1 Jackson, Neil, ‘Christ Church, Streatham, and the Rise of Constructional Polychromy’, Architectural History, 43 (2000), pp. 218-52CrossRefGoogle Scholar.

2 See Jackson, ‘Christ Church, Streatham’, pp. 220 and 238. See also Crinson, Mark, Empire Building, Orientalism and Victorian Architecture (London and New York, 1996), p. 98 Google Scholar; and Zanten, David van, The Architectural Polychromy of the 1830S (New York and London, 1977), pp. 215-16Google Scholar. Crinson says that Jones married Isabella Lucy Wild in 1842: van Zanten says it was in 1848.

3 For Charles Heard Wild’s connexion with Christ Church, see Jackson, Neil, ‘James Wild, Egypt, and St John’s Church, Hampstead: A Postscript to Christ Church, Streatham’, Architectural History, 45 (2002), p. 484 CrossRefGoogle Scholar.

4 Hitchcock, Henry-Russell, Early Victorian Architecture in Britain (New Haven, 1954), vol. 1, p. 106 Google Scholar.

5 Hitchcock, Early Victorian Architecture, p. 576.

6 Hitchcock, Early Victorian Architecture, pp. 538-39.

7 Hitchcock, Early Victorian Architecture, p. 542.

8 Jones, Owen, ‘On the Decoration Proposed for the Exhibition Building in Hyde Park’, Royal Institute of British Architects Transactions (December 1850), p. 2 Google Scholar.

9 van Zanten, Architectural Polychromy, p. 35, quoted in Jackson, ‘Christ Church, Streatham’, p. 220.

10 Jones, ‘On the Decoration Proposed’, p. 3.

11 Jones, ‘On the Decoration Proposed’, pp. 3-4.

12 Jones, ‘On the Decoration Proposed’, p. 4.

13 i.e., the juxtaposition of yellow and blue might give the appearance of green.

14 See Ferry, Kathryn, ‘Printing the Alhambra: Owen Jones and Chromolithography’, Architectural History, 46 (2003), p. 187 CrossRefGoogle Scholar, n. 30.

Ferry says (pp. 176-77) that, following Goury’s death in August 1834, Jones travelled to France to see Goury’s family. It had been their intention to attempt to get the French government to publish their drawings of the Alhambra, so it is wholly possible that, in pursuit of this, he met Chevreul (1786-1889) whose Leçons de chimie appliquée à la teinture (Paris, 1828-31) would have informed his interest in chromolithography.

15 See Chevreul, , De la loi du contraste simultané des couleurs et de l’assortiment des objets colorés (Paris, 1839)Google Scholar published as The Laws of Contrast of Colour and their Application to the Arts of Painting, Decoration of Buildings … (London, 1860) [trans, from French, Spanton, John]Google Scholar.

16 ‘On the exhibition building in Park’, Hyde, The Ecclesiologist (August 1851), pp. 272-73Google Scholar.

17 For the earlier debate on polychromy and the deliberations of the I.B.A.’s Polychrome Committee, see Jackson, ‘Christ Church, Streatham’, pp. 225-27.

18 ‘Plate XXII, is devoted to the remains of coloured ornaments on the Greek monuments.’ Jones, Owen, The Grammar of Ornament (London, 1856), p. 34 Google Scholar. In pl. XXII, figs 1, 5-18 (‘from the Propylæa’) are attributed to Hittorff and figs 12-17 (‘from the coffers of the ceiling of the Propylæa’) to Penrose. The enumeration is as shown here.

19 Donaldson, Thomas Leverton, ‘On Polychromatic Embellishments in Greek Architecture’, Royal Institute of British Architects Transactions (January 1852), p. 5 Google Scholar.

20 Owen Jones was Director of Decorations and Matthew Digby Wyatt was Director of Works for the Crystal Palace Company who rebuilt the building at Sydenham. See Chadwick, George F., The Worte of Sir Joseph Paxton 1803-1865 (London, 1961), pp. 144-45Google Scholar.

21 Jones, Owen, An Apology for the Colouring of the Greek Court in the Crystal Palace (London, 1854), p. 17 Google Scholar.

22 Jones, An Apology, p. 9.

23 Owen Jones had dedicated his book on The Alhambra ‘TO THE MEMORY OF JULES GOURY, ARCHITECT, WHO DIED OF CHOLERA, AT GRANADA, AUGUST XXVIII, MDCCCXXXIV, WHILST ENGAGED IN PREPARING THE ORIGINAL DRAWINGS …’. Jones, Owen, Plans, Elevations, Sections and Details of the Alhambra: from drawings taken on the spot in 1834 by the late M. Joules Goury and in 1834. and 1837 by Owen Jones, Archt., vol. 1 (London, 1842)Google Scholar, n.p.

