Category Archives: Sacred Places

The Church of King Charles the Martyr, Royal Tunbridge Wells

Leave a Reply

Church of King Charles the Martyr, Royal Tunbridge Wells

The site of Tunbridge Wells was empty fields until Dudley, Lord North (1581-1666) came upon a chalybeate (iron-bearing) spring in 1609 while staying at a lodge in nearby Eridge for his health.

He publicised the therapeutic powers of the waters –

These waters youth in age renew,

Strength to the weak and sickly add,

Give the pale cheek a rosy hue

And cheerful spirits to the sad.

– and attracted royal approval when Queen Henrietta Maria, consort of King Charles I visited in 1630.

The Lord of the Manor, Donagh MacCarthy, 1st Earl of Clancarty (1594–1665), enclosed the spring and built a meeting hall “to shelter the dippers in wet weather”.  Nevertheless, when Queen Catherine of Braganza took the waters in 1664, her court was accommodated in tents.

The spa’s first assembly room was in fact the Church of King Charles the Martyr, built as a brick chapel of ease in 1684.  Its unusual dedication memorialised the executed monarch, whose death was until 1859 remembered as an Anglican feast-day on the anniversary of his execution, January 30th.

The land for the church was given by Viscountess Purbeck and the fundraising and subsequent building programme was supervised by the MP and entrepreneur Thomas Neale (1641–1699) as part of his nearby development of shops and inns.

The fine plaster ceiling of five domes was installed in 1678 by John Wetherell, who had worked for Sir Christopher Wren at Greenwich.  Five years later a further dome was installed to the north, opposite the original doorway.

This building quickly became too small for either an assembly or its congregation.

In 1688-1690 Henry Doogood, Sir Christopher Wren’s chief plasterer, took down the west wall, replacing it with the tall columns that still stand in the middle of the nave, and doubled the size of the interior, duplicating the plaster ceiling with, as Pevsner remarks, “more bravura” than the original.

Strict social separation was maintained between the high-status worshippers in the body of the church and the tradespeople and servants above:  the oak-panelled seventeenth-century galleries were originally accessible only from outside.

Ironically, when the then Princess Victoria, aged sixteen, with her mother, the Duchess of Kent, visited in 1835 she sat in the north balcony which was at the time close to the pulpit and the altar.

St Charles the Martyr became a parish church – with an unusually small area, 65 acres, much of it common land,– only in 1889, when for the first time the interior was oriented to the east by the architect Ewan Christian.

The three-decker pulpit was removed and the seating reversed to face the present-day chancel, removing the anomaly that the communion table stood at the side of the church, out of sight of most worshippers.

In this refurbishment the Credo and Paternoster boards by William Cheere were brought from the church of All Hallows, Bread Street, in the City of London (built 1681-84;  demolished 1878).

The Church of King Charles the Martyr is a highly unusual building and well worth a visit.  The greeters are particularly welcoming:  http://kcmtw.or

“Perfectly plain” Pugin

1 Reply

St Barnabas Cathedral, Nottingham

After he had begun work on St Mary’s Church, Derby, Augustus Welby Northmore Pugin was invited to design a parish church for Nottingham, a bigger building with a limited budget, and therefore plainer than he liked.

Pugin himself had envisaged St Mary’s as the future cathedral for the North Midlands, but when the Catholic hierarchy was re-established, the East Midlands diocese was based at St Barnabas’ Cathedral, Nottingham.

By the time he designed St Barnabas’, Pugin had already completed the drawings for the much more elaborate St Giles’ Church, Cheadle, yet at Nottingham he contrived dramatic effects in what he claimed was the most economical manner, though he exceeded the initial budget by half.

Always melodramatic, and sometimes hysterical, this talented, obsessive, frantic, fascinating man remonstrated with the Earl of Shrewsbury, who had subscribed £7,000 of the original £10,500 estimate, about whether, and where, to have the tower:

I have no reason for placing the tower of Nottingham at the West end.  It would be a loss, a clear loss of funds.  I have not one tracery window, no pinnacles or any ornament externally.  It will be the greatest triumph of external simplicity and internal effect yet achieved.  Yet I must have outline and breaks or the building will go for nothing.

Looking at the completed church, it’s easy to see what he meant about the position of the tower;  it is equally easy to see that the finished design is not short of external ornament.

