To install click the Add extension button. That's it.

The source code for the WIKI 2 extension is being checked by specialists of the Mozilla Foundation, Google, and Apple. You could also do it yourself at any point in time.

How to transfigure the Wikipedia

Would you like Wikipedia to always look as professional and up-to-date? We have created a browser extension. It will enhance any encyclopedic page you visit with the magic of the WIKI 2 technology.

Try it — you can delete it anytime.

Install in 5 seconds
4,5
Kelly Slayton
Congratulations on this excellent venture… what a great idea!
Alexander Grigorievskiy
I use WIKI 2 every day and almost forgot how the original Wikipedia looks like.
Live Statistics
English Articles
Improved in 24 Hours
Added in 24 Hours
Languages
Recent
Show all languages
What we do. Every page goes through several hundred of perfecting techniques; in live mode. Quite the same Wikipedia. Just better.
Great Wikipedia has got greater.
.
Leo
Newton
Brights
Milds

William Butterfield

From Wikipedia, the free encyclopedia

This article is about the English architect. For the American architect in New Hampshire, see William M. Butterfield.

William Butterfield
Born(1814-09-07)7 September 1814
London
Died23 February 1900(1900-02-23) (aged 85)
Nationality (legal)British
OccupationArchitect
AwardsRoyal Gold Medal (1884)
BuildingsSt Ninian's Cathedral, Perth in Scotland, St Paul's Cathedral, Melbourne in Australia
ProjectsKeble College, Oxford

William Butterfield (7 September 1814 – 23 February 1900) was a British Gothic Revival architect and associated with the Oxford Movement (or Tractarian Movement). He is noted for his use of polychromy.

YouTube Encyclopedic

  • 1/5
    Views:
    17 622
    303
    833
    27 924
    1 048
  • William Butterfield, All Saints, Margaret Street
  • Nicholas Olsberg: Diplomatics and Instrumentality of the Drawing / William Butterfield
  • William Butterfield, All Saints, Margaret Sokağı (Sanat Tarihi / 19. Yüzyıl Avrupası'nda Sanat)
  • The architecture of Keble College: William Whyte
  • Preserving Marvellous Melbourne

