Broadway, Worcestershire

Quirky things in quiet corners

I begin blogging again with this eye-catching little building, which is in the showpiece village of Broadway. Broadway is in Worcestershire, but it feels like an exile from Gloucestershire, being right on the northern end of the Cotswold Hills. Much of Broadway, true to this Cotswold location, is built of limestone, with stone ‘slates’ on the roof as well as the classic ‘honey-coloured’ walls* that help make the region so well known. But this structure, tucked away in Back Lane behind the Lygon Arms, not much more than a few yards from the manicured glory of the main street, is rather different. It’s a pleasing mélange of stone, brick, timber, and thatch. I thought it was a house, but someone said (and Pevsner confirms) that it was built by the owners of the hotel to accommodate staff – but the said staff were too busy, on the day I last visited, to answer queries of this kind.

I see it as probably a bit of architectural whimsy in a style that evokes – on the surface at least – the late phases of the Arts and Crafts movement. The thatched roof, with the ‘eyebrow’ window interrupting the thatch, is very much in the Arts and Crafts mode. So is the use of traditional materials. Except that the way some of those materials are used is to put a Tudoresque spin on the building. That timber framing at the front, with its brick infill in fancy herringbone pattern, isn’t really integrated into the structure of the whole building – it’s acting mainly as a screen to conceal and shelter the entrance steps.† The weatherboarding, too, seems simply to be a picturesque covering to perfectly good brick walls with stone quoins. There’s nothing wrong with this approach – I think the result is attractive and it makes me smile. It’s just not the ‘what you see is what you get’ kind of building that the followers of William Morris advocated.

But quirky and unusual are qualities that I like, and that I’ve been highlighting in this blog for around 15 years. As I resume, I resolve to feature at least a little more of the same.

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• Honey-coloured? Well that’s the usual cliché, although the reality is that Cotswold stone comes in a range of hues, from grey to yellow – with a bit of brown in the mix on some areas too.

† The corner post does, of course, help to support the roof above, and so has a partly structural role.

Stanton Harcourt, Oxfordshire

Open again

First, I offer my apologies to those regular readers who have come to like my posts of old and interesting English buildings. A prolonged bout of post-covid exhaustion, together with a rush of things to do, left me with little energy for blogging lately. Now, as the clouds lift a little and other activities become less pressing, I am ready to begin again.

I saw this sign at the entrance of the church at Stanton Harcourt, and thought that it looked good enough to photograph. The letterform is similar to the typeface Albertus, one of my favourites; I like the blue too. But browsing through my photographs it occurred to me that it would make a good symbol to appear here, because it marks my resolution to resume blogging once more, at whatever pace I can keep up.

So I declare this blog open again for business – the business of occasionally recording my encounters with interesting old buildings, and, especially, sharing bits of architecture and related items that have not, it seems to me, received the notice they deserve. So look out for my usual mixture of the familiar, the unfamiliar, the quirky, and the unregarded in the coming weeks and months.

Taunton, Somerset

Light thrown on the familiar

A brief stop in Taunton on my way deeper into southern Somerset a while ago saw the south facade of the castle bathed in sunlight. I took time to pause for a few minutes and take in some of the details. The gatehouse, accessed by a bridge over a dry moat, still boasts work of the 13th or 14th centuries, when the castle belonged to the bishops of Winchester. It was apparently more a centre for running the large estates of the diocese than a military fortress, although later, in the mid-15th century, it was strong enough to be worth besieging, and later still its garrison put an end to the uprising of Perkin Warbeck against Henry VII. Henry’s coat of arms can still be (just) made out at the top, above those of Bishop Langton over the archway. The upper part of the gatehouse dates to a remodelling of the late-15th century.

