Wednesday, 17 April 2013

Graffiti on Aston Church

The church of St.Peter and St. Paul in Aston is one of only two Birmingham churches mentioned in the Domesday Book; the other being St. Laurence's in Northfield. Although the majority of the edifice was rebuilt in the Gothic style by J. A. Chatwin between 1879 and 1890 some of the spire dates back to the fourteenth century, and carries with it some traces of people who wanted to leave their mark. Were W. M. and M. B. in love, perhaps they were about to be married; on 12th April 1836 a William Millets married a Mary Ann Bates at the church.*





The base of the spire is covered with old graffiti, which I'm sure the council wont be painting over any time soon; some nearly 250 years old. Click on the images to enlarge them.





















NOTES
* There is also a marriage at the church of William Matthews and Mary Bamfield on 17 February 1837, this couple could have engraved their initials as they came to have the banns read out late in 1836.

Aston churchyard with Aston Hall in the distance. Taken 12 March 2010.



















FIND OUT MORE ABOUT ASTON
Aston history by Bill Dargue
http://billdargue.jimdo.com/placenames-gazetteer-a-to-y/places-a/aston/

Thursday, 28 March 2013

The Meanings of Charity: Blue Coat School

The Blue Coat School and the railed graveyard of St. Philip's, circa 1845.
The school had originally been built in 1724, but altered and enlarged
by John Rawstorne between 1792 and 1794.



















The Blue Coat school was founded by the Rector of St. Philip's church at the time; the Reverend William Higgs. In 1722 it was decided to open an establishment for the education of poor children due to the 'profaneness and debauchery [...] greatly owing to a gross ignorance of the Christian religion, especially among the poorer sort; and that nothing is more likely to promote the practice of Christianity than an early and pious education of youth'.* The school, as well as giving religious guidance, would teach the children reading and writing, arithmetic, geography, science, needlework, and housework, some of these were gendered. It opened in the July of 1724 and took on 22 boys and 10 girls to be 'clothed, maintained and educated', and another 10 of each sex to be clothed and educated only, but the latter method was short-lived.***

The children remained at the school full time, being allowed to visit their parents five times in the year, varying from a couple of days to a couple of weeks; at Mid-Lent, Christmas, Easter, Whitsuntide and for the Michaelmas Fair. On Sundays though, apart from one at Mid-Lent, the children were always to be at school so as to attend church. Parents were not allowed to see their children apart from in these holidays, as in September 1760 it was decreed that 'no child after they are admitted into the Charity School shall be suffered to speak to their parents or next friends',** and parents had no say in the treatment of the children. Punishments for the severest disobedience could be a week's imprisonment or being 'severely whipt, stript and expelled from the school'.** These were, of course, harsh and sometimes humiliating, but acceptable punishments for the time.

In 1831 those involved in the school looked back at how the establishment had been 'an asylum for [the children] in those years which most require superintendence and protection, a careful discipline in their minds in a system of virtuous and obedient habits, and daily instruction in the principals and duties of the religion of the Church of England'.* Once education was complete at fourteen, the children were placed in apprenticeships, the boys with manufacturers as so to learn 'some useful trade', and the girls as domestic servants. With regards to the girls education, they were trained in all manner of domestic duties throughout their school life, which included making the boys beds and sweeping and mopping the boys rooms, and even after this changed in 1815, the girls still received a lesser academic education.** The children were basically handed over by their parents 'to the sole management of the subscribers [...] and the disposal of him (or her) to such masters or mistresses';* if the parent(s) wanted their children back or did not wish their child to be sent into the roles that were laid out for them they had to pay £10, which for the very poorest could be six months wages.* So this was not wholly an education that was meant to serve the children in their chosen paths in life, but generally to serve those that gave money to the charity (by subscription), by producing obedient and well mannered servants.

Those that subscribed to the school were often those who received apprentices, such as Matthew Boulton, who was a subscriber, and was treasurer at one point, and who received a number of apprentices including a George Craven in 1766. The school did not abandon their children when they were sent out as apprentices though, if they had a complaint about how their master or mistress was treating them they could ask the school for assistance. The school would often threaten legal action if the claims seemed to be founded, though most employers would promise to amend their ways and the charges would be dropped. They took this part of their role in the children's lives after they left the school very seriously.

The charity of the Blue Coat School was of a very different kind to charity as we understand it today; it was money for something, that something being, hopefully, an obedient and diligent apprentice or servant. Many of the children, though, would have had a better quality of life than if they had not attended the school, and many showed their gratitude. A group of former pupils came together and formed the Grateful Society (which later became the True Blue Society) and helped to raise money for the school. Many former pupils did well in business too, and, after subscribing to the charity, took on apprentices in their turn.** Children tried to run away as well though, and there are several instances of runaways being fetched back to the school; once returned punishment would be severe and three such boys were not only lashed, they were made to lash each other.** Although of benefit to many of the children attending, the school was a subtle form of ownership, parents literally handed over their children, perhaps in the hope of a better life for them, but for many parents the relief of the burden of feeding and clothing one of probably several children would have been a strong driving force.


NOTES
* References on request
** John D. Myhill, Blue Coat: A History of the Blue Coat School, Birmingham, 1722-1990. Meridian Books, 1991.
*** In 1829 the school educated 181 boys and 72 girls.*
There was actually, a small group of nineteen children who wore green uniforms, these children were supported by donations from Fentham's Charity.

A Walk Round Regency Brum: 1819 Map

This map was published in 1819 and was included in the book A Description of Modern Birmingham by Charles Pye. The book also includes observations of the town which fit nicely with the map, and can be found online here. The angle is slightly skewed, with north towards the right.



