Category Archives: Sheffield’s Heritage

The People’s Priest

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St Matthew’s Church, Carver Street, Sheffield

It’s difficult to visualise the hatred and vituperation that poisoned the nineteenth-century Church of England as clergy and their congregations attacked each other’s beliefs about worship.

High-Church Anglo-Catholics, who sought to move closer to Roman Catholicism, fought holy wars with strongly Protestant Low-Church Evangelicals over matters of ritual.

In Sheffield, the focus of Anglo-Catholicism was St Matthew’s Church, Carver Street (Flockton & Son 1854-5), from the arrival of the third vicar, Rev George Campbell Ommanney (1850-1936), in 1882 until his death, both for his pastoral strengths as the “People’s Priest”, resident among parishioners in a congested slum area, and for promoting Anglo-Catholic worship in the town. 

Fr Ommanney came into immediate conflict with his predecessor’s churchwarden, Walter Wynn, and their disputes led to brawls in the vestry, court-cases and representations to the Archbishop, William Thompson, until eventually a commission of Sheffield clergy backed Ommanney’s right to minister as he thought fit.

St Matthew’s did not receive episcopal visits until the 1930s because of alleged illegal practices such as the reservation of the Blessed Sacrament.  Yet, the second Bishop of Sheffield, Leslie Stannard Hunter, appointed in 1939, described Fr Ommanney as “that great man of God”.

As well as upsetting the sensibilities of the predominant Evangelical Anglicans in Sheffield, and caring devotedly for the inhabitants of the surrounding streets, Father Ommanney found the means and the artists to embellish his church.

The chancel was extended by the Arts & Crafts architect and designer John Dando Sedding (1838-1891) in 1886:  the reredos, to Sedding’s design, was carved by the Sheffield sculptor Frank Tory (1848-1939), with a painting of the Adoration by Nathaniel Westlake (1833-1921). 

J D Sedding also designed the altar, crucifix and candlesticks, and the processional cross which was made in 1889 by Henry Longden & Co, bearing a figure of Christ by Edward Onslow Ford (1852-1901) and figures of the Virgin Mary and St John by Richard Arthur Ledward (1857-1890). 

The choir stalls were designed by Sedding’s partner Henry Wilson (1864-1934).  The font and the pulpit (both 1903) were designed by H I Potter and carved by Frank Tory with Art Nouveau copperwork by Henry Longden.

The east window was apparently designed by Fr Ommanney.  Westlake’s partnership, Lavers, Barraud & Westlake, designed the west window, installed in 1902.

St Matthew’s escaped the Blitz but was damaged by fire shortly after the completion of a restoration programme, in August 1956.  The diocesan architect, George Gaze Pace (1915-1975), undertook a further restoration and over a period of ten years the congregation raised a total sum of £15,000 to put the building in order. 

The revival of the parish was threatened by a 1970s road-widening scheme.  The City Council promised a replacement building on a fresh site, but the plan was shelved and the 1854 church remains, having been listed Grade II in 1973. 

The area was redeveloped as the Devonshire Quarter, a lively mixture of retail, pubs and restaurants and apartments. 

Although the parish entirely lost its residential community in the post-war period it has retained a congregation attracted by the continuing Anglo-Catholic character of its worship: http://www.stmatthewscarverstreet.co.uk.

St Matthew’s installed an outstanding organ by Martin Goetze and Dominic Gwynn in 1992 and the building underwent a further major restoration, funded by the Heritage Lottery Fund, in 2000. 

The adjacent Grade-II listed clergy house attracted a European Community grant in 2012 and has been redesigned as The Art House, opened in 2016, to provide work- and exhibition-space for local artists and community groups.

The 60-page, A4 handbook for the 2017 ‘Sheffield’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.

Sam’s Space

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Firth Park Methodist Church, Sheffield

I’ve remarked more than once that the northern suburbs of Sheffield are short of landmark buildings.

