Ashburton: railway station

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Former Ashburton railway station, Devon (2017)

The “Birmingham Railway Mafia” has left its fingerprints all over the early history of the rail-preservation movement in Britain.

From the early 1950s such individuals as the writer Tom Rolt (1910-1974), the photographer Ivo Peters (1915-1989) and the businessman Patrick Whitehouse (1922-1993), among others, were involved in saving the Talyllyn and Ffestiniog railways in North Wales and establishing the Tyseley Railway Centre in Birmingham.

Patrick Whitehouse persuaded British Railways to sell him a former Great Western Railway locomotive for £750, and with a Talylynn colleague, Pat Garland, sought a suitable branch railway on which to run it.

They secured the Totnes-Ashburton branch line in Devon, which still had track in place, and opened what was then the Dart Valley Railway – now operating as the South Devon Railway – in 1969.

There was, however, a catch in the deal.

For two years, the rail service ran the full length of the line and locomotives were stabled at the Ashburton terminus.

In 1971, however, the Ministry of Transport exercised its right to take over the trackbed north of Buckfastleigh and use it to improve the A38 trunk road.

The heritage line was permanently cut back to Buckfastleigh station, yet the historically significant Ashburton station with its overall roof, dating back to 1872, still remains intact, fifty years after the last train left.

It’s now a garage and is well-maintained, but the surrounding land has commercial development potential that could destroy its historic significance.

The adjacent Grade-II listed goods warehouse has been converted to offices by the architects Van Ellyn & Sheryn [Ashburton Listed Conversion – van Ellen + Sheryn | RIBA Chartered Architect – Devon], but none of the other surviving railway structures are listed.

The Friends of Ashburton Station launched a detailed and ambitious scheme to convert the passenger station as a prelude to a long-term plan to reconnect with the operational railway at Buckfastleigh, but the latest news on its website is dated September 2015:  Friends of Ashburton Station.

Their Facebook page shows encouraging signs of life.  The latest post there is July 2020, in the midst of the pandemic:  Friends of Ashburton Station – Posts | Facebook.

It’s hard to tell how the railway could co-exist with the further planned improvements to the A38, but restoring a significant historic structure in the middle of Ashburton would be a benefit, and the detail of the 2015 scheme inspires confidence that the project has been carefully thought-out.

Ashburton: St Lawrence Chapel

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St Lawrence Chapel, Ashburton, Devon

St Lawrence Chapel in the centre of Ashburton in Devon isn’t any kind of Nonconformist chapel.  It’s much older than Nonconformity.

It’s a medieval chantry chapel, established so that a priest, financed by a guild, could say masses for the soul of the founder – in this case Walter de Stapledon, Bishop of Exeter from 1308 and co-founder of Exeter College, Oxford.

He suffered a violent end, along with his older brother Sir Richard Stapledon, in a riot in London in 1326.  His body was defiled and buried on the bank of the Thames until Queen Isabella, the consort of King Edward II, ordered his remains to be taken to Exeter Cathedral, “there to be honoured with most magnificent exequies”.  He lies beneath an exquisite tomb in the cathedral.

The chantry building in Ashburton looks at first glance like a church, not least because of its sixteenth-century tower and spire.  The east end contained an altar for the celebration of mass, and the pupils were taught in the nave.

Chantries were, in the beliefs of the time, spiritual insurance policies, intended to shorten the ordeal of the soul in purgatory by employing priests to say masses in perpetuity.  They also operated, in this life, as accumulations of capital until they were appropriated by King Henry VIII in 1545 and 1547.

Successive chantry priests at Ashburton had run a grammar school, and to preserve this amenity a group of townsmen purchased the chantry assets and supervised the school from the mid-sixteenth century until 1938.

The nave was refurbished in the eighteenth-century and the classroom accommodation was extended in the late-nineteenth century and in 1911.

The Grammar School moved to more modern premises in 1938, and the chantry building continued as a local school until the 1980s.

In 1984 the ancient Guild of St Lawrence was recreated to preserve the building and manage it as a heritage, cultural and community centre:  St Lawrence Chapel at Ashburton – About.

