Edward Pugin’s masterpiece

All Saints’ Church, Barton-upon-Irwell, Manchester

Edward Welby Pugin (1834-1875) was the eldest son of the better-known Augustus Welby Northmore Pugin (1812-1852), and after his father’s early death at the age of forty-one continued the practice until his own early death at the same age.

Augustus Pugin was inevitably a hard act to follow, and though his son’s designs are less intense Edward was prolific and his work is impressive. He designed over a hundred churches and a few secular buildings, and at the height of his powers he completed seventeen projects in the years 1865-68.

Nikolaus Pevsner identified E W Pugin’s “masterpiece” as All Saints’ Church, Barton-upon-Irwell (actually in Urmston, west Manchester). Paid for by the local landowner Sir Humphrey de Trafford, 2nd Bt (1808-1866) and his wife Lady Annette at a cost of £25,000, it was built in 1867-68 alongside the de Trafford family’s mortuary chapel (1863).

Edward Pugin had previously built another church for the de Traffords, St Ann, Chester Road, Stretford (1862-7), and within the same few years designed his Monastery of St Francis, Gorton (1866-72), larger in scale but coarser in detail because it lacked the generous funds provided by the de Traffords.

The exterior of All Saints’ echoes some of his other churches in the North West and elsewhere, with a nave and apsidal chancel and an elaborate bell-turret in the form of a flèche, set diagonally above the west front.

The interior is richly decorated and narrows towards the sanctuary, emphasising the height of the building. The nave columns are alternately banded with Runcorn red sandstone and buff Painswick stone, and the roof is made of English oak and Savannah pitch-pine.

To embellish the interior as the de Traffords required – “a grand church…erected to the glory of God” – Edward Pugin brought together craftsmen from his father’s favourite ecclesiastical artists, Hardman & Co of Birmingham, including J Alphege Pippett (1841-1903), whose ‘The Adoration of the Lamb’ on the south side of the chancel depicts the de Traffords accompanied by Edward Pugin in medieval dress holding a plan of the church.

The walls of the sanctuary are of Caen stone and the columns of Painswick stone; the floor is crimson marble and encaustic tile; the altar itself is built of Caen stone, finished with Carrara, Siena and Devonshire marble, with flights of angels standing on the alabaster tabernacle, its doors marked by a bejewelled cross.

The surviving nineteenth-century stained glass, disarranged as a result of Blitz damage, is by Powell & Hardman of Birmingham. The late-twentieth-century glass in the west rose window is unfortunate.

Sir Humphrey’s son and heir sold most of Trafford Park for £360,000 to Ernest Terah Hooley (1859-1947) who became known as “The Splendid Bankrupt”, but retained the western portion, including Barton, until 1924.

The canal bisected the parish, and the unpredictable closing of the Barton swing-bridge meant that parishioners were frequently delayed to the extent that it became impossible to fix Mass times precisely. The population gradually moved away: by the 1950s Catholic churches were opening on the new housing estates, and All Saints’ remained open only out of deference to an ageing congregation who had worshipped there all their lives.

All Saints’ finally closed as a parish church in 1961, and in September 1962 it was handed over to the Franciscan Friars Minor Conventual, who had provided priests for the parish since 1928. They renamed it the Church of the City of Mary Immaculate, but it is still commonly known by its original dedication. The church was listed Grade I on May 9th 1978.

All Saints’ isn’t easy to visit because the site is an operational friary. It’s open on an occasional basis, and it would be prudent to enquire about arrangements before visiting: https://www.nationalchurchestrust.org/church/all-saints-friary-barton-upon-irwell. Though not as heavily atmospheric as Augustus Pugin’s masterpiece, St Giles’ Roman Catholic Church, Cheadle, Staffordshire, it’s a very beautiful building by a first-rate architect whose career stands in the shadow of his father’s work.