I deplored the demolition of St Hilda’s Parish Church, Shiregreen and the Ritz Cinema, Parson Cross, and I’ve written blog articles about the uncertain futures of St Cecilia’s Parish Church, Parson Cross, the Capitol Cinema, Sheffield Lane Top and the Timbertop pub, Shirecliffe.

I was delighted to read, in the Methodist Church periodical The Connexion (Summer 2020), that Firth Park Methodist Church has put its attractive and expensive building to good use to ensure its long-term survival.

The Grade-II listed building is an essay in Perpendicular Gothic style by the Sheffield architects Frank W Chapman (1869-1933) and John Mansell Jenkinson (1883-1965), built of red brick with ashlar dressings and a slate roof.  Its entrance front has a wide Perpendicular window, with twin turrets and a porch with twin entrance doors.  The sides of the nave are buttressed and its roof carries an octagonal flèche. 

It cost £4,000, of which £1,000 was bequeathed by John Cole, one of the three Cole Brothers who founded the city-centre department store.

The interior plan of the worship space was originally cruciform, with transepts and a chancel.

The foundation stone was laid on Saturday May 28th 1910, and the Sheffield Daily Telegraph of that date mentioned that the building would accommodate a congregation of three hundred and the ancillary facilities included a church parlour, minister’s vestry, choir vestry and kitchen.

The church opened on May 11th 1911, at a time when there were no other buildings nearby: Print details Picture Sheffield.  It was affiliated to the United Methodist Church until the 1932 amalgamation which created the modern Methodist Church.

I’ve been told that in the early 1960s a property developer offered the congregation a deal whereby in exchange for the corner site on Stubbin Lane and Sicey Avenue, a brand-new chapel would be incorporated into a proposed supermarket.

The Methodists turned down this offer and instead the unlovely Paragon Cinema (1934), fifty yards up Sicey Avenue, was replaced by a supermarket and bowling alley.

Maintaining the building became increasingly difficult in the decades that followed, and a suspended ceiling was installed circa 1980 to make the place easier to heat.

As the Anglican congregation at St Hilda’s declined, there was talk of amalgamating in order to use one building instead of two, but when eventually St Hilda’s closed in 2007 the remaining members transferred to the Anglican parish church of St James & St Christopher, Shiregreen.

The Methodist congregation continued to flourish, however, and nowadays includes people of Caribbean heritage and from a number of African nations, especially Ghana, and former refugee families from Thailand.  The former vestry now serves as a café and is used for Café Church.

To support its thriving programme of activities – youth groups, English as a Second Language groups, an entertainment group – the congregation visualises creating two separate spaces in the nave, and in February 2020 opened ‘Sam’s Space’, containing a substantial indoor soft play structure.  In the five weeks before the pandemic lockdown forced it to close, an encouraging number of visitors crossed the threshold.

Sam’s Space isn’t only for kids.  Rev Mark Goodhand’s article in The Connexion comments,–

It’s a meeting place for young children, parents, grandparents and carers.  It’s a space that outside of soft play sessions will be used for wider conversations – fellowship groups, local councillors’ surgeries and school curriculum work.  As the project has unfolded new opportunities for service have emerged.  We hope to be involved with mental health work by using an open area attached to our building to provide raised beds for gardening.  It’s a place where new expressions of worship will begin to be shaped by the community.  This is exciting!

Every church is, of course, essentially the people who meet.  The building is only bricks and mortar.

But it’s satisfying that – thanks to the vision of the Firth Park Methodists – the humdrum shopping centre of Firth Park will retain its only distinguished building.

New cinema history

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Former Odeon Cinema, Flat Street, Sheffield (1993)

It pleases me to have books on my bookshelf that were written by people I know.

I met Sam Manning at the 2015 Picture House Revival weekend that Hand Of created to relaunch the Abbeydale Picture Palace as a cinema after it had been closed for forty years.

Sam was at the time doing postgraduate research into cinema-going in Sheffield and Belfast between 1945 and 1965, and asked me to contribute an oral-history interview to his PhD thesis.