Below: The buildings in the map have been colour co-ordinated and have an index underneath so that you can find out more about them. Not all the buildings have posts written about them, but they will slowly be added. West is at the top of the map.

BIRMINGHAM in the Year 1819
Click on the orange links below to find out more about each of the buildings on the 1819 map.

RED SECTION
Around St. Philip's Church
1. St. Philip's Church
2. Royal Hotel- Temple Row
3. Rectory of St. Philip's
4. Blue Coat School

ORANGE SECTION
New Street and area behind
top to bottom
1. Christ Church- New Street
2. Panorama- New Street
3. Post Office- New Street
4. Theatre- New Street
5. National School- Pinfold Street
6. Meeting House- King Street
7. Free Grammar School- New Street
8. Meeting House- Old Meeting Street
9. Hen and Chickens Hotel- New Street

YELLOW SECTION
Area of Cannon Street and Union Street
1. Meeting House- Cannon Street
2. Meeting House- near Cannon Street
3. Union Insurance- Union Street
4. Library- Union Street
5. Fire Office- Union Street
6. Dispensary- Union Street

GREEN SECTION
High Street, Bull Ring, Markets and area
along route from...
1. Smithfield Market- Moat Row
2. White Hart Pub- High Street (Digbeth)
3. George Pub- High Street (Digbeth)
4. St. Martin's Church- Bull Ring
5. Bull Ring Market Place & Nelson Statue- Bull Ring
6. Nelson Inn- Bull Ring
7. Public Office- Moor Street
8. Swan Inn- High Street
9. Court of Requests- High Street
10. Castle Inn- High Street/Castle Street
11. Meeting House- Carrs Lane
12. Meeting House- New Meeting Street

TURQUOISE SECTION
Area around Old Square
1. Saracen's Head- Bull Street
2. Stork- Old Square
3. Old Square
4. Quaker's Meeting- Bull Street
5. Meeting House- Steelhouse Lane
6. Poor House- Lichfield Street

to be numbered
BLUE SECTION
Misc buildings: clockwise from top
Crescent- back of Cambridge Street
Albion Mill- Summer Row
Hospital- Summer Lane
Asylum- out of the town
Baths- Blews Street
Nail Manufactory- Blews Street / Brewery Street
Union Mill- Holte Street
Barracks- Windsor Street
Mills- near canal
Spring Gardens- Floodgate Street
[Deritend] Brewery- Bradley Street
Deritend House- Bradley Street
Lady Well Baths- near Hurst Street
St. Martin's Rectory- Edgbaston Street
Unmarked building- Suffolk Street
Lancaster School- Severn Street
Worcester Canal Office
Canal Office- Paradise Street
Gas Works- Gas Street
Brass House- Broad Street

to be numbered
PURPLE SECTION
Misc religious buildings: clockwise from top
Roman Chapel- near King Edward's Place
Meeting House- Newhall Street
St. Paul's Chapel- St. Paul's Square
Meeting House- Bond Street
Roman Chapel- Shadwell Street
St. Mary's Chapel- Whittal Street
Meeting House- Belmont Row
Ashted Chapel- Barlock Street
St. Bartholemew's Chapel- Masshouse Lane
St. John's Chapel- Deritend
Synagogue- near Gough Street
Meeting House- Paradise Street
Jewish Burial Ground- near Worcester Canal

Monday, 4 March 2013

Taking Some Time Out #2

Character sheet from 1843. Polly Put the Kettle On or, Harlequin Robin Hood and the Magic Cat.
I will be taking some time, over the next few weeks, to work on some other projects, so I'm taking a break from writing posts for this blog. But so not to leave the blog completely unattended I will be adding some different ephemera that I have come across in my travels......all to do with leisure and taking time out....though in reality I'm busy working. Here is the second: Harlequin Robin Hood and the Magic Cat characters.

Tuesday, 26 February 2013

Taking Some Time Out #1

 An illustration sheet of Juvenile Sports. C.1819 - 1825.
















I will be taking some time, over the next few weeks, to work on some other projects, so I'm taking a break from writing posts for this blog. But so not to leave the blog completely unattended I will be adding some different ephemera that I have come across in my travels......all to do with leisure and taking time out....though in reality I'm busy working. Here is the first: Juvenile Sports.

Saturday, 16 February 2013

Ephemera #2: Curtius's Grand Cabinet of Curiosities

Handbill for Curtius' Grand Cabinet of
Curiosities on New Street. 1796.
For a full size image see below.
Curtius's Grand Cabinet of Curiosities' had begun showing in London in 1795, but began touring the country from the beginning of 1796, arriving in Birmingham in the September. The Cabinet contained items from the collection of Phillippe Curtius, who had died in 1794. Curtius had been a physician who began producing anatomical models, before setting up in business making wax portraits. From the 1770s Curtius began training Marie Grosholtz (later to become Madame Tussaud), and on his death left his collection of waxworks to Marie. During the French Revolution, after a close encounter with the guillotine herself, Marie was employed to make death masks of the beheaded, including the King and Marie Antoinette. Amongst the collection shown at Birmingham was the head of the Governor of the Bastille as well as a model of the guillotine; all taking advantage of a morbid fascination in the events of the Revolution.  