Pugin’s stated aim was to build a church “which would give general satisfaction, have a grand appearance, although perfectly plain and admit of a most solemn and rich interior.”  The plain ashlar walls, pierced by narrow lancets and a rose window of plate tracery, give an impression of solidity.  The whole church is 190 feet from end to end, and the spire rises to 150 feet but looks higher as the street slopes downhill towards the east.

But Pugin himself was dissatisfied.  He felt, quite literally, that his style was cramped:

Nottingham was spoilt by the style restricted to lancet – a period well suited to a cistercian abbey in a secluded vale, but very unsuitable for the centre of a crowded town… there was nothing left but to make the best under the circumstances, and the result has been what might be expected;  the church is too dark, and I am blamed for it…

Indeed, Pugin was easily disgruntled.  Having converted to Catholicism only in 1832, he was “a Catholic first and whatever else he was second”.

Monsignor Martin Cummins, in Nottingham Cathedral:  a history of Catholic Nottingham (1985), relates how –

When showing an Anglican friend the Rood-screen, Pugin said:  “Within is the holy of holies.  The people remain outside.  Never is the sanctuary entered save by those in sacred orders.”  Then, to his horror, a priest appeared in the sanctuary showing the screen to two ladies.  Pugin turned to the sacristan, “Turn these people out at once!  How dare they enter!”  But the sacristan replied, “Sir, it is Bishop Wiseman.”  Pugin, powerless, retired to the nearest bench and burst into tears.

Pugin’s architectural career only began in the late 1830s.  By the end of the 1840s the energy he poured into his creativity had wrecked his health, and he died, a broken man, in 1851 at the age of forty.

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.

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

Pioneer of the Gothic Revival

1 Reply

St Mary’s Roman Catholic Church, Derby

St Mary’s Roman Catholic Church in Derby, built 1838-39, was the first complete design of the foremost designer of the English Gothic Revival, Augustus Welby Northmore Pugin (1812-1852).

Its foundation stone was laid on June 28th 1837, the day of Queen Victoria’s coronation.

Previously the few Catholics in Derby had worshipped in a small building in Chapel Street.

Built to the north of Derby town centre, at precisely the time when the approaching railways were about to cause rapid growth in population, St Mary’s was an acknowledgement that many of the workers who would migrate to the new railway works would be Irish in origin.

The site was constricted and funds limited.  Pugin set out the building with the sanctuary to the north and a tall tower, 100 feet high, placed centrally at the south (liturgical west) front.

The church would have been even more prominent if Pugin’s slender spire, supported by flying buttresses, had been built:  its tip would have reached two hundred feet above street level.

In the absence of a spire, a white Portland stone statue of St Mary was mounted on top of the tower and unveiled on Trinity Sunday 1928.

Now that many of the surrounding buildings have been cleared the plainness of the side walls is noticeable.

Though the exterior of St Mary’s is elegant and understated, the interior was richly decorated.

Pugin designed a whole range of fittings and metal furniture in collaboration with the Birmingham manufacturer, John Hardman.  The panoply of lamps, crosses, candlesticks, vessels and altar furniture first seen at the consecration ceremony were the earliest products of a partnership which lasted to the end of the architect’s life.

The Derby Mercury reported that “the appearance of the clergy, upwards of fifty in number, surrounding the Altar, was extremely gorgeous”.

The Catholic newcomers were not welcomed to Derby by the established Anglicans.

In 1846 the great bulk of the Anglican parish church of St Alkmund, designed by the local architect Henry Isaac Stevens (1806-1873), was built, blocking the view of St Mary’s from the town centre.  It was traditionally said to have been the “Anglicans’ revenge” for the construction of Pugin’s church.

Ironically, when St Alkmund’s was demolished in 1967 to make way for the Inner Ring Road, some of its stone was offered for the construction of a new East Porch for St Mary’s.

The footbridge across the underpass leads directly to St Mary’s main entrance, and there is now an unimpeded view between Pugin’s elegant Gothic Revival church and the superb medieval Perpendicular tower of the Anglican cathedral of All Saints’.

St Mary’s Church is listed Grade II*.

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.

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

Climbing heaven

Leave a Reply

Former St Benedict’s Church, Ardwick, Manchester – now Manchester Climbing Centre

The parish church of St Benedict, Ardwick, Manchester, was the result of the wealth and religious inclinations of one man, John Marsland Bennett (1817-1889).  An Alderman and two-term Lord Mayor of Manchester, he prospered as a timber and stone merchant owning an extensive site at the junction of two main-line railways to Crewe and Sheffield.