24 See Ferry, ‘Printing the Alhambra’, p. 187, n. 2.

25 Jones, An Apology, pp. 9 and 40. See also Jackson, ‘Christ Church, Streatham’, p. 226.

26 Jones, An Apology, p. 7. On p. 9 he says, ‘I most fully believe that the Greek monuments were coloured and ornamented on a much higher key than I have ventured to attempt, whilst the public eye requires preparation for receiving what there are as yet so few facts to substantiate’.

27 Twenty-two of Jones’s thirty-seven propositions (nos 14 to 35) deal with colour.

28 Brooks, Michael W., John Ruskin and Victorian Architecture (New Brunswick and London, 1987), p. 84 Google Scholar.

29 Crinson, Mark, Empire Building, Orientalism and Victorian Architecture (London and New York, 1996), pp. 54–55 Google Scholar.

30 Ruskin provides this explanation in a footnote in the 1880 edition of The Seven Lamps of Architecture, chap. iv, para, xxxvi, n. 49.

31 Ruskin, John, The Seven Lamps of Architecture (Orpington, 1849), chap, iv, para, xxxviii Google Scholar.

32 Ruskin, , The Seven Lamps, chap, iv, para, xxxix Google Scholar.

33 In John Ruskin (p. 88), Brooks writes that ‘while a certain diaphanous lightness seems to cling to the wall-veil, this is not part of Ruskin’s meaning’. Indeed, but it serves to separate Ruskin’s non-structural interpretation of polychromy from that of Street, White et al.

34 Ruskin, , The Seven Lamps, chap, iv, para, xxxix Google Scholar.

35 Ibid.

36 Ibid.

37 Pevsner, Nikolaus, Some Architectural Writers of the Nineteenth Century (Oxford, 1972), p. 254 Google Scholar.

38 Summerson, John, ‘William Butterfield, or the Glory of Ugliness’, in Heavenly Mansion (London, 1949), pp. 159-76Google Scholar. This chapter had first appeared as ‘William Butterfield’, The Architectural Review (December 1945), pp. 166-75.

39 Crook, J. Mordaunt, The Dilemma of Style (London, 1987), p. 140 Google Scholar.

40 Ibid.

41 Thompson, Paul, William Butterfield (London, 1971), p. 163 Google Scholar.

42 Muthesius, Stefan, The High Victorian Movement in Architecture 1850-1870 (London, 1972), p. 64 Google Scholar.

43 Muthesius, The High Victorian Movement, p. 75.

44 Butterfield retired from practice in 1892. See Brooks, Chris, ‘William Butterfield’, The Victorian, no. 4 (July 2000), p. 7 Google Scholar, which is useful for a brief appraisal of Butterfield.

45 Thompson, William Butterfield, p. 163.

46 Muthesius, The High Victorian Movement, p. 75.

47 This is the title of the final chapter in Hitchcock’s monumental Early Victorian Architecture in Britain.

48 Thompson, William Butterfield, p. 163. Thompson would be referring to the first volume of The Stones of Venice (1851).

49 Thompson, William Butterfield, p. 163.

50 Brooks, John Ruskin, p. 109.

51 Crook, The Dilemma, p. 71

52 Architectural History, vol. 43, was published in September 2000.

53 Hall, Michael, ‘What Do Victorian Churches Mean? Symbolism and Sacramentalism in Anglican Church Architecture, 1850-1870’, The Journal of the Society of Architectural Historians, vol. 59, no. 1 (March 2000), pp. 2–19 CrossRefGoogle Scholar.

54 Ruskin, John, The Stones of Venice, vol. 1 (Orpington, 1851), chap, v, paras, iii and vGoogle Scholar.

55 Ruskin, , The Stones, vol. 1, chap, v, para. vi Google Scholar.

56 Hall, Michael, ‘G. R Bodley and the Response to Ruskin in Ecclesiastical Architecture in the 1850s’, in Ruskin & Architecture, ed. Daniels, Rebecca and Brandwood, Geoff (Reading, 2003), p. 253 Google Scholar.

57 Hitchcock, Henry-Russell, ‘G. E. Street in the 1850s’, The journal of the Society of Architectural Historians (December 1960), p. 154 Google Scholar.

58 The completion of St Peter, consecrated on 21 July, was announced in The Builder on 5 August 1854, p. 414: ‘The chancel of the ancient church has been re-built, and a new south aisle added, and the chuch otherwise enlarged and re-modelled’. Considering its elaborate natue, it is likely that the design dates from the earlier rather than the later part of 1853.