Wednesday, 13 February 2013

Love-days and Loveday Street

There aren't many Loveday Streets in the country, Birmingham seems to have one the only one (if you type "Loveday Street" into Google Maps it goes straight to Birmingham), which is surprising as the love-days were an ancient but not uncommon custom. The tradition of these days stretches back quite a bit further than the period this blog covers, but they were an important cultural event which may have reached into the early Georgian period. William Hutton, writing in 1782, noted that the land which Loveday Street had been built on was a croft** donated by a John Cooper*** in the late sixteenth century for use on love-days. A love-day was a Medieval practice for the settlement of disputes and differences through arbitration, and kept personal disputes between friends, neighbours and townspeople out of the courts. Shakespeare mentioned it as a day when 'quarrels die'.*

The meeting of those in disagreement could be arranged anywhere, but perhaps Birmingham was one of only a few places that had a particular place set for these meetings, which is why it has the rare recording of the event in one of its street names. It would be important to settle these quarrels as they developed, and the love-days would have helped to regulate social behaviour and bring peace in the community. With this in mind it seems likely that love-days would have been a regular occurrence. With the Birmingham archives closed at present I cannot delve deeper to see if there is any more information on this intriguing practice, but I can make some speculations.

Hutton mentioned that the land of the croft where the love-day was held was of about four acres, so we can only imagine that the love-day may have been more of an event than its descriptions as an arbitration of disputes allows for. It could be that the scene attracted large crowds, which is likely as disputes probably were not quick to be resolved and could have held some entertainment value. Or it could be that once disputes were settled there was some form of celebration to seal the deal, as it were. Chaucer's The Canterbury Tales hints at this, as the character of the Friar who arbitrates at love-days, is 'wanton and a merry' and 'a very festive man', he also 'arranged full many a marriage [o]f young women'.*4* This opens up the possibility for another aspect to the love-day, a more event based one, and the arranging full of marriages suggests that marriage contracts may also have been negotiated on love-days, which, on an agreement, could have resulted in some kind of festivity afterwards. Also, in 1339 in Oxford, a disagreement over the butcher's shambles led to the mayor holding a love-day where plentiful 'wine, oysters, herring, stockfish, plaice, lampreys, pickerels, eels and fruit' could all be had,* outlining more than just simple arbitration. The love-days could also have acted as more than just resolving disputes, but also as a formal piece of reconciliation, where appeasement could be given in a public place.

Whatever form the love-day took, those held in the Birmingham croft left their mark on the landscape of today, and Loveday Street is a reminder of this near forgotten custom.     

Part of Loveday Street built circa 1800. One of the few
groups of housing from this period still standing in the city.




















NOTES
* References on request
** The croft was between Walmer Lane, St. Mary's Chapel and Steelhouse Lane.
*** This is the same John Cooper who was given leave to bait bulls as he pleased in the Bull Ring. Find out more here.
*4* Translation of Chaucer's The Canterbury Tales, see here.

Sunday, 10 February 2013

Art & Industry #2: Beautiful Machinery

Double cylinder engine produced for a mill in Nottinghamshire, 1797.





















Historically, art and industry are separate, industry was of course responsible for smoke filled skies, ugly manufactories, poor working & living conditions, child labour and the destruction of acres of green land and forests. Art was generally painting; a creative pursuit that preserved what time and industry took, and sculpture. The industrialists in Birmingham though, fought for their manufactured goods to be seen within the bracket of 'arts', they were often called the 'useful arts', which seems fair, as the definition of an artwork is surely that it has no other purpose other than its own existence within the world of ideas. But when these objects are removed from their original purpose, when they are collected, stored and displayed, they become art, as the boundaries in which these objects originally existed are removed. What were individual fragments within a chain of industrial production, a chain from design to building (in this case the building of engines), become a collection relocated within a new framework. Within this new framework we can explore the beauty of late Georgian engine design separate from the process in which it existed, and so they are more works of art than they are historical markers, as history is messy and sporadically located across time and space, thus difficult to collect in one singular time and space. This is the paradox of any museum collection.

These engine plans were produced by Boulton & Watt at the Soho manufactory near Birmingham. They have been digitised by Digital Handsworth and placed online here, with additional information.   

Engine for Henry Whately, gun manufacturer, Smethwick. 1796.

Six horse power crank engine for the Cockshead Colliery in Staffs. 1793.

Alteration to an engine by Boulton & Watt. 1776-7.

Pumping engine from the Paris Water Works, 1779.

Tuesday, 5 February 2013

Georgian Terraces #2: The Crescent (that wasn't)

Plan of the Crescent, by Francis Jukes. From the designs of John Rawstorne. 















In 1795 William Hutton wrote that the Crescent 'will consist, when finished, of a superb range of twenty-three houses, elevated upon a terrace 1182 feet long and 17 high. [...] Only twelve houses are finished, chiefly in the wings, [...] the remainder [...] are now at a stand, owing perhaps, to the war with France, which has been the destruction of our commerce, caused about 500 of our tradesmen to fail, stagnated currency, thinned the inhabitants, and left in the town about twelve hundred empty houses, which has laid the spirit of building'.* The twelve houses that Hutton talks of were the more understated buildings separate from the Crescent (as seen on the left), the twenty-three houses that were planned to make up the Crescent were never begun; in 1808 the venture was described as 'still in the clouds'.*

Birmingham had finally succumbed to the allure of building a Crescent in 1790 when the grand scheme of architect John Rawstorne (Rawsthorne) was initiated by the builder Charles Norton. Norton appears to have had the idea for a Crescent, and it was he that leased the land from the Grammar School, but the skillful designs of Rawstorne seem to have made the ideas a reality. A Crescent is simply a line of terraced houses built in a curve, usually around an open green space. This kind of terrace seems friendlier, cosier, and creates a kind of locked in community; a safe middle-class haven, which may account for it desirability, as well as the fact that the larger architectural form was like a grand mansion, but for, in this case, 1/23rd of the cost. The first Crescent to be built was in Bath between 1767 and 1774 by John Wood the Younger (below), and many other towns, admiring the structure, began plans for their own over the next few decades, Birmingham being among them. But these grand schemes were, as Borsay states, 'fraught with difficulties';*** the uniformed nature of the building meant that there were no half measures, the developers needed the money for completion. Norton had completed the flat fronted wings by 1793, the year that war, one that lasted over twenty years, was declared with France, but, despite several attempts, the momentum could not be picked up for Birmingham's very own Crescent.