When the Secretary of the Manchester Diocesan Church Building Society asked Mr Bennett for a plot of land to build a church in 1876 he offered to build the church on land he would provide. 

St Benedict’s Church was consecrated on March 20th 1880.

The architect was Joseph Stretch Crowther (1820-1893) and St Benedict’s is unlike any of his other church designs. 

It is entirely in brick, in header bond on the exterior and English bond within, with stone and terracotta dressings, rectangular without porches.  The body of the church is narrow and high, with a magnificent double hammer-beam roof. 

This magnificence came without a congregation.  Much of the surrounding land had yet to be developed and some of the speculative houses already built had yet to be occupied.  There were only 26 communicants on Easter Day 1880.

This did not seem to trouble the Bennett family, staunch Anglo-Catholics who used it to worship as they pleased in a predominantly Evangelical diocese.

They omitted to provide an endowment.  Their financial support dwindled after the death of J M Bennett’s eldest son, Armitage Bennett, aged 48, in 1897 and ended completely by the time the family business closed in the 1930s.  After the Second World War Keble College, Oxford took over patronage of the living.

When almost all the housing in the parish was cleared in the late 1960s the parish developed as a “shrine church” for Anglican Papalism, the branch of Anglo-Catholicism that looks towards reconciliation between the Church of England and Rome, and rejects any development that might prove an obstacle to that goal.

St Benedict’s came to serve a congregation that did not live locally, and although its centenary was celebrated by the sandblasting and chemical cleaning of the entire building in 1980, it became increasingly difficult to sustain the congregation and the structure.

The final celebration of Mass at St Benedict’s took place on February 11th 2002.

Closure inevitably threatened the future of this Grade II* building until the climber John Dunne took it on as a base for the Manchester Climbing Centre, which was opened on March 15th 2005, and continues to thrive as a popular venue for indoor climbing and bouldering.

The climbing paraphernalia crowds Crowther’s spacious interior – https://manchesterclimbingcentre.com/the-centre/4 – which is a small price to pay to preserve the building for years to come. 

Without the Manchester Climbing Centre, St Benedict’s might well have been flattened before now.

The climbing equipment is demountable, so that the listed interior is preserved.  The ornate iron screens around the sanctuary remain intact, and the mutilated original reredos apparently still exists, though hidden, at the east end.  All of the stained glass remains, but the 1907 pulpit and the organ have been removed.

Around the east end of the church are brass panels commemorating deceased members of the parish. 

One of them is in memory of Professor John Mills, who died in a climbing accident in Snowdonia on December 3rd 1977, aged 63.  A lifelong climber, he would have been astonished to know that his parish church became a climbing centre.

Read about another very different historic building that has been brought back into use as a climbing centre here.

For details of Mike Higginbottom’s lecture Manchester’s Heritage, please click here.

The 60-page, A4 handbook for the 2019 ‘Manchester’s Heritage’ tour, with text, photographs, maps 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.

Providential curry

Leave a Reply
Former Providence Place Congregational Chapel, Cleckheaton, West Yorkshire

Former Providence Place Congregational Chapel, Cleckheaton, West Yorkshire

When my curry-loving mate Richard and I go to Bradford to meet my friend Mohammed he usually takes us to one of the many curry houses in inner-city Bradford, but on our last meeting we set off on a mystery tour to Cleckheaton.

Our destination was Aakash, which claims to be the largest curry house in the world.

It occupies the former Providence Place Congregational Chapel of 1857-1859, a gigantic temple of nonconformity designed by the prestigious Bradford practice of Henry Francis Lockwood and William Mawson, who built much that is fine in the Bradford area in the mid-nineteenth century including St George’s Hall (1851-52), the Wool Exchange (1864-7), the City Hall (1869-73), and almost every building in Saltaire (1851-76).

Providence Chapel cost about £9,000, an impressive sum that sounds considerable until it’s compared with the £16,000 that Sir Titus Salt spent on the Congregational Church in Saltaire.  At the time you could get a modest but respectable Gothic parish church for around £4,000.

For their money, Cleckheaton Congregationalists were given seating for 1,500 and a grandeur that would flatter a municipal town hall.  Its ashlar façade has a giant portico of five unfluted Corinthian columns supporting a pediment containing a roundel, surrounded by carved foliage, with the inscription “Glory to God in the highest, and on earth peace, good will to all men”.  In front are cast-iron gates and lamp standards.