This remarkable building has seen centuries of children through their elementary education, among them the Dean of Westminster, John Ireland (1761-1842), his friend the satirist William Gifford (1756-1826) and the Australian explorer William John Wills (1834-c1861).

It’s open to the public in the summer months:  St Lawrence Chapel at Ashburton – Find Us.

Ashburton: Old Methodist Church

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Old Methodist Church, Ashburton, Devon
Old Methodist Church, Ashburton, Devon (2017): interior.

The Devon market town of Ashburton has a long history:  as a stannary town it was an important centre for the administration of the tin-mining industry, and it was a staging post on the road between Exeter and Plymouth.

Among its historic buildings the Old Methodist Church stands out, and I was lucky to visit it in the summer of 2017, which turned out to be the end of an era.

Its prominent portico, set back from the street-line, is dated 1835, though the building behind appears to be later.  

Immediately behind the entrance doors there’s a schoolroom on the ground floor and a meeting room above.

Corridors on either side lead to a dignified, typically Methodist space with a gallery round three sides of the chapel.

It was comprehensively refurbished in 1896 with the installation of pitch-pine pews in place of box-pews, a green-and-chocolate rostrum instead of the former pulpit, and an upholstered alcove for the preacher.

An Inventory of Nonconformist Chapels and Meeting-Houses in South West England (1991) reported that the significant repairs had taken place in 1980, but in the decades since then the congregation have found the cost of maintenance unsustainable, and they have moved into the Parish Church Hall for their services, and sold the Old Methodist Church to Ashburton Arts, which is restoring it for use as a cultural and social centre for the town:  “One of the best small live music venues in the UK” The Guardian – Ashburton Arts Centre, 15 West St, Devon, TQ13 7DT, UK.

Full steam ahead

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Mill Meece Pumping Station, Staffordshire

Few preservation groups are invited to take on a historic site in complete working order.

When the steam engines at the Mill Meece Pumping Station, south of Stoke-on-Trent, were finally decommissioned at the end of 1979 the then owners, the Severn Trent Water Authority, invited enthusiasts to form a Preservation Trust to preserve the historic waterworks intact while the modern machinery did the work of supplying water. 

The Trust took over the site in 1981 and promptly opened it to the public.

Mill Meece Pumping Station (1914) represents one of the latest preserved examples of steam-powered water-supply pumping installations.  It is in effect the penultimate chapter in the story of steam and water-supply, a little earlier than the Kempton Great Engines, west of London, which were completed in 1929. 

The Trust website emphasises why this late example of steam pumping engineering is historically important:

[Although] beam engines abound, the Mill Meece horizontal tandem compound steam engines are the only ones of their type still capable of being steamed.  Along with all the ancillary equipment of boilers, economiser, Weir pumps, steam winch and weigh bridge the station forms a complete example of an Edwardian water supply pumping station.

The Staffordshire Potteries Water Works Company was founded in 1846 and spent the following three-quarters of a century trying to keep up with demand from the rapidly growing industrial Five Towns and the borough of Newcastle-under-Lyme. 

The Company opened a succession of waterworks and repeatedly extended them and their supporting networks of mains and reservoirs.  For much of the time further installations were planned even before the new ones were operational.

Indeed, when the land for Mill Meece Pumping Station was purchased in 1899, the Hatton Pumping Station, two miles further north, was incomplete.  The original pair of beam engines of 1892 at Hatton were supplemented by a horizontal engine completed in 1898, and a further horizontal engine was added in 1907.

Though diesel or electric power was available for water pumping by the beginning of the twentieth century, the Company, based in a coalfield, was content to rely on steam.  The Hatton engines were considered efficient, reliable and economical, so the Mill Meece engine house was built to accommodate two engines, powered by three boilers.

Mill Meece was the last of the Company’s waterworks, initially completed in 1914, though it didn’t begin pumping to supply until 1919. 

Half the engine house was occupied by a horizontal compound tandem rotary steam engine by Ashton Frost & Co of Blackburn drawing steam from two Lancashire boilers, pumping to the same reservoir at Hanchurch as Hatton. 

In the empty half of the engine house the Company’s municipal successor, the Staffordshire Potteries Water Board, installed a second engine by Hathorn Davey in 1927, broadly similar to its companion, together with a third Lancashire boiler. 

