Burford, Oxfordshire

 

Street-facing

When you turn into the Oxfordshire town of Burford from the A40, you descend the High Street, the first part of which is called The Hill, towards the centre of town and the shops, the Tolsey (the market house and also, now, the town’s museum), and the parish church. The Hill is lined with houses of various dates, and one that I admire is Glenthorne House, the one on the left in my first photograph. This has a handsome 18th-century front with sash windows arranged in pairs, each window with a prominent keystone, each pair surrounded by a raised band of stone. There’s a central door with a pedimented surround and above it a blocked window, and the whole front is book-ended by stone quoins and topped with a plain parapet. It’s as pleasant a Cotswold-stone late-18th century composition as you could wish for and one might suppose that the whole house dates from the same period.

Perhaps the roof, however, is a bit of a giveaway. It’s not low-pitched and hidden behind the parapet, but higher and with an asymmetrical bow to its ridge that suggests something older. If you walk a little further up The Hill and look at the side of the house, the picture is very different. The building is emphatically not the symmetrical box implied by the street front. From the side, it can be seen how far back the house goes and how it has mullioned windows that suggest a rather earlier date – much of this probably represents a 17th-century remodelling of a medieval house. Pevsner reports that there’s a 14th-century stone archway inside the building. This side view also shows that the street front is an add-on, built against the house to present a once-fashionable Georgian face to the street.

Many house owners smartened up their street frontages like this. Often the position of the windows or proportions of the facade are incorrect, betraying a building of irregular or asymmetrical design behind. In this case, the proportions are just about right, and the makeover has been achieved with some style and grace. No doubt the house attracts as many admiring glances as it must have done in the 18th century. A few of the glancers, looking at the side elevation as well, will reflect that the human habit of responding to changing fashions has been around almost as long as architecture itself.

Burford, Oxfordshire

 

Bricks come to Burford

For me and everyone else, it has been a year in which travel has been restricted. Like the rest of the British population, I have been in lockdown, or in some voluntary state of semi-lockdown in which I’ve tried to risk unnecessary exposure to Covid-19, or in a state with a little more freedom but still the fear that travelling any distance might take me into an area of the country that is in lockdown or otherwise restricted. One of the compensations for all this has been that it has forced me to focus more closely on buildings that are closer to home. Many of my recent posts reflect this.

I’m fortunate to live not far from an abundance of interesting walls to stare at. Here’s one such interesting wall, one of many in the glorious High Street of Burford, just on the Oxfordshire side of the border with Gloucestershire and near the eastern edge of the Cotswold Hills. Like so many of Burford’s buildings, this one has ancient origins. There’s timber framing of the 16th century (or perhaps even earlier) round the back. But from the street the Bull Inn presents this attractive and arresting brick and stone front.

The date of the frontage must be about 1700 – estimates vary from 1690 to 1715 – during the period when William Tash and his son John were landlords. William Tash took over an inn with a long history. Records of it go back to 1397, although the building was used for a long spell in the 16th century as a butcher’s shop. But in 1610 it was an inn again and later in the century it’s said that Charles II and Nell Gwynne stayed there. By the time the facade was updated, Burford was a prosperous town, a stopping point on the route from Wales to London. The inn’s new frontage helped it stand out.

According to the Bull’s website, it was the only brick building in Burford back then. Even now, nearly all the buildings in this street have fronts of Cotswold stone or timber framing (sometimes rendered) but the Bull mixes stone and brick, with stone used not just on the ground floor but also for the pilasters, keystones and other details above. Those other details add to the building’s eccentricity and, I’d say, charm: very chunky aprons beneath the upper windows and trapezoid stones on the upper corners of the window surrounds. All this, combined with the mix of red and darker bricks makes for a winning result and a real eyecatcher for those with time to stop and look.

Burford, Oxfordshire, and beyond

Retrospective (2): A handful of fragments

As my next short sequence of backward-glancing links to celebrate ten years of blogging, I'm concentrating on fragments – those broken bits and pieces that can tell us so much about history – or occasionally fox us – while also being so evocative. Whether it's bits of medieval stained glass or chunks of old masonry, such unregarded scraps have often surfaced on the English Buildings blog over the last ten years. Here are a few you may have missed...

Tantalising bits of stained glass in Oxfordshire

Old bits of pottery put to architectural use in Northamptonshire

Traces of a mason's yard in Shrewsbury

A revealing broken pinnacle in Somerset

A whole wall of fragments in Gloucestershire.

Burford, Oxfordshire

Conversion

I don’t recall coming across a Methodist chapel so ornately Classical as the one in Burford. The entrance front is in a local version of the Baroque style made fashionable by architects such as Nicholas Hawksmoor and John Vanbrugh (we’re not too far from Vanbrugh’s Blenheim Palace here). This is very much not the curvaceous Baroque of mainland Europe, but the British Baroque – a style that makes architecture theatrical with visual devices such as banded rustication (the horizontal bands in the masonry), an emphasis on size or height (the narrow windows help make the building seem higher than it is), big keystones over the windows, and doorways with Gibbs surrounds (the protruding square blocks are the key feature of this sort of door surrounded, popularised by James Gibbs, architect of St Martin in the Fields, London).

