Faith and Freedom Calendar 2018

The 2018 Faith and Freedom Calendar is now available. A complimentary copy has been sent to every subscriber to the journal and additional copies can be ordered.

Faith and Freedom Calendar Cover 2018

If you would like to order additional copies please contact Nigel Clarke (faithandfreedom@btinternet.com). For any extra copies we suggest you consider making a donation of £5. All proceeds will be donated to the Send a Child to Hucklow Fund, to help further its work in enabling disadvantaged children to enjoy a much-needed holiday in the Peak District.

We have some magnificent images – and receive far more than we could ever use, although we try to include as many as possible in the cover. The image at the top of this page is taken from the cover – it is a detail of a mosaic at the monastery of Sumela, Trebizond, taken by Anne Wild, who contributes a number of spectacular images to the Calendar.

Here are some more images from the 2018 Calendar:

Chester Calendar

West Window, Chester Cathedral (Photo: Alison Steers)

Cows Calendar

Evening in Lissagally (Photo: Paul Eliasberg)

The back page of the Calendar lists some of the thanks owed to those involved in the production. Thanks also go to Trimprint, our printers, and to Nigel Clarke who directs the whole project. Order your copy while stocks last!

Faith and Freedom Calendar Back Cover 2018

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Edinburgh in November

Princes Street in Edinburgh must have one of the most dramatic backdrops of any shopping street in Europe. At this time of year the dour presbyterian cityscape seems to glower at the frivolity of the market below.

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Todmorden Unitarian Church

I last visited Todmorden Church decades ago and it was in a pretty sorry state then, heavily vandalised and with no electricity, it had an air of dilapidation about it. So it was good to return in the company of some colleagues to see the church now.

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Ministers: Jo James, Bob Janis-Dillon, Jim Corrigall, David Steers, Phil Waldron in front of the chancel

One of the things you can’t miss about the church is its dominance on the landscape, it is a big church, an impressive feature of the local topography. But what I had forgotten and what in some ways it is easy to miss is the attention to detail within the building – the marble inlays, the subtle little carvings, the attractive stained glass windows, even the colours of the massive marble pillars. Partly this is because it is actually quite dark inside. The Unitarian Heritage An Architectural Heritage says it has an “under-lit interior” and blames this on the stained glass by “M. Capronnier of Brussels”. An excellent new book Chapels of England Buildings of Protestant Nonconformity by Christopher Wakeling (Historic England, 2017) describes it as the “one unmissable place of worship in Todmorden” and says “despite the clerestory windows – externally unseen – and tiny openings higher in the roof, the light levels foster a sense of religious mystery, augmented by the stained and coloured glass.” I tend to agree with the Unitarian Heritage assessment, I do find the interior a bit too dark but that is a minor quibble. It is a fine building designed by John Gibson of Westminster who also built the local town hall and the Fielden family residence.

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The church tower

Since 1994 the church has been in the care of the Historic Chapels Trust and they seem to be doing a good job, with the church being looked after by local volunteers. They have a varied programme of activities in the church including regular services plus weddings and even some recent christenings. When we visited, Joanna and Richard kindly took time out to show us round.

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Richard Butterworth (verger) and Joanna Drake (volunteer)

The church now has kitchens and toilets sensitively added to the interior which perhaps underlies what a valued resource for local people this church building is. Its history is fascinating, coming, as it did, out of the Methodist Unitarian movement founded by Joseph Cooke and building a new chapel, which still survives, in 1824. The congregation was taken under the wing of enlightened mill owner John Fielden who extinguished their debt and whose three sons built the new church as a memorial to their father, built, it was said at the time, “for the public worship of the one God the Father, and for the instruction in the simple teachings of Jesus Christ, as opposed to such traditional doctrines as those of original sin and eternal punishment”. It opened for worship in 1869 and cost around £35,000. It is the only Unitarian church that I know that has a porte cochère where the wealthy benefactors could dismount and enter the church by a side door protected from the elements. Two of the sons are buried close to the church and matching memorials to all three of them are found on the walls of the interior.

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Porte cochère

The church has what must be one of the earliest and most elaborate church fonts of any Unitarian church, it is probably in need of restoration but it still in better condition than when I last saw it.