The two engines were built to the same specification, though they are not identical, and they are laid out in mirror image so that they can be controlled from a single central operating position.

All the other Company water works were converted to pump by electricity in the 1930s, but despite talk of scrapping them, the relatively new and powerful Mill Meece engines were kept for stand-by use after the station was electrified in 1949.

Indeed, the last time they pumped water into the public supply was December 22nd 1979, and within two years they formed the centrepiece of a working museum: Mill Meece Pumping Station.

In 2013 structural problems with the boiler house flues prevented the engines from steaming, and the remedial work took until November 2020. 

After years of frustration when visitors have been invited into a cold and silent works, the Covid pandemic precluded a quick return to steam.

The engines eventually moved again over the weekend of August 14th-15th 2021, and there’s every reason to hope that there will be a full programme of events at Mill Meece in 2022: What’s On (millmeecepumpingstation.co.uk)

Bennerley benefactors

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Bennerley Viaduct, Nottinghamshire/Derbyshire (2022)

On January 14th 2022, fifty-four years after the last train crossed Bennerley Viaduct, the “Iron Giant” reopened, providing public access to magnificent views across the Erewash Valley on the Nottinghamshire/Derbyshire border.

This remarkable structure, built to cope with the likelihood of subsidence in a heavily mined coalfield has survived because of three lucky circumstances.

Its wrought-iron construction made demolition inordinately expensive;  the demise of most similar viaducts ensured its listing at Grade II* and, most important of all, its location near to the Derbyshire town of Ilkeston meant that local people held it in their hearts.

The novelist D H Lawrence (1885-1930), born in nearby Eastwood, mentions it repeatedly in Sons and Lovers and The Rainbow.  For local youths, clambering in the girders as the trains rumbled overhead was an adolescent rite of passage.  Its distinctive shape told local travellers they were nearly home.

After the railway closed the viaduct survived a succession of vicissitudes until Sustrans, the charity which oversees the National Cycle Network, devised a scheme to fund its renovation.

When Sustrans backed away from the project in 2018, the Friends of Bennerley Viaduct worked with Railway Paths Ltd, the owner of the viaduct, to find the means to make it accessible as a community asset. 

I visited the viaduct within a week of its opening with my mate Richard, who often rides shotgun on my history explorations.

We took a train to Ilkeston Station, from where it’s an easy walk up the Erewash Canal towpath to cross the viaduct by a newly-constructed ramp at the west end and steps at the east, returning by the Nottingham Canal towpath to the station.

There must have been at least fifty people on the deck on a cold January midday, enjoying the new experience and full of curiosity.

The Friends of Bennerley Viaduct have brought long-term benefits to local people, dog-walkers, joggers and cyclists, bird-watchers and nature lovers, as well as rail enthusiasts and industrial archaeologists.

The restoration cost of £1.7 million was met in part by railway heritage organisations (the Railway Heritage Trust, Railway Paths and Railway Ramblers), national heritage organisations (Historic England and the National Lottery Heritage Fund) and the local authority, Broxtowe Borough Council.

Richard was intrigued by the sheer variety of other charities that had contributed to the restoration, and back home he researched the less obvious ones:

© Richard Miles

  • the Charles Hayward Foundation, set up in 1961 by Sir Charles Hayward (1892-1983), a Midlands-based businessman whose engineering company Electrical & General Industrial Trusts Ltd eventually became part of the Firth Cleveland group
  • the World Monuments Fund, a New York-based non-profit organisation founded in 1965 to preserve architectural and cultural heritage sites around the world
  • the Headley Trust, a division of the Sainsbury Family Trust, which makes awards to projects both in the UK and overseas supporting causes from arts and heritage to education, health and social welfare and overseas development
  • the Pilgrim Trust, established in the UK in 1930 by an American philanthropist Edward (‘Ned’) Harkness (1874-1940), son of one of the founders of Standard Oil, and dedicated to the UK’s “most urgent needs” and for “protecting its future well-being”
  • the H B Allen Charitable Trust, founded in 1987 by Miss Heather Barbara ‘Mickie’ Allen (d 2005), a descendant of James Burrough, the founder of Beefeater Gin
  • the Sylvia Waddilove Foundation UK, a trust bequeathed by the Bradford-born textile heiress Miss Sylvia Waddilove (1911-2001) which provides grants for a variety of causes, including the preservation of buildings of architectural or historical significance

I admire the Friends of Bennerley Viaduct for three particular reasons:  they are clearly rooted in an energetic local community;  they manage mainstream and social media extremely well, and – as Richard discovered – they are adept at finding financial support from eclectic sources.