That research is now published as Cinemas and Cinema-Going in the United Kingdom:  decades of decline, 1945-65 (University of London Press 2020), and I couldn’t resist buying a paperback edition. You can preview it as a .pdf file at https://humanities-digital-library.org/index.php/hdl/catalog/book/cinema-going.

I’ve never been to Belfast, so that aspect of his writing was new territory for me, but the Sheffield sections relate to my childhood memories and my more recent local-history research.

Sam writes as part of the “new cinema history” movement [https://link.springer.com/chapter/10.1057/9781137337016_7], which seeks to place the contemporary experience of going to the pictures in the wider context of social history in the first sixty-five years of the twentieth century.

This extends the ubiquitous nostalgia accounts of the generation that knew or worked in cinemas until the 1960s and the analyses of cinema architecture, the business history of the industry and the endless literature of films and film-makers that have appeared in recent decades.

On the local level, I learned a great deal because Sam has done the legwork of surveying the surviving archives of individual cinemas against city-wide data from local newspapers, government and industry records and oral-history evidence.

He revises the long-held view that suburban cinema-going was killed by the advent of television.  There were other significant factors in play – increasing affluence, flight from inner-city slums to new housing estates and the rise of a generation of young people who thought they’d invented “teenage”, the generation commemorated in Cliff Richard’s hit ‘The Young Ones’ (1962).

He also explains a counterintuitive feature of Sheffield’s post-war cinema history, the building on Flat Street of one of the few post-war Odeon cinemas, later followed by a luxurious ABC on Angel Street.

In the 1930s, when three major chains – Odeon, Gaumont and ABC – dominated the national industry, Sheffield’s cinemas were largely owned by local companies.  Gaumont British Theatres took over the Regent in 1929, two years after it opened, and in 1931 ABC leased the Hippodrome, a variety theatre dating back to 1907, which they gave up in 1948.  Neither invested in the sort of super-cinema that is the villain of the piece in the film The Smallest Show on Earth (1957).

The Odeon chain leased a site at the junction of Flat Street and Norfolk Street in 1933, and after a five-year delay the architects Harry Weedon and W Calder Robson designed a 2,326-seat cinema, four shops and a three-storey office block.  Construction began in March 1939 and quickly came to a halt at the outbreak of the Second World War.

The post-war alignment of Sheffield’s proposed inner ring road, later known as Arundel Gate, meant redesigning the Odeon on a smaller footprint. 

When building restrictions were removed in 1954 the pre-war steelwork was dismantled and the new cinema, without the intended shops and offices, was built to a completely fresh design by Harry Weedon and Robert Bullivant.

This design featured a 55-foot screen and seated 2,319 – 1,505 in the stalls and 814 in the balcony. Lighting in the auditorium was by three rows of fittings hanging close to the ceiling and from concealed lights in the two decorative panels each side of the proscenium.  Sheffield had seen nothing like it before.

The new Odeon opened on July 16th 1956 with the newly-released Kenneth More feature-film Reach for the Sky, attended by the Deputy Lord Mayor, Ald Joseph Curtis, the managing director of the Rank Organisation, John Davis, and his wife, film star Dinah Sheridan, accompanied by the Dagenham Girl Pipers, state trumpeters from the York & Lancaster Regiment and a contingent of service personnel from RAF Norton.

In November 1958 the Odeon was equipped to show Todd-AO wide-screen films with stereophonic sound so that it could specialise in long runs of blockbuster movies. 

By the mid-1960s, cinema-going habits had changed radically.  The Sound of Music on first release ran from October 3rd 1965 until February 1967.  It was immediately followed by Khartoum (1966). 

For a short period of slightly less than two years, there were four high-quality 70mm screens in the city.  The new ABC had a 60ft screen from its opening on May 18th 1961.  The 70ft screen at the Gaumont was first used on July 23rd 1969 and the smaller screen at Gaumont 2 followed in October of the same year.

The Odeon closed on June 5th 1971 at the end of a further fourteen-month run of The Sound of Music and reopened in September of the same year as a Top Rank bingo hall, later rebranded as Mecca.