Detail on the font

One feature of Todmorden is the repeated motif of the pelican, I am not sure why this is such a popular image here but there is a pelican in the chancel window, and two carved in the choir stalls. There is possibly also another one carved in the end of a pew (almost all the pew ends feature flowers except for this one which houses an angel and what may be another pelican).

Phoenix carving

Choir stall pelican (see note below)

It is heartening to see the clock working and to know that the peal of eight bells are still rung by local bell ringers. Todmorden was a really flourishing congregation for most of its existence and it is interesting that this large building and its congregation left such an imprint in the locality that even now worship continues within it and it provides the home for much activity. It’s good to see the gradual recovery of Todmorden Unitarian Church.

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The view up the carriage drive

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Pulpit eagle

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Rose Window

A 360 degree view of the interior can be seen on the church’s website:

http://360.tuc-congregation.org.uk/

Note:

A couple of people have pointed out to me that the carving in the choir stalls which I originally named as a phoenix is in fact what is known as a ‘pelican in her piety’. It is the mother pelican who – in the ancient story – feeds its own chicks (or revives them after they die) with its own blood. I had confused this story with that of the phoenix which, of course, is famous for its ability to resurrect itself. Both the phoenix and the pelican became popular within Christian iconography from early times to represent Christ, for obvious reasons. But I am happy to make that correction and rename the image in the choir stalls. The carving on the pew end looks a good deal more phoenix like, although, to be honest, the photograph I took is not as clear as it might be and I am not able to make a certain identification. It is quite plausible that there are both phoenixes and pelicans in the church, but nevertheless I have removed the references to the phoenix and given credit to the pelican. Both are actually slightly surprising images to be found in a Unitarian church of 1869. The presence of a ‘pelican in her piety’ in Todmorden is probably a unique occurrence in a Unitarian church – unless anyone else knows differently!

 

Harvest Services 2017

 

The Services of Harvest Thanksgiving in October 2017 were all successful and enjoyable events in Downpatrick, Ballee and Clough churches. The first took place at Downpatrick where the guest preacher was the Rev Ernie Boggs, Minister Emeritus of Downpatrick Presbyterian Church, and special music was provided by the Lindsay Chorale with their conductor John Dallas. The congregational hymns were accompanied by church organist Laura Patterson. Over the year the Sunday School and young people of the church raised £400 for the work of Daisy Lodge and during the service Laura Neill presented a cheque to Aisling Gibson, the South Down regional fundraiser for Daisy Lodge, a purpose-built therapeutic centre located in Newcastle for families affected by cancer.

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Downpatrick Harvest Daisy Lodge

Presentation to Aisling Gibson of Daisy Lodge.

 

At Ballee the service was held on Sunday, 8th October at 3.00 pm when the guest preacher was the Rev Adrian Dorrian, minister of Ballee Parish, Church of Ireland and special music was provided by the Quoile Area WI Choir conducted by Isabel Keenan and accompanied by Kathleen Gill. Congregational hymns were accompanied by John Strain, the church organist.

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Quoile Area WI Choir including also Rev Adrian Dorrian

 

Clough held their annual service of harvest thanksgiving on Sunday, 15th October at 3.00 pm. There was a large congregation present to hear the visiting preacher, the Rev Paul Reid, of the Old Presbyterian Church, Larne and special music provided by local choir Harmonic Progression, the Seaforde based Community Choir for Women under the direction of Carolyn Ross. It was also pleasing to see that the painting of the exterior of the church had been completed in time for the harvest.

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Harmonic Progression including Rev Paul Reid (Old Presbyterian Church, Larne)

On 30th September Ballee also acted as a key staging post for Christian Aid’s Strangford Sportive, a cycle event covering up 120 km around this part of county Down which raised over £6,500 for the charity.

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The regal heads of Mountpottinger

On my History of the Non-Subscribing Presbyterian Church of Ireland blog I have been gradually posting two images of every church in the denomination together with a short description of the building. My aim is to include every active church plus as many of the former churches for which images survive. You can view them here:

https://nonsubscribingpresbyterian.wordpress.com/blog/

I have amassed a large database of images in various formats over the years but passing near the Mountpottinger church in Belfast recently I decided to stop to take an up to date view.