The result is, as the Friends’ spokesman Kieron Lee told the BBC, that there are Bennerley Viaduct supporters as far away as Australia, Canada and Hawaii:  Bennerley Viaduct reopens to public after £1.7m repairs – BBC News.

No-one much under seventy can now remember travelling in a train over Bennerley Viaduct, but there is footage of a journey from Derby Friargate to Nottingham Victoria shortly before the passenger service ended on September 7th 1964:  A short film of the Friargate Line – YouTube.

Additional research by Richard Miles

Soane’s hidden house uncovered

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Moggerhanger Park, Bedfordshire

Sir John Soane (1753-1837) was one of the greatest English architects who ever lived, but he’s relatively little known because many of his major buildings have been destroyed or mutilated.

His father and brother were bricklayers, and John used their connections to train with the architect George Dance the Younger (1741-1825) and later with Henry Holland (1745-1806). 

From the start of his career he was fortunate to know the right people and to travel to the right places.

On a Royal Academy travelling scholarship he undertook a comprehensive Grand Tour from London to Malta, centred on Rome, seeing and drawing a huge range of classical buildings between 1778 and 1780.  During his travels he encountered numerous people of influence who would eventually help to advance his career.

After a slow start on his return to England, his reputation grew on the strength of country-house commissions, leading to official posts such as Architect and Surveyor to the Bank of England, architect to the Office of Works, professor of architecture at the Royal Academy and clerk of works to the Royal Hospital, Chelsea, St James’s Palace and the Palace of Westminster.

As a member of the United Grand Lodge of England he extended the Freemasons’ Hall in London (1821-31) – and, no doubt, his client-base.

The most distinguished of his surviving public buildings is the Dulwich Picture Gallery (1817), and his abiding legacy is the row of three terraced houses, 12-14 Lincoln’s Inn Fields, filled with his collections of drawings and sculpture and now known as Sir John Soane’s Museum.

Sir Nikolaus Pevsner described the destruction of much of Soane’s Bank of England structures after the First World War as “the greatest architectural crime, in the City of London, of the twentieth century”.

Only three of his country houses had remained intact – Pitzhanger Manor, Middlesex, Tyringham Hall, Buckinghamshire and the decayed but restorable Pell Wall Hall in Shropshire – but one, Moggerhanger Park, Bedfordshire, underwent an astonishing rediscovery at the turn of the twentieth century. 

It was commissioned by Godfrey Thornton, deputy governor and latterly governor of the Bank of England in the 1790s, and further altered for his son Stephen in 1806 and 1811.  His close friendship with Stephen Thornton and his brother and cousin meant that Soane used Moggerhanger Park as a test-bed for architectural innovations.

The house was sold to Bedfordshire County Council in 1919 for use as a TB hospital, which inevitably required extensive alterations and extensions.  In the late 1950s it became an orthopaedic hospital which closed in 1987.

It was bought by a developer who intended to build houses in the gardens, but it remained untouched for ten years until it was acquired by the Harvest Vision charity as a Christian Conference and Retreat Centre.

Harvest Vision worked with the Moggerhanger House Preservation Trust, which was led by a neighbour, Isabelle Hay, Countess of Erroll, to restore the building – a process of fascinating rediscovery that stretched over several years and repeatedly expanded the original budget – aided by designation as a Grade I listed building and support from the National Heritage Memorial Fund.

The cheap hospital extensions were stripped away, and a forensic archaeological examination of the original fabric, assisted by the rich archive of the Soane Museum, showed that Moggerhanger could be substantially returned to its 1812 condition, revealing the architect’s command of proportion and spatial planning, the ingenious use of light and colour, and the inventive use and reuse of earlier structures.

