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Георгиевский зал
St George's Hall, Liverpool - panoramio.jpg
Георгиевский зал
Место расположенияSt George's Place, Ливерпуль , Англия
Координаты53°24′31″N 2°58′48″W / 53.4086 ° N 2.9801 ° W / 53.4086; -2.9801 Координаты : 53.4086 ° N 2.9801 ° W53°24′31″N 2°58′48″W /  / 53.4086; -2.9801
Справочник по сетке ОСSJ 349 907
Построено1841–1854 гг.
АрхитекторыХарви Лонсдейл, Элмс,
Чарльз Кокерелл
Архитектурный стиль (ы)Неоклассический
Включенное в список здание - класс I
St George's Hall, Liverpool is located in Liverpool
St George's Hall, Liverpool
Расположение в Ливерпуле
Инспекция Liverpool Pals лордом Китченером, 20 марта 1915 г.

Георгиевский зал Является ли здание на Георгиевском Место, напротив железнодорожного вокзала Лайм - стрит в центре в Ливерпуле , Англия. [1] [2] [3] Открытое в 1854 году, это неоклассическое здание, в котором находятся концертные залы и суды, внесено в Список национального наследия Англии как здание, внесенное в список Первого класса . [4] На восточной стороне зала, между ним и железнодорожной станцией, находится плато Святого Георгия, а на западной стороне - сады Святого Иоанна . Зал включен в заповедник Уильям Браун-стрит . [5]

В 1969 году историк архитектуры Николаус Певзнер выразил мнение, что это одно из лучших неогреческих зданий в мире [6], хотя здание известно как благодаря использованию римских источников, так и греческих. В 2004 году зал и его окрестности были признаны частью Всемирного наследия Ливерпуля . [7] Регистратура Ливерпуля и Коронерский суд находятся в холле с 2012 года.

История [ править ]

На месте зала с 1749 по 1824 год раньше находился первый Ливерпульский лазарет. В городе проводились триеннале музыкальных фестивалей, но подходящего зала для их размещения не было. [8] После публичного собрания в 1836 году была сформирована компания для сбора подписчиков на зал в Ливерпуле, который будет использоваться для фестивалей, а также для встреч, обедов и концертов. [9] Акции были доступны по цене 25 фунтов стерлингов каждая, и к январю 1837 года было собрано 23 350 фунтов стерлингов (что эквивалентно 2137 390 фунтов стерлингов в 2019 году) [10] . В 1838 году камень в фундамент был заложен в честь коронации из королевы Виктории . [8]

Конкурс был объявлен 5 марта 1839 года через рекламу в «Таймс» на дизайн зала, первый приз - 250 гиней , второй приз - 150 гиней. [11] К июлю было получено более восьмидесяти работ, и конкурс выиграл Харви Лонсдейл Элмс , лондонский архитектор в возрасте 25 лет, второе место досталось Джорджу Александру из Лондона. Требование было:

«В главном зале предполагается разместить 3000 человек; а также будет концертный зал, способный вместить 1000 человек, который можно использовать для других целей, таких как лекции и небольшие собрания .... Стоимость здания будет быть £ 35 000 » [11]

В городе возникла потребность в судах присяжных, и был объявлен конкурс на их разработку с призовым фондом 300 фунтов стерлингов за первый приз и 200 фунтов стерлингов за второй приз. Было восемьдесят шесть заявок, и он также был выигран Элмесом. [11] Первоначальный план должен был иметь отдельные здания, но в 1840 году Элмс предположил, что обе функции могут быть объединены в одном здании в масштабе, который превзойдет большинство общественных зданий в стране в то время. Строительство началось в 1841 году, а здание открылось в 1854 году (через два года открылся небольшой концертный зал).

