Category Archives: Victorian Architecture

Whitby West Cliff

Whitby West Cliff:  Royal Crescent

Whitby West Cliff: Royal Crescent

For a place that has always been far out of the way, Whitby has a remarkable tenacity as a holiday resort.

Even before the early arrival of the railway, the Whitby Public Baths Company tried to promote sea-bathing at the foot of the West Pier, where baths were “replenished with the purest sea and fresh water; and are fitted up with the greatest regard both for the comfort of the valetudinarian and the gratification of the pleasurist”.

A further attempt to utilise another spring led to the building of the Victoria Spa in Bagdale in 1844. Neither of these projects was a lasting success.

A locally-sponsored Whitby Building Company issued a prospectus proposing fourteen lodging-houses on the West Cliff Fields in 1843.

The following year George Hudson, the “Railway King”, who had taken over the Whitby & Pickering Railway, purchased the West Cliff Fields, apparently to establish an interest in the town that would enable him to become its MP. (In fact, he was elected as Conservative MP for Sunderland, where he was expected to promote the Monkwearmouth Dock and the Durham and Sunderland Railway, in 1845, and the Whitby seat went to his associate, the engineer Robert Stephenson, who was returned unopposed in 1847.)

Hudson proceeded, under the auspices of the York Building Company, to construct boarding houses and hotels as a speculation.

By the time East Terrace was finished so was Hudson, discredited by his manipulation of railway finances.

Whitby achieved modest growth as a resort: its population grew from 10,989 to 12,051 between the 1851 and 1861 censuses. Mrs Elizabeth Gaskell stayed here in 1859, and accumulated background material for her novel Sylvia’s Lovers (1863). Other nineteenth-century authors who visited Whitby include Alfred Tennyson in 1852, Lewis Carrol in 1854, Charles Dickens in 1861 and his friend Wilkie Collins, who wrote the novel No Name (1862) while staying in the town. The Punch cartoonists John Leech and George du Maurier were visitors respectively in the 1860s and 1880s and incorporated Whitby scenes into their published work.

The West Cliff Estate passed to the self-made industrialist Sir George Elliot, Bt (1814-1893), who projected the Royal Crescent (John Dobson 1876-9) and the West Cliff Saloon and Promenade (1880, now the Spa Theatre).

One look at the architecture of the Royal Crescent and the gothic Church Square behind it (St Hilda’s parish church itself dates from 1884-6) tells the tale of over ambition and half-completion. There were simply not sufficient Mrs Gaskells to fill the place.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 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.

Stately pre-fab

Hill Bark, Frankby, Cheshire

Hill Bark, Frankby, Cheshire

Robert Spear Hudson (1812-1884) was the man who first popularised soap powder, working from his modest shop in West Bromwich. He eventually moved his business to a factory in Bank Hall, Liverpool, and went to live in Chester.

His son Robert William Hudson (1856-1937) became extremely wealthy and sold the business to Lever Brothers in 1908.

He commissioned the distinguished local architect Edward Ould to build a Black-and-White Revival house in 1891 on a site near Bidston Hill on the Wirral.  It bears more than a passing resemblance to Little Moreton Hall, near Macclesfield – but built in reverse. It was named Bidston Grange.

Typically of its time and its style, Bidston Grange contained sumptuous glass by William Morris, and architectural bric-a-brac with antique associations – dining-room doors from a tea-clipper and a fireplace dated 1577 reputedly from “Sir Walter Raleigh’s former home”.

It was apparently the model, or at least the inspiration, for Cecelianhof, the Potsdam residence of the Crown Prince Wilhelm, son of Kaiser Wilhelm II, built c1911 and subsequently the site of the signing of the Potsdam Agreement of 1945.

In 1921 Bidston Court was sold to Sir Ernest Royden (1873-1960), one of a dynasty of shipbuilders and shipowners.

Because Lady Royden disliked the way its setting was encroached by housing [http://www.geograph.org.uk/photo/218605] the 1891 structure was dismantled and re-erected a property she had inherited five miles away at Frankby.

There it replaced a house of 1868-70, originally built for Septimus Ledward JP, which took its name ‘Hillbark’ from a stone barn that had stood for several centuries.

The Roydens’ transplanted residence became known as Hill Bark.

The original site at Vyner Road South, Bidston, is now a public garden.

When Sir Ernest Royden died in 1960, Hill Bark was purchased by Hoylake Urban District Council and converted into a residential home for the elderly.

It was sold in 1999 for £300,000 and converted first into a catering-facility specialising in weddings, opened in 2000, but using only the ground-floor rooms. In 2002 it was restored as a luxurious 19-bedroom five-star boutique hotel: http://www.hillbarkhotel.co.uk.