59 In William Butterfield (p. 88) Thompson cites examples of Butterfield’s use of English precedents, such as the west front of St Matthias, Stoke Newington (1850), being derived from Dorchester Abbey.

60 Street, G. E., ‘The True Principles of Architecture, and the Possibility of Development’, The Ecclesiologist (August 1852), p. 261 Google Scholar.

61 In the summer of 1851 Street visited Mainz, Frankfurt, Wurzburg, Hamburg, Nuremberg, Ratisbon, Munich, Ulm, Freiburg, Strassburg, and Heidelberg.

62 Street, ‘The True Principles’, p. 255.

63 Street, ‘The True Principles’, p. 260.

64 Street, ‘The True Principles’, pp. 260-61.

65 Thompson says that Butterfield ‘went to north Germany because of the relative scarcity of English medieval brick architecture’, and cites examples of the influence of German Gothic upon his early work. See William Butterfield, p. 93.

66 Street, G. E., ‘The Churches of Lübeck’, The Ecclesiologist (February 1855), p. 34 Google Scholar. Street had visited Lübeck in the autumn of 1854.

67 Street, ‘The Churches of Lübeck’, p. 43.

68 Broletto, Brescia, details of archivolts, p. 67; San Zenone, Verona, cloisters, p. 98; Italian brickwork, p. 104; Mantua, window in Ducal Palace, p. 184.

69 Street, G. E., Brick and Marble in the Middle Ages: Notes of a Tour in the North of Italy (London, 1855), p. xv Google Scholar.

70 Street, G. E., ‘On Colour as Applied to Architecture’, Associated Architectural Societies Reports and Papers, vol. III (1854-55), P. 354 Google Scholar.

71 Ruskin, , The Stones of Venice, vol. 1, chap, iv, para. v Google Scholar.

72 In John Ruskin (p. 85) Brooks acknowledges Ruskin’s allowance but says that ‘in general the separation of color from function remains characteristic of his thought’.

73 Pevsner, Nikolaus, Yorkshire, The North Riding (Harmondsworth, 1966), p. 58 Google Scholar.

74 Examples of traditional flint, or pebble, and brick construction are legion, particularly in Norfolk and Suffolk, and along the Sussex coast. See Taylor, Alec Clifton, The Pattern of English Building (London, 1972), pp. 191–209 Google Scholar.

75 Street, ‘On Colour’, p. 352.

76 Street, ‘The True Principles’, pp. 247-62.

77 Street, ‘On Colour’, p. 355.

78 Street read his paper in September 1855. The date of publication is unclear but it might well have been as late as early 1856. Waterhouse’s design for Binyon and Fryer was shown at the Architectural Exhibition which opened in 1855 and closed in 1856 (the months are unclear) and was listed in The Builder on 19 January 1856, p. 26, and in The Civil Engineer and Architects’ journal in January 1856, p. 3.

79 See Physick, John and Darby, Michael, Marble Halls, Drawings and Models for Victorian Secular Buildings (London, 1873), pp. 100-01Google Scholar; and also Cunningham, Colin and Waterhouse, Prudence, Alfred Waterhouse 1830-1905: Biography of a Practice (Oxford, 1992), p. 27, pls 21–22 Google Scholar.

80 The Builder, (2 September 1854), pp. 462-63.

81 As illustrated in The Builder, (15 June 1861), p. 411.

82 Street, G. E., ‘On the Proper Characteristics of a Town Church’, The Ecclesiologist (December 1850), pp. 227-33Google Scholar.

83 Polychromatic roofs might enliven an otherwise dull elevation and attract attention to a competition entry. Now, one hundred and fifty years later, it is difficult to determine how many buildings were actually constructed with coloured roofing materials; often one cannot tell, neither from the building nor photographs, if the original roof covering remains.

84 See Atterbury, Paul and Wainwright, Clive (eds), Pugin: A Gothic Passion (New Haven and London, 1994), p. 59, pl. 105 Google Scholar.

85 Blau, Eve, Ruskinian Gothic, The Architecture ofDeane and Woodward, 1841-1861 (Princeton, 1981)Google Scholar; O’Dwyer, Frederick, The Architecture of Deane and Woodward (Cork, 1995)Google Scholar.

86 Broad horizontal banding appears in Brownsbarn, Co. Kilkenny (1858-64) and St Anne’s Parochial Schools, Dublin (1856-58).