«Как часто я наблюдаю, как великая и истинная цель и цель искусства совершенно упускаются из виду при обсуждении каких-то незначительных деталей или причудливого антикварианства. Смелые и оригинальные концепции никогда не находят одобрения, пока так много внимания уделяется прецеденту», Харви Лонсдейл Элмс в письмо Роберту Роулинсону [12]

Элмс умер в 1847 году, и работу продолжили Джон Вейтман, инспектор корпорации, и Роберт Роулинсон , инженер-строитель, пока в 1851 году архитектором не был назначен Чарльз Кокерелл . Кокерелл в значительной степени отвечал за оформление интерьеров. [13] Конечная стоимость здания превысила 300 000 фунтов стерлингов [11] (примерно эквивалентно 33 000 000 фунтов стерлингов в 2019 году). В 2000-х годах была проведена капитальная реставрация зала стоимостью 23 миллиона фунтов стерлингов, и он был официально открыт 23 апреля 2007 года принцем Чарльзом . [14] Великолепная скульптура экстерьера была создана Уильямом Гринселлом Николлом . [15]

Структура [ править ]

План [ править ]

Северный конец Георгиевского зала

Большой зал (также известный как Концертный зал) - самый большой зал прямоугольной формы, занимающий центр здания с органом на северной стене. Два длинных коридора обрамляют восточную и западную стены Большого зала. К северу от Концертного зала находится Гражданский суд, а за ним - Северный вестибюль; над ним, к которому ведут две лестницы, находится Малый концертный зал эллиптической формы. К югу от Большого зала находится Королевский двор, за ним - Южный вестибюль, над которым по двум лестницам можно подняться в Зал большого жюри. В середине западного фасада находится Юридическая библиотека, к северу от нее - Суд вице-канцлера, к югу от Юридической библиотеки - Суд шерифа. [16] Этаж ниже представляет собой пещерный подвал с камерами для заключенных вдоль западной стены.[17]

Внешний [ править ]

Западный фасад Георгиевского зала со стороны садов Святого Иоанна

Главный вход находится в центре восточного фасада, к нему ведет широкая лестница. [18] На ступенях стоит статуя Бенджамина Дизраэли работы Чарльза Белла Берча , перенесенная сюда, чтобы освободить место для кенотафа Ливерпуля. [17] В юго-восточном углу находится бронзовая статуя генерал-майора Уильяма Эрла того же скульптора. Этот фасад имеет центральный портик из 16  коринфских колонн, окруженных с каждой стороны сериями квадратных колонн без канавок, между которыми расположены барельефы , добавленные между 1882 и 1901 годами Томасом Стирлингом Ли , Си Джей Алленом и Конрадом Дресслером.. Западный фасад имеет выступающую центральную часть с квадратными колоннами, поддерживающими большой антаблемент . На северном фасаде есть полукруглая апсида с колоннами и тремя дверными проемами, которые окружены статуями нереид или тритонов, несущих рог изобилия с прикрепленными к ним лампами, центральные двери на южном и восточном фронтах имеют аналогичные статуи и были вылеплены Уильямом Николлом. [18]

Проект Кокерелла южного скульптурного фронтона Георгиевского зала

Южный фронт имеет восьмистильный портик (восемь колонн в ширину), две колонны в глубину, на ступенях над рустованным подиумом . На антаблементе южного портика находится классическая латинская надпись с использованием буквы V, где теперь будет использоваться буква U, которая читается как «ARTIBVS LEGIBVS CONSILIIS LOCVM MVNICIPES CONSTITVERVNT ANNO DOMINI MDCCCXLI» (Для искусства, права и совета горожане построили это место в 1841 году). Барабанная в фронтон над южной портиком когда - то содержали скульптуры Britannia восседает в центре защиты сельского хозяйства и искусства и предлагает оливковую ветвь четырех четвертей земного шара, вырезанных Уильямом Nicholl, [19] this was removed for safety's sake in 1950, the sculptures had become unsafe due to erosion by atmospheric pollution, and subsequently lost, reputedly turned into hardcore.[20]

  • Sculpted friezes on eastern facade

  • Relief sculptures at southern end of the east front 1882-1894 (Theme is the Growth of Justice) by Thomas Stirling Lee

  • Justice, portrayed as a naked child, guided by the hand of Conscience, Joy follows. The righthand figure represents Wisdom holding a lamp in a position to depict justice comes from the heart.

  • Justice, now adult, tempted, resists the pull of Wealth and raises her left arm defensively towards Fame.

  • Mature Justice holds a globe with the numbers 1 to 10, representing the Ten Commandments. Knowledge, on the left, hands Justice the rod of knowledge and raises her veil to show things once hidden are now revealed. Right helps Justice to hold the globe and wears a breastplate signifying protection from evil.

