Category Archives: Social History

The Liverpool Overhead Railway (aka the Dockers’ Umbrella) – 1893-1956

Carriage 3 of the LOR

Carriage 3 of the Liverpool Overhead Railway, preserved in the Museum of Liverpool

On a recent visit to the Museum of Liverpool on the Mersey waterfront, Carriage No.3 of the Liverpool Overhead Railway made a real impression. It is the only significant surviving artefact of the Overhead Railway, fully restored and displayed on a replica of the railway’s raised infrastructure.  It was one of the original 1893 carriages, and surrounding it on the first floor of the museum is a section dedicated to the Liverpool Overhead Railway (LOR).  Carriage No.3 is a glossy delight, and because it is displayed on an infrastructure reflecting its actual height of 16ft (4.8m) above the ground, it conveys some idea of how the Overhead railway originally looked, and how it acted as a sheltered walkway for the dockers moving between different docks and both company and administrative buildings on or near the waterfront.  The carriage is at the centre of a display about the Liverpool Overhead Railway in the museum.

Overhead Railway at the Liver Building

Overhead Railway running past the Port of London Building, the Cunard Building and the Royal Liver Building, sometime after 1917, with horse-drawn carts still very much in evidence. Source: Gutted Arcades

Of all the heritage losses in Liverpool, one of the most painful has to be the Liverpool Overhead Railway (LOR), affectionately known as “The Dockers’ Umbrella” or “The Ovee.”  The world’s very first overhead electric railway, it opened in 1893 with thirteen  stations, and was extended over the following, serving both workers and tourists. The Overhead was damaged a number of times during the Second World War due to its proximity to the docks, but it was always swiftly repaired.  The announcement of its closure was made in 1955 and in spite of considerable protest it was shut down in December 1956, and was dismantled from September 1957.

The railway ran the length of Liverpool’s docks, the earliest of which, built by Thomas Steers in 1715, is now known as “Old Dock” (the subterranean remains of Old Dock can now be visited – see my post here).  It initiated the steady growth of Liverpool’s docks in a chain along its long, relatively straight waterfront  This gently curving, linear chain was the key to the viability of a single passenger transport system that would help to integrate all the docks and, most importantly, relieve severe traffic congestion at street level.

A map of the Liverpool Overhead Railway

A 1930s map of the Liverpool Overhead Railway

 

Electric train on the LOR, 1902

Electric train on the LOR, 1902. Source: Wikipedia

The port of Liverpool was expanding and increasing amounts of cargo and passenger traffic were putting a strain on the waterfront transport infrastructure, which was becoming increasingly congested with horse-drawn vehicles including carts, buses, omnibus- trams, cabs and carriages, as well as trucks and lorries and two horse-drawn goods railways.  In 1850 alone 3.5 million tons of shipping entered Liverpool, entering docks that ran along a densely packed waterfront that by 1890 reach 7-miles, more than double the length from the 1840s.   Most of the dock shipping consisted of sailing ships but an increasing number of steam-powered vessels were making their presence felt and were slowly replacing sail, becoming all-important with the opening of the Suez Canal in 1869.  All vessels had to be offloaded and then reloaded with an onward cargo, nearly all moved by horse-drawn cart.  Huge numbers of dockers, labourers and craftsmen as well as ship passengers (including emigrants) and transient sailors were putting enormous pressure on the city’s transport systems.  As the docks continued to be built along the waterfront it was becoming more difficult to transport dock workers, administrators, labourers, local and foreign sailors and passengers (including significant numbers of emigrants until c.1920) to their respective docks, ships and warehouses, whilst office workers in buildings on the waterfront found it increasingly difficult to get to and from work, with the all-important Dock Road becoming the most congested road in Liverpool.

Elevated railway New York 1876

Elevated railway in New York 1876. Source: Wikipedia

An elevated steam railway in New York provided a suitable model for a transportation system that might help to solve Liverpool’s traffic problems, and was first proposed for Liverpool in 1853 by engineer John Grantham.  However, it was not until after the docks had expanded even further and the traffic congestion reached crisis point that the idea was revived by the Mersey Docks and Harbour Board and dock engineer George Lyster was sent to New York to inspect the elevated railways that had operated so successfully there since 1872.  Shipping magnate Alfred Holt, a former member of the Mersey Docks and Harbour Board, put his name behind the project and in 1882 George Lyster presented a convincing report to the Board, which decided to proceed with an overhead railway.  The initial Act of Parliament that enabled the work to proceed were the Mersey Docks and Harbour Board Acts of 1879, 1882 and 1887, the latter enabling a double line to be built after the Board of Trade refused consent to the initial, more modest proposal for a single line with passing  places.  This was followed by the incorporation of the Liverpool Overhead Railway Company (LORC) in 1888.  Sir William Forwood, who had been President of the Chamber of Commerce between 1872 and 1877 was placed in charge.  In 1889 the new company issued a prospectus issuing £450,000 in £10.00 shares.

Approaching James Street Station

Approaching James Street Station. Source: National Museum of Liverpool

Seaforth Sands. Source: Wikipedia

The approach to Seaforth Sands Station. Source: Wikipedia

The first task was to source land, and this was leased from the Mersey Docks and Harbour Board (MDHB) for a period of 999 years, after which the engineers Douglas Fox and James Henry Greathead were appointed to oversee the development of the new overhead railway.  Although New York had provided the initial idea for the LOR, its trains were steam-powered.  This was rejected in favour of an electric railway , which would avoid a number of difficulties associated with steam, including the weight of steam engines, the danger of falling oil, coals and sparks on people, horses and vehicles below as well as the risk of fire to warehouses and sheds, particularly those that contained highly flammable sugar, rum and cotton.  There was some precedent for electric services.  In America there were nearly 2500 miles of electric tramways in service, in England the first electric railway was the City and South London line in 1890, an electric tramway was working in Blackpool, and in Liverpool the Electric Supply Company had built a small electricity generating station in the area where Liverpool’s commercial and administrative offices were based, and this was very successful.

The LOR under construction.

The LOR under construction. Pall Mall Budget 1893. Source: British News Online

Work started in November 1889. Iron columns were erected and spans of the main infrastructure, based on iron girders, were pre-assembled in the yard.  The standard span length was 50ft, but other sections had to be adapted to the needs of the railway line. The structures had to be stiff to withstand the impacts of the moving carriages, and this was supplied primarily by steel decking that was riveted into position.  Each span was raised on to a trolley on the railway and lifted into place by an ingenious mobile gantry and its cranes, with the gantry moving along the route as the assembly took place.  Steel rail tracks were then bolted on to sleepers.  The rails were laid according to a standard gauge track, 4ft 8ins in width. As it was raised 16ft (4.8m) off the ground, it acted as an “umbrella” for pedestrians and vehicles, whilst roads and tramlines criss-crossed beneath it.  Four movable bridges were built into the plan, to allow tall loads to pass through the railway.

The moving gantry with a horse-drawn train beneath it.

The moving gantry with a horse-drawn train line beneath it. Pall Mall Budget 1th January 1893. Source: British Newspapers Online

 

Prime Minister Lord Salisbury turning on the electricity to the LOR

Prime Minister Lord Salisbury turning on the electricity to the LOR. From the Illustrated London News 11th February 1898. Source: British Newspapers Online

The build took four years, and when it was completed in January 1893 it had thirteen stations over an initial five mile route from Alexandra Dock in the north to Herculaneum Dock in the south and had its own electricity generating station at Bramley-Moore Dock.  The first official trip was undertaken by dignitaries on the 7th January 1893.  This was followed by a ceremony on 4th February to declare the Overhead Railway open, when no lesser personage that the the Prime Minister Lord Salisbury flicked the switch at the electricity generating station. The railway opened to the public on 6th March 1893.

Map of the Liverpool Overhead Railway in relation to the modern Metro rail line. Source: Wikimedia

Map of the Liverpool Overhead Railway in relation to the modern Metro rail line (click to enlarge). Source: Wikimedia

The LOR became an instant hit, an artery that connected all the docks along the waterfront.  It also connected all the important dock-related buildings that related to the docks, such as shipping companies, bonded warehouses, H.M. Customs, forwarding houses, provisioning merchants (supplying food to ships), hotels, hostels, pubs and other food and drink outlets, ship repair yards, transport depots, and stabling for horses.  It must have created a sense of integration and cohesion quite unlike that in any other British dock system.  The line was extended first in 1894 to Seaforth Sands in the north, partly to generate more income from residential areas in the evenings when the railway was under-employed in the more central areas, and to encourage an untapped tourist trade to the beaches beyond the docks (see below).  The LOR was extended again in 1896, this time to the south to Dingle at Park Road.  The Dingle station required the excavation of a new tunnel, its blocked entrance one of the last surviving features of the LOR, and was the only station on the line to have been underground.

The route was short, totalling just over seven miles, including its extension; its connections with other railways were unimportant, and its traffic was based on a very large number of passengers paying, on average, low fares . . . Compared with most railways, its customer base, rooted in the business of the port, was not so much changeable as positively volatile (Adrian Jarvis, 1996, p.6)

All of the overhead platforms required stairs from ground level.  Most of these were very basic, but the more popular stations, like Pier Head and Seaforth were more elaborate, with covered staircases and platforms. At Gladstone Dock Station there were two bridges over the track to enable people to change platforms.

Pierhead Station at the time of the station opening.

Pierhead Station at the time of the station opening, showing one of the movable bridges and a range of ships’ masts beyond. A horse-drawn tram can be seen under the LOR at left.  Illustrated London News, 11th February 1893. Source: British Newspapers Online

 

The earliest carriages were not pulled by a separate engine, because each carriage had its own engine installed.  Initially each train was composed of two carriages, each of which had a 60hp engine enabling a speed of 13 miles per hour.  The two powered carriages consisted of one 3rd class (for 40 passengers) and one 1st class (for 16 passengers).

 

An original illustration of the LOR carriage design

An original illustration of the LOR carriage design. Source: Grace’s Guide

 

Later on, a third carriage was added between the two powered ones with two 3rd class carriages flanking an unpowered middle one that was 1st class.  Combined, the three carriages could carry up to 140 people.  A single small steam engine named “Lively Polly”  was employed in the initial construction phases and was retained for maintenance work, including removal of ice from the tracks.

The curved seats made of wooden slats in 3rd Class

The curved seats made of wooden slats in 3rd Class were apparently very uncomfortable, but look great. Carriage 3 in the Museum of Liverpool

The carriages were manufactured in Birmingham by Brown, Marshall and Co.  Carriages like Coach 3 at the Museum of Liverpool were made of Burmese teak.  An initial order of 30 carriages was made for the LOR in 1892.  After the initial build they were sent to the Carriage Shed at Seaforth Sands for fitting with the electrics, with the motors installed under the floors.  Two classes were originally envisaged, a 1st and 2nd class but after 1905 only 1st and 3rd classes were employed to avoid confusion when the LOR joined forces with the Lancashire and Yorkshire Railway.

An advert for sightseers in the Museum of Liverpool. It is sensibly displayed behind glass, and as a result of the low light and reflections my photograph is very fuzzy, but clockwise from top left it advertises Mossley Hill Zoo (open between 1932 and 1938), the beach at Seaforth Sands, the docks themselves (“a wonder of the world”), and the River Mersey with all its exciting shipping traffic

As well as creating a transport link between the docks, corporate and administrative buildings and the residential areas of the city, the LOR provided sightseeing tours at weekends for Liverpool families.  Not only was the LOR initially a novelty, but it also provided superb views of the Mersey docks with all their cranes, masts and funnels, with ships of all shapes and sizes, from sailing ships to steamers, and from small tramp steamers to magnificent ocean liners.  The Liverpool Overhead Railway Company, with a keen eye to making the most of the railway, made arrangements with shipping lines for visitors with special tickets to enter the docks to visit some of the luxurious ocean liners that came into dock, providing local people with a sense of the unreachable, glamorous lifestyles of their fashionable passengers and of the far-off sophisticated and exotic places that the ships visited.

Seaforth Sands

Seaforth Sands. Source: Sefton Council Archives

The northernmost stop after 1894 was Seaforth Sands, and this gave access to the beaches to the north of the docks, providing a more conventional day out at the seaside with the day-trip staples of sand, sea and ice-cream.  Special tickets allowed dogs to board the trains for family outings.  Links from the LOR to tram routes allowed visits to tourist destinations both within Liverpool and further afield.

In 1901 Seaforth Sands was the first ever railway station in England to have an escalator (a “Reno inclined elevator”) installed in a roofed-in passageway from ground floor to platform level.  It had wooden slats 3 inches wide that were faced with India rubber, with each tread running on wheels in continual motion, with a handrail that moved in tandem.  Although escalators had been in use for some time in Manhattan, New York, it was only the second to be installed in the UK, after Crystal Palace in London, and the first used on a railway.  A lovely piece in the Journal of Commerce in 1901 argues both the health and cost benefits:

An ingenious estimate is that the average passenger climbs in the ordinary way of travel  on elevated roads some 24,000ft vertically per annum, thus spending 13 1/2 hours in climbing and expending 1.85 horse-power.  With the inclined elevator this will be avoided, and will result in longer life to passengers, thereby retaining their customer longer to the railway,

Sadly, it had to be taken out of service when it became a real hazard due to women catching their long dresses in the moving parts.

Tickets from the LOR. Source

Tickets from the LOR at the Museum of Liverpool

In 1902 the LOR was forced to respond when the previously horse-drawn trams were replaced by electrified trams, which also carried passengers into the shopping areas that were beyond the reach of the railway.  In fear of the competition, the company increased the speed of their trains by upgrading their engines from 60hp to 100hp.  After some time the running costs proved to be prohibitive, and the increased strain on rolling stock also raised concerns, so in 1903 the trains were slowed to a more cost-effective speed.  Other costs were incurred from the wear and tear on wheels due to the curve line, but this was addressed by the LOR’s General Manager and engineer E.J. Neachell who innovated an automated lubrication system that significantly improved their longevity.

“New signal for Electric Railways” Railway Times, 2nd March 1907

Another important innovation on the LOR in 1902 included an automatic semaphore signalling system to replace manual signals.  The company was the first railway to install an automatic signalling plant in Britain after it was approved by the Board of Trade in December 1891.  It came into service in March 1893.

