(fl London, 1865–82).
English furniture designer and manufacturer. He may have been trained by the Gothic Revival architect and furniture designer J. P. Seddon, whose work certainly influenced his first published design, a davenport in a geometric Reformed Gothic style, in the Building News of 1865. That year he also advertised a ‘New Registered Reclining Chair’, made by Marsh & Jones of Leeds, whose London showrooms were near his own premises off Cavendish Square. In 1865 Marsh & Jones supplied the Yorkshire mill-owner Sir Titus Salt with a large group of furniture, including a bedroom suite, and in 1867 with the case of an Erard grand piano (all Leeds, Temple Newsam House) designed by Bevan; described at the time as ‘medieval’, the pieces are decorated with geometric marquetry ornament. Bevan designed a bookcase for the Manchester firm James Lamb, which was shown in the Paris Exposition Universelle of 1867, and by the following year was also designing for ...
American architect. There is evidence that Bond was trained by Solomon Willard. Certain of Bond’s designs suggest the Greek Revival approach that Willard brought from Washington, DC. Bond’s style moved between Gothic Revival and a Neo-classical heaviness. In the Salem City Hall of 1836–37 the two-storey Greek Revival façade shows his carefully proportioned details. An example of Gothic Revival is St John’s Episcopal Church and Rectory (1841), Devens Street, Boston, which has a rather heavy granite façade dominated by a square tower with a battlemented roof-line; there are large quatrefoil windows in the walls below. In the same year Bond was called to Oberlin College in Ohio to design First Church, which had to be a Greek Revival design. He worked on Lewis Wharf (1836–40; later remodelled), Boston, where certain walls reflect his attraction to boldly massed granite surfaces. Bond’s best-known buildings during his life were at Harvard University, Cambridge, MA. These included Gore Hall (...
(b Hatford, Wantage, Berks, March 30, 1825; d London, Oct 7, 1901).
English architect and designer. Along with G. F. Bodley and J. L. Pearson he was the major designer of Gothic Revival churches in the later Victorian period. He began his training in London in 1847 and entered the Royal Academy Schools two years later, but his contacts in Oxfordshire with important High Church patrons such as John Butler, the vicar of Wantage, and key architect members of the Ecclesiological Society, including G. E. Street and William White, are of greater significance. As was the case with Street and White, secular commissions were to occupy only a minor part in Brooks’s career.
Brooks set up as an independent architect in London in 1852. Little happened, however, until 1860, when he began rapidly to gain prominence through a sequence of town churches. The issue of building large churches for the working-class poor in the unfashionable new districts of London was a major concern at this time among the Ecclesiologists, particularly A. J. B. Hope (ii), and even provoked debates in Parliament; a ‘model town church’ was then provided by ...
(b 1811; d 1887).
American furniture-maker based in New York. He was active from 1841, when he entered into a partnership, and was based in Brooklyn from the 1850s. The best-known examples of his furniture are a Gothic Revival armchair (c. 1847; New York, Met.) and an elaborately decorated cabinet (built to accommodate a set of Audubon’s ...
(b Belfast, Nov 5, 1811; d Montreal, Nov 19, 1885).
Canadian architect of Irish origin. The son of an architect of the same name, he arrived in Quebec City in 1830. He established a practice there in 1831 and designed houses, including a Gothic Revival villa for the provincial secretary Dominick Daly (1798–1868), who may have been responsible for Browne’s appointment as Chief Architect for the Board of Works. He designed many public buildings in Kingston and Montreal; the former became capital of the Province of Canada in 1841, and Browne was commissioned to modify, add to and erect various government buildings. His masterpiece in Kingston is the City Hall (1843–4; then known as the Town Hall and Market Building), the commission he won in a competition held in 1841. The City Hall shows his characteristic massing of volumes and contrasting textures, using a varied vocabulary and a strong sculptural sense. Facing the waterfront, the main entrance to the T-shaped City Hall has a pediment supported by four columns, surmounted by a tall dome capped by a cupola. He was also responsible for many commercial and domestic commissions in Kingston, notably the houses known as St Andrew’s Manse for St Andrew’s Presbyterian Church and Rockwood for ...
(b London, Dec 2, 1827; d London, April 20, 1881).
English architect and designer. His flamboyant and original High Victorian architectural style was influenced by French 13th-century Gothic, but he drew also on sources of many other periods. He is best known for his work at Cardiff Castle and Castell Coch for his patron, the Marquess of Bute. His designs for the decorative arts, particularly furniture and metalwork, are equally inventive and elaborate. He was friendly with the leaders of the Pre-Raphaelite movement, employing a number of Pre-Raphaelite artists and craftsmen in his decorative work.
He was the eldest son of Alfred Burges, a marine engineer and partner of James Walker (1781–1862). Walker & Burges were government engineers for many military and civil projects. Alfred Burges was immensely successful and the family wealth later enabled William to be selective in his commissions.
William Burges attended King’s College School, London, from 1839; here he was a contemporary of Dante Gabriel Rossetti and studied under ...
(b London, Sept 7, 1814; d London, Feb 23, 1900).