Royal Crescent, Bath. From Wikimedia Commons, by Adrian Pingstone.




















As the years went on it became harder and harder for Norton's plan to be completed, there was still a fashion for Crescents; Brighton and Leamington Spa have ones built in the mid nineteenth century, but Birmingam, despite the housing depression caused by war, was still in business. The original sales literature issued back in those hazy days when the Crescent was first planned stated that there was 'not the least possibility of any future buildings ever excluding the inhabitants from a most agreeable prospect of the country'.* This was one of the main attractions of Crescent architecture, the original Bath Crescent had been built on a hill with splendid views, and Birmingham offered the same, Norton's land was near the newly built canal and would have looked past those waters to green fields, with a beautifully landscaped space in front. But the sales literature failed on its promise, the canal began filling up with wharves, and the view became a smudge of that green, the red of brick, and the black buff of smoke and coal.

1. East end of the Crescent.
2. Central part of the Crescent
3. West end with the west wing.
4. Suggesting how the elegant inhabitants might stroll the grounds.


















If completed, Birmingham's Crescent may just have survived the wholesale redevelopments that took much of the Georgian landscape with them. The site was far enough away from the central city and the scheme so grand, that it may have avoided demolition.....possibly. The design was of the Ionic order and the bays flanked with pilasters with the hint of a Grecian temple at either end of the elegant curve, complete with pediment and rusticated base (see 1. above). The end and centre premises were to be particularly spacious and grand, they had five bays rather than the three of the houses between, and rustication and decorative swags can also be seen on the central section (see 2. above). The twelve buildings that were completed were the least grand, they were plain, yet comfortable Georgian terraces (see 3. above); they survived until the 1960s, in part becoming the Crescent Theatre (see below), but were later replaced with a custom built theatre.

Visit Georgian Terraces #1

The surviving houses of the east wing, with stuccoed fronts.







Lansdowne Crescent , Royal Leamington Spa (David Stowell) / CC BY-SA 2.0




















NOTES
Some dwellers of the built wings: Thomas Jones & Family - Thomas Attwood & Family - Charles Norton & Family - Martin Family
* References on request
** Andy Foster, Birmingham
*** Peter Borsay, The English Urban Renaissance: Culture and Society in the Provincial Town, 1660-1770

Architect: John Rawstorne/John Rawsthorne

John Rawstorne. Architect. 1761-1832

Rawstorne was a pupil of James Wyatt, an important eighteenth century architect, and worked with other members of the Wyatt family, including Samuel, designer of the notable frontage of the New Street Theatre. The Wyatt family also worked on Soho House and Rawstorne produced plans for the alterations of Soho in 1788, though they were never implemented.* He began his work as an architect in Birmingham, living in Summer Hill and Ashted, moving to Doncaster in 1795 and then to York. Much of his work was conducted in these three towns as well as Sheffield.

Buildings Designed in Birmingham
1790-3: Crescent, Cambridge Street (never completed)
1792-4: Altered Blue Coat School, St. Philip's Church Yard (demolished)
1792-3: Cavalry Barracks, Great Brook Street (demolished)

In Birmingham, his designs for the Crescent were never implimented, mainly due to a building depression in the town, which may have influenced his decision not to remain. Rawstorne also made alterations to the Blue Coat School, a charity school near St. Philip's church, named so due to the colour of the children's uniforms. These alterations consisted of an extension and a new facade to the existing building. Near to his home in Ashted, Rawstorne was commissioned to build the Cavalry Barracks, implimented after the riots of 1791

1793: Designed Sheffield Royal Infirmary (opened 1797)
1795: Moved to Doncaster (an excellent pamphlet has been produced about the South Parade in Doncaster, where much of Rawstorne's architectural work in that town is, with descriptions and images of these: view here)

NOTES
* References on request.

Friday, 1 February 2013

St. George's in the Fields: The First Commissioner's Church

Easterly view of St. George's in 1830.
As Birmingham grew bigger and the houses began filling the green fields surrounding the town, churches needed to be built further afield to accommodate these new populations, but churches weren't cheap. The building of the St. George's was aided by a Parliamentary grant of about one million pounds in total given in 1818 to several growing towns, and was responsible for the erection of approximately 85 new churches across England by 1821. In Birmingham, St. George's was the first of these churches, generally known as Commissioner's churches; it had been planned in 1818 and building work begun in 1819. Thomas Rickman had been chosen as the architect, this being his first commission, and he hired the young Henry Hutchinson with whom he worked till Henry's death in 1831. The church was completed in 1822.

St. George’s design was part of Gothic Revival of which Rickman was highly influential, he wrote on the subject and coined a number of terms that are still used today. The church was made of stone; the square western embattled tower was surmounted with decorative pinnacles which continued along the clerestory (overstory) and the easterly chancel, where there was a large stained glass window. It was described by Rickman as ‘late Middle pointed’; the ‘pointed’ describes the shape of Gothic arches which were used to give strength to the structures, meaning that churches could be built on a much grander scale. The 'late Middle' describes the period; Rickman's design was of the period of Edward III.