Street transport nostalgia

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Stagecoach Supertram no 120 (February 2013)

In 2010, to commemorate the fiftieth anniversary of the closing of Sheffield’s first-generation tram system, Stagecoach Supertram, its light-rail successor, repainted one of their units in a near-approximation of the distinctive Sheffield Corporation azure-blue-and-cream livery.

I sense that the blue isn’t exactly authentic, but it’s a close match and it suits the lines of the 1994 Siemens-Deuwag unit.

The livery on this tram is still a familiar sight on Sheffield’s streets over ten years later, and when the unit, no: 120, was involved in a collision with another, no: 118, in 2015, the undamaged sections of 120 were attached to the undamaged end of 118 which was repainted to match.

Correspondingly, the two damaged ends were united and sent for repair.

The insistent nostalgia for old liveries extended to Sheffield’s buses when First South Yorkshire commemorated the centenary of bus operation in Sheffield in 2013. Two double-deckers appeared in approximations of traditional Sheffield liveries.

One of them, no: 37229, looks well in the 1935 azure-blue-and-cream Sheffield livery, re-registered from YN08 LCJ to a more authentic plate 3910 WE belonging to a long-retired double-decker, and the visible fleet-number was truncated to 229.

The other repaint, no: 37528 (YN58 ETX), is less successful, because the contemporary Prussian-blue-and-cream tram livery was adapted for modestly-proportioned 1913 buses and it simply doesn’t fit the bulky lines of a modern double-decker. The vehicle carries an appropriate fake fleet number 1.

The most endearing aspect of the livery on 37528 is that it carries the name of the long-serving and highly respected general manager of Sheffield Corporation Tramways, Arthur R Fearnley, who is credited with building Sheffield’s public transport system into a source of great pride in the city. His grandson, Giles Fearnley, was Managing Director of First Bus from 2011 to 2020.

I’m intrigued that modern bus operators are making an effort to perpetuate the liveries of their predecessors.

First South Yorkshire has vehicles running around in the liveries of Rotherham Corporation [First South Yorkshire 37231, YN08LCL. | EYBusman | Flickr] and South Yorkshire Transport [First South Yorkshire 37524, YN58ETR. | EYBusman | Flickr], and Stagecoach has a single-decker in Chesterfield Corporation livery: [Stagecoach 34720 YN05XNZ at Chesterfield | driffbus | Flickr]. A quick glance at a bus-enthusiast forum suggests this fashion is prevalent across the British Isles.

Nostalgia apart, it’s apparent that modern vehicles actually look better in heritage liveries, not simply because of the choice of colours and typography, but because up to the 1970s it never occurred to anyone to ignore the natural proportions of the bodywork. The garish colours and the swoops and swirls of some modern liveries are what Cecil Beaton, referring to the Duchess of Devonshire’s flower beds, described as a “retina irritant”.

Alstonefield Hall

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If you drive west into deepest Derbyshire, past Matlock and Brassington, you eventually end up in even deeper Staffordshire, passing from one to the other when you cross the River Dove.

Between the valleys of the Dove and the Manifold lies Alstonefield, an ancient settlement dating back to Saxon times with a Norman church dedicated to St Peter and a cluster of fine houses, mostly dating from the mid-eighteenth and nineteenth centuries.

It was the birthplace of Charles Cotton (1630-1687), the probable author of The Compleat Gamester (1674) and contributor to Izaak Walton’s The Compleat Angler (1653 onwards).

Within sight of the parish church stands Alstonefield Hall, a small but grand residence with a 1587 datestone, though there is evidence within of a structure dating back 150 years earlier.

It’s evident that the Elizabethan building work was intended to front a functional farm complex with a façade that indicated the status of its owner, John Harpur. Within the projecting entrance porch the visitor enters a spacious chamber with a screen masking a service wing and a staircase leading to the upper floor.

John Harpur was the son of a wealthy judge and, through family connections with the Harpurs of Swarkestone Hall, Derbyshire, he is associated with the Harpur-Crewe family of Calke Abbey.

