User:TheLonelyPather/sandbox2

Coordinates: 51°31′02.10″N 00°08′20.64″W / 51.5172500°N 0.1390667°W / 51.5172500; -0.1390667
From Wikipedia, the free encyclopedia

Things to work on:

  • Ecclesiastical history, not only architectural history
    • Significant vicars
  • The "thesis" of the article would be that it is a church founded upon a theological vision (Ang-Cath, Oxford mvnt), instead of merely talking about the architecture
  • All Saints Sisters

All Saints, Margaret Street[edit]

All Saints, Margaret Street
Clockwise from upper left: the exterior of All Saints; the chancel and the high altar; a panorama of the interior.
DenominationChurch of England
ChurchmanshipAnglo-Catholic
Websiteallsaintsmargaretstreet.org.uk
History
Consecrated1859
Architecture
Heritage designationGrade I
Architect(s)William Butterfield
StyleGothic Revival
Administration
ProvinceCanterbury
DioceseLondon
Clergy
Bishop(s)Jonathan Baker
Vicar(s)Peter Anthony
Laity
Director of musicStephen Farr

All Saints[a] is an Anglo-Catholic church on Margaret Street in London, England. The church started as Margaret Street Chapel founded in 1776. It was founded in 1839 as a result of the Oxford Movement. Its current church building, designed by William Butterfield, was completed in 1859 and received notable acclaim. It also housed the All Saints Sisters.

History[edit]

Margaret Street Chapel[edit]

According to William Allen Whitworth, a former vicar of All Saints, David Williams founded Margaret Street Chapel in 1776 to practice a natural religion.[1]

From 1804 to 1823, J. D. Hazlewood was the minister of Margaret Chapel. (better sources?)

Anglo-Catholicism[edit]

Main articles: Anglo-Catholicism and Oxford movement

William Dodsworth became the minister of Margaret Chapel on 6 March 1829. He was succeeded by Charles Thornton, who became the chapel's minister on 4 August 1837.[2]

Frederick Oakeley became minister on 5 July 1839. On 18 October of the same year, William Upton Richards became the assistant minister of the chapel. He succeeded Oakeley after the latter resigned in 1845.[2]

New church building by Butterfield[edit]

something something context ...

On All Saints' Day 1850, Edward Bouverie Pusey laid the foundation stone of the church. It was consecrated on 28 May 1859 by Archibald Campbell Tait, then the Bishop of London.[3]

Modern history[edit]

William Upton Richards remained the minister of the church until his death on 16 June 1873.[4] On 28 October 1873, Berdmore Compton became the vicar of All Saints. He was succeeded by William Allen Whitworth on 4 November 1886.[4]

Architecture[edit]

The nave and the chancel of the church

Structure[edit]

Nave[edit]

Chancel[edit]

Baptistry[edit]

All Saints marked a new stage in the development of the Gothic Revival in English architecture. The author and columnist Simon Jenkins called All Saints "architecturally England's most celebrated Victorian church",[5] and the architectural historian Simon Thurley listed All Saints among the ten most important buildings in the country.[6]

The design of the church showed Butterfield (in Sir John Betjeman's words) "going on from where the Middle Ages left off" as a neo-Gothic architect.[7] Previous architecture of the 19th-century Gothic Revival had copied medieval buildings. But Butterfield departed considerably from medieval Gothic practice, especially by using new materials like brick. Charles Locke Eastlake, the 19th-century architect and writer, wrote that 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".[8] The Victorian critic John Ruskin wrote after seeing All Saints: "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."[9]

Butterfield's use of building materials was innovative. All Saints is built of brick, in contrast to Gothic Revival churches of the 1840s, typically built of grey Kentish ragstone.[5] At All Saints, Butterfield felt a mission to "give dignity to brick",[10] and the quality of the brick he chose made it more expensive than stone.[8] 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 therefore built into the structure, making All Saints the first example of 'structural polychromy' in London.[11]

All Saints 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 architectural historian 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."[12]

The rear of the chancel features a series of paintings on gilded boards, within a delicately carved brightly patterned gothic screen, the work of Ninian Comper and a restoration of earlier work by William Dyce. The decoration of the Lady Chapel is also by Comper. 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.[13]

