James Wyatt (1746-1813) of Weeford … the most famous member of the Wyatt architectural dynasty, his work on Lichfield Cathedral was condemned by AWN Pugin
Patrick Comerford
Tamworth and District Civic Society,
Christopher’s, Peel Hotel,
Aldergate, Tamworth
7:30 p.m., 11 April 2024
Introduction
There are several interesting architectural dynasties in the 19th century, including the Hardwick, Barry, Pugin and Scott families. But the Wyatt family tree stretches back much further than any of these, and the Wyatt family stands out for the variety and influence of its work by five or six generations of influential English architects in the 17th, 18th and 19th centuries.
The best-known member of this dynasty was, perhaps, James Wyatt (1746-1813), although his work on rebuilding and restoring Lichfield Cathedral at the end of the 18th century drew the opprobrium of the greatest Gothic Revival architect of them all, AWN Pugin, when he visited Lichfield.
I am familiar with the work of the Wyatt family, not only because of my research on Pugin’s work, and because my family had worked on Pugin churches in the 19th century, but also because of their strong family links with the Tamworth and Lichfield area, because of Wyatt contributions to the architectural shape of Sidney Sussex College in Cambridge, and because of one unique architectural feature – Wyatt Windows – which are found in large measure in two towns in Ireland: in Bunclody, Co Wexford, which was the Irish home town of my father’s ancestors, and Rathkeale, the principal town in the group of parishes in the Diocese of Limerick in south-west Ireland where I was the priest-in-charge for five years (2017-2022).
Visiting Weeford
Saint Mary’s Church in Weeford … generations of the Wyatt family were baptised, married and buried there (Photograph: Patrick Comerford)
I was reminded once again of the Wyatt family’s prolific work and unique contribution throughout these islands on a visit some time ago to Weeford, between Tamworth and Lichfield, which has been associated with the Wyatt family for almost six centuries.
Weeford is one of the five original ‘prebends’ in Lichfield Cathedral (Photograph: Patrick Comerford)
Weeford is 9 km (5.6 miles) west of Tamworth and 6 km (four miles) south of Lichfield, close to Toll 4 on the M6, but is in quiet rural Staffordshire. It is mentioned in the Domesday Book and it was one of the five original ‘prebends’ that paid ‘wax Scot’ or ‘Plough Alms’ to Lichfield Cathedral from the beginning of the 12th century. Indeed, there was a church in Weeford for many centuries, and there is still a stall for the Prebendary of Weeford in the chapter stalls in Lichfield Cathedral.
The Weeford Parish Registers are a valuable tool for genealogists and local historian (Photograph: Patrick Comerford)
In Lichfield, I recently bought a copy of the old parish registers for Saint Mary’s, dating back to 1562. The Weeford Parish Register was prepared for the Staffordshire Parish Register Society and edited by the society secretary, Norman W Tildesley of Somerford Place, Willenhall, and printed privately in Wednesbury around 1954-1956.
The Weeford parish registers of baptisms, marriages and burials date from 1562 and continue until 1812. They were transcribed by HR Thomas of Wolverhampton. On the back of the fly leaf of the first register are two interesting prayers written in an unformed hand:
By thy crucified body deliver me from the body of this death.
O let this blood of thine purge my conscience from vain works to serve the living God.
A footbridge over the Blackbrook River in Weeford (Photograph: Patrick Comerford)
The registers record not just baptisms, marriages and burials, but the events too that led to these rites of passage. An entry in 1614 records: ‘Buried: Roger Whately, a Carrier, that was murthered at Weeford Park on Sundaie the 27th November, buried the last of November.’
There is a moving entry from 13 February 1745: ‘Buried a woman that came to ask charity at Packington Hall and died in the fold there.’
On 13 March 1758, the registers record the death of ‘James Holmes who was kill’d by a waggon wheel at Mr Manley’s of Swinfen.’ An unnamed ‘Travelling Irishman’ is recorded as being baptised on 15 August 1759, although this must surely refer to a burial. On 24 February 1760, we read of the death of ‘Mr Joseph Grundy from Swinfen Hall, who was killed by being ‘thrown off a load of Hay.’
Some of the entries record family tragedies in very simple terms. Jone (Joan) Basford, the daughter of Raphe Basford, was baptised on 28 January 1571, ‘and was burried [sic] the morrow after.’ An unknown stranger is buried on 3 February 1578 without being named. Thomas Thickbrome’s two daughters, Margaret and Ellin, are buried within ten days of each other in October 1580. Robert and Constance Turner, brother and sister, were baptised on 7 March 1586 – and both were buried five days later. Charles, the son of Joseph and Mary Wyatt, was baptised on 27 November 1757, and buried the next day.
To read this high rate of infant mortality, even centuries later, is heart-rending.
Thomas Tew and Ales Mustard were married on 2 December 1574, and their son William was baptised three weeks later, on Christmas Day 25 December 1574. The registers can be quite blunt, or even cruel, in commenting on domestic situations. A child baptised in 1576, and another in 1578, are each described as spurius, while a child baptised in 1584 is said to be ‘baseborne.’
There are three sad entries, one after another, on 2 August 1591, beginning with the burial of Elizabeth Maxfield, noting ‘The said Elizabeth Maxfield a little before her death of two sonnes, the name of the first is Edward, the other Thomas, the father of the said children is unknown.’ The writer then goes on to record the baptisms that day of each new-born child.
A child found in the church porch ‘was baptized by the name of Anne, according to the Cannon [sic]’ on 31 December 1637.
There are few entries for baptisms during the Cromwellian era (1649-1660) and the entries are poorly organised, indicating the strong Puritan streak among the ministers appointed to the parish, although this does not necessarily mean the parishioners agreed with the ministers imposed on them.
The four main families in the parish were Swinfen of Swinfen Hall, Levett of Packington Hall, Manley of Manley Hall and Lawley of Canwell Hall. Packington Hall had been built by James Wyatt for the Babington family, and later passed by marriage to the Levett family.
Early Wyatts in Weeford
An outline of the Wyatt family tree (Wikipedia)
As an indication of the social prejudices of the day, families like these tend to receive more attentive entries in the register. John and Ann Swinfen were witnesses on 14 October 1790 at the marriage of ‘The Honourable John Colvill, eldest son and heir apparent of the Right Honourable John, Lord Colvill of Culrooss in Scotland and Elizabeth Ford of Swinfen.’ It is interesting to note that Elizabeth’s parentage is not referred to.
These registers show that the Wyatt family was living in the parish since at least as early as 1540, if not earlier. The baptism of Thomas Wyatt, son of Robert Wyatt, on 29 July 1562, is the fifth entry recorded in the registers, and is followed by two daughters, Margery in 1565 and Margaret in 1567.
Entries for members of the Wyatt family, including inter-marriages within the family, continue for generations and for centuries. There are Wyatt memorials in the parish church and Wyatt graves scattered throughout the churchyard.
There were Wyatts in Weeford from before 1540, when William Wyatt was the father of Humphrey Wyatt, and the Wyatt architectural dynasty can be traced back to William Wyatt of Thickbroom, near Weeford, who died in 1572.
The Wyatt dynasty was consolidated by a great number of marriages between cousins – over 20 in all, with eight in one generation alone. Wyatt family members often worked together in the architectural world. But the family also includes artists, painters, sculptors and journalists.
The grave in the churchyard in Weeford of John Wyatt (1675-1742), his wife Jane (1677-1739), their son Benjamin Wyatt (1709-1772) and other family members (Photograph: Patrick Comerford)
Edward Wyatt, who was buried in Weeford in 1572, was the great-great-grandfather of Edward Wyatt (1632-1705), whose son, John Wyatt (1675-1742) from Thickbroom in Weeford, was the immediate ancestor of this outstanding architectural dynasty.
This John Wyatt married Jane Jackson (1677-1739) on 4 June 1699, and they were the parents of at least nine children, eight sons and one daughter. Their eldest son, John Wyatt (1700-1766), who was probably born in Thickbroom and baptised in Weeford parish church, was also related to Sarah Ford, the mother of Dr Samuel Johnson.
John was a carpenter by trade, and worked in Birmingham, where he became a talented inventor. His inventions included a compound lever weighing machine for weighing loaded wagons, and he developed a spinning machine that predated Richard Arkwright’s ‘Spinning Jenny.’
The second son of John and Jane Wyatt of Thickbroom was William Wyatt (1701-1772) of Sinai Park House, near Burton-upon-Trent. A surveyor, who was steward to the Paget family, and was involved in their unpopular enclosures of land in Staffordshire.
I shall return to his descendants and their architectural legacy later on.
Architectural genius
Swinfen Hall … the finest architectural achievement of Benjamin Wyatt (1709-1772)
Among John Wyatt’s eight sons, the first to work as an architect was Benjamin Wyatt I (1709-1772). He too was baptised in Weeford, in 1709, and in the same church he married Mary Wright on 27 May 1731.
He was a ‘farmer, timber merchant, building contractor and sometime architect.’ Benjamin and Mary Wyatt were living at Coton, near Tamworth, before he built his own house, Blackbrook in Weeford, which was home to seven generations of the Wyatt family.
Benjamin Wyatt’s finest architectural achievement was Swinfen Hall, between Weeford and Lichfield, which he built in 1757 for Samuel Swinfen and his wife. Half a century ago, Sir Nikolaus Pevsner observed in 1974: ‘Much more ought to be found out about the house.’ I think this has been rectified in recent decades.
Around 1769, Benjamin Wyatt built Soho House in Handsworth (then in Staffordshire), the Birmingham home of Matthew Boulton (1728-1809), a Birmingham industrialist and a member of the Lunar Society. Later work on the house was carried out by two of John’s sons, Samuel Wyatt (1737-1807), who extended the house in 1789, and James Wyatt (1746-1813), who added the main entrance (1796).
Other works in Staffordshire by Benjamin Wyatt senior include the General Hospital in Foregate Street, Stafford (1766-1771).
The gate lodge of Sidney Sussex College, Cambridge … part of the alterations by Sir Jeffry Wyatville in 1832 (Photograph: Patrick Comerford)
Benjamin and Mary Wyatt had a large family. Their eldest son, William Wyatt (1734-1781), was a land surveyor and inclosure commissioner, and he married his first cousin, Sarah Wyatt of Sinai Park.
Their second son, John Wyatt (1735-1797), was a successful surgeon in London. He returned to Weeford to marry Catherine Anderson on 31 March 1761, when his parents were still living at Blackbrook Farm, and when he died in 1797 he was buried in Weeford too.
Another son, Samuel Wyatt (1737-1807), nicknamed ‘Chip’ because he was also a carpenter, was an architect and builder. He married his cousin, Jane Wyatt. His works include Trinity House on Tower Hill, which has been described as ‘the last word in Georgian elegance.’
Pevsner says Samuel Wyatt was ‘the best architect to work at Shugborough’, which was originally built in 1693. He designed what Pevsner calls the ‘grandest portico in Staffordshire by far,’ the eight-column giant portico set in front of the house in 1794.
He also added the awkwardly projecting saloon, former dining room and drawing room, and the elliptical entrance hall, and designed the Milford Lodges at the entrance.
The next son, Joseph Wyatt (1739-1785), who married his cousin Myrtilla Wyatt, was the father of Sir Jeffry Wyatville (1766-1840). He changed his surname from Wyatt to Wyatville (frequently misspelled Wyattville in south Dublin housing estates), and Sir Jeffry Wyatville was responsible for significant works at Windsor Castle and Chatsworth House.
I have first-hand familiarity with Jeffry Wyatville’s alterations to Sidney Sussex College, Cambridge, in 1832, including the gatehouse. Under his supervision, the exterior brick of Sidney Sussex College was covered with a layer of cement, the existing buildings were heightened slightly, and the architectural effect was also heightened.