Alstonefield Hall never developed further grandeur, and over the centuries it declined in status until it was simply a farmhouse, Hall Farm, which the Harpur-Crewes sold in 1951.

The building was partly occupied until the beginning of this century and once abandoned it quickly deteriorated.

Its historic importance had been recognised as far back as 1967, when it was listed Grade II*, and at long last its restoration is about to begin.

The Derbyshire Historic Buildings Trust, working off-piste in Staffordshire, provided a rare opportunity to see this fascinating building, in a group led by the historian and archaeologist Tom Addyman, who explained the detailed investigations that are piecing together its complex history.

At present it’s a hard-hat area, uneven underfoot, and it’s unlikely to be accessible until years of restoration are accomplished.

However long the work takes, the end result promises to be outstanding.

Cuthbert Brodrick in Leeds 2

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Cuthbert Brodrick’s design for the Leeds Corn Exchange (1860-2) responded to a brief to provide facilities for merchants to sell their corn both by sack and by sample, which required considerable floor space and an abundance of natural light.

By his design for Leeds Town Hall (1853-58) he had already proved his ability to provide pomp and circumstance in his public buildings. In his Corn Exchange design he displayed virtuosity and an outstanding talent for engineering innovation and precision.

The site was awkward, lying between the White Cloth Hall and the Assembly Rooms. Brodrick’s design is unusual, a heavily-rusticated ellipse with two semi-circular entrance porches and a shallow dome overall, but it’s not original. It harks back to the circular Parisian Halle aux Blés (1763-67) which was given a dome in 1811, and which to some extent inspired the Prince Regent’s stables in Brighton (1803) and the London Coal Exchange (1846-49).

The elliptical, domed exterior is utterly different from any other building in Leeds, its heavy masonry emphasised by diamond rustication derived from the Palazzo dei Diamanti in Ferrara (1493-1503).

Within, the walls provide offices on two levels, with a central space top-lit by an oculus and a balcony at first-floor level. The additional roof-light on the north-east side was added in 1915.

The basement was designed to be accessible to carts to facilitate sack deliveries, but at first it was used as the headquarters of the borough fire brigade.

The dome with its complex geometry is an exceptional piece of engineering, necessary to provide an uninterrupted space for trading and indirect sunlight for merchants to judge the quality of grain accurately. The roof-ribs are riveted wrought iron, overlaid with timber and slate, springing from opposite sides of the ellipse.

Because of its excellent connections by waterways and railways, Leeds became an important centre for dealing in grain and flour, and in 1901 the Corn Exchange had 160 regular traders, including thirty from Hull and nine from Liverpool. The area around the Exchange became crowded with warehouses and flour mills, and across the city there were larger roller mills and manufacturers of milling machinery.

Tuesday was the regular day for corn trading, and a leather market began in 1903. The building was at various times used for farmers’ markets, and for dog, cat, mouse and bird shows. In 1969 two hundred traders met weekly to do business on Tuesdays between 10.00am and 2.00pm.

If Colin Buchanan’s 1973 road-building proposals had been fully implemented the Corn Exchange would have been demolished. In the same year the Leeds Civic Trust proposed converting it to a concert hall, but the tenants objected strongly and the idea was dropped. Instead, the building was left to deteriorate in increasingly shabby surroundings for the following fifteen years.

Eventually, in 1988, Leeds City Council awarded a 999-year lease to Speciality Shops PLC with permission to convert the Corn Exchange to a high-end shopping centre, respecting the integrity of Cuthbert Brodrick’s design and continuing to accommodate the twenty-five remaining corn-traders. It reopened to the public in 1990.

The ground floor trading area was opened up so that the basement became integral to the domed space above, connected by staircases with bannisters that exactly reproduced the original railings.

A small number of corn traders continued to meet, using their original stalls, until around 1994.