In 1905, in another attempt to maximize revenue, a direct connection was made to the Lancashire and Yorkshire Railway’s North Mersey Branch at the far north of the LOR a through-train was run to Southport, and in 1906 a link was made to Aintree.  It was hoped that the direct through service might produce more passengers travelling first class.  Although the through-train service to Southport was never sufficiently successful, and ceased in 1914, passengers could still change from the LOR to the Lancashire and Yorkshire to travel to Southport, and the link to Aintree continued to be popular for race meetings.  By this time, just before the outbreak of the First World War, the LOR was carrying some 10 million passengers.  The railway continued in its role as a passenger service during the war years, but it also saw some changes, servicing the passengers from the troop and supply ships coming into dock.

The Three Graces: The Royal Liver Building at left, the Cunard Building in the Middle and the Port of Liverpool Building at right.

Some of the most remarkable of Liverpool’s buildings had to adapt to the LOR.  Sitting behind it, the striped White Star Line building was finished in 1898, five years after the opening of the LOR.  Even more dramatic than that iconic building, the waterfront was changed forever between 1907 and 1917, the trio of buildings known as “The Three Graces” were built after the LOR had been running for nearly a decade on the site of the 1777 George’s Dock, which was still in situ in 1893, but was in-filled in 1900.  The Port of Liverpool Building (the headquarters of the Mersey Dock and Harbour Board) was completed in 1907, the Royal Liver Building in 1911 and the Cunard Building in 1917. The LOR ran, uninterrupted, behind the new buildings. Other notable buildings that would have been in view of the Overhead Railway as Liverpool’s impressive waterfront continued to evolve  are the Art Deco style George’s Dock Building (1934) and the India Buildings (1932).

Bombing damage at James Street Station.

Bomb damage at James Street Station. Source: National Museums Liverpool

In the early years of the railway, both manned signal boxes at key junctions and automated semaphore signals were used.  An innovation was introduced in 1921 when Westinghouse coloured light signals were introduced.

During the Second World War the LOR continued to serve as a vital link between all the docks.  Due to its proximity to  the Liverpool docks, which were targetted by German bombers, the Overhead Railway was damaged during these raids several times.  James Street Station was almost levelled in 1942, for example, and Canada Dock Station was hit twice, but most of these attacks were at night and no trains were lost.  In all cases the bombed-out sections were brought back into service very quickly.  During repairs a bus service was introduced to transport passengers between stations either side of damaged sections.  As with many other services, for the first time women were employed in ticket offices and as conductors on trains to replace the men who went to war.  Standard maintenance was severely reduced during the war, and it is probable that this neglect was partially responsible for the financial difficulties in which the Liverpool Overhead Railway Company found itself after the war.

Source: British Newspapers Online

In 1955 the decision to close the Overhead Railway was made.  The announcement of the closure was made in the February of that year, and the authorities remained immovable, in the teeth of vocal public opposition.  The main reason was the rust corrosion of the iron and steel that carried the railway.  For a private company with limited resources, raising the estimate sum of over £2 million to renovate the railway was inconceivable for the Liverpool Overhead Railway Company in the post-war period, and the city authorities made the decision not to rescue it, whilst nationalization of the main railway companies in 1948 under the Transport Act 1947 excluded the LOR because it was not part of the main railway network.

The Liverpool Overhead Railway finally closed on December 30th in 1956 and the Liverpool Overhead Railway Company was forced into voluntary liquidation.  Demolition began at the south end of the LOR in 1957.  The iron bridges were all dismantled and purchased by scrap dealers for recycling.  The Liverpool Corporation provided a bus service to replace the railway.

Source: British Newspapers Online

 

Disappearance of the Overhead Railway.

Disappearance of the Overhead Railway, with the supports in the foreground and the railway being dismantled in the background. Liverpool Echo, 27th September 1957. Source: British Newspapers Online

Cap badge from the LOR

Cap badge from the Liverpool Overhead Railway. Source: Wikipedia

Final Comments

The Liverpool Overhead Railway was viable because of the arrangement of the docks along an almost straight waterfront.  As a comparison, London’s docks were dotted along the Thames in separate, discrete systems that spread inland on both sides of the river due to the extreme u-shaped bends, rendering them unsuitable for anything like the Overhead Railway.  Transport and communication between the different London dock systems was often laborious.  See the London and Liverpool dock maps below for comparison, showing the dramatic difference between the two systems, demonstrating how Liverpool’s waterfront development made the LOR a very suitable solution, creating a fluid means of carrying passengers between different docks and related warehousing, commercial and government buildings.

1904 map of the London docks by Edward Standford

1904 map of the London docks by Edward Standford

A map of the Liverpool Overhead Railway

A map of the Liverpool Overhead Railway in the 1930s, showing the layout of the docks

 

The Docklands Light Railway

The Docklands Light Railway. Source: Visit London

As well as being the world’s first electric elevated railway, the Liverpool Overhead Railway was the first to install an escalator, the first to introduce automatic semaphore signals and the first to introduce colour signalling lights.  As well as being important to local history, the Liverpool Overhead Railway remains an important part of British dockland history, partly because of its innovative approach as a feat of electrical engineering, with its ongoing committent to innovation, but also because of its role in Liverpool’s social and economic history.  It influenced many other elevated railways including London’s driverless Docklands Light Railway, which opened in 1987 to link parts of the newly developed financial centre in London Docklands with the City and the underground network.   In some ways, London’s Docklands Light Railway serves a similar function today, although with a lot less personality, linking business and commercial centres that need to be connected to each other and to the City.

Even though the LOR was demolished in 1956, its loss is still deeply regretted in Liverpool, with many local people who were children at the time retaining memories of how it looked and sounded.  The Museum of Liverpool has some recorded memories to listen to, and Peter Grant’s book (see Sources below) has compiled some excellent short accounts of people’s experiences.  My great-grandfather, who was a French sailor from Toulouse, was on shore leave in Liverpool after his ship docked in Liverpool when he met my great grandmother.  When his ship left, it left without him.  Following marriage, he settled into life in Liverpool, not as a sailor or docker but as a driver on the Liverpool Overhead Railway, reinventing himself as one of the many moving parts of Liverpool’s dockland infrastructure.  His was one of a great many lives shaped by the Liverpool Overhead Railway.

When the LOR was first built most of the road traffic was horse-drawn, but by the time it was demolished, only a few horses remained, and cars and trucks were the order of the day.  It seems inevitable that as lorries became bigger and more numerous in the following decades, a dockland-wide 16ft height limit would eventually have made transporting goods to and from the docks impossible, but it is a great shame that a portion of it was not preserved as a matter of heritage preservation.  One sympathizes with the Liverpool Overhead Railway Company, but the city council seems, with hindsight, to have been rather more accountable for failing to preserve a portion of the overhead railway for posterity.

Crosby Herald. 24 January 2002

Report about a personal archive about the Overhead Railway. Crosby Herald January 2002. Source: British Newspapers Online


Visiting

Museum of Liverpool

Museum of Liverpool

Given that the Liverpool Overhead Railway was demolished without leaving a single section in tact for heritage purposes, visiting might seem like a tall order.  There is, however, a section at the Museum of Liverpool devoted to the Railway, which preserves the last of the original 1893 LOR carriages, Carriage 3, and has been placed on a piece of replica railway infrastructure, 16ft above the ground just as the original was, to give a good sense of how it must have looked.  The museum is free to access.

The opening of the tunnel from Herculaneum Station to Dingle Station is still visible and there are also a number of truncated support uprights preserved where they were incorporated into sections of wall along the line of the old LOR.

 

Carriage 3, one of the original batch of carriages to be ordered

Carriage 3, one of the original batch of carriages to be ordered, now on display in the Museum of Liverpool

Sources

Stanley Swing and Lift Bridge

Stanley Swing and Lift Bridge. Pall Mall Budget 12th September 1893. Source: British Newspapers Online

The above is a massive simplification of a very complicated story, in which political agendas and competition with road-based systems were perhaps just as important as engineering considerations.  If you want the full story, I found Adrian Jarvis’s book the most useful, with a very insightful analysis of the Company’s financial challenges.  For a short history with some splendid photographs see Peter Grant’s book, produced for the Liverpool Echo.  The other titles listed also contributed very useful information, with C.E. Box’s being the most technical for those interested in engineering details.

Books and papers

Anon 1901. Inclined elevator at Seaforth. The Journal of Commerce, January 20th 1901, p.3

Bolger, Paul 1992.  The Docker’s Umbrella.  A History of Liverpool Overhead Railway. The Bluecoat Press

Box, Charles E. 1984 (Revised by Adrian Jarvis). The Liverpool Overhead Railway.  Ian Allan Ltd

Gahan, John W. 1982. Seventeen Stations to Dingle.  Countryvise / Avon-Anglia

Grant, Peter (compiler) 2011.  The Liverpool Overhead Railway.  Trinity Mirror Media

Jarvis, Adrian 1996. Portrait of The Liverpool Overhead Railway. Ian Allan Publishing

Neachell, E.J. 1916. The Liverpool Overhead Railway. The Railway News, 5th February 1916, p.231-232

 

Websites

The British Newspaper Archive
https://www.britishnewspaperarchive.com/home 

BFI
Liverpool Overhead Railway 1893-1956 (video)
https://replay.bfi.org.uk/video/d6a0f2a3-fa48-5487-b722-d0e2a4997aa7

British History Online
Liverpool: The Docks
https://www.british-history.ac.uk/vch/lancs/vol4/pp41-43

Grace’s Guide to British Industrial History
Liverpool Overhead Railway
https://www.gracesguide.co.uk/Liverpool_Overhead_Railway
1923 Visit to the Works
https://www.gracesguide.co.uk/Liverpool_Overhead_Railway:_1923_Visit_to_the_Works

National Museums Liverpool Collections
Liverpool Overhead Railway
https://www.liverpoolmuseums.org.uk/collections/social-history/overhead-railway

Wikimedia Commons
Liverpool Overhead Railway map
https://upload.wikimedia.org/wikipedia/commons/c/c2/Liverpool_Overhead_Railway_map.png?utm_source=commons.wikimedia.org&utm_campaign=index&utm_content=original

Videos:

1) Liverpool Overhead Railway (including rare footage). A documentary about the LOR (37 minutes long)
https://www.youtube.com/watch?v=2xg0EAJ7OAk 


2) “Liverpool Scenes 1896”
begins in the city with a scene of milling horse-drawn trams, and then moves to the Overhead Railway where footage is taken from one of the carriages over the docks – wonderful to see all those masts.

 

3) Five-minute footage of the LOR in colour

 

The Victoria Museum and Art Gallery, Liverpool

Victoria Museum and Art GalleryOn an unplanned day-trip to Liverpool I walked up from Central Station to the Victoria Museum and Art Gallery, which is conveniently opposite the Catholic Cathedral, which I also visited on the same day (gorgeous). Visiting details for the Victoria are at the end of this post.

The museum is owned by the University of Liverpool, and was originally designed to be used for university activities, with lecture theatres, teaching rooms, staff offices, commons rooms and a library.  It was the first building to be commissioned by the university, and is thought to be the origin of the term “red brick universities.”  It was converted into a museum and art gallery in 2008.  Like most university collections the Victoria has a diverse mixture of objects collected by university academics and contributed by donors.  As well as art works including paintings and sculpture, there are examples of the decorative arts, including furniture and ceramics, as well as typical 19th century zoological, botanical and geological specimens, and scientific equipment.  It is not every university collection that is able to boast possession of one of Turner’s most admired works, but it is the variety and range of items that really characterizes the collection.

The museum building is a treat in its own right, both outside and in, a marvellous Victorian extravaganza, reflecting all the prosperity, self-confidence and extravagant creativity of 19th century Liverpool.  It belongs to a trend that saw investment in national public collections of fine and decorative arts, a philanthropic urge to invest in cultural resources and make them available to a wide range of people.  The Grade -2 listed building was built in 1892, designed by no less a personage than Alfred Waterhouse, whose most famous building is probably the Natural History Museum in London.  It is built in a mixture of red brick and darker conventional brick, creating attractive contrasts in both colour and and it features towers, turrets, Gothic-inspired windows and doorways, and some great chimneys.  The interior is magnificently over-the-top, with extensive use of glazed tiles, terracotta and Burmantofts faience, many moulded into sculpted shapes, in a variety of bright, glossy colours.  The cafe on the ground floor is located in the middle of this remarkable mixture of colours and textures, but it also extends up the staircases.

The first floor contains both permanent and temporary exhibitions.  When I was there, one of the temporary exhibitions was Seeing Green:  “The artists featured in this display each had their reasons for exploring greenery in their work. John Nash, for instance, turned to landscape painting as a form of therapy to heal from trauma. Caroline Emily Gray Hill found inspiration in the flowers near her home, continuing to paint well into later life. Meanwhile, Jim Russell, an environmentalist, expressed his values by creating art on recycled materials.”  These paintings were arranged around a curving corridor, all very well illuminated and very effective against the red background.

Adrian Berg. “Gloucester Lodge, Regent’s Park, London” 1981

“Flowers and Foliage” by Lady Caroline Emily Gray Hill, c.1920. Oil on Board

Greenbank House. John Baum 1972.

Off this corridor there are a series of galleries displaying other items from the collection from a variety of time periods.  The following are just a few examples, admittedly picking out the ones that most appealed to me.

Dame Elizabeth Frink's 1967 "Gogglehead"

Dame Elizabeth Frink’s 1967 “Gogglehead”

Halima Cassell’s 2013 “Noir Rhythm”

 

Centurions by Arthur Dooley, 1967

“Centurions” by Arthur Dooley, 1967. More examples of Dooley’s work can be seen in the Catholic Cathedral opposite the museum

 

Mitzi Solomon Cunliffe. Loosestrife, 1951

Mitzi Solomon Cunliffe. Loosestrife, 1951

 

One of the original fireplaces in the Victoria Building

Seacombe slip plate c.1830, transfer-painted.