The Gaumont closed on November 7th 1985, followed by the ABC on July 28th 1988.  Both buildings were demolished.

Darnall Works

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Darnall Works, Sheffield

The biggest, most significant industrial archaeology site in Sheffield is hardly known to the public, though it contains two of the three Grade II* listed buildings in the Lower Don Valley, the city’s former industrial heartland.

A visitor with time to spare can track the development of Sheffield’s steel industry through its museums and monuments.  The early manufacture of blister steel can be understood at the Doncaster Street Cementation Furnace.  Benjamin Huntsman’s pivotal development of crucible steel – and the process of using it to manufacture edge tools – is displayed at the Abbeydale Industrial Hamlet and Shepherd Wheel. 

The later growth of the heavy steel trades is shown at the Kelham Island Industrial Museum, and at the former Templeborough works of Steel, Peech & Tozer in the Borough of Rotherham the Magna Centre provides a convincing simulation of the operating of an electric-arc furnace in “The Big Melt”.

Very few people have ever seen Darnall Works, near to the Sheffield Canal, dating back at least to 1793, when the Darnall Glass Works stood on the site.  The Sanderson Brothers, cutlery and steel manufacturers, took it over in 1835. 

They concentrated their operations on the Darnall site by building several new structures, now the oldest above-ground survivals on the site, in 1871-74, and continued to use it through much of the twentieth century. 

In 1934 Sandersons combined their operations with their neighbours Kayser Ellison & Company, which had used electric-arc furnaces from 1912, and the two companies merged in 1960 as Sanderson Kayser. 

A major modernisation took place in 1967, but towards the end of the century Sanderson Kayser concentrated their business at Newhall Road, and left Darnall Road vacant.

The remains of over two hundred years of activity on the site are a rich archaeological resource waiting to be discovered and preserved. 

These begin with the below-ground remains of the glass cone.  Above them are the foundations of the cementation furnaces that Sandersons used in the early nineteenth century and many of the crucible furnaces, including some powered by a Siemens gas furnace. 

The standing buildings from the 1870s onwards, many of them dilapidated, are capable of rescue.  

Though much has been demolished during successive alterations, the ground levels have generally not been lowered, so there is huge scope to interpret the complex history of the site and to display it.

In particular, the sheer extent of the remaining crucible workshops makes the Works a unique survival. 

There were well over a hundred crucible furnaces at Darnall Works in the 1870s, with the capacity to produce high-quality large castings by continuous teeming at the time when the industry was moving to Bessemer converters which produced coarser steel very rapidly. 

The existing buildings include an intact range of workshops, each with six melting holes, ranged up the slope of Wilfrid Road, and – most spectacular of all – a large casting floor containing forty-eight crucible holes with a central crane.  This space, last used during the Second World War, is a unique and precious survival.

Ruth Harman and John Minnis, in the Penguin Architectural Guide, Sheffield (2004), described Darnall Works as “one of the most important steelmaking sites in the country”.  There is no question that it’s a historic monument of national, if not international significance.  For the time being the most historic parts of the site are safeguarded, but finding a practical, economical way of investigating the archaeology and interpreting its story for public access remains problematic.

I envisage that within the next two decades, Darnall Works will become Sheffield’s premier museum of the steel industry, to which Magna and Kelham Island, Abbeydale Industrial Hamlet and Shepherd Wheel will be the jewels in the crown.

Steps to learning

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Central Library, Sheffield

Architects and designers between the wars paid less attention to health and safety than we nowadays expect, as I discovered when I missed a step at the entrance to Sheffield’s Central Library and ruptured a tendon.

I’ve examined the architecture of this splendid building from the cold pavement while waiting for an ambulance to arrive.  Descriptions of its style vary – beaux-arts, Art Deco, neo-Georgian:  from the ground it’s clearly eclectic, with fine crisp Classical and Egyptian details in Portland stone.