Transcription

(piano playing) Steven: I'm with Ayla Lepine, an architectural historian from the Courtauld Institute and we're in central London looking at All Saints Church, Margaret Street and I thought we would explore this building as a way of understanding High Victorian Gothic architecture. Ayla: Standing in the courtyard, the spire as you look up is incredibly tall, one of the tallest in London, and it was built from a group of Church of England people who were trying to restore a sense of spiritual pride for the entire nation. Steven: It's so close to us. Ayla: Even when this building was first conceived of in the late 1840's, this area of central London was very built up and so William Butterfield, the architect, had to think very strategically about how he would include a courtyard space, a full church with a grand nave and a large sanctuary, and everything required for this wonderful manifestation of the medieval world brought into modern London in this really teeny tiny confined area. Steven: So the exterior of the church, these different colored bricks. This lovely deep red and then these lines of black brick offset with this limestone. Ayla: This is something called structural polychromy. Steven: That means the polychromy, this decoration, is not on the surface but is actually the materials that are supporting the building itself. Ayla: Being outside in this confined, riotously decorative courtyard is foreshadowing because we know that when we get into the church the colors will be even more bold, even more intense and the materials will be even more diverse. Steven: This reminds me of the cathedral in Siena. There's these alternating horizontal bands. Ayla: In the early 1850's, when this building was being designed, there was an incredibly important critic and writer who was working on making medieval Italy important for Victorian architects. Steven: Presuming you're speaking about Ruskin, a critic who spent a few years focusing on architecture and was responsible for laying down a series of ideas about what true architecture should be. That the Gothic revivals to date in England had really missed the point. Ayla: Absolutely. What he believes is that in order to build honestly and to build sensitively for a new age you have to look back to the past. And instead of looking back to England's past specifically, he looks back to continental Europe. Both in terms of materials and techniques and in terms of a sense of medieval piety. Steven: So there was a sense that there was a kind of authentic life that had been lost in our new industrial culture? Ayla: Certainly and Ruskin was also a major critic of industrializationing. Steven: But it's one thing to have a theorist, a critic, developing these ideas, it's another thing to have them made real. To find somebody who's willing to put up the money, to find people who want to worship in that kind of environment. So what's happening in England that allows for this to actually come to fruition? Ayla: In the 1830's something called the Oxford Movement begins, unimaginatively enough in Oxford, with a small group of academics who are convinced that the Church of England really needs to be revivified and they look to times before the Reformation. Steven: So looking back to Catholic traditions- Ayla: And even earlier, to the Church fathers who are in the first centuries of Christianity. And it starts off as a very intellectual movement, it's about theology. But then later in the 1830's, a group of men in Cambridge begin to think about how art and architecture of the middle ages can help to promote that earlier Oxford vision. So it comes out of those two universities and eventually that group in Cambridge become the Ecclesiological Society. Steven: And they're ideological sponsors of this building. Ayla: Like A.J. Beresford Hope, who's also a politician and who's a very important writer and thinker in his own right, who puts up the money to create All Saints Margaret Street behind us. Steven: All right, well let's go in and take a look. We've walked into the church. It's beautiful, quiet, dark space. I'm seeing inlaid stone and tile, so how is image and ritual related? Ayla: This building is certainly about the word and it's about scripture but it's also about the east end of the building. It's about the sanctuary. So it's much more focused on what happens on the high altar on the bread and the wine and on what's called the revelation of Christ to humanity, so it's about meeting God in a much more multisensory, full body way. And that's so much of the reason why the visual is so important and telling stories is so important in this building. Steven: The Eucharist does seem like the perfect fulcrum of these ideas. The spiritual made physical. This is a kind of sensory kaleidoscope. Ayla: The ornament and the pattern is most concentrated at the east end of the church where the altar is and also a low but very heavy stone screen which is inspired by John Ruskin's ideas in the Stones of Venice which seems in one way to separate the congregation from all of the special things that are happening in the sanctuary where the bread and wine will be broken and then distributed but it also highlights it. Steven: That screen reminds me of Santa Sabina in Rome, that really old basilica church. Ayla: Because Santa Sabina is such an early example of Christian architecture, it is a real source of inspiration for Victorian architects. You were mentioning authenticity before and what this building is trying to do is genuinely capture all the generations of Christian history, right from the first century. Steven: As we approach the east end of the church, the light came in through this clear story and the sanctuary is now much brighter. Ayla: Instead of having big windows on the ground floor they're actually up above the main arcades on either side. So we have a sense of light descending from above with all of the kind of divine symbolism that comes along with that. It's a very typical way of introducing light in a medieval building. Now what we can see on the east wall is the life of Christ. Steven: Very historicized like the building itself. This is clearly a kind of Victorian conception of 14th century Italian art. Ayla: In the 1840's, when this building was conceived, William Dyce, a very famous Victorian painter, was invited by the patron and by Butterfield, the architect, to paint saints and the life of Christ on the east wall. This deteriorated and soon afterwards, John Ninian Comper repainted Dyce's work in his own style. Comper loved early Italian Renaissance painting. Steven: I want to go back to the artist Dyce for a moment. I'm thinking about some of Dyce's landscape paintings like Pegwell Bay for example, which shows his family picking up perhaps shells and a kind of interest in the natural world, in natural science and yet to think of him in this context, painting the spiritual, there lies an interesting tension in the 19th century between the development of Darwinian thinking, geologic time, and then here, spiritual understanding, spiritual time. Ayla: Actually there was a much more integrated way of thinking about God and science in the mid-Victorian period. Steven: In this church there's stone that was chosen that actually includes fossils. Ayla: Yes, and that screen that we were talking about before, the step that everyone would have to step onto in order to get into the sanctuary and in order to participate in that giving of the bread and the wine. And we can also see it in the top most element of the screen and so the passage of geological time is present even in this most holy threshold of the building. The other place where we can see it is at the font. Steven: The baptismal font. There is something that is awesome and overwhelming when one thinks about the time that this stone represents and you see the creatures that are embedded within it. The mathematical precision of science and spirituality, the infinite come together. Ayla: In the mid-19th century Victorians were struggling with what the discoveries that they were making really might mean. (piano playing)

Biography

William Butterfield was born in London in 1814. His parents were strict non-conformists who ran a chemist's shop in the Strand. He was one of nine children and was educated at a local school. At the age of 16, he was apprenticed to Thomas Arber, a builder in Pimlico, who later became bankrupt. He studied architecture under E. L. Blackburne (1833–1836). From 1838 to 1839, he was an assistant to Harvey Eginton, an architect in Worcester, where he became articled. He established his own architectural practice at Lincoln's Inn Fields in 1840.

From 1842 Butterfield was involved with the Cambridge Camden Society, later The Ecclesiological Society. He contributed designs to the Society's journal, The Ecclesiologist. His involvement influenced his architectural style. He also drew religious inspiration from the Oxford Movement and as such, he was very high church despite his non-conformist upbringing. He was a Gothic revival architect, and as such he reinterpreted the original Gothic style in Victorian terms. Many of his buildings were for religious use, although he also designed for colleges and schools.