Seacombe slip plate c.1830, transfer-painted. Herculaneum Pottery. Based on a drawing by Samuel Austin and showing the River Mersey in the early 1800s. The spire at the rear was the tallest building in Liverpool at the time

A Hispano-Moresque tin-glazed earthenware dish with lustre. Spain, c.1600.

A Hispano-Moresque tin-glazed earthenware dish with lustre. Spain, c.1600. The technique was introduced by Moorish Arabs from northwest Africa, but the IHS abbreviation in the centre is Christian

Retracing your steps past the stairwell, small galleries off another tiled corridor (looking rather as though it has been influenced by the Mezquita at Córdoba).  These display more paintings, again a large variety of styles and types, with one gallery devoted to the original plans for the Victoria Building itself.

J.M.W. Turner 1815.

J.M.W. Turner 1815. The eruption of the Soufriere Mountains on the Island of St Vincent in 1912. Oils on canvas

Artist and Model 1974 by David Hockney,

Artist and Model 1974 by David Hockney, showing an imagined encounter between Pablo Picasso and Hockney. Picasso had died the year before, and the two actually never met. Etching.

Yinka Shonibare: “Unstructured Icons – King” 2018. Woodblock print with fabric collage. One of a series of six prints showing historical Western figures

Egyptian landscape by Dorothea Wright, c.1973. Lithograph

Egyptian landscape by Dorothea Wright, c.1973. Lithograph

Stephen Conroy. "Head Studies (2)" 1992. Etching

Stephen Conroy. “Head Studies (2)” 1992. Etching

The Rape of the Sabines 1. By Leon Kossoff 1998. Etching and drypoint

 

“End of Meeting” by John Heritage 1990. I loved this painting at first sight, because it perfectly reflects just how I feel at the end of a long, tedious and probably unnecessary meeting.  Let me sleep or beam me up.  It is a shame that the reflections in the glass, showing the glazed brickwork and floor, have made it impossible to photograph well, but this is a really great, humorous piece.  You can see it on ArtUK here.

Head of an Irishman. By Lucian Freud 1999. Etching

One of Alfred Waterhouse's plans of the Victoria Building in the 1830s

One of Alfred Waterhouse’s plans of the Victoria Building in the 1830s

On the top floor, The Tate gallery space is named for sugar magnate Henry Tate and was the original library.  It is an architectural spectacle in its own right, soaring upwards to an impressive roof space.  This gallery is dedicated to scientific discovery and innovation.  It  includes specimens from the natural world, including fossils, geological samples, scientific equipment and objects that demonstrate the newly discovered Enlightenment and subsequent interest in how new ideas and technology was and should be employed.

 

Stenter ASSt 1-1 rocket engine

Stenter ASSt 1-1 rocket engine for missile propulsion. Bristol Siddley Engines Ltd

Cast of Albert Einstein by Jacob Epstein, 1993

Gorgeous Predynastic Egyptian pottery. On the left a stone vessel made of porphyry. On the right, a pottery vessel made to look like a stone vessel (a skeuomorph).  Professional archaeological investigations in Egypt followed on from treasure-hunting and helped to establish an academic understanding of Egypt, both Pharaonic and prehistoric.

Great ideas that weren't all that great

“We asked members of the public to tell us about great ideas they’ve had. Not all them turned out to be that great.”

Cunard letterhead

Cunard letterhead describing how collisions were avoided by restricting the Transatlatic fleet to specified routes.

Linda Stein’s “Knight Adagio” 2006. “Stein makes a visual world where men wear dresses and women where armour and where lines of gender become blurred into androgyny.”

The green quadrangle

The green quadrangle, viewed from one of the windows on a rainy day.

 

Visiting

The Tate Gallery

The museum is located on the corner of Brownlow Hill and Ashton Street, with its entrance on Ashton street at What3Words ///tribes.winks.cage.  It is opposite the rear entrance to the Catholic Cathedral, which is very much worth a visit in its own right.  The museum’s website, which contains details of opening times and special exhibitions, can be found at https://www.liverpool.ac.uk/victoria-gallery-and-museum/.  Entry is free (although do check for special exhibitions) and there are lifts to all floors.  The museum has a café on the ground floor.  I had an excellent latte, and the food being delivered to surrounding tables looked very tempting.  You do have to be careful with the café’s opening hours, which at the time of writing are limited.

From my home south of Chester I have driven into Liverpool a couple of times before, and have parked at Liverpool One, but on the whole I have found it more convenient to drive to Hooton Station on the Wirral, abandon the car in the huge car park, and take the train in.  With a day ticket it is a much drier option on a wet day, using the circular train route to get closer to places to visit.  Like London, Liverpool is awfully grey and rather dismal on a rainy day.

 

May Morris exhibition at the Lady Lever Art Gallery, Wirral, until 1st November 2026

May MorrisMay Morris (born 1862), the daughter of well known interior decorator and artist William Morris and his wife Jane Burden, was a talented artist in her own right, initially specializing in textiles.  She was also a committed socialist and a promoter of the role of women in the production of crafts.  The exhibition “May Morris: Crafting a Legacy,” developed in partnership with The William Morris Society, examines her art work both during her work at Morris and Co, the interior decoration company set up by her father, and as an independent artist.  It also looks at her contribution to the employment of women and the improvement of working conditions for the working class women that she employed.  The exhibition runs until 1st November 2026 at the Lady Lever Art Gallery in Port Sunlight on the Wirral.

The photographs below represent a very small sample of the total items on display.  All photographs were taken with my smartphone, and are mainly of very poor quality, but should give an idea of some of the exhibition’s content.  As usual there are also problems with the reflection of lighting on glass.

After a childhood spent between family homes on the Thames at Hammersmith and in rural Oxfordshire, and exposed to the ideas of her parents and their friends, at the age of 16 May Morris attended the National Art Training School in London, where she studied embroidery, a skill that she had learned from her mother and aunt.  She went to work at her father’s company and i 1885 became manager of Morris and Co’s embroider workshop, a position she continued to hold after her marriage in 1890.  A committed socialist, she provided opportunities for working class girls, providing training, pay and sensible working hours.  The workshop mainly produced items for the home, from table cloths to wall hangings.  After William Morris died in 1996 she left the company and made great progress as a freelance artist adding additional skills such as metalwork, tapestry and weaving to produce work for private commissions.  She also lectured in both the UK and North America, edited and wrote a number of publications, and founded the Women’s Guild of Arts in 1907, whilst also helping to organize international exhibitions.  She died in 1938.

Westward Ho!

Westward Ho! designed by May Morris and embroidered by her mother Jane, early 1880s. Silks on unbleached linen.

"Decorative Needlework"

“Decorative Needlework” as written by May Morris and published in 1993. 125 copies with this special cover were produced. Apologies for the blurred photograph.

May Morris designs

Two designs by May Morris for Morris and Co. 1885-1890

Arcadia wallpaper.

Arcadia wallpaper. Designed by May Morris c.1886. Made with 12 woodblocks.

Design by May Morris 1921

Design by May Morris 1921

 

"Horn Poppy" design 1885

“Horn Poppy” design by May Morris c.1885, using one of her favourite floral motifs

 

Gauntlets

Gauntlets designed by Charles de Sousy Rickets and embroidered by May Morris 1899

Dress 1905

Dress designed and probably embroidered by May Morris c.1905

The exhibition has a mixture of May Morris’s own works and those by artists whose work is thought to have influenced her.  It demonstrates the richness of her work, which certainly owes a great debt to her father’s ideas but also demonstrates her own approach to the decorative arts.

 

 

The excellent Hooton Park Hangars Aircraft Museum on the Wirral

Comper Swift G-ACGL. The Comper Aircraft Company was based at Hooton Park in the inter-war years

With many thanks to the Heritage Open Days this year, I stumbled across this fabulous gem of an aircraft museum on the Wirral at Hooton.  Hooton Park Hangars, owned and run by Hooton Park Trust, is sited on a former aerodrome, where the First World War Grade 2* aircraft hangars have been restored and two interlinked hangars now house a museum of aircraft and aircraft engines as well as other means of transport, including a military helicopter, a Chester Corporation tram, bicycles, and a number of cars, as well as model aircraft and memorabilia.  There are steps leading up to the cockpits of some aircraft and in one case a ladder allows visitors to enter one of the cockpits, which gives a sense of the incredibly cramped conditions and the range of dials, levers and pedals that help to navigate the plane.  Visiting information is at the end of this post.  Much of the information on this post has been taken from information boards around the hangars, from volunteers who kindly chatted to me about the site, and the Hooton Park Hangars website’s history pages as well as from the sources listed at the end.

Example of some of the signage available (this for the Comper Swift shown above)

 

The 1788 Hooton Hall.

The 1788 Hooton Hall. Source: Lost Heritage

Hooton Hall was an estate owned by the Stanley family.  It was built in 1788 to replace the existing house built at the end of the 15th century by the 5th Baronet Sir William Stanley, who employed architect Samuel Wyatt for the task.  Seventy years later it had to be sold to pay off gambling debts and was bought by banker Richard Christopher Naylor who made various changes and added a racecourse.  He moved away in 1875 when the Manchester Ship Canal was routed through the parkland, but retained ownership of the house and land.  At the start of the First World War both the house and land were requisitioned by the Army, which converted the house to the hospital and built barracks on the racecourse.  The house was probably in a fairly abysmal state when it was knocked down in 1932, initially remaining in the ownership of the military before it eventually came into the hands of Hooton Park Trust.

Spitfire PR.XIX PM651

Propeller of VS390 Spitfire PR.XIX PM651, usually stationed at RAF Woodvale near Formby on Merseyside and restored by the RAF Museum at Cosford. It came to Hooton Park in April 2026.

As well as the hospital and barracks, several hangars were built on the Hooton Park site, now Grade 2* listed, originally as a plant for assembling American-built aircraft, but instead became a training centre for pilots destined for the Western Front.  The hangar in which the museum is located is single storey, 16 bays in length, with iron casement windows separated by brick uprights and with corner pylons of brick (one of which was extended upwards to become a fire watch observation post).  An interior arched brick arcade divides the hangar into two halves.  The corrugated roofs of each half were supported by Belfast roof trusses of latticed wood which collapsed over a decade ago, but have since been replaced by new Belfast trusses.  the hangars were built by Holland, Henna and Cubitt Ltd to a design by the Royal Engineers, whilst the roof trusses were built by D. Anderson and Co., Belfast. The training facility was closed in 1919 when the training facility was moved to RAF Shotwick.

In the inter-war years the aerodrome was bought by a Mr G.H. Dawson who rented space to the Liverpool and District Aero Club, which became one of the most successful in the country.  At the same time, the aerodrome also became the home for two air manufacturing companies, the Comper Aircraft Co. and Popjay Air Motors. In 1927 the aerodrome was purchased to become Liverpool’s main airport, in spite of being on the Wirral before moving to Speke on the other side of the Mersey in 1930, where it remains.

Hooton Park aircraft Hangar

Hooton Park aircraft Hangar on a chilly wet day, showing the brick elements and the 16-bay structure

At the outbreak of the Second World War Hooton Park became the base for 610 ‘County of Chester’ Squadron and in the 1940s it returned to its role assembling aircraft from the U.S. At the same time the Civilian Repair Organization was employed to inspect and overhaul existing aircraft.  The aerodrome was also used during the war as an important role in aerial reconnaissance with the goal of locating submarines.  In June 1946, No 610 Squadron reformed at Hooton and in 1949, 663 Squadron formed at the site.  Hooton Park finally closed as an aerodrome in 1957.  Subsequently Shell created a base at Hooton Park to carry out experimental work on car fuels.  In 1962, Vauxhall Motors purchased the site and based their motor works at Hooton Park.

Hooton Park Hangars roof collapse HootPkTrust

Hooton Park Hangars after the roof collapse, showing the wooden lattice trusses made in Belfast. Source: Hooton Park Trust

The Hooton Park Trust was founded in 2000 to restore the hangars, originally built during the Second World War where they served the RAF Hooton airfield.  This was not a lightweight project. The hangar roofs had collapsed in 2011 and just clearing the rubble cost £60,000, partly because of the asbestos used in the roofing material, which required special disposal measures.  The new hangar roofs were built with modern, durable materials using the same methods as the originals.  Do take the time to look upwards – the trusses are as attractive as they are impressive as you can see in the above photograph.  The aircraft and other vehicles are a fine mix of different types, a mixture of civil and military, all with some connection to the aerodrome or the use of the hangars after the aerodrome had closed.

Many of the aircraft in the hangars were supplied by the Hooton Park Trust, to which aircraft have also been loaned.  The Trust makes space in the museum available to the The Aeroplane Collection (TAC), first founded in 1962 so that they can both display and work on aircraft in the hangar.  On a visit you are very like to see both Hooton Park Trust volunteers and TAC members working on the aircraft in the museum. In 2024 several aircraft and other items were transferred to the museum following the closure of a display hall in the Manchester Museum of Science.

 

G-AFIU Parker CA-4 Parasol

G-AFIU Parker CA-4 Parasol

 

This is very much a living museum, with work constantly being carried out on the aircraft stored in the hangars.  As well as the volunteers who were on hand to answer questions, there were plenty of engineers in overalls with their heads bent over engines, engaging in restoration work.

G-EBZM Avro 594 Avian 111A

G-EBZM Avro 594 Avian 111A

Replica of BAPC.6 Avro Triplane

Replica of BAPC.6 Avro Triplane

Full scale replica of a Spitfire MK IX

Full scale replica of a Spitfire MK IX

Gloster Meteor painted to represent aircraft WH127 of 610 Squadron based at Hooton

Another example of signage in the museum, this providing information about the Meteor shown above

 

Cockpit of a Fairey Gannet T.2. Steps on the other side allow you to climb up and get a good look into the cockpit.

Inside the Faery gannet T.2 cockpit

Sikorsky R-4B Hoverfly

Sikorsky R-4B Hoverfly

G-ADAH DH.98A Dragon Rapide “Pioneer”

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G-EBZM Avro 594 Avian 111A

G-EBZM Avro 594 Avian 111A

Chipmunk 22

G-AOUO DHC.1 Chipmunk 22

As well as aircraft and engines there are also road vehicles, including a tram, bicycles and Vauxhall cars, all of which were contemporary with some of the aircraft in the hangars or were produced after the aerodrome had gone out of use.  The Shell Eco Car was a particularly surprising vehicle!