The Central Library, which includes the separately funded Graves Art Gallery on the top floor, was designed in 1929 by the City Architect, W G Davies, in collaboration with the City Librarian, Joseph Lamb.  It’s obvious that an extension was intended:  the glazed brick east wall would have formed an internal light-well but for the construction of the 1960s Arundel Gate dual carriageway.

The Library was intended as a keynote building in a civic square as part of Sir Patrick Abercrombie’s 1924 development plan for the city centre.  In fact, it was the only part of this scheme to be completed, like Birmingham’s incomplete Civic Centre on Broad Street, where the Hall of Memory (1923-24) and the hurriedly completed Baskerville House (1938-39) have been absorbed into later planning schemes.

There was doubt that Sheffield City Council could scrape together the funds to replace the previous lamentable library building on the same site, until the mail-order pioneer and civic benefactor John George Graves (1866-1945) offered £30,000 to lay out the top floor as an art gallery, to which he donated part of his personal art collection.

The exterior is embellished with carvings by the ubiquitous Sheffield firm Frank Tory & Sons – in this case Frank’s identical twin sons, Alfred (1881-1971) and William (1881-1968).

Within, despite years of neglect, much of the marble flooring, coffered ceilings, wood panelling and door furniture and the magnificent marble staircase rising through the building remain intact, waiting for sympathetic restoration:  https://manchesterhistory.net/architecture/1930/library.html.

The completed building was opened in July 1934 by HRH the Duchess of York, later HM Queen Elizabeth, the Queen Mother.  Her husband, then known as Prince Albert, was ill at the time, and the Duchess took his place.

The Central Library came into its own during the Blitz.  It was relatively unscathed in comparison with buildings in the surrounding streets, and was quickly deployed as a refuge providing information and support for the tens of thousands of Sheffield citizens who were rendered homeless by the bombing. 

After the War Sheffield City Libraries gained a high reputation for innovation and for the breadth of the collections and the generosity of provision.

In recent decades services, staffing and opening times have been repeatedly cut, yet the Library still offers users facilities that are simply unavailable online.

It’s sad to see Mr Davies’ splendid rooms defaced by peeling plaster and faded paintwork, and I for one would approve of a recent scheme to turn the Central Library into a five-star hotel. 

The admirably-timed Library of Birmingham (2013), opened in a more favourable financial climate and so far surviving subsequent cuts, is an example of the physical information resource that a modern city needs.

Another exciting refurbishment has taken place at Liverpool’s Central Library complex.

And when Sheffield removes its library from the 1934 building, I hope they’ll provide safer entrance steps in the new location.

Central Library, Sheffield: entrance

My first library

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Attercliffe Library, Sheffield

When I was around six or seven years old, circa 1954, my mother would collect me from Huntsman’s Gardens Schools, in the depths of Sheffield’s industrial east end, and call round at Attercliffe Library for her weekly fix of books to read.  Though she had left school at fourteen, she was an omnivorous reader.

I have a clear memory that, while she browsed, I would make a beeline for the bottom shelf of the music section, dig out a score of Handel’s Messiah and stare in wonderment at the multiple staves of the ‘Halleluiah Chorus’, amazed to see how much music could be going on at one instant.

How I reached this I’ve no idea.  Somehow I must have known that the ‘Halleluiah Chorus’ was part of Messiah and that it had been written by George Frideric Handel, but the piece is actually buried at the end of Part II and so isn’t easy for a little kid to find.

Attercliffe Library, built in 1894, still exists, an elegant Jacobethan building next door to the older Attercliffe Baths of 1879.  It was designed by Charles Wilke, about whom next to nothing is known.

For nearly a hundred years it provided knowledge and entertainment to Attercliffe workers and their families and then, when the houses eventually came down, it closed in 1986.

It’s now a rather fine restaurant, spearheading the cultural renaissance of Attercliffe as a place to visit:  https://www.thelibrarybylounge.co.uk.

The Great Sheffield Flood

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Dale Dike Dam, South Yorkshire: marker ‘Centre Line Old Bank’
Dale Dike Dam, South Yorkshire: memorial

Sheffield has a poor track-record for civic monuments.

