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References (28)
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A. Pugin
Contrasts : or, A parallel between the noble edifices of the middle ages, and corresponding buildings of the present day, shewing the present decay of taste : accompanied by appropriate text -
K. Morrison (1997)
The New-Poor-Law Workhouses of George Gilbert Scott and William Bonython MoffattArchitectural History, 40
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I am heavily indebted to two major sources of information, Morrison's 'New Poor Law Workhouses -
Gloucestershire of 1856; the Vaughan Library -
Neil Jackson (2000)
Christ Church, Streatham, and the Rise of Constructional PolychromyArchitectural History, 43
-
Augustus Pugin had used blue brick headers to create letters and numbers in the walls of his St Marie's -
s claim that Scott 'preferred to forget his work on the unions' in Norman Longmate, The Workhouse (London, 1974), p. 287, does not take account of this evidence of Scott -
New Poor Law Workhouses -
An exception may be the Sir William Petre Almshouses, Ingatestone, Essex, of 1840 to the north-west of Billericay. These show strong similarity to Scott's recently constructed workhouse nearby -
Parallel experiments were Scott's St Barnabas -
Neil Jackson (2004)
Clarity or Camouflage? The Development of Constructional Polychromy in the 1850s and Early 1860sArchitectural History, 47
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(2004)
House of Lords Record Office, PUG /3 /110, Lord Shrewsbury to A -
Cambridge Camden Society, A Few Words -
Other examples of this St Pancras-related group include the Vaughan Library -
The partial exception to this is Holy Trinity Church, Halstead, Essex of 1843-44, which used a far from miserable pale yellow brick for the nave arcades and external dressings -
As Flaunden is claimed wholly by Scott as a family commission with no input from Moffatt -
Thaxted and Saffron Waldon are within a few miles -
His partnership with Moffatt dates from after his marriage in June 1838. See ibid -
Reading of 1837-40. This surprisingly assured Romanesque chapel afforded no precedent for Scott and Moffatt's use of constructional polychromy -
1861-68; the Fitzroy Library -
1857; and St Michael and All Angels -
Scott may also have been influenced to adopt flinted Romanesque by Augustus Pugin's recently completed -
Cambridge Camden Society, A Few Words to Church-builders -
As Scott details his sketchy knowledge of the younger Pugin prior to 1841 in Recollections -
This despite Pugin having previously constructed a Jacobean lodge at Clarendon Park, Alderbury, Wiltshire in 1837 in plain yellow brick and stone dressings -
S. Bradley (2007)
St Pancras Station -
Scott was pained by its deviations from Ecclesiological norms, but that is a late nineteenth-century concern and should not cloud our assessment of it -
The 'new man' had not, in practice, completely morally regenerated. His St Mary's Church, Wimbledon of 1843 had iron piers covered in plaster to mimic stone shafting
- Publisher
- Cambridge University Press
- Copyright
- Copyright © Society of Architectural Historians of Great Britain 2014
- ISSN
- 2059-5670
- eISSN
- 0066-622X
- DOI
- 10.1017/S0066622X00001428
- Publisher site
- See Article on Publisher Site
Abstract
The dominant historical account of constructional polychromy in Britain describes its emergence in the fifteenth century as a by-product of the introduction of brick-making under Flemish influence. Blue bricks, over-fired or possibly deliberately vitrified, were put to use creating patterns and colour contrasts in load-bearing walls. This constructional polychromy passed from fashion in the late Renaissance period before returning to popularity in the mid-nineteenth century, prompted, it is said, by John Ruskin’s The Seven Lamps of Architecture (1849) and The Stones of Venice (1851–53), and landmark buildings, notably William Butterfield’s All Saints, Margaret Street in London, designed in 1849.
Journal
Architectural History – Cambridge University Press
Published: Jan 12, 2016