 

Chester No.4 tram

Visiting

The best source of visiting information is the Hooton Park Hangars website.  Opening days are usually to Saturdays and the last Sunday of the month, and different activities are available on the Sundays, so do check the website to see what is going on. There are events throughout the summer, and these are worth keeping an eye out for.  You can also find their social media presences on the website. There are toilets and a café on the site, although note that at the time of writing (September 2026) the café is only available on Sundays.  It is very easy to find by car, although parking is limited, and on a Sunday there is a vintage bus to take you from Hooton Station.  It is all on the flat, so very accessible for those with unwilling legs, and there is disabled parking. The museum closes for the season on 31st October, so you will need to get your skates on if you want to go this year.

Sources:

Much of the information on this post has been taken from information boards around the hangars, from the volunteers who kindly chatted to me about the site, and the Hooton Park Hangars website’s history pages as well as from the sources listed below.

Historic England
Northern General Service Hangar (Building 16) , Hooton Park Aerodrome
https://historicengland.org.uk/listing/the-list/list-entry/1075377?section=official-list-entry

Lost Heritage
Hooton Hall
https://www.lostheritage.org.uk/houses/lh_cheshire_hootonhall.html

Vintage Aviation News
Discovering Hooton Park Hangars: Northwest England’s Living Aviation Heritage Museum. By Ian Doyle
https://vintageaviationnews.com/aviation-museum-news/discovering-hooton-park-hangars-northwest-englands-living-aviation-heritage-museum.html

 

 

World Elephant Day: Elephants of Chester from the 14th Century to the Present Day

The Chester Cathedral Elephant

The superb Chester Cathedral Elephant

To celebrate World Elephant Day, Chester boasts splendid elephants in Upton at the zoo, as well as a medieval wooden carving in Chester Cathedral, a bronze sculpture opposite the Northgate visitor centre, and fluffy, cuddly elephant toys in the Northgate market hall.

The earliest and most venerable of our pachyderm residents is the 14th century elephant in the Chester Cathedral choir (or quire), incorporated into a bench-end in the choir.  It was part of the development in around 1380 of a new choir for St Werburgh’s Abbey, when it was still a Benedictine monastery.   Many of Chester Cathedral’s misericords (carved hinged choir perches) were based on those at Lincoln Cathedral, but whatever the Lincoln carvers brought with the my way of the weird and the wonderful (and there is plenty of both in the Chester and Lincoln misericords), elephants were not among the imported designs, as there are no elephants in Lincoln’s choir. Several of the bench-ends are Victorian, but this is original.  The choir is generally open to the public to visit, unless it is use for a musical event, and all of the carvings are magnificent.  Even the Victorian replacements are very well done.

Elephant and wyvern. early 13th century, nature and myth entangles. Royal MS12 C XIX.

Elephant and wyvern. early 13th century, nature and myth entangles. Royal MS12 C XIX. Source: Wikipedia

The St Werburgh’s elephant is a magnificent, if slightly peculiar creature with delicate hooves, a strangely shaped head, ears that resemble curtains and enormous eyes that give it a rather surprised expression , as though it wonders what on earth it is doing in a medieval abbey.  The answer to that hypothetical question lies in the zoological and mythological company in which the elephant finds itself.  The monks clearly had a good eye for the unusual, as a quick inspection of the misericords will demonstrate.  The carver may have seen a picture of an elephant in a bestiary, a book of real and mythical animals that could be used as a source material for subjects like these.  It is probable that there was no clear dividing line between the imaginary creatures like wyverns, unicorns and dragons, and the more exotic animals that only a handful of people in the west had seen, like our elephant.  There’s an excellent description from a bestiary manuscript Brit. Lib. Harley MS. 3244, fol.39), a short excerpt from which is as follows:

British Library Harley MS 2344, fol.39. Source: Picryl

British Library Harley MS 2344, fol.39. Source: Picryl

They travel  in herds, fear the mouse . . . they are pregnant for two years, neither do they reproduce more than once nor have several offspring but only one.  They live, however, three hundred years.  Moreover, if they want to produce young they go to the eat, near Paradise, and a tree there that is called the mandrake, and the elephant goes there with his wife, who first takes from the tree and gives some to her husband.  And when he eats she seduces him and at once she conceives . . . Now the elephant is terrifying to bulls, yet it fears the mouse.  This is its nature, that  if it should fall, it cannot rise.  Moreover, it falls when it leans against a tree in order to sleep, for it has no knee joints.

Carrying a howdah on its back, the Cathedral elephant is a great favourite with visitors.

In 1898 the Barnum and Bailey Circus organized a vast parade through the town, and this too featured elephants, as well as other circus animals and performers. Chester was one of the stops for the Circus’s European tour of 1898-1902.  These are the “herd elephants” but apparently they were preceded by elephants carrying howdahs.

The 1898 Barnum and Baileys circus parade through the streets of Chester. Source: Chester History Hub at the Grosvenor Museum, via a post on their X.com account

Just outside the cathedral and opposite the Visitor Centre is Janya, a small bronze elephant, just the right size for engaging eye-to-eye with a child or being patted by the many adults who do so.  Northgate is a particularly eclectic part of the city, both in terms of its architecture and its various retail and leisure offerings.  The original market square in front of the cathedral was home to the medieval market and the once housed the lovely 18th century Exchange building, which burned down in 1862.  The addition of Janya to the edge of this space gave it a welcome lift, particularly as she was designed to be stroked and enjoyed (but not climbed).  The plaque set into the pavement in front of the elephant explains that Janya means “life” in Hindi, and that “it symbolises the Zoo’s global role in wildlife conservation.”   She was made in 2010 by Annette Yarrow, a gift from Chester Zoo to the city to celebrate the the “strong friendship between the Zoo and the city.”   A reference is made to the Cathedral elephant, both in the text and in the small arrow pointing in the direction of the cathedral’s visitor entrance, implying an affinity between the zoo and the city’s older heritage.  By showing a year-old elephant, it references the several success stories for the Zoo’s elephant conservation programme, described on the Chester Zoo website as follows:

Pioneering new practices to further improve the welfare for elephants in zoos, sanctuaries and in the wild. This includes becoming the first UK zoo to have a multi-generational family herd, successfully utilising protective contact between elephants and keepers, and spearheading vital new research on behalf of the global conservation community to find a viable vaccine for a deadly virus that affects elephants in zoos and the wild, known as EEHV.

It’s a neat way of linking the city with the zoo, reminding visitors and residents alike that the zoo is not merely a tourist attraction but a centre of conservation excellence and a terrific local resource.

The Chester Zoo’s first two elephants arrived in 1941.  Chester Zoo was established in 1931 when George Mottershead bought the house (Grade 2 listed and sympathetically converted to a pub in 2018) and seven acres of land.  His aim was to build the first zoo without bars. According to the Chester Zoo website, it was a family run-enterprise, and very slow to take off, but eventually became a Chester fixture and great tourist attraction.  In 1934 it became a charity, shifting its emphasis from the display of animals to wildlife conservation.

Molly and Manniken with handler Khanadas. Source:  Chester Zoo

Molly and Manniken with handler Khanadas. Although this page has now been taken off the Chester Zoo website, or moved to somewhere where I cannot find it, the original source of this photograph was Chester Zoo

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Elephant keeper Les Hill, September, 1977

Charming photograph of Elephant Keeper Les Hill, September, 1977. Source: Absolut Elephant database

The elephants were Manniken and Molly.  They were given a home when their owner, the proprietor of Doorley’s Tropical Revue, a travelling menagerie, was called up by the RAF for the war.  Without anyone to care for them, their situation looked dire as without anyone to take them they would have had to be put down.   The story came to the attention of zoo owner George Mottershead, and the pair arrived on 28 August 1941 with their young handler Khanadas, who had cared for them and remained with them at Chester Zoo.  Very sadly, although they settled in well, Manniken suddenly died in November of the same year, but Molly lived on until 1955, a zoo favourite, providing rides for children. After the war, a new elephant house was built, made entirely of recycled materials from the surrounding area, including anti-tank blocks, pill-boxes and concrete slabs.  A children’s radio presenter came along to open the new house, riding in on Molly, attracting 4000 visitors.

Chester Zoo elephants

Chester Zoo elephants

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Fluffy toys (and elephants) in the Chester Zoo Shop in Northgate market

Fluffy toys (including elephants) in the Chester Zoo Shop in Northgate market

Much to my amusement, having just taken photographs of Janya before heading into the market to buy some seafood, I found myself looking at a shelf of fluffy little grey elephants.  Chester Zoo has  a shop in the new market.

If you have ever wondered when the first elephant arrived in Britain, there’s a nice piece by David Meadows on the Rogue Classicism blog about the purported first elephant to arrive in England, with Claudius in AD43: “First Elephant in Britain?”

Finally, there is a splendid set of collectible elephant toys shown on the Planet Diecast site.

Chester Zoo, 18th March 2025

Chester Zoo, 18th March 2025

 

Sources:

Barber, Richard. 1992. Bestiary. MS Bodley 64. The Boydell Press

Baxter, Ron. 1998. Bestiaries and their Users in the Middle Ages. Sutton Publishing
https://www.researchgate.net/publication/340870845_Bestiaries_and_their_Users_in_the_Middle_Ages_Sutton_Publishing_1998_ISBN_0_7509_1853_5

Beal, Timothy K. 2002. Religion and Monsters. Routledge

Burne, R.V.H. 1962. The Monks of Chester. The History of St Werburgh’s Abbey. SPCK

Druce, George C. 1919. The Elephant in Medieval Legend and Art. Journal of the Royal Archaeological Institute, Vol. 76
https://bestiary.ca/etexts/druce-elephant-in-medieval-legend-and-art.pdf

Morrison, Elizabeth (ed). 2019. Book of Beasts. The Bestiary in the Medieval World.  The J. Paul Getty Museum.

———

Absolut Elephant database
Chester Zoo
https://www.elephant.se/location2.php?location_id=42

Atlas Obscura
Why Did Medieval Artists Give Elephants Trunks That Look Like Trumpets?
Maybe not just because they didn’t know what elephants looked like. By Sarah Laskow February 10, 2017
https://www.atlasobscura.com/articles/medieval-art-elephants 

Bodleian Library
MS Bodley 964 (Bestiary)
https://digital.bodleian.ox.ac.uk/objects/e6ad6426-6ff5-4c33-a078-ca518b36ca49/

Chester Zoo
https://www.chesterzoo.org/

medievalists.net
Matthew Paris and Henry III’s elephant. By Richard Cassidy and Michael Clasby
www.medievalists.net/2013/09/matthew-paris-and-henry-iiis-elephant/

 

The Chapel of St Nicholas in Cholmondeley Castle’s gardens and park

The Chapel of St Nicholas on the Cholmondeley Castle estate

If you visit Cholmondeley Castle Gardens be sure not to miss the chapel dedicated to St Nicholas.  I was at the Castle Gardens with a friend for the Summer Plant Fair during the week, and we took in the lovely gardens and the chapel at the same time.  I have posted about the gardens, with a map, on a previous post here, but at that time I was unaware of the chapel, so it was lovely to see the signs pointing visitors towards it, and to stroll along the lane for a visit.

Cholmondeley Castle

Cholmondeley Castle, built 1801-c.1830, replacing the 1571 half-timbered Tudor building

Following the signs you will pass through the former gatehouse, and over a delicious little stone bridge before you eventually reach the chapel, around 15 minutes from the main gardens along a traffic-free lane.

The Lodge

The gatehouse

Looking back at the elegant bridge towards the Lodge

Looking back at the elegant bridge towards the Lodge

One of the views from the bridge

One of the views from the bridge

Across the parched fields on the way to the chapel

Looking across the sun-parched Capability Brown style estate on the way to the chapel, actually executed by one of the famous park designer’s followers, William Emes, who was successful in his own right

One of the ornamental gates into the chapel precinct

One of the ornamental gates into the chapel precinct, and the equally ornate banisters of the chapel, gently echoing the elaborate front gates leading into the castle.

The red-brick chapel with its slate roof looks typically Georgian, but according to Historic England it was originally late 15th century, was altered internally in 1655 and the exterior was rebuilt in brick in 1717.  The transepts were added in 1829.  Pevsner and Hubbard say that the 17th century furnishings are “the most complete of their date in Cheshire,” with the chancel screen dating to 1655, and elaborate Elizabethan-Jacobean style of wood panelling in the chancel with plenty of ornamental strapwork.  The small stained glass roundels in the windows are from the Netherlands, again probably dating to the 17th century.  The Cholmondeley family pew, a remarkable feature with a staircase leading up to it and surrounded on three sides by highly coloured hatchments, is at the west end of the chapel, facing to the chancel in the east, looking down over both congregation and high altar.  Humility was obviously not perceived as a fundamental requirement.  Box pews and ordinary pews sit mainly at floor level, with one paired set of box pews being a little above the rest but far below the level of the Cholmondeley family pew in front of which it sits.  The whole thing is truly extraordinary.
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Chapel interior

Chapel interior showing the raised family pew

Chancel roof

Chancel roof

 

Chancel

Chancel

Box pews

If you want to know more about the history of the house, the chapel and the family there are interpretation boards hanging on the wall to one side of the door.  A shame that it hasn’t been turned into a leaflet, because a lot of people wanted to see them and it was impossible to fit everyone in behind the pews where they are hanging on hinges on the wall.

 

Dovecote spotted on the way back to the gardens from the chapel

The parkland was looking very dry, but although a few of the plants in the gardens were suffering from the drought, overall the garden team have done a marvellous job of maintaining the flowering borders, the rock garden and the rose gardens.  The levels of water in the ornamental ponds were surprisingly high, and the water lilies and surrounding water-loving species were very fine and lush.

I was amazed that neither of us came away with any of the tempting and very reasonably priced plants for sale in the Plant Fair area along the long edge of the field acting as a car park, with a great selection including some very unusual specimens, many of which would have been very suitable for the drought conditions currently being experienced.  Most visitors there were draped in every possible type of foliage, which they were taking back to their cars before visiting the gardens.  It reminded me of the witches’ prophecy that “Macbeth shall never vanquished be until Great Birnam Wood to high Dunsinane Hill shall come against him.” There was also a small selection of decorative garden features for sale, and of course there were several food, drink and ice cream outlets. Keep an eye out next year if you missed it this year.