When first built the church was described as being in an 'airy and pleasant spot' and in its early years was called St. George's-in-the-Fields due to it being in a newly built-up area north of the town that was still surrounded by fields and rented gardens as can be seen in the 1825 map (section below). The gardens around the church were known as guinea gardens, due to the fact that they could be rented for 21 shillings a year (a guinea).* In 1815 one of these gardens had come up for sale and it was advertised as 'abounding with numerous choice, young Fruit Trees of superior sorts, Flowering Shrubs and Vegetables, a capital Wood Summer House, and a Pump of Soft Water; the whole judiciously displayed, situate and being the third Garden on the Left Hand side of the first Walk on the Right of Summer Lane, behind the Hospital'.* These gardens were most likely used as allotments and retreats for those working in the centre of Birmingham. But St. George's did not remain 'in the fields' for long, houses slowly filled the gardens and fields, and by the late Victorian period there was little left to remind the locals of why the church carried that name.


Section of 1825 map showing St. George's church and the area around.


































The church in 1887, with Tower Street to the left and
Great Russell Street to the right. The 'fields' are now filled
with houses, as can be seen.

NOTES
Genealogical information for St. George's.
* References on request
Find out about the architect; Thomas Rickman.

Images courtesy of Birmingham Library and Archive Services.

Architect: Thomas Rickman

St. Peter's in Hampton Lucy, just outside Stratford-upon-Avon. Built by
Thomas Rickman, with his partner Henry Hutchinson, between 1822 and
1826. The design is similar to the now demolished St. George's that was
erected in Birmingham from 1819 to 1822. 





















Thomas Rickman. 1776 (Maidenhead, Berkshire) - 1841 (Birmingham).
Thomas Rickman was self taught in his profession, but was one of the most influential writers and architects contributing to the Gothic Revival in England, and was celebrated for his knowledge of Gothic architecture. He should probably be remembered better in Birmingham where he completed some excellent work, but so few of his buildings survive, so there is little to remember him by. He first became interested in architecture as a career in about 1812,* after his wife died; he would take long walks and sketch the architecture that he saw. He began describing the Medieval styles that he saw in detail, and classified the periods using terms such as Norman, Perpendicular English, Decorated English and Early English, which are still used today. At this time the Gothic styles were unfashionable, but Rickman lectured and wrote on the subject for a number of years, publishing his most influential work in 1817; An attempt to discriminate the styles of architecture in England, from the Conquest to the Reformation, which greatly influenced the Gothic Revival in England.

After lecturing he set up a practice in Liverpool as a full time architect at 42 years of age, and hired a young, but talented, assistant, who was only 18, called Henry Hutchinson; a man from Birmingham whose brother Thomas was a practicing architect at 57 New Street. It was the town of Birmingham that gave Rickman his first break as an architect, as he was commissioned to build a new Commissioner's church, St. George's, in a newly built-up part of the town, which was erected between 1819 and 1822. Whilst construction was underway Rickman opened up an office in Birmingham's Cannon Street (no. 5), of which he left Hutchinson in charge, perhaps testing the water in the town, but must have seen the potential of finding work in the place as in 1820 he made the permenent move to Birmingham. After the successful erection of St. George's Rickman, by now (since 1821) partnered with Hutchinson, was kept busy with a number of other churches, including the church at Hampton Lucy (above). In the twentieth century, though, he was critisised for merely copying original examples, rather than interperating the styles with any flair.*

Rickman and Hutchinson worked together till the latters death in 1831, afterwards Rickman partnered his brother Edwin but their partnership was dissolved in 1833.* In 1835 he became partners with R. C. Hussey with whom he worked till his own death in January 1841.

Following is a list of Thomas Rickman's Birmingham commissions;
Rickman and Hutchinson years
1819-1822: St. George's on Tower Street (enlarged in 1882, demolished 1960)
1822: St. Barnabas' Church on High Street, Erdington (enlarged in 1883 by J. A. Chatwin and re-roofed in 1893)
1823: Alterations to Thornhill House (drawing room) for Anne Boulton, Handsworth
1823-1824: Rebuilt St. Mary's Church on St. Mary's Row, Moseley (rebuilt 1884-1910 by J. A. Catwin)
1825: Infant School at 48 Ann Street (demolished)
1825-1827: St. Peter's on Dale End, repaired after fire (rebuilt 1835 by Charles Edge) (demolished)
1826: New offices for Rickman and Hutchinson practice at 45 Ann Street (demolished)
1826: The Watt Chapel in St. Mary's Church on Hamstead Road, Handsworth (original design by R. H. Bridgens)
1826-1829: St. Thomas' Church on Bath Row, Holloway Head (bomb damaged-1940)
1827-1829: St. Mary's Church, Harbourne (enlarged later by Rickman, then altered extensively by Yeoville Thomason)
1828: Additions to the News Rooms on (Temple Row) (demolished)
1828: Society of Arts Building on New Street (demolished)
1829: The Master's House at the Deaf and Dumb Asylum, Edgbaston (demolished)
1830: Bank for the Birmingham Banking Company on the corner of Bennetts Hill and Waterloo Street (altered in c. 1870 by Yeoville Thomason)
1830: Two houses on Islington Row, Edgbaston, one occupied by Rickman (demolished)
1831: Bordesley School on Camp Hill, Bordesley (demolished)
Years with Edwin Rickman
1832: Lodge entrance to Birmingham Botanical Gardens, Edgbaston
1833: All Saints Church on All Saints Street (chancel added in 1881)
.........................................................................
1834: Rebuild of St. Margaret's Church, Ward End
Years with R. C. Hussey
1838: Bishops Ryder Church on Great Lister Street
There were other commissions outside of Birmingham not listed here.

Books by Thomas Rickman
An attempt to discriminate the styles of architecture in England, from the Conquest to the Reformation (1825 edn.). Digital version available at Google Books.

