomas, he acquired the site which became his Etruria Works, and the following year invited Thomas Bentley, a merchant with wide experience of the fashionable world, into the partnership.

Wedgwood was a member of the influential group of Midlands intellectuals known as the Lunar Society (because they met and exchanged ideas on the Monday nearest the full moon), including Dr Erasmus Darwin (1731-1802), Joseph Priestley (1733-1804), Matthew Boulton (1728-1809) and James Watt (1736-1819).

In 1764 he had married his third cousin, Sarah Wedgwood (1734-1815), and their eldest child, Susannah (1765-1817), married Robert Waring Darwin (1766-1848), the son of Erasmus Darwin:  their son was the famous naturalist Charles Robert Darwin (1809-1882), who in turn married his first cousin, Emma Wedgwood (1808-1896).

On May 28th 1768, Josiah Wedgwood had his right leg amputated, “foreseeing,” according to the Dictionary of National Biography, “that this useless and often painful member would prove a serious encumbrance in his enlarged sphere of work at Etruria”. 

Etruria Works was opened in June 1769, and by 1773 he had centralised all his operations there. 

The name Etruria refers to the kingdom of central Italy that preceded the Roman republic and connects Wedgwood’s designs with the Etruscans’ elegant pottery.  In fact, the antique pottery so much admired by Wedgwood’s clients ultimately proved to be Greek.

As befitted Wedgwood’s reputation for manufacturing beautiful ceramics, his works was tastefully designed by the Derby architect Joseph Pickford.  The central range, facing the canal, surmounted by a cupola containing a bell, was flanked by two roundhouses.  The northern roundhouse is the only surviving structure of the entire complex. 

By the mid-1760s he had, by shrewdly using recent developments in ceramic technology, perfected the first of a series of innovations – his cream-ware named, by permission, Queen’s Ware, which was followed by Egyptian Black (sometimes known as basalts, first sold in 1768), marble-ware and eventually his jasper-ware, which could be tinted in a variety of colours, of which the pale blue is more familiar than the alternatives dark blue, lilac, sage green, black and yellow, and pearlware, a form of creamware with a blue tint.

His exports included a dinner-service of of 952 pieces for the Empress Catherine the Great of Russia, which cost over £2,000 after its decoration with 1,244 individual views of British landscapes and great houses.  Known as the Frog service from its enamel emblem, this unique commission was exhibited, with admission by ticket, at Wedgwood’s London showroom before dispatch in June 1774. 

The family residence, Etruria Hall (1768-71), was designed by Joseph Pickford.  It was screened from the works by a plantation, and because Josiah and Sarah Wedgwood’s family continued to increase two wings were added in 1780. 

The relationship between the works and the owner’s residence is reminiscent of Matthew Boulton’s Soho House in Birmingham and Sir Richard Arkwright’s Willersley Castle in Derbyshire. 

The Wedgwood family continued to occupy the Hall until 1819, and again from 1828 to 1842.  From 1848, it was associated with the nearby Shelton Ironworks until the 1980s, by which time it was used as offices by British Steel.

When the surrounding area was reclaimed for the 1986 Stoke National Garden Festival, the Hall was restored to its eighteenth-century appearance as the centrepiece of the site, and in the following years it was incorporated into a new hotel.

The most perfect of all station houses 2

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Wingfield Station, South Wingfield, Derbyshire (2021)
Wingfield Station, South Wingfield, Derbyshire (2021)

Almost nine years ago I wrote about Wingfield Station, Derbyshire, prompted by its inclusion in the Victorian Society’s Top Ten Endangered Buildings list for 2012.

This elegant ashlar-faced building is the only surviving example of Francis Thompson’s twenty-four stations commissioned by Robert Stephenson for the North Midland Railway.  It opened in 1840 and closed to passengers in 1965.

The historic building list description describes it as “…a subtly proportioned building with a delicacy of detailing that was greatly admired by contemporary commentators who appreciated its refined architectural qualities”.

Its design was good enough to appear, transformed into a suburban villa, in a supplement to John Claudius Loudon’s Encyclopaedia of Cottage, Farm and Villa Architecture (1842), and the pioneer historian of railway buildings, Christian Barman, in 1950 described it as “the most perfect of all station houses”.

By 2012, all the Victorian Society could do was fulminate about the neglectful owner and the lack of activity by the local council.

However, there was new energy at local level, when the lively South Wingfield Local History Group, founded in 2007, pressed English Heritage to upgrade the station building from Grade II to Grade II*, and their campaign succeeded in April 2015, prompting Amber Valley Borough Council to seek a compulsory purchase order and take the building over, in partnership with the Derbyshire Historic Buildings Trust.

