Sheffield’s self-confessed mapaholic, Mike Spick, does a very fine presentation about mapping Sheffield. It was strongly recommended to me by a friend, and I caught it at a Victorian Society South Yorkshire Group meeting in January 2016.
One map in particular that Mike showed alerted me to a piece of Sheffield history I’d never heard of before.
A plan of c1890-1895 showed a scheme to link Sheffield’s two competing railways, the Midland and what was then the Manchester, Sheffield & Lincolnshire Railway, at a combined triangular station to be called Sheffield Central.
The gradients apparently would have been demanding, because the MS&L (from 1896 renamed the Great Central Railway) runs on a viaduct at the point where the Midland burrows beneath it in a cutting.
Clearly the project came to nothing and as far as I know is not mentioned in published histories, but its chronology explains why the Midland Railway brought in their house architect Charles Trubshaw to double the size of their station in 1905, while the Great Central built a new frontage to Sheffield Victoria in 1908.
The site of the unbuilt triangular station is now occupied by the delta junction which connects the three lines of Sheffield Supertram at Park Square.
St Catherine of Siena Parish Church, Richmond, Sheffield
On the strength of his commission forSt Paul’s, Wordsworth Avenue, Sheffield, Basil Spence was invited to design a parish church with an attached church hall for the parish of St Catherine of Siena, serving the eastern estates of Richmond and Woodthorpe.
This building was also financed by the compensation payments for bombed inner-city churches – of St Philip, Shalesmoor (1828, demolished 1952) and Christ Church, Attercliffe, (1826, demolished 1953).
The foundation stone was laid on April 11th 1959 and the church was consecrated by Bishop Leslie Hunter on December 5th the same year.
Like St Paul’s, Wordsworth Avenue, St Catherine’s is marked by a tower consisting of two brick pillars, surmounted by a cross, linked by a glazed sacristy corridor to a plain cavity-wall brick nave.
At St Catherine, however, the tower slabs are concave and the nave is lit by narrow slit windows and ends in a windowless semi-circular apse.
The roof consists of laminated timber beams, separated from the walls by a glazed clerestory and a concealed window that lights the sanctuary providing an atmosphere of well-lit privacy.
Basil Spence’s perspective of the proposed design, dated April 1957, shows the original intention to orientate the church north-south with the tower to the east. The sequence of drawings indicates that in March or April 1958 the decision was taken to realign the church geographically, as well as liturgically, east-west, with the tower to the south.
A glazed screen at the back of the nave, with the organ mounted above the doorway, separates the nave from the community areas which are integral to the design and follow a pattern that Spence had set in designing three churches for the Diocese of Coventry in 1954.
Ronald Pope’s sculpture of St Catherine holding the burning heart before the crucified Christ was placed on the eastern face of the bell-tower and dedicated by Bishop Francis John Taylor on February 13th 1966.
The church was listed Grade II in 1997 for its “strongly sculptural design with a powerful presence”.
St Paul’s Parish Church, Wordsworth Avenue, Sheffield
After Basil Spence (Sir Basil from 1960) won the competition to rebuild the bombed Coventry Cathedral in 1950 he became one of the architects to go to for parish church designs, particularly on new housing estates.
Bishop Gorton of Coventry invited Spence to design three new suburban churches, St Oswald, Tile Hill, St Chad, Wood End, Henley Green and St John the Divine, Willenhall (all three opened 1957); in Leicester, Bishop Williams, explicitly on the recommendation of Neville Gorton, commissioned St Aidan’s, New Parks (1959); in Sheffield, Spence designed two elegant modern parish churches on opposite sides of the city.
Partly funded by the compensation payments for two bombed churches, St James’ (1789) in the city centre and Emmanuel, Attercliffe (1882), St Paul’s, Wordsworth Avenue, opened in 1959, was built to serve the community that came to live in a post-war extension of the Parson Cross housing estate that Sheffield Corporation had laid out north-west of the city in the late 1930s.
Spence’s design has two conjoined elements. What looks like a tower is actually two brck pillars surmounted by a cross, and the aisleless nave consists of two parallel brick side walls above which floats the shallow barrel-vault roof. The double-glazed clerestories and the glass screen end walls bring light into the building: they were also cheaper and quicker to construct.
Ove Arup & Partners designed the diaframe bracing of the roof reminiscent of Gothic vaulting and serving the same purpose.
The pews were designed by Basil Spence and made of agba, an African mahogany now endangered and in short supply. The organ, bought from Mount Tabor Methodist Church, Hoyland, and installed in 1962, is mounted on the west gallery.
An African teak slatted screen behind the altar gives privacy to the congregation while making services apparent to the outside world. As the church website remarks, the glazed ends “prevent the worship of the church being a secret from the community or the worshippers being unaware of what is going on in the area”.
Basil Spence gave the altar candlesticks of hammered iron, and the green appliqué altar frontal was made in 1958 by Beryl Dean (1911-2001) to the design of Anthony Blee, Basil Spence’s son-in-law.