What we can see from here of the rest of the building looks the way it does thanks to another set of alterations, this time between the 1790s and c. 1816, when Sir Benjamin Hammet (a banker, building contractor and MP for Taunton) rebuilt parts of the structure to accommodate Assize Courts and judges’ lodgings. The facing of the wall and the pointed windows are from Hammet’s time; the smaller mullioned windows downstairs are later still.

One hopes that the judges appreciated the efforts made on their behalf, with well-lit upgraded accommodation very close to the courts where they worked when the Assizes were in session. Those who were not judges but also needed somewhere to stay had a choice of two gothic-style inns that are still there, very close by but out of my photograph. These are still impressive but much altered compared to the castle, so for now at least, I’ll let this building have its place in the sun.

Bury St Edmunds, Suffolk

Still busy

The beehive has been a powerful symbol for centuries. For some it has represented ‘the winged republic’, where society runs in an equitable way, with each individual playing their role to general benefit of the whole. For others, it has stood for industry and productivity. Perhaps the latter train of thought was behind the adoption of the beehive as the symbol of Lloyd’s Bank in 1822. It was the bank’s sole symbol until they took over Barnett ’s Bank in 1884, when the company also began to use Barnett’s emblem: the black horse. Both symbols were used by the bank until the 1930s, when the hive was phased out and the black horse remained.

But the occasional Lloyd’s beehive survives, like this one on a hanging sign in Bury St Edmunds. Since sign and bracket alike have clearly been carefully designed and made with some skill, it’s understandable that no one wanted to throw it away. The sign has a dome shape at the top to accommodate the hive, which is itself cut out from the background and coloured the same gold as the lettering. The bracket is shaped to follow the contours of the hive, adorned with curlicues and finials, and braced with a diagonal strut; it’s fancy, but not distracting because the clear lettering and symbol make the sign very easy to read: I’d say the combination works very well. No doubt that fact that the building it’s attached to is still branch of Lloyd’s means it’s still effective too, alerting anyone who doesn’t know to the bank’s location as they approach along the pavement. It was, I’d say, a good investment.

Bishops Cleeve, Gloucestershire

The Madonna of the Butterflies with Saints Michael and Jerome

Something a little different for my Christmas picture this year. Fortunate is the church that has a piece of modern art that works as well as this altarpiece, painted in 2018 for the church of St Michael and All Angels, Bishops Cleeve by the local artist P J Crook. P J Crook’s works range widely and are exhibited in galleries all over the world. For this altarpiece, she worked within the traditional framework of the triptych, filling the work with symbols that are familiar to anyone who had looked at a lot of Christian art. Yet the imagery is also unmistakeably of its time and of its painter: the directness of the way the faces are painted and their deceptively simple range of skin tones, the teeming detail, and the way in which the imagery spills out on to the frame are all typical of the artist.

The triptych shows the Virgin and Child with Mary’s head surrounded by butterflies and angels; saints Michael and Jerome are portrayed in the side panels; the base bears an image of the Last Supper. The butterflies, with their metamorphic life cycle (there’s a caterpillar, by the way, at the bottom of the picture), stand for resurrection, renewal, and the release of the soul from the body. They are just one of an array of symbols: rosemary represents remembrance, the lily of the valley is also called Our Lady’s Tears, the poppy indicates that the altarpiece was painted at the time of the anniversary of the end of World War I. The dove to which the infant Jesus points is a symbol of peace, but also represents the Holy Spirit.

There are also local allusions. There are minute figures of the Magi on horseback (their mounts a reminder that Bishops Cleeve is a stone’s throw from Cheltenham Racecourse). St Michael (battler with the devil, weigher of souls in heaven) is there in part because of the church’s dedication – and that dedication gives the presence of angels in the altarpiece further relevance; there’s a small image of the church above the saint’s left shoulder. The female figure entering through the door beneath the dove is Margaret Whitehead, a local school nurse who was killed in a car accident. She is also seen in the background in her nurse’s uniform, with a group of children. A painting of the infant Christ can also look forward to his crucifixion and resurrection, and this triptych deals with mortality in several ways. The images of Margaret Whitehead represent one way; St Jerome’s contemplation of mortality (symbolised by the skull) is another; the presence of a fox, symbolising King Herod, who ordered the massacre of the innocents, is another; candles stand not only for the light of God but also for remembrance of the dead.