  • Justice stands alone and points upwards to show that true justice is heaven sent.

  • Justice is redundant as all crime is conquered; Virtue on the left passes to Justice the palm of victory and takes the sword. Justice passes the scales of justice to Concord.

  • Justice receives a kiss from Righteousness and the crown of immortality from Glory, who holds a flaming heart signifying divine love.

  • Relief sculptures at northern end of the east front 1895-1901 (Theme is the growth of Liverpool) by Thomas Stirling Lee, C.J. Allen & Conrad Dressler

  • Signifies the development of Liverpool from a small fishing village to a thriving port.

  • Signifies Liverpool's importance in shipbuilding and shipping.

  • Liverpool supports the whole country by shipping food and corn.

  • Liverpool holds aloft a purse of plenty with which to buy goods. The figure on the left represents the transportation of meat and the shepherd on the right the importance of wool.

  • Representing commerce, Liverpool carries a bale of cotton. The figure on the left represents agriculture and that on the right carries a bowl as an example of manufactured goods.

  • Liverpool wears regalia of office, flanked by Art (holding a model of the south facade of St George's Hall) on the left and Labour on the right

  • External features

  • Two of the four lions designed by Cockerell, sculpted 1856 by W.G. Nicholl (moved to present position in 1864)

  • Lampholder, eastern elevation, in the form of a Triton holding a Cornucopia, sculpted by W.G. Nicholl

  • Lampholder, eastern elevation, in the form of a Nereid holding a Cornucopia, sculpted by W.G. Nicholl

  • The door beneath the south portico

Interior[edit]

The main entrance crosses a corridor and leads into the Great Hall. This measures 169 feet (52 m) by 77 feet (23 m) and is 82 feet (25 m) high. The inspiration for the Great Hall are the Baths of Caracalla.[21] The roof is a tunnel vault, built of hollow brick was designed by Robert Rawlinson completed 1849, it is carried on eight columns, 18 feet in height, of polished red Cairngall granite,[22] these reduce the span to 65 feet, the spandrels contain allegorical plaster work angels, twelve in total, designed by Cockerell, representing fortitude, prudence, science, art, justice and temperance etc. The vault also decorated with plaster work by Cockerell, contains coffering, the centres of the main coffers have coat of arms of Liverpool, or the coats of arms of Lancashire or St George and the dragon, in the centre of the vault are the Royal Arms used by Queen Victoria this is above a matching coat of arms in the Minton floor. The walls have niches for statues. The highly decorated floor consists of Minton encaustic tile and it is usually covered by a removable floor to protect it.[23] It contains over 30,000 tiles.[24] The doors are bronze and have openwork panels which incorporate the letters SPQL (the Senate and the People of Liverpool) making an association with the SPQR badge of ancient Rome. The ten brass and bronze chandeliers in the Great Hall, designed by Cockerell, originally powered by town gas weigh 15 cwt, are decorated with prows of ships, heads of Neptune and Liver Birds.

  • The interior of the Great Hall

  • Interior view looking north of Great Hall, the floor, designed by Cockerell, executed by Mintons has about 30,000 tiles

  • Senatus Populusque Liverpoliensis

  • Bronze doors, designed by Cockerell, 12 feet 8 inches high by 6 feet 4 inches wide and weighs 74 cwt, there are three on each side of the hall, also three similar doors at the south end lead to the Crown Court and a smaller one is beneath the organ.

  • Head of Mercury on door

  • Completed 1849, at 65 feet the Widest barrel-vaulted ceiling in the UK, it is 82 feet high (the room is 77 feet wide but the columns account for the difference) it is 169 feet in length, engineer Robert Rawlinson, plasterwork designed by Cockerell

  • South lunette stained-glass window of St. George slaying the dragon, (1883–84) by Forrest and Sons of Liverpool

  • North lunette stained-glass window of coat of arms of Liverpool, flanked by Neptune and a triton, (1883–84) by Forrest and Sons of Liverpool

  • One of the ten chandeliers, brass and bronze, decorated with prows of ships, heads of Neptune and Liver Birds, by Cockerell

  • Minton Floor, show Liverpool's coat of arms, surrounded by the symbols of England, Scotland and Ireland, the rose, thistle (only one visible in photo) and shamrock.

