London’s churches of the mind

Twentieth century British fiction features a good few fictional clergy of the established Church of England, and some (if fewer) accounts of religious life itself. Rather fewer again are the number of church buildings. And those that there are tend to be anonymous and stylised if set in a real town or village. Penelope Lively’s novel City of the Mind (1991) is a rather beautiful meditation on London, and its architecture in particular; its buildings invested and reinvested with meaning by the successive generations of people who encounter them over time. Unusually, the novel is populated with several churches, and although none of them are integral to the plot, they are all but one of them named; all of them real buildings rather than merely symbols.

The blitizd church of St Dunstan in the East, now a public garden. Image: Peter Webster

The blitzed church of St Dunstan in the East, now a public garden.
Image: Peter Webster

Most iconic of all London’s churches is of course St Paul’s cathedral, and although part of the novel is set during the Blitz, Lively avoids using St Paul’s as other novels have, although her character, an air raid patrol volunteer, is at work in the same area. Instead, it is Christopher Wren’s church of St Bride Fleet Street that he sees, largely destroyed in December 1940, its spire ‘lit from within like a lantern’ (p.10). St Paul’s is a church of the mind in a city of the mind; when her Elizabethan explorer encounters the massive ice floes of the North-West Passage, it is in the shape of St Paul’s that he sees them, a ‘cathedral in the ice’ as ‘time and space collide’ in the imagination (pp.48-9). The novel’s main protagonist, Matthew Halland, stands mesmerized in a Charing Cross Road bookshop by a photograph, taken by Herbert Mason on the same night as St Bride’s was gutted by fire, 29th December, of the dome of St Paul’s framed by black smoke but intact.

Halland’s London is that of the late 1980s, as the processes of demolition, redevelopment and gentrification are in spate; Halland is an architect rather reluctantly engaged with a tower of glass in the Docklands. Elsewhere, Spitalfields is the shoreline of the tide of change where ‘a reconstructed past and an inexorable future are fighting it out amid the estate agents’ signs and the cement mixers’ (p.92) Here the spire of Hawksmoor’s Christ Church fights for the skyline with cranes and new office blocks. Round the corner is the former Huguenot church on Fournier Street, an immigrant church itself already overwhelmed by waves of later immigration: subsequently a Methodist church, next a synagogue, now a mosque. The churchyard of St Anne Soho is being redeveloped as a paved shopping precinct, the bodies of generations exhumed and deported to a cemetery further out of the city. Nothing may obstruct the progress of redevelopment (p.36).

Lively’s churches point always to the change that surrounds them, rather than drawing any attention to themselves. The caryatids on the north side of St Pancras’ church on Euston Road are to Halland redolent of the classicism he understands; to his daughter they are nothing so much as ‘ladies wearing bath towels with books on their heads’ (p.87) What these churches never are is alive; places in which real breathing Londoners meet and worship. There is an implicit contrast between the rural, where such things may well continue, and the ghostly Christianity of the city. The German immigrant Eva Burden, who undertakes an engraving in glass for Halland’s tower, was first inspired to work in glass by the west screen in Coventry cathedral by John Hutton: a declaration in the early sixties that the urban church was not dead; the ‘Phoenix at Coventry’ (the phrase is of Basil Spence) could rise from the ashes of the blitzed city. In the late eighties, her only church commissions are of saints and angels for country churches; in the metropolis her work is mere decoration, decanters for the corporate boardroom. In Lively’s London, the churches are bearers of meanings, objects for the imagination, but without present or future. This is a thoroughly secular city of the mind.

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“The most functional of all our cathedrals”

One of my two contributions to the new DVD on the English cathedrals and monasteries was a summary history of Guildford cathedral, by the architect Edward Maufe. Interrupted by the Second World War, the project which began in 1932 came to fruition at the church’s consecration in 1961. Having written just 3,000 words for this particular piece, I anticipate coming back to Guildford at greater length a bit later. There is plenty to be said about it yet; but here is an adapted extract.