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Looking at the church close up I noticed something that I had never seen before, namely that there are four corbel heads at the base of the main entrance arches which depict crowned heads. I know I am not alone in having previously missed this intriguing detail but close up you can see four regal faces, two of them male and two female:

 

 

Who are they meant to represent? Biblical figures? Historical? Shakespearean perhaps? Or are they purely decorative? It seems clear that they were added when the church was extended in 1899. The foundation stone for the original church was laid in 1874 but the young congregation was very successful and in 1899 they extended the building.

Adrian Moir, the congregational treasurer and representative elder, has sent me the follwing interesting photograph of the original building as it looked before 1899. Standing in front, he thinks, is the Rev William Jenkin Davies minister from 1896 – 1903 who was married to the niece of Sir Edwin Durning-Lawrence who donated the new schoolroom as a memorial to her following her death:

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Sir Edwin Durning-Lawrence was a major Unitarian benefactor, an MP who declared the Unitarian College, Manchester open when it moved to Summerville in 1905, a friend of the Rev Alexander Gordon and the leading proponent of the theory that Shakespeare’s plays were actually the work of Francis Bacon!

A comparison of the new buildings of 1899 with the old one shows how they added a schoolroom and ancillary rooms on both sides of the original church with a common frontage uniting all the structures. In very recent times a disabled ramp was added to the church.

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A view of the church published in 1907, showing the new additions to the building

But it would be interesting to know the identity of the four regal heads who adorn the outside wall of Mountpottinger church.

Illustrations of Unitarian Churches in ‘The Christian Freeman’

Robert Spears was a tireless propagandist for Unitarianism in the second half of the nineteenth century. One of his projects was the establishment in 1856 of The Christian Freeman, “a monthly journal devoted to religious, moral and social progress”. One of the novel features of this was that, from 1866, it was illustrated, at least to the extent that every issue carried an engraving of a Unitarian church or building. In January 1866 the editor promised that “during the present year our readers may expect in our pages every month one engraving at least of our largest churches.”

I have a bound collection of volumes 10 to 12 and in them most of these illustrations seem to have been produced by the same artist, although one is provided by the architect of a church (Southampton) and one other is signed ‘Macintosh’ which may be by a different engraver.

Most of the illustrations are exterior views and although Robert Spears promised “our largest churches” he didn’t stick to this and gives pictures of smaller congregations such as Pudsey, Styal or Dewsbury. Some of the churches illustrated are long gone, fallen by the way as congregations have closed or moved to newer premises or were destroyed in the blitz or by 1960s developers. But these illustrations are often very valuable because of a paucity of photographic or drawn records of the building concerned. So Matthew Henry’s Chapel in Chester lasted until the early 1960s but little survives that tells us as much about the building as Robert Spears’ engraving:

Chester Matthew Henry's Chapel Christian Freeman 1866

Glasgow’s magnificent St Vincent Street Church was demolished as recently as the 1980s but The Christian Freeman shows us how it was intended to appear:

Glasgow St Vnicent St Christian Freeman 1866

Other chapels might have survived but are still under threat, such as Newington Green Unitarian Chapel which in October 2016 was added to Historic England’s latest register of English historical buildings and sites considered to be at risk. See: https://www.theguardian.com/culture/2016/oct/21/feminism-birthplace-old-brighton-london-zoo-aviary-historic-sites-risk-endangered-english-heritage.

Interestingly then, as now, the media made a connection between the chapel and a woman writer. In 1866 it was Anna Laetitia Barbauld in 2016 Mary Wollstonecraft:

Newington Green Christian Freeman 1866

Knutsford also was identified with a particular writer in the form of Elizabeth Gaskell:

Knutsford Christian Freeman 1866

Probably the best known of the illustrations from The Christian Freeman of 1867 is that of Madras which has been reproduced many times:

Madras Christian Freeman 1866

But many of the illustrations were later reprinted in Emily Sharpe’s Pictures of Unitarian Churches published in 1901. This included pictures “nearly all of them printed from the wood-blocks lent by Mrs Spears, having been brought out by her late husband, at intervals, through several years, in the pages of the “CHRISTIAN LIFE” [also edited by Robert Spears] and “CHRISTIAN FREEMAN”.

In fact the illustration of Matthew Henry’s Chapel in Emily Sharpe’s book is inferior to that published in The Christian Freeman (although see Jim Nugent’s comment below) and some quite striking pictures such as the Norwich Octagon do not appear in the 1901 book:

Norwich Christian Freeman 1866

Perhaps the wooden block had gone astray by 1901?

