26 Hostelry, Bedford Park, London, 1878, by Norman Shaw
Norman Shaw’s influence on domestic architecture was enormous. He and Morris might equally be described as founders of the Arts and Crafts movement. Shaw’s houses had Morris papers. Shaw believed in using local styles and local builders and whenever he found old craftsmen he employed them. His followers, such as C. F. A. Voysey, M. H. Baillie Scott and Edgar Wood, built houses of a strongly individual but yet hand-wrought and local-looking style. They tried to make cottages for the middle classes in the old cottage style and designed their own fabrics and furniture. Indeed Voysey continued his architecture down to the very toast racks and spoons, as Burges had done before him. Edgar Wood’s cottage at Rochdale [27] is a Yorkshire example. It may be arty-crafty, but it is serviceable and does no violence to the landscape.H. L. North of Bangor was a Welsh Edgar Wood.
27Cottage at Rochdale, 1893, by Edgar Wood
What Shaw was to small houses, George Gilbert Scott, Junior, Sir Gilbert Scott’s eldest son and the father of Sir Giles Gilbert Scott, was to new churches. In 1877 he built St. Agnes, Kennington [28]. It caused great controversy as it was built of brick in the Perpendicular style then thought “debased.” The nave arcades had no capitals to their columns, there was a screen across the chancel arch and provision was made for side chapels. The glass was by Kempe. St. Agnes was destroyed by the Nazis, as was Scott’s All Hallows, Southwark.But St. Mark’s Milverton, Leamington, and St. Augustine’s, Hull, survive as work of this great architect’s Neo-Perpendicular manner.He was as much at home with the Renaissance style.
28St. Agnes, Kennington, 1877, by George Gilbert Scott, junior
Two years earlier F. C. Deshon had designed this Mission Church [29] in a style that was then thought “debased” because it had no pointed arches and was unashamedly structural.
29Mission Church, 1875, by F. C. Deshon
30Church of the Holy Angels, Hoar Cross, 1877, by G. F. Bodley
G. F. Bodley, a pupil of the older Scott and a close friend of the younger Scott, designed Holy Angels Church, Hoar Cross, in 1877 [30]. He built many churches in his attenuated Perpendicular style, of which the best examples are St. Michael’s, Camden Town, London; St. Augustine’s, Pendlebury, Manchester; St. Martin’s, Scarborough; St. German’s, Roath; and Holy Trinity, Kensington.
31Church of the Holy Redeemer, Clerkenwell, 1888, by J. D. Sedding
Another high-churchman and friend of this group was J. D. Sedding, whose church [31] of the Holy Redeemer, Clerkenwell, London (1888), has a Gothic counterpart in his famous church of Holy Trinity, Sloane Street. Scott, Bodley and Sedding go with plainsong, the English Hymnal, Percy Dearmer and the later phases of the Catholic Revival. Their buildings are set in slums, where the Church of England did such great work throughout the last half of the century, and in spacious seaside suburbs, whose wealthy and well-intentioned congregations subscribed to the slum missions.
32Design for a Church by Edgar Wood
The Nonconformists were now tiring of their Classical chapels (see pp. 90–119) and taking to what was known as “late Gothic freely treated.” Here is an example by Edgar Wood, who was born a Methodist [32].
Temple Moore, another of the older Scott’s pupils, survived until 1920, and he built in a severe and simple late Gothic style, among the finest examples of which are St. Wilfrid’s, Harrogate (1909) [33], and one of his latest works, Pusey House, Oxford. Sir Charles Nicholson and Harold Gibbons are architects in the Temple Moore tradition. With these men must be included Micklethwaite and Somers Clark and their pupil Harold S. Rogers.The Roman Catholic architect of this date was J. F. Bentley whose Cathedral at Westminster [34] in the Basilican style (designed 1895) and church of the Holy Rood at Watford in late Gothic are a testimony to the versatility of his great genius.
33 St. Wilfrid’s, Harrogate, 1909, by Temple Moore
34 Westminster Cathedral, designed 1895, by J. F. Bentley
SOME CURIOUS REVIVALS. In Secular life there was now a restlessness among architects to find a manner of building which, in style at any rate, did not savour of either Gothic or classic. Influenced by Norman Shaw, Thomas G. Jackson, a fine writer on architecture, revived the Jacobean style for his prize-winning design for the Examination Schools, Oxford [35], in 1876. He did so much else in this manner that it came to be known as Anglo-Jackson. The manufacturer of Holloway’s Female Pills, wishing to educate women as well as make them well, sent W. H. Crossland, a pupil of Sir Gilbert Scott, to the French châteaux. As a result Crossland produced the amazing Holloway College for Women (1886) at Egham [36] in Portland stone and red brick, vaster and more elaborate than Chambord and set among pines and rhododendrons of Surrey. That fine draughtsman and architect Beresford Pite won the Soane Medallion in 1882 with his design for “A West End Club House” [37] in what might be called a Wagnerian romantic style. He designed the West End to go with it.
35 Examination Schools, Oxford, 1876, by Thomas G. Jackson
36 Royal Holloway College, Englefield Green, Surrey, finished 1886, by W. H. Crossland
At the other end of the scale C. R. Mackintosh went in search of extreme simplicity and built in a Beardsleyesque Scottish Baronial style. This