Benjamin and Mary Wyatt were also the parents of Benjamin Wyatt II (1744-1818), who moved to Wales in 1785 and was the agent to Lord Penrhyn.
James Wyatt and Lichfield Cathedral
Lichfield Cathedral … Pugin called James Wyatt a ‘wretch,’ a ‘pest’ and a ‘monster of architectural depravity’ (Photograph: Patrick Comerford)
But the most famous son of Benjamin and Mary Wyatt was James Wyatt (1746-1813), who was born at Blackbrook Farmhouse near Weeford, and became the most acclaimed and influential architect of his age.
His first major building, the Pantheon in Oxford Street, London, was described by Horace Walpole as ‘the most beautiful edifice in England.’ Sadly, this building burned to the ground in a spectacular fire in 1792, only 20 years after its opening. The site is now occupied by the Oxford Street branch of Marks and Spencer.
James Wyatt became the Surveyor General and was involved in the Radcliffe Observatory in Oxford (Photograph: Patrick Comerford)
In 1792, James Wyatt was appointed the Surveyor General, which effectively made him England’s most prominent architect. He was also involved in works at Windsor Castle, Kew Gardens, the Radcliffe Observatory in Oxford, and the restoration of the House of Lords. His other acclaimed works include Fonthill Abbey near Hindon, in Wiltshire, Broadway Tower in Worcestershire, the folly on the second highest point of the Cotswolds, Heveningham Hall in Suffolk, Ashbridge Park in Hertfordshire, and the Royal Military Academy at Woolwich.
He also worked on Alton Towers for the Earls of Shrewsbury, although Pevsner was unable to determine the extent of his contribution.
James Wyatt rebuilt Saint Mary’s Church in Weeford in 1802-1804, now a Grade 2 Listed Building, and donated the altar, pulpit, screens, font and ornamental furnishings. Other family members involved in rebuilding the church included James Wyatt’s nephew, Lewis William Wyatt (1777-1853), son of Benjamin Wyatt II (1744-1853).
James Wyatt began working on the restoration of Lichfield Cathedral in 1788 – his first cathedral task – and worked until here 1795. He oversaw work to remove 500 tons of stone from the nave roof, replacing it with lath and plaster, and effectively saving the cathedral from collapse. He blocked up the four western choir arches, removed or altered the screen, put a glass screen in the east arch of the crossing, and added the two heavy buttresses outside the south transept. He also largely rebuilt the central spire.
The architect on the site was Joseph Potter senior.
When the great figure in the Gothic Revival, AWN Pugin, first visited Lichfield in 1834, over 20 years after James Wyatt had died, he was taken aback by his refurbishment of the cathedral 30 years earlier and believed the fabric of the cathedral had been mutilated by James Wyatt – and he also described Lichfield as ‘a dull place – without anything remarkable.’
Pugin described Wyatt as a ‘Wretch,’ a ‘pest,’ an ‘accursed tutor’ and a ‘monster.’ He declared: ‘Yes – this monster of architectural depravity, this pest of Cathedral architecture, has been here. need I say more.’
Referring to another Lichfield architect, Joseph Potter, Pugin said: ‘The man I am sorry to say – who executes the repairs of the building was a pupil of the Wretch himself and has imbibed all the vicious propensities of his accursed tutor without one spark of even practical ability to atone for his misdeeds.’
James Wyatt’s major neoclassical country houses include Packington Hall, two miles from Lichfield and 4.5 miles from Tamworth, and the home of the Babington and then the Levett family for generations.
James Wyatt’s major works in Ireland include Castle Coole, the Enniskillen home of the Earls of Belmore, Lady Anne Dawson’s mausoleum in Dartrey, Co Monaghan, the interiors of Curraghmore for Lord Waterford, and Avondale House, Co Wicklow, the family home of the Irish patriot Charles Stewart Parnell.
It interesting to note his broad and sweeping influence on the design of houses in towns such as Carlow, Bunclody (Newtownbarry), Co Wexford, and Rathkeale, Co Limerick, for example.
Wyatt windows can be seen in many buildings in Bunclody, including the former Comerford family home (until recently the Post Office). The rectory, built in 1808, has windows that diminish in scale on each floor in the classical manner, producing a graduated visual impression, once again in a style inspired by James Wyatt. Wyatt windows can be seen too in some of the many once-elegant Georgian townhouses in Rathkeale.
James Wyatt was also briefly the President of the Royal Academy (1804). His life came to an abrupt end on 4 September 1813, when the chariot-and-four in which he was travelling overturned on the Marlborough Downs. He was buried in the South Transept in Westminster Abbey.
James Wyatt’s second son and pupil, Benjamin Dean Wyatt (1775-1852), built the Theatre Royal in Drury Lane, London, and was also the Surveyor at Westminster Abbey. Another son was the sculptor Matthew Cotes Wyatt (1778-1862).
The Irish work of the dynasty
Thomas Henry Wyatt built Saint Bartholomew’s Church, Ballsbridge, in 1864-1867 (Photograph: Patrick Comerford)
I said I would return to William Wyatt (1701-1772), the elder brother of Benjamin Wyatt (1709-1772). This William Wyatt was the grandfather of Matthew Wyatt (1773-1831), who studied law instead of architecture. He moved briefly to Ireland when he was appointed a barrister and police magistrate in Roscommon.
Matthew Wyatt’s son, Thomas Henry Wyatt (1807-1880), was born at Loughlynn House, Co Roscommon, on 9 May 1807. Although he was born in Ireland, he is often regarded as an English architect.
When Thomas was about 11, the Wyatt family returned to England in 1818, and his brother, Sir Matthew Digby Wyatt (1820-1877), was born in Rowde, Wiltshire. By 1825, the family was living in Lambeth.
Thomas Wyatt first began a career as a merchant sailing to the Mediterranean. But he returned to the family’s tradition of architecture, and his early training was in the office of Philip Hardwick. There he worked until 1832, and was involved in work on Goldsmiths Hall, Euston Station and the warehouses at Saint Katharine Docks.
He began to practice on his own as an architect in 1832, and became the District Surveyor for Hackney, a post he held until 1861.
He married his first cousin, Arabella Montagu Wyatt (1807-1875), a daughter of his uncle, Arthur Wyatt, who was the agent of the Duke of Beaufort. By 1838, he had acquired substantial patronage from the Duke of Beaufort, the Earl of Denbigh and Sidney Herbert (1810-1861). David Brandon joined Wyatt as a partner, and this partnership lasted until 1851. Their works included Saint John the Baptist Church, Tixall, commissioned by the Hon John Chetwynd Talbot, and the now lost Saint Thomas Church in Wednesfield. In 1860, Thomas Wyatt’s son, Matthew Wyatt (1840-1892), became his partner.
Thomas Wyatt’s practice at 77 Great Russell Street, London, was extensive with a large amount of work in Wiltshire, thanks to the patronage of the Herbert family, and in Monmouthshire through the Beaufort connection. Wyatt worked in many styles ranging from the Italianate of Wilton through to the Gothic of many of his churches.
Inside Saint Bartholomew’s Church, Ballsbridge … the church has a unique place in the history of Victorian church architecture in Ireland (Photograph: Patrick Comerford)
Wyatt probably received the commission for Saint Bartholomew’s Church, Ballsbridge, in the expanding, comfortable Victorian suburbs of south Dublin, through the patronage of the Herbert family who were the landlords of that part of Dublin. As the Earls of Pembroke, they give their name to a new township based on Ballsbridge. Wyatt worked closely with Sidney Herbert, younger brother of the Earl of Pembroke, who administered the family estates and donated the site for the ‘Pembroke District Church.’
Sidney Herbert was a brother-in-law of Thomas Vesey (1803-1875), the 3rd Viscount de Vesci, who married Lady Emma, daughter of George Herbert, 11th Earl of Pembroke. Lord de Vesci had commissioned Wyatt to restore Abbeyleix House, Co Laois, and to design the parish church of Saint Michael and All Angels in Abbeyleix.
Sidney Herbert, who had sent Florence Nightingale to Scutari during the Crimean War, was the father-in-law of both the theologian Friedrich von Hügel and the composer Hubert Parry. He lived at Mount Merrion in south Dublin and was managing the Pembroke estates when the site for Saint Bartholomew’s was donated and Wyatt was commissioned to design the new church.
Wyatt’s also enlarged and altered Saint Mary’s Church in Gowran, Co Kilkenny. He also reported on the completion of the restoration of Saint Canice’s Cathedral, Kilkenny, and worked on several Irish country houses, including Abbeyleix, Co Laois, for Lord de Vesci, Ramsfort, Co Wexford, for Stephen Ram, Lissadell House, Co Sligo, for the Gore-Booth family, and Palmerstown House, Co Kildare, for the de Burgh family.
The font in Saint Bartholomew’s was a personal gift to the church by Thomas Henry Wyatt (Photograph: Patrick Comerford)
The font in Saint Bartholomew’s Church was his personal gift to the church. He died on 5 August 1880 leaving an estate of £30,000, and is buried at Weston Patrick.
Sir Matthew Digby Wyatt of Cambridge designed 24-25 Grafton Street, Dublin … today it is stripped of its original ground-floor shopfront (Photograph: Patrick Comerford)
Thomas Wyatt’s younger brother and former pupil, Sir Matthew Digby Wyatt (1820-1877), was an art historian and the first Slade Professor of Fine Art at Cambridge. He too also worked in Ireland, and he designed Nos 24-25 Grafton Street, Dublin, in the ‘Celtic revival’ style for William Longfield.
This building had one of the finest Romanesque façades until the ground floor was vandalised to make way for modern shopfronts. The original shopfront combined details from many churches and cathedrals, including the doorway in Saint Lachtain’s Church, Freshford, Co Kilkenny, crosses from Monasterboice, Co Louth, and the chancel arch and crosses from Saint Mary’s Cathedral, Tuam, Co Galway.
The first and second floors, which have survived, have two super-imposed Romanesque arcades. Above them, the third floor looks like a Venetian loggia. The rich details throughout these three floors include interlaced capitals, keystone masks, foliated string courses, and chevron or saw-tooth ornamentation.
In 1863, the Irish Builder hoped Wyatt would ‘stimulate many an Irish architect to … recreate a national style,’ and praised the building for being ‘at once novel and successful.’
A continuing link
The grave of John Wyatt (died 1820) in Weeford Churchyard (Photograph: Patrick Comerford)
The grave of the journalist Woodrow Wyatt in Weeford Churchyard (Photograph: Patrick Comerford)
As I strolled through Saint Mary’s churchyard in Weeford, I came across other interesting members of the Wyatt family, and more recent family members, including the former amateur cricketer and captain of Warwickshire, Worcestershire and England, Robert Elliott Storey (Bob) Wyatt (1901-1995), and the politician, journalist and chairman of the Tote, Woodrow Wyatt (1918-1997), who was made Lord Wyatt of Weeford by Margaret Thatcher and who is also buried in the churchyard.
The Old Schoolhouse in Weeford continues to celebrate the Wyatt name (Photograph: Patrick Comerford)
Across the country lane from the churchyard, the Wyatt dynasty is remembered in the Wyatt Pavilion, a popular wedding venue incorporated into the bar and restaurant in the old schoolhouse.
Conclusions:
Wyatt windows in a terrace of houses in Rathkeale, Co Limerick (Photograph: Patrick Comerford)
Wyatt windows in the Mall House, the former Comerford family home in Bunclody, Co Wexford (Photograph: Patrick Comerford)
Thomas Wyatt has been described unfairly by John Betjeman as ‘one of the dullest Victorian architects.’ On the other hand, despite Pugin’s scorn and contempt for James Wyatt, John Betjeman has praised him for his ‘symphony’ of ‘exquisite plaster, marble and painted details.’
