St. Michael's Church (in full, St. Michael and All Angels Church) is an Anglican church in Brighton, England, dating from the mid-Victorian era. Located on Victoria Road in the Montpelier area, to the east of Montpelier Road, it is one of the largest churches in the city of Brighton and Hove. The church is a Grade I listed building.[1]
The church serves the loosely defined Montpelier and Clifton Hill areas of Brighton, which lie west of the major Dyke Road and cover the steep slopes between the Seven Dials district and the seafront.[2]St Stephen's Church had served parts of the district since 1851, when it had been moved to Montpelier Place from its previous location in Castle Square, close to the Royal Pavilion.[3] However, it was not convenient for the area as a whole, with most of its parishioners being drawn instead from the streets to the south of the church.
Development of the Montpelier and Clifton Hill areas started in the 1820s, and by the 1840s they had essentially taken the form they remain in today, with a range of high-quality houses, many in the form of Regency terraces and crescents such as Clifton Terrace.[4] However, one area of open land remained: at the time (the 1850s) it was known as Temple Fields, and consisted of a field, a pond and a partly built house.[5] This was chosen as the site for a new church to serve the area. On present-day maps, Temple Fields is the area bounded by Denmark Terrace, Clifton Hill, Powis Road and Victoria Road. The church faces three streets: St. Michael's Place, Powis Road and Victoria Road (on which the main entrance is located).
History and construction
Original church
Windows in the west face of the original church (now the south aisle)The eastern and northern parts of the church, built in 1893
Plans for the church were drawn up in 1858, and construction took place between 1860 and 1861 to a design by George Frederick Bodley (whose father had been a doctor in Brighton and a resident of the Furze Hill area of Hove, close to the Montpelier and Clifton Hill districts).[6][7] Bodley was also working on St Paul's Church in West Street, Brighton at the time, on an interior alterations project.[8]
The design of the exterior was reminiscent of the Italianate style, in red brick with horizontal bands of white stone and a steeply pitched slate roof. This featured a modest flèche spire containing a bell recovered from Sevastopol during the Crimean War (1854–1856).[7]
The church took two years to build at a cost of £6,728, and was consecrated by the Bishop of Chichester on 29 September 1862. There was room for a congregation of 700; pew rent was charged on 300 of these seats at first. Rev. Charles Beanlands, who had been a curate at St Paul's Church since his ordination in 1849, was given the perpetual curacy of St Michael's Church, and he remained in this position until his death in 1898.[9]
Extension
The building quickly became too small and, in 1865, William Burges designed a new church which would incorporate Bodley's building as its two south aisles. The rebuilding was not carried out until 1893, under the direction of Burges's pupil, J.S.Chapple, and took two years. Burges was a contemporary of Bodley; both men were born in 1827. It is not known why a different architect was chosen for the redesign, and the changes reportedly caused Bodley some upset.[6] Burges did not live to see his designs realised: he died in 1881.[10]
The exterior decoration of the new building broadly matched that of the original church, consisting of bands of white stone contrasting with dark red brick, but there is a considerable difference in height. The original building's north aisle was demolished, and its remaining structure became the south aisle of the new church. In terms of the church's present arrangement, therefore, the main body and the adjacent north aisle date from 1893, while the south aisle is original.[11]
The designs, as originally submitted, showed that a cloister and a campanile were planned to be built as well. Inside, additional decoration was to have been made in the chancel, and various additions were proposed for the sanctuary area. A predella (altar platform) behind the altar, a set of sedilia within the sanctuary area and a baldacchino above the altar were all shown in the plans. However, none of these proposals were implemented, and no changes took place in this area until around 1900, when architect and interior designer W. H. Romaine-Walker (1854–1940) provided a marble wall with Cosmatesque-style decoration between the chancel and the nave, a screen for the chancel itself, a new marble altar (in his wife's memory) and extra marble ornamentation for the sanctuary. A rood screen and new reredos were also installed at this time.[12]
A parish hall was built in 1970 on the site, to the north of the church, where the cloister was originally proposed.
Architecture and fixtures
The west windows
Burges's enlargement substantially altered the character of the building, abandoning Bodley's polychrome brickwork interior for proper stone dressings, but he retained the polychrome style for the somewhat brutal exterior.