The church silver includes a chalice and paten by the Sheffield silversmith Omar Ramsden (1873-1939).
The total cost was around £30,000.
The English Heritage Grade II* listing description describes St Paul’s as “an unusually transparent design and Spence’s best small churches”.
I’ve never seen the point of dressing up for Hallowe’en – just as I’ve never understood the point of punk, or tattoos. If you’re beautiful, why make yourself look ugly? And if you’re ugly, why make matters worse?
At the Abbeydale Picture House Hallowe’en film night there were lots of people who had taken a great deal of trouble to make themselves look as if they’d just been dug up.
Even though I’ve never had a taste for horror films, Nosferatu (1922) came to life, so to speak, in the Abbeydale’s faded auditorium with the piano improvisations of Jonathan Best: http://www.silentfilmpiano.com.
There is something magical about watching a silent movie in a packed silent-movie picture-house with a resonant piano that fills the acoustic.
Effects that would seem primitive through the prism of modern media, such as colour-tints for mood, work when seen as they were meant to be seen.
Though a modern audience inevitably reacts to Nosferatu with the irony born of two generations of horror movies, I found myself wondering just how frightening all this was in 1922. Though it’s now PG-rated, it must have seemed pretty scary to the original audience.
For those of us who seek to bring Sheffield’s finest suburban cinema back to practical use there’s magic in seeing hundreds of people turn up for an exceptional cultural experience within its walls.
For me, there was extra magic on the way home when the taxi-driver, who came to Sheffield fifty years ago to work in the steelworks, asked me where I’d been and reminisced about the cinemas he knew – including the Abbeydale – in the 1970s.
Sunday afternoon, he told me, was when the Asian community gathered at the Adelphi and the Pavilion to watch Bollywood.
And he’s glad to see such places survive and come back to life.
Cinema is magic – before, during and after the film.
I dislike the term “folly”, referring to extravagant and apparently useless buildings and structures.
Quite often, the constructors of eccentric buildings had a purpose, and knew exactly what they were doing.
The Wentworth Marquises of Rockingham and Earls Fitzwilliam constructed what are now called the Wentworth Monuments to embellish the landscape and to commemorate important events.
Eye-catchers such as Deer Park Lodge at Scampston Hall, North Yorkshire, and Sir Thomas Tresham’s famous Triangular Lodge at Rushton, Northamptonshire though decorative, doubled as functional estate buildings.
Boot’s Folly, a plain square tower, 45 feet high, that can be seen across the hills north-west of Sheffield between Bradfield and Strines, is unambiguously a folly.
It stands over a thousand feet above sea-level, and is built of the stones of three demolished farms.
Its builder was the canny construction magnate Charles Boot (1874-1945) who lived at Sugworth Hall in the valley below.
He was the son of Henry Boot (1851-1931), who founded the family company and built it from nothing. Charles took over from his father just before the First World War, made a fortune from military contracts during the war and then continued to grow his wealth through post-war construction, particularly housing in Britain and on the continent. He was also the founder of the Pinewood film studios.
In the spirit of all the best follies, there’s no clear reason why he built his tower. A customary explanation is the desire to provide employment for the unemployed, like Joseph Williamson at Edge Hill or the 5th Duke of Portland at Welbeck. A more distinctive story is that Charles Boot wanted a vantage point within sight of Bradfield churchyard where his wife was buried in 1926, the year before the tower was built.
Originally, a staircase led to a panelled room at the top of the tower, but this was dismantled – so the story goes – after a cow strayed up the stairs and had to be rescued with difficulty.
For the first time in forty years, a sizeable audience sat in the stalls of the Abbeydale Picture House, Sheffield’s finest surviving suburban cinema, and watched feature films on the big screen over the weekend of July 18th-19th 2015: Picture House Revival – Exposed Magazine
Thanks to the inspired vision of the arts platform Hand Of, run by three recent Sheffield graduates, Rob Hughes, Louise Snape and Ismar Badzic, several hundred people – some of them from surprisingly far afield – experienced this very special building doing what it was designed to do, making people happy.
Pullman-style seats – more comfortable than the originals – were installed, together with three bars, one of which sold sarsaparilla, the traditional temperance drink of pre-1960s Sheffield. Outside in the car-park there was a rich choice of street food and cakes; in the foyer, the distinctive fragrance of popcorn hung in the air.
The choice of films touched on Yorkshire’s film heritage – Brassed Off (1996) and Four Lions (2010) – and the Abbeydale’s heyday – two Laurel & Hardy titles, the short Brats (1930) and the feature A Chump at Oxford (1940), together with the first feature-film ever shown at the Abbeydale on its opening night, December 20th 1920, The Call of the Road, starring the British boxer-turned-actor Victor McLaglen.