Apart from the statue of King Edward VII standing in recently spruced-up surroundings in Fitzalan Square, most of the other monuments that once graced the centre have been shipped off to suburban parks or, in the case of the Crimea Monument, dismantled:  https://www.victoriansociety.org.uk/news/sheffields-missing-crimean-war-monument.

Indeed, until recently there was no monument of any significance to those who lost their lives in the most dramatic incident in the history of Sheffield, the Great Sheffield Flood of 1864.

The Sheffield Waterworks Company, desperately trying to keep up with accelerating demand from the rapidly growing steel industry and the expanding population, devised a scheme to capture the waters of the Loxley Valley, north-west of the town.

The first of three planned reservoirs, Dale Dike, was begun in 1859 and, after its alignment had been altered to avoid unexpected disturbed strata, it was completed and filled by early 1864.

No sooner had the waters reached within two feet of the lip of the dam than cracks appeared and, within a day, the dam collapsed at 11.30pm on March 11th 1864, sending 700 million gallons of water down the Loxley Valley at a speed of around 18 miles an hour.  At least 250 people were killed, including 27 whose bodies were never recovered.  Around 800 houses were destroyed or abandoned and well over 4,000 flooded.

There was no firm agreement over the cause of the disaster, at least partly because of the Coroner’s intemperate handling of the inquest.  Among the possible contributory causes were –

  • slippage of unstable strata beneath the embankment
  • poor construction of the embankment surrounding the clay core
  • inadequate thickness of the clay core
  • settlement or undue pressure leading to fracture around the outlet pipes and consequent leakage

The jury’s verdict was that “there has not been that engineering skill and that attention to the construction of the works, which their magnitude and importance demanded…” and they went on to propose that “the Legislature ought to take such action as will result in a governmental inspection of all works of this character;  and, that such inspection should be frequent, sufficient and regular…”

Such legislation was eventually passed – the Reservoirs (Safety Provisions) Act (1930). 

Although designed in the same way as the failed dam, Agden Dam was resumed and its 629,000,000-gallon reservoir completed in 1869.  Further upstream, the Strines Reservoir (513,000,000 gallons) was finished in 1871. 

The new Dale Dyke Dam, a quarter of a mile upstream from the site of the original, was completed in 1875, though the reservoir was not brought fully into use until 1887.   It holds 446,000,000 gallons.

The final Loxley valley reservoir, Damflask, which holds 1,158,000,000 gallons, initially intended for use as compensation water, was constructed in the late 1870s but because of leakage through the strata at one side was not fully operational until a wing-trench was completed in 1896.

For many years the only physical memento of the original Dale Dyke Dam was a marker stone inscribed “CLOB” – Centre Line Old Bank – indicating the alignment of the 1864 dam.

For the 150th anniversary of the disaster, the Bradfield Historical Society cleared a trail around the reservoir and put up a memorial to the victims of the flood.

The Sheffield & Rotherham Wildlife Trust has produced a superb film about Sheffield’s vulnerability to flooding, with contributions from two particularly knowledgeable local historians, Ron Clayton and Malcolm Nunn: TORRENT: Sheffield’s Flood Story | FULL DOCUMENTARY! | Sheffield & Rotherham Wildlife Trust – YouTube.

Rivelin Valley cemetery

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Cemetery of St Michael, Rivelin Valley, Sheffield: chapel interior

On the north-western outskirts of Sheffield, a short walk up the Rivelin Valley from the Supertram terminus at Malin Bridge, a gateway leads to the Roman Catholic cemetery of St Michael, opened in 1862 and still in use:  https://www.saintmichaelscemetery.org.

After the Catholic Emancipation Act of 1829, the first parish church in the area was St Bede’s, opened at Masborough on the then outskirts of Rotherham in 1842.  It was followed by the parish church of St Marie in Sheffield (1850), now the cathedral of the Diocese of Hallam, and another large church, St Vincent’s (1853 onwards) was started in The Crofts, an overcrowded area north of the town centre where Irish Catholics settled after the Potato Famine.