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

Friends of the Old Town Hall

Old Town Hall, Sheffield, interior

Old Town Hall, Sheffield, interior

Photo:  Chard

I wrote an article in 2011 about Sheffield’s Old Town Hall, highlighting the virtual invisibility of a major public building in the middle of a busy city centre: https://www.mikehigginbottominterestingtimes.co.uk/?p=1285.

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.

Far from the madding Yorkshire crowds

The Crescent, Filey, North Yorkshire

The Crescent, Filey, North Yorkshire

Filey has unexpected charms. It’s a good place to reach by rail. The station is a particularly well-preserved example of the work of George Townsend Andrews (1804-1855), with an overall iron truss roof and a standard North Eastern Railway footbridge slotted into the train-shed walls.

The short walk to the sea is unremarkable, until you reach the cliff edge. Ahead is the North Sea, which in the nineteenth century was called the German Ocean. In each direction spectacular cliffs stretch to Filey Brigg in the north and southwards towards Muston, Hunmanby and Reighton.

Facing the coast, but separated from the cliff-edge by ornamental gardens, is the Crescent, an elegant ensemble of Regency terraces, constructed for an enterprising Birmingham solicitor, John Wilkes Unett (1770-1856), who commissioned plans for a resort to be called New Filey from the Birmingham architect and surveyor Charles Edge in 1835.

There is a subtle demarcation between the Crescent area and the Old Town. The two are interdependent, but Unett’s speculation was aimed at “those who possess a relish for the pure exhibitions of nature, and take with them a little society”.

Visitors came to Filey, as a quieter alternative to Scarborough, from the beginning of the nineteenth century, and initially they came by road. In the 1820s two stage-coaches operated, each on alternate days, six days a week. Local sailors and their wives recognised that catering for tourists was at least a supplement to the unpredictable fortunes of the fishing trade.

The Hull-Scarborough railway opened in 1846. It could have encouraged an invasion of excursionists, but they seem to have headed for Bridlington and Scarborough. Instead, Filey attracted a constant stream of visitors of high social standing and net worth. Charlotte Brontë visited in 1849 and 1852; Sir Titus Salt came in 1871, and Frederick Delius was a regular visitor from 1876, when he was fourteen, until 1901.

Filey was also the discreet resort of British and foreign royalty. Leopold II, King of the Belgians in 1873 made the first royal visit: he was Queen Victoria’s cousin, and he was followed by her son, Prince Alfred, Duke of Edinburgh (1880), her grandson Prince Albert Victor, Duke of Clarence & Avondale (1890) and her daughter, Princess Louise, later Duchess of Argyll (1899).

German relatives of the British royal family also visited – the Prince & Princess Louis of Battenberg (1900) and Ernest Ludwig, Grand Duke of Hesse, and his family (1910). Indeed, well into the 1930s Princess Mary, the Princess Royal, who was married to the Earl of Harewood, used to bring her young sons for holidays to Filey.

Ironically, Filey’s major claim to fame in the holiday industry was the Butlin camp, started in 1939 and completed as RAF Hunmanby Moor. After the war it flourished, to the extent that it had its own branch line and railway station. The camp’s maximum capacity was 11,000 holidaymakers, and it ran successfully into the 1970s:  http://www.butlinsmemories.com/filey/index.htm.

It’s a fair bet that most of the thousands of visitors to Butlins never went near Filey itself.

The Butlin’s branch line closed in 1977 and the camp lasted until 1983. It has completely disappeared under redevelopment.

For details of Mike Higginbottom’s lectures on seaside architecture, Away from it all:  the heritage of holiday resorts, Beside the Seaside:  the architecture of British coastal resorts, Blackpool’s Seaside Heritage and Yorkshire’s Seaside Heritage, please click here.

The 72-page, A4 handbook for the 2015 Yorkshire’s Seaside Heritage tour, with text, photographs, maps and a reading list, is available for purchase, price £10.00 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.

Emotive power

'Prince Consort', Crossness Pumping Station, London

‘Prince Consort’, Crossness Pumping Station, London

The Crossness Pumping Station, located in the midst of the treatment works that deals with all the sewage of South London, represents one of the most remarkable stories of the post-war industrial-heritage movement.

I first visited Crossness with a Matlock Travel Society group in 1987. Our Derbyshire coach-driver was astonished that we should travel all that way to have a sandwich buffet in a sewage works.