The Call of the Road was a very special opportunity to see a silent movie as it was originally presented, on a big screen, with a fully improvised piano accompaniment by the virtuoso Jonathan Best. Any other experience of pre-1929 feature films pales in comparison with watching a clear print, run at the correct speed, with live musical accompaniment in a crowded auditorium.
The afternoon was made even more special by the presence in the audience of Vincente Stienlet, grandson of Pascal J Stienlet who designed the building, and Cynthia Allen McLaglen, the niece of the film-star Victor McLaglen.
The Abbeydale has been very lucky in its owners since 1975 – the office-equipment dealers A & F Drake Ltd who found a use for the place into the early 1990s, the Friends of the Abbeydale Picture House who made use of it up to 2012, and the current owner Phil Robins who is developing it as a multipurpose community venue.
The Picture House Revival was a huge step forward in bringing the place back to life. Thanks to Rob, Louise and Ismar, the place was lit up on Saturday and Sunday evening, and after the end of the show crowds of people poured out on to the street, smiling.
I’ve been providing historical back-up to an events organisation, Hand Of, who are devising an film weekend to commemorate the fortieth anniversary of the last picture show at the Abbeydale Cinema, Sheffield.
In fact, the event doesn’t take place on the actually anniversary (which would be July 5th) and it doesn’t reproduce the last picture show (Charles Bronson in Breakout, supported by Lords of Flatbush).
Instead, the programme includes the very first film ever shown at the Abbeydale, on December 20th 1920, a costume romance called The Call of the Road, billed as “a picture that will make history”, alongside Laurel & Hardy and more recent Yorkshire favourites, Brassed Off (Mark Harmon 1996) and Four Lions (Chris Morris 2010).
Since then, in November 2014, a Friends of the Old Town Hall group has been formed to ginger up support for this splendid, inexorably decaying building, opened in 1809 as a combined town hall and court house, and disused since 1996 when the courts moved to a new building on West Bar.
The original owners, the Sheffield Town Trust, sold it in 2000, and the developer, G1 London Properties Ltd, that bought it in 2004 has since then apparently done nothing to the building.
The Friends point out that the Old Town Hall is only the largest and most splendid of a group of buildings at the heart of the old town-centre.
As a support group the Friends face an uphill task – first, to conceive positive proposals to restore the building; second, to get the owners to respond to their repeated approaches.
Their enthusiasm is bolstered by positive support from Sheffield City Council, which is beginning the comprehensive redevelopment of the adjacent Castlegate area.
The Friends’ growing body of individual members is open to anyone who would like to offer support. There is no subscription, and everyone on the mailing list receives a regular newsletter. The website is at https://friendsofothsheffield.wordpress.com.
The most intriguing of all the surviving Sheffield picture-houses is the Manor Cinema (1927) at the top of Prince of Wales Road.
Like the Hillsborough Park Cinema this was until recently a supermarket, latterly operating as a Tesco. When you walked in off the street there was no hint that until 1969 it was an auditorium.
But the oddity about the Manor Cinema is that it was built into a steep hillside, and the street-level access led into a wide foyer and then into the circle. The stalls-area was downstairs.
Indeed, the Manor was unusual for having two balconies: the three tiers were described as saloon, first balcony and second balcony.
Below the first balcony, and behind the saloon, was a basement billiard hall, with three additional private billiard rooms which projected beyond the building line under the street pavement.
This was the work of Pascal Stienlet, who had previously worked in Sheffield at the Abbeydale Picture House (1920), which also stands on a sloping site and had a ballroom and billiard hall below the auditorium and stage. He also designed the Majestic Cinema, Leeds(1922).
Before the Tesco store closed I was told that there was no access to the parts of the building that aren’t in practical use. A Poundland store currently occupies an area equivalent to the original foyer.
Apparently, the last time the building was surveyed was when Tesco took it over in 2010.
It would be an interesting revelation to discover if, like the Hillsborough Park Cinema, anything of the auditorium remains.
Former Hillsborough Park Cinema, Middlewood Road, Sheffield
Sheffield has two Grade II listed cinemas, the Adelphi and the Abbeydale. Of the others remaining, one of the best and most surprising survivals is the Hillsborough Park Cinema of 1921.
Its elegant brick and faience façade, vaguely classical but with mullion-and-transom windows, decorates the streetscape on the tram-route at Parkside Road.
An English Heritage inspector would no doubt turn up his or her nose at the place, because when you walk through the door you’re in a perfectly conventional Asda supermarket. There’s hardly any indication that this was once a picture palace.
But thirty-odd years ago, when the Sheffield journalist Steve McClarence and I went exploring for his ‘Sheffielder’ column, we were taken through a door back into the 1950s, climbed the staircase to the circle, and found ourselves on the balcony, devoid of seating but otherwise intact.
There was the proscenium, and the clock, and through the panels of the suspended ceiling that fills the void in front of the balcony, we could glimpse unsuspecting customers trundling their trolleys.
Back downstairs we tried to run a trolley by gravity towards the screen end, but the floor has been levelled.
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