The lease was transferred in 2005 to Zurich Assurance, which embarked on a £1.5 million refurbishment which required the eviction of the existing tenants for work to take place. The Corn Exchange reopened in 2007, as “a boutique shopping centre for independent retailers”, now under the auspices of the property company Rushbond, which acquired the lease in 2017.

Cuthbert Brodrick in Leeds 1

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One of the remarkable features of British architecture in the early Victorian period is the optimism with which sponsors allowed talented young men in their twenties to take on huge projects that have since stood the test of time.

The best-known example is Harvey Lonsdale Elmes (1814-1847), who was awarded the commission for Liverpool’s St George’s Hall, after winning not one but two successive architectural competitions at the ages of twenty-five and twenty-seven.

The Hull-based architect Cuthbert Brodrick (1821-1905) was propelled to fame after he won the competition to design Leeds Town Hall in 1852 when he was barely thirty.

Despite some opposition within the Leeds borough council, the drivers of the Town Hall project aimed to outclass two public halls, both called St George’s Hall, in other major towns: Bradford’s (1849-53) was simply a concert hall; Liverpool’s building (1841-54) linked assize courts with a magnificent concert hall. The Leeds scheme was intended to provide a public hall and courts combined with police headquarters and municipal offices and a mayoral residence – at a cost less than housing these functions in smaller separate buildings.

Indeed, Brodrick was initially kept on a tight leash by a contractual condition that he would not be paid if the cost exceeded £39,000, except in unforeseen circumstances or unless the council required additional facilities – which they almost immediately did.

Once the council was committed to the project there were repeated additions to the specification, including a huge pipe organ and an unforeseen tower. The eventual cost of the completed Town Hall reached £122,000, and it seems to have been considered money well spent.

Cuthbert Brodrick made no apologies about aiming for quality. There were furious arguments between him and the contractor, Samuel Atack, who went bankrupt in 1857. Brodrick was heard on one occasion to urge “never mind if the quantity should exceed the contract”.

When Queen Victoria opened the Town Hall in 1858 she and Prince Albert were greeted on Woodhouse Moor by 26,809 Sunday School pupils with 5,301 of their teachers (controlled by signalmen brandishing boards), four companies of the 22nd Regiment of Foot and the 18th Hussars commanded by the Assistant Adjutant-General and 21,150 members of local Friendly Societies each wearing white gloves and a laurel-leaf buttonhole.

Mr Trant, a chemist of Park Lane, went so far as to perfume the air outside his shop.

Prince Albert accompanied Brodrick to the top of the partly-completed tower and “entered freely into conversation on the subject of the building”: “When I first saw the building, Mr Brodrick, I said to the Queen, ‘Magnificent! magnificent! beautiful proportions!’”

Leeds has never looked back.

Neither did Brodrick. He seems only to have built big and almost entirely within Yorkshire. He gave Leeds the Corn Exchange (1860-62) and the Leeds Institute of Science, Art & Literature (now the Civic Theatre, 1865-68). In Scarborough he built the Grand Hotel (1863-67) which dominates the South Bay, and in Ilkley he designed the Wells Hydro (1854-56).

Yet he failed to win competitions or secure commissions for Preston Town Hall, the Queen’s Hotel, Leeds, the Liverpool Exchange, the remodelling of the National Gallery in London, the Manchester Royal Exchange, Manchester Town Hall and Bolton Town Hall.

Nevertheless, he seems to have made enough to retire in his late forties. He gave up architectural practice in 1869, and lived in Paris and later Jersey until his death, aged 83, in 1905.

Swanwick Hall

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I had the life-changing good fortune to pass my eleven-plus exam, which was my free ticket to a grammar-school and university education.

I attended Swanwick Hall Grammar School, Derbyshire, from 1959 to 1966 – a pivotal period in the history of the school.

When I arrived it had recently lost its headmaster, Herbert Scarborough, who resigned during a public controversy over the County Council’s plan to turn the school into a comprehensive – a transition that eventually began some years after I left.