NOTES
* References on request.
*** In 1825 their offices had been in Colmore Row (Berrow's Worcester Journal (Worcester, England), Thursday, May 12, 1825; pg. [1]; Issue 6384). Ann Street later became an extension of Colmore Row.
*4* From The Morning Post (London, England), Saturday, March 02, 1833; Issue 19417.

Thursday, 24 January 2013

Samuel Lines: Victoria Square As It Was

The Town Hall and Queen's College, painted c. 1848 by Samuel Lines Senior



















Samuel Lines painted a number of topographical pictures of Birminghm. He produced the above in about 1848, but, at that time, would not have called this area Victoria Square, as it is called today. At this time Victoria was on the throne, but this space by the Town Hall became Victoria Square in the year the Queen died, 1901, when a statue of her was erected near to where it still stands today. The statue was perhaps erected here as when she visited Birmingham as Queen in 1858 she would alight from her carriage in this open area and enter a purple canopy of velvet into the Town Hall.

In Samuel Lines's painting, the area is a busy thoroughfare, just as it is today; the open space was formed naturally at a place where six streets met,* and the atmosphere of this bustling area was described in 1825:
'The junction of these streets is one of the most pleasing and lively spots in the town. An open space, receiving into one focus the radiation of six ways, there is a continual succession of objects; and being the centre of a busy manufacturing district, the throng of artizans [sic] leaving their several workshops, at the hour of One, and hurrying to their meal, has a particularly animated ans cheerful effect; especially in this time of plentiful employment.'**


Samuel Lines filled his painting with a selection of animated characters; there are cheeky schoolboys, workers grouped together chatting, an older man and a boy sitting under the lampost looking at a book, a genteel couple in a fine carriage (the lady turns towards the viewer), beggars, peddlars, a soldier in his smart red coat, a black or Asian man in orange and turquiose robes, and two workers carrying a huge urn among mant more. You can also see how the arches of the Town Hall could be walked through as two genteel ladies, dressed to impress, promenade through with a small dog. The size of these arches compared to the pedestrians beneath is very telling; the Town Hall would have been the largest building in the area by far (the church had a taller spire, but that was slim), it was a massive block of a building and must have felt huge to the inhabitants of the town. The ladies walking beneath are much smaller than they should be compared to the actual size of the arches, so Lines must have subconciously felt this a large building to make such a mistake.
















Find out more about the buildings depicted in the painting below.
 


















1) The wall of Christ Church
2) Corbett's Temperance Hotel, run by Joseph Corbett
3) Terraces built in about the 1760s
4) Queen's College (see below)
5) More terraces in the distance (see below)
6) The Town Hall
7) Druggist's shop, run by Samuel Wilson Suffield

Reconstruction using photographs, postcards and illustrations, of Queen's College and the buildings further along (unfinished) on Paradise Street, circa 1851, by Jenni Coles-Harris.

NOTES
* The six streets were Ann Street, Congreve Street, Hill Street, New Street, Paradise Street and Pinfold Street.
** References on request.

Tuesday, 22 January 2013

The Opportunities of Industry: Corbett's Temperance Hotel and Joseph Corbett

Corbett's Temperance Hotel in about the 1870s, it had opened in 1842.
The building dated from about 1750. The street leading down is Hill Street.


















In October 1842 Joseph Corbett (1791-1868) opened his boarding and coffee house on Paradise Street.* This was a fine part of town, just opposite the newly opened Town Hall, so presumptions could easily be made that Joseph was a middle class man in business and always had been, but this could not be further from the truth. Joseph was about 50 years old when he, and his wife, started up the hotel on Paradise Street, and Joseph had taken all the opportunities that the industrial town of Birmingham offered, working his way up from poverty.

Joseph wrote about the ‘frightful poverty’, the ‘cold and hunger, and the innumerable sufferings’ of his childhood.* His father had been a drunk, so his mother had financially supported her family of eleven children by working long hours in the manufactories, and ‘one and all of [the children were] forced out to work so young that [their] feeble earnings would produce only 1 [shilling] a week’.* The young Joseph had been sent out as an errand boy at the button makers Hammond, Turner & Sons** where his parents worked when he was about seven years old, and had worked at that same company as a button burnisher (polisher) until he left to start up the hotel.* Joseph had some attributes that would have aided his rise through society, mainly his ability to read and write exceptionally well (his father could write, but not his mother), and a marriage to Ann Willington who seems to have come from a lower middle-class family, and who would have had some good connections.* His writing ability was found unusual; Hammond, Turner & Sons** was approached by the Commission on Child Labour in 1840 and Joseph produced a 1,500 word document describing his own experiences and thoughts on the matter of child labour, and with a sense of surprise the commission noted that ‘[t]his most creditable statement, the product of a Birmingham mechanic, is inserted without a single alteration of any kind’. The word ‘mechanic’ is used at the time to describe members of the working classes, and the commission felt the need to note that the excellent quality of Joseph’s statement was all his own work.

By 1840 Joseph was earning a good wage, between 30 and 35 shillings a week, but to be able to open a boarding house two years later he must have still been frugal with his wages. He didn’t agree with wives with children working the ten hour days in the manufactories, so it is unlikely that his wife had worked in their early marriage, but she did run a business making and selling straw bonnets from the late 1830s, which would have helped their financial position. Neither did Joseph drink; he became a member of the Birmingham Temperance Society and District Union (BTSDU) which had been initiated in 1830, and by 1843 he was sitting on the committee with some of Birmingham's most notable inhabitants. So it seems that by sheer hard work, being employed by a fair employer, by having the ability to read and write better than most in his situation, by marrying well for his position and by being careful with wages, Joseph managed to work his way out of the poverty that he was born into.