It’s an unusual chapel, and that’s because it was originally a private house. It was built for a lawyer called Jordan in 1720–30 and remained a house until 1849, when it was converted to a chapel by removing the interior floors to make a large hall and installing a gallery for extra seating. At this time the urns that decorated the parapet (another Baroque feature) were removed. It's interesting to find a house converted into a chapel: these days, one is more likely to find the opposite – a redundant chapel made into a house. Its rich combination of banded masonry, tall Corinthian pilasters, and all the Baroque features make the chapel’s facade a striking feature on Burford’s main street. Even though it is set back from the main building line, it stands out.

Burford, Oxfordshire

Old school ties

In 1571 a group of merchants in the Cotswold town of Burford founded a grammar school. Their leader was the appropriately named Simon Wysdom, whose name features in an inscription over the doorway of the old school building, which still exists, a solid-looking structure of Cotswold stone in the centre of the town. The masonry is quite high quality – coursed squared rubble blocks, one step away from the super-smooth ashlar of the very highest status buildings.

However, the structure is perhaps not as quite solid as it seems. At some stage there has been some instability and tie rods have been installed to stop the walls bulging outwards. These ties are metal rods that pass all the way through a building from one exterior wall to the other, fixed on the outside with bars or discs that hold the wall in like a corset. Often the rods are heated up immediately before they are inserted and the outer bars or discs fixed on, so that they contract as they cool down, ensuring the tightest fit.

The bars on the outside can take various forms. One of the most common is a large X-shape, so that the containing effect is spread across a large surface of wall. Here, there’s an added touch: instead of Xs, the rods end in the three initials B, G, and S, for Burford Grammar School. As well as holding in the wall they act as a bit of advertisement. Structural, educational, promotional, and ingenious in one.

Burford, Oxfordshire

Fragment

Prevented as I am by back pain from sustained sitting at the computer, here's a fragmentary post about a fragment of medieval stained glass.

In quite a few of our medieval churches, the odd bit of medieval stained glass has survived time, iconoclasm, and breakages caused by such things as poorly maintained supporting ironwork. At first glance these patches of colour, broken and removed from their context, appear rather sad, but look closer and the light that shines through them illuminates hidden worlds. Here, at St John the Baptist, Burford, one of my favourite parish churches, are the head of lady, a patch of blue sky, some Gothic script, a few tantalizing scraps of pattern. The colour alone of that wedge of blue and the drawing of that face are enough to make one pause and marvel.

I wrote at more length, here, on some more preserved shards of glass, bearing images of the head of a saint and a fragment of architecture, from the same church.

Burford, Oxfordshire

Fragments

I sometimes feel sorry for archaeologists. They can spend months digging for a couple of potsherds and a post hole, and then face the task of fitting this sparse and fragmentary evidence into some kind of pattern. I know that archaeology is about much more than digging. But even so, when it comes to material evidence, architectural historians have it better: enormous structures that can be read like books, even when there is no documentary evidence, for literal reading, to back up the stories told by the stones.

But sometimes it's not so simple. Medieval buildings can be as complex and enigmatic as any excavation. And as for their decoration – battered by time, alteration, and iconoclasm, it can be as challenging to reconstruct as buried foundations or shattered pottery. Medieval stained glass is a case in point. So much of it has gone, thanks to neglect and decay and the activities of image-smashing vandals. In many churches, there are just a few fragments of ancient glazing, like this one in a window in the large and beautiful medieval church at Burford.

So what can we make of this tantalising panel of medieval stained-glass bits and pieces? Staring at the central figure, I was struck by the hat. Wasn't that a pilgrim's hat? Yes, or more specifically, it's the hat of St James the Greater, with his cockle-shell badge, the disciple of Jesus who, having ended up in Spain made medieval Compostela the greatest place of pilgrimage after Rome itself. The bearded head of St James must have figured in many medieval windows, and here just his head has survived. Perhaps that's the top end of his staff, just to the right of his head.

Most of the other fragments on either side of St James and immediately above him are images of bits of architecture – niches, pinnacles, and spires. Their ornate crocketed tops mark them as late-medieval, and they're typical of the use of architectural motifs in so much late-medieval art. W R Lethaby, the great Arts and Crafts architect, writer, and teacher, expressed this use of architectural forms charmingly in his book Medieval Art:

The folk had fallen in love with building, and loved that their goldsmiths' work, and ivories, their seals, and even the pierced patterns of their shoes should be like little buildings, little tabernacles, little 'Paul's windows'.

'Paul's windows' refers to the rose windows in Old St Paul's Cathedral, London, and the reference to the pierced patterns of shoes recalls a description of a snappy dresser in Chaucer's Miller's Tale, 'With Paule's windows carven on his shoes'. Reliquaries, boxes, furniture, yes, even shoes, were made to look like little buildings in the 15th century. And figures in churches, whether carved in three dimensions or painted in windows, were frequently set in a context of decorative architectural detail. How wonderful that some of this detail should have survived here, flanking the venerable, curly-bearded, beady-eyed face of St James, the saint who inspired men to go on pilgrimages.

