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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cathedral Church of Christ the King, Newcastle, New South Wales, Australia

Every major Australian and New Zealand city possesses at least one, usually two, fine cathedrals, many of them started in the Gothic Revival style in the early years of settlement.  Some, such as St Mary’s Roman Catholic Cathedral, Perth and Holy Trinity Cathedral, Auckland, were completed to newer, cheaper, more practical designs;  others such as William Wilkinson Wardell’s magnificent St Patrick’s Cathedral, Melbourne, and St Mary’s Cathedral, Sydney, were eventually completed as the original architect intended.

The Cathedral Church of Christ the King, Newcastle, New South Wales, begun in 1869, is a superb essay in Gothic Revival style by the Canadian-born architect John Horbury Hunt (1838-1904), who designed (among much else) Christ Church Cathedral, Grafton (1881-4), St Peter’s Anglican Cathedral, Armidale (1871) and rebuilt the charming little church of St James, Morpeth after a fire (1874-7) – all three in New South Wales.

The original design by the architects Leonard Terry (1825–1884) and Robert Speechly (1840-1884) proved unworkable, and John Horbury Hunt provided a new design in 1882.  It has the signature of this talented, often controversial architect – an uncompromising choice of materials, in this case brick, and a forthright acceptance of asymmetry.  The building as it stands is not exactly as John Horbury Hunt intended:  http://www.flickr.com/photos/uon/4128635375/in/photostream.

Construction stalled in 1893 in a flurry of litigation over contracts and costs, and resumed in 1900 under the supervision of the Sydney architect John Hingeston Buckeridge (1857-1934), so that the nave and crossing could be brought into use in 1902.

Thereafter, a succession of architects progressively extended the building:  Frederick George & A C Castleden designed the Warrior’s Chapel (1924) at the east end, using Buckeridge’s plans, and the nave was completed with a roof unlike Hunt’s intention in 1928.

E C Sara of the practice Castleden & Sara added the Columbarium in 1955.  Eventually, in 1979, the transepts and tower were completed, largely according to Hunt’s intentions, by E C Sara’s son John.

The only omission from the spirit of Hunt’s design was the spire, which is almost certainly for the best, because the Cathedral was damaged in the 1989 earthquake, and the repairs that took place in 1995-1997 were only practicable because of the quality of the original structure:  http://www.newcastlecathedral.org.au/earthquake.html.

The result is a magnificent, remarkably harmonious essay in Gothic architecture, completed in the 1970s and rescued in the 1990s.  At the time of its consecration in 1983 it had been in use for eighty years.

I was fortunate to be shown round by Bronwyn Orrock, who has inventorised the cathedral’s many treasures, including sixty stained-glass windows by Kempe & Co and one, the Dies Domini window of 1907, by Edward Burne-Jones and Morris & Co.

The font and the bishop’s throne are by William Douglas Caroe (1857-1938);  the pulpit is by the German-born artist Frederick Burnhardt  Menkens (1855-1910);  in the Warriors’ Chapel are fourteen terracotta panels designed by the Doulton ceramicist George Tinworth (1843-1913).

The Cathedral is the parent church of Toc H in Australia and is rich in war memorials, from Gallipoli, Flanders, Singapore, Korea, Malaya and Vietnam.

Newcastle is, perhaps, off the tourist beat, yet Christ Church Cathedral is one of the most memorable buildings I’ve so far seen in this vast and varied country.

The Cathedral website is at www.newcastlecathedral.org.au.

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

St Paul’s Church, Cobbitty, New South Wales, Australia

When I lectured to the Camden Decorative & Fine Arts Society, on the south-western outskirts of Sydney, my hostess Nola Tegel insisted on taking me to one of the oldest intact churches in Australia, St Paul’s Church, Cobbitty, which otherwise I might never have found.

Cobbitty was developed around the pioneer ranch of Rowland and Elizabeth Hassall, missionaries who arrived in Australia in 1798.  Their son, Rev Thomas Hassall (1794-1868), founded the first Sunday School in Australia when he was nineteen years old, was the first Australian-born Anglican priest and became the first rector of Cobbitty in 1827.

He built the Heber Chapel, a simple stone schoolroom dedicated in 1829 to the memory of the much-travelled Rt Rev Reginald Heber (1783-1826), who was Bishop of Calcutta at the time when the whole of Australia was one of its archdeaconries.

Known as the “galloping parson”, Thomas Hassall farmed sheep and acted as magistrate while serving a huge parish:  http://adb.anu.edu.au/biography/hassall-thomas-2167.

The later church, a simple Gothic building with a spire, was designed by John Verge (1782-1861), the English-born architect who is best-known for a series of fine villas in the Sydney suburbs, and was at least partly responsible for Elizabeth Bay House (1835-9).

St Paul’s Church was completed in 1842.  In the churchyard is the grave of Edward Wise, aged 21, who was struck by lightning while building the steeple.

Recent renovations have revealed, so I’m told, that the unusual shape, with a vestigial sanctuary and broad transepts, results from a decision during construction to extend and reorientate the church.

The church has one of the very few surviving organs by William Davidson (1876):  http://www.sydneyorgan.com/Cobbity.html.

Thomas Hassall is buried at Cobbitty, and his family are still linked to the parish:  the grandson of his great-great-nephew was christened there in 2011:  http://macarthur-chronicle-camden.whereilive.com.au/news/story/path-of-restoration-for-cobbitty-church.