James Wyatt has been acclaimed both as ‘the successor to Robert Adam as England’s most fashionable architect in the classical idiom,’ and for his ‘mastery of the Gothic style.’ Sir Nikolaus Pevsner has called his work at Woolwich ‘one of the most important pieces of military architecture’ in Britain.
But James Wyatt is also controversial, because he is also taken to task for having followed fashions in a superficial way, and to Pugin he was ‘a monster of architectural depravity’ for his insensitive work at Lichfield and other cathedrals.
Little of Wyatt’s work at Lichfield Cathedral survived the later Victorian restoration and rebuilding. Pevsner has pointed out that much of Lichfield Cathedral, as it is today, is George Gilbert Scott’s work, including mouldings, capitals and statues, and most of the window tracery.
The finest surviving works by the Wyatt family in Staffordshire are Shugborough and Swinfen Hall.
If you wish to see their legacy in this part of Staffordshire, then visit Swinfen Hall, take a stroll through Weeford, or admire the work in Lichfield of James Wyatt’s pupil, Joseph Potter (1756-1842), including Newtown’s College in the Close (1800), the Causeway Bridge at Bird Street (1816), and Holy Cross Church, Upper Saint John Street, Lichfield (1835).
Potter’s other works in Lichfield and the surrounding area include:
● Christ Church, Burntwood (1819-1820);
● Chetwynd Bridge, Alrewas (1824);
● Freeford Hall, enlarged for the Dyott family (1826-1827);
● The High Bridge, Armitage (1829-1830);
● Saint John Baptist Roman Catholic Church, Tamworth (1829-1830).
His son, Joseph Potter Jnr. (1797-1875), took over his architectural practice and designed the Guildhall (1846-1848) and the Clock Tower (1863) in Lichfield.
Appendix 1: Wyatt works in Staffordshire:
Benjamin Wyatt I (1709-1772):
Blackbrook Farmhouse, Weeford (pre 1750), Wyatt family home in Weeford.
Swinfen Hall (1755-1757), for Samuel Swinfen.
Soho House, Handsworth (1769) for Matthew Boulton.
Benjamin Wyatt senior’s other works in Staffordshire include the General Hospital in Foregate Street, Stafford (1766-1771).
Samuel Wyatt (1737-1807):
Soho House (1789), extended for Matthew Boulton.
Shugborough House (1790, 1806), Milford Lodges and portico 1794 in front of 1693 house.
James Wyatt (1746-1813):
Lichfield Cathedral (1788-1795): restoration work.
Packington Hall, for the Babington and Levett families.
Little Aston Hall (late 18th century), rebuilt by Edward J Payne (1857-1859).
Soho House (1796), added main entrance front for Matthew Boulton.
Saint Mary’s Church, Weeford (1802).
Alton Towers (Pevsner is unable to determine the extent of his contribution).
Canwell Hall: added two wings (demolished 1957).
Thomas Wyatt (1807):
Saint John the Baptist Church, Tixall (1849), Wyatt and Brandon, commissioned by John Chetwynd Talbot.
Saint Thomas Church, Wednesfield (1842-1843), chancel by Wyatt and Brandon, burnt in 1902, rebuilt by FT Beck (1903).
Appendix 2: A search in vain
The Weeford Parish Register records the four children of James Wyatt (1717-1783) and his wife Elizabeth Somerford or Sommerford. This James Wyatt was a son of John Wyatt (1675-1742) and Jane Jackson (1677-1739). He was the youngest child in a family of eight sons and one daughter, and he was a younger brother of William Wyatt (1702-1772) and Benjamin Wyatt (1709-1772), the ancestors of the Wyatt architectural dynasty.
James Wyatt and John Wyatt, probably twins, the sons of James Wyatt and Elizabeth Somerford, were baptised on 22 January 1760. Infant mortality also struck this couple, and the two boys died later that year: John was buried on 23 September and James was buried on 20 December 1760. The baptism of a daughter Mary in 1762 is not noted, although the register records her burial in Weeford later that year on 22 October 1762, without naming her parents. A third son, also James Wyatt, son of James Wyatt and Elizabeth Somerford, was baptised on 24 May 1763. A fourth son, John Wyatt, son of James Wyatt and Elizabeth Sommerford, was baptised in Weeford on 27 December 1765.
Despite the heartbreak of infant mortality, James and Elizabeth appear to have been determined to keep the names James and John in the family. The second John Wyatt died in 1791.
James Wyatt was buried in Weeford on 15 August 1783. An entry on 23 February 1804 records: ‘Elizabeth Somerford from Lichfield, bur[ied], Copied to here.’ This is probably his widow, although this is not clear from the burial register; if she is his widow, one wonders why her married name is not used.
Weeford is less than 10 miles south of Comberford, in the neighbouring parish of Wigginton, and there is at least one record showing how close the two villages are with the burial of ‘John, s[on] of Edw[ard] Lakin of Cumberford’ on 27 November 1726.
As the register shows, the spelling of surnames did not become standardised until later in the 19th century, and I wondered whether some descendants of the Comberford family of Comberford that I had not known of may have continued to live in this part of Staffordshire for longer than my researches had shown.
Indeed, it would have been interesting to come across a marriage between the Wyatt and Comerford families, just at a time when the Comerfords were introducing Wyatt-style windows to the domestic architecture of Newtownbarry (Bunclody).
But I was quickly dissuaded. Perhaps Sommerford and Somerford were not misspellinsg for Comberford or Comerford, but derived from Somerford, about 18 miles west of Weeford and a mile east of Brewood, the same Somerford that also gave its name to Somerford Place in Willenhall, where Norman W Tildesley, the editor of this volume, lived in the 1950s.
Thomas Somerford of Somerford Hall, his wife, his mother and his children were Quakers by the 1680s. But the Somerford family had sold or lost Somerford Hall by 1705. If Elizabeth Wyatt is descended from that family I have yet to discover how.
Some sources:
‘The Wyatt Dynasty’, the Victorian Web, http://www.victorianweb.org/art/architecture/misc/wyattdyn.html (last accessed 22 April 2018).
Rosemary Hill, God’s Architect: Pugin and the Building of Romantic Britain (London: Penguin, 2007).
(Sir) Nikolaus Pevsner, Staffordshire, The Buildings of England (Harmondsworth Penguin, 1974).
John Martin Robinson, The Wyatts: An Architectural Dynasty (Oxford: Oxford University Press, 1979).
Norman W Tildesley (ed), Weeford Parish Registers, Baptism, Marriages, Burials 1562-1812 (Wednesbury: Staffordshire Parish Registers Society, 1955).
Reginald Turnor, Nineteenth Century Architecture in Britain (London: Batsford, 1950).
Chris Woodcock, Notes on a line of the Galloway Family (2016).
Biographical Note:
(Revd Canon Professor) Patrick Comerford is an Anglican priest living in retirement in Stony Stratford, Buckinghamshire. He is a former professor at Trinity College Dublin, lectured in church history and liturgy at the Church of Ireland Theological Institute, and spent many years in ministry in the Church of Ireland. He has family links with the Tamworth area that stretch back generations and centuries. He blogs daily at www.patrickcomerford.com, where many of his postings are about life, history and architecture in the Tamworth and Lichfield area.
Showing posts with label Wyatt. Show all posts
Showing posts with label Wyatt. Show all posts
11 April 2024
The Wyatt Family of Weeford:
a Staffordshire
architectural dynasty
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Daily prayer in Easter 2024:
12, 11 April 2024
Bishop George Augustus Selwyn died on 11 April 1878 at the Bishop’s Palace, Lichfield, and was buried in Lichfield Cathedral (Photograph: Patrick Comerford)
Patrick Comerford
This week began with the Second Sunday of Easter (Easter II) or ‘Low Sunday’ (7 April 2024). The Calendar of the Church of England in Common Worship today (11 April) remembers George Augustus Selwyn (1809-1878), first Bishop of New Zealand and later Bishop of Lichfield.
Throughout this Season of Easter, my morning reflections each day include the daily Gospel reading, the prayer in the USPG prayer diary, and the prayers in the Collects and Post-Communion Prayer of the day.
Later this evening I am speaking about the Wyatt family of architects from Weeford, between Tamworth and Lichfield, at a meeting of the Tamworth and District Civic Society in Tamworth. I may also visit Comberford village in the afternoon. But, before this day begins, I am taking some quiet time this morning to give thanks, for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a prayer from the USPG prayer diary;
3, the Collects and Post-Communion prayer of the day.
The effigy of Bishop George Augustus Selwyn (1809-1878) in the Lady Chapel of Lichfield Cathedral (Photograph: Patrick Comerford)
John 3: 31-36 (NRSVA):
[Jesus said:] 31 ‘The one who comes from above is above all; the one who is of the earth belongs to the earth and speaks about earthly things. The one who comes from heaven is above all. 32 He testifies to what he has seen and heard, yet no one accepts his testimony. 33 Whoever has accepted his testimony has certified this, that God is true. 34 He whom God has sent speaks the words of God, for he gives the Spirit without measure. 35 The Father loves the Son and has placed all things in his hands. 36 Whoever believes in the Son has eternal life; whoever disobeys the Son will not see life, but must endure God’s wrath.’
The mosaics in the Selwyn memorial in the Lady Chapel, Lichfield Cathedral, illustrate his life (Photograph: Patrick Comerford)
George Augustus Selwyn (1809-1878):
George Augustus Selwyn (1809-1878) was educated at Cambridge and ordained as curate of Windsor. He was made the first Bishop of New Zealand in 1841 and remained there for 27 years, during the first years travelling when few roads or bridges existed.
In the wars between colonists and Maoris he stood out heroically for Maori rights, at the cost of fierce attacks from both sides and grave personal danger in his efforts to part the warring sides, until later he was revered as one of the founders of New Zealand as well as of its Church. He taught himself to navigate and gathered congregations in the Melanesian Islands. His Constitution for the New Zealand Church influenced the churches of the Anglican Communion and he was a chief founder of the Lambeth Conferences of bishops.
He was persuaded to become the Bishop of Lichfield in 1868 and died in Lichfield on 11 April 1878. He gives his name to Selwyn College Cambridge and Selwyn House in Lichfield.
The mosaics in the Selwyn memorial in the Lady Chapel, Lichfield Cathedral, depict events in his life (Photograph: Patrick Comerford)
Today’s Prayers (Thursday 11 April 2024):
The theme this week in ‘Pray With the World Church,’ the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is the ‘Certificate in Youth Leadership Programme in the West Indies.’ This theme was introduced on Sunday by the Right Revd Michael B St J Maxwell, Bishop of the Diocese of Barbados.
The USPG Prayer Diary today (11 April 2024) invites us to pray:
Lord, we pray for zeal, care and attention to be offered by trained youth leaders in the faith, and spiritual development of Caribbean youth and their acquisition of life-skills.
The Collect:
Almighty Father,
you have given your only Son to die for our sins
and to rise again for our justification:
grant us so to put away the leaven of malice and wickedness
that we may always serve you
in pureness of living and truth;
through the merits of your Son Jesus Christ our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Post Communion Prayer:
Lord God our Father,
through our Saviour Jesus Christ
you have assured your children of eternal life
and in baptism have made us one with him:
deliver us from the death of sin
and raise us to new life in your love,
in the fellowship of the Holy Spirit,
by the grace of our Lord Jesus Christ.
Additional Collect:
Risen Christ,
for whom no door is locked, no entrance barred:
open the doors of our hearts,
that we may seek the good of others
and walk the joyful road of sacrifice and peace,
to the praise of God the Father.