At that time the engines had been disused since the 1950s, left to rust, and were prey to thieves and more than usually intrepid vandals. The lower levels of the engine house were filled with a hundred tons of sand and cement to prevent accumulation of methane. The degree of dereliction was spectacular.

The small group of enthusiasts from the Crossness Beam Engines Preservation Group talked hopefully of bringing the place back to life. It was, frankly, hard to believe.

In fact, Crossness has huge significance. John Yates, of the Historic Buildings Division of the Greater London Council, had written in his 1980 report, “The engines as they now stand reflect the best practices of mechanical engineering in two periods: first, the middle period of steam engineering, largely reliant upon cast iron, and the late period with steel a dominant material. They are certainly the largest surviving rotative beam engines in this country, and are probably the largest in the world. There is no other comparable group of engines in one house…”

In 1993, after protracted negotiations, the Crossness Engines Trust, which arose from the earlier Preservation Group, secured a long lease from Thames Water of the engine house and its immediate surroundings, and set about restoring Prince Albert, the last of the four engines to have operated in 1953.

There followed a ten-year saga of patient, unglamorous, physical restoration work, much of it carried out by a core team of not much more than a dozen: http://www.crossness.org.uk/restoration.html.

By 2003 Prince Albert gleamed as good as new.

When the beam moved under steam for the first time in fifty years, grown men grew teary-eyed.

The power of live steam is emotional as well as physical. It makes the earth move.

Crossness Pumping Station features in Mike Higginbottom’s lecture Temples of Sanitation.  For details, please click here.

The 80-page, A4 handbook for the 2015 Cemeteries and Sewerage:  the Victorian pursuit of cleanliness tour, with text, photographs, maps, a chronology and a reading list, is available for purchase, price £10.00 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.

Baby Grand

Grand Theatre Doncaster (1984)

Grand Theatre Doncaster (1984)

I’ve never been able to understand why the borough of Doncaster has ignored its dark, neglected but intact Grand Theatre.

Built in 1899 within sight of Doncaster railway station to the designs of John Priestley Briggs (1869–1944), a pupil of Frank Matcham’s, it’s bolted on to the overwhelming Frenchgate Centre (built as the Arndale Centre, 1967), with the dual-carriageway inner relief road clipping the corner of its stage tower.

Most sources credit as joint architect Mr J W Chapman, the owner and lessee of the Old Theatre on Doncaster Market Place, who according to The ERA of April 1st 1899 “designed the whole of the arrangements, and personally drew the plans, which were passed by the Doncaster Corporation”.

Chapman’s specification made the Grand a thoroughly modern theatre, electrically lit using its own generator, heated by a low-pressure hot water system, with a sprinkler system for firefighting. All eight dressing rooms were fitted with hot and cold running water.

The auditorium has three levels, originally the orchestra stalls and pit, the dress circle and above that a balcony and gallery. The two boxes face into the auditorium and are not practical.

The original terra-cotta, cream and gold decorative scheme was executed by Deans of Birmingham.

The 26-foot proscenium is squarely proportioned, with brackets in the upper corners. The stage itself is 70ft wide, 32ft deep and 50ft high.

The roll-call of performers at the Grand runs from Charlie Chaplin to Ken Dodd and Morecambe & Wise, and includes such Yorkshire favourites as Albert Modley, Sandy Powell and Frank Randle.

It was where Julie Andrews’ debut took place when Ted and Barbara Andrews played in the December 1935 pantomime and carried their two-month-old daughter Julie onstage.

The Doncaster Grand was one of the variety theatres featured in BBC broadcasts in 1930s. Live theatre timing was not as tight as broadcasting schedules, so the outside-broadcast unit had to carry whatever came on while they were live on air: at Doncaster they got Florrie Forde, a paper-tearing act – and a troupe of jugglers.

The Grand was taken over by the Essoldo cinema chain in 1944 and it eventually closed in 1958. It operated as a Mecca bingo club from 1961 to 1990. In 1994, while under threat of demolition, it was listed Grade II.

The Friends of the Doncaster Grand Theatre have campaigned ever since for the restoration of the building, which now belongs to Lambert Smith Hampton, the owner of the adjacent Frenchgate Shopping Centre.

Doncaster Borough Council, meanwhile, has opened Cast, its performance venue “where you can watch incredible shows, share creative ideas and be inspired” – “a key driver for the creative industries and evening economy”: http://castindoncaster.com.  It takes a moment to work out why it’s called Cast.

Faced with an intransigent owner and a council facing in a different direction, it must be difficult for the Friends to maintain momentum in their campaign to find the Grand a place in the town’s creative industries: http://friendsofthegrandtheatre.co.uk.

