Category Archives: Survivals & Revivals: past views of English architecture

Gothic New York: Riverside Church

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Riverside Church, New York City

Riverside Church, New York City

On Riverside Drive overlooking the River Hudson is a great twentieth-century Gothic church of surprising proportions, the Baptist Riverside Church, largely financed by John D Rockefeller Jnr, and opened in 1929 to the designs of Allen, Pelten & Collens.

Especially when seen from the river, the huge tower, 392 feet high, dominates the church, which is itself a hundred feet high and 215 feet long.

The tower is in fact a 22-storey office building for the church administration, surmounted by a 72-bell carillon which – until 9/11 – visitors could inspect on their way to view the panorama from the top of the tower, from where the skyscrapers of Lower Manhattan dot the horizon.

Riverside Church is proud of its stained glass and sculpture.  It has two Epsteins, the bronze ‘Madonna and Child’ (1927) and the gilded mould of the cast ‘Christ in Majesty’ at Llandaff Cathedral, Wales.

From the outset of its ministry, started by Rev Harry Emerson Fosdick (1878–1969), Riverside Church has been a springboard for all kinds of social intervention, and has provided a pulpit for a dazzling array of speakers, from Martin Luther King to Nelson Mandela, Jesse Jackson to Desmond Tutu, and Fidel Castro to Bill Clinton.

For details of Mike Higginbottom’s lecture The Big Apple:  the architecture of New York City, please click here.

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

 

Gothic New York: Trinity Church

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Trinity Church, New York City (1981)

Trinity Church, New York City (1981)

Perhaps the most famous image of Wall Street is the vista westwards along the canyon of tall twentieth-century buildings to the apparently modest-sized Trinity Church, designed by Richard Upjohn and completed in 1846.

This was itself once the tallest building on Manhattan, 281 feet high.

The original foundation dates from a royal charter of 1697, and the present building is the third on the site.

The great wealth of the trustees arose from Queen Anne’s 1705 grant of the land west of Broadway between Fulton and Christopher Streets, the rentals of which have supported widespread endowments, educational institutions and subsidiary chapels.

Upjohn’s church was a significant influence on the architecture of nineteenth-century New York, firstly because it effectively established the Gothic Revival here (though its suspended plaster vault would have offended contemporary English purists such as Pugin), and because it helped to popularise the use of the local brownstone, a material which became synonymous with New York housing in the half-century that followed.

For details of Mike Higginbottom’s lecture The Big Apple:  the architecture of New York City, please click here.

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

 

The Biretta Belt

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All Saints' Church (formerly St Aidan's), Small Heath, Birmingham

All Saints’ Church (formerly St Aidan’s), Small Heath, Birmingham

The Anglican parishes around the Birmingham Small Arms factory in Small Heath were carved out of the ancient parish of Aston between 1846 and the end of the nineteenth century, and became part of the Anglo-Catholic “biretta belt” of South Birmingham.

One of the last of these was St Aidan’s Church, begun in 1893, designed in red brick with buff terracotta by Thomas Frederick Proud (d 1901), with a clergy house, intended for a team of single curates, by the Birmingham metalworker and architect Arthur Stansfield Dixon (1856-1929).

The eastern end of the church – chancel, guild chapel and two bays of the nave – was completed in 1894 and consecrated two years later;  the western end including the baptistery and bellcote was finished by the end of 1898.

Once the shell of the church was complete, Arts & Crafts designers supplied much of the decoration:  Bertram Lamplugh of the Birmingham School of Art designed the Good Shepherd window in the Guild Chapel in 1907, and Frederick Bligh Bond (1864-1945) and W E Ellery Anderson (1888-1942) collaborated with the incumbent, Canon Newell Long, to begin an ambitious decorative scheme, some of which remained unexecuted because of the intervention of the Great War.  The last decorative addition during Canon Long’s incumbency was the free-standing reredos for the Sanctuary by Ellery Anderson, executed by Mowbray & Sons of Oxford and dedicated in 1921.