Described by the architect Peter Inskip, who was involved in its restoration, as “a great work of art which has been ignored for a hundred years”, Moggerhanger Park could not have a better modern use. 

Alongside their mission work, Harvest Vision opens the house to the public, provides accommodation for individuals and groups and offers outstanding wedding facilities, for which purpose Mrs Thornton’s Dressing Room has become a chapel:  Moggerhanger Park.

It’s loved, it’s lived in, and it’s secured for posterity.  Sir John Soane would approve.

Moggerhanger Park features in Mike Higginbottom’s lecture ‘English Country Houses – not quite what they seem’. For further details, please click here.

Tramtown

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Blackpool Tramway, Rigby Road Depot

The Blackpool Tramway is a monument to the entire history of railed street transport in Britain.

Blackpool had the very first electric street tramway in Britain, opened in 1885, and it now runs a modern light rapid-transit (LRT) service, alongside a varied collection of heritage trams for tourists and enthusiasts.

Until after the First World War three tram operators between Fleetwood and Lytham St Annes each ran two fleets – entirely conventional trams for local traffic alongside a range of designs to cater for crowds of holidaymakers who wanted to ride around enjoying themselves, preferably in the open air when the weather was favourable.

In the 1930s when a new transport manager, Walter Luff, was appointed he quickly realised that it would be impossible to handle the Promenade crowds with buses, particularly in the autumn Illuminations period.

He commissioned a suite of four ultra-modern tram designs primarily to work the Promenade service – luxurious, streamlined single- and double-deckers, some of them open to the fresh air for summer services.

After the Second World War, while every other tram operator in the country went over to electric trolleybuses or diesel motor buses Blackpool still needed the segregated Promenade tracks, stretching from Starr Gate in the south to the outskirts of Fleetwood in the north, to shift the crowds up and down the Promenade efficiently with the best possible view of the Illuminations.

New trams were far more expensive than new buses, however, so the 1930s fleet soldiered on, patched, repaired and many of them rebuilt in new guises. 

The only completely new trams to be added to the fleet after the 1950s were eight Centenary cars, built around the time of the tramway’s hundredth anniversary in 1985, when Government subsidies became available for new trams as well as buses.

Eventually the game was up, and the Victorian tramway was upgraded to modern LRT standards, with a fleet of sixteen sleek articulated trams which took over the basic service in 2012.

Nowadays, the Blackpool Tramway has three fleets:  the LRT cars are the “A” fleet, nine modified 1934-35 double-deck Balloon cars are the “B” fleet with widened doorways so they can stop at the raised LRT platforms, and the “C” fleet is a huge and varied collection of rolling stock dating back to, and before, the 1930s modernisation. Some of these trams are operational; others await repair or restoration.

The “C” fleet’s traditional home, Rigby Road depot, had an uncertain future in the period when the LRT fleet was planned and installed.  The new fleet eventually went to a purpose-built depot at Starr Gate, and Rigby Road was designated the base for the heritage fleet, despite a long-standing backlog of building maintenance.

It’s now intended to double as a working tram depot and a museum, branded as Tramtown.  The building needs attention to make it weatherproof, and some at least of the relics on wheels that have fetched up there need to move elsewhere to increase display space.

At present Rigby Road is a uniquely fascinating treasure-house of transport history, open to the public on bookable tours led by enthusiastic volunteers.

If you enjoy rail transport, it’s not to be missed.   

Exploring Canberra: one cathedral short…

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St Christopher’s RC Cathedral, Manuka, Canberra, Australia
St Paul’s Church, Manuka, Canberra, Australia

I knew from a tablet at St John’s Church, Reid that there is no Anglican Cathedral at Rottenbury Hill in Canberra, though its site has been held since 1927 [View from the platform constructed for the dedication ceremony for the site of St. Marks Anglican Cathedral on Rottenbury Hill, Canberra, 8th May 1927 [picture] (nla.gov.au)], and I discovered that Canberra has a Catholic cathedral in a suburb called Manuka (named after the flower, Leptospermum scoparium). 