Of these, only St Bede’s had a burial ground, until in 1862 the priest at St Vincent’s, Father Burke, purchased eight acres of steeply sloping land in the Rivelin Valley from the snuff-manufacturer Mr Wilson, whose family had also provided the land for the General Cemetery nearly thirty years before.

The cemetery, with a temporary chapel, was dedicated on Michaelmas Day, September 29th 1863.

The present chapel was built in 1877, financed by a gift of £2,000 from the Sheffield tailor and gents’ outfitter, George Harvey Foster, and designed by the father-and-son practice Matthew Ellison and Charles Hadfield.  This new chapel is 72 feet long and 22 feet wide, built in the Early English style.  It has an apsidal east end, a sixty-foot-high bellcote above the west door, and the south-west porch is embellished with a statue of St Michael slaying Satan as a dragon.

The interior, restored in 2005, is distinguished by the work of an impressive group of contemporary artists.  The marble and alabaster altar, with its figure of the dead Christ, is from the Cheltenham workshop of the sculptor Richard Lockwood Boulton. 

Further decorations were funded by a gift of £430 by the Foster family in 1884 – wall paintings by Charles Hadfield and Nathaniel Westlake, who also designed the west window, and the three east windows designed by John Francis Bentley, who later became the architect of Westminster Cathedral, and manufactured by Nathaniel Westlake’s stained-glass company, Lavers & Westlake.

The two most prominent monuments in the cemetery stand above the family vaults of George Harvey Foster (1829-1894), and the department-store proprietor, John Walsh (d1905), respectively gothic and neo-Classical and constructed within a decade of each other. 

The sharp gradient makes exploring the cemetery a strenuous activity, and visitors are advised not to stray from paths because gravestones may be unstable.

Higher up the valley side are two more burial grounds, a very small Jewish cemetery and the Church of England Walkley Cemetery, both opened in 1860.

Chris Hobbs’ local-history website has a feature on Walkley Cemetery:  https://www.chrishobbs.com/sheffield/walkleycemetery.htm.

Organ transplant

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Abbeydale Picture House, Sheffield: fly-tower (2017)

Before Christmas I was the live act at the launch of photographer Darren O’Brien’s new book about the Sharrow Vale area of Sheffield:  https://www.sheffieldtelegraph.co.uk/news/people/new-book-uncovers-hidden-charms-sheffields-sharrow-vale-community-1325708.

The launch took place in the fly tower of the Abbeydale Picture House, and Darren asked me to explain to his guests the history of this unique piece of cinema heritage.

The Grade II listed Abbeydale Picture House was always a gem among Sheffield’s suburban cinemas, and thanks to a succession of sympathetic owners it’s survived to entertain new generations of patrons nearly a hundred years after its opening.

One of six Sheffield cinemas to open in 1920, its original proprietors were local businessmen, led by a professional cinema exhibitor, seeking to capitalise on the demand for entertainment after the First World War.

They hedged their bets by instructing the architect, Pascal J Steinlet, to build a full-scale theatre fly tower, enabling the cinema screen to be flown out of the way of stage performances, and to use the sloping site to include a ballroom and billiard hall beneath the auditorium and stage, with a café to serve cinema patrons on the first floor above the foyer.

The directors considered that moving pictures alone might not generate enough trade, and when post-war inflation ate into their original budget of £50,000 they changed plans and installed an organ by the Sheffield firm Brindley & Co.

Because Pascal Steinlet had not been briefed to include an organ chamber, the instrument stood immediately behind the screen, centre stage, making it impossible to use the stage and dressing rooms for performances.

Anxious to generate income, they opened the cinema as soon as they could, on December 20th 1920.  The Lord Mayor, Alderman Wardley, attended the first film-performance, a costume romance, The Call of the Road, starring Victor McLaglen.