Listed Grade II*, the chapel was described in Nikolaus Pevsner’s Buildings of England as “amazingly pompous for a religious building”.

It closed in 1991 when the remaining congregation combined with the amalgamated Spendborough Group of United Reformed Churches at Grove, Gomersal, and it became an Indian restaurant founded by a former taxi-rank owner, Mohammad Iqbal Tabassum.

It was named Aakash, the Urdu word for “sky”, and the coffered ceiling was painted with clouds.

The box pews inevitably went and the rake of the gallery floor was levelled, but the organ and the pulpit, described by a reviewer at the time as “skip-sized”, remained as a “lookout post” for the restaurant manager.

Sometime before 2008 it closed and reopened under new management.  Perhaps that was when the pulpit was replaced by a series of staircases linking the main floor with the gallery.  The organ pipes remain, heavily painted, but the organ has gone.

The buffet-style curry is as splendid as the surroundings:  http://aakashrestaurant.co.uk.

St Cecilia’s – starting a new chapter

3 Replies
St Cecilia's Parish Church, Parson Cross, Sheffield: baptistery (2014)

St Cecilia’s Parish Church, Parson Cross, Sheffield: baptistery (2013)

Some years ago I made a nuisance of myself querying the determination of the Diocese of Sheffield to demolish the attractive 1939 parish church of St Cecilia, Parson Cross:

Last week I received a letter from the Church Commissioners (because I’d made a formal objection to the demolition in 2013) notifying me that St Cecilia’s has at last been closed and the daughter-church of St Bernard of Clairvaux is the parish church with effect from August 16th 2018.

St Bernard’s was completed, using recycled bricks from the demolished mansion at Clumber Park, Nottinghamshire, in 1954 as one of two mission churches in the vast Parson Cross parish.

The other church, Christ the King, Deerlands Avenue, was consecrated on the afternoon of the first Sheffield Blitz, December 12th 1940.  It closed in 1970 and was sold:  it became a Roman Catholic social club, St Patrick’s, and is now a showroom.

The notice of closure indicates that St Cecilia’s “shall be appropriate to use for residential purposes and for purposes ancillary thereto”, and “the contents of the old church building shall be disposed of as the Bishop shall direct”, in line with the Draft Pastoral Scheme about which I posted an article in 2016.

It’s probably the best possible outcome.

It saves the residents of Chaucer Close from the noise and mess of a brick-by-brick demolition.

It preserves an unobtrusive but attractive building on a housing estate that has few landmarks, having lost an outstanding but unlisted cinema in 2013.

I’ll be interested to see how this wide building, with a nave and two aisles, adapts to housing.

Santa Maria Addolorata Cemetery

Leave a Reply
Santa Maria Addolorata Cemetery, Paola, Malta

Santa Maria Addolorata Cemetery, Paola, Malta

It’s easy to explore Malta, which is not a big island, by red double-deck open-top tourist bus for €20 for one day, €37 for two:  http://www.citysightseeing.com.mt/en/home.htm.

I chose to buy a seven-day Explorer pass from Malta Public Transport for €21:  https://www.publictransport.com.mt/en/bus-card-and-ticketing.  (Indeed, the ExplorerPlus card at €39 includes ferry-rides and a day on the open-topper.)

Breezing around the island on a succession of service buses, I spotted the distinctive Gothic outline of the chapel of Santa Maria Addolorata Cemetery [The Cemetery of St Mary of Sorrows] on Tal-Horr hill at Paola, just south of Valletta.

The lady in the bus station information booth recommended an 81 or 82 bus, and assured me there was a stop labelled Addolorata.  What she didn’t tell me, because she presumably hadn’t ever travelled to the cemetery by bus, was that though the inbound Addolorata bus stop is right by the cemetery gates, there are two outbound bus stops, one for each route, both labelled Addolorata, neither of them anywhere near the cemetery.

I got off at the one by the prison – Addolorata is indeed a suburb of sorrows – and with directions from a succession of passers-by, walked for at least half an hour before I reached the cemetery gates.

Addolorata Cemetery is a classic example of a mid-Victorian landscaped cemetery, built 1862-1868, opened 1869 but not actually used until 1872.

Designed by the Maltese architect Emanuele Luigi Galizia (1830-1907), it makes use of the steep site:  graded drives and flights of steps divide terraces of superb mausolea, many of them still in use and immaculately kept.

Galizia travelled in Italy, France and England to undertake extensive research into contemporary ideas about cemetery design.