87 ‘The materials of which the walls are composed are Bath stone, the external walls being lined with brickwork, and having bands of three colours … The style of the building, when the structure grows in form and feature, will doubtless produce conflicting criticisms.’ ‘New Buildings, Christ Church, Oxford’, The Builder (29 November 1862), p. 856. It is described as ‘a joyless building’ in Sherwood, Jennifer and Pevsner, Nikolaus, Oxfordshire (Harmondsworth, 1974), p. 24 Google Scholar.

88 ‘The materials used in the facing are Portland stone in the piers and caps; Forest of Dean, red Mansfield, and blue Warwick, in other portions of the front; and over the arches Sicilian Marble.’ ‘Offices of the Crown Life Assurance Company, Fleet Street, London’, The Builder (15 July 1865), p. 502.

89 Boutcher, Wm., ‘On brickwork’, The Builder (2 September 1848), p. 423 Google Scholar. See Jackson, ‘Christ Church, Streatham’, pp. 236 and fig. 7.

90 Street’s competition entry was placed second to Henry Clutton and William Burges.

91 In the London office of Scott and Moffatt.

92 ‘My father’s practice being at first so much in one neighbourhood led to his spending several weeks at a time in Cornwall three or four times a year.’ Street, Arthur Edmund, Memoir of G. E. Street R.A. 1824-1881 (London, 1888), p. 11 Google Scholar.

93 See Thompson, Paul, ‘The Writings of William White’, in Concerning Architecture, ed. Summerson, John (London, 1968), p. 228 Google Scholar.

94 White, William, ‘On Some of the Principles of Design in Churches’, Transactions of the Exeter Diocesan Architectural Society, vol. II, 1st series (1853), p. 177 Google Scholar.

95 ‘In quietness and in confidence, shall be your strength.’ Isaiah 30, 15.

96 White, ‘On Some of the Principles’, p. 177.

97 White, William, ‘Upon some of the causes and points of failure in Modern Design’, The Ecclesiologist (October 1851), p. 307 Google Scholar.

98 Muthesius, The High Victorian Movement, p. 39.

99 Street, ‘On the Proper Characteristics’, pp. 227-33.

100 Street, ‘On the Proper Characteristics’, p. 229.

101 White, ‘Upon some of the causes’, p. 313.

102 Street, ‘On the Proper Characteristics’, p. 231.

103 White, ‘Upon some of the causes’, p. 313.

104 Ruskin, , The Seven Lamps, chap iii, para. v Google Scholar.

105 This is a footnote appended to the previous statement. Ruskin, , The Seven Lamps, chap, iii, para. v Google Scholar, n. 27.

106 Scott, George Gilbert, ‘On the Pointed Architecture of Italy’, The Ecclesiologist (June 1855), pp. 142-48Google Scholar.

107 Scott, George Gilbert, ‘The Uses to be Made of the Medieval Architecture of Italy’, Remarks on Secular and Domestic Architecture, Present and Future (London, 1858), pp. 280-90Google Scholar.

108 ‘Venice was an enchantment! … I here met Ruskin, whom I knew before, and we spent a most delightful evening with him.’ Scott, G. Gilbert (ed.), Sir Gilbert Scott, Personal and Professional Recollections (London, 1879), p. 158 Google Scholar.

109 Ferrey, for his part, might also have been encouraged towards polychromy by his Italian visit as evident at St John, Angeli Town, in Brixton (1852-53), but here the expression was particularly English. See ‘The Church of St. John, Angell-Town, North Brixton’, The Builder (7 May 1853), p. 296.

110 Hall, ‘G. F. Bodley’, p. 251.

111 Brooks, John Ruskin, pp. 57-59.

112 See Jackson, Neil, Nineteenth Century Bath, Architects and Architecture (Bath, 1991), pp. 166-67Google Scholar.

113 Scott, Personal and Professional, p. 204.

114 Scott, George Gilbert, ‘On the Pointed Architecture of Italy’, The Ecclesiologist (June 1855), p. 143 Google Scholar, and also ‘The Uses to be Made’, pp. 282-83.

115 Street, ‘On Colour’, p. 363 and 363 n.

116 Scott, ‘On the Pointed Architecture’, p. 143, and also ‘The Uses to be Made’, p. 283.

117 Scott, ‘On the Pointed Architecture’, pp. 144-45, and also ‘The Uses to be Made’, p. 285.

118 Jackson, Neil, ‘The un-Englishness of G E Street’s church of St James-the-Less’, Architectural History, 23 (1980), pp. 86–94 CrossRefGoogle Scholar.

119 ‘Lecture at the Architectural Museum’, The Building News (11 January 1861), p. 39.

120 ‘Lecture on Polychromy at the Architectural Museum’, The Building News (18 January 1861), p. 50.

121 ‘Lecture at the Architectural Museum’, p. 39.