The grandiose celebrations of Anglo-Catholic worship created continuing problems within the politics of the Birmingham diocese.  Bishop Ernest W Barnes (1874-1953;  bishop 1924-1953) took against the figures on the Rood Screen, the reservation of the Blessed Sacrament and the use of incense, and at one stage refused to take confirmations within the parish.

St Aidan’s was valued highly by the early aficionados of Victorian and Edwardian art and architecture, such as John Betjeman – “[a] successful Perpendicular design in red brick and terra cotta”, Sir Nikolaus Pevsner – “a striking and successful example of the local red brick and terracotta school…with an atmosphere much encouraged by the splendid Rood and Screens”.  The Victorian Society identified it as “one of the six or seven finest Victorian churches in Birmingham”.

Housing clearance and the collapse of the BSA company in 1973 encouraged the flight of the local population.  By 1991, only nine of St Aidan’s communicants lived within the parish boundary.  Meanwhile an influx of Asian families meant that by 1997 at least 65% of the population within the parish was Muslim, and most of the local schools had at least 90% Muslim pupils on roll.

From 1994 the diocese of Birmingham closed and disposed of surplus buildings in the parishes of St Gregory and St Oswald, and concentrated activity on the St Aidan’s site, while renaming the parish All Saints to commemorate the dedication of the original early Victorian parish.

The St Aidan’s building was radically reordered, reversing the direction of worship to use the apsidal baptistery as a sanctuary, enlarging the Lady Chapel to provide an intimate worship space and forging an entrance directly on to the street with a meeting-hall above where the High Altar had formerly stood.

The Victorian Society vigorously opposed this attack on the historical integrity of the building, and in 1998 forced the issue to a Consistory Court where the Chancellor found against them, accusing the Society of acting “arrogantly, unreasonably and without common sense”.

This fine church, the “Cathedral of the Back Streets”, continues to serve its purpose under the oversight of the Bishop of Ebbsfleet in an environment vastly different to that for which it was built.

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

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

People of the Book

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Reform Synagogue, Bowland Street, Bradford, West Yorkshire

Reform Synagogue, Bowland Street, Bradford, West Yorkshire

The Bradford Jewish communities were never numerically large, perhaps a hundred families in the late-nineteenth century, but they were extremely influential.

The German and Danish Jews whose warehouses are now called “Little Germany” were not refugees, but came in search of prosperity in the early decades of the nineteenth century.  They assimilated, and then coalesced into the city’s Reform Congregation.

From their ranks came four Bradford mayors, including Charles Joseph Semon (1814-1877;  Mayor 1864-5) and Jacob Moser (1839-1922;  Mayor 1910-11), as well as the merchant Sir Jacob Behrens (1806-1889) and Professor Friederich Wilhelm Eurich (1867–1945) who led the search for a cure for cutaneous anthrax or “wool-sorter’s disease”.  The composer Frederick Delius (1862-1934) and the painter Sir William Rothenstein (1872-1945) both came from Bradford German-Jewish families.

This Reform Congregation built the magnificent Moorish Grade II*-listed Reform Synagogue on Bowland Street, designed by T H & F Healey in 1881, a rare and fine survival of the Islamic Revival style.

In the 1880s, fleeing the pogroms that followed the assassination of Tsar Alexander II, came Russian Jews who disliked the practices of the Reform Synagogue and founded their own Orthodox Synagogue in Spring Gardens in 1906.

The Orthodox community were sufficiently confident of their future to close the Spring Gardens synagogue in 1970 and move to a modern building at Springhurst Road, Shipley.  The Spring Gardens building, with the inscription above its doorway, “How goodly are your tents, O Israel”, is now the Al Mumin independent Muslim primary school, and the Orthodox Congregation had to close their Shipley synagogue in April 2013 because they no longer had sufficient numbers to hold services.