Joseph never turned away from his roots though, and also, never seems to have been allowed to. In the year he died, 1868, John Alfred Langford called him ‘an ornament to his class’, and the reason that Langford felt moved to write a long obituary about Joseph Corbett in his new book was because of all the good work that he had done in Birmingham from the early 1830s.* Joseph had become good friends with Thomas Attwood (whose statue is in Centenary Square), and was one of only two working class members of the Birmingham Political Union fighting for, among other things, universal suffrage;* Joseph himself received the vote for the first time in 1838, a right that he had personally battled for.* He fought against slavery, corresponding with the well known anti-slavery campaigner Joseph Sturge, and also worked as a guardian and overseer of the poor from about 1842, working for better conditions for the poor and to improve the conduct of the overseers.* His own experiences had ‘kept alive a deep anxiety for the emancipation of thousands of families in this great town (Birmingham) and neighbourhood, who [were] in a similar state of horrible misery’.* As well as this he was chairman of a committee in 1846 which was attempting to end the imprisonment of debtors, as, even though the Birmingham Court of Requests*** had been closed two years previously, other courts had jurisdiction in Birmingham; he wished to stop the ‘injustice, oppression and cruelty inflicted upon the Working and Humbler Classes of Society’ by these courts.*

Although some of Joseph’s opinions on women may seem a little distasteful today, mainly the idea that women with children should always look after them at home, and that the education of women in household duties was neglected, we must take them in context of the times. There were no childcare facilities, so children had to be looked after at home by someone, and it was not socially conceivable that a man could perform that role. Also, men’s wages were usually higher. Joseph formed these opinions through his own personal experience; his own mother, so Joseph described, had ‘worked in a manufactory from a very early age’.
'She was clever and industrious, and [...] was regarded as an excellent match for a working man. She was married early [and] became the mother of eleven children: I am the eldest. [...] She had children apace. As she recovered from her lying-in, so she went to work, the babe being brought to her at stated times to receive nourishment. As the family increased, so everything like comfort disappeared altogether. The power to make a home cheerful and comfortable was never given to her. [...] She made many efforts to obstain [sic] from shop work; but her pecuniary necessities forced her back into the shop. [...] I have known her, after the close of a hard day's work, sit up nearly all night for several nights together washing and mending clothes’.*


Joseph’s involvement in the temperance movement can also be attributed to his childhood, he makes it very clear that his father was a drunkard and spent his time at the tavern rather than looking after his family.* The temperance movement had come from America and advocated moderation and abstinence from alcohol, and promoted the opening of alternative venues for socialising and relaxation other than public houses, such as Joseph Corbett’s own coffee house. The opening of temperance hotels followed in a similar vein, allowing travellers the option of places to stay that did not include a ready supply of strong liquor. But Joseph, unlike others, did not just want the closing down of the ale-houses, he wanted other leisure pursuits to replace drinking, such as ‘gymnastic exercises, quoits, cricket, &c,; public gardens, walks, baths, reading rooms, &c’.* Joseph’s temperance hotel was one of only around half a dozen in Birmingham, so was an important aspect of the Birmingham temperance scene. Corbett’s Temperance Hotel, then, was just another part of Joseph’s attempt to do some good, and once he had it, he also used the building in other beneficial ways, as many charitable institutions held their meetings at Corbett’s Hotel (see below).*

























With all this charitable work, much of the running of the hotel was probably left in the hands of Joseph’s wife, Ann. He may have had strong opinions about the role of women in the upbringing of young children, but Ann, and the couple's daughter and several of the couple’s granddaughters worked in a number of strong roles throughout their lives. The couple’s granddaughter had helped them in the hotel since the age of about sixteen, and continued running it after Ann’s retirement even though she herself was married and had a young child. Other granddaughters were musicians or worked in their own right, and were recorded on the census as such, which was unusual for the time. This suggests that Joseph was possibly an open minded man of his time.

With all that Joseph Corbett achieved in his lifetime it seems strange that he is not remembered, but his position in society would be the likely cause of that. Despite all the work he did, his lack of large amounts of disposable income (there is nothing quite like putting a hundred pounds towards the building of a school that will get your name on a plaque), and his impoverished roots would not have advocated him to be immortalised, like Thomas Attwood, Joseph Sturge or the Cadbury’s, all of which Joseph had connections with. He is, I suppose, a bit of a 'working class hero', working quietly in the background to do what he thought was right and to improve the lives of the poor, of which he knew all too well what they endured. Hopefully this post gives him a little of the recogition that he deserves.    

--------------------------------
NOTES
I would really appreciate any more information on Joseph Corbett or other interesting Brummies.
* References on request
** To find out more about the button makers Hammond, Turner & Sons visit: http://hammond-turner.com/
*** I have written a number of posts on the conditions of the Court of Requests, see them here.
The image is courtesey of Birmingham Library and Archive Services.

Saturday, 19 January 2013

Newspaper Clippings #7: The Loathsome Cellar

The final of seven images in A Rakes Progress, when Tom (left) is
incarcerated in a London debtor's prison. By William Hogarth. The debtor's
prison was a common punishment for those unable to pay their debts. 
























From ARIS'S BIRMINGHAM GAZETTE, 15 January 1844

By the 1840s there was strong critisism concerning the poor conditions of the debtor's prison which was articulated in a number of letters published in Aris's Birmingham Gazette, following are two printed in 1844. One of the main concerns was that the jailors and other prison workers were not paid, so earnt their living by charging the inmates for their food and other basic needs. This had been an issue discussed since the late eighteenth century but was by this time becoming less easy to ignore. The feelings of these anonymous letter writers are communicated through some of the terms they use, such as 'the loathsome cellar', 'the great evils of [the] court', and 'the miserable debtors'. Later the same year the debtors prison was shut down, the public feeling towards the establishment probably having some sway in the closure. It was not till the 1860s that the practice of imprisoning debtors was made illegal.