 

 

Sources:

Pevsner, Nikolaus and Edward Hubbard 1971. The Buildings of Cheshire.  Penguin.

Historic England
Cholmondeley Castle
https://historicengland.org.uk/listing/the-list/list-entry/1000638
The Chapel of St Nicholas
https://historicengland.org.uk/listing/the-list/list-entry/1138593

Historic Houses
Cholmondeley Castle Gardens
https://www.historichouses.org/house/cholmondeley-castle-gardens/visit/

St Nicholas Centre
St Nicholas Chapel
https://www.stnicholascenter.org/gazetteer/1181

The lovely Harp Inn and the chunky remains of Ness Colliery’s Denhall Quay, south Wirral

The Harp Inn, Little Neston

The Harp Inn, Little Neston

One of the most mellow, blue-skied and sunny afternoons that I have enjoyed in a long time was a sublimely relaxed and chatty visit to The Harp Inn on the Dee estuary, just outside Little Neston.  It is a super little pub dating to the 1700s with lovely views over the marshes towards the impressively long line of the Welsh foothills.  The pub’s official opening time is 12 noon, but we arrived to find it open at 1145 because due to queues outside their doors at 12 they are currently opening at 11. Very gratifying!  The beers and ciders change from time to time (just check their website), there are plenty of soft drinks on offer and the lunches that were being paraded past us as the afternoon advanced looked gorgeous.  The staff are lovely, and the atmosphere is great.  There are lots of tables perched on the grassland at the edge of the lush green estuary, and on a stiflingly hot day, a wonderfully warm but cooling breeze came off the Dee to make the peaceful, endless vistas a delectable place to linger, interrupted only by birdsong.  The breeze was so perfect.  I do love the heat, but it is lovely to be able to sit in the sunshine without dripping like a tap.  Update:  We went back the following week to have lunch after a visit to the Williamson Art Gallery and Museum in Birkenhead, and the food (haddock, chunky chips, tartare sauce and garden peas for one of us and an enormous ham and cheese ploughman’s with all the trimmings and more for the other) was just as good as it had looked as it was passing us on trays the previous week.

Most of the photos taken on my aged iPhone. Enlarge at your own risk!

View from The Harp

View from The Harp

 

 

Denhall Quay

Denhall Quay

According to the pub’s website, the building has stood there since the 1750s, when it was originally built as three coal-miners’ cottages, before being converted to an inn in 1780 to serve the expanding coal-mining community at Ness.  This segues nicely into the second major benefit of the pub, which is its location a stone’s throw from Denhall Quay, an intriguing and picturesque line of wall, made of massive red sandstone blocks, that stretches out into the marshland, and is clearly the remaining echo of a substantial structure.  In fact, the wall is what remains of a long pier that served the Ness Colliery, built in 1839 to replace an earlier quay in the same location.  The wall was much deeper than it is now, its lower tiers lying beneath 200 years of silt accumulation, but it it sufficient to give an idea of how impressive the structure originally was.

This was not the most obvious location for a quay because the river did not run past the colliery, veering towards Wales just before Little Neston, meaning that a channel had to be created to link the quay to the main river, which became known as the Colliery Gutter.  It was not ideal, as vessels often had to wait for two tides to turn before being able to navigate all the way to the quay, forcing colliers to beach on the muds in the interval between tides.

Denhall Quay c.1839 Annakin-Smith p170

Denhall Quay c.1839 showing the quay, with its distinctive shape, surrounded by subterranean tunnels. Source: Annakin-Smith “The Neston Collieries, 1759-1855” 2019, p.170, fig.10.6

There were two collieries at Ness:  Ness Colliery, which opened in 1759, and Little Neston Colliery immediately to the north, which opened in 1820.  Most people, myself included, would not automatically associate coal mining with the Wirral, although it is a very familiar industry from North Wales.  Fortunately, Anthony Annakin-Smith wrote an excellent book on the subject in 2019, which I read shortly after its publication, and he gave a really enjoyable lecture about the collieries at the Festival of Ideas this year (July 2026).  The Wirral coal seams are an extension of the Welsh ones, but although a slither of the seams can be found on the Wirral landmass itself, most of them lie under the estuary, and it was here that most of the mining took place.  A whole network of tunnels was built below the estuary, and subterranean canals were added to help remove the coal in long narrow vessels called “starvationers.”  Both the tunnels and the canals lead back to shafts where the coal was hoisted to the surface.  It was a dangerous and sometimes tragic business.  Once extracted and processed the coal was transported to ports in Britain, Ireland, France, Spain and as far away as America and even Barbados.

Starvationer

A “starvationer” of the sort used in the canals beneath the Dee estuary, now in the National Waterways Museum at Ellesmere Port (my photo)

The two collieries were located either side of a border dividing land between two different family interests.  The original colliery, Ness, owned by the Stanley family, handled the arrival of the new colliery very badly, and its owner, Sir Thomas Stanley, who sounds like an absolute monster of a man, pursued a course of aggression that eventually, on several occasions, erupted into blatant sabotage, including destruction of machinery, flooding of their rival’s tunnels and, on one particularly violent occasion, an attempt to use explosives to completely obliterate the opposition.  The collieries were both closed between 1845 and 1855 due to silting of the estuary, but they were revived in 1875, and the last coal was worked in 1927.

It is difficult to assess just how the collieries initially impacted local people, because most of the coal miners were brought in from North Wales and Lancashire, with Wirral residents only working in minor and administrative roles.  But both the collieries and the miners became part of the community, and Denhall Quay is an important reminder of the unexpected industrial and social heritage of this small corner of the Wirral.

The Harp Inn, on Quayside in Little Neston, is at the end of a residential lane, Marshlands Road, turning left along the Quayside, before it eventually becomes a track and then a footpath.  There are three main parking areas, first just as you round the bend to turn left from Marshlands Road onto Quayside (What3Words ///regarding.solving.mirroring, about a two minute walk, heading in the same direction), then at the pub itself where there is parking for about 10 cars (What3Words ///when.grumbling.kicks), and finally at Denhall Quay (///bike.outcasts.tarred, about a two minute walk back to the pub).

If you are interested in finding out more about the Wirral collieries I sincerely recommend Anthony Annakin-Smith’s The Neston Collieries, 1759–1855: An Industrial Revolution in Rural Cheshire published by the University of Chester Press (a second edition was released in 2023), and also check out his website at https://www.nestoncollieries.org.

At the entrance to Denhall Quay there are two helpful information boards that are faded but still just about legible, covering the earlier and later colliery phases, and you can walk out into the marshland along well-worn paths (dry in a hot summer, but probably not as foot-friendly in the autumn and winter).

Both the pub and the quay are on the King Charles III England Coast Path, and would make a great destination if you are visiting either Ness Botanic Gardens or the RSPB reserve at Burton Mere. 

Other posts on this blog re the southwest Wirral area:

 

Brunel’s magnificent “Great Eastern” arriving this day in New York from Liverpool in 1860: The Illustrated London News

On 17th June 1860 the fabulous S.S Great Eastern left Liverpool and set sail on her maiden voyage for New York. She arrived there this day, 28th June. Her designer and architect was Isambard Kingdom Brunel whose pet name for the ship during construction was “Great Babe.”

There is a nice nod to Great Eastern on the Chester City Walls, where the length of the ship (692ft) was carved quite deeply into one of the coping stones at Kaleyard, near the pigeon coop, preceded by an engraved anchor.  It is also the measurement between that point and the King Charles Tower, also known as the Phoenix Tower.   You can see a photograph of it at the end of this post.

I have written previously about the Great Eastern and her relationship with the Mersey, and above is a splendid engraving from the 21st July 1860 Supplement of the Illustrated London News showing her June arrival in New York.

Great Eastern shortly before launch 1858

Great Eastern shortly before launch in 1858 by Robert Howlett. Source: Wikimedia

With a capacity for 4000 passengers, she left Liverpool on her maiden voyage with only 35 passengers and 8 company overseers, both of which were far exceeded by a crew of 418.  She was equipped to run under sail or steam, via paddles or propeller, had four decks, and could carry 15,000 tons of coal.  Sadly she was never given the opportunity to meet the long-distance goals of India, China and Australia intended for her by Brunel and her builders and investors and was never competitive on the busy cross-Atlantic passenger service to which she was initially confined.

The fortunes of  Brunel’s astonishing S.S. Great Eastern swung between greatness and near-disaster like an enormous, record-breaking pendulum.  She was all too often something of a gigantic white elephant, but she became an invaluable resource for laying cables across the Atlantic, and was always a great public attraction.

Great Eastern at Hearts Content Cable Station

Painting by Charles James Lewis of the Atlantic Telegraph Expedition landing of the cable in Hearts Content Cable Station in Newfoundland, Canada, on July 27 1866, which he witnessed. Source: PK Porthcurno

After a traumatic roller-coaster of a career, the enormous ship was sold to be broken up in 1889, the work to take place on the Mersey.

Great Eastern, beached in advance of being broken up on the Mersey in late 1888, Wirral side.  Source: Liverpool Echo

Throughout her history, Great Eastern was the subject of curiosity and fascination, and people lined up to buy souvenir pieces of the ship before the breaking work began on 1st January 1889.  The photograph above shows her beached on the Mersey, ready to be broken up, and she continued to challenge even after the breaking work began.  Not only was it a very sad episode for posterity but also, as it turned out, for the ship breaker.  The company directors had estimated that it would take 200 men to break up the ship in a year, but she was so well built that it took nearly two years, requiring the costs of ongoing labour and additional machinery, including much more substantial wrecking balls, to finish the job.  Substantial profits had been anticipated from her scrap value, but she was broken up at a considerable loss.  Brunel had built her to last.

One of Robert Howlett’s famous photographs of Brunel with Great Eastern in 1857 prior to launch. Source: Wikimedia

Brunel had died in 1859 whilst the ship was still undergoing sea trials and had suffered an engineering accident during which five stokers died, and although the consensus is that the emotional stress of the ship’s construction and the difficulties of her launch undoubtedly contributed to his death, he was already suffering from a debilitating kidney disease.

It is perhaps thankful that he did not live to witness this drawn-out demise of his grandly imagined, fabulously realized and much-loved “Great Babe.”

Great Eastern was such a colossal, record-breaking chunk of maritime, industrial and national heritage that I find it more than slightly difficult to forgive the universe for allowing her to be broken up.

Infographic of Great Eastern

Infographic comparing ship sizes, in chronological order from left to right. Click to expand. Source: JF Ptak Science Books.

 

The length of Great Eastern carved into the City walls in the 19th century. Source: Geograph. By John Turner, CC BY-SA 2.0

The watercolour of Great Eastern, shows her beached on the Wirral side of the Mersey for repairs, although the painting is very sadly not on display.  It was painted three years after the illustration at the top of the post, in 1863, by  William Gawin Herdman (1805-1882).

 

Great Eastern watercolour showing the ship on the gridiron for repairs just off the Wirral on the Mersey in 1863. By W.G. Herdman (in the collection of the Williamson Art Gallery, not currently on display). Source: Williamson Art Gallery Collection at Birkenhead.

St Boniface Collegiate Church and The Chantry House in Bunbury

The church of St Boniface, Bunbury

The church of St Boniface, Bunbury

The Chantry House

The Chantry House

The Grade I listed collegiate church, established by Sir Hugh Calveley in the 14th century, is listed in the Simon Jenkins book “England’s Thousand Best Churches”, and has a very distinctive personality.  I also wanted to find “The Chantry House,”  having read about it in Clare Dudman’s recent article in the Chester Antiquary.  It is a half-timbered Tudor period building, Grade II* listed, later the home of John Bradshaw of Stockport, born 1602, died 1659, described by Clare as “regicide and President of the first Council of the State of the British Commonwealth (1649-1651).”

Although there is a list of sources at the end as usual, particular thanks are owed to the  the history of the church from the  St Boniface website as a PDF here.

 

The collegiate Church of St Boniface

Introduction

St Boniface himself, whose birth name was Winfrith, was a late 6th-century to mid-7th century English Benedictine monk, becoming a missionary in Germany and Frisia under the authority of the pope. He became an archbishop under Gregory III before going on to introduce reforms to the Church of France.

The church is perched on the side of the small valley of the river Gowy.  It sits within a neat roughly rectangular stone-built boundary wall, which is most impressive on its western side, enclosing a rambling churchyard, which flows gently downhill.  The Gowy that runs at the base of the valley is a fast-moving stream at this point, which wends its way northwest before emptying into the Mersey.

As with many medieval churches in the area, there is speculation that an Anglo-Saxon building preceded St Bonficace, made of wood, on the same site; and there is evidence, in the form of fragments of decorative stonework, of a Norman church preceding the early 14th century building.

The earliest phase of the medieval St Boniface’s Church was in 1320, when the Normal church was rebuilt in the Decorated style, but a large part of the church was rebuilt in 1385-6 when Sir Hugh Calveley established the church as a chantry to ensure that the canons’ prayers would reduce his time in Purgatory.  As a nobleman Sir Hugh was a knight and a warrior and, already in his 60s, he had survived not only warfare, but also the devastating famines and plagues of the 14th century.

The current Church of St Boniface was established as a collegiate church, the first one I have visited in this area.  The name “college” derives from the Latin word collegium, and translates roughly as “appointed or chosen together.”  In other words, it is an official community of some description, not confined as it usually is today to an educational establishment.  A collegiate church sits somewhere between a parish church and a monastic establishment.  Instead of a single parish priest overseeing the church and congregation, the college of canons was a Christian community, but unlike a monastery was not secluded, did not follow a specific set of rules of the sort followed by monastic communities and did not require a life-time vow of commitment to the collegiate church. Most importantly, the church was just as much a community resource as any parish church and the canons, ordained priests with specific additional roles, were involved in parish life.  Collegiate churches tended to be rather better financed than the average parish church, at least when they were initially established, because they were usually founded by wealthy donors like royalty, bishops or the aristocracy, whilst others were attached to university colleges.  Some of the collegiate churches were dissolved following the Reformation following Henry VIII’s appointment of himself as the head of the new Church of England.