Butterfield's church of All Saints, Margaret Street, London, was, in the view of Henry-Russell Hitchcock, the building that initiated the High Victorian Gothic era. It was designed in 1850, completed externally by 1853 and consecrated in 1859.[1] Flanked by a clergy house and school, it was intended as a "model" church by its sponsors, the Ecclesiological Society. The church was built of red-brick, a material long out of use in London, patterned with bands of black brick, the first use of polychrome brick in the city, with bands of stone on the spire. The interior was even more richly decorated, with marble and tile marquetry.[1]

In 1849, just before Butterfield designed the church, John Ruskin had published his Seven Lamps of Architecture, in which he had urged the study of Italian Gothic and the use of polychromy. Many contemporaries perceived All Saints' as Italian in character, though in fact it combines fourteenth century English details, with a German-style spire.[1]

Also in 1850 he designed, without polychromy, St Matthias' in Stoke Newington, with a bold gable-roofed tower. At St Bartholomew's, Yealmpton in the same year, Butterfield used a considerable amount of marquetry work for the interior, and built striped piers, using two colours of marble.[1]

Blue plaque, 42 Bedford Square, London

At Oxford, Butterfield designed Keble College, in a style radically divergent from the university's existing traditions of Gothic architecture, its walls boldly striped with various colours of brick. Intended for clerical students, it was largely built in 1868–70, on a fairly domestic scale, with a more monumental chapel of 1873–6. In his buildings of 1868–72 at Rugby School, the polychromy is even more brash.[2]

Butterfield received the RIBA Gold Medal in 1884. He died in London in 1900, and was buried in a simple Gothic tomb (designed by himself) in Tottenham Cemetery, Haringey, North London.[3] The grave can be easily seen from the public path through the cemetery, close to the gate from Tottenham Churchyard. There is a blue plaque on his house in Bedford Square, London.

Works

See also: Category:William Butterfield buildings
Keble College Chapel, Oxford
St Paul's Cathedral, Melbourne, Australia
St Ninian's Cathedral, Perth, Scotland
William Butterfield's original design for the new Anglican cathedral (St Paul's) in Melbourne, Australia
All Saints, Margaret Street, London (detail of interior)
St Mary's church, Brookfield
St Andrew's Church, Rugby
St Barnabas's Church, Horton-cum-Studley
St Mark's Church, Dundela, Belfast
Font of Ottery St Mary Parish Church, Devon
Chalice designed by William Butterfield, 1856–1857 (hallmarked) V&A Museum no. CIRC.521–1962
Chapel, Rugby School

Butterfield's buildings include:

Publications

Instrumenta Ecclesiastica, 1847
  • Ecclesiological late Cambridge Camden Society, ed. (1847). Instrumenta Ecclesiastica (in Latin). with etchings from drawings by William Butterfield. London: Ecclesiological late Cambridge Camden Society. {{cite book}}: Unknown parameter |agency= ignored (help)