Meanwhile, the Reform Congregation of around thirty-five people somehow manages to maintain their building and hold monthly services:  http://www.bradfordsynagogue.co.uk/index.htm.

Among the supporters who have helped this tiny community financially are the Bradford Council of Mosques and other members of the local Muslim community:  http://www.bradfordsynagogue.co.uk/index.htm.

The local MP, George Galloway, tabled an Early Day Motion in the House of Commons which congratulated “the members of the Bradford Muslim community for their extraordinary ecumenical gesture in raising a very large sum of money to repair the roof of Bradford’s last remaining synagogue, thereby enabling members of the Jewish community to continue to worship there;  and believes that this generous gesture shows the true spirit of Islam towards other People of the Book.”

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

The 80-page, A4 handbook for the 2012 Yorkshire Mills & Mill Towns tour, with text, photographs and a reading list, is available for purchase, price £10.00 including postage and packing.  To view sample pages click here. 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.

King Ludwig’s legacy

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Hohenschwangau (foreground) and Neuschwanstein (background), Bavaria, Germany

Hohenschwangau (foreground) and Neuschwanstein (background), Bavaria, Germany

Among the tourist highlights of Bavaria are the fascinating castles of Hohenschwangau and Neuschwanstein, the former built by King Maximilian II of Bavaria (1811-1864) and both vividly associated with his son, Ludwig II (1845-1886), who is an interesting, sad figure.

Hohenschwangau reminded me a great deal of Horace Walpole’s Strawberry Hill, whereas the vast, unfinished Neuschwanstein has the dark, dreamy Gothic quality of Pugin’s Alton Towers and Alton Castle, and Burges’ Cardiff Castle and Castell Coch.

Both sit high above the valley – Hohenschwangau beside the lake Alpsee on a prominent hill which is no great problem to surmount by stairs or a circuitous driveway;  Neuschwanstein high up the valley side.

There’s no easy way to Neuschwanstein:  the shuttle bus only runs in the summer;  the horse-drawn carriages are in heavy demand;  the line of least resistance is, paradoxically, to walk.  It took me over half an hour, with regular stops on the way.  Even the wheeled transport gives out well below the castle gatehouse.

Both castles operate a strict timed-ticket admission system, to the nearest five minutes, and there are no compromises for latecomers.  My guide at Hohenschwangau was audible, precise and unhurried.  Neuschwanstein was a very different matter.  When I arrived at the gatehouse there appeared to be a species of riot going on, which turned out to be a large group of Italian teenagers who stood between me and the gents, though not for long.

When we got inside we were herded round in a group of over forty, with a determined lady guide who did surprisingly well in the circumstances.  The traipse through a series of astonishing interiors, intricately decorated like a mad version of the Midland Grand Hotel at St Pancras, is crowded with swans (hence Neuschwanstein – new-swan-stone) at every turn.

There’s little wonder that Ludwig, a seriously damaged personality, brought up by distant parents, conflicted about his sexuality and his Roman Catholicism, introverted and reclusive and addicted to building using his own rather than the state’s financial resources yet deeply in debt, was eventually dethroned by despairing practical politicians.

His mysterious death four days after his deposition secured his place as a national hero.

Neuschwanstein was opened to the public six weeks after his death, and his castles, ironically, have become a significant source of prosperity to the surrounding district.

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

Wentworth New Church

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Holy Trinity New Church, Wentworth, South Yorkshire

Holy Trinity New Church, Wentworth, South Yorkshire

The estate-church of Holy Trinity, Wentworth (1875-7), with its spire nearly two hundred feet high, was commissioned by the 6th Earl Fitzwilliam (1815-1902) and designed by John Loughborough Pearson in his scholarly, dignified Gothic Revival manner, in late thirteenth-century Geometrical style.

Holy Trinity is an imposing cruciform building with elegant rib-vaulting and a distinctly understated simplicity.  The east window (1888) is by Clayton & Bell and the west window (c1903) by Kempe.