Unlike the other study of mine, on Chichester, there was almost no secondary literature on which to build. This is odd, as Guildford is a significant building in recent religious history for several reasons. Of the five new dioceses created in 1926-7, only for Guildford was a new building planned. In the other four cases, existing parish churches were taken over and (as in Portsmouth) expanded. Guildford is also one of only two newly built Anglican cathedrals to be placed on an entirely new site (the other being Liverpool). With Coventry, it is one of the two cathedrals built in modernist style, although it has suffered in critical appreciation by comparison.

Guildford Cathedral, by stevecadman (Flickr), CC BY-NC-SA

Guildford Cathedral, by stevecadman (Flickr), CC BY-NC-SA

The building is an essay in the Church of England’s idea of itself, particularly at the time that the building was approaching completion. Guildford shows the desire to be a church that preserved those elements of the past that were most important, whilst at the same time moving with the times. The desire that the building be ‘of its time’ was particularly strong, and this felt need for a contemporary expression of the faith was common across all the religious arts. But it also needed to acknowledge and incorporate the language of the historic buildings of which it would be a counterpart: in short, it still needed to look like a cathedral to the non-specialist observer.

Part of the reason Guildford suffered in comparison to Coventry (in critical opinion) was Maufe’s failure to embrace the modernist style more fully. For those looking on sympathetically from outside or from the fringes of the church, the church was an antique in its worship, in its religious art, in the dress of its clergy. Only a whole-hearted embrace of a new contemporary language could reach those with whom the church had ceased to communicate, it was thought. But the building retains the medieval conception of sacred space, its design leading the contemplation of the worshipper upwards and out of the self. In this it owes little to the leading trends in liturgical theology of the time, which emphasised the communal element to being the Body of Christ.

At the same time, in the 1950s and 1960s the Church of England was revising its canon law, beginning to revise its liturgy, and looking to rationalise its organisation and its finances. In Adrian Hastings’ phrase, the completion of Guildford seemed to signal the arrival of a church that was ‘efficient, sophisticated, progressive.’ Maufe’s neo-Gothic designs artfully conceal, and indeed rely upon, the most modern of techniques. Maufe’s ‘conquest of space’ is achieved only by means of building techniques unknown to the builders of the medieval cathedrals. The scourge of the death watch beetle is no scourge at all for a roof made of reinforced concrete. Beneath the soaring spaces are the heating pipes embedded in the floor, another effective yet unobtrusive measure.

Outside Maufe could build purposely to accommodate the new technology of the moment in the 20s and 30s: the motor car. There was an imposing approach road from the newly completed by-pass road to the west (now the A3). The drive would bring bus- and coach-loads of visitors to a wide turning circle by the west door, and there was ample parking for private cars. Here was a forward-looking, modern, efficient church, planning for the future traffic growth which was sure to come. It was ‘the most functional of all our cathedrals’.

The English cathedrals and monasteries: new DVD-ROM

CaM_cover

I’m very pleased to see the recent release of this DVD resource, on The English Cathedrals and Monasteries, from the Christianity and Culture project at the University of York.

My own contribution to it is two case studies, of Chichester cathedral and of Guildford cathedral. My thanks are due to Dee Dyas for the opportunity to be involved. There are some reflections on writing cathedral histories in this earlier post.

Where were the churches after the Blitz ?

This week I made my debut as a reviewer for the LSE Review of Books. Since the Review is admirably free in the reuse it will allow, I republish it here under a Creative Commons licence. It is a review of an highly suggestive study of the lived experience of blitz conditions during the Second World War and patterns of planning and reconstruction afterwards. edited by Mark Clapson and Peter J. Larkham, and published by Ashgate.

From the point of view of my own research, there is one aspect of the question which the collection only touches very obliquely, at least in relation to England. These discourses of reconstruction turn on themes of modernity, efficiency, revolutionary change, the future, looking forward. How should we understand the rebuilding, repair or demolition of bomb-damaged churches: often ancient and mostly inefficient buildings, symbols of continuity and the presence of the past in urban spaces ? The collection very deftly opens up the complex processes in which national planners, local government and local opinion interacted in the creation of new urban centres such as Plymouth. Where, if anywhere, were the churches ? This article of mine from 2008 (available Open Access here) tried to open up some of the debates at national level; this collection reminds me of how many local stories there are still to tell.