English architect and designer. He committed his feelings and creative energies to the High Anglicanism of the Oxford Movement from the early 1840s and to its expression through the revival of Gothic architecture and design, then vociferously advocated by the Ecclesiological Society, of which he became an active member. Butterfield’s extensive output was almost exclusively confined to the building and restoration of churches and associated buildings, such as vicarages and schools.
He was the eldest son of a London chemist, and his parents were Nonconformists. From 1831 to 1833 Butterfield was articled to a Pimlico builder, Thomas Arber, from whom he must have derived the detailed understanding of practical building that was to be basic to his architectural practice. Between 1833 and 1836 he was the pupil of E. L. Blackburne, a London architect with strong antiquarian interests, and in 1838–9 he became assistant to a Worcester architect, probably Harvey Eginton, whose practice included church building and restoration. During this period Butterfield must have begun to acquire the profound knowledge of medieval architecture that was to underlie all his work. In ...
G. Gaeta Bertelà
(b Lyon, April 22, 1827; d Florence, Sept 21, 1888).
French collector. His father Jean-Baptiste Carrand (1792–1871) was a collector of medieval and Renaissance decorative objects (Byzantine and Gothic ivories, Renaissance maiolica, enamelwork, arms, bronzes and coins) and a connoisseur of manuscripts and documents, first in Lyon and then in Paris, where Louis worked in partnership with him. Their most prestigious purchases were some early medieval and Gothic ivory pieces and the famous flabellum (9th century, court of Charles the Bald) from the Benedictine abbey of Tournus in Burgundy. In 1867 they exhibited ivories, bronzes, arms, wood-carvings and secular gold items in the Exposition Universelle, Paris. After his father’s death Louis continued to enlarge the collection. In particular he added early medieval and Renaissance textiles. In 1880 he moved to Nice and in 1881 to Pisa, where he remained until 1886, continuing to buy artefacts not only from French and Italian sales but also from England, Germany, Greece and Turkey. In ...
(b Leicester, 1831-06-21; d Birmingham, 1883-10-22).
English architect. He was a pupil of H. Goddard (1792–1868) in Leicester and moved to Birmingham in 1856 where he became the foremost late 19th-century Gothic Revival architect. He was closely associated with the ideas of Joseph Chamberlain (who was no relation) and the Liberal party. He was also an ardent disciple of Ruskin and became trustee of Ruskin’s Guild of St George. From 1865 to 1883 he was Secretary of the Birmingham and Midland Institute, for whom he designed an extension (1880; destr. 1966) to E. M. Barry’s original building. Chamberlain favoured a strong, geometric Gothic style, using industrially produced materials such as red brick, terracotta, encaustic tiles and cast iron in his buildings. His first works, a shop in Union Street (1857; destr.) and Eld House (c. 1858) in Edgbaston, were both for his uncle. The polychromatic Venetian style of the house was in sharp contrast to the classical stucco buildings of that area. From ...
(b Feluy, Jan 10, 1849; d Ghent, Jan 11, 1920).
Belgian architect and writer. He trained as a civil engineer under Adolphe Pauli at the Ecole Spéciale de Génie Civil of the State University of Ghent. As a student he came into contact with the Belgian Gothic Revival movement centred on Jean-Baptiste Bethune and the St Luke School in Ghent, founded by Bethune in 1862. From 1874 Cloquet worked with the publishers Desclée. His early architectural work was similar to that of Bethune, Joris Helleputte and the first generation of St Luke architects. His most important projects were built around the turn of the century: the University Institutes (1896–1905), Ghent, and the Central Post Office (1897–1908), Ghent, the latter with Etienne Mortier (1857–1934), a pupil of Helleputte. In them Cloquet adopted a more eclectic though still predominantly medieval style, also introducing Renaissance motifs. Between 1904 and 1911 he designed a redevelopment plan for the historic centre of Ghent, between the early 14th-century belfry and the 15th-century church of St Michael, known as the Kuip, which was realized before the Ghent World Fair of ...
(b Limerick, 1840; d Toronto, Dec 13, 1904).
Canadian architect of Irish birth. He trained in the architectural office, in Dublin, of J. J. McCarthy, who was known as the Irish Pugin from his mastery of the Gothic Revival style. Connolly served as McCarthy’s chief assistant, made a European study tour and by 1871 was in practice in Dublin. In 1873 he moved to Toronto and formed a partnership with Silas James, which was dissolved in 1877. Connolly designed or remodelled more than 30 churches for Roman Catholic patrons in Ontario as well as the cathedral at Sault-Sainte-Marie, MI. He worked primarily according to the ecclesiological doctrines contained in A. W. N. Pugin’s True Principles (1841). His finest work, the church of Our Lady (1876) at Guelph, combines the plan of Cologne Cathedral with its ambulatory and radiating chapel, with details inspired by McCarthy’s Monaghan Cathedral, St Macartan’s (begun 1861). Variants on the Guelph design occur at St Peter’s (...
(b Hampton Falls, NH, Dec 16, 1863; d Boston, Sept 22, 1942).