Brits used to be sniffy about the lack of history in the former outposts of Empire.  In fact, Cobbity has all the history you’d expect in a traditional English village – buildings going back to the roots of the settlement, fascinating characters, archaeology, and family links back to the Australian equivalent of the Norman Conquest:  http://www.dictionaryofsydney.org/entry/cobbitty.

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

St George’s Church, Hobart, Tasmania, Australia

My only visit to Tasmania so far was a whistle-stop affair.  The lecture-tour itinerary I was following meant that I flew into Hobart on Sunday night, lectured there on Monday night, travelled to Launceston on Tuesday to lecture, and left for Sydney on Wednesday morning.

Van Diemen’s Land was a bad place to be in the early nineteenth century.  British criminals feared it;  colonial administrators hated it, and the settlers’ activities ultimately exterminated the indigenous population.

It is a beautiful island, and a place to which I must return.

I stayed at Battery Point, on the hill above Sullivans Cove, at the comfortable Battery Point Boutique Accommodation [http://www.batterypointaccommodation.com.au/aboutus/index.htm], and my hosts, Jill and Bill Bale, made sure I saw as much of their city as possible in a short time.

Battery Point and the harbour-front below it, Salamanca Place, reminded me strongly of Whitby, which is plausible because Hobart dates from 1804 and its oldest streets are more Georgian than Victorian.

In the limited time available I needed to check out Hobart’s cathedrals for my ‘Antipodean Gothic’ lecture and publication. 

I’m glad that Bill, my host, insisted on pointing me towards St George’s Parish Church, a superb Greek-revival building of 1836-8, designed by the Irish-born Civil Engineer & Colonial Architect John Lee Archer (1791-1852).  The particularly elegant tower (1840s, based on the Tower of the Winds, Athens) and the imposing Doric porch (1888) were added by the convict-architect James Blackburn (1803-1854), who had been transported for forgery and who at the end of his life designed the first water-supply system for Melbourne.

St Mary’s Cathedral, seat of the Catholic Archbishop of Hobart, is Gothic, imperfectly constructed 1860-6 and re-erected 1876-81.  It has a memorial stained-glass window by John Hardman & Co and a statue of the Virgin and Child, designed by Augustus Welby Northmore Pugin and carved by George Myers.  Three modern stained-glass windows are by the Hungarian-born designer Stephen Moor (1915-2003).  In contrast, the font – of unknown provenance – is thought to be Norman.

St David’s Cathedral, the centre of the Anglican diocese of Tasmania, is an early design of the late-Victorian English architect, George Frederick Bodley (1827-1907).  It replaced an earlier classical parish church of 1823.  St David’s Cathedral was begun in 1868 and the nave was consecrated in 1874.  It took until 1936 to complete:  the chancel, consecrated in 1894, proved unsafe and had to be reconstructed in 1908-9;  the tower, for which the foundation-stone had been laid in 1892, was eventually constructed 1931-6.

I keep finding similar stories in the origins of Australian cities – diligent, determined congregations building churches, designed either by people on the spot who’ve brought their skills across the seas, or by British architects sending out plans that they knew they’d never see built.

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

St Andrew’s Cathedral, Sydney, Australia

St Mary’s Roman Catholic Cathedral, Sydney, Australia

Catholic cathedrals in most Australian cities were deliberately designed to outshine their Anglican neighbours.

In Sydney, Australia’s earliest settlement founded in 1788, the Anglicans were quicker off the mark, and after a couple of false starts completed St Andrew’s Cathedral, which was consecrated in 1868.

The architect, Edmund Thomas Blacket (1817-1883) had a difficult time adapting the existing foundations and part-construction of an earlier project, and produced a modest-sized but imposing composition, with more than a passing resemblance to York Minster.

Sadly, St Andrew’s Cathedral has been compromised more than once.  Because of the noise of Sydney’s trams passing the east end of the cathedral, the entire church was reversed, placing the entrance on the east so that communion was celebrated as far as possible from the tramlines at the west end where the choir had to fight, not only the trams, but also the acoustics.

When in 1999-2000 the original layout was restored, liturgical considerations required that the old altar had to go.  It was, in addition, riddled with termites.

As a result, the fine reredos designed by John Loughborough Pearson and carved by Thomas Earp was left framing a vacancy.

The seat of the Catholic Archbishop of Sydney is the splendid St Mary’s Cathedral – also the successor to a couple of earlier structures which were successively destroyed by fire.

The foundation stone of St Mary’s was laid in 1868, the year St Andrew’s was consecrated.

The Catholics had the advantage, however, of a spacious site on the edge of the built-up city-centre, and they chose as their architect William Wilkinson Wardell (1823-1899), who already had St Patrick’s Cathedral, Melbourne, well under way.

Wardell lived long enough to see St Patrick’s substantially completed, but St Mary’s took much longer.  Work on the nave began in 1913 and was completed in 1928.

Even then, Wardell’s elegant design was truncated, because there were insufficient funds to complete the twin western towers with spires.

Indeed, it seemed unlikely that such expensive luxuries would ever be justified, until an A$5,000,000 grant from the New South Wales Government prompted the ingenious solution of flying in steel frames by helicopter and cladding them in Wondabyne sandstone to match Wardell’s original design and intentions.

St Mary’s Cathedral was topped out, in the literal sense, in August 2000, completing a project that began in 1868.

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

St Patrick’s Roman Catholic Cathedral, Melbourne, Australia

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

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

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

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

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

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

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