Review, from LSE Review of Books, 1st October 2013

Mark Clapson and Peter J. Larkham (eds)
The Blitz and its Legacy. Wartime destruction to post-war reconstruction
Farnham, Ashgate, 2013

‘One of the most cherished popular myths of the Second World War centres on the London Blitz: a story of stiff upper lips, social solidarity and unity of purpose in the face of a terrifying onslaught; keep calm and carry on. Although this interpretation of the ‘People’s War’ has taken as intense a pounding from historians’ artillery as did London from the air, elements of it are left standing. This collection of essays examines two of them.

‘The first of these was that, at least in Britain, the experience of war turned the people into a ‘nation of town planners’. The utopianism that lay behind the nationalisation of key industries and the foundation of the National Health Service also produced a consensus that cities should not merely be repaired, but reimagined, and created afresh on clean and rational lines. The second myth refers to the reconstruction process itself, in which all the subsequent problems of urban Britain, all decaying concrete and thin social fabric, can be laid at the door of ‘the planners’. The contradictions between these two myths have not shortened their life or restricted their apparent explanatory power.

‘Britain was hardly alone in experiencing such damage, of course, and academic interest in destruction and reconstruction has been heightened in part by more recent conflicts in the Balkans and the Middle East. The editors, academics from the disciplines of history and of planning, have brought together an interdisciplinary team of specialists in history, planning, architecture and urban geography. There are valuable perspectives also from France, Germany and Japan, but two thirds of the papers relate to Britain, on which this review will concentrate.

As the editors acknowledge, the fourteen essays are highly diverse, on subjects ranging from the evacuation of disabled children from London to architectural style in a post-Hiroshima Japan. But there is design in this assembly of fragments, which points the way towards a reconnection of previously disparate literatures. The preoccupation of the book is to suggest how connections might be made between the lived experiences of individuals in blitz conditions, and the processes in which local populations interacted with local and national government to plan and then build. The social history of the People’s War has seldom been connected with the study of post-war planning. This collection begins to form those connections.

‘One such starting point is Mark Clapson’s essay on the London blitz and the dispersal of the London working class to the out-county estates within greater London, and the new towns beyond. Far from causing the fragmentation of the London working class, the Blitz only interrupted and then shaped and accelerated a longer-term process which can be traced back to late Victorian slum clearance and the Garden City movement. Part of that acceleration was caused by the experience of evacuation to the country, which to some extent prepared Londoners for suburban living. As Sue Wheatcroft shows, the evacuations also led directly to the post-war establishment of a system of residential special schools for children with disabilities.

‘Susanne Cowan provides a salutary note on the limitations of public enthusiasm for planning in the immediate post-war period. Whilst the enthusiasm for a ‘better Britain’ was genuine, it was short-lived; and the desire for change was at least as much directed towards older, more basic needs, such as for better housing, than any longing for more far-reaching change. Cowan shows that planners were proactive in shaping public opinion; but were ultimately mistaken in believing their own propaganda.

‘Catherine Flinn provides a wryly downbeat assessment of the real influence of “the planners”. Far from being set free to design new urban environments without constraint, the planners were in fact hemmed in by planning law itself, and by the inability of local authorities to agree amongst themselves. Reconstruction was also low amongst the priorities of those who controlled the supply of scarce building materials, particularly outside London; the members of the Investment Programmes Committee of the cabinet were clearly not among the ‘nation of town planners.’ Instead, much of the building took place slowly, and largely on private initiative, and so few post-war city centres bore much resemblance to the grand plans prepared for them. If later public opinion disliked these centres, it was not the planners who were to blame.

‘There are also case studies in which all these themes combine. Particularly interesting are those by David Adams and Peter J. Larkham on Birmingham, and on Plymouth by Stephen Essex and Mark Brayshay. Plymouth was perhaps the most fully realised modernist scheme for a new city centre, in which even those Victorian buildings that survived the bombing were demolished to allow the complete remodelling of the centre, with little of the street plan surviving. However, to view Plymouth as a straightforward victory for the ‘planners’ obscures a more complex and more interesting story. The site of a key naval dockyard, Plymouth was hit very hard by the bombing, and an early statement of intent to rebuild was felt necessary for morale. The initiative was seized very early by a tight knot of the elite, including Lord Astor, the mayor, and John Reith, minister of Works and Building. The Plan for Plymouth (1943) became as it were a local Magna Carta, which the objections of neither the local council, nor of city landowners deprived of their freehold, nor of the new Ministry of Town and Country Planning in London could amend. With a pleasing irony, the modernist scheme which allowed nothing old to remain, in recent years has itself become an object of conservation.