  • Minton floor, showing frieze designed by Alfred Stevens, it consists of Neptune, tritons, nerids and boys on dolphins.

  • Minton floor, coat of arms of Liverpool,'Deus Nobis Haec Otia Fecit' is from Virgil, translates as 'God has given to us this leisure'.

  • Minton floor, central roundel, this contains The Royal Coat of Arms used by Queen Victoria

The organ is at the north end and at the south end is a round arch supporting an entablature between whose columns is a gate leading directly into the Crown Court. The niches contain the statues of William Roscoe by Chantrey, Sir William Brown by Patrick MacDowell, Robert Peel by Matthew Noble, George Stephenson by John Gibson, Hugh Boyd M‘Neile by George Gamon Adams, Edward Whitley by A. Bruce Joy, S. R. Graves by G. G. Fontana, Rev Jonathan Brookes by B. E. Spence, William Ewart Gladstone by John Adams-Acton, the 14th Earl of Derby by William Theed the Younger, the 16th Earl of Derby by F. W. Pomeroy, and Joseph Mayer by Fontana.[23] In 2012 a statue of Kitty Wilkinson by Simon Smith was unveiled, the first in 101 years, and the first of a woman.[25] The stained glass in the semicircular windows at each end of the hall was added in 1883–84 by Forrest and Son of Liverpool. Sharples and Pollard regard this as "one of the greatest Victorian interiors".[23]

South side of St George's Hall showing the empty pediment that used to contain sculpture

The Crown Court has a tunnel vault on red granite columns and the Civil Court a coved ceiling on grey granite columns. The South Entrance Hall is approached through the portico, is low and has Ionic columns. Below this is a larger vaulted space which was adapted to form a new entrance in 2003–05. The North Entrance Hall has Doric columns on its landing and a Doric ambulatory around the apse with two bronze Torchères by Messengers of Birmingham decorated with allegorical scenes, the apse contains stairs, unlike the other main entrances where the stairs are external. A copy in plaster of part of the Parthenon frieze runs round its walls. In the centre of the south wall is a marble statue of Henry Booth shown standing up, carved 1874 by William Theed the Younger, placed here in 1877, flanking the statue are sculptures of caryatids.

  • Statues in the Great Hall

  • Sir Robert Peel, sculpted 1854 by Matthew Noble

  • William Roscoe, moved to the Hall from The Royal Institution, sculpted 1841 by Francis Leggatt Chantrey

  • William Brown, sculpted 1860 by Patrick MacDowell

  • 14th Earl of Derby, sculpted 1869 by William Theed

  • William Ewart Gladstone, sculpted 1869, by John Adams-Acton

  • Samuel Robert Graves, sculpted 1875 by Giovanni Fontana

  • Edward Whitley, sculpted 1895 by Albert Bruce-Joy

  • 16th Earl of Derby sculpted 1911 by F. W. Pomeroy

  • Rev. Jonathan Brooks sculpted 1858-59 by Benjamin Edward Spence

  • George Stephenson, sculpted 1854 by John Gibson

  • Hugh M‘Neile, sculpted 1871 by George Gammon Adams

  • Joseph Mayer, sculpted 1869 by Giovanni Fontana

  • Kitty Wilkinson, sculpted 2012 by Simon Smith

The Small Concert Room designed by Charles Robert Cockerell and completed in 1856, is elliptical measuring 72 by 77 feet, when built it had a capacity for 1,100 people, the stage is 30 by 12 feet,[26] and is lavishly decorated.[27] In the past it was known as the Golden Concert Room. A balcony supported by caryatids runs round the room. At the back of the platform are attached columns, decorated with arabesques, supporting a frieze with griffins and between the columns are mirrors.[27] The concert room was refurbished between 2000 and 2007. This included making alterations to comply with the Disability Discrimination Act, restoring the historical painting scheme and restoring the chandelier, which consists of 2,824 crystal pieces.[28] It has seating for an audience of 480.[29]

Ventilation and heating of the building[edit]