Yesterday’s reflection
Continued Tomorrow
Selwyn House at the east end of the Cathedral Close in Lichfield (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
Patrick Comerford
This week began with the Second Sunday of Easter (Easter II) or ‘Low Sunday’ (7 April 2024). The Calendar of the Church of England in Common Worship today (11 April) remembers George Augustus Selwyn (1809-1878), first Bishop of New Zealand and later Bishop of Lichfield.
Throughout this Season of Easter, my morning reflections each day include the daily Gospel reading, the prayer in the USPG prayer diary, and the prayers in the Collects and Post-Communion Prayer of the day.
Later this evening I am speaking about the Wyatt family of architects from Weeford, between Tamworth and Lichfield, at a meeting of the Tamworth and District Civic Society in Tamworth. I may also visit Comberford village in the afternoon. But, before this day begins, I am taking some quiet time this morning to give thanks, for reflection, prayer and reading in these ways:
1, today’s Gospel reading;
2, a prayer from the USPG prayer diary;
3, the Collects and Post-Communion prayer of the day.
The effigy of Bishop George Augustus Selwyn (1809-1878) in the Lady Chapel of Lichfield Cathedral (Photograph: Patrick Comerford)
John 3: 31-36 (NRSVA):
[Jesus said:] 31 ‘The one who comes from above is above all; the one who is of the earth belongs to the earth and speaks about earthly things. The one who comes from heaven is above all. 32 He testifies to what he has seen and heard, yet no one accepts his testimony. 33 Whoever has accepted his testimony has certified this, that God is true. 34 He whom God has sent speaks the words of God, for he gives the Spirit without measure. 35 The Father loves the Son and has placed all things in his hands. 36 Whoever believes in the Son has eternal life; whoever disobeys the Son will not see life, but must endure God’s wrath.’
The mosaics in the Selwyn memorial in the Lady Chapel, Lichfield Cathedral, illustrate his life (Photograph: Patrick Comerford)
George Augustus Selwyn (1809-1878):
George Augustus Selwyn (1809-1878) was educated at Cambridge and ordained as curate of Windsor. He was made the first Bishop of New Zealand in 1841 and remained there for 27 years, during the first years travelling when few roads or bridges existed.
In the wars between colonists and Maoris he stood out heroically for Maori rights, at the cost of fierce attacks from both sides and grave personal danger in his efforts to part the warring sides, until later he was revered as one of the founders of New Zealand as well as of its Church. He taught himself to navigate and gathered congregations in the Melanesian Islands. His Constitution for the New Zealand Church influenced the churches of the Anglican Communion and he was a chief founder of the Lambeth Conferences of bishops.
He was persuaded to become the Bishop of Lichfield in 1868 and died in Lichfield on 11 April 1878. He gives his name to Selwyn College Cambridge and Selwyn House in Lichfield.
The mosaics in the Selwyn memorial in the Lady Chapel, Lichfield Cathedral, depict events in his life (Photograph: Patrick Comerford)
Today’s Prayers (Thursday 11 April 2024):
The theme this week in ‘Pray With the World Church,’ the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is the ‘Certificate in Youth Leadership Programme in the West Indies.’ This theme was introduced on Sunday by the Right Revd Michael B St J Maxwell, Bishop of the Diocese of Barbados.
The USPG Prayer Diary today (11 April 2024) invites us to pray:
Lord, we pray for zeal, care and attention to be offered by trained youth leaders in the faith, and spiritual development of Caribbean youth and their acquisition of life-skills.
The Collect:
Almighty Father,
you have given your only Son to die for our sins
and to rise again for our justification:
grant us so to put away the leaven of malice and wickedness
that we may always serve you
in pureness of living and truth;
through the merits of your Son Jesus Christ our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.
Post Communion Prayer:
Lord God our Father,
through our Saviour Jesus Christ
you have assured your children of eternal life
and in baptism have made us one with him:
deliver us from the death of sin
and raise us to new life in your love,
in the fellowship of the Holy Spirit,
by the grace of our Lord Jesus Christ.
Additional Collect:
Risen Christ,
for whom no door is locked, no entrance barred:
open the doors of our hearts,
that we may seek the good of others
and walk the joyful road of sacrifice and peace,
to the praise of God the Father.
Yesterday’s reflection
Continued Tomorrow
Selwyn House at the east end of the Cathedral Close in Lichfield (Photograph: Patrick Comerford)
Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995, National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org
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16 November 2023
Saint Peter’s Church in
Berkhamsted is one
of the largest churches
in Hertfordshire
Saint Peter’s Church, Berkhamsted, dates from 1222 and is one of the largest churches in Hertfordshire (Photograph: Patrick Comerford, 2023)
Patrick Comerford
Before things got hectic in London two weeks ago, Charlotte and I had dinner with extended family members in Berkhamsted. I have been through Berkhamsted many times on the train between Milton Keynes and London, but this was an opportunity to visit both Berkhamsted and Saint Peter’s Church, one of the largest churches in Hertfordshire. So, I decided to go back there yesterday, and have a second look at the church and some other interesting places in the market town.
Saint Peter’s Church stands on the High Street in Berkhamsted – once known as Great Berkhamsted – and is easy to find with its clock tower rising to a height of 26 metres (85 ft). The earliest part of the church dates from ca 1200, and its architectural details represent at least five architectural periods.
Saint Peter’s is close to Berkhamsted Castle, and in the past the church had a long association with kings and royalty. For many centuries, the reigning monarch was the patron, nominating the rectors of Berkhamsted.
The oldest church in the area is Saint Mary’s Church, Northchurch, about 2.3 km (1.4 miles) north-west of Saint Peter’s. It has Saxon origins and is mentioned in the Domesday Book (1086). The Parish of Great Berkhampstead was formed soon after, and Saint Mary’s Church was originally known as Berkhampstead Saint Mary. After the Norman Conquest, the focus of political and church power moved south to the area around Berkhamsted Castle.
A chapel stood within the walls of Berkhamsted Castle from the 11th century, and it was rebuilt ca 1250 by Richard of Cornwall. Another chapel dedicated to Saint James may have stood in the town for many centuries, perhaps on the present site of the Post Office.
Inside Saint Peter’s Church, Berkhamsted, in the Diocese of St Albans since 1877 (Photograph: Patrick Comerford, 2023)
Saint Peter’s is said to have been founded ca 1222, when Robert de Tuardo, the first known rector, was instituted by the Bishop of Lincoln, Hugh of Wells. The parish was within the large Diocese of Lincoln, extending from the Humber down to London, until it was transferred in 1843 to Rochester and then in 1877 to the new Diocese of St Albans.
In the mid-14th century, Henry of Berkhamsted was Constable of Berkhamsted Castle under Edward the Black Prince and fought with him at the Battle of Crécy in 1346. A stone chest tomb in the Lady Chapel is said to be Henry’s tomb.
Saint Peter’s had eight successive rectors between 1369 and 1386, the shortest being Thomas Payne, whose was there for only nine days. The high turnover of rectors at the time may have been caused by the plague.
John de Waltham was the rector of Saint Peter’s from 1379 for 16 months. He later became Bishop of Salisbury in 1388, and was Lord Privy Seal and Lord Treasurer. When he died, Richard II honoured him with a tomb in the Chapel of Saint Edward the Confessor in Westminster Abbey, the only person not of royal blood to be buried in the royal chapel.
The rectors of Saint Peter’s were presented by the Abbot of Grestein until 1381, when Peter de Burton was presented by King Richard II
A mediaeval stone chest tomb in the Lady Chapel is said to be the tomb of Henry of Berkhamsted (Photograph: Patrick Comerford, 2023)
Robert Incent, a parishioner in the 16th century, was the secretary to Cecily Neville, Duchess of York and mother of Edward IV and Richard III, at Berkhamsted Castle. His son, John Incent, was an agent of Thomas Cromwell during the Dissolution of the Monasteries. He was the Dean of Saint Paul’s Cathedral, London (1540-1545), and founded Berkhamsted School in 1541. The Incent family home on the High Street, opposite the church, is known today as Dean Incent’s House.
When Sir Adolphus Carey of Berkhamsted Place died in 1609, he was buried in Saint Peter’s. His funerary helmet was displayed for years, hanging above the tomb of Henry of Berkhamsted. It was stolen in the 1970s and has never been recovered.
The Revd Thomas Newman was the rector for over 40 years, from 1598 to 1639. He was a Chief Burgess of Berkhamsted and mayor in 1631. But he fell out of favour politically when he opposed the enclosure of common land by the Duchy of Cornwall and was barred from Saint Peter’s rectory by Act of Parliament.
Newman’s successor, the Revd John Napier, became the Rector in 1639. During the English Civil War, he was ejected by Parliament and was replaced by a series of Puritan ‘intruders.’
Inside Saint Peter’s Church, looking towards the west end (Photograph: Patrick Comerford, 2023)
General Fairfax turned Saint Peter’s into a military prison in 1648 to hold captured royalist soldiers. The church was full of maimed, hungry soldiers, and Fairfax removed the church windows to allow ventilation.
The regicide Daniel Axtell was born in Berkhamsted and baptised in Saint Peter’s in 1622. He commanded Cromwellian forces in Ireland and was Governor of Kilkenny, before returning to Berkhamsted in 1656. After the Caroline restoration, Axtell was executed in 1660 for his part in the trial and execution of Charles I.
As for Napier, he lived in Buckinghamshire for 18 years. During his absence, he continued to record the baptisms of his own children in the Berkhamsted parish register, signing himself as rector. He was restored as the Rector of Great Berkhamsted in 1670 and remained in office until 1681.
After the Caroline restoration in 1660, John Sayer of Berkhamsted Place was appointed chief cook to King Charles II. When Samuel Pepys visited Sayer in 1661, he recalled in his Diary, Sayer took him to his wine cellar ‘where, by my troth, we were very merry, and I drank too much wine … I drank so much wine that I was not fit for business.’
Sayer died in 1682, and left £1,000 to build a row of almshouses on the High Street, with 12 rooms to accommodate six poor widows. His elaborate marble tomb is in the Lady Chapel.
The coat-of-arms of Queen Elizabeth I … for centuries, reigning monarchs were the patrons of Saint Peter’s (Photograph: Patrick Comerford, 2023)
The reigning monarchs remained the patrons of Saint Peter’s until the 18th century. Charles II presented Napier’s successor, the Revd Robert Brabant, in 1681. When the Revd John Cowper became rector in 1722, the role of patron was exercised by Prince George, Duke of Cornwall and the future George II.
Cowper was the father of the poet and hymn-writer William Cowper (1731-1800), who was baptised in Saint Peter’s. His popular hymns include ‘Oh! for a closer walk with God.’ His hymns give the English language the phrase ‘God moves in a mysterious way.’
Cowper was an active abolitionist in the anti-slavery movement. He was quoted by the Revd Martin Luther King in his protest speeches in the 1960s. The East window in Saint Peter’s Church commemorate Cowper’s life and his hymn-writing.
The Revd John Wolstenholme Cobb documented Berkhamsted’s past in his History and Antiquities of Berkhamsted while he was curate of Saint Peter’s (1853-1855). He returned to the parish as rector in 1871-1883.
Parishioners in the 19th century included Augustus John Smith, Lord Proprietor of the Scilly Islands (1834), and George Dorrien, Governor of the Bank of England (1818-1820).
When the Revd James Hutchinson became rector in 1851, Prince Albert Edward, later Edward VII, acted as the royal patron. After the local estates of the Duchy of Cornwall were sold to the Ashridge Estate in 1862, the rectors of Great Berkhamsted were presented by the Earls of Brownlow. Hutchinson’s successor, the Revd John Wolstenholme Cobb, was presented by Lord Brownlow in 1871.