Their fear that film alone would not support the company proved correct.  In June 1921 the original board was replaced by the directors of the Star Cinema, Ecclesall Road, who quickly took out debentures to complete the café, ballroom and billiard hall before the end of the year.

In 1928, probably as a response to the imminent arrival of talking pictures, the organ was moved to the back of the stage, where it was barely audible, to make way for cine-variety performances, which continued until the first sound film, Janet Gaynor in Sunny Side Up, played on March 10th 1930.

The organ continued in use until 1940, and the last organist, Douglas Scott, complained that “the volume was poor, due to the fact that the organ chambers were placed as far back as possible on the stage and…at least 20% of the sound went through the stage roof.  The screen and tabs took their toll of sound and when the safety curtain was lowered nothing could be heard in the theatre.”

There’s evidence for this on the back wall of the fly tower, where two rows of holes for the joists of the stage floor are visible, the higher row showing a clear gap where after 1928 the organ would have stood on the original stage floor.  The position of the organ meant that only the downstage half of the stage was usable, so presumably the rake was increased to maintain the sight-lines Pascal Steinlet had intended.

I hope that when the building is comprehensively restored the stage floor will be reinstated so that it can be used for performances.

But I’d think twice about reinstating an organ.

Darren O’Brien’s book Sharrow Vale and the Antiques Quarter (History Press 2019) is available from https://www.thehistorypress.co.uk/publication/sharrow-vale-and-the-antiques-quarter/9780750989329.

Steel workers’ resting place 3

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City Road Cemetery, Sheffield: Catholic Chapel of St Michael (2014)

When the very last Sheffield tram came off the streets in October 1960 an assiduous member of its load of enthusiasts made sure that, as the gates of Tinsley Tram Sheds closed behind it, its destination indicator showed ‘CEMETERY GATES’.

The cemetery gates at which Intake trams sometimes turned back was City Road, established by the newly-formed Sheffield Burial Board on a site east of the town-centre purchased from the 15th Duke of Norfolk in 1881. 

The original buildings – Church of England and Nonconformist chapels, a gateway and lodge on Manor Lane and a gatehouse and offices on City Road, all in late Perpendicular style – were designed by the Sheffield architects Matthew Ellison Hadfield & Son.

The initial apportionment of land was between the Church of England (slightly over 20 acres), the Nonconformists (13 acres) and the Roman Catholics (7 acres), leaving 9 acres to allocated as required in future.

There was no Roman Catholic chapel at the cemetery until 1898, when the Duke of Norfolk commissioned a design with a hexagonal sanctuary and a central lantern above the altar, 60 feet long, by Matthew Ellison Hadfield’s son Charles.  Dedicated to St Michael, the foundation stone was laid on July 22nd 1899, and it was consecrated on October 11th 1900.

A subsequent resolution by the Burial Board allowed the space in front of the chapel to be used for burials of Catholic clergy, and it became known as the Priest Vaults.

In 1901 Sheffield Corporation, having taken over the functions of the Burial Board the previous year, gained legal powers to construct one of the first municipal crematoria in Britain, and commissioned Charles Hadfield and his son Charles Matthew Ellison Hadfield to design an octagonal structure alongside the Nonconformist chapel, based on the Abbot’s Kitchen at Glastonbury so that the steel exhaust from the cremator could pass through the Gothic lantern which provided light and ventilation to the space below. 

Charles M E Hadfield’s bronze catafalque was constructed by the Bromsgrove Guild of Applied Arts and installed in the chapel, and a columbarium was installed in the south side of the City Road entrance range.

The crematorium opened on April 5th 1905.  The first cremation was of Eliza Hawley of Upperthorpe, on April 24th 1905, in the presence of her family, the architect and the Town Clerk.  A further six cremations took place in the following six months to November 1905.

The Church of England chapel was demolished in 1982, having been made redundant by the construction of a modern chapel to the north of the crematorium.  All the other original buildings on the site remain, though the Catholic Chapel has been derelict for years.

For Mike Higginbottom’s lecture ‘Victorian Cemeteries’, please click here.