References

  1. ^ a b c d Hitchcock 1977, pages 247–8
  2. ^ Hitchock 1977, page 264
  3. ^ Historic England. "Tomb of William Butterfield in Tottenham Cemetery, Church Lane (1084329)". National Heritage List for England. Retrieved 27 January 2022.
  4. ^ Historic England. "Cotham Church (1282286)". National Heritage List for England. Retrieved 19 May 2017.
  5. ^ "Pleasance, St John's Episcopal Church with Lych Gate and Boundary Wall, Jedburgh, Scottish Borders". britishlistedbuildings.co.uk. Retrieved 14 December 2019.
  6. ^ "Beginnings". Coalpit Heath: St Saviour's Church. August 2008. Retrieved 20 December 2016.
  7. ^ a b c d e f g h i Homan 1984, page 106
  8. ^ Pevsner & Cherry, 1973, page 252
  9. ^ Sherwood & Pevsner, 1974, page 579–583
  10. ^ Pevsner & Cherry, 1975, page 365
  11. ^ Pevsner & Cherry, 1975, page 366
  12. ^ "Ottery St Mary". Exeter and Plymouth Gazette. Exeter. 30 March 1850. Retrieved 14 September 2015.
  13. ^ Historic England. "Golden Lion Hotel (1342241)". National Heritage List for England. Retrieved 30 April 2021.
  14. ^ a b Pevsner, 1966, page 253
  15. ^ Pevsner & Cherry, 1975, page 90
  16. ^ Rhea, Nicholas (1985). Portrait of the North Yorkshire Moors.
  17. ^ Pevsner & Cherry, 1975, page 458
  18. ^ Pevsner, 1966, page 177
  19. ^ O’Brien, Charles; Bailey, Bruce; Pevsner, Nikolaus; Lloyd, David W. (2018). The Buildings of England Hampshire: South. Yale University Press. p. 176. ISBN 9780300225037.
  20. ^ Sherwood & Pevsner, 1974, page705
  21. ^ Sherwood & Pevsner, 1974, page 101
  22. ^ Pevsner & Cherry, 1975, page 162
  23. ^ Pevsner & Cherry, 1975, page 291
  24. ^ "St John the Evangelist Churchyard". London Gardens Online. 1 November 2011. Retrieved 25 January 2015.
  25. ^ Pevsner & Cherry, 1975, page 293
  26. ^ Historic England. "Pitt Chapel School, Pitt (Grade II) (1095781)". National Heritage List for England. Retrieved 7 March 2022.
  27. ^ "History & architecture". All Saints Margaret Street website. Retrieved 26 May 2012.
  28. ^ Historic England. "Church of St. Mary the Virgin (1042179)". National Heritage List for England. Retrieved 18 November 2017.
  29. ^ Pevsner, 1966, page 182
  30. ^ Pevsner & Cherry, 1975, page 531
  31. ^ a b Pevsner & Cherry, 1975, page 82
  32. ^ Historic England. "St Alban's Clergy House and attached railings with lamp-holder (1272352)". National Heritage List for England.
  33. ^ Pevsner, 1966, page 166
  34. ^ Pevsner & Cherry, 1975, page 160
  35. ^ Lanagan, Paul. "Houghton-le-Spring: Hillside Cemetery Lych Gate Restoration". houghtonlespring.org.uk.
  36. ^ Pevsner & Cherry, 1975, page 140
  37. ^ Pevsner & Cherry, 1975, page 319
  38. ^ The Buildings of England: Lancashire – Manchester and the South East, 2004
  39. ^ a b Sherwood & Pevsner, 1974, page 693
  40. ^ Heywood, Joy. "William Butterfield (1814–1900)". Enfield: Saint Mary Magdalene. Retrieved 20 December 2016.
  41. ^ Pevsner, 1966, page 154
  42. ^ Sherwood & Pevsner, 1974, page 164
  43. ^ Pevsner & Cherry, 1975, page 118
  44. ^ "Parishes: Lyndhurst | British History Online". British History Online. 10 June 1908. Retrieved 5 November 2019.
  45. ^ Pevsner & Cherry, 1973, page 470
  46. ^ Pevsner & Cherry, 1975, page 266
  47. ^ "Home". Holy Saviour Church Hitchin.
  48. ^ Pevsner, 1960, page 112
  49. ^ Pevsner & Cherry, 1975, page 268
  50. ^ Sherwood & Pevsner, 1974, page 656
  51. ^ Pevsner, 1966, page 84
  52. ^ Sherwood & Pevsner, 1974, page 685
  53. ^ Marsden, Susan, Paul Stark and Patricia Sumerling, Heritage of the City of Adelaide, Adelaide 1990, pp. 347-349
  54. ^ Pevsner & Cherry, 1975, page 571
  55. ^ Pevsner & Cherry, 1975, page 144
  56. ^ Birtchnell, Percy (1960). A Short History of Berkhamsted. The Bookstack. p. 30. ISBN 978-1-871372-00-7.
  57. ^ Sheppard, F.H.W., ed. (1970). "St. Paul's Church". Survey of London: volume 36: Covent Garden. pp. 98–128.
  58. ^ Pevsner & Cherry, 1975, page 374
  59. ^ Verey, 1970, pages 370–371
  60. ^ a b Pevsner & Cherry, 1975, page 182
  61. ^ Pevsner & Cherry, 1973, page 120
  62. ^ "St Denis' East Hatley". Hatley. Retrieved 8 February 2020.
  63. ^ Pevsner & Cherry, 1975, page 563
  64. ^ Pevsner, 1966, page 254
  65. ^ Pevsner & Cherry, 1975, page 283
  66. ^ Pevsner, 1966, page 357
  67. ^ Sherwood & Pevsner, 1974, pages 225–229
  68. ^ Pevsner & Cherry, 1975, page 95
  69. ^ Pevsner & Cherry, 1975, page 354
  70. ^ Pevsner, 1966, page 68
  71. ^ a b "St. Andrew's parish church, Rugby".
  72. ^ Pevsner & Cherry, 1975, page 591
  73. ^ Pevsner & Cherry, 1975, page 251
  74. ^ "A Community of Faith". stjohnsclevedon.org.uk.
  75. ^ Pevsner, 1966, page 213
  76. ^ Pevsner & Cherry, 1973, page 188
  77. ^ Pevsner & Cherry, 1975, page 105
  78. ^ Pevsner & Cherry, 1975, page 427
  79. ^ "Church of St Peter, Ceulanamaesmawr, Ceredigion". britishlistedbuildings.co.uk.

Bibliography

External links

Wikimedia Commons has media related to William Butterfield.
Wikisource has the text of the 1911 Encyclopædia Britannica article "Butterfield, William".
This page was last edited on 25 May 2024, at 11:18
Basis of this page is in Wikipedia. Text is available under the CC BY-SA 3.0 Unported License. Non-text media are available under their specified licenses. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc. WIKI 2 is an independent company and has no affiliation with Wikimedia Foundation.
Contact WIKI 2
Introduction
Terms of Service
Privacy Policy