The delicate Strawberry Hill gothic stonework of the entrance court and the simple Gothic of the cemetery church contrast with the predominance of Baroque church architecture throughout the island.

There are 268 Commonwealth war graves within the cemetery, along with a plot for the remains of French servicemen.

It was run by the Order of Friars Minor Capuchin until they relinquished responsibility to the Maltese government in 2011.

There has been recent press comment suggesting that the cemetery is not well maintained:  https://www.timesofmalta.com/articles/view/20170401/local/addolorata-cemetery-in-pieces-not-in-peace.644064.

Photography is not allowed within the cemetery, and there is a conflict in local attitudes about how the place should be used and respected.  A recent survey indicated that about seventy per cent of interviewees were not in favour of photographs or video recordings being made on the cemetery grounds, yet 72.5% of respondents wanted to have organised tours of the site:  https://www.timesofmalta.com/articles/view/20171120/community/the-addolorata-cemetery-a-unique-cultural-asset.663594.

Indeed, there is widespread recognition of the broad appeal of Addolorata to Maltese people and visitors who have no direct family connection with it:  https://lovinmalta.com/opinion/survey/30-of-addolorata-cemeterys-visitors-arent-there-to-visit-family-graves.

Though extensive research has been written up for academic theses [https://www.timesofmalta.com/articles/view/20160529/letters/addolorata-and-our-cultural-heritage.613597], there appears to be no publication celebrating this magnificent necropolis.

I was content to enjoy walking around the cemetery admiring the tombs and reading the inscriptions, but I’d have valued the opportunity to learn more about it as well.

Zion Graveyard 2

1 Reply
Zion Sabbath School, Attercliffe, Sheffield

Zion Sabbath School, Attercliffe, Sheffield

The Friends of Zion Graveyard have made great progress since their inauguration last May:  they have secured funds and bought the land from the United Reformed Church, and have continued to clear the graves which had become buried in undergrowth.

In the course of researching the Zion Congregational Church which stood on the site I’ve become fascinated by the history of the congregation, which stretches back almost continuously to the early history of Dissent in Sheffield.

Attercliffe and Carbrook, two of the three villages in the Lower Don Valley, were centres of Puritan and later Dissenting activity from before the Civil War, when Hill Top Chapel was built as a chapel-of-ease to Sheffield Parish Church (now the Anglican Cathedral).

There was a college for training Dissenting clergy at Attercliffe Old Hall in the late seventeenth-century, and informal congregations worshipped in several locations north of Sheffield during the eighteenth century.

A temporary chapel was built on the site that became the Zion Sabbath School in 1793, and a permanent building was erected on the opposite side of what became Zion Lane in 1805.  The existing Sabbath School building dates from 1854, and a fine Romanesque brick chapel with a tower and spire was opened in 1863.  This building was demolished after a fire in June 1987.

The 1863 chapel was founded on the energetic ministry of Rev John Calvert (1832-1922), who was invited to become minister in 1857.

His leadership made Zion Church prominent, until its attendances exceeded any other place of worship in Attercliffe.  Zion members helped to form branch churches in Brightside and Darnall, and a mission church at Baldwin Street, half a mile away.

When Mr Calvert retired to Southport in 1895 he named his house ‘Attercliffe’.

At the beginning of the twentieth century Zion was the largest Congregational community, measured by membership, in Sheffield:  it had four hundred members when the four city-centre chapels had around three hundred each.

To accommodate the Sunday School and young people’s activities, in 1911 the congregation opened an extensive Institute next to the chapel, designed by the Sheffield architects Hemsoll & Chapman, whose best surviving building is Cavendish Buildings on West Street.  When first built, the Institute offered football, cricket, tennis, a gymnasium and a literary and debating section to young members of the congregation.

This vigorous Christian community filled its extensive buildings for only twenty years.  By 1930 the Sabbath School was leased as a printing works, and after the Second World War rooms in the Institute were leased to the Ministry of Works for use by civil-service departments.

Gale-damage in 1962 made the church itself unusable, and services moved next door into the Institute.  Zion Congregational Church closed entirely at the end of 1969 when the congregation amalgamated with Darnall Congregational Church.

Photographic evidence shows that the Institute building was completely demolished by July 1977.

The Church continued to be used as a furniture store until a serious fire on June 22nd 1987 led to its subsequent demolition.