The Lady Chapel in Saint Peter’s Church dates from the 13th century (Photograph: Patrick Comerford, 2023)
Saint Peter’s Church is cruciform in shape. It is 51 metres (168 ft) long from the west door to the east window and is 27 metres (90 ft) wide across at the transepts. The chancel is the oldest part of the church and is dated ca 1200. The church is in the Early English style, and the transepts, dating from the reign of Edward II, are from the Decorated Period.
The church expanded westwards in the 13th century, with the nave, transepts and crossing added after the chancel was built. North and south aisles were added to the nave in 1230, and the north transept was extended to the east. This extension was later used as a vestry and today it is the Lady Chapel.
On the south side of the chancel, the chapel of Saint Catherine was added in 1320. Saint John’s Chantry was built onto the south aisle in 1350 and was later used by Berkhamsted School.
The tower of Saint Peter’s was raised to its present height in 1545-1546 (Photograph: Patrick Comerford, 2023)
A clerestory was added to the nave in 1450, raising its height, and a large timber pillar was added to the middle of Saint John’s Chantry. The tower was raised to its present height (26 metres) in 1545-1546, when the church reached its present size.
The teachers and boys of Berkhamsted School had a narrow escape in the 1700s when, moments after they left Saint John’s Chantry, the main beam gave way and the ceiling collapsed. The crash revealed a set of mediaeval painted figures on the pillars, depicting 11 apostles and Saint George, seemingly ‘whited over’ by Puritan iconoclasts in the 17th century.
Sir Jeffry Wyatt or Wyatville (1766-1840), a member of the Wyatt dynasty of architects, began a major restoration in 1820. But his work was controversial and he was criticised for his destruction of many original features. He removed ancient monuments and covered the outer walls with stucco. He moved the font from the west end to the south porch, walled up doors, moved the Torrington tomb to the transept, obliterated many old inscriptions, and erected a new gallery at the west end. At the time, the peal of six bells was recast into eight.
The War Memorial in Saint Peter’s Church (Photograph: Patrick Comerford, 2023)
William Butterfield (1814-1900), the architect of All Saints’ Church, Margaret Street, London, Keble College, Oxford, and Saint Mark’s Church, Dundela, Belfast, carried out another restoration in 1870-1871. His work also involved the removal of some original features, including the obliteration of the paintings on the pillars.
Butterfield raised both the roof and the floor of the chancel, raised the roof of the south transept to its original pitch, removed the vestry, incorporated the south porch into the south aisle, refloored the nave, installed new oak benches and replaced Wyattville’s gallery.
Butterfield also installed clear windows in the clerestory, allowing more light into the nave, and extended the aisles by knocking down dividing walls at the west end. He removed Wyattville’s crumbling plaster on the exterior and refaced the walls with flint flushwork. To mark the completion of Butterfield’s work, the Archbishop of Canterbury preached in Saint Peter’s in January 1888.
Saint Peter’s underwent further restoration in 1956-1960, when the tower and nave were re-roofed, Saint Catherine’s Chapel and the nave were refurbished and a large mural of the Ascension that covered the wall over the tower arch was painted over.
The High Altar is on a raised white marble floor, and the gilded reredos is a reworking of the 15th-century rood screen (Photograph: Patrick Comerford, 2023)
When the church was re-ordered, the high altar and sanctuary area were brought forward under the tower crossing in 1960, and iis on a raised white marble floor. The gilded reredos is a reworking of the 15th-century rood screen, with carved figures of 12 saints.
To the left of the sanctuary, a long brass plaque lists the rectors of Great Berkhamsted since 1222. The old chancel area was converted into a vestry area for the choir and clergy. It includes a large mosaic reredos by Alfred Hoare Powell with a painted crucifixion scene by Burrows.
Saint John’s Chantry Chapel was used by Berkhamsted School until the 19th century, and was separated from the nave by a dividing wall. It is now used for the choir stalls and the organ. The present organ was built by Peter Collins of Redbourne in 1986, and replaces an earlier organ built by Walker.
Saint Catherine’s Chapel, dedicated to Saint Catherine of Alexandria, is to the south of the old chancel adjoining the south transept (Photograph: Patrick Comerford, 2023)
The Lady Chapel dates from the 13th century. It is an extension of the north transept and the memorials there include the marble tomb of John Sayer (1682).
Saint Catherine’s Chapel, dedicated to Saint Catherine of Alexandria, is to the south of the old chancel adjoining the south transept. It dates from ca 1320, and has two recessed mediaeval tombs in the south wall.
The late Gothic Revival pulpit in the church dates from 1910 and is decorated with figures of angels, carved by Harry Hems.
A carved wooden 17th century parish chest is in the north aisle. The marble tomb of Sir John Cornwallis, a member of the Council of King Edward VI, is at the corner of the north transept.
A window by Westlake commemorating William Cooper, the Berkhamsted sheep dip manufacturer (Photograph: Patrick Comerford, 2023)
The stained glass by renowned Victorian glass makers include: Heaton and Butler, Clayton and Bell, Charles Eamer Kempe, Nathaniel Westlake, Alexander Gibbs, James Powell and Sons and Curtis, Ward and Hughes.
The north aisle windows include a version by Heaton and Butler of William Holman Hunt’s painting ‘The Light of the World’ in Saint Paul’s Cathedral, London, and the chapel of Keble College Oxford.
A three-light window by Westlake (1885) in memory of the Berkhamsted sheep dip manufacturer William Cooper depicts Christ enthroned surrounded by saints and martyrs, including Saint Edward the Confessor and Saint Hugh of Lincoln (feast day, 17 November) with his pet swan.
The Gothic Revival pulpit is decorated with figures of angels, carved by Harry Hems (Photograph: Patrick Comerford, 2023)
Most of the old gravestones in the churchyard were laid flat in the late 19th century, and the churchyard is now a green. The large stone cross is the Smith-Dorrien Monument (1909). The town war memorial, erected on the corner of Water Lane in 1920, was moved to the south-west corner of Saint Peter’s Church in the 1950s.
Saint Peter’s marked its 800th anniversary last year (2022) with a year-long celebration of community events. On Advent Sunday, thousands visited the church to see it lit up by candles.
Saint Peter’s is part of the Berkhamsted Team, five parishes – Great Berkhamsted, Great Gaddesden, Little Gaddesden, Nettleden and Potten End – in the Diocese of Saint Albans and six churches: Saint Peter’s, Great Berkhamsted; All Saints’ Church, Berkhamsted LEP; Saint Peter and Saint Paul, Little Gaddesden; Saint John the Baptist, Great Gaddesden;; Saint Lawrence, Nettleden; and Holy Trinity, Potten End.
Father Stuart Owen is the Rector of Saint Peter’s and the Team Vicar in the Berkhamsted Team Ministry. The priests and ministry team include Father Anthony Lathe, Father David Lawson, Father Chris Rogers, the Revd Becky Taylor, Berkhamsted School Chaplain, Beth Mitchell and Father John Russell.
Saint Peter’s follows a traditional Anglican style of worship, centred on the Eucharist, with the Said Eucharist at 8 am and the Sung Eucharist at 9:30 on Sundays. Music is a large part of the worship and the choir sings at the main Sunday Eucharist and at a monthly Choral Evensong. The church is also a frequent venue for classical music concerts.
The east end of Saint Peter’s Church … most of the old gravestones in the churchyard were laid flat in the 19th century (Photograph: Patrick Comerford, 2023)
Patrick Comerford
Before things got hectic in London two weeks ago, Charlotte and I had dinner with extended family members in Berkhamsted. I have been through Berkhamsted many times on the train between Milton Keynes and London, but this was an opportunity to visit both Berkhamsted and Saint Peter’s Church, one of the largest churches in Hertfordshire. So, I decided to go back there yesterday, and have a second look at the church and some other interesting places in the market town.
Saint Peter’s Church stands on the High Street in Berkhamsted – once known as Great Berkhamsted – and is easy to find with its clock tower rising to a height of 26 metres (85 ft). The earliest part of the church dates from ca 1200, and its architectural details represent at least five architectural periods.
Saint Peter’s is close to Berkhamsted Castle, and in the past the church had a long association with kings and royalty. For many centuries, the reigning monarch was the patron, nominating the rectors of Berkhamsted.
The oldest church in the area is Saint Mary’s Church, Northchurch, about 2.3 km (1.4 miles) north-west of Saint Peter’s. It has Saxon origins and is mentioned in the Domesday Book (1086). The Parish of Great Berkhampstead was formed soon after, and Saint Mary’s Church was originally known as Berkhampstead Saint Mary. After the Norman Conquest, the focus of political and church power moved south to the area around Berkhamsted Castle.
A chapel stood within the walls of Berkhamsted Castle from the 11th century, and it was rebuilt ca 1250 by Richard of Cornwall. Another chapel dedicated to Saint James may have stood in the town for many centuries, perhaps on the present site of the Post Office.
Inside Saint Peter’s Church, Berkhamsted, in the Diocese of St Albans since 1877 (Photograph: Patrick Comerford, 2023)
Saint Peter’s is said to have been founded ca 1222, when Robert de Tuardo, the first known rector, was instituted by the Bishop of Lincoln, Hugh of Wells. The parish was within the large Diocese of Lincoln, extending from the Humber down to London, until it was transferred in 1843 to Rochester and then in 1877 to the new Diocese of St Albans.
In the mid-14th century, Henry of Berkhamsted was Constable of Berkhamsted Castle under Edward the Black Prince and fought with him at the Battle of Crécy in 1346. A stone chest tomb in the Lady Chapel is said to be Henry’s tomb.
Saint Peter’s had eight successive rectors between 1369 and 1386, the shortest being Thomas Payne, whose was there for only nine days. The high turnover of rectors at the time may have been caused by the plague.
John de Waltham was the rector of Saint Peter’s from 1379 for 16 months. He later became Bishop of Salisbury in 1388, and was Lord Privy Seal and Lord Treasurer. When he died, Richard II honoured him with a tomb in the Chapel of Saint Edward the Confessor in Westminster Abbey, the only person not of royal blood to be buried in the royal chapel.
The rectors of Saint Peter’s were presented by the Abbot of Grestein until 1381, when Peter de Burton was presented by King Richard II
A mediaeval stone chest tomb in the Lady Chapel is said to be the tomb of Henry of Berkhamsted (Photograph: Patrick Comerford, 2023)
Robert Incent, a parishioner in the 16th century, was the secretary to Cecily Neville, Duchess of York and mother of Edward IV and Richard III, at Berkhamsted Castle. His son, John Incent, was an agent of Thomas Cromwell during the Dissolution of the Monasteries. He was the Dean of Saint Paul’s Cathedral, London (1540-1545), and founded Berkhamsted School in 1541. The Incent family home on the High Street, opposite the church, is known today as Dean Incent’s House.
When Sir Adolphus Carey of Berkhamsted Place died in 1609, he was buried in Saint Peter’s. His funerary helmet was displayed for years, hanging above the tomb of Henry of Berkhamsted. It was stolen in the 1970s and has never been recovered.
The Revd Thomas Newman was the rector for over 40 years, from 1598 to 1639. He was a Chief Burgess of Berkhamsted and mayor in 1631. But he fell out of favour politically when he opposed the enclosure of common land by the Duchy of Cornwall and was barred from Saint Peter’s rectory by Act of Parliament.
Newman’s successor, the Revd John Napier, became the Rector in 1639. During the English Civil War, he was ejected by Parliament and was replaced by a series of Puritan ‘intruders.’
Inside Saint Peter’s Church, looking towards the west end (Photograph: Patrick Comerford, 2023)
General Fairfax turned Saint Peter’s into a military prison in 1648 to hold captured royalist soldiers. The church was full of maimed, hungry soldiers, and Fairfax removed the church windows to allow ventilation.