On the way to the Catholic cathedral through the Canberra suburbs, misdirected by a bus driver, I came across the Anglican Church, St Paul’s, an immaculate brick essay in Art Deco with Gothic hints by the Sydney architects Burcham Clamp & Son, begun in 1939 and most recently extended in 2001.  The Anglican diocese remains based in Goulburn, where there is a particularly fine cathedral of St Saviour (1884) by Edmund Blacket, one of his best works.  As a result, St Paul’s, though only a parish church, often hosts civic and government services.  St Paul’s has Canberra’s only ring of eight bells for change ringing and its largest pipe organ.

St Christopher’s Catholic Cathedral is a few hundred yards away, a Romanesque design by Clement Glancy Snr, begun in 1939 and extended by his son, also Clement Glancy, in 1973 when the previous Catholic cathedral in Goulburn was demoted.  St Christopher’s is the largest place of worship in Canberra, so it vies with St Paul’s Church to receive major services and events.  This building is not the intended design and doesn’t stand on the intended site of the planned Catholic Cathedral for Canberra:  GC447YC Canberra Cathedrals (Multi-cache) in Australian Capital Territory, Australia created by Pacmania (geocaching.com).

Meanwhile Rottenbury Hill, the site designated in 1927 for an Anglican cathedral in the national capital, has never been used for its intended purpose.  Instead, there are plans, apparently, for a Southern Cross Sanctuary:  Southern Cross Sanctuary | civicarts.

The story is one of masterly clerical inactivity:  http://anglicanhistory.org/aus/campbell_canberra2002.pdf.  Successive synods of the Church of England in Australia (since 1962 the Anglican Church of Australia) have repeatedly kicked into touch discussion of how a bishopric for the capital would fit into the Australian hierarchy, as well as the practical question of how an actual cathedral would be financed and built.

At the outset it fell to the then Bishop of Goulburn, Lewis Bostock Radford (1869-1937), to raise questions about this project in Synod because the New Capital Territory lay within his vast diocese.

He spent much of his career as bishop urging his fellow clergy to decide what to do while distancing himself from taking responsibility for a nebulous and unwieldy scheme that was beyond his capacity as an individual.

He retired at the end of 1933 and died in England four years later.

His ashes lie in St John’s Church, Reid, waiting to be interred in the new national cathedral if and when it is built.

Exploring Canberra: St John’s Church, Reid

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St John the Baptist Church, Reid, Canberra, Australia

Having visited the one building in Canberra I’d specifically come to see, All Saints’ Church, Ainslie, I looked for the obvious tourist sites like the National Gallery and the National Museum of Australia and the obscure, unlikely places that often prove to be more interesting.

I enjoyed, for instance, the National Museum of Australia, not least for the excellent salmon sandwich and pot of tea overlooking the West Basin of Canberra’s enormous artificial lake.  Like the National Maritime Museum in Sydney, entry is free and the standard of presentation is top-quality.  It supplemented my learning in a number of ways, not least because it displays an example of the gold-diggers’ wooden cradle which I’d read about and couldn’t visualise.

I’d decided to pursue my trail of buildings by the architect Edmund Blacket (1817-1883), who had built, amid much else, St Andrew’s Cathedral, Sydney and some of the minor churches I’d spotted in Sydney and around Maitland and Morpeth, New South Wales.

I spotted that Edmund Blacket built the 1865-70 tower to the older Church of St John the Baptist, Reid, consecrated in 1845, sixty-odd years before Canberra was even thought of. 

There’s a photograph of it c1864 with an earlier tower, surrounded entirely by flat fields.  It’s the oldest building in the area, with a narrow nave and chancel because the original cell was small and has been three times lengthened.  It has the warm, modest atmosphere of an English parish church.  Edmund Blacket’s tower and spire of 1870 sits neatly at the end of the 1841-45 nave, and the chancel is 1872-73. 

The walls are worth reading.  One panel alerted me to the existence of an abortive St Mark’s Anglican Cathedral project, for which the federal government provided a site at Rottenbury Hill in 1927, though nothing has yet been built. 

There is also a monument to the first minister of St John’s, Rev G E Gregory, who was drowned on August 20th 1851 “while attempting to swim across the Queyanbean [River] on his return from ministering to the scattered colonists on the banks of the Murrumbidgee”. 