The Trust has a long and honourable history, dating back to 1974, of rescuing Derbyshire buildings in distress and returning them to economic use.  One of the first of its projects was Francis Thompson’s Railway Village in Derby.

On December 11th 2019 Wingfield Station was formally handed over to the Trust, which has secured £137,000 of development funding from the National Lottery Heritage Fund and a £263,000 grant for urgent repairs from Historic England.

Detailed examination of the building has revealed that it was never modernised, so it’s possible to restore it almost exactly to its 1840 appearance, complete with original paint schemes and recovered wallpaper from the ladies’ waiting room.

The intention is to adapt it to office use, with guaranteed occasional public access for its historic interest.

Presumably office workers can live with trains thundering past all day.  Trying to sleep there would be a different matter.

(If you want to sleep in a functioning Derbyshire railway station, go to Cromford. There are no overnight trains on the Matlock line.)

Little palaces

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Beall Street, Attercliffe, Sheffield (1977) ~ Huntsman’s Gardens Schools in the distance

In the early months of the lockdown the Friends of Zion Graveyard invited me to write the text for a series of interpretation boards to provide background information and archive photographs for visitors.

When the Friends’ committee was asked to comment on the draft I was justifiably taken to task for giving the impression that the houses in Attercliffe were slums.

I used the formal phrase “slum clearance” that the City Council applied to its clearance schemes from the 1950s onwards.

Indeed, the houses themselves were not slums.  They simply lacked facilities we now take for granted.   

The insulting arrogance of some of the public servants who drove the policy of slum clearance is highlighted in Marcus Binney’s book, Our Vanishing Heritage (Arlington 1984), p 193, where he quotes the civil engineer and planner Wilfred Burns, who changed the face of Coventry and later did the same in Newcastle-upon-Tyne.  

In his book New Towns for Old:  the technique of urban renewal (1963) Burns declares,–

One result of slum clearance is that a considerable movement of people takes place over long distances, with devastating effect on the social grouping built up over the years.  But, one might argue, that is a good thing when we are dealing with people who have no initiative or civic pride.  The task, surely, is to break up such groupings even though the people seem to be satisfied with their miserable environment and seem to enjoy an extrovert social life in their own locality.

He wouldn’t have lasted long if he’d aired those views in the Dog & Partridge on a Saturday night.

There’s no wonder that my parents’ generation couldn’t wait to get out of Attercliffe in search of better housing.  They were sick of managing with an outside lavatory, a single cold tap and heating by coal.  Their lives were shortened by the atmospheric pollution that rained down on the valley where steelworks stood surrounded by terraced housing.

In earnest irony, Frank Hartley entitled his memoir of growing up in Attercliffe Where Sparrows Coughed (Sheaf 1989).

The post-war planners’ solution to the dreadful environment was single-use zoning, dividing the city into areas of unified purpose, such as industry, housing or retail. 

The nineteenth-century development of the Lower Don Valley had been dictated by the need for steelworkers to walk between home and work.

By the mid-twentieth century it was possible to relocate housing well away from the smokestack industries, and to expect the workers to commute from leafy housing estates to their work by bus.

Nowadays their children write in internet nostalgia forums with sincere regret for the community they lost.  It’s easy to sentimentalise our childhood while sitting at a keyboard in a modern dwelling that previous generations would have thought forever beyond their reach.

Remembering the good times and ignoring the bad is a lazy way of looking at the past, and it devalues the determination of the women who spent their days in never-ending labour, striving to make their homes into little palaces, and those of their menfolk who put their wage-packets on the table at the end of every week.

Everyone enjoys wallowing in nostalgia occasionally, but for me the most vivid evocation of Attercliffe in my childhood is Frank Hartley’s book, which has been out of print for far too long.

Down-to-earth bell-ringing

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St Mary’s Church, East Bergholt, Suffolk: bell cage
St Mary’s Church, East Bergholt, Suffolk: bell cage

In East Anglia you can hardly move for beautiful medieval churches, built from the proceeds of the wool trade, but St Mary’s, East Bergholt, Suffolk has a unique claim to fame.

Dated 1350-1550, it’s a fine late-Perpendicular rebuilding in flintwork of an earlier church, containing – among much else – a priest’s room above the south porch, an Easter sepulchre in the chancel, a carved oak screen and a parish chest, c1400, hollowed out of a tree-trunk.  The church is 120 feet long and 56 feet wide.  The interior was sketched by East Bergholt’s most celebrated son, the painter John Constable (1776-1837), whose parents are buried here. 