Other windows with coloured glass are mostly given in memory of successive Agents, and in the south transept is a sequence of brasses commemorating members of the Fitzwilliam family from the generation that built the church onwards.

There is a story that the 6th Earl needed a bigger church to accommodate his large family:  certainly the pews on the north aisle are designed for children.

Sir Nikolaus Pevsner [in The Buildings of England: Yorkshire West Riding (2nd edn, revised by Enid Radcliffe, Penguin 1967)] comments, “The Fitzwilliams of the day could not have spent their money more judiciously.”

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

On the margin

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Sea Marge, Overstrand, Norfolk

Sea Marge, Overstrand, Norfolk

Sir Edgar Speyer (1862-1932), was an exceptionally rich and cultured man.  He came from a German Jewish family that ran finance houses in Germany, Great Britain and the United States and he took British nationality in 1892.  He organised much of the capital that enabled the Chicago transit tycoon Charles Tyson Yerkes to establish the deep-level underground railways that became London’s Bakerloo, Northern and Piccadilly lines.  After Yerkes’ death in 1905 Edgar Speyer became chairman of Underground Electric Railways of London.

He used his wealth to further his enthusiasms, funding Henry Wood’s Promenade Concerts from 1902 to 1914, the Whitechapel Art Gallery (1901) and Robert Falcon Scott’s ill-fated 1910-12 Antarctic Expedition.

He was one of the millionaires who populated the quiet village of Overstrand on the north Norfolk coast at the beginning of the twentieth century.

He commissioned the prestigious architect Sir Arthur Blomfield to design Sea Marge (meaning “on the margin of the sea”) and incorporated the neighbouring property, The Gables, after the death of its owner.

The year the house was completed, 1902, Edgar Speyer married the American violinist, Leonora von Stosch (1872-1956), for whom he provided Stradivarius and Guarneri violins.   Speyer became a baronet in 1906 and a Privy Councillor in 1909.

Sir Edgar and Lady Speyer became victims of intense anti-German prejudice during the First World War, such that Speyer offered to resign from the Privy Council and revoke his baronetcy, offers that were summarily rejected by King George V and the Prime Minister, Herbert Asquith.  Accusations ranged from serious charges of trading with the enemy to suggestions that he was using Sea Marge as a base from which to signal to German submarines.

Post-war in camera investigations into Speyer’s wartime conduct, however, concluded that through his international trading operations he had practically collaborated with the Germans.  Sir Edgar and Lady Speyer’s and their daughters’ British nationality was revoked:  he was removed from the Privy Council, though allowed to retain his hereditary baronetcy.  He sold up all his British business interests and his London house, and moved to New York.

There is a biography examining the case against Sir Edgar:  Antony Lentin, Banker, Traitor, Scapegoat, Spy?:  the troublesome case of Sir Edgar Speyer (Haus 2013).

Sea Marge remained in the Speyers’ hands until Sir Edgar’s death in 1932.  The purchasers, Mr and Mrs Gibbons, moved into the Coach House, and sold the main house on.  It opened as a hotel in 1935:  after closing in 1955 the property was for long neglected, but has now been fully restored and once more operates as a hotel:  http://www.seamargehotel.co.uk.

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

The 44-page, A4 handbook for the 2011 Norfolk’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £15.00 including postage and packing.  To view sample pages click here.  Please send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

Castle for the weekend

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Castell Coch, Tongwynlais, Cardiff: Drawing Room chimneypiece

Castell Coch, Tongwynlais, Cardiff: Drawing Room chimneypiece

While William Burges was unhurriedly transforming Cardiff Castle for the 3rd Marquess of Bute, the question arose of what to do about the crumbling Castell Coch (the Red Castle), an outlying Bute property in Tongwynlais, north of the city centre.

Presenting William Burges with a medieval ruin inevitably led to a plan to rebuild it.  Presenting the Marquess of Bute with a project to rebuild a castle could have only one outcome.  He opened his cheque-book.