I enjoyed history consistently through school (though I read English at university), and in the sixth form my circle of friends took an interest in the history of the building – a brick-built Georgian villa with Victorian extensions – and the family that lived there.

We were actually in search of the Grey Lady who glides – as the big kids always told the little kids (and do to this day) – down the main staircase at dead of night.

In the absence of any kind of digital technology, we pieced together what information we could from local churchyards, books in the local branch library and then visits to the Local History Library in Derby.

In Derby Art Gallery we found Joseph Wright’s portrait The Wood Children (1789), which had hung in the Hall, and eventually found a real live member of the Wood family, who had been a girl when the house was sold to become the School in 1920. She put us in contact with another family member who had other portraits, none of them attributed to Wright.

Decades later, we discovered from the writings of the Derby historian Maxwell Craven that the Hall was designed by a prolific local architect, Joseph Pickford (c1734-1782), for Hugh Wood (1736-1814).

The family had owned coal-bearing land locally for centuries, and their social status rose gradually from yeomen to gentry.

At the end of the eighteenth century Hugh Wood’s older brother, Rev John Wood, was chaplain to the Duke of Devonshire, which helped Hugh’s eldest son, another Rev John, to two livings, Kingsley in Staffordshire and Pentrich in Derbyshire, a mile or so away from Swanwick. It can’t be accidental that the Bachelor Duke appointed Rev John Wood to be Vicar of Pentrich in 1818, the year after the abortive Pentrich Rising.

One of the younger Rev John’s sons, Edward, was a lieutenant in the army of the East India Company and was killed at the Battle of Miani in 1843. His memorial is in the chancel of Pentrich Church.

His youngest brother, William, emigrated to Canada, settling at Nanticoke on the shores of Lake Erie. Members of subsequent generations of the family went to join their Canadian cousins.

Terry Thacker and I wrote up our researches which the School published as The Story of Swanwick Hall (1972).

We have a possible candidate for the identity of the Grey Lady, but we see no reason to provoke a new generation of Swanwick Hall students to embark on extracurricular ghost hunts – as we did in the late 1960s.

Liverpool’s cultural learning zone

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Photo: © Christopher Brook

When Harvey Lonsdale Elmes’ St George’s Hall was completed in 1854 it brought dignity to the untidy area known as Shaw’s Brow around St John’s Church and St John’s Market (both now demolished), and the building contractor Samuel Holme proposed that its setting should become a kind of forum “round which should be clustered our handsomest edifices, and within the area of which our public monuments ought to be placed”.

The steep gradient which falls away from the site of the Hall precluded any kind of enclosed space, so the donor of the Free Library and Museum, the merchant, banker and politician William Brown (1784-1864), gave the strip of land on which was laid the street that now bears his name.

Initially, the Free Library and Museum (1857-60) sat alone towards the bottom of the hill. Its imposing Corinthian portico complements St George’s Hall opposite. The grand entrance steps came later, c1902.

The Library was extended by adding the Picton Reading Room (Cornelius Sherlock 1875-79), an impressive galleried rotunda, modelled on the British Museum reading room in Bloomsbury. It’s an inspiring place to read or study, and it has an entertaining echo that transmits conversations from the opposite side of the great space. Its column-free basement, originally a lecture theatre, is now a versatile and attractive children’s library. The semi-circular external façade pivots a bend in the street-line and responds to the apsidal end of St George’s Hall.

Later still, behind the William Brown Street buildings, the Hornby Library (1906) was built to a dignified design by the City Architect, Thomas Shelmerdine. It now exhibits the Library’s rare books collection. It’s noted for displaying the only publicly-displayed copy of John James Audubon’s Birds of America (1827-38) that is regularly turned from page to page.

These two extensions are named respectively after the pioneer of the city’s public libraries, Sir James Picton (1805-1889) and the merchant and bibliophile Hugh Frederick Hornby (1826 -1899) who bequeathed his book-collection and £10,000 for a building to house it.