In the basement is part of a unique heating and ventilation system devised by Dr Boswell Reid.[17] This was the first attempt at providing air conditioning in a public building in the United Kingdom, its aim being to warm and ventilate the building without draughts. Air drawn in via two shafts at either end of the eastern portico was warmed by five hot water pipes, that were heated by two coke-fired boilers and two steam boilers, these latter two were only used in extremely cold weather. The air was circulated by four fans 10 feet (3 m) wide driven by a 10 horsepower steam engine. In hot weather the air was cooled using cold mains water, small fountains in the air shafts cooling the incoming air. The air from the system entered the Great Hall via grilles at the back of the sculpture niches and in the risers of the seating tiers in the Small Concert Hall, stale air was drawn out through grilles in the ceilings. The air flow was controlled by a large number of workers opening and closing a series of canvas flaps via ropes and pulleys, though the court rooms had valves beneath the benches that could be controlled by the occupants. The system treated different parts of the building as zones allowing separate heating.[30] In 2005 the Heritage Group of the Chartered Institution of Building Services Engineers awarded its first Blue Plaque to St George's Hall recognising it as the World's First Air Conditioned Building.[31]

  • Heating and ventilation system

  • Ventilation Handle

  • Part of the original central heating system

  • One of the Victorian boilers in the basement

Assizes[edit]

Until 1984 the Liverpool Assizes (later the Crown Court) were held in the courtroom at the southern end of St George's Hall. Notable cases heard include those of Florence Maybrick in 1889 and William Herbert Wallace in 1931. The court now often doubles for the Old Bailey in film and TV dramas.

  • The Crown Court

  • General view of Crown Court

  • View of Crown Court from Judges point of view

  • Judge's chamber for Crown Court, entered from the door behind the judge's seat in the Crown Court

Events held at the building[edit]

Christmas entertainment in Great Hall 1864

Queen Victoria and Prince Albert visited St George's hall on 9 October 1851, although complete externally work was still underway internally. The inaugural event opened by the mayor and borough council and was started on 18 September 1854, and was a three-day festival of music, followed on 22 September, with the British Association for the Advancement of Science holding the first of many meetings at the Hall.[32] On 15 April 1857 a banquet for 800 people was held in honour of William Brown benefactor of Liverpool's museum and library. On 23 April 1864 a Fancy Dress ball was held in aid of St Ann 's Dispensary. The Small Concert Room it was regularly host to Charles Dickens, who held many of his readings there.[29] Prior to Dickens sailing to America a banquet was hosted in the Great Hall for him on 10 April 1869.[33] A cross section of activities in the 1880s include 24 March 1886, evening concert in a aid of District Cotton Porters and Dock Labourers; 1 November 1886 Large Hall, benevolent fund Liverpool Operative Platerworkers' Association; 5 April 1887 'Special' Grand Jury Room. To exhibit the new and improved method of applying gas to high class cookery; 22 December 1888, Large Hall, People's concert, Messiah.[32]

During the 1911 Liverpool general transport strike, many meetings were held there, including the rally which sparked the 'Bloody Sunday' attacks, when police baton charged thousands of people who had gathered to hear the syndicalist Tom Mann speak.[34]On 15 March 1915 Lord Kitchener inspect 12,000 soldiers of the Liverpool Pals on St George's Plateau, by September 1914, more than 30,000 men had enlisted at St George's Hall. The Plateau has been associated with public rallies and gatherings, including events following the deaths of the Beatles members John Lennon and George Harrison, and the homecomings of Liverpool and Everton football teams after Cup Final victories.[35]

The opening of the European Capital of Culture celebrations in 2008 saw Ringo Starr play on the roof of the building to over 50,000 people. The Weeping Window sculpture was displayed at St George's Hall from 7 November 2015 to 17 January 2016, it was made from ceramic poppies from Blood Swept Lands and Seas of Red. The commemoration of the 30th anniversary of the Hillsborough disaster saw from 13 April 2019 nine banners hung from the front of St George's Hall, featuring the images of the 96 who lost their lives, along with the powerful words ‘Never Forgotten’ on the Monday morning 15 April 96 lanterns were lit on the steps of the Hall, and members of the public paid their respects and left tributes.