At the west end, the beginnings of an elaborate tower stand unfinished since the Reformation.  There is a story that the funds to complete it, donated by Ipswich-born Cardinal Thomas Wolsey (1473-1530), were purloined by Henry VIII.  It’s more likely that at the Reformation from the 1530s onwards, work paused, as it did at Bath Abbey and what became Bristol Cathedral, but never restarted.

As a result, the five bells intended for the tower were housed in a timber bell-cage where they remain.

For the best part of five hundred years, the bells have been rung at ground level, swung by hand, the heaviest ring of five in England – 4¼ tons in total, of which the tenor weighs 1ton 6cwt 0qr 8lb, comparable to the weight of a small car.

Change-ringing with a ring of five is practical, though repetitive.  The bells rest in an upward position, and are set in motion by a ringer grasping the headstock.  There are no wheels or ropes.

The ringers of the lightest four bells stand outside and lean into the frame to ring.  The tenor is rung from an uncomfortable, noisy position in the middle of the cage.

There’s detailed information about the bell cage, with audio and video recordings, at https://eastbergholt-bells.org.uk, which includes details of ringing times.

This 2017 Daily Mail article provides further background and images:  https://www.dailymail.co.uk/news/article-4872200/Dangerous-four-tonne-church-bells-rung-HAND.html.

Organ for sale

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Port Erin Methodist Church, Isle of Man

Photo: Matthew Binns

Anyone want to buy a pipe-organ?  There’s one at the southern tip of the Isle of Man that needs a good home.

The Port Erin Methodist Church in the Isle of Man is about to move into smaller premises.  The congregation no longer wishes to support the maintenance costs of the dignified stone-built 1903 building and is moving into the smaller 1960s Sunday School building next door.

This decision is a matter of refocusing rather than retrenchment. 

Not for the first time, the church members want to direct their resources towards helping the local community rather than paying to keep up an old building that is ill-suited to present-day needs.  It’s the fourth time in their long history that they’ve abandoned one building for another.

This is the oldest Christian congregation in Port Erin, dating back to 1823.

A chapel was built on Dandy Hill in 1832 and replaced in the late 1850s by a 200-seat chapel that survived as a Sunday School until 1963 and was demolished three years later.

The present 1903 chapel on Station Road was designed by the Halifax architect William Clement Williams (1847-1913), who was resident in Port Erin at the time of his death.

The organ, one of the last to be built by the Douglas organ-builder Moses Morgan, dates from 1911, and originally belonged to the Port Erin Wesleyan Methodist Church that is now the Erin Arts Centre.  When the former Wesleyan and Primitive Methodist congregations amalgamated in 1970 the Wesleyans brought their organ with them to Station Road.

It’s described as “an excellent example of a straightforward chapel organ of modest size” with very few modifications to its authentic specification.

Apart from a few judicious improvements to the pipework little has changed, though the gas lights were replaced with electric lights as recently as 2008.

Organ aficionados on the island hope it will remain intact and find a new home.  The Methodists pray that it will continue to be used for worship.

In this video the Manx organist Gareth Moore introduces the chapel and demonstrates the organ’s capabilities:  Port Erin Pipe Organ – YouTube.

Particulars of the building sale are at Port Erin Methodist Chapel – Black Grace Cowley.

No more Coles in Sheffield

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Sheffield General Cemetery: John Cole monument

One of the many business casualties of the Covid pandemic was the John Lewis store in the centre of Sheffield.

Its demise was not entirely a surprise but it caused sadness to Sheffield people who’d shopped there over the years.

Indeed, the building was only branded ‘John Lewis’ in 2002.  Previously it was Cole Brothers, and Sheffield shoppers continued to call it Coles because to them that was what it was.

The Cole brothers, born in Pickering, North Yorkshire, were John (1814-1898), Thomas (1824-1902) and Skelton (1827-1896).  The older two had served apprenticeships as drapers and founded the company in 1847, trading as “Silk Mercers, Shawl, Mantle and Carpet Warehousemen, Bonnet Makers and Sewing Machine Agents”.  Skelton joined the partnership later.

One of their assistants, John Atkinson, left in 1872 to found his own department store, which still trades on The Moor.

The business was continued by the sons respectively of Thomas and Skelton Cole – Thomas (b 1854) and Thomas Skelton Cole (b 1853), who sold the store in 1920 to Gordon Selfridge (1858-1947).  He transferred it to his Selfridge Provincial Stores group seven years later and in 1940 sold it to the John Lewis Partnership, then as now an employee-owned mutual partnership.  Throughout these changes the store continued to trade as Cole Brothers.

The shop was repeatedly extended between 1869 and 1920 along Fargate and round the corner on to Church Street, and the corner entrance became the favoured meeting place for young couples, known as “Coles’ Corner”.