The Library and Museum were badly damaged in the May 1941 Blitz though most of their collections had been removed, and reinstatement took until the end of the 1960s with a further extension in 1978.

The rebuilt facilities did not wear well, and the increasing demand for digital resources eventually required a radical refurbishment, safeguarding the Grade II*-listed Victorian structures.

The resulting design by the Austin-Smith:Lord practice is open plan, transforming the usefulness of the building with a dramatic atrium topped by a glass dome and above all a roof terrace. It reopened to the public in 2013.

The potential uses of the Central Library complex are virtually limitless, from school homework to academic research, to online business support and keep-fit for over-sixties.

I called on the Archives service to provide the last visit on the last day of the last Interesting Times tour, Unexpected Liverpool (June 6th-10th 2022).

The Archivist, Jan Grace, and her colleague Carl gave a tour of the Victorian spaces and showed us the comprehensive collections in the third-floor Local Studies area, all of which are freely available on open shelves.

Because we’d spent the week touring odd corners of Liverpool’s history, I’d asked Jan to provide a display in the Search Room of archives relating directly to the buildings we’d visited, from the Atlantic Tower Hotel where we’d stayed to such places as the Florence Institute, the Park Palace Ponies, the Lister Drive Old Swimming Baths and more Gothic churches than you could shake a stick at.

I was particularly grateful to have this exceptional opportunity as a grand finale to my tour programme, which has always aimed for the “Heineken effect”, visiting places that other tours can’t reach.

Liverpool Central Library: Archives Search Room – Unexpected Liverpool tour, June 10th 2022

Photo: © Jan Grace

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

Still making steel

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Special Quality Alloys Ltd, Continental Works, Attercliffe, Sheffield [© Jon Dennis, S6 Photography Ltd]

The Continental Works of Sheffield’s Jonas & Colver high-speed steel company in Attercliffe is still dedicated to highly skilled metal-bashing.

In its heyday before the First World War, Jonas & Colver made their mark in the grimy East End by embellishing their forge building with elaborate cartouches of their trademarks and the date ‘1911’.

When the company left the Bessemer Road site by the 1970s the site was turned over to a training centre for out-of-work steel workers needing to learn new trades.

In 2014 Continental Works once again returned to steel manufacture and there’s a curious connection between Jonas & Colver and the current occupiers.

Special Quality Alloys Ltd, which is part of the Special Steel Group, was founded by Bennett Beardshaw, who began his career in the steel industry as a junior accounts clerk at Jonas & Colver in 1906. He would have known, at least by sight, both Sir Joseph Jonas (1845-1921) and Mr Robert Colver (1842-1916).

In 1925 Bennett Beardshaw suggested that Jonas & Colver should start a heat-treatment business. The management was unconvinced and Beardshaw was invited to leave. He set up the Special Steel Co Ltd, half a mile away at Bacon Lane on the Sheffield Canal, a site that still remains the base of the parent company.

Four generations of the Beardshaw family have led the company for almost a century, and the current managing director, great-grandson of the founder, is also called Bennett Beardshaw.

Earlier this year I was privileged, thanks to Shane Higgins, the company’s Sales Engineer, to watch a team of four men using a fork-lift truck to place red-hot steel Polo mints, up to three feet in diameter, under the sort of drop hammers that lulled me to sleep in my Attercliffe childhood, bashing the glowing metal to the shape and thickness required. Even when you’re outside the building, the earth moves.

This is noisy, dangerous, highly-skilled work that goes on behind the high brick walls. A new recruit to one of these teams simply watches for the first six months before they’re trusted to take part. Almost all of their communication is non-verbal, because they’re masked up to the eyeballs and wear ear-protectors against the deafening noise.

Most people think that the steel industry has largely deserted Sheffield, and certainly the thousands of gaberdine-clad men with flat caps and mufflers no longer trail daily into the huge black sheds that filled the valley floor until the 1980s.