The interior featured a series of clerestory windows facing south, a stone arch in the chancel and a row of stone columns with foliated decoration (carved with leaf ornamentations). The Pre-Raphaelite Brotherhood, a group of people active in various areas of the arts who were influenced by the Quattrocento period of Italian art, were closely involved with the decoration of the interior. Bodley was informally associated with this recently formed group, in particular with Edward Burne-Jones and William Morris, a long-term friend of his. William Morris himself, along with Philip Webb and Charles Faulkner, was responsible for the painting of the chancel roof. The large windows on the western face of the church were made and installed by Morris, Marshall, Faulkner & Co., the predecessor of Morris's firm Morris & Co.[7]
There are also many stained-glass windows by Morris in the old building and Burne-Jones in the new. The east end of Burges' building features a large trio of stepped lancets with basic two-light tracery. As a whole, the architectural writers Nicholas Antram and Richard Morrice consider that; "no church in Sussex has better Victorian glass."[13]
Internal fixtures include a grey marble font and a green serpentine and calcite (verde antique)[14]pulpit, both designed and made by Bodley.[7] The noted stained glass designer Charles Eamer Kempe was responsible for the restoration and installation of a 15th-century reredos of Flemish origin. This depicts three scenes from Christ's life in the form of a triptych.[9]
The church today
The nave and sanctuary
The area covered by St Michael's—a portion of the western end of St Nicholas' parish—was made a parish in its own right in the early 20th century. St Michael's had previously been a mere chapel of ease. Following the closure and deconsecration of St Stephens Church in Montpelier Place and another local church, All Saints Church in Compton Avenue, Seven Dials, their parishes were absorbed into that of St Michael's; it now covers an area bounded (approximately) by Brighton railway station, Montefiore Road, Upper North Street and the streets between the church and Dyke Road.[15][16]
Services consist of a daily Mass at various times,[19] and a Sunday morning Sung Mass at 10.30am. A priest is available for Confession after Saturday Masses. In the parish hall, there are Saturday breakfast meetings, a parent and toddler group, dance groups, choir practices and various other activities.[20]
George Frederick Bodley was an English Gothic Revival architect. He was a pupil of Sir George Gilbert Scott, and worked in partnership with Thomas Garner for much of his career. He was one of the founders of Watts & Co.
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Brighton and Hove, a city on the English Channel coast in southeast England, has a large and diverse stock of buildings "unrivalled architecturally" among the country's seaside resorts. The urban area, designated a city in 2000, is made up of the formerly separate towns of Brighton and Hove, nearby villages such as Portslade, Patcham and Rottingdean, and 20th-century estates such as Moulsecoomb and Mile Oak. The conurbation was first united in 1997 as a unitary authority and has a population of about 253,000. About half of the 20,430-acre (8,270 ha) geographical area is classed as built up.
As of February 2001, there were 1,124 listed buildings with Grade II status in the English city of Brighton and Hove. The total at 2009 was similar. The city, on the English Channel coast approximately 52 miles (84 km) south of London, was formed as a unitary authority in 1997 by the merger of the neighbouring towns of Brighton and Hove. Queen Elizabeth II granted city status in 2000.
John Leopold DenmanFRIBA was an architect from the English seaside resort of Brighton, now part of the city of Brighton and Hove. He had a prolific career in the area during the 20th century, both on his own and as part of the Denman & Son firm in partnership with his son John Bluet Denman. Described as "the master of ... mid-century Neo-Georgian", Denman was responsible for a range of commercial, civic and religious buildings in Brighton, and pubs and hotels there and elsewhere on the south coast of England on behalf of Brighton's Kemp Town Brewery. He used other architectural styles as well, and was responsible for at least one mansion, several smaller houses, various buildings in cemeteries and crematoria, and alterations to many churches. His work on church restorations has been praised, and he has been called "the leading church architect of his time in Sussex"; he also wrote a book on the ecclesiastical architecture of the county.
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Montpelier Crescent is a mid 19th-century crescent of 38 houses in the Montpelier suburb of the English coastal city of Brighton and Hove. Built in five parts as a set-piece residential development in the rapidly growing seaside resort, the main part of the crescent was designed between 1843 and 1847 by prominent local architect Amon Henry Wilds and is one of his most distinctive compositions. Extra houses were added at both ends of the crescent in the mid-1850s. Unlike most other squares, terraces and crescents in Brighton, it does not face the sea—and the view it originally had towards the South Downs was blocked within a few years by a tall terrace of houses opposite. Montpelier was an exclusive and "salubrious" area of Brighton, and Montpelier Crescent has been called its "great showpiece". Wilds's central section has been protected as Grade II* listed, with the later additions listed separately at the lower Grade II. The crescent is in one of the city's 34 conservation areas, and forms one of several "outstanding examples of late Regency architecture" within it.
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