Many of the illustrations feature figures wandering nonchalantly into view. Not always quite to scale, Quality Street couples amble amiably by, and carriages and carts heave into view. The occasional street urchin appears on the scene and dogs, never on a lead, often show up as does one man on horseback:

Memorial Hall detail Christian Freeman 1866

Detail from the Memorial Hall, Manchester

Trowbridge detail Chrsitian Freeman 1866

Detail from Conigre Chapel. Trowbridge

They may not all be architecturally accurate and liberties are certainly taken with some of the views but taken together they are all a charming and valuable record of Unitarian buildings.

 

Pew Numbers

 

It is hard not to imagine that every feature of dissenting meeting-houses has been subject to some serious scrutiny at one time or another. The regular publication of surveys of non-conformist churches and the work of the Chapels Society are testimony to the ongoing interest that there is in these types of buildings. But I was led to reflect on one aspect of the history of old meeting-houses that may not have had too much attention over the years by the ‘discovery’ recently of a long discarded pew number in my church at Ballee.

It wasn’t really a discovery since I and many people knew it was there all along but, for the first time, I took a close look at it and realised that it is a work of art in its own right. When the Ballee meeting-house was refurbished in 1912 they replaced the old box pews with ‘modern’ open ones. They may have re-used the timber from the old pews to make the new ones, they certainly used the old pews to make partitions and features in the rooms they created in both ends of the long arm of the ‘T’ of the church.

This number 12 is in the inside of a cupboard in the vestry. When you look at it, a lot of the wood which was used there and in the library and in the store room at the other end of the church, must clearly have once formed the original box pews, probably dating back as far as the early eighteenth century. Much of it has been stained a very dark colour but in some places the original colouring can be seen and there are two places where the pew numbers are visible. One is a slightly faded number 22 but the other is this one inside the vestry cupboard.

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Inside the cupboard

It has been protected from the sun for over a hundred years and it is clear that at some point after it was painted on the door of the pew when in situ someone had carefully left it untouched when re-varnishing the rest of the door. An expert could probably date this number more or less exactly. I would guess it dates from the end of the eighteenth or the start of the nineteenth century. It is certainly very carefully done. It must have been an important project for the congregation at that time to see that their pews were so clearly labelled, and done in such an attractive manner.

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A panel high in the corner of a store room – number 22

For most types of dissenting congregations pew numbers and pew rents were a central feature of the finance and management of a church or chapel. Who owned which pew and who sat where were important questions so their clear numbering was an important thing. For the historian financial records of pew rents are an important source but I can’t remember much discussion of the way numbers were added to pews.

In the nineteenth century, and probably before, it was possible to buy ceramic or brass numbers to fix on pew ends or doors. But very often the numbers were painted on. The pews in Ballee today are all unnumbered, as they are in Clough. In Downpatrick, which still has its original box pews, the numbers have all been removed downstairs but they survive in the galleries. These are very neatly done and to me look like eighteenth-century adornments.

Some of the Downpatrick numbers

But the now almost completely vanished pew numbers from Ballee must have looked very impressive. I will look out for more examples of historical pew numbering from now on.

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Number 12

Postcards from All Souls’

 

Edwardian postcards of Non-Subscribing Presbyterian churches are not unknown but they are not common. Obviously some churches feature more prominently in this format than others although generally some of the churches in towns outside of Belfast – such as Dromore and Banbridge – are the most frequently seen. In Belfast All Souls’ Church appears on four postcards that I am aware of although two of them are very curious in their own right.

The picture at the top of this page (not taken from a postcard as it happens) is a fairly obvious view which does appear as a postcard. Another postcard that does sometimes turn up is of an architect’s line drawing of the Rosemary Hall which was published before the Hall was opened.

The other two cards, of which I have copies, raise a number of questions. The first is this one:

Postcard St Marys All Souls

What the eagle-eyed will immediately notice is, that whatever the inscription says at the bottom of the picture, this is not a postcard of All Souls’ Church, Elmwood Avenue, Belfast. It is quite neatly printed and isn’t badly produced. On the reverse it says it is part of ‘The “National” series’ and was printed in Britain. So it may not have been locally produced which might account for the error. But I wonder how many copies they sold? Who would have bought them?