To find out more about the debtor's prison in Birmingham, and the Court of Requests that housed it, click here to see all previous posts.

Thursday, 17 January 2013

Samuel Lines: From the Dome of St. Philip's












There are a number of topographical paintings of the absent landscape of Birmingham, but this one by Samuel Lines Senior gives one of the best impressions of the town as the perspective is taken from a central position outwards, rather than looking towards the whole town from a distance. It was painted in about 1821, and although it is not a panorama (as discussed in this previous post) as it does not go round 360 degrees, it is panoramic, in the sense that it is an elongated field of view like that captured by a wide angle camera-lens. Perhaps Lines was inspired by some of the cityscapes that could be visited in actual the Panorama on New Street (see E below), which encouraged him to produce this vista of Birmingham's own townscape. For his vantage point Lines took the highest point of the town, which happened to accommodate the church of St. Philip's and that building's large dome, and pointed himself south-west. This was in the direction of one of the newer parts of the town, an area that had expanded from the Medieval district from the 1750s onwards. At the fore of the image can be seen the graveyard attached to the church, and the buildings, some still very makeshift, of Temple Row, one of which was Lines's own house which he had built when he had started to do well as a drawing instructor.  In the close-up, below, some of the buildings and landmarks have been pinpointed, and you can follow the proceeding links to find out more.


A to E are along New Street
A) Is the Theatre, by the time of the painting, the Theatre Royal.
B) Next to the theatre was Portugal House, a grand Georgian town house, at the time of the painting divided into two properties with a distillery attached.
C) Just over the street is the original Georgian cottage Post Office, which had at its rear...
D) The Post Office yard where the Royal Mail coaches would arrive from 1812.
E) Is the Panorama, where 360 degree actual size paintings were shown.
F & G are in what is now Victoria Square
F) Is Christ Church, the interior of which can be viewed by following the link.
G) Is placed just to the left of the flag that topped Allin's shop, nicknamed The Flag as it always flew the Union Jack. The Town Hall was later built near this spot. In the distance, behind the 'G', is the Canal Offices on Paradise Street.
H) Is the walled garden attached to Bennett's Hill House, the house just out of view on the right. All the green land in that area was the original Bennett's Hill, and had been protected from building work by a clause in the 120 year lease for the house and land. The lease had expired in 1818 and not long after Lines's painting the whole are was built up with two new roads, houses, shops and other businesses.

View from 3 Temple Row West (Samuel Lines's house) drawn by Lines.
The drawing gives a similar view of the Theatre and Portugal House
as the painting and may have acted as inspiration. To climb on the roof
and look the growth of Birmingham must have fascinated Lines. 




















To see all posts including Samuel Lines Senior's work click here.

NOTES
The painting and drawing are owned by BMAG and the painting is currently on display in the Birmingham History Galleries.
http://www.bmag.org.uk/new-birmingham-history-galleries

Artist Profile: Samuel Lines

Samuel Lines Senior. By William Thomas Roden, 1863.

























This short artist's profile is designed to give an insight into Samuel Lines (1778-1863), a topographical painter based in Birmingham whose work has been used on this blog. More will be added as information comes to light. He produced a wide body of work for over 50 years and was one of the most prominent artists in Birmingham in the first half of the nineteenth century. Three sons were also artists, Samuel Rostill, Edward Ashcroft and Frederick Thomas, to varying degrees.

Samuel Lines Senior was born in Allesley in Warwickshire and came to Birmingham in 1794 as an apprentice to a Mr. Keeling. He worked as a clock dial enameller and decorator, but also produced work for Henry Clay who ran a large manufactory on Newhall Street. Lines himself set up a drawing school on Newhall Street in the early part of the nineteenth century, which was a novelty for Birmingham, and the school prospered. He was soon able to build a house for himself and his family, on Temple Row, where he continued to teach. In 1809 he embarked on a project with three other local artists, Moses Haughton, Joseph Barber (whom Lines had studied under) and Charles Barber, to set up a life drawing school on Peck Lane, just off New Street. In 1814 the school, doing well, moved to larger rooms in Union Passage, and the same year they housed an exhibition which exhibited works from artists within a 30 mile radius of Birmingham. By 1821 the group had again outgrown their premises and consulted with wealthy patrons and local industrialists, the product of which was the formation of the Society of Arts which took up residence in the old Panorama building on New Street. This building was rebuilt in 1828. Lines took classes at the society and managed many of the exhibitions. In 1842 there was some disagreement within the society, which split into two, with the new group moving to rooms on Temple Row, called the Aetheneum.

Samuel Lines painted by Frederick Thomas Lines.
Year unknown. May be of Samuel Rostill Lines. 


























Samuel Lines's Paintings and Drawings of Birmingham
with links to those that are included on this blog
Unknown date: Drawing, Bull Ring and Shambles
Unknown date: Drawing, The Birthplace of David Cox
Unknown date: Old Wagon Warehouse, Bennett's Hill
Unknown date: Dr. Freer's House in Cannon Street
Unknown date: Wheatsheaf and Shops, New Street
1800: Bradford Street and the Moat
1820: Interior of the Old Room at the Free School
c.1820: Drawing, The Top of Ann Street Towards St. Philip's
1821: Painting, Birmingham from the Dome of St. Philip's
1821: Drawing, View from Number 3 Temple Row West

1824: Post Office, New Street
1830: Bell Street
c. 1848: Painting, Birmingham Town Hall & Queen's College
1857: Painting, The Opening of Calthorpe Park (below, top)
1857: Painting, The Duke of Cambridge Leaving the Town Hall (below, bottom)