Context 166 - November 2020

4 C O N T E X T 1 6 6 : N O V E M B E R 2 0 2 0 placed in context, and the fines levied may have better reflected the seriousness of the offences than where this cumulative data was either not known about or had not been tapped. Data in the format used online should be forwarded be email to research@ihbc.org.uk. Bob Kindred Beyond the crisis Rebuilding Heritage has been launched as a free support programme, funded by the National Lottery Heritage Fund, to help the heritage sector respond to the impacts of the pandemic. The initiative, coordinated by the Heritage Alliance, will be delivered in partnership, drawing on expertise from Clore Leadership, the Chartered Institute of Fundraising, Creative United and Media Trust. The team will deliver support through a range of methods, including dedicated one-to-one and group mentoring sessions, and open-access webinars and resources. The first wave of support will be Darlington Street Methodist Church, Wolverhampton: efforts to find a purchaser have failed. themed aroundWays out of Crisis. For details see www. rebuildingheritage.org.uk, and sign up to the mailing list to receive updates: https://rebuilding- heritage.onlinesurveys.ac.uk/ rebuilding-heritage-mailing-list. Danger list The Victorian Society has revealed its list of the most endangered Victorian and Edwardian buildings in England andWales. We illustrate one of them. The former Bavaria Place police station in Bradford, listed Grade II, was designed by Milnes and France architects and built in 1877. Milnes and France, one of the largest architectural practices in Bradford, built the Bradford District Bank building (1873) and the exquisitely detailed Bradford Old Bank (1885). After the council served an urgent works notice on the police station in 2003, the building was made secure and weathertight, but further repairs are long overdue. The Grade II* listed Darlington Street Methodist Church in Wolverhampton, designed by Arthur Marshall and built in 1900–01, is a local landmark, with its copper dome and twin west towers. The interior has vaulted ceilings with richly ornamented plasterwork, and original gallery seating. From Leadwork (1893) byWR Lethaby Commercially produced imitations of ornamental works are infinitely beneath the merely utilitarian object which serves its purpose and attempts nothing more. Behind all design there must be a personality expressing himself; but certain principles of treatment and methods of working may be understood in some degree by a study of past work without going all through it again. History thus makes the experience of the past available to us, but it does not relieve us of the necessity of ourselves having experiences. There is a great stimulus in feeling one of a chain, and entering into the traditions of a body of art… New design must ever be founded on a strict consideration of the exact purpose to be fulfilled by the proposed object, of how it will serve its purpose best, and show perfect suitability to the end in view when made in this or that material by easy means. This, not the torturing of a material into forms which have not before been used, is the true ground of beauty, and this to a certain extent is enough without any ornamentation. Ornament is quite another matter, it has no justification in service, it can only justify itself by being beautiful… As a general rule it will be found that the workers of the middle ages penetrated at once to the reason of a thing in structure and then decorated it with an evidence of fresh thought – a delight in growth, form, humanity, in one word Nature, the source of all beauty and subject of all art. Each thing made is evidently by an artist; it expresses reasonable workmanship and happy thought in pleasant solution of some necessity of actual service… The only way in which the crafts can again be made harmonious by beauty is for men with a sense of architectural fitness and a feeling for design to take up the actual workmanship and practise it themselves as they would painting or sculpture, seeking the delight of being good artists, not the reputation of being successful merchants or clever professional men.

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