But the city’s proud tradition remains of know-how and skill that produces steel of world-class quality to meet modern demands. Continental Works produces high-specification critical parts for oil and gas, defence, space and the emerging renewable sectors.

This promotional video gives a vivid idea of the combination of precision technology and traditional metal-bashing that is too hazardous to invite the public to see: Special Quality Alloys – A look behind the scenes at our facility here in Sheffield, UK (youtube.com).

It’s not easy to see how it’s done, but you have only to walk down Bessemer Road to hear it and feel it whenever the forge is working.

Jonas & Colver

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Joseph Jonas was born in Bingen-am-Rhein, Germany in 1845. In his youth he worked for a couple of German iron-and-steel companies until he emigrated to England in 1867 to avoid military service.

He arrived in Sheffield, a total stranger, and initially worked as a commercial traveller. He began his own manufacturing business in 1870 and two years later went into partnership with Robert Colver making high-quality crucible cast steel and, later, “Novo” high-speed steel for high-temperature cutting edges in hand tools and machine tools.

The partnership, which became a limited-liability company in 1892, was based at Continental Works and Novo Steel Works in Attercliffe, the heart of Sheffield’s heavy steel industry, and developed a reputation as one of the largest and most reliable suppliers of specialist steels in the industry.

Joseph Jonas made an outstanding contribution to public life in Sheffield. He joined the town council in 1890, became a magistrate and an alderman and served as Lord Mayor in 1904-05. As an Attercliffe councillor he took a lead in acquiring High Hazels Park, Darnall, for public use. He also acted as German Consul for Sheffield.

He gave financial support to the University’s Applied Sciences, French and German programmes, and was knighted in 1905 when King Edward VII and Queen Alexandra visited the city to open the Sheffield University building on Western Bank. In 1916 he contributed £5,000 to a bequest from the late Edgar Allen to found the Allen & Jonas Laboratory for metal-testing.

The company took the name Sir Joseph Jonas, Colver & Co Ltd in 1907. Robert Colver kept a lower public profile than his partner, except that he served as Master Cutler in 1890. He died in 1916, aged seventy-four, leaving Sir Joseph to continue the business.

Continental Works was heavily involved in supplying steel for armaments in the First World War, but in 1918 Sir Joseph was accused of contravening the Official Secrets Act by obtaining and communicating “certain information prejudicial to the interest of the State and information useful to the enemy”.

This prosecution harked back to an answer to an enquiry from a German customer in 1913 about a new rifle to be marketed by the Vickers company. There was considerable pre-war trade between Sheffield steel firms and such companies as the Krupp corporation: orders, materials, equipment and information were regularly exchanged until the declaration of war abruptly broke contact.

Sir Joseph and his co-defendant were found not guilty of a felony but convicted of a misdemeanour on a legal technicality. They were fined £2,000 and £1,000 respectively, plus costs.

Then Sir Joseph’s troubles began.

He immediately retired and gave up his position as chairman of Sir Joseph Jonas, Colver & Co Ltd, which shortly afterwards was renamed simply Jonas & Colver.

Three weeks later he was deprived of his knighthood by King George V, and the following month he was removed from the magistrates’ bench.

What in 1913 had been an entirely normal exchange of trade information between companies in two countries that were not at war became in 1918 a pretext for anti-German prejudice against a naturalised British subject, as an article on Chris Hobbs’ website shows in detail: Joseph Jonas (1845-1921) – Was a former Lord Mayor of Sheffield, a traitor? (chrishobbs.com).

Sheffield people would have none of it. His workers continued to call him “Sir Joseph”, and after his death aged seventy-six on August 22nd 1921 his funeral at Ecclesall Church was attended by the Lord Mayor and the Master Cutler, the Pro-Chancellor and the head of the Applied Science Department of Sheffield University, the chairman of the Sheffield Education Committee and, according to The Times, “representatives of every side of the city’s activities”.

Sir Joseph was not alone.