Organ and organists[edit]

Organ, designed by Henry Willis, built 1851-55, enlarged 1931, the small statue on the top of the organ is music with her lyre. The platform supporting the organ, was designed by Cockerell. The Atlas figures flanking the platform, were sculpted by Edward Bowring Stephens

The organ was built by Henry Willis and completed in 1855 with 100 speaking stops across four manual divisions (of non-standard compass, 63 notes GG to a) and pedals (30 notes). It comprised a total of 119 ranks of pipes, plus 10 couplers, 10 composition pedals, and 36 pistons to set combinations of stops. It was initially tuned to meantone temperament to the specification of S. S. Wesley but in 1867 W. T. Best, city organist, had it retuned to equal temperament. The organ was rebuilt in 1896 when the key action was changed from the Willis-Barker lever assisted tracker (i.e. pneumatic assisted mechanical) action to pneumatic action. Also the manual compass was changed to the now standard CC to c, 61 notes, making the bottom 5 pipes on every manual stop redundant.[36]

Albert Lister Peace
Herbert F. Ellingford 1913

In 1931 the organ was reconstructed by Henry Willis III when the number of stops was increased to 120 and electro-pneumatic action introduced for the combination systems and some of the key action. Its power source was still the Rockingham electric blowing plant which had replaced the two steam engines (one of 1855 and a second which had been added in about 1877 to run the increased pressure required since 1867 for some reed stops. In the interim this higher pressure had been hand blown!) The 1924 electric blowers remained in use until 2000 when the present new low and high pressure blowers were fitted by David Wells.[37]

In 1979 it was given a general clean and overhaul by Henry Willis IV. The total number of registers, including 24 couplers, is 144.[36] With 7,737 pipes, it was the largest organ in the country until a larger one was built at the Royal Albert Hall in 1871, after which an organ even larger than the one at the Royal Albert Hall was constructed at Liverpool Anglican Cathedral, using over 10,000 pipes.[24] Repairs were made to the organ as part of the restoration of the hall in 2000–2007, including replacement of the bellows leather.[38] The organ is maintained by David Wells, Organ Builders.[39]

The first organist was W. T. Best (1826–97) who was appointed in 1855 and served until 1894. He was succeeded in 1896 by Dr Albert Lister Peace (1844–1912) who continued in the post until the year of his death. In 1913 Herbert Frederick Ellingford (1876–1966) was appointed organist.[40] On 21 December 1940 the hall and its organ were damaged in an air-raid. It was not possible to obtain sufficient money to rebuild the organ until the 1950s. In 1954 Henry Willis & Sons were asked to undertake this project and Dr Caleb E. Jarvis (1903–1980) was its consultant.[41] Dr Jarvis was appointed organist in 1957 and on his death in 1980 he was succeeded by Noel Rawsthorne (1929–2019), who had just retired as organist to the Anglican Cathedral.[42] Noel Rawsthorne served as organist to the hall for four years.[43] Following his retirement in 1984, Professor Ian Tracey, who is also Organist Titulaire of the Anglican Cathedral, was appointed to the post.[44]

Liverpool Cenotaph

St George's Plateau[edit]

St George's Hall from St John's Beacon

This is the flat space between the hall and the railway station and contains statues of four lions by Nicholl and cast iron lamp standards with dolphin bases. Also on the plateau are monuments, including equestrian bronzes of Prince Albert and Queen Victoria by Thomas Thornycroft, and a monument to Major-General William Earle by Birch. Between the equestrian statues is the Grade I Liverpool Cenotaph which was unveiled in 1930, designed by L. B. Budden and sculpted by H. Tyson Smith. It consists of a simple horizontal block with a bronze relief measuring over 31 feet (9 m) on each side. Sharples and Pollard regard it as one of the most remarkable war memorials in the country.[17]

In 2017 Liverpool City Council announced a £45m programme to re-design several major streets in the city centre, including Lime Street which would involve expanding the plateau. The work is timetabled to be completed by winter 2021.