St Boniface’s was one of a number of churches that were also established as collegiate chantries.  Chantries were intended to safeguard the soul, an ongoing financial investment to ensure prayers for the souls of specific individuals for eternity, thereby reducing a soul’s time in Purgatory.  The most prestigious chantries were established in monasteries, where monks ordained as priests could carry out mass on behalf of those who had set up chantries, but any individual could set up his or her own church for the purpose of chantry.

Although the overall appearance of the church is coherently gothic, a great many changes were made during its life.  The main styles are earlier Decorated gothic and, dating to Sir Hugh de Calveley’s investment, later Perpendicular remodelling.  The nave and aisles were remodelled in c.1490.  In the 1700s upper galleries were added to the nave.  The church was substantially modified during the Victorian period. The 18th century galleries were removed, restoration work included the Late Perpendicular Ridley Chapel, which was in ruinous condition and the chancel floor was tiled.  None of the medieval stained glass survived in any part of the church, partly due to the nave windows being fitted with iron casements in 1840.  A clerestory was added above the windows, adding more light.  The oak-panelled ceiling dating to the 1950s. The present stained glass is either 19th/early 20th century or modern, although small fragments of surviving medieval glass have been incorporated where possible.
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St Boniface annotated plan

Simplified plan of the Church of St Boniface

The exterior

The first impression of the church exterior, as you do a circuit, is that the north side of the church has a massive and costly expanse of regimented windows, which together with the clerestory fill the church with far more light than a medieval church would normally have experienced, even with stained glass in place.

Although both sides of the nave consist of eight bays, you will notice that the north and south sides are different from one another.  The north side, with a much smaller concentration of graves in the churchyard, has a much bigger bank of windows than the south side, making a remarkable first impression.  Above them is an unusual balustrade that is not echoed on the south side.  On both sides of the church are battlements and many pinnacles (some of which have fallen and can be seen in the churchyard) and do look out for gargoyles and grotesques, because there are some good examples.

The main gateway through the boundary wall, leading up two steps towards the tower, is 18th century.  The medieval west door into the tower, used today as the visitor entrance, would have been used only for ceremonial occasions. Apart from the buttresses that support it, the tower is incorporated into the body of the church itself.  A small door is located on the north side was opened during baptisms, whilst the congregation would have entered via the elaborate Decorated style south porch in the churchyard, retaining its original medieval doors, effigy of St Boniface and its clear views over the valley.

The south porch

The south porch

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The interior

The tower and nave

Instead of standing beyond the nave, as with most churches, the tower is incorporated within the nave, with both aisles running along its sides (now blocked off for use as storage at the west, tower end).  The base of the tower sits on sandstone bedrock and dates to Sir Hugh’s rebuild, with walls nearly 2m thick.

As well as the west and south entrances, there is also a small north door without a porch, but this was used only during baptisms, and was known as “the Devil’s Door.”  During the ceremony it was left open to ensure that any evil spirits that escaped the child during baptism would exit the church. The frame of the doorway is original but the door itself dates to 1630.

View down the nave towards the chancel

View down the nave towards the chancel

The tower opens into the nave, which consists of a tall central section with views to the chancel at the east.  The nave is flanked by two very elegant aisles.  The aisle arcades are in Perpendicular style, replacing earlier aisles in the Decorated style, and are supported on particularly slender columns, giving an additional impression of space and height.

The remarkable bank of windows, particularly on the north side, provides the nave with much more light than it would normally have experienced, all in the style of the gothic Perpendicular.  As all of the windows would have contained stained glass, there would have been much less light penetrating the interior than today, and the impact must have been spectacular.   A 19th century clerestory is set above the windows, adding more light.  The tall nave is topped with an oak-panelled ceiling dating to the 1950s.  At the join between walls and ceiling there are angels holding painted shields representing local families who donated funds to ongoing care and modification of the church.  The minimal amount of supporting wall between the windows has an impact on other aspects of the interior, as there is much less wall space than usual for memorial sculptures.

Immediately on your left as you enter the nave, underneath the window, is a statue commemorating Jane Johnson who died at the age of 24.  It was found buried under a yew tree in 1882. The reason for this ignominious fate was apparently because the incumbent vicar in the 1760s found the large breasts too disturbing for an ecclesiastical context.  On the far east end of the nave, in an aisle on the north side (left as you walk from the the tower towards the chancel) there is some fine medieval floor tiling under a communion table, with some grave stones laid into the floor. The tiles were found elsewhere in the church and moved here to preserve them.

Above the communion table is a short row of carved medieval stone sculptures, most of which represent excellent examples of grotesques, the remains of a former reredos.  Grotesques are also set into the tops of the walls, particularly in the south aisle.  On the opposite side of the nave, below the organ pipes, is a faint painted medieval altarpiece showing Christ rising from the tomb, flanked by important attendants, one of whom may represent St Boniface.  Both the communion table and the organ pipes are located where chapels were once located at the east ends of each aisle.

The font dates to 1663, the medieval font apparently having been damaged during the Civil War.  Behind the font in the south aisle are two lovely sets of painted wooden parclose panels showing images of saints, dating to c.1420-1450.

A brass chandelier dates to 1776.

The chancel

The 1921 Fred Crossley screen

The 1921 Fred Crossley screen

Sir Hugh de Cleveley

Sir Hugh de Calveley with a calf shown on his suit of armour, his head resting on a sculpted calf and a third concealed in this photograph by his arms

The large chancel has been less radically modified than the nave.  The walls were raised to a new height in 1520 but the rest of the chancel remains largely unchanged since the 1380s.  It was originally divided from the nave by a rood screen, but the current screen, with its delicate carvings, was designed by Fred Crossley and dates from 1921.  The size of the chancel was due to its role as a chantry.  According to the St Boniface church’s online history leaflet, “The chancel in Sir Hugh’s collegiate church was designed to provide room for a chantry staff of eleven – a master, a submaster, five chaplains, two chanters, and two singers” in order to pray for the souls of the king, Sir Hugh and their ancestors and families. Sir Hugh died in 1394, unmarried.

The east window, apparently moved here from another church, was in the Decorated style, dating to the 14th century, its lovely tracery described by Pevsner/Hubbard as “uncommonly fanciful” and unique in Cheshire in terms of its flowering tracery.   Much of the church’s medieval stained glass survived into the 19th century but the east window was blown out during a storm in the 1700s, and this window now has modern stained glass. Finds of glass beyond the east end show that it originally depicted the Jesse tree.

Sir Hugh himself is in pride of place in the centre of the chancel, with his 7ft long effigy sitting above a chest tomb, all in expensive alabaster, with many traces of paint still surviving on the chest tomb.  It is surrounded by the original spiked railings.  The three calves of Sir Hugh’s family shield are present on parts of his effigy, and a lion sits at his feet.  The niches of the chest tomb would have contained weeping figures, now lost.  The graffiti belongs mainly to the 17th century, carved by Civil War prisoners.  Whether Sir Hugh is actually buried here is unknown.

Within the altar rails at the north side of the chancel is the colourfully elaborate effigy and tomb of Sir George Beeston, restored in 1937.  He was a descendant of Sir Hugh de Calveley, and served in the Royal Navy as Admiral of the Fleet under four monarchs.  Opposite it, also behind the altar rails on the south side (right) are the three seats of the sedilia, where the clergy sat during services, along with a small piscina, a basin for holy water, which drained into the churchyard, all attractively ogee-headed.

 

Unlike most churches, where an organ was slotted into an aisle of the nave, the 1895 organ at St Boniface was installed in the chancel on the southern side, facing into the south aisle.

The Ridley Chapel

The 1527 Ridley Chantry Chapel was built by Sir Raufe Egerton, a soldier rewarded for his loyalty by Henry VIII with a village near Bunbury.  The endowment was much more modest than that of Sir Raufe’s ancestor Sir Hugh, employing two chantry priests employed to pray for his own soul, and those of his family.  He built a house in which the priests resided, still standing today and discussed briefly below.

The chapel sits on the south side of the chancel, accessed through a substantial stone screen via a pair of very unusual carved doors, different on the chancel and chapel sides.  The doors have a unique interlaced trellis topping and, on the chancel side, linenfold carving.  On the chapel side the doors have and have the monograms of Sir Raufe and his wife Mary carved into the lower sections.

The screen dividing the chancel from the chapel has, on its interior face, some Renaissance paintwork, the earliest known in the region.

Until the Civil War, Sir Raufe’s marble chest-tomb stood, like Sir Hugh’s, in the centre of the chantry chapel.  The chapel remained unfinished at his death and although some work continued, according to the detailed instructions left in his will, the dissolution of the college churches and chantries in 1548 led to the abandonment of the work, and it was in a highly ruinous condition by the mid 19th century, when restoration was undertaken.

After 1548

The church’s chantry college was dissolved during Reformation in 1548 and the church became Crown property before the tithes (the income of the church) were sold by Elizabeth I.

Beeston Castle

Although efforts were made to keep Cheshire out of the Civil War (1642-1659), with the Bunbury Agreement signed to this effect, the county was nevertheless dragged into the hostilities.  Royalist forces had taken up position at Chester in 1642, using it as a base to provision themselves from the Dee, which was still a working port with river access via the Dee to the Irish Sea and Liverpool Bay.  Shortly afterwards, Parliamentarians established themselves at Nantwich.  Beeston sat right in the middle of the two opposing bases, and the parliamentarians installed a garrison at the castle in February 1643, under the control of Captain Thomas Steele, who oversaw repairs to make the castle defensible.  St Boniface’s was used by Parliamentarians who were garrisoned at Bunbury to house Royalist prisoners who had been taken in the fighting at Beeston Castle and other local battlefields.

In the 1700s galleries were added to the nave, but these were removed in the 1860s during a period of Victorian alterations, which also removed the plaster covering the walls, the wall paintings and the traditional box pews.  The tiling on the floor of the chancel dates to this time.

Electric light was not introduced until 1931.  Sadly in 1940 a land-mine inflicted serious damage on the church, partly because the 1840s alterations to the windows had badly undermined the structural integrity of the church.

Today the nave has a feeling of timelessness that is very difficult to pin down. This may be due to the mass of light that the main windows and the clerestory produce, combined with the lofty ceiling on slender columns; the absence of traditional blocks of pews in favour of backed benches; and the minimal amount of memorial clutter on the walls, all providing the nave with a faint and attractively unusual hint of modernity.  The chancel is much more traditional, but the centrepiece provided by Sir Hugh’s effigy and chest tomb, the painted tomb of Sir George Beeston and the addition of the Ridley Chapel are all truly compelling features.  The amount of paintwork in the church is unusual, and although much of it was restored in the Victorian period, it gives an excellent idea of how much more colour would have been present in a pre-Commonwealth church.  This  venerable church, established to provide chantry services for Sir Hugh de Calveley, is distinctive in both look and feel, outside and in, and has a lot of very unusual features to offer the visitor.

The Chantry House

The village surrounding the church is very attractive, with multiple styles of building dispersed along the lines of several lanes, one of which dips down to the Gowy and climbs steadily beyond. Most of the village’s core dates back as far as the Tudor period, with fine historic buildings from other periods, all surrounded by an interrupted ring of more modern homes.

Thomas Aldersey

Thomas Aldersey. Source: The Haberdashers’s Company

One of the interesting personalities in the village was Thomas Aldersey who in 1565 purchased the tithes (church income) from Elizabeth I.  He was a contemporary of Sir Raufe Egerton, and as well as being a Member of Parliament, he was affiliated to the Company of Haberdashers, a powerful London Puritan guild, and appointed them as his trustees in 1590.  This was significant because it gave the guild authority over the church, and their involvement lead to Bunbury becoming a centre for non-conformism and, in the 17th century, became the home of Cheshire’s first Methodist society.  Even more interesting is that a census of 1640 showed that the parish housed some 112 illegal Catholics.  Unsurprisingly, the two factions were often in conflict.  This non-conformism lasted into the 19th century when there were two non-conformist chapels in Bunbury, the  Wesleyan Trinity Chapel established in 1806, and a Primitive Methodist church on College Lane built in 1876.

John Bradshaw

John Bradshaw by George Perfect Harding. Source: Wikipedia

At the foot of the dip alongside the Gowy is The Chantry House, built by the same Raufe Egerton responsible for the Ridley Chapel, as a home for his chantry priests.  It is a domestic half-timbered property dated by Historic England to roughly 1527, some 200 years after Sir Hugh Calveley had been sufficiently terrified by the prospect of Purgatory to finance a new incarnation of the church. Like many other buildings in Bunbury, The Chantry House has a rich history of its own and in 1594 was donated by Thomas Aldersey to the school’s master (the school has since been demolished). It was here that John Bradshaw is thought to have lodged as a child to attend the neighbouring school, growing up to become a jurist, judge, lawyer and politician.  As a Chief Justice in Chester and North Wales, he presided over a number of witch trials.  In 1649, he was made Lord President of the parliamentary commission that was established to put Charles I on trial, signed the death warrant on January 29th 1649, and subsequently held senior positions in the Commonwealth.  Although he was buried in Westminster Abbey with his wife, on the reinstatement of the monarchy under Charles II they were both later disinterred, put on show, and then posthumously executed by beheading.

The Chantry House

The Chantry House

As Clare Dudman’s article highlighted, the centuries-old line of sight between the house and the church was under threat recently, when a proposal was submitted for a new building development in the meadow that lies between Chantry House (and the River Gowy), and the slope up to the church.  The planning permission was recently refused in favour of retaining the open meadow.  Here’s an excerpt from the Decision Notice (Application No. 25/3509/PIP) refusing planning permission:

The river Gowy

The river Gowy

The proposed development is located within the Open Countryside and does not meet
any of the exceptions noted for development within Open Countryside. Furthermore, the
proposal would not integrate into the rural surrounding context and would erode the
existing distinction between the settlement boundaries and the wider open countryside
which contributes to the character of Bunbury. Furthermore, the development would
impact on the important local views and vistas and would have a conspicuous
urbanising effect that would fail to respect the intrinsic rural character of the wider
landscape, which would be harmful to the verdant rural character, appearance and
qualities of Bunbury contrary to Policies PG6.