There are urban-explorer reports on the Grand at http://www.28dayslater.co.uk/forums/showthread.php/66786-The-Grand-Theatre-Doncaster-Nov-2011 and http://www.28dayslater.co.uk/forums/showthread.php/66941-Grand-Theatre-Doncaster-December-2011.

Update:   It’s a tribute to the persistence of the Friends of the Doncaster Grand Theatre that at long last practical steps are being taken to bring the building back to life:  Join the campaign to reopen Doncaster Grand Theatre (doncasterfreepress.co.uk).

Little Germany

66 Vicar Lane, Little Germany, Bradford

66 Vicar Lane, Little Germany, Bradford

Bradford’s Victorian prosperity was boosted by the dyeing trade led by the firm of Edward Ripley & Sons, and the invention of mechanical combing by Samuel Lister of Manningham Mills – and from the remarkable influx of German immigrant merchants, such families as Schuster, Behrens, Zessenheim and Moser, whose warehouses clustered on the hill that is now known as Little Germany within the tight network of streets above Leeds Old Road.

Most of these companies were already established in Bradford before they moved into the grand warehouses in the 1860s and early 1870s. They were encouraged to diversify when trade was interrupted by the Franco-Prussian War of 1870-1, only to suffer a sudden economic downturn from 1875 onwards with the introduction of tariff barriers by France, Germany and Austria.

At the same time unexpected changes in female fashions caught manufacturers unprepared, and though the Bradford wool trade eventually adapted, no further buildings were constructed in Little Germany until 1902.

The impressive architectural display of the Little Germany stuff- (ie, worsted) warehouses masks a tightly-organised functional building-type, comparable with the cotton warehouses of central Manchester.

John S Roberts, in Little Germany (Bradford Art Galleries & Museums 1977), describes in detail how “grey” cloth was brought into the ground-floor receiving bay, promptly sent out for dyeing and, on its return, hoisted by steam-power to the top floor for inspection and sorting, stored and then after sale sent to the ground-floor packing area for dispatch.

Only wholesale customers and senior staff used the front entrance and the show staircase to the upper floors.

Many of the Little Germany buildings were designed by the local architect Eli Milnes (1830-1899), in some cases as speculative developments. Milnes was in partnership with Charles France (1833-1902) from 1863 onwards. The other local architectural practices – Andrews & Delauney, Lockwood & Mawson and Milnes & France, together with the Leeds architect George Corson, participated in the short-lived building boom.

After the decline of the Bradford woollen industry in the 1960s and early 1970s almost all of the Little Germany buildings were redeveloped: many warehouses became offices, and a former temperance hall was converted into a theatre, initially known as The Priestley after the novelist who was its first president, and eventually in 2012 relaunched as Bradford Playhouse: http://www.bradfordplayhouse.org.uk.

In 2012 the mail-order clothing company Freeman Grattans Holdings, an amalgamation of the London-based Freeman Company and the Bradford-based Grattan, moved into 1860s offices at 66-70 Vicar Lane within Little Germany.

FGH has a German owner, Otto UK.

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.

No expense spared 4: Gustav Adolfs Kyrka, Liverpool

Gustav Adolfs Kyrka, Park Lane, Liverpool

Gustav Adolfs Kyrka, Park Lane, Liverpool

One of the most original churches in Liverpool is the Gustav Adolfs Kyrka, the Scandinavian Seamen’s Church, a rendering in brick of the Nordic stave church [http://en.wikipedia.org/wiki/Stave_church].

It was built to minister to the pastoral needs of the transitory population of around fifty thousand Scandinavian seamen and emigrants in Liverpool in the early 1880s. It was completed at a cost of 50,000 Swedish crowns in 1884.

Designed by William Douglas Caröe (1857-1938), who was the son of the Danish Consul in Liverpool and a pupil of the architect John Loughborough Pearson, its octagonal form and pyramidal roof with stepped gables and a spectacular concave lead and timber spire highlight its Scandinavian associations.

The minister’s house adjoins the church.

The original worship space was up a half-flight of stairs and consisted of a galleried octagonal space with an open timber vault.

This was floored at gallery level in 1956-61 to create social and recreational space, and as the numbers of seamen visiting Liverpool declined the congregation adapted to serve the needs and welfare of the Scandinavian community in the city and its surrounding region.

Four plaster reliefs, originally part of the reredos and now relocated to the staircase, are by Robert Anning Bell.

Two sculptures, the Madonna and Christ, are by the Liverpool sculptor Arthur Dooley.

The bell from the former Norwegian Seamen’s Church at St Michael-in-the-Hamlet hangs beside the altar.