It is in fact a picture of St Mary’s Church of Ireland on the Crumlin Road. Does this mean that there is in existence a view of St Mary’s Church that has been carelessly titled ‘All Souls’ Church’ by the printers. I have not seen one if such a thing was ever printed.

The other card definitely is of the interior of All Souls’. It is quite a well-taken view showing the organ, the chancel and part of the nave and published by Baird’s of Belfast. Unfortunately my example is a bit dog-eared and creased but I am glad to have it because these postcards are fairly rare these days.

Postcard All Souls

The church does have an enlargement of this view which was held in some awe by some of the members. The reason for this can be seen if you look carefully at the organ console. This was the original organ that was moved to All Souls’ in 1896 when the congregation migrated from Rosemary Street. Originally opened in 1806 it was the first organ used by a Presbyterian congregation certainly in the north of Ireland. I have written before about the history of this interesting instrument which is still in regular use in Newry Non-Subscribing Presbyterian Church where it moved in the 1920s. But much mythology attached to the organ. One story was that it had been built for St George’s Chapel, Windsor by the famous organ builder John Snetzler. This was very widely repeated and continues to be repeated sometimes in the present day. Some years ago I discovered and published the true origin of the organ (which was constructed in Belfast as you might expect) but many people still prefer the legend! Attached to the legend was a belief that the old organ was haunted, and haunted by no less a ghost than that of George Frideric Handel. This is where the postcard comes in because it was believed by many that the picture shows his ghost sitting at the organ:

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One person told me that this picture had been subjected to a battery of tests but no one could explain the blurred image in front of the organ keys. My scan is not wonderful but there is a blurred image that is printed on the photograph. If you look carefully though you can just about make out the figure of an Edwardian lady in a large hat. I don’t think it is G.F. Handel.

Remonstrant Meeting-House, Ballymena

A visit to Ballymena meant the opportunity to go and have a look at the former Remonstrant meeting-house there. The entry in the Unitarian Heritage book is a bit limited, as the Irish section of that otherwise invaluable book often is. It says simply ’High Street. Antrim. 1845’ in the disused churches section and gives no further details and has no illustrations. Although it is situated on the High Street it’s actually a bit tucked away and not that easy to find.

But as the photos show it is an interesting and unusual building that was erected by the Non-Subscribers in 1845. The date stone can still be seen, and although the congregation finally departed in 1926 it is not ‘disused’ having been the home of the Faith Mission church for decades.

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Having said that there is precious little information on the ground in Ballymena about this building. I asked in the Faith Mission shop if they had any information on the building and they told me no. In the Council run Braid Centre – a Museum and Arts Centre – although they had an interesting collection of leaflets and other pamphlets, they had nothing on this building.

I was surprised the Council had nothing because their predecessor, the Ballymena Borough Council, had thought it worthy enough to merit a plaque which was put up in 1995, on the 150th anniversary of the building’s opening. I knew this because I was there all those years ago and somewhere have a black and white press picture of the occasion.

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It is a curious building designed by Thomas Jackson, an architect with a Quaker background, who contributed a great deal to the buildings of Belfast including St Malachy’s Roman Catholic Church which, although much grander by far, nevertheless shares some architectural details with the Ballymena Remonstrant church.

The Ballymena congregation was part of the impressive missionary drive inaugurated by the Remonstrant Synod and was opened on Sunday, 9th November by Rev Henry Montgomery. I am indebted to ‘Dryasdust’ writing in the Non-Subscribing Presbyterian in September 1994 for details concerning the congregation’s life. He writes that the original congregation had 57 families in its first year of existence. Given that they had built such a notable edifice they might have been expected to be able to flourish. The first minister was the Rev Francis McCammon who was born in Larne but had been ministering in Diss in Norfolk immediately prior to receiving a call to Ballymena. Unfortunately his ministry ended fairly acrimoniously as did the ministry of his successor James McFerran. However, he was followed by the Rev J.A. Crozier (1855-1865) who seems to have been highly successful in building the church up into a flourishing cause. Unfortunately following his departure to Newry in 1865 numbers never really recovered and the last minister (Rev Halliwell Thomas) left in 1875. The congregation struggled on in some form or other until the First World War but finally closed in the 1920s with the building being sold in 1926.