Outside in the churchyard, the so-called ‘Prophetic Tombstone’ to Sarah and George Webb has as its inscription Hebrews 15:14 – “For here we have no continuing city, but seek one to come”.

The Wright stuff

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St Pancras Station, London

An embarrassingly long time ago, one of my school contemporaries gave me a book that had belonged to his late father – Roy Christian’s Butterley Brick:  200 years in the making (Henry Melland 1990).  The title misled me.  It sat for far too long on my pile of unread books because I’m not particularly interested in brickworks.

Roy Christian was one of the most lucid and knowledgeable Derbyshire local historians of his generation, and he named his book after only one of the three divisions into which the old Butterley Company had been divided in 1968 – Butterley Brick, Butterley Engineering and Butterley Aggregates.

Brickmaking only emerges in Roy Christian’s book at chapter ten, and much of his text is a masterly account of a now-vanished major industrial complex, based on a 1950 company history aptly entitled Through Five Generations and subsequent researches by Jean Lindsay and Philip Riden.

Bricks had been made around Butterley since William Jessop (1745-1814) and Benjamin Outram (1764-1805) engineered the Butterley Tunnel on the Cromford Canal in the early 1790s, and the two canal engineers founded Benjamin Outram & Co, in conjunction with a lawyer, Francis Beresford (1737-1801), and a banker, John Wright (1758-1840), to mine coal and iron and to manufacture iron goods.

The company was renamed the Butterley Company sometime earlier than 1809.

Of the descendants of these four founders, William Jessop’s son, also called William (1784-1852), led the company for forty-six years, and then its long-term success was directed by five generations of the Wright family, who owned 100% of the company’s shares from 1888 and remained in control until 1966. 

They established an ironworks literally above the canal tunnel at Butterley and a forge further along the canal at Codnor Park, and purchased limestone quarries at Crich and elsewhere, so that they were fully in command of the necessary raw materials and the means of transporting them cheaply.

The district was not populous so the company built housing at locations along the canal – Ironville, Golden Valley and Hammersmith.

The most prominent memento of the company’s engineering prowess is the magnificent trainshed at St Pancras Station (1867), which bears the name “Butterley Company, Derbyshire” repeatedly cast into the ironwork.

But their handiwork is evident in so many other places, from the elegant Hospital Lane Bridge, Boston, Lincolnshire (1811), the surviving winding-engine on the Cromford & High Peak Railway at Middleton Top (1829) in Derbyshire and London’s Vauxhall Bridge (1906) to the Falkirk Wheel (2000) and the Spinnaker Tower, Portsmorth (2005).

In contrast, Roy Christian explains the Butterley habit of espousing unlikely, ill-starred inventions, ranging from William Brunton’s Steam Horse (1813) [https://www.youtube.com/watch?v=jffVbuUhblc] to the Simm-Wulpa vertical car park (1962) [https://www.rdht.org.uk/all-things-local-august-2017].

There was a time in the early 1970s when Butterley could have become a tourist asset comparable with the Beamish Open Air Museum in co Durham and Blists Hill at Ironbridge, Shropshire. 

Derby Corporation acquired the Britain Pit site, midway between Butterley and Golden Valley, to establish an open-air museum around the railway line from Pye Bridge to Butterley:  https://www.midlandrailway-butterley.co.uk/history-of-the-midland-railway-butterley.  Though the local authority stepped back quickly, the rail museum developed into the ambitious Midland Railway Butterley, but much of the industrial archaeology associated with Butterley Ironworks and Codnor Park Forge has been lost.

The Butterley Company was sold to the Hanson Group in 1968 and split up.  The engineering works closed in 2009 and the ironworks site was sold in 2015.

To ensure that the memory of this once mighty enterprise isn’t completely lost, the Butterley Ironworks Trust has been formed, led by former company employees, with ambitious plans to make the most of what’s left:  https://www.rdht.org.uk/butterley-ironworks-the-future.

Sheffield City Libraries is mounting Mike Higginbottom’s presentation ‘Waterways and Railways across the Derbyshire Peak’ in the Carpenter Room, Central Library, Surrey Street, Sheffield on Thursday February 9th 2023 at 11.00am. Admission is free. To reserve a place, please click here.