The regicide Daniel Axtell was born in Berkhamsted and baptised in Saint Peter’s in 1622. He commanded Cromwellian forces in Ireland and was Governor of Kilkenny, before returning to Berkhamsted in 1656. After the Caroline restoration, Axtell was executed in 1660 for his part in the trial and execution of Charles I.
As for Napier, he lived in Buckinghamshire for 18 years. During his absence, he continued to record the baptisms of his own children in the Berkhamsted parish register, signing himself as rector. He was restored as the Rector of Great Berkhamsted in 1670 and remained in office until 1681.
After the Caroline restoration in 1660, John Sayer of Berkhamsted Place was appointed chief cook to King Charles II. When Samuel Pepys visited Sayer in 1661, he recalled in his Diary, Sayer took him to his wine cellar ‘where, by my troth, we were very merry, and I drank too much wine … I drank so much wine that I was not fit for business.’
Sayer died in 1682, and left £1,000 to build a row of almshouses on the High Street, with 12 rooms to accommodate six poor widows. His elaborate marble tomb is in the Lady Chapel.
The coat-of-arms of Queen Elizabeth I … for centuries, reigning monarchs were the patrons of Saint Peter’s (Photograph: Patrick Comerford, 2023)
The reigning monarchs remained the patrons of Saint Peter’s until the 18th century. Charles II presented Napier’s successor, the Revd Robert Brabant, in 1681. When the Revd John Cowper became rector in 1722, the role of patron was exercised by Prince George, Duke of Cornwall and the future George II.
Cowper was the father of the poet and hymn-writer William Cowper (1731-1800), who was baptised in Saint Peter’s. His popular hymns include ‘Oh! for a closer walk with God.’ His hymns give the English language the phrase ‘God moves in a mysterious way.’
Cowper was an active abolitionist in the anti-slavery movement. He was quoted by the Revd Martin Luther King in his protest speeches in the 1960s. The East window in Saint Peter’s Church commemorate Cowper’s life and his hymn-writing.
The Revd John Wolstenholme Cobb documented Berkhamsted’s past in his History and Antiquities of Berkhamsted while he was curate of Saint Peter’s (1853-1855). He returned to the parish as rector in 1871-1883.
Parishioners in the 19th century included Augustus John Smith, Lord Proprietor of the Scilly Islands (1834), and George Dorrien, Governor of the Bank of England (1818-1820).
When the Revd James Hutchinson became rector in 1851, Prince Albert Edward, later Edward VII, acted as the royal patron. After the local estates of the Duchy of Cornwall were sold to the Ashridge Estate in 1862, the rectors of Great Berkhamsted were presented by the Earls of Brownlow. Hutchinson’s successor, the Revd John Wolstenholme Cobb, was presented by Lord Brownlow in 1871.
The Lady Chapel in Saint Peter’s Church dates from the 13th century (Photograph: Patrick Comerford, 2023)
Saint Peter’s Church is cruciform in shape. It is 51 metres (168 ft) long from the west door to the east window and is 27 metres (90 ft) wide across at the transepts. The chancel is the oldest part of the church and is dated ca 1200. The church is in the Early English style, and the transepts, dating from the reign of Edward II, are from the Decorated Period.
The church expanded westwards in the 13th century, with the nave, transepts and crossing added after the chancel was built. North and south aisles were added to the nave in 1230, and the north transept was extended to the east. This extension was later used as a vestry and today it is the Lady Chapel.
On the south side of the chancel, the chapel of Saint Catherine was added in 1320. Saint John’s Chantry was built onto the south aisle in 1350 and was later used by Berkhamsted School.
The tower of Saint Peter’s was raised to its present height in 1545-1546 (Photograph: Patrick Comerford, 2023)
A clerestory was added to the nave in 1450, raising its height, and a large timber pillar was added to the middle of Saint John’s Chantry. The tower was raised to its present height (26 metres) in 1545-1546, when the church reached its present size.
The teachers and boys of Berkhamsted School had a narrow escape in the 1700s when, moments after they left Saint John’s Chantry, the main beam gave way and the ceiling collapsed. The crash revealed a set of mediaeval painted figures on the pillars, depicting 11 apostles and Saint George, seemingly ‘whited over’ by Puritan iconoclasts in the 17th century.
Sir Jeffry Wyatt or Wyatville (1766-1840), a member of the Wyatt dynasty of architects, began a major restoration in 1820. But his work was controversial and he was criticised for his destruction of many original features. He removed ancient monuments and covered the outer walls with stucco. He moved the font from the west end to the south porch, walled up doors, moved the Torrington tomb to the transept, obliterated many old inscriptions, and erected a new gallery at the west end. At the time, the peal of six bells was recast into eight.
The War Memorial in Saint Peter’s Church (Photograph: Patrick Comerford, 2023)
William Butterfield (1814-1900), the architect of All Saints’ Church, Margaret Street, London, Keble College, Oxford, and Saint Mark’s Church, Dundela, Belfast, carried out another restoration in 1870-1871. His work also involved the removal of some original features, including the obliteration of the paintings on the pillars.
Butterfield raised both the roof and the floor of the chancel, raised the roof of the south transept to its original pitch, removed the vestry, incorporated the south porch into the south aisle, refloored the nave, installed new oak benches and replaced Wyattville’s gallery.
Butterfield also installed clear windows in the clerestory, allowing more light into the nave, and extended the aisles by knocking down dividing walls at the west end. He removed Wyattville’s crumbling plaster on the exterior and refaced the walls with flint flushwork. To mark the completion of Butterfield’s work, the Archbishop of Canterbury preached in Saint Peter’s in January 1888.
Saint Peter’s underwent further restoration in 1956-1960, when the tower and nave were re-roofed, Saint Catherine’s Chapel and the nave were refurbished and a large mural of the Ascension that covered the wall over the tower arch was painted over.
The High Altar is on a raised white marble floor, and the gilded reredos is a reworking of the 15th-century rood screen (Photograph: Patrick Comerford, 2023)
When the church was re-ordered, the high altar and sanctuary area were brought forward under the tower crossing in 1960, and iis on a raised white marble floor. The gilded reredos is a reworking of the 15th-century rood screen, with carved figures of 12 saints.
To the left of the sanctuary, a long brass plaque lists the rectors of Great Berkhamsted since 1222. The old chancel area was converted into a vestry area for the choir and clergy. It includes a large mosaic reredos by Alfred Hoare Powell with a painted crucifixion scene by Burrows.
Saint John’s Chantry Chapel was used by Berkhamsted School until the 19th century, and was separated from the nave by a dividing wall. It is now used for the choir stalls and the organ. The present organ was built by Peter Collins of Redbourne in 1986, and replaces an earlier organ built by Walker.
Saint Catherine’s Chapel, dedicated to Saint Catherine of Alexandria, is to the south of the old chancel adjoining the south transept (Photograph: Patrick Comerford, 2023)
The Lady Chapel dates from the 13th century. It is an extension of the north transept and the memorials there include the marble tomb of John Sayer (1682).
Saint Catherine’s Chapel, dedicated to Saint Catherine of Alexandria, is to the south of the old chancel adjoining the south transept. It dates from ca 1320, and has two recessed mediaeval tombs in the south wall.
The late Gothic Revival pulpit in the church dates from 1910 and is decorated with figures of angels, carved by Harry Hems.
A carved wooden 17th century parish chest is in the north aisle. The marble tomb of Sir John Cornwallis, a member of the Council of King Edward VI, is at the corner of the north transept.
A window by Westlake commemorating William Cooper, the Berkhamsted sheep dip manufacturer (Photograph: Patrick Comerford, 2023)
The stained glass by renowned Victorian glass makers include: Heaton and Butler, Clayton and Bell, Charles Eamer Kempe, Nathaniel Westlake, Alexander Gibbs, James Powell and Sons and Curtis, Ward and Hughes.
The north aisle windows include a version by Heaton and Butler of William Holman Hunt’s painting ‘The Light of the World’ in Saint Paul’s Cathedral, London, and the chapel of Keble College Oxford.
A three-light window by Westlake (1885) in memory of the Berkhamsted sheep dip manufacturer William Cooper depicts Christ enthroned surrounded by saints and martyrs, including Saint Edward the Confessor and Saint Hugh of Lincoln (feast day, 17 November) with his pet swan.
The Gothic Revival pulpit is decorated with figures of angels, carved by Harry Hems (Photograph: Patrick Comerford, 2023)
Most of the old gravestones in the churchyard were laid flat in the late 19th century, and the churchyard is now a green. The large stone cross is the Smith-Dorrien Monument (1909). The town war memorial, erected on the corner of Water Lane in 1920, was moved to the south-west corner of Saint Peter’s Church in the 1950s.
Saint Peter’s marked its 800th anniversary last year (2022) with a year-long celebration of community events. On Advent Sunday, thousands visited the church to see it lit up by candles.
Saint Peter’s is part of the Berkhamsted Team, five parishes – Great Berkhamsted, Great Gaddesden, Little Gaddesden, Nettleden and Potten End – in the Diocese of Saint Albans and six churches: Saint Peter’s, Great Berkhamsted; All Saints’ Church, Berkhamsted LEP; Saint Peter and Saint Paul, Little Gaddesden; Saint John the Baptist, Great Gaddesden;; Saint Lawrence, Nettleden; and Holy Trinity, Potten End.
Father Stuart Owen is the Rector of Saint Peter’s and the Team Vicar in the Berkhamsted Team Ministry. The priests and ministry team include Father Anthony Lathe, Father David Lawson, Father Chris Rogers, the Revd Becky Taylor, Berkhamsted School Chaplain, Beth Mitchell and Father John Russell.
Saint Peter’s follows a traditional Anglican style of worship, centred on the Eucharist, with the Said Eucharist at 8 am and the Sung Eucharist at 9:30 on Sundays. Music is a large part of the worship and the choir sings at the main Sunday Eucharist and at a monthly Choral Evensong. The church is also a frequent venue for classical music concerts.
The east end of Saint Peter’s Church … most of the old gravestones in the churchyard were laid flat in the 19th century (Photograph: Patrick Comerford, 2023)
23 September 2023
All Saints’ Church in
Margaret Street is one
of the finest examples of
Victorian Gothic style
All Saints’ Church, Margaret Street, is known for its architecture, its liturgy, its interior, its rich decoration and its music (Photograph: Patrick Comerford, 2023)
Patrick Comerford
I was in London earlier today for the annual reunion and celebration day of the Anglican mission agency USPG (United Society Partners in the Gospel) in Holy Trinity Church, Sloane Street.
Bishop Michael Marshall was, first, priest-in-charge and, later, rector of Holy Trinity Church from 1997 to 2007. But three decades earlier, from 1969 to 1975, he had been the Vicar of All Saints’ Church, Margaret Street, London, which I visited last Saturday afternoon (23 September 2023).
All Saints’ Church is midway along Margaret Street, which runs parallel to the east end of Oxford Street. This Anglo-Catholic church in Fitzrovia, in the heart of the West End, is known for its architecture, for its style of liturgy, for its interior, rich decoration and beautiful fittings, and for its musical tradition. It a ‘hidden gem’ in central London, many regard it as one of the foremost examples of High Victorian Gothic architecture, and it is a Grade I listed building.
All Saints’ Church was designed in 1850 by William Butterfield (1814-1900), an architect strongly associated with Gothic revival church building and the Oxford Movement. But its origins lie in the Margaret Street Chapel, which had stood on the site from the 1760s.
All Saints’ Church owes it building to the Cambridge Camden Society and was designed by William Butterfield (Photograph: Patrick Comerford, 2023)
The chapel had ‘proceeded upwards through the various gradations of Dissent and Low-Churchism’ until 1829, when the Tractarian William Dodsworth (1798-1861) became the incumbent. Dodsworth resigned in 1839 and later became a Roman Catholic, as did his successor, the Lichfield hymn-writer, Frederick Oakeley (1802-1880), who was at the chapel from 1839 to 1845.