The Gustaf Adolf Nordic Congregation in Liverpool operates as the Nordic Church and Cultural Centre, providing a base for Danes, Finns, Icelanders, Norwegians and Swedes in the district and maintaining their unique building for future generations.

Visitors are made welcome, particularly at events: http://nordicliverpool.co.uk. The buffets are memorable.

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

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

No expense spared 3: Old Hebrew Congregation Synagogue, Liverpool

Old Hebrew Congregation Synagogue, Princes Road, Liverpool

Old Hebrew Congregation Synagogue, Princes Road, Liverpool

Among the many fine Victorian buildings in and around Liverpool 8, the Old Hebrew Congregation Syngogue is a particular jewel.

Built 1871-4 to the designs of the brothers William James and George Ashdown Audsley, it is constructed, like St Margaret’s Church on the same side of Princes Road, of red brick dressed with red sandstone.

Its façade combines elements of Gothic and Moorish styles, the pointed west door and the rose window contrasting with the oriental arches of the doorframes and the minarets that once surmounted the turrets.

The spectacular galleried interior has a tall arcade, supported by cast-iron columns with acanthus capitals. The horseshoe arches of the arcade lead the eye to the much more elaborate arch at the east end, which frames another rose window above the marble Ark with painted domes and gold stars.

The initial total cost was £14,975 8s 11d.

The marble pulpit, given in 1874 by the widow of James Braham, faces the bimah, the platform from which the Torah and haftarah are read. This was the gift of David Lewis, founder of the Liverpool department store, “in gratitude to Almighty God for His great goodness”.

The Ark is a replacement of the original which with its holy scrolls was destroyed by arson in May 1979: it was reconstructed and the synagogue restored and reopened in December 1980.

This spectacular place is open to group tours, which feature an exhibition about the history of the congregation: http://www.princesroad.org/#!tours/cfvg.

For details of Mike Higginbottom’s lectures on Liverpool architecture, please click here.

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

Burning issue

Woking Crematorium

Woking Crematorium

In Victorian times there was huge controversy about cremation.  Utilitarian and sanitary arguments against burial were opposed by intransigent clergy. The Bishop of London, John Jackson, complained that cremation would “undermine the faith of mankind in the doctrine of the resurrection of the body, and so bring about a most disastrous social revolution”. The Bishop of Manchester, James Fraser, responded that God would have no more difficulty resurrecting ashes than dust, or “bodies which had passed into the structure of worms”.

The very occasional cremations that came to public knowledge caused great scandal – Honoretta Brooks Pratt illegally cremated in 1769, Captain T B Hanham who built a private cremator for his wife, his mother and ultimately himself in Dorset – until the wildly eccentric Dr William Price’s cremation of his five-month-old son Iesu Grist in 1884 led to Mr Justice Stephen’s ruling that cremation was not an offence “provided no nuisance was caused”.

The Cremation Society built the first cremator in Britain at Woking in 1879, originally little more than a furnace with a 42ft chimney. They hesitated to use it until the legal ambiguities had been resolved, and the first cremation on the site, 71-year-old Mrs Jeanette Pickersgill, took place on March 26th 1885.

Thereafter a small number of cremations were carried out each year, and in 1891 a chapel and reception rooms designed by Edward Channing Clarke were added in a comfortable thirteenth-century Gothic style that was intended to reassure mourners and hide the functionality of the machinery within.

The relationship between Woking Crematorium and the nearby Brookwood Cemetery was fraught with ambiguity. The Cremation Society bought the land from the London Necropolis Company, but through a third party so that the cemetery company could dissociate itself. Yet in due time the London Necropolis Company provided funeral facilities, including trains from Waterloo, and sold plots for the burial of ashes.

Similarly, the vicar of St Peter’s Church, Woking, Rev Frederick J Oliphant, made an enormous fuss when the crematorium was first proposed, yet by 1889 the Rev William Hamilton, vicar of St John the Baptist, Woking, was conducting frequent funeral services at the crematorium for a fee of one guinea a time and also burying cremated remains in the churchyard at St John’s.

Woking Crematorium is still in use, its buildings cherished for their atmosphere and historical significance, its grounds a beautiful and extensive garden of remembrance:  http://www.thelondoncremation.co.uk/woking-crematorium.

Cremation is now by far the most prevalent form of disposal of the dead: in 2012 only a quarter of disposals were burials.

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

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

The 80-page, A4 handbook for the 2015 Cemeteries and Sewerage:  the Victorian pursuit of cleanliness tour, with text, photographs, maps, a chronology and a reading list, is available for purchase, price £10.00 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.