Now only the Sabbath School and the graveyard remain – unobtrusive monuments to a long, proud tradition of Nonconformist worship in north Sheffield.

Christmas in a T-shirt: St Maarten

Leave a Reply
Methodist Church, Philipsburg, Sint Maarten

Methodist Church, Philipsburg, Sint Maarten

When my friend Jenny and I cruised the eastern Caribbean in 2011, one of our stops was in the tiny town of Philipsburg in the divided island which is the Dutch Sint Maarten in the south and the French St Martin in the north.

I’d have liked to explore both halves of this fascinating place, which was named by Christopher Columbus and has been divided since the Treaty of Concordia of 1648.

But when you’re on a cruise you can’t afford to miss the boat.

So Jenny and I settled for refreshing cool drinks at the Fire House [https://www.tripadvisor.co.uk/Restaurant_Review-g147347-d2618585-Reviews-Firehouse_Bar_and_Restaurant-Philipsburg_Sint_Maarten_St_Maarten_St_Martin.html], a shrine for emergency workers on holiday.

It sits on the Boardwalk, overlooking the beach and the beach-umbrellas.

But even the sunny, unassuming Philipsburg has history connections I can recognise.

One block in from the Boardwalk, on the Voorstraat [Front Street], stands Philipsburg Methodist Church, which at the time was celebrating its 160th anniversary.

I’m used to nonconformist churches in Britain having annual anniversary festivals, but I wasn’t expecting to see one in the Caribbean.

In fact, there seems to have been a Methodist presence on St Maarten since the mid-eighteenth century.

There has been a chapel on Voorstraat since 1851, hence the anniversary, though the present building, with its tile-hung façade, slim porch and stubby little tower, is a reconstruction of 1957.

There are images of its galleried interior at http://filipdemuinck-kristelpardon.blogspot.co.uk/2013/01/the-methodist-church-of-philipsburg-st.html.

I wrote this article, and last year’s article on Martinique, before the Caribbean suffered significant hurricane damage in 2017.

Exploring Melbourne – St Silas’ Church, Albert Park

Leave a Reply
St Silas' Church, Albert Park, Melbourne, Australia

St Silas’ Church, Albert Park, Melbourne, Australia

As I rode up and down the 96 tram-route between my hotel in St Kilda and central Melbourne, I kept noticing an elegant brick church across the road from the Albert Park tram stop, so one morning I took the opportunity to investigate.

It’s the parish church of St Silas [http://www.parishoftheparks.com.au/our-building.html], designed in 1925 by Louis Williams (1890-1980), a prolific Australian church architect and a committed proponent of the Arts and Crafts movement well into the post-war period.  His life and work are analysed in Gladys Moore’s 2001 Master’s degree thesis:  https://minerva-access.unimelb.edu.au/bitstream/handle/11343/38261/300554_MOORE%20vol.%201.pdf.

St Silas’ replaced a wooden church that had served the community since 1879 and, if it had been completed to Louis Williams’ design, the new church would have been spectacular both inside and out.

Unfortunately, the economic depression of 1929 onwards interrupted construction, and only the chancel without its side chapels, the north transept and the first two bays of the nave were constructed.

In 1961 the church was divided horizontally:  the ground floor was adapted to serve as the church hall, and the worship space occupies the upper half of Louis Williams’ intended volume.

The result is particularly attractive inside, especially as the lack of a south transept brings huge amounts of natural light through a great window that fills the crossing arch.

Outside, the result is less satisfactory:  the contrary sloping roofs express the staircases within, but the junction with Louis Williams’ sheer brick walls is abrupt.

When the nearby 1919 church of St Anselm, Middle Park, closed in 2001 the two parishes combined, and St Anselm’s glass and other fittings were brought to St Silas’.

But for this chance visit to St Silas’, where I was made very welcome by the parishioners preparing for Sunday services, I’d have been unlikely to know of Louis Williams’ greatest work, St Andrew’s Church, Brighton (1961-62), which is both a magnificent essay in stripped mid-twentieth century Gothic, taking further the massive proportions of Sir Edwin Maufe’s Guildford Cathedral, and also a neat reuse of a the remains of an older destroyed church, in this case a fire-damaged 1857 nave, in a similar way to Sir Basil Spence’s incorporation of the bombed ruins alongside the new Coventry Cathedral:  https://en.wikipedia.org/wiki/St_Andrew%27s_Church,_Brighton#/media/File:St_Andrew%27s_Church,_Brighton,_West_Front.jpg.