Oakeley is best known for his translation of the Christmas carol Adeste Fideles (‘O Come, All Ye Faithful’). He later described the chapel as ‘a complete paragon of ugliness.’ Before resigning, he conceived the idea of rebuilding the chapel in what he considered a correct ecclesiastical style, and had collected a sum of almost £3,000 for the project.
All Saints’ Church owes it building to the Cambridge Camden Society, founded as the Ecclesiological Society in 1839 and which changed its name in 1845. The society was formed with the aim of reviving historically authentic Anglican worship through architecture.
By 1843, its 700 members included the Archbishop of Canterbury, and its monthly magazine, The Ecclesiologist, reviewed new churches and assessed their architectural and liturgical significance.
The Nativity scene in the frieze on the north wall was designed by Butterfield, painted by Alexander Gibbs, and fired by Henry Poole (Photograph: Patrick Comerford, 2023)
While Oakley was still at Margaret Street in 1841, the society proposed building a ‘model church on a large and splendid scale’ that would embody the society’s values. It was to be in late 13th and early 14th century Gothic style and built honestly of solid materials. Its ornament should decorate its construction, and its artist should be ‘a single, pious and laborious artist alone, pondering deeply over his duty to do his best for the service of God’s Holy Religion.’
Above all, the church was to be built so that the ‘Rubricks and Canons of the Church of England may be consistently observed, and the Sacraments rubrically and decently administered.’
The congregation at All Saints agreed that the Ecclesiological Society’s model church could be built there, although, at just 100 ft sq, the site was small for a church, choir school and clergy house.The proposals from the Cambridge Camden Society for a model church were approved in 1845 by the Revd William Upton Richards (1811-1873) of All Saints, the Very Revd George Chandler, Rector of All Souls’ Church nearby and Dean of Chichester, and Charles James Blomfield, Bishop of London.
The chancel decoration is the work of Sir Ninian Comper (Photograph: Patrick Comerford, 2023)
The project was supervised and largely sponsored by Alexander Beresford-Hope (1820-1887), who was from a well-known Irish family and later an MP and son-in-law of the Marquis of Salisbury. Beresford-Hope chose Butterfield as the architect, although the two often disagreed about important aspects of the work.
During his career, Butterfield designed almost 100 churches and related buildings, including the chapels of Balliol College and Keble College, Oxford, and Saint Barnabas Church in Jericho, Oxford. He built in a highly personal form of Gothic revival, and All Saints’ Church remains his masterpiece and a pioneering building of the High Victorian Gothic style in church architecture.
The site was bought for £14,500, the last service at the old chapel was held on Easter Monday 1850, and the foundation stone of the new church was laid on All Saints’ Day 1850 by Edward Bouverie Pusey, a key figure in the Oxford Movement. The new church was consecrated on 28 May 1859.
The panel on the north wall of the tower depicting the Ascension (1891) is the last section of tilework added by Butterfield (Photograph: Patrick Comerford, 2023)
All Saints marked a new stage in the development of the Gothic Revival in English architecture. It is built of brick, in contrast to Gothic Revival churches of the 1840s, typically built of grey Kentish ragstone. Previous architecture in the 19th-century Gothic Revival had copied mediaeval buildings, but Butterfield departed considerably from mediaeval Gothic practice, and he was innovative in using new building materials such as brick.
The Ecclesiologists originally extolled the virtues of rough stone walls, but they were converted by the brick churches of Italy and North Germany. Butterfield’s chosen pink brick was more expensive than stone, and the bold chequered patterning seems to have been based on English East Anglian tradition.
At All Saints, Butterfield felt a mission to ‘give dignity to brick,’ and the quality of the brick he chose made it more expensive than stone. The exterior of All Saints employs red brick, heavily banded and patterned with black brick, with bands of stone and carved elements in the gate, the church wall and spire. Decoration is built into the structure, making All Saints the first example of ‘structural polychromy’ in London.
The Baptistry houses the font (1857-1858) and the large paschal candlestick, a copy of one in the Certosa at Pavia, Italy (Photograph: Patrick Comerford, 2023)
All Saints’ Church is particularly celebrated for its interior decoration. Every surface is richly patterned or decorated: the floor in diaper patterned tiles, wall surfaces in geometrical patterned brick, tile, and marble, as well as tiles with painted decoration, large friezes executed in painted tiles, a painted ceiling, and painted and gilded timberwork behind the altar.
The vast tiled panels on the north wall were painted by Alexander Gibbs and manufactured by Henry Poole and Sons. They are rich with Biblical symbolism and depict a variety of important figures and themes from the Bible and the Early Church.
The rear of the chancel features a series of paintings on gilded boards, within a delicately carved brightly patterned Gothic screen. The immense reredos was originally completed by William Dyce in 1853-1859. But it suffered from the polluting effects of London air, and was reproduced by Sir Ninian Comper in 1909 on wooden panels in front of the original. Starting at the base with the depiction of Christ’s earthly life, the eye is drawn up to Christ in glory, the free movement of the figures there contrasting with the more static figures beneath.
The great silver pyx, designed by Ninan Comper, was given by the Duke of Newcastle in 1928 as a memorial to choristers killed in World War I.
The Lady Chapel (1911), at the east end of the north aisle, was designed by Ninian Comper in late Gothic style (Photograph: Patrick Comerford, 2023)
The Lady Chapel (1911), at the east end of the north aisle, was designed by Ninian Comper in late Gothic style. It was enlarged in 1971 by Ian Grant as a memorial to the Revd Kenneth Ross (1908-1970), eighth vicar of All Saints (1957-1969). The reredos is of Caen stone and alabaster, and shows the Virgin and Child surrounded by angels and saints. It was restored by Peter Larkworthy in 1978-1980.
The north wall is dominated by a large ceramic tile frieze designed by Butterfield, painted by Alexander Gibbs, and fired by Henry Poole and Sons, installed in 1873. It depicts a variety of scenes from the Old Testament, a central Nativity scene and depictions of Early Church Fathers.
The designs that adorn the walls and pillars owe much to John Ruskin who, in The Seven Lamps of Architecture (1849), advocated the use of chequers, zig-zags, stripes and geometrical colour mosaic. Matthew Digby Wyatt’s Specimens of Geometrical Mosaic of the Middle Ages may also have influenced some of the detailing.
Butterfield’s tiled floor, made by Minton, is deep red with black checks and a white stone diaper, while the north and south aisles have a triangular variation on this pattern. The roof, now repainted, was originally in chocolate and white with blue detailing.
The west window (1877) by Alexander Gibbs is inspired by the 14th-century Jesse Tree window in Wells Cathedral (Photograph: Patrick Comerford, 2023)
The stained-glass windows are limited by the density of buildings around the church. The original windows were designed by Alfred Gérente (1821-1868), but his work was later replaced. The large west window, originally fitted with glass by Gerente in 1853-1858, was replaced in 1877 with a design by Alexander Gibbs based on the Tree of Jesse window in Wells Cathedral.
The glass in the clerestory dates from 1853 and is the work of Michael O’Connor, who also designed the east window of the south chancel aisle which depicts Christ in Majesty with Saint Edward Martyr and Saint Augustine.
The Baptistry in the south-west corner has marble tiling that features an image of the Pelican in her Piety in the ceiling tiles.
The church stands within a small courtyard. Two other buildings face onto the courtyard: one is the vicarage and the other, formerly a choir school, now houses the parish room and flats for assistant priests.
Soaring above the courtyard is the 227-feet spire – higher than the towers of Westminster Abbey.
The Stained-glass window depicting the archangels Gabriel, Michael and Raphael was designed by Alexander Gibbs in the 1860s (Photograph: Patrick Comerford, 2023)
After seeing All Saints, John Ruskin wrote: ‘Having done this, we may do anything … and I believe it to be possible for us, not only to equal, but far to surpass, in some respects, any Gothic yet seen in Northern countries.’ However, Ruskin did not ‘altogether like the arrangements of colour in the brickwork.’
The architect Charles Locke Eastlake said Butterfield’s design was ‘a bold and magnificent endeavour to shake off the trammels of antiquarian precedent, which had long fettered the progress of the Revival, to create not a new style, but a development of previous styles.’
The author and columnist Simon Jenkins says All Saints is ‘architecturally England’s most celebrated Victorian church.’ The architectural historian Simon Thurley lists All Saints among the 10 most important buildings in Britain.
In the 1970 BBC Television programme, Four With Betjeman – Victorian Architects and Architecture, the poet Sir John Betjeman visited All Saints. In his view, ‘It was here, in the 1850s, that the revolution in architecture began … It led the way, All Saints Margaret Street, in church building.’
The architectural historian Sir Nikolaus Pevsner described the interior as ‘dazzling, though in an eminently High Victorian ostentatiousness or obtrusiveness … No part of the walls is left undecorated. From everywhere the praise of the Lord is drummed into you.’
Simon Jenkins says All Saints is ‘architecturally England’s most celebrated Victorian church’ (Photograph: Patrick Comerford, 2023)
The choristers of All Saints sang at the coronations of Edward VII (1902), George V (1911), George VI (1937) and Elizabeth II (1953). The choir school closed in 1968, and the boys’ voices were replaced by adult sopranos.
Several pieces have been commissioned for the church, including Walter Vale’s arrangement of Rachmaninoff’s Liturgy of Saint John Chrysostom and All-Night Vigil. Rachmaninoff heard Vale’s adaptations when he visited All Saints in 1915 and 1923.
All Saints’ organ is a four-manual Harrison and Harrison instrument with 65 speaking stops, built in 1910 to a specification drawn up by Walter Vale.
The organists have included Richard Redhead, the composer of ‘Rock of Ages’ and ‘Bright the Vision’, Walter Vale (1907-1939), William Lloyd Webber (1939-1948), John Birch (1953-1958), Michael Fleming (1958-1968) and Harry Bramma (1989-2004).
John Betjeman declared, ‘It was here, in the 1850s, that the revolution in architecture began … It led the way, All Saints Margaret Street, in church building’ (Photograph: Patrick Comerford, 2023)
Recent vicars have included David Michael Hope (1982-1985), later Bishop of London and Archbishop of York. The Revd Peter Benedict Anthony has been the Parish Priest of All Saints since 2021.
The style of worship at All Saints is Anglo-Catholic, including ritual, choir and organ music, vestments and incense. As a traditional Anglo-Catholic parish, All Saints has passed resolutions accepting only male episcopal and priestly sacramental ministry.
On Sundays, High Mass is at 11 am, there is a Low Mass at 5:15, and Evensong and Benediction at 6 pm. On week days, from Monday to Friday, Low Mass is at 12 noon and 6: 30 pm. On Solemnities and certain Feast Days, High Mass is at 6:30. On Saturdays, there is Low Mass at 12 noon and the Vigil Mass at 6:30.
All Saints’ Church is open from 11 am to 7 pm, Monday to Friday.
Patrick Comerford
I was in London earlier today for the annual reunion and celebration day of the Anglican mission agency USPG (United Society Partners in the Gospel) in Holy Trinity Church, Sloane Street.
Bishop Michael Marshall was, first, priest-in-charge and, later, rector of Holy Trinity Church from 1997 to 2007. But three decades earlier, from 1969 to 1975, he had been the Vicar of All Saints’ Church, Margaret Street, London, which I visited last Saturday afternoon (23 September 2023).
All Saints’ Church is midway along Margaret Street, which runs parallel to the east end of Oxford Street. This Anglo-Catholic church in Fitzrovia, in the heart of the West End, is known for its architecture, for its style of liturgy, for its interior, rich decoration and beautiful fittings, and for its musical tradition. It a ‘hidden gem’ in central London, many regard it as one of the foremost examples of High Victorian Gothic architecture, and it is a Grade I listed building.