The result is a beguiling Victorian fantasy of medieval life and art, a wealthy magnate’s weekend retreat into a Gothic dream world.

Though the project was compromised by being brought to a conclusion after Burges’ death, it contains some of the finest examples of his design genius, such as Thomas Nicholls’ figures of the three Fates, Clotho spinning the thread of life, Lachesis measuring its length and Atropos with her shears.

Lord Bute’s bedroom is fairly spartan, but a spiral stair leads from it to Lady Bute’s bedroom, a huge vaulted space decorated with symbols of love.

And to ensure privacy, this High Victorian castle was fitted with a fully functioning drawbridge.

Castell Coch is administered by Cadw:  http://cadw.wales.gov.uk/daysout/castell-coch/?lang=en.

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

 

Burges and Bute – architectural dream team

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Cardiff Castle: boundary wall

Cardiff Castle, South Wales: boundary wall

John Crichton-Stuart, 3rd Marquess of Bute (1847-1900), was born with every advantage.  His father, the second Marquess, had tapped the trading wealth of the South Wales coalfield by establishing Cardiff Docks on his ancestral lands from 1822 onwards.  John came into his vast patrimony when he was just over six months old.

Though he was a conscientious Victorian aristocrat and landowner and nurtured his great inheritance, he had time and energy to spare for his fascination with art, architectural and the medieval.

The architect William Burges (1827-1881) was also born with advantages.  His civil-engineer father, who outlived him, provided him with an ample private income, so he could travel extensively and, when he set up his practice, pick and choose his collaborators, and pick and choose his clients.

When the 3rd Marquess of Bute came of age, he called for Bruges to transform the Roman, medieval and eighteenth-century structures that made up Cardiff Castle, first into a bachelor residence which was then extended, after his marriage in 1872, into a palatial residence from which to dominate the port and city growing on the doorstep.

Burges’ capacity for solid, sculptural, dramatic skylines and mysterious, whimsical interiors makes Cardiff Castle a fascinating place.  Every surface is thronged with colour, relief and meaning.  The craftsmanship is of the highest quality.  And the humour is quirky and irreverent, like medieval manuscripts and misericords – a monkey bell-push, a crocodile sitting at the top of a bannister eyeing a baby beneath.

Such was Bruges’ creative power that his team of craftsmen – William Frame (1848-1906), Horatio Walter Lonsdale (1844-1919), the Carrarra-born sculptor Ceccardo Egidio Fucigna (1836-1884) – that after his unexpected death the work carried on for years.  The sculptor Thomas Nicholls (c1825-c1900) completed a typical piece of whimsy, the boundary wall of Cardiff Castle, bristling with escaping animals, designed in 1866 but only executed ten years after Burges’ death.

Cardiff Castle is open to the public:  http://www.cardiffcastle.com/content.asp?nav=4,57&parent_directory_id=1&id=159.

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

Terra-cotta city: The Red Palace

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Red Palace, Hockley, Birmingham

Red Palace, Hockley, Birmingham

Birmingham’s answer to New York’s Flatiron Building is commonly known as the Red Palace, standing at the sharp angle between Constitution Hill and Hampton Street.

Originally it was the factory-workshop of H B Sale, die-sinkers.

Designed by William Doubleday & James R Shaw in 1895-6, it demonstrates the value of terra-cotta as a material that was relative cheap to manufacture and produced rich architectural effects – in this case, according to Andy Foster’s Pevsner Architectural Guide, Birmingham (2005), “eclectic Gothic with Spanish touches”.

This adaptable material had obvious benefits for a commercial organisation that wished to make an impact without extravagant expense.

Its unusual layout was put to practical use.  Each floor was a triangular open-plan workshop with an office at the apex.

The modern fifth storey is unfortunate.

For years now its lower storeys have been occupied by a succession of restaurants.  The elaborate cupola is sprouting vegetation.

This fine ornament to Birmingham’s streetscape is clearly underused.

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

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