Faith Mission full view side

The Bible Christian reported the opening in the following way:

The meeting-house of the new congregation in Ballymena, in connexion with the Remonstrant Synod of Ulster, was opened for divine worship, on Sunday, Nov. 9, by Dr Montgomery, who preached from Matthew, 10th chapter and 34th verse, an eloquent and powerful discourse. It has been erected from the designs, and under the direction of Mr. Thomas Jackson, architect Belfast. The style of the building is an adaptation of the ecclesiastical style (commonly, but erroneously called Gothic) of about the twelfth and thirteenth centuries. The front elevation is in the form of a gable, boldly enriched by projecting buttresses, with cut-stone weatherings, surmounted by pinnacles and leaving embrasures, with cut-stone dressings, extended between them. The entrance door, with the windows in front, and on the flanks of the building, is surrounded by appropriate cut-stone dressings, the sash frames being of cast metal in imitation of cut stone. In the centre of the front, over the door entrance, is a large ornamental wheel window, also formed of cast metal. The meeting-house contains 250 sittings; it is entered through a commodious porch and hall, over which is a school room, which is arranged so as to admit of being added as a gallery to the house, at a future time, should additional accommodation be required. The committee contemplate the erection of a residence for their clergyman, contiguous to the meeting-house. The following gentlemen acted as collectors on the occasion: Thomas Casement, Esq. J.P. Ballee-house; Wm. Coates, Esq. J.P. Glentoran, Belfast; Archibald Barklie, Esq. Inver, Larne; John Dickey, Esq. Leighenmore, Ballymena; Alexander O’Rorke, Esq. Ballymena; William Beggs, Esq. Lisnafillen, Ballymena. The collection, including donations from parties who could not attend, amounted to upwards of £170.

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The Wellington Rooms Liverpool

A building that always catches your eye on Mount Pleasant is the Wellington Rooms. For years it was the Irish Centre but it was originally built by public subscription in 1815-1816 as a ballroom and a centre for the fashionable of Liverpool society to gather in. It kept this function until 1923 when it was converted into a private club called the Embassy Rooms. One can’t help imagining (or at least I can’t and I admit there is no evidence to support this notion) that this must have been a rather louche period in the building’s history. Later years saw it used as a youth club and in 1965 it became the Irish Centre which it remained until 1997. Since then the building has been abandoned and the impressive neo-classical structure designed by Edmund Aikin has become a derelict home for buddleia. I stopped as I walked by because the open letterbox gave me the chance to take a picture of the interior. There you can still see a faded and torn notice directing members to what I guess were the J.F. Kennedy Bar, the Ballroom and the Claddagh Room. Others also took the opportunity to scrutinise the view through the letterbox and it seems such a shame that a building of such style should be so neglected. According to the Liverpool Echo (9 July 2017) the Duchy of Lancaster now has a lease on the building and many online sources suggest there are plans to bring the building back into use as a Science and Technology Hub.

Edmund Aikin was a Unitarian and a member of the famous Aikin family of Warrington. His grandfather, John Aikin, was tutor and principal of the Warrington Academy. His father, also John, was a doctor and an important literary figure, as was his aunt Anna Laetitia Barbauld. I wrote about the Aikins and Warrington in an earlier post:

https://velvethummingbee.wordpress.com/2016/09/23/the-warrington-academy/

Edmund’s life was not a long one (1780-1820) although he was influential in popularising neo-classical architecture. He did other work in Liverpool, where he eventually made his home, including the design for the building of the Royal Liverpool Institution in 1814, a centre for ‘the promotion of literature, science and the arts’ founded by William Roscoe and others. He designed a number of dissenting chapels in London, including the Gravel Pit Chapel in Hackney. This building was substantially rebuilt in the Gothic style in 1857 and eventually demolished in 1967. There is no doubt that the Wellington Rooms is his most important surviving building, it’s good to know that there currently seems to be a will to rescue the building and turn it to some positive use.

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Looking down Mount Pleasant

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Main facade

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Interior view taken through the letterbox

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Front door

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Winged angels bearing garlands

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Believed to be a device for spinning thread of some sort. One of two positioned above the side entrance.

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Built 1815-1816. Wellington Rooms. Designed by Edmund Aikin. Former Assembly Rooms.

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Capitals and roof decoration