Common sense, good taste and support for the retention of rural elements within the village prevailed in the end.  A footpath through the field gives good views of both The Chantry House and the church.

There is a Wikipedia page showing all the listed buildings in Bunbury.

 

Visiting details

There are no details of opening times for St Boniface either on the website or at the church, but it was open on both visits, and appears to have an open door policy.  It is worth checking the website to ensure that you don’t accidentally arrive when a service or a church event is being held.  For those using satnav, the church is on Bowe’s Gate Road and the What3Words address is ///dollar.papers.currently.  There is no official car park but there is plenty of on-street parking in the immediate vicinity of the east end of the church.

If you are more organized than I was, you can download a PDF of the history of the church from the  St Boniface website before you visit here. I recommend doing so because there are no pamphlets to pick up or purchase at the church to learn about its history, although on a cupboard top on the right-hand side, just before you enter the nave, you can open a copy of the book England’s Thousand Best Churches by Simon Jenkins to see the one-page summary, and next to it there is a framed sheet of A4 with a potted history of the church.  Other sources are listed below.

The Chantry House is a private residence and not open to the public.

If you go for a wander around the village, do take care to stand well back for the traffic, because there are no footpaths on most of the lanes, and delivery vehicles and through-traffic tend to travel at some speed, in spite of the narrow and bendy roads.

Sources:

Books and papers

Cook, G.H. 1959. English Collegiate Churches. Phoenix House Ltd

Dudman, Clare 2026.  The Chantry House and School Field, Bunbury.  Chester Antiquary (newsletter of Chester Archaeological Society), 2026 issue 1
https://chesterarchaeolsoc.org.uk/wp-content/uploads/2026/04/CHE_Antiq_26-01_V03.pdf (with links to other sources of information)

Farmer, David 2011 (5th edition). Oxford Dictionary of Saints. Oxford University Press.

Jenkins, Simon 2000.  England’s Thousand Best Churches. Penguin Books

Jeffrey, Paul 2007. The Collegiate Churches of England and Wales. Robert Hale Ltd.

Pevsner, Nikolaus and Edward Hubbard 1971. The Buildings of England: Cheshire. Penguin Books

Roffey, Simon 2007. The Medieval Chantry Chapel. An Archaeology.  Studies in the History of Medieval Religion XXXIV. Boydell Press

 

Websites

Chester Civic Trust
February 2025 event: Chester Witches
https://chestercivictrust.org.uk/february-event-chester-witches/

Historic England
The Church of St Boniface, Bowes Gate Road, Bunbury, List Entry 1138626
https://historicengland.org.uk/listing/the-list/list-entry/1138626
The Chantry House, Wyche Road, Bunbury, List Entry 1138635
https://historicengland.org.uk/listing/the-list/list-entry/1138635

St Boniface Church, Bunbury
Home
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Tour of St Boniface
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Listed Buildings in Bunbury
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The Riverside Museum, the development of hospitals in Chester and the professionalization of nursing

Introduction

After writing a 4-part series on the 1829 Cheshire Lunatic Asylum (its original 19th century name), which introduced me for the first time to medical history, I became interested in how hospitals other than mental institutions developed in the United Kingdom.  This post, offering a brief snapshot of how nursing staff built a sense of professional identity from the 19th century onwards, with particular reference to Chester, followed a visit to the Riverside Museum in Chester with its collection of nursing objects, including a cabinet full of hospital badges.

A brief background to hospital care in Chester

Eye Doctor Stamp from Wroxeter. SHYMS A/2008/00133

Eye Doctor Stamp from Wroxeter, now in the the Shrewsbury Museum and Art Gallery. SHYMS A/2008/00133

Medicine in one form or another has always been present. Doctors were in England in the Roman period.  A nice example of a Roman emblem of medical authority is an eye doctor’s stamp from the Roman town of Wroxeter near Shrewsbury, now in Shrewsbury Museum and Art Gallery.  Roman doctors and surgeons often treated their patients in the public baths, which were major community gathering places and health facilities but most legionary fortresses would also be equipped with a valetudinarium, a place for those needing help with valetudo (health), an early predecessor of the hospital.  In a British legionary fortress this building was usually located opposite the city baths for convenience, but although the Chester (Deva) city baths are known to have been located on the east side of Bridge Street, sadly the valetudinarium has not been definitively located.  Tim Strickland suggested, albeit tentatively, that it might be the building found in the 1982 excavations to the east of the barracks, on the west side of Northgate Street, a little way north of today’s Town Hall.  This is given support by some fascinating evidence for the presence of medical expertise in that area in the form of two altars dedicated by doctors to suitable deities.  Documented as RIB 461 and RIB 3151 they were both inscribed in Greek, implying that the doctors were themselves Greek, and were found on the west side of Northgate Street. Both are now in the Grosvenor Museum, Chester.  David Mason offers the alternative suggestion that the traces of primary timber buildings opposite the baths could feasibly be the  valetudinarium, but the remains were too meagre for any function to be determined.

Tim Strickland's reconstruction of the Princess Street Excavations, showing the possible hospital building in the background

Tim Strickland’s reconstruction of the Princess Street Excavations, showing the possible hospital building in the background. Source: Strickland 1982

In the later medieval period, badges and medals were adopted in secular, military and ecclesiastical contexts to identify status, beliefs and achievements.  Pilgrims to the St Werburgh shrine, in St Werburgh’s Benedictine Abbey, what is now Chester Cathedral, purchased pilgrim badges not only as souvenirs of their journey, but to identify themselves as actively committed to acts of Christian faith,or in gratitude for prayers being answered.  Pilgrimages could be undertaken for a variety of reasons, but a major draw was the possibility of a saint interceding in response to prayers for curing illness or disability.  Accumulated badges were attached to clothing and bags.  These were of course emblems purchased by the pilgrim.  They were not awarded by others to pilgrims in recognition of their devotion, but they communicated a powerful sense of affiliation and achievement.

St Werburgh’s Abbey pilgrim badge. British Museum 1836,0610.73

Chester’s very first infirmary was probably that of the medieval St Werburgh’s Benedictine Abbey, founded in 1092.  As with most abbey complexes, the infirmary was a separate building that provided elderly and infirm monks with a more relaxed regime and better food than enjoyed by the rest of the monastic community, but was not necessarily concerned with the most of the market town’s community beyond the monastic walls.  The location of the infirmary, which was usually a separate building and often set as one side of a second cloister (square of monastic buildings) is not known, although Alan Thacker suggests it might have been to the east of the surviving cloister.

By contrast, the 12th century St Giles leper colony was dedicated to the care of anyone with the terrible Hansen’s Disease, better known as leprosy, caused by the bacteria Mycobacterium leprae.  Like most leper colonies, it was outside the town, located about a mile away from Chester in Boughton.  As was traditional with leper hospitals, it was located at a fork in the road, an optimal location for lepers to beg for alms heading into and out of Chester via the Eastgate.  It later became more of an almshouse, until it was knocked down at the start of the Civil War in 1643.  The remains of the hospital’s cemetery is still visible as a patch of raised grass just beyond the fork where Tarvin Road and Christleton Road split.

Artist’s impression of Birkenhead Priory as it may have looked in the 14th century by E.W. Cox c.1896.

Just outside the city walls, the charitable St John The Baptist Infirmary (known locally as Little St John’s to distinguish it from the Church of St John the Baptist) was established in around 1190 to take care of the elderly and infirm within the town, specializing in the care of the impoverished.  Like most hospitals it was equipped with a church and a cemetery.  Thirteen beds were reserved for the city’s impoverished, but could take in other patients when capacity permitted.  There were always problems with the financial management of the hospital, which R. Stewart-Brown puts down to the policy of renting out the hospital’s properties in return for fixed sums, which could not be adjusted when costs rose.  Matters reached a head in February 1315-15 when a public inquiry was held and it was decided to give responsibility to Birkenhead Priory, but this was apparently fairly short-lived.  The hospital was demolished in 1644.

In 1510  a charitable bequest from former sheriff Roger Smith founded six almshouses in Commonhall Street, Smith’s former house, together with a chapel. Suffering financial difficulties, it was converted into the Fraternity and Hospital of St Ursula the Virgin.  Although it was dissolved in the mid 1500s the almshouse buildings survived until 1871.

1761 Building Royal Infirmary

1761 Building Royal Infirmary

The Chester Infirmary opened in the mid-1700s after a bequest was left to found a county infirmary specifically to build a hospital for those unable to afford medical care.  After an initial period at the Blue Coat School at Northgate, a site was purchased on City Walls Road, and the building was designed by William Yoxall, with its own chapel on the first floor.

Dr John Haygarth

Dr John Haygarth. Source: Wikipedia

In 1766 Dr John Haygarth accepted a position at the Infirmary as a physician, working there until he retired in 1796.  His investigative work lead him to become particularly interested in the spread of infections diseases in the poorer parts of the city, establishing a Smallpox Society in 1778.  He promoted the control of disease in the community by establishing routines of cleanliness, ventilation and inoculation.  The creation of isolation wards in 1783, in response mainly to typhus outbreaks, was an innovation at the Infirmary that was soon adopted by other hospitals.  Over the coming years many changes were made to the Infirmary.  The Chester Infirmary represented a considerable advance on medieval standards of care, both benefitting from and contributing to medical research and the understanding of infectious diseases.

Frances Maria Wilbraham

Frances Maria Wilbraham. Source: Wikipedia

At the Chester Infirmary, the sisters Frances and Emily Wilbraham and their friend and colleague Emily Ayckbowm demonstrated how women in the late 1800s might be highly active not merely in the care of patients, but in the management of hospitals and the handling of epidemics, building on the work of Florence Nightingale. Colonel Richard Wilbraham, brother of the sisters, had served in Crimea and was a friend of Nightingale’s.

The three major outbreaks of cholera in 1832, 1849 and 1865 stretched the hospital’s resources to the limit and they refused to take cholera patients, requiring isolation hospitals to be set up on vacant land, which were taken down once the worst was over.  This was a period when Chester still lacked piped water and insanitary conditions, although being tackled by the authorities, were very common.  At the onset of the 1865-66 outbreak of cholera, Frances was instrumental in setting up an isolation hospital in a semi-derelict farm building where the Grosvenor Park is now located, helping to, prepare it for patients, nursing the patients when they arrived, and managing workhouse inmates who were assigned to the infirmary.  Frances published a book about her experiences in 1877, “Streets and Lanes of a City,” under the pen-name Amy Dutton. The windows in the chapel built on the first floor of the Royal Infirmary were installed in memory of the Frances and Emily.

Infirmary Chapel Windows. Source: First floor display in the Wheeler Building, University of Chester

Infirmary Chapel Windows. Source: Photograph of first floor landing poster display in the Wheeler Building, University of Chester

The building was expanded and modernized and in 1914 a major refurbishment was accompanied by a new wing with with six additional wards.  After being opened by King George V and Queen Mary, it was renamed the Chester Royal Infirmary.  In 1948 the hospital was absorbed into the National Health Service.  In 1994 it eventually closed, its functions having been taken over by what is now the mammoth Countess of Chester Hospital.  The original 1761 building was Grade 2 listed in 1972, and in 1998 was converted for residential use, but the rest was demolished.  The building still stands and appears to be in very good condition.

The 1829 Building, built as Cheshire’s first lunatic asylum and now part of the Countess of Chester Hospital

The Countess of Chester Hospital was, until 1968, a mental health hospital.  It had been established as the county lunatic asylum in 1829, a progressive institution which, particularly under Thomas Nadauld Brushfield, attempted not merely to confine patients but to understand and treat mental illness.  I have written a considerable amount about the lunatic asylum in the 19th century on this blog here.  In 1968 it became a general hospital and in 1977 began to expand to become the central general hospital for the region.

The Haygarth Medal

The Haygarth Medal, , Chester Infirmary. Source: Peter’s Nursing Collectibles (with permission)

The relationship between hospital, lunatic asylum and workhouse (most of which had their own medical wings for inmates) was complicated, but there was increasing recognition that medicine and patient care needed to be both professionalized and standardized.  This is first visible in the increasing care invested in new hospital buildings. The architecture of both the Infirmary of 1761 and the Cheshire Lunatic Asylum of 1829 demonstrate the civic pride that lay behind these institutions.  The buildings were not merely functional-looking cornflake-box buildings, but imaginative statements of philanthropic commitment, self-confidence and investment in society, as well as representing more than a little self-congratulation.  Not all of the nation’s medical institutions were able to put well-meant ideals into practice, but on the whole the Chester medical establishments seem to have had the best of intentions and to have attracted good professional people to head up their medical enterprises.

In the late 19th century the Chester Infirmary began to award a silver medal each year to the best nurse at the Infirmary, recognizing that rewarding high standards was an important part of encouraging improvements in the profession as a whole.  In honour of its pioneering physician Dr John Haygarth, it was named the Haygarth Medal, at left.  The tradition of awarding badges and medals had a long pedigree in the military and the use of the same idea to recognize achievements and promotions was one of the most important tools used to demonstrate the professionalization of nursing.
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The professionalization of nursing and associated symbols of achievement

Original letter written by Florence Nightingale at Baklava to a soldier's family, preserved at the Riverside Museum, Chester

Original letter written by Florence Nightingale at Baklava to a soldier’s family, preserved at the Riverside Museum, Chester

The best know of the pioneering nurses is Florence Nightingale (1820-1910).  She had introduced many important new initiatives, such as providing fresh air, clean conditions, warmth, quiet and a good diet.  She recognized that nursing was regarded as little more than domestic service that attracted those without either skills or education, many of whom were very unsuitable.  On her return to England, after the war ended in 1856, Nightingale established a school for nurses, funded with public contributions.  It opened in 1860, provided year-long training, and was highly selective about the intake of trainees.  Interestingly, Nightingale was not in favour of establishing national uniformity in the professional standardization of nursing.  Instead, she believed that a letter of recommendation from her training school was sufficient recommendation.