‘The editors have unfortunately been let down in the preparation of the text for the press. One essay contains the longest sentence this reviewer has ever read (running to some 75 words), and another so mangled as to be nonsensical. This is a shame, as this fertile collection promises to provoke and stimulate much fresh thinking about the connections between the experience of the blitz and later reconstruction. It deserves a large and diverse readership.

What did modern theology look like in the Sixties ?

What did modern theology look like ? An odd question perhaps; but I’d like to look at some of the cover designs of books of theology aimed at a popular readership between 1963 and 1970. This is no exhaustive study (being based mostly on the books on my own shelves), but it would seem that at least some of those responsible for publicising the ‘Death of God’ theology thought there was a connection between it and modern art.HonestToGod-cover-blog

Undoubtedly the most famous such book of the period was John A.T. Robinson’s Honest to God, published by the SCM Press in 1963, in its series of cheap pocket paperbacks. Its cover is a minor masterpiece of cover design, showing a young man deep in thought, wrestling perhaps with precisely the kind of radical rethinking of his religion that Robinson was proposing. Image and message seem to be in perfect interplay. Interestingly, the image is of a rather older work, and from a different context. ‘Seated Youth’ (1918) is by the German sculptor Wilhelm Lehmbruck, and Lehmbruck’s experience of working in a wartime field hospital is translated between nations and over time to become a symbol of a more spiritual crisis.Lloyd-Ferment in the Church - cover 1964 - blog

After Honest to God, ‘Seated Youth’ seems to have become iconic of Robinson’s book, such that it appears again on a follow-up book from Roger Lloyd, The Ferment in the Church, published in 1964, also by SCM. This time the sculpture is overlaid on a background of Winchester Cathedral, signifying the clash of old and new.

Ramsey - Resurrection of Christ - fourth imp 1966 - blog

I must stress again that this post captures an impression, and is not based on a systematic study. As such, there isn’t much in the way of a control group – of works of more mainstream theology published for a mass market, for which the economics of a cover design with an image added up. But there were some, such as Michael Ramsey’s The Resurrection of Christ, first published in 1945 but reissued by Collins in the Fontana imprint. The impression here is the fourth, from 1966, and whilst it too uses a work of art, Collins’ designer opted for an unidentified work in a much older style. This perhaps matched Ramsey’s work, which was by no means conservative in the broader scheme of things, but looked to be so when set against Robinson.

Newbigin - Honest Religion for Secular Man 1966 - cover - blog

There was one artist who seemed to appear often, and that was Jacob Epstein. Lesslie Newbigin’s Honest Religion for Secular Man (SCM, 1966) featured ‘Risen Christ’, a work made between 1917-19 and, like ‘Seated Youth’, an imaginative product of the First World War. A sepulchral Christ shows the viewer his wounds, against the backdrop of the type of multi-storey office building in vogue at the time, although the particular building is not identified. Modern Man needed to work out the appropriate response to the call of God in a secular, “technological” environment.

Laymans Church - 1963 - cover - blog

All three SCM titles I’ve discussed so far were in the same series; but other publishers were not slow to see the connection, and at about the same time. In the same year as Honest to God, the Lutterworth Press published Layman’s Church, a collection of essays introduced by Timothy (later Lord) Beaumont, and including essays from several of the figures associated with ‘South Bank religion’, including Robinson. Its cover features Epstein’s ‘Christ in Majesty’, made for Llandaff cathedral in 1954-5. The new Coventry cathedral has on the exterior of its porch Epstein’s ‘St Michael and the Devil’ (1956-8), featured on Stephen Verney’s Fire in Coventry (Hodder, 1963).
Verney - Fire at Coventry - 1963 - blog
So it would seem that publishers of popular theology in the early Sixties thought there was a connection between the kind of modern theology that seemed to be leading the market and the kind of modern sculpture (and it is mostly sculpture) that was finding its way into churches. Or, at the very least, those publishers thought that their likely readers would find the designs meaningful. I doubt I will have the time to pursue this idea any more systematically; but there’s a great Ph.D. subject in here for someone.