The complexity of this altarpiece, then, reaches the depths, but the directness of the imagery is powerful too and the way in which its art enhances life is, in my eyes, a triumph. I hope that all my readers have an enjoyable and life-enhancing time over the coming days of celebration. Happy Christmas – and season’s greetings, whatever your beliefs.

Daglingworth, Gloucestershire

Under snow and in hiding

The heading above could be about me. Gloucestershire has been snowbound for days, the temperatures have dipped to new lows, and I’m hardly venturing out at all, let alone looking at buildings. So I thought I’d find an appropriately chilly photograph: one from some years ago of the church at Daglingworth, near Cirencester, seems to fit the bill.

Looked at in passing, there seems to be nothing unusual about this little building. Apparently it’s a medieval church with a short version of the plain and simple west tower so common in the Cotswolds, and a later chancel, which turns out to be a Victorian rebuild of 1850–51. Look closer, however: long and short quoins and a doorway with a semi-circular arch of great simplicity suggest that the nave is Anglo-Saxon. Inside is a Saxon chancel arch and a group of four carved reliefs – two Crucifixions, a Christ in Majesty, and a St Peter – that also look pre-conquest.

The better preserved of the Crucifixions is the most striking of all. Set in the nave very close to a south-facing window, it’s difficult to photograph at all well, but the image above will give you the general idea. The crucified Christ wears a loincloth and his head is surrounded by a circular nimbus with a cross. On either side stand two Roman soldiers, one with the spear that pierced Jesus’ side, one with the vinegar-soaked sponge. Scholars argue about when and where it was carved – the late-10th or early-11th century seems to be the most likely guess for its date.

What’s certain, however, is that this relief and two of the others spent years hidden from view. They were only discovered when Victorian workers took apart the nave’s east wall during the rebuilding of the chancel. They found the stones reused in the masonry, their carved faces turned inwards so that they could not be seen. Were they hidden during the iconoclastic period of the Reformation, their images concealed by someone who revered them too much to destroy them? The Victorians had other ideas, removed them from their hiding place and displayed them on the walls. Although damaged, the carvings are still strong and moving images and although the church has been empty whenever I’ve visited, I’m sure people come many miles to see them. Historians of early medieval art and church-crawlers certainly know about them. Others should too.

Southwold, Suffolk

Going Dutch

We didn’t get the chance to go inside Southwold Museum on our recent visit to the town. But I spent a few minutes to admire its modest but lovely exterior, which was built as a house in the late-17th or early-18th century, and was converted to a museum in the 1930s. I have a weakness for this kind of thing: small buildings on which a bit of extra effort has been expended; curvy ‘Dutch’ gables; the combination of brick and pantile; odd-shaped windows.

By 1933, when the building was left to the town on the condition that it was made into a museum, this small house was in a dilapidated state. According to the museum’s website, much of it had to be rebuilt, and the brickwork of the walls does seem to be of various dates. The restorers maintained the overall design of the street front, with windows of the same size, shape and position, although the side windows got longer to give the interior more natural light. Structural strengthening was needed too – the ends of tie rods can be clearly seen on the street front and the side wall.

Today, the building is full of charm. It doesn’t worry me that that Venetian window is oddly proportioned, or that it interrupts the horizontal band of bricks that marks the eaves level. I’m happy that the building is there, and represents a small example of that kind of brick building, Dutch-inspired and curvy-gabled, that can be seen on the east coast of England, notably (for me) in my native county of Lincolnshire. It’s a bit of local distinctiveness that seems entirely right for a local museum. I hope my next visit is not in the winter so that the museum is open and I can look inside.