A few old favourites

It is well over a year since I last did a “round-up” of favourite posts from this blog, with the aim of interesting readers who are new here and would like to explore further. A comment on my previous post, about military airfields and the hangars at Hullavington in Wiltshire, reminded me of a particular aspect of my posts that has pleased some readers: the way in which they are as much about atmosphere and sense of place as they are about architecture.

How buildings define or enhance or affect the character of a place is a huge subject, and one that can only be touched on in a short blog post. But it’s one I’m often aware of as I encounter buildings, and there are some posts where I think I’ve managed to evoke the relationship between place and building in ways that seem to strike chords with readers. These are very personal posts that chronicle my reactions and memories of a some very diverse buildings and places. They range from thoughts about how nature and architecture interact on the site of a ruined castle to a brief account of the relationship between buildings, lives, and businesses in one tiny, and formerly seedy, London block. Links to these and a few other posts follow.

Restored by silence and fading light: visiting an isolated Saxon church at Farmcote on top of the Cotswolds.

The greening of a ruin: picking a way through the stones and vegetation at Wigmore Castle.

It’s brains you want: ghost signs and why they matter. Looking at a crumbling piece of the sign-writer’s art in Gloucester.

Strangers on the shore: evocative hulks shoring up the bank of the River Severn at Purton.

Coming home: thoughts on buildings as landmarks, in particular a ruined barn at Burford.

Soho revived: uncovering pythons, lap-dancers, and secret passages in Moor Street, London.

An image of the country village: constructing perfection at Great Tew, and a brief addendum on the one-time decay of the village, from which it has recovered.

Burford, Oxfordshire

Coming home

Landmark noun An object or feature of a landscape or town that can easily be seen from a distance, especially one that enables someone to establish their location.

As we travel around, we acquire a personal inventory of landmarks that punctuate our journeys and help us to recognise places. They can be hills, lone trees, or other natural features, but often they’re buildings. Church towers and spires in distant valleys, factory chimneys, windmills. And also more modest buildings – toll houses at junctions, roadside cafés or pubs, isolated farms. They help us give people directions: ‘Turn left at the White Hart, and first right after the telephone box.’ ‘Park near the church.’ ‘Drive up the hill until you come to the filling station.’ They tell us where we’ve got to on a journey. And sometimes they become personal symbols of a particular place.

When I drive home to the Cotswolds from London, part of my journey is along the A40, which takes me across Oxfordshire and into the hills of Gloucestershire to my destination. Just before the Oxfordshire town of Burford I begin to notice the drystone walls of the Cotswold fields and the limestone architecture of my home patch, and for me, on this journey, all this is symbolized by this stone barn, which sits in a field near trees a couple of hundred yards from the road.

On the Cotswolds, field barns like this were mostly built in the 18th century and later, to service the kind of farming that came in when the open fields and commons were enclosed. They often have just one large porch – unlike farmyard barns, which usually have two, providing a big interior space for threshing. These field barns weren’t used for threshing – they were for keeping fodder for animals and for sheltering the beasts in winter. After a long life, this one has been re-roofed with what looks like corrugated asbestos, a popular cheap roofing material 50 years ago, and I think is unused now.

When I pass this barn I know that I’m in the limestone country at last and in a couple of minutes’ time I’ll be in Gloucestershire and on the last leg of my journey. I always look out for this building, and it has acquired a personal meaning for me beyond any architectural or historical interest it may have. As the sun of a winter’s evening lights up the surrounding trees and suffuses the barn’s limestone walls, catching my eye for a split second as I whiz by, it stands for nothing less than the warmth and welcome of home.

Burford, Oxfordshire

From the Brazils

This is one of the figures on the monument of Edmund Harman, barber-surgeon to Henry VIII, in Burford parish church. Harman became a prominent Burford resident in the 1540s, when he was one of the beneficiaries of his boss’s dissolution of the country’s monasteries. He and his wife were granted Burford Priory.

Like many a big cheese before and since, he made sure his monument was made well before he died. Dating from 1569, it also commemorates Agnes, ‘his only and most faithful wife’ and their 16 children, only two of whom survived their parents. Quite why the wall plaque is surrounded by figures like this one, whose feathered headdresses seem a long way from standard Oxfordshire attire, is not known. The best guess as to their identity – though there’s been a lot of scholarly argument about it – is that they hail from the banks of the Amazon. They may have been copied from illustrations in a Flemish book that appeared a few years earlier.

But why are they in Burford, on this particular monument? Apparently Agnes Harman’s family included merchant adventurers and perhaps it was her connexion with people who had sailed across the Atlantic that inspired these unlikely carvings, creating in the process one of the many pleasant surprises in this beautiful church on the edge of the Cotswolds.