American architect and writer. Cram was the leading Gothic Revival architect in North America in the first half of the 20th century, at the head of an informal school known as the Boston Gothicists, who transformed American church design.
In 1881 Cram was apprenticed to the firm of Rotch & Tilden in Boston. His letters on artistic subjects to the Boston Transcript led to his appointment as the journal’s art critic by the mid-1880s. In 1886 he began his first European tour. In 1888 he founded the firm of Cram & Wentworth with Charles Wentworth (1861–97). With the arrival of Bertram Goodhue, the firm became Cram, Wentworth & Goodhue in 1892, and in 1899 Cram, Goodhue & Ferguson, with Frank Ferguson (1861–1926) having joined the office as business and engineering partner following the death of Wentworth.
Cram was strongly influenced both by the philosophies of John Ruskin...
(b Gemona, Udine, Aug 31, 1857; d San Remo, Imperia, May 3, 1932).
Italian architect. The son of a building contractor, at 14 he was working as a mason in Graz, Austria, and attending the local Baukunde where Leopold Theyer taught neo-Gothic and neo-Renaissance architectural design. He returned to Gemona in 1874 and after voluntary military service with the military engineers in Turin, where he learned the techniques of structural work in wood, he attended the Accademia di Belle Arti in Venice, studying under Giacomo Franco and graduating in 1880.
After a brief period (1881) during which he taught at the Accademia di Carrara, D’Aronco’s career can be divided into three phases: in the first decade he was associated with Giuseppe Sommaruga and Ernesto Basile as one of the leading architects of the Stile Liberty (It.: Art Nouveau); the second, c. ten years either side of 1900, was when much of his work was in Turkey; and the third, after 1908...
Canadian architectural partnership formed in 1895 by Frank Darling (1850–1923) and John (Andrew) Pearson (1867–1940). Frank Darling’s career was founded in the Gothic Revival and conditioned by the ecclesiological inclinations of his father, the first cleric to introduce Anglican high church ritualism and fittings into Toronto. He studied for three years in London in 1870–73, in the offices of G. E. Street and Arthur Blomfield (1829–99), and in 1874 established his practice in Toronto. His most important early works were High Anglican parish churches in Toronto that drew on English Gothic Revival and then American Romanesque Revival sources, especially for the unfinished church of St Mary Magdalene in central Toronto (1886–92). The contacts made through church work led to institutional and commercial commissions, such as Trinity College, Toronto (1877–1905, destr.), and in 1880 Darling won a competition for the Legislative Buildings, Toronto (not executed), for the Province of Ontario. After ...
(b Niederscheidweiler, nr Wittlich, 1835; d Cologne, 1874).
German sculptor. Early in his career he worked in Cologne with the neo-Gothic sculptor Christoph Stephan (1797–1864). Alexander Schnütgen, the Domkapitular of Cologne Cathedral, recommended him to August Ottmar von Essenwein, who from 1868 had been restoring St Maria im Kapitol in Cologne. For this church Elscheid sculpted the life-size Pietà (c. 1870) for the south transept (now in the crypt) and the over-life-size wooden Triumphant Crucifixion group (c. 1870; Bonn-Poppelsdorf, St Sebastian), the latter inspired by the late Romanesque group depicting the same subject in the chapel of Schloss Wechselburg. A Vesperbild in the Katholische Pfarrkirche Mariae Himmelfahrt in Mönchengladbach and one in Kempen (Städt. Kramer-Mus.) are so similar stylistically that they can be attributed to Elscheid. A Heart of Jesus (c. 1870) in the narthex of St Maria im Kapitol may also be by Elscheid. In addition to these commissions, he carved small hard-wood statues in the High Gothic style that was prevalent in Cologne. They were rendered with such skill that in later years they were assumed to be either authentic Gothic works or fakes. It is uncertain, however, whether he intentionally intended these sculptures to deceive the viewer. The controversy over their origins has resulted in a renewed interest in them and has led to the rediscovery of several that were previously little-known. Such works (all ...
Christopher A. Thomas
(b Bath, March 8, 1823; d Ottawa, Sept 28, 1898).
Canadian architect of English birth. He was trained in Bath under James Wilson (1816–1900), who specialized in the design of Nonconformist churches, usually in the Gothic style, and schools. Fuller’s earliest-known independent commission was the rebuilding (1845–8) of the Anglican cathedral in Antigua, which had been destroyed in an earthquake. He produced an elaborate design for a cruciform building with an Italianate stone exterior, an earthquake-proof interior timber frame, and a richly panelled classical interior. However, because it failed to conform to the prevailing Gothic Revival style, it was criticized by the progressive English architectural press.
Back in England by 1847, Fuller formed a partnership with William Bruce Gingell (1819–1900), also a pupil of Wilson’s, who is known chiefly for his later designs in Bristol in a massive Byzantine style. Fuller & Gingell, who had offices at Bath and possibly Bristol, followed Wilson in their preference for commissions of a public and institutional character, usually rendered in the fashionable Italianate style. By this time, however, Fuller was keenly interested in the Gothic Revival and is said to have assisted ...