Every day in English Tourism Week, we are sharing one of our ‘Top Ten Tourist Treats’ here at Bradford Cathedral.
Today’s treat is Sir Edward Maufe’s “Modern Gothic” extension
20th century Cathedral extensions took place in two stages under the direction of Ilkley-born Sir Edward Maufe, whose stone head can be seen to the right of the organ. The additions to the west end, the Song Room and offices, were completed in 1954, and the east end was renovated and extended mainly from 1958-1963, with the addition of the Lantern Tower, Sanctuary and Lady Chapel. The final completion of the east end of the Cathedral came in 1965, with the addition of the Chapter House, St. Aidan’s Chapel and the south-east porch.
In 1958 the old chancel, which was becoming unsafe- with some roof beams decayed three-quarters of their thickness- was removed. A lantern tower was erected over the old chancel, with a height of over 24 metres or 80 feet. It is visible from many locations and is mounted with a gilded cross and the Cathedral’s emblems of the crossed keys of Saint Peter and a woolsack. You have to look carefully to spot the woolsack!
The stone used for the extension work came from Bolton Woods, contrasting starkly with the coarser gritstone of the older parts of the building. This was particularly the case when the extensions to the Cathedral were first built and for 20 years afterwards, as the building’s stonework wasn’t cleaned until 1983.
Maufe’s “Modern Gothic” east end strikes a careful balance between the old architecture of what was already built and the “new” innovations of the mid-20th century. The principal distinction of his design lies in its relative plainness: for example, at the top of the elevations, the battlements and pinnacles of the medieval church are smoothed out into a flat cornice whose stone banding implies the original proportions. The windows – with the exception of those in the Lady Chapel, where 19th century Morris & Co. stained glass was re-sited – lack the ornamental tracery of the older work, and they are situated flush within the walls without the surrounding mouldings of the medieval church. Maufe didn’t have a great deal of space to work with at the east end, but his use of narrow pointed arches and plain glass windows, apart from the Lady Chapel, give a sense of space and light. Maufe stated on a number of occasions that 20th century architecture should be clearly distinguished from its forebears but he also stated that his aim was “not to rival the existing work but to make a unity with it”. His own approach was shaped in particular by his interest in contemporary Swedish architecture. There are white painted walls, with pale stone edgings of the arches and marble floors, a palette of colours and materials similar to other religious buildings by Maufe and influenced by Scandinavian architecture of that period. There are many elements that can also been seen in Guildford Cathedral, the work for which Maufe is most well-known. These include the bell tower with its simple arched belfry to the south of the Lady Chapel and the use of sculpture as the principal relief on otherwise unadorned elevations: one of the key works is Alan Collins’ sculpture of Christ on the bell tower. Details such as crested rainwater hoppers (here with the Cathedral’s woolsack and crossed keys’ emblem), the blue and gold colour scheme, the use of screens, and railings featuring Biblical quotations, are also typical.
Why not come and see the old and the newer parts of the building together in all their glory and judge for yourself how unified the effect is?