At the very beginning of the Great War the Lord Mayor of Coventry, Siegfried Bettmann, was, so to speak, sent to Coventry: World War One: Coventry mayor vilified over German roots – BBC News.

Similarly, Sir Edgar Spayer (1862-1932), chairman of the London Underground Electric Railways group, was ostracised after the War: On the margin | Mike Higginbottom Interesting Times.

It was not a time to reveal any connection, by name, birth or association, let alone activity, with Germany.

This was, after all, the period in history when German Shepherd dogs became Alsatians.

A dream for an architect

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St Joseph’s Catholic Church, Wetherby: sanctuary

St Joseph’s Catholic Church, Wetherby: Celebration Window

I first met the architect Vincente Stienlet in Sheffield in 2015 when the Hand Of team who promoted the Abbeydale Picture House Revival invited him to watch a silent film in the cinema his grandfather, Pascal J Stienlet, had designed in 1920.

Together we watched The Call of the Road, the very first film shown in the building, accompanied by a live pianist, and we’ve kept in touch ever since.

Recently Vincente invited me to accompany the Northern Architectural History Society when they visited St Joseph’s Catholic Church, Wetherby, which he designed and which was dedicated in 1986.

The chance to explore a building with the person who designed it is unmissable, and I was doubly blessed because when I arrived early I met the parish priest, the Very Rev Canon John Nunan, who took me on a liturgical tour of Vincente’s distinctive church.

When the NAHS coach arrived I then experienced a parallel tour with Vincente explaining to the group the structure as well as the symbolism. The two commentaries fitted hand in glove.

At the beginning of the 1980s the parish had reached the point where the modest Gothic 1882 church, designed by Edward Simpson of Bradford, could no longer serve the growing congregation: it seated 150, and every Sunday four Masses in succession were celebrated for up to six hundred worshippers.

The old St Joseph’s stands on a cramped and oddly shaped patch of land, alongside a former Methodist manse which had become the presbytery in 1939. The only available space for expansion was the modest gap between the two buildings and behind that the unused presbytery garden.

Vincente’s response was to design a polygonal tent that connects the two buildings and occupies very nearly every square foot of land the parish possessed.

The gap between the old building, which became the parish hall, and the presbytery is filled by an imposing narthex, leading beneath the gallery to the worship space that embraces the visitor and draws the eye to the Baptistery, the place of admission to the faith.

On the wall behind the baptistery hang the Stations of the Cross – bold, chunky, enigmatic elm, carved with a chainsaw, designed by the artist Fenwick Lawson as an uncompromising reminder of the sacrifice of the Crucifixion.

The Stations of the Cross lead the eye rightwards to Fenwick Lawson’s Risen Christ, mounted on a beam above the High Altar. Representing the triumph of the Resurrection it’s not a crucifix as such: the crossbeam has been removed from the outstretched arms and the figure looks left extending an open hand towards the light gained by two south-facing gables, and beyond to the Celebration Window, by Fenwick Lawson’s son Gerard, gold and green, portraying a sunburst over the blue ribbon of the River Wharfe and the red of the roads crossing at Wetherby, combining to make the PX symbol that the early church used for Christ’s name.

Canon Nunan described Vincente’s building to me as “a theological statement”. It stands for the faith it belongs to, and it works as a practical structure.

You need the architect to tell you that the Gerard Lawson’s window is double-glazed, separated by a metre-wide space from the external glazing to suppress traffic noise, and that the beautiful polished teak that furnishes the Sanctuary was recycled from the handrails of the Byker Bridge near to his office in Newcastle.

There is more, much more to this superb church which, like a finely tuned instrument, calms the spirit and inspires reflection.

I was privileged to understand it – at least a little – with Canon Nunan, who this year celebrates his Golden Jubilee and is about to begin his well-earned retirement, and with Vincente Stienlet who describes it, in his book A Life in Architecture (Pascal Stienlet & Son Architects 2020), as “a dream for an architect”.

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