The stained-glass windows are limited in All Saints due to the density of buildings around the church. The original windows were designed by Alfred Gérente (1821–1868) but his work was not held in high regard and was subsequently replaced. The large west window, which was originally fitted with glass by Gerente in 1853–58, 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 St Edward Martyr and St Augustine.[14]

The baptistery in the south-west corner of the church is noted for its marble tiling which features an image of the Pelican in her Piety in the ceiling tiles, a symbol of the fall and redemption of man.[15]

  • The Nativity Scene in the tiled frieze
    The Nativity Scene in the tiled frieze
  • Baptistery tiling
    Baptistery tiling

The reredos, by Butterfield, was moved to St Catherine's Church, Wickford, at some time during the 20th century.[16]

Music[edit]

A choir school was established at the church in 1843, which provided music for daily choral services. The choir was widely recognised for its excellence and choristers sang at the Coronations of Edward VII (1902), George V (1911), George VI (1937) and Elizabeth II (1953) as well as at Victoria's Jubilees (1887 and 1897). Amongst its alumni is Laurence Olivier. The school closed in 1968,[17] at which point the boys' voices were replaced by adult sopranos. The survival of the choir school had been discussed many years earlier. Writing to parishioners in 1894, the vicar lamented that the changing demography of the area meant that there were now few children left in the parish, and that the number of wealthy patrons in the congregation had decreased as they moved further west.[18]

The present-day choir maintains the exacting standards of its predecessors.

The repertoire for choir and organ stretches from before the Renaissance to the 21st century and includes several pieces commissioned for the church, most famously Walter Vale's arrangement of Rachmaninoff's Liturgy of St John Chrysostom and All-Night Vigil for Western-Rite Mass and Evensong respectively. Rachmaninoff heard Vale's adaptations during his two visits to the church, in 1915 and 1923, and pronounced his approval of them. They are still sung on Palm Sunday.

All Saints' organ is a superb four-manual Harrison and Harrison instrument with 65 speaking stops, built in 1910 to a specification drawn up by Walter Vale. It retains the best of the pipework of its predecessor, the original and considerably smaller Hill organ. Though as big as those found in most cathedrals, it is perfectly tailored to All Saints' smaller dimensions – powerful, but not excessively so, sounding intimate when played quietly, and monumental when loud. Harrison rebuilt it in 1957, replacing the tubular pneumatic action with electro-pneumatic. Electrical blowers replaced the hydraulic blowing plant.

The tonal changes made to 10 stops in 1957 – like those made to many other organs at that time – altered the tone of the instrument, to a very limited extent, to a more 'classical' sound. Therefore, when the organ next required major restoration work, the decision was taken to try to restore the sound nearer to that of 1910: to return it to an 'Edwardian Romantic' organ. The completed restoration was celebrated with two inauguration concerts in March 2003.

Organists have included Richard Redhead, the first organist and remembered today as the composer of Rock of Ages and Bright the Vision, Walter Vale (1907–1939), William Lloyd Webber (1939–1948), John Birch (1953–58), Michael Fleming (1958–68) and Harry Bramma (1989–2004), many of whom wrote music for use at All Saints and beyond.

Directors of Music (selected)
  • 1839–1864 Richard Redhead[19]

See also[edit]

Notes[edit]

  1. ^ Sometimes written as All Saints'.

Citations[edit]