All Saints’ Church was designed in 1850 by William Butterfield (1814-1900), an architect strongly associated with Gothic revival church building and the Oxford Movement. But its origins lie in the Margaret Street Chapel, which had stood on the site from the 1760s.
All Saints’ Church owes it building to the Cambridge Camden Society and was designed by William Butterfield (Photograph: Patrick Comerford, 2023)
The chapel had ‘proceeded upwards through the various gradations of Dissent and Low-Churchism’ until 1829, when the Tractarian William Dodsworth (1798-1861) became the incumbent. Dodsworth resigned in 1839 and later became a Roman Catholic, as did his successor, the Lichfield hymn-writer, Frederick Oakeley (1802-1880), who was at the chapel from 1839 to 1845.
Oakeley is best known for his translation of the Christmas carol Adeste Fideles (‘O Come, All Ye Faithful’). He later described the chapel as ‘a complete paragon of ugliness.’ Before resigning, he conceived the idea of rebuilding the chapel in what he considered a correct ecclesiastical style, and had collected a sum of almost £3,000 for the project.
All Saints’ Church owes it building to the Cambridge Camden Society, founded as the Ecclesiological Society in 1839 and which changed its name in 1845. The society was formed with the aim of reviving historically authentic Anglican worship through architecture.
By 1843, its 700 members included the Archbishop of Canterbury, and its monthly magazine, The Ecclesiologist, reviewed new churches and assessed their architectural and liturgical significance.
The Nativity scene in the frieze on the north wall was designed by Butterfield, painted by Alexander Gibbs, and fired by Henry Poole (Photograph: Patrick Comerford, 2023)
While Oakley was still at Margaret Street in 1841, the society proposed building a ‘model church on a large and splendid scale’ that would embody the society’s values. It was to be in late 13th and early 14th century Gothic style and built honestly of solid materials. Its ornament should decorate its construction, and its artist should be ‘a single, pious and laborious artist alone, pondering deeply over his duty to do his best for the service of God’s Holy Religion.’
Above all, the church was to be built so that the ‘Rubricks and Canons of the Church of England may be consistently observed, and the Sacraments rubrically and decently administered.’
The congregation at All Saints agreed that the Ecclesiological Society’s model church could be built there, although, at just 100 ft sq, the site was small for a church, choir school and clergy house.The proposals from the Cambridge Camden Society for a model church were approved in 1845 by the Revd William Upton Richards (1811-1873) of All Saints, the Very Revd George Chandler, Rector of All Souls’ Church nearby and Dean of Chichester, and Charles James Blomfield, Bishop of London.
The chancel decoration is the work of Sir Ninian Comper (Photograph: Patrick Comerford, 2023)
The project was supervised and largely sponsored by Alexander Beresford-Hope (1820-1887), who was from a well-known Irish family and later an MP and son-in-law of the Marquis of Salisbury. Beresford-Hope chose Butterfield as the architect, although the two often disagreed about important aspects of the work.
During his career, Butterfield designed almost 100 churches and related buildings, including the chapels of Balliol College and Keble College, Oxford, and Saint Barnabas Church in Jericho, Oxford. He built in a highly personal form of Gothic revival, and All Saints’ Church remains his masterpiece and a pioneering building of the High Victorian Gothic style in church architecture.
The site was bought for £14,500, the last service at the old chapel was held on Easter Monday 1850, and the foundation stone of the new church was laid on All Saints’ Day 1850 by Edward Bouverie Pusey, a key figure in the Oxford Movement. The new church was consecrated on 28 May 1859.
The panel on the north wall of the tower depicting the Ascension (1891) is the last section of tilework added by Butterfield (Photograph: Patrick Comerford, 2023)
All Saints marked a new stage in the development of the Gothic Revival in English architecture. It is built of brick, in contrast to Gothic Revival churches of the 1840s, typically built of grey Kentish ragstone. Previous architecture in the 19th-century Gothic Revival had copied mediaeval buildings, but Butterfield departed considerably from mediaeval Gothic practice, and he was innovative in using new building materials such as brick.
The Ecclesiologists originally extolled the virtues of rough stone walls, but they were converted by the brick churches of Italy and North Germany. Butterfield’s chosen pink brick was more expensive than stone, and the bold chequered patterning seems to have been based on English East Anglian tradition.
At All Saints, Butterfield felt a mission to ‘give dignity to brick,’ and the quality of the brick he chose made it more expensive than stone. The exterior of All Saints employs red brick, heavily banded and patterned with black brick, with bands of stone and carved elements in the gate, the church wall and spire. Decoration is built into the structure, making All Saints the first example of ‘structural polychromy’ in London.
The Baptistry houses the font (1857-1858) and the large paschal candlestick, a copy of one in the Certosa at Pavia, Italy (Photograph: Patrick Comerford, 2023)
All Saints’ Church is particularly celebrated for its interior decoration. Every surface is richly patterned or decorated: the floor in diaper patterned tiles, wall surfaces in geometrical patterned brick, tile, and marble, as well as tiles with painted decoration, large friezes executed in painted tiles, a painted ceiling, and painted and gilded timberwork behind the altar.
The vast tiled panels on the north wall were painted by Alexander Gibbs and manufactured by Henry Poole and Sons. They are rich with Biblical symbolism and depict a variety of important figures and themes from the Bible and the Early Church.
The rear of the chancel features a series of paintings on gilded boards, within a delicately carved brightly patterned Gothic screen. The immense reredos was originally completed by William Dyce in 1853-1859. But it suffered from the polluting effects of London air, and was reproduced by Sir Ninian Comper in 1909 on wooden panels in front of the original. Starting at the base with the depiction of Christ’s earthly life, the eye is drawn up to Christ in glory, the free movement of the figures there contrasting with the more static figures beneath.
The great silver pyx, designed by Ninan Comper, was given by the Duke of Newcastle in 1928 as a memorial to choristers killed in World War I.
The Lady Chapel (1911), at the east end of the north aisle, was designed by Ninian Comper in late Gothic style (Photograph: Patrick Comerford, 2023)
The Lady Chapel (1911), at the east end of the north aisle, was designed by Ninian Comper in late Gothic style. It was enlarged in 1971 by Ian Grant as a memorial to the Revd Kenneth Ross (1908-1970), eighth vicar of All Saints (1957-1969). The reredos is of Caen stone and alabaster, and shows the Virgin and Child surrounded by angels and saints. It was restored by Peter Larkworthy in 1978-1980.
The north wall is dominated by a large ceramic tile frieze designed by Butterfield, painted by Alexander Gibbs, and fired by Henry Poole and Sons, installed in 1873. It depicts a variety of scenes from the Old Testament, a central Nativity scene and depictions of Early Church Fathers.
The designs that adorn the walls and pillars owe much to John Ruskin who, in The Seven Lamps of Architecture (1849), advocated the use of chequers, zig-zags, stripes and geometrical colour mosaic. Matthew Digby Wyatt’s Specimens of Geometrical Mosaic of the Middle Ages may also have influenced some of the detailing.
Butterfield’s tiled floor, made by Minton, is deep red with black checks and a white stone diaper, while the north and south aisles have a triangular variation on this pattern. The roof, now repainted, was originally in chocolate and white with blue detailing.
The west window (1877) by Alexander Gibbs is inspired by the 14th-century Jesse Tree window in Wells Cathedral (Photograph: Patrick Comerford, 2023)
The stained-glass windows are limited by the density of buildings around the church. The original windows were designed by Alfred Gérente (1821-1868), but his work was later replaced. The large west window, originally fitted with glass by Gerente in 1853-1858, was replaced in 1877 with a design by Alexander Gibbs based on the Tree of Jesse window in Wells Cathedral.
The glass in the clerestory dates from 1853 and is the work of Michael O’Connor, who also designed the east window of the south chancel aisle which depicts Christ in Majesty with Saint Edward Martyr and Saint Augustine.
The Baptistry in the south-west corner has marble tiling that features an image of the Pelican in her Piety in the ceiling tiles.
The church stands within a small courtyard. Two other buildings face onto the courtyard: one is the vicarage and the other, formerly a choir school, now houses the parish room and flats for assistant priests.
Soaring above the courtyard is the 227-feet spire – higher than the towers of Westminster Abbey.
The Stained-glass window depicting the archangels Gabriel, Michael and Raphael was designed by Alexander Gibbs in the 1860s (Photograph: Patrick Comerford, 2023)
After seeing All Saints, John Ruskin wrote: ‘Having done this, we may do anything … and I believe it to be possible for us, not only to equal, but far to surpass, in some respects, any Gothic yet seen in Northern countries.’ However, Ruskin did not ‘altogether like the arrangements of colour in the brickwork.’
The architect Charles Locke Eastlake said Butterfield’s design was ‘a bold and magnificent endeavour to shake off the trammels of antiquarian precedent, which had long fettered the progress of the Revival, to create not a new style, but a development of previous styles.’
The author and columnist Simon Jenkins says All Saints is ‘architecturally England’s most celebrated Victorian church.’ The architectural historian Simon Thurley lists All Saints among the 10 most important buildings in Britain.
In the 1970 BBC Television programme, Four With Betjeman – Victorian Architects and Architecture, the poet Sir John Betjeman visited All Saints. In his view, ‘It was here, in the 1850s, that the revolution in architecture began … It led the way, All Saints Margaret Street, in church building.’
The architectural historian Sir Nikolaus Pevsner described the interior as ‘dazzling, though in an eminently High Victorian ostentatiousness or obtrusiveness … No part of the walls is left undecorated. From everywhere the praise of the Lord is drummed into you.’
Simon Jenkins says All Saints is ‘architecturally England’s most celebrated Victorian church’ (Photograph: Patrick Comerford, 2023)
The choristers of All Saints sang at the coronations of Edward VII (1902), George V (1911), George VI (1937) and Elizabeth II (1953). The choir school closed in 1968, and the boys’ voices were replaced by adult sopranos.
Several pieces have been commissioned for the church, including Walter Vale’s arrangement of Rachmaninoff’s Liturgy of Saint John Chrysostom and All-Night Vigil. Rachmaninoff heard Vale’s adaptations when he visited All Saints in 1915 and 1923.
All Saints’ organ is a four-manual Harrison and Harrison instrument with 65 speaking stops, built in 1910 to a specification drawn up by Walter Vale.
The organists have included Richard Redhead, the composer of ‘Rock of Ages’ and ‘Bright the Vision’, Walter Vale (1907-1939), William Lloyd Webber (1939-1948), John Birch (1953-1958), Michael Fleming (1958-1968) and Harry Bramma (1989-2004).
John Betjeman declared, ‘It was here, in the 1850s, that the revolution in architecture began … It led the way, All Saints Margaret Street, in church building’ (Photograph: Patrick Comerford, 2023)
Recent vicars have included David Michael Hope (1982-1985), later Bishop of London and Archbishop of York. The Revd Peter Benedict Anthony has been the Parish Priest of All Saints since 2021.
The style of worship at All Saints is Anglo-Catholic, including ritual, choir and organ music, vestments and incense. As a traditional Anglo-Catholic parish, All Saints has passed resolutions accepting only male episcopal and priestly sacramental ministry.
On Sundays, High Mass is at 11 am, there is a Low Mass at 5:15, and Evensong and Benediction at 6 pm. On week days, from Monday to Friday, Low Mass is at 12 noon and 6: 30 pm. On Solemnities and certain Feast Days, High Mass is at 6:30. On Saturdays, there is Low Mass at 12 noon and the Vigil Mass at 6:30.
All Saints’ Church is open from 11 am to 7 pm, Monday to Friday.
Labels:
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