In the Sheffield Blitz of December 1940 Coles was the only department store in the city-centre that was largely unscathed.

The original store was replaced in 1963 with a new building on the site of the burnt-down Albert Hall at Barker’s Pool, and the lovers’ rendezvous moved to the fish-tank in the “Hole in the Road”, otherwise Castle Square, when it opened in 1967. 

(The Hole in the Road was filled in to make way for Supertram in 1994.  The well-worn joke was that the last fish in the tank was a piranha.)

Proposals for Coles to move to the Meadowhall Centre when it opened in 1990 and later plans to move into a new flagship John Lewis store in the aborted Sevenstone development alike came to nothing.

Now the only manifestations of the Cole brothers’ place in Sheffield’s history are a plaque on the site of the original Coles Corner, the Sheffield-born musician Richard Hawley’s eponymous 2005 album and John Coles’ eye-catching obelisk in the General Cemetery.

The Sheffield General Cemetery features in Mike Higginbottom’s lecture ‘Victorian Cemeteries’.  For further details, please click here.

Down with Hartford Mill

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Hartford Mill, Werneth, Lancashire (2019)

My knee-jerk reaction when faced with an attractive or historic derelict building is to hope that someone will find a use that will pay for its upkeep.

Travelling on the Manchester Metrolink line to Rochdale, I was appalled at the state of Hartford Mill, near Werneth, and bemused by its great size.

It was built as a cotton-spinning mill in 1907, twice extended in the 1920s, and closed in 1959.  It was used as a mail-order warehouse by Littlewoods until 1992, after which no-one could think what to do with it, though it was listed Grade II in 1993.

It’s a shame that this huge, magnificent building was simply left to rot.

It became a notorious focus for anti-social behaviour, including several severe arson attacks, culminating in the death of an eighteen-year-old youth in a fall in 2015.

In the end there was no alternative but to demolish the mill – no mean task. The Mill is a five-storey building 25 bays long and 12 bays wide with a corner tower.

The demolition process was slowed by the restrictions of the Covid pandemic, and for a short while longer the mill remained a blot on the landscape: ‘Death trap’ 113-year-old mill is being demolished – Manchester Evening News.

The final act was the demolition of the chimney on Sunday October 1st 2023: Moment landmark Hartford Mill Chimney in Oldham demolished to make way for new housing | ITV News Granada.

The leader of Oldham Borough Council, Sean Fielding, told the Manchester Evening News (August 30th 2018),–

“When people travel through Oldham on the Metrolink line they don’t want a deteriorating old mill to be what they see – and it’s certainly not what residents should have to look at every day.

“Everyone deserves to live in decent areas where families and communities can prosper and feel proud.

“Oldham is an aspirational place to live, work and invest and to continue that improvement we must make full use of sites like Hartford Mill.”

I wholeheartedly agree.

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.

Zion Graveyard 3

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Zion Graveyard, Attercliffe, Sheffield (April 2021)

The lockdown was kind to the Zion Graveyard, Attercliffe’s only historic site that’s also a wildlife sanctuary. Eighteen months of quiet enabled the plants and animals to flourish in peace and the Friends who maintain it could, despite the constraints of lockdown and social distancing, restore the place so that it once again looks like a graveyard rather than a jungle.

The difference they’ve made to a long-neglected, significant historic site is impressive.

The Friends of Zion Graveyard was formed in 2017 by the group who look after Upper Wincobank Undenominational Chapel, a couple of miles away.  They wanted to locate the burial place of the Chapel’s founder, Mary Ann Rawson (1801-1887), an energetic anti-slavery campaigner and social reformer, and found it deep in the neglected burial ground of the former Zion Congregational Church, which was burnt down in 1987.

The Friends purchased the graveyard site from the Yorkshire Congregational Union in January 2018.  The events that followed are chronicled at FoZGA End of Project Photo Report final.pdf (windows.net) and come alive in Jon Harrison’s excellent video:  Zion – the Forgotten Graveyard – YouTube.

They’re a small, energetic group who’ve achieved a great deal through their enthusiasm and their ability to secure funds from such organisations as the Heritage Lottery Fund and the J G Graves Charitable Trust to supplement the donations of individuals and small businesses associated with the Lower Don Valley.

I’m looking forward to bringing the next Bus Ride Round Attercliffe to Zion Graveyard for a brief visit on Father’s Day, Sunday June 18th 2023.

The Friends’ activities are publicised on their website:  Friends of Zion Graveyard – Events (btck.co.uk).  It’s a delightful and fascinating place where visitors are made very welcome.

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.