  1. ^ Whitworth 1891, p. 33.
  2. ^ a b Whitworth 1891, p. 31.
  3. ^ Whitworth 1891, p. 1.
  4. ^ a b Whitworth 1891, p. 32.
  5. ^ a b Jenkins, Simon (2009). England's Thousand Best Churches. London: Penguin Books. pp. 479–480. ISBN 978-0-141-03930-5.
  6. ^ Thurley, Simon (5 January 2014), "The ten most important buildings in England", The Daily Telegraph, retrieved 24 April 2014
  7. ^ Betjeman, John (1970). A Pictorial History of English Architecture. London: George Rainbird. p. 83. ISBN 0-7195-2640-X.
  8. ^ a b Cite error: The named reference revival was invoked but never defined (see the help page).
  9. ^ Ruskin, John (2007). The Stones of Venice, Volume III: The Fall. New York: Cosimo. p. 196. ISBN 978-1-60206-703-5.
  10. ^ All Saints, Margaret Street. Norwich: Jarrold. 2005. p. 6.
  11. ^ Hitchcock, Henry Russell (1977). Architecture: Nineteenth and Twentieth Centuries. Pelican History of Art. Harmondsworth: Penguin Books. pp. 247–248. ISBN 0-14-056115-3.
  12. ^ Pevsner, Nikolaus (1974). The Buildings of England: London 2, except the cities of London and Westminster. Harmondsworth: Penguin Books. p. 327. ISBN 0-14-071006-X.
  13. ^ "Tiling". All Saints Margaret Street website. Retrieved 29 July 2013.
  14. ^ "Stained Glass Windows". All Saints Margaret Street website. Retrieved 29 July 2013.
  15. ^ "Inside the Church". All saints Margaret Street website. Retrieved 29 July 2013.
  16. ^ Historic England. "Church of St Catherine (Grade II) (1338415)". National Heritage List for England. Retrieved 24 March 2021.
  17. ^ Crutchley, Leigh (5 November 1968). "Death of a Choir School: All Saints Margaret Street London 1968". BBC Radio. Archived from the original on 2021-12-22. Retrieved 3 May 2018.
  18. ^ "All Saints', Margaret Street choir school". The Guardian. 24 October 1894. p. 1650 – via newspapers.com.
  19. ^ Love, James (1841) Scottish Church Music: its Composers and Sources. Edinburgh: Blackwood; p. 233

Sources[edit]

Miscellaneous[edit]

Periodicals[edit]

  • Curl, James Stevens (20 June 1990). "All Saints', Margaret Street". The Architects' Journal. pp. 36–55.
  • Paflin, Glyn (6 November 2020). "The lost painting of All Saints'". Church Times.

Journal articles[edit]

Book chapters and sections[edit]

  • Curl, James Stevens (1995). "The Search for the Ideal". Book of Victorian Churches. London: B.T. Batsford Ltd/English Heritage. pp. 61–69. ISBN 0-7134-7490-4.
  • Love, James (1891). "Redheard, Richard". Scottish Church Music: Its Composer and Sources. William Blackwood and Sons. pp. 232–233.
  • Saint, Andrew (2017). "The 1895 Restoration of All Saints', Margaret Street". In Howell, Peter; Saint, Andrew (eds.). Butterfield Revisited. Studies in Victorian Architecture and Design. Vol. 6. London: The Victorian Society. pp. 113–141. ISBN 978-0901657558.
  • Ruskin, John. "Conclusion". The Stones of Venice. Vol. III: The Fall. National Library Association. pp. 166–198.
  • Temple, Philip; Thom, Colin, eds. (2017). "All Saints Church". South-East Marylebone: Part 2. Survey of London. Vol. 52. Yale University Press. pp. 731–747.

Books[edit]

  • Eastlake, C. L. (1872). A History of the Gothic Revival. London: Longmans & Co.
  • Galloway, Peter; Rawll, Christopher (1988). Good & Faithful Servants: The Vicars of All Saints Church, Margaret Street, London W1. Worthing: Churchman Publishing Limited. ISBN 1-85093-104-6.
  • Thompson, Paul (1971). William Butterfield. London: Routledge and Kegan Paul. ISBN 0710069308.
  • Whitworth, William Allen (1891). Quam Dilecta: A Description of All Saints' Church, Margaret Street, with Historical Notes of Margaret Chapel and All Saints' Church. London: Wells Gardner, Darton & Co.

Minor sources[edit]

  • Mayhew, Peter (1987). "Margaret Street". All Saints: Birth and Growth of a Community. Oxford.{{cite book}}: CS1 maint: location missing publisher (link)

Further reading[edit]

External links[edit]


51°31′02.10″N 00°08′20.64″W / 51.5172500°N 0.1390667°W / 51.5172500; -0.1390667

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