Badge of the National Union of Trained Nurses. Source: Peter’s Nursing Collectibles

It was another professional nurse, Ethel Gordon Fenwick (1857-1947), a matron of St Bartholomew’s hospital in London, who became one of the principal activists for the standardization of professional training and the introduction of qualifications.  Because nursing was the almost exclusive activity of women, the work to professionalize nursing was most often undertaken by female activists in an era long before women had won the right to vote for the first time in 1918. Ethel Gordon Fenwick campaigned for the registration of nurses as a way of establishing universally accepted standards in nursing associated with acknowledged skills and integrity.  In 1887 she established the British Nurses Association to campaign for registration, and issued both certificates and badges to nurses who were deemed to have met the Association’s high standards. This was eventually followed in c.1910 by the National Union of Trained Nurses, which again issued certificates and badges.  Its badge, in the shape of a star, had the legend , with the legend translated as “per ardua ad astra,” a Latin phrase meaning “through adversity to the stars.”

College of Nursing Badge. Source: Peter's Nursing Collectibles

College of Nursing Badge. Source: Peter’s Nursing Collectibles

Although a pioneer in her own right, Ethel Gordon Fenwick was not alone, and other institutional bodies were set up to push forward registration and standards, often in competition with one another.  These different bodies were eventually superseded in 1919 when the Nurses Registration Act was passed and the College of Nursing was established, and the registration of nurses began on 30th September 1921, entitling nurses to refer to themselves as State Registered Nurses (SRNs).  Ethel Gordon Fenwick signed the register in that year, becoming the first SRN. This new institution continued the tradition of issuing a badge, which had the initials CN surrounded by the motto “The College of Nursing founded MCMXVI,” accompanied by the emblematic flora of the four nations.  It was updated a number of times, notably in 1946 when it was provided with the motto Tradimus Lampada, “We pass on the torch,” a reference to Florence Nightingale and her pioneering work to establish standards in patient care.

Nurses’ badges, which began to be awarded after the middle of the 19th century displayed affiliation to a value system, an ideology, a profession and an institution, whilst at the same time providing a sense of personal achievement and pride.  They were also, much like military and ecclesiastical training awards, part of the process of ensuring that nurses adopted not only practical methodologies and procedures, but also particular patterns of behaviour and responsibilities.  The messages incorporated into these badges were not only recognized by other health professionals but also provided reassurance to patients and their families. For women, always the minority in professional life up until the mid 20th century, it was an important indication of their increasingly important roles and skills in a medical environment.

Nurse's uniform on display at the Riverside Museum, Chester

Nurse’s uniform on display at the Riverside Museum, Chester

Although by the later 19th century badges of honour and office were already popular, they  acquired a new momentum as different segments of society began to recognize the importance of conforming to agreed professional standards at work.  Nurses’ uniforms and badges were developed side by side with growing professional standards and the recognition that nurses, delivering hands-on care, required training, examination, and qualifications to ensure that the ever changing medical advances were incorporated into the daily routines of the hospital wards.  The development of recognized formal standards and the uniforms and badges that indicated them, gave nursing a new sense of its own professional integrity, and value to society.  Nursing badges were adopted by both the state, to recognize national awards, and by individual hospitals to recognize the achievements of their own nurses who had been trained according to that establishment’s own standards and specializations.  This introduced some competition between hospitals, as some establishments became more prestigious than others, and issuing badges was a way of attracting nurses who wished to share in that prestige.

Chester Royal Infirmary Training School. Source: Peter's Nursing Collectibles

Chester Royal Infirmary Training School, combining the Maltese Cross with the wheat sheaf of Chester. Source: Peter’s Nursing Collectibles

State badges were eventually standardized.  In 1919 the Nurses Registration Act introduced a single badge for all nurses who qualified, and continued to be a valuable part of a nurse’s uniform for over 70 years.  Individual hospital badges continued to be far more eclectic and there are hundreds of styles and shapes of individual hospital badges.  There was often a “pinning of the badge” ceremony to mark the transition of a nurse when she had finished her training or passed certain examinations, associating the badge with a sense of ceremony and occasion.

Themes represented on British badges were very varied.  Some early examples were based on the Maltese Cross emblem of the Knights of St John.  Others had Christian imagery to reflect the nurture, care and charitable character of nursing.  Some had heraldic themes.  Lamps, referencing Florence Nightingale, were popular.  The Rod of Aesculapius is a recurring emblem.

My mother's Oxford Eye Hospital badge

My mother’s Oxford Eye Hospital badge, in the shape of an eye with the emblem in the eye’s pupil, together with her fob watch

Specialist institutions might have imagery showing the nature of the specialization; images of mother-and-child were popular with midwifery, for example.   Some simply displayed initials of the institution.  Many included a motto around the edge or on the cross-bar.  My mother became an ophthalmic nurse at the Oxford Eye Hospital after leaving school, and I still have her nurse’s badge, shown here, in the shape of a human eye with the image of a lamp symbolizing Florence Nightingale at its centre, in the pupil of the eye. The motto that sits along the base of the badge reads “To give light to them that sit in darkness.”

Chester District School of Nursing. Source: Peter's Nursing Collectibles

Chester District School of Nursing. Source: Peter’s Nursing Collectibles

In Chester hospitals, the wheat sheaves first associated with the 5th Earl of Chester from the 12th century were popular, such as that from the Chester School of District Nursing shown left and the Chester Royal Infirmary Training School above.  

In the 20th century the principal manufacturer of nurses’ badges was Thomas Fattorini, in Birmingham.  It is estimated that around 400 different UK nurses badge designs were produced in the 1970s and 80s alone.  State badges ceased to be issued in 1983 when statutory bodies were reorganized under a central council. The tradition of issuing hospital badges also began to go into decline when the shift was made from hospital-based training to nursing colleges. Nurses’ badges are now, however, very popular with collectors so although they are now more matters of heritage than ongoing relevance, their survival seems secure.
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The reverse side of a Fattorini Badge from Oxford Eye Hospital

The reverse side of a Thomas Fattorini Badge made for Oxford Eye Hospital

 

School of Nursing and Midwifery, Chester. Source: Peter's Nursing Collectibles.

School of Nursing and Midwifery, Chester. Source: Peter’s Nursing Collectibles.

In conclusion, the professionalization of nursing and the recognition of nurses’ achievements was aided by the deployment of uniforms and badges that indicated the role of the women who wore them, and later men too.  These uniforms and badges reflected social reform in which the growing recognition of the role of women outside the home and beyond the menial were increasingly recognized. The badges visibly demonstrated qualifications and abilities to their patients, their colleagues, their managing institutions and to society as a whole, creating a framework of recognition and respect.  Perhaps just as importantly it provided the nurses who earned them with a sense of status and self-worth.  The badge was not something that a nurse simply wore, but an emblem of honour and achievement indicating a personal commitment and attitude to a vocation involving both practical and book learning in which she not merely participated but in which she had been tested and at which she had excelled.

Photograph of the Chester Royal Infirmary in 1968, together with The Nursing Mirror Pocket Encyclopaedia and Diary. Riverside Museum, Chester.

Photograph of the Chester Royal Infirmary in 1968, together with The Nursing Mirror Pocket Encyclopaedia and Diary. Riverside Museum, Chester.

I have referred to nurses throughout this short piece as female, as most nursers were, for most of nursing history.  In mental health institutions male attendants were an absolute necessity for their physical strength rather than their medical skills, working alongside female nurses, but from the mid-19th century, and particularly during the two World Wars, men were serving as medics in first aid and nursing capacities in the military, as part of the Royal Army Medical Corps (RAMC), often at the front lines.  Legal recognition for male nurses in Britain occurred in 1919 with the introduction of the Nurse Registration Act; the first male State Registered Nurses (SRNs) were registered in 1922.  The first male SRN was George Dunn of Liverpool who had trained in the RAMC.

The Riverside Museum

Nurses' badges at the Riverside Museum, Wheeler Building, Chester

Nurses’ badges at the Riverside Museum, Wheeler Building, Chester

The Riverside Museum in Chester contains a rich assortment of items that relate to medicine, nursing, midwifery and related health services. In one display cabinet there are numerous nursing badges. They all come from Chester, the Wirral and elsewhere in the region, and they are all different shapes, sizes and colours with different motifs.  Based on the model of military uniforms and medals, the nurses’ uniforms and state-awarded badges were intended to identify nurses as fully trained and qualified health professionals.  Other badges additionally identified specific hospitals and specializations.  The emblems, badges and uniforms formed a symbolic representation of skill, status and role within the healthcare community.

Riverside Museum

What is clear from the Riverside Museum is that as well as badges and uniforms, nurses had a plethora of written material to support them – pamphlets, handbooks, mini encyclopaedias and, later, textbooks.  As well as used as training materials, they continued to be valuable for reference on the job, and new volumes helped to keep nurses up to date with the latest techniques and practices.  These demonstrate not merely the standard that the nurses reached, but also the commitment to ongoing improvement.

If you have not heard of the Riverside Museum, it is probably because of its opening times.  The museum is run by volunteers and its opening times are confined to once a month during term time, and on certain days during the Chester Heritage Festival and the Festival of Ideas.  You can find their opening times for 2026 here.

School of Nursing and Midwifery. University College Chester.

School of Nursing and Midwifery. University College Chester. Source: Peter’s Nursing Collectibles.

Do note that the opening times usually coincide with a free lecture series organized by the Faculty of Health, Medicine and Society Historical Society, also listed on the link above.  These lectures are excellent, and it is well worth planning to combine a visit to the museum with attendance of a lecture.  The Museum also accepts group bookings for six or more people by arrangement.  The museum is located in the Wheeler Building, which was the former County Hall, the Cheshire County Council headquarters building. It sits on the northern bank of the Dee between the 14th century Old Chester Bridge and the 1832 Grosvenor bridge, overlooking the river. A map is available at the bottom of the Wheeler Building’s web page here.

Many and sincere thanks are owed to Peter Maleczek for giving me permission to use the images from his website Peter’s Nursing Collectables at https://petersnursingcollectables.com/home.php  and his Flickr page at https://www.flickr.com/search/?user_id=36611823%40N07&sort=date-taken-desc&view_all=1&text=chester

 

Chester Royal Infirmary, both engraved to Nurse M. Dallimore.  Source: Peter's Nursing Collectibles

Chester Royal Infirmary prize medals, both engraved to Nurse M. Dallimore in 1940.  Source: Peter’s Nursing Collectibles

Sources:

Books and Papers

Barrow, J.S., J.D. Herson, A.H. Lawes, P.J. Riden, M.V. J. Seaborne 2005.  Local government and public services: Medical services.  In A.T. Thacker and C.P. Lewis (eds.) A History of the County of Chester: Volume 5 Part 2, the City of Chester: Culture, Buildings, Institutions. British History Online
https://www.british-history.ac.uk/vch/ches/vol5/pt2/pp49-58 

Bates, Christian 2010. Looking closely: Material and visual approaches to the nurse’s uniform.  Nursing History Review vol.18, p.167-88
https://www.proquest.com/docview/207237406?sourcetype=Scholarly%20Journals

Callander-Green, Stephen 2001.  Nurses’ Badges: Archaic Symbols or Icons of Nursing? International History of Nursing Journal, vol.6, iss.2, p.71
https://www.proquest.com/docview/218742979?pq-origsite=gscholar&fromopenview=true&sourcetype=Scholarly%20Journals

Carrington, P. 1994.  Chester. Batsford / English Heritage

Catanzaro, Ana Maria 2002. Beyond the Misapprehension of Nursing Rituals.  Nursing Forum, vol.37, No.2, April-June 2002, p.17-27
https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1744-6198.2002.tb01194.x

Edelweiss, James 1992, 2009. Collecting Nursing History 6. Pictorial History –  Collecting Nursing Badges. School of Nursing.
https://www.schoolsofnursing.co.uk/Articles/EdelweisJBA1.htm

Laughton, Jane 2008. Life in a Late Medieval City. Chester 1275-1520. Windgather Press

Mason, David 2001, 2007 (2nd edition). Roman Chester. City of the Eagles. Tempus

Richardson, Harriet (ed.) 1998. English Hospitals 1660-1948. Royal Commission on the Historical Monuments of England

Risse, Guenter B. 1999. Chapter 1. Collective Care of Soldiers and Slaves: Roman Valetudinaria. In (ed.) Guenter B. Risse. Mending Bodies, Saving Souls: A History of Hospitals. Oxford University Press
https://www.researchgate.net/publication/273441350_Collective_Care_of_Soldiers_and_Slaves_Roman_Valetudinaria

Strickland, Tim 1982.  Chester. Current Archaeology 84, vol. 8, no.1, October 1982, p.6-12

Thacker, Alan 1995.  The reuse of the monastic buildings at Chester, 1540-1640. Transactions of the Historic Society of Lancashire and Cheshire, vol. 145 (1995), p.21-43.
https://hslc.org.uk/wp-content/uploads/2017/05/145-3-Thacker.pdf

Wildman, Stuart 2020.  Nursing history: the first male nurses: Who were the first male nurses? Royal College of Nursing Magazine, April 29th 2020
https://www.rcn.org.uk/magazines/History/2020/Nursing-History-Now-first-men-nurses-on-register

Wildman, Stuart 2023. What’s On a Badge? Using material culture to illustrate the professionalism of nursing. Bulletin of the UKAHN, vol.11 (1)
https://bulletin.ukahn.org/whats-on-a-badge-using-material-culture-to-illustrate-the-professionalization-of-nursing/

Websites

Based in Churton
The Cheshire Lunatic Asylum 1854-1870 – Part 2.1
https://wp.me/pcZwQK-6oU
The Cheshire Lunatic Asylum 1854-1870 – Part 2.2
https://wp.me/pcZwQK-7ts

Roman Inscriptions in Britain
RIB 461 and RIB 3151
https://romaninscriptionsofbritain.org/inscriptions/3151

School of Nursing
Sue Sullivan. Collecting Nursing History – Nursing Badge Design.
http://www.schoolsofnursing.co.uk/Articles/Badgedesignx.htm

 

The Nursing Mirror Pocket Encylopaedia and Diary

Pages from the Nursing Mirror Pocket Encyclopaedia and Diary. Riverside Museum, Chester