122 ‘Lecture on Polychromy’, p. 55.

123 Poole was a churchman and a keen antiquarian. He published A History of Ecclesiastical Architecture in England (London, 1848) and other papers.

124 Poole, Revd George Ayliffe, ‘On colour in Building Materials’, Associated Architectural Societies Reports and Papers (1857), p. 119 Google Scholar n.

125 Poole, ‘On colour’, p. 119.

126 Poole, ‘On colour’, p. 121.

127 Poole, ‘On colour’, p. 122.

128 ‘Whitewash and Yellow Dab’, The Ecclesiologist (April 1858), p. 114.

129 Gambier-Parry painted church interiors at Gloucester Cathedral (1866-68), Ely Cathedral (1878) and Tewkesbury Abbey (c. 1880), and his opinion was sought at St Paul’s Cathedral in the 1870s. For St Paul’s, see Crook, J. Mordaunt, William Burges and the High Victorian Dream (London, 1981), p. 150 Google Scholar et seq.

130 Hitchcock, Early Victorian Architecture, p. 601.

131 The later essays in the series were: ‘Whitewash and Yellow Dab. — No. 2’, The Ecclesiologist (December 1858), pp. 372-76; ‘Whitewash and Yellow Dab III. Colour an element of architectural effect in churches of Christian architecture’, The Ecclesiologist (August 1859), pp. 232-38; ‘Whitewash and Yellow Dab. — No. IV. Colour in the architecture of Christian churches’, The Ecclesiologist (February 1860), pp. 36-40; ‘Whitewash and Yellow Dab. — No. V. Colour in the architecture of Christian churches’, The Ecclesiologist (April 1860), pp. 78-82.

132 ‘A Caution Against Polychrome’, The Ecclesiologist (October 1858), pp. 312-13.

133 ‘A Caution’, p. 314.

134 ‘Whitewash and Yellow Dab. — No. 2’, p. 374.

135 ‘On the Abuse of Polychrome’, The Ecclesiologist (February 1859), p. 11.

136 ‘Natural Colour in Sacred Architecture’, The Ecclesiologist (April 1861), p. 67.

137 ‘Lecture on Polychromy’, p. 55.

138 ‘Natural Colour’, p. 68.

139 See Hall, ‘G. F. Bodley’, and also Aileen Reid, ‘“Theoria” in Practice: E W Godwin, Ruskin and Art-Architecture’, in the same book.

140 This misnamed Queen Anne Revival style, most often associated with the School Board schools in London and elsewhere, suggested the new social agenda of the 1870 Education Act. Education, like sanitary reform, was seen as a way of cleaning up the cities.

141 Cunningham and Waterhouse, Alfred Waterhouse, pp. 160-64.

142 Girouard, Mark, Alfred Waterhouse and the Natural History Museum (New Haven and London, 1981)Google Scholar.

143 Brimblecombe, Peter, ‘Origins of smoke inspection in Britain (circa 1900)’, Applied Environmental Science and Public Health, vol. 1, no. 1 (2003) p. 61 Google Scholar.

144 Bowler, Catherine and Brimblecombe, Peter, ‘Environmental Pressures on Building Design and Manchester’s John Rylands Library’, journal of Design History, vol. 13, no. 3 (2000), p. 181 CrossRefGoogle Scholar.

145 Bowler and Brimblecombe, ‘Environmental Pressures’, p. 181.

146 Maltby, Sally, MacDonald, Sally and Cunningham, Colin, Alfred Waterhouse 1830-1905 (London, 1983), p. 44 Google Scholar.

147 Champneys (b. 1842) was of the younger generation who promoted the red brick Queen Anne Revival in the 1870s: vide Newnham College, Cambridge (from 1875). Champneys had been articled to John Prichard who, in 1858-68, had built the wildly polychromatic Ettington Park in Warwickshire.

148 The building was cleaned in 1969 and, as Bowler and Brimblecombe observe, ‘external corrosion appears to have been negligible and, although darkened, the stone has not been extensively patched or replaced. Areas of internal stone that were not cleaned in 1969 remain intensely blackened’. Bowler and Brimblecombe, ‘Environmental Pressures’, p. 181.

149 ‘The Late G. E. Street R.A.’, The Builder (24 December 1881), p. 778.

150 Quoted in ‘The Late Mr. G. E. Street, R.A.’, The Architect (24 December 1881), p. 413.

151 Ricardo, Halsey R., ‘The Architect’s Use of Colour’, Journal of the Royal Institute of British Architects (April 1896), p. 369 Google Scholar.

152 Ricardo, ‘The Architect’s Use’, p. 378.