Writing the history of the modern cathedrals. Part One

I recently had occasion to think about cathedral histories; and in particular, the clutch of volumes that appeared over the last few years for the major medieval foundations. There is a prevailing model: a large general volume, with multiple authors under the general editorship of a senior scholar, with often some sort of relationship with the cathedral chapter itself. York Minster blazed the trail (Gerald Aylmer and Reginald Cant, 1977) and since then Chichester, Canterbury, St Paul’s, Norwich, Rochester and Winchester have all their own histories. (See the list at the foot of this post if you’re interested; I doubt it is complete.)

It struck me then how very thin the coverage for the more recent foundations is in comparison; and some recent work I’ve been doing on Newcastle cathedral (St Nicholas) has confirmed the impression. Coventry is a unique case, as are the other newly built cathedrals (Guildford and Liverpool). For those medieval parish churches given cathedral status to serve a new diocese, there seems to be almost no scholarly historical writing. None of the cathedrals of Blackburn, Birmingham, Bradford, Chelmsford, Leicester, Manchester, Newcastle, Sheffield or Southwark  has (as far as I know) its own single-volume history, nor indeed very much in the way of shorter pieces of work. They all, of course, have their guidebooks, which by and large include a potted history, but little more. (I should say that I am primarily interested in these buildings as cathedrals; and so I’m setting aside work done on their previous history as parish churches.)

Why this neglect ? There is, of course, simply less history – a little over a century, if that, as set against 900 or more years for Chichester or Canterbury. But it may be to do with the comparative neglect of modern religious history (as opposed to medieval), and to a sense that the Church of England got the timing wrong, creating a host of new cathedrals in the late nineteenth and early twentieth century, just as its own significance was beginning to wane and they became less and less relevant. There may also be less of a readership to buy such books (fewer tourists), and they lack a 900-year anniversary on which to hang the publication.

Whatever the reason, there is some very interesting work to be done on these churches, individually and as a group. How did the growing self-confidence of cities such as Manchester or Newcastle shape the formation of new dioceses and their cathedrals ? If they were expanded and/or newly decorated, who paid ? How significant was the presence of an older Roman Catholic cathedral (as in Newcastle or Portsmouth) ? How did cathedral ministry in the urban environment differ from life in Ely or Salisbury ? Were these buildings of local symbolic importance during the Blitz, as St Paul’s was for London ?  I should be delighted to receive any references that bear on these and related questions.

In Part Two:  writing the history of the Roman Catholic cathedrals (Arundel), and of a new building (Guildford).

Recent cathedral histories (additions welcome)

Atherton, I., Fernie, E. Harper-Bill C. and Smith, H. (eds) Norwich Cathedral: Church, City and Diocese, 1096-1996  (London, Hambledon, 1996)
Aylmer, G., Cant, R. (eds) A History of York Minster (Oxford, Clarendon, 1977)
Burns, A., Keene, D., Saint, A. St Paul’s. The Cathedral Church of London, 604-2004   (New Haven, Yale, 2004)
Bussby, Frederick Winchester Cathedral, 1079-1979    (Southampton, Bussby and Cave, 1979, 1987 reprint)
Collinson, P, Ramsey, N., Sparkes, M. (eds) A History of Canterbury Cathedral    (Oxford, OUP, 1995)
Welander, David The History , Art and Architecture of Gloucester Cathedral    (Stroud, Alan Sutton, 1991)
Yates, N.,  Welsby, Paul A. (eds) Faith and Fabric; A History of Rochester Cathedral, 604 – 1994 (Woodbridge, Boydell, 1996)
Mary Hobbs (ed) Chichester Cathedral. An Historical Survey (Chichester, Phillimore,1994)

A new life of Pevsner

This blog can’t really ignore a new biography of Pevsner by Susie Harries: a figure both peripheral to its central concern, but to be found everywhere in the background. Reviews have appeared in most of the papers, including the Guardian and by Frances Spalding in the Independent. There is also an extended piece in the TLS by Stefan Collini which doesn’t seem to be online as yet.