Restoration[edit]

Following the restoration leading to the reopening of the hall in April 2007 it was granted a Civic Trust Award.[45] It included the creation of a Heritage Centre which gives an introduction to the hall and its history. Guided tours, a programme of exhibitions and talks are arranged.[14] Over the Christmas periods of 2007 and 2008 an artificial skating rink was installed in the Concert Hall.[46] In January 2008 Liverpool started its tenure as European Capital of Culture with the People's Opening at St George's Hall with a performance which included the Beatles' drummer Ringo Starr playing on its roof.[47] The building has since been regularly used as a stage and backdrop for major civic and cultural events, from the city's Christmas Markets to the World War 1 tribute Weeping Window in 2015 and the Liverpool Giants in 2014 and 2018.

Quotes about St George's Hall[edit]

"This magnificent edifice will be a perennial monument of the energy and public spirit, in the nineteenth century, of the people of Liverpool; a place which of all the cities and towns in the British Empire is surpassed only by the metropolis in magnitude, wealth and importance; and which in the quick yet solid growth of its commercial greatness surpasses even the metropolis itself". The Illustrated London News 23 September 1854[48]

"The combination of a magnificent interior with an even grander exterior, is an achievement of which ancient Rome itself could offer no parallel, for however splendid and well organised were the interiors of the great thermae, basilicas and other structures, we have nothing to show that the exteriors of their buildings ever reached the same level of coherence and dignity. Indeed, all the remains point in the other direction. Hence the real greatness of Elmes' achievement". Charles Herbert Reilly[49]

"The south end of St. George's Hall is quite conventional and rather resembles Donaldson's project for the Royal Exchange. Except for the superior proportions and the splendid pile of steps at the base (by Cockerell) - which rise however, much too abruptly from an exiguous terrace along St. John's Lane- this porticoed and pedimented facade is, in fact not very different from Tite's at the Exchange. The north end is not identical but has a semicircular projection housing the Concert Room in the first storey. The different treatment of the two ends hardly ever seen at once either from the east or west. The extreme severity of the rounded north end is quite out of accord with the new visual tastes of the Victorian Age for sharpened accents and complex rhythms. The podium below is barely broken by the simple frames of the two entrance doors (this is an error there are three doors at the north end); the parapet above is absolutely continuous and unornamented. Thus there is no central focus of interest and nothing to distract attention from the even half-circle of giant Corinthian columns.
The unbroken length of the east portico is surmounted by an equally unbroken attic masking the vault of the main hall. Thus the effect is even more severe. Ranges of square pilasters, for two-thirds of their height, are used here along the side wings. Such pilasters also rise like an open screen in the projecting middle section of the west front. These novel members provide a very interesting kind of structural articulation recalling the more original aspects of Schinkel's Classicism as much as the long east portico does that of his more conventional Altes Museum. Though the tremendous scale of the composition is new to Britain, the spirit is still that of the classical rationalism which dominated the end of the 18th century. The great scale and general severity reflect the dreams of French architects like Ledoux and Boulée in the Revolutionary epoch, dreams that were codified by Durand in his Précis des leçons d'architecture données à l'École royale polytechnique (1802–05) and thus transmitted to a later generation. Behind and between the columnar and pseudo-columnar elements which dominate the facades the wall surfaces are rather flat. The relief of the various panels articulating these surfaces and that of the rare window frames is very low. Windows are completely suppressed on the south and the east fronts; the mouldings throughout, though large in size because of the tremendous scale, are extremely refined, cold and quite unornamented." Henry-Russell Hitchcock[50]

The following is about the Small Concert Hall: "Exquisite in color and covered with most elegant decoration in low relief, this room is above all a masterly exercise in the use of those 'shams' Camdenians most abominated. The balconies are of cast iron designed to look like some sort of woven wickerwork; of iron also are the pierced ventilating grilles along the front of the stage and in the ceiling panels around the central skylight. The delicate arabesques of the pilasters and friezes are papier-mâché. The graceful caryatids, seemingly sustaining the balcony on their fingertips, must be of iron or some synthetic composition; they were certainly never carved in stone. Whether these are themselves supports or whether the balcony is cantilevered on iron beams, the real construction is concealed. The wall panels not of wood but of plaster, supebly [sic] grained and varnished. Only the mirrors between the columns on the stage are what they seem; yet by a final paradox they create a faery unreality by their repeated reflection." Henry-Russell Hitchcock[51]

"Judging from his numerous perspective sketches, Elmes had the ability to rapidly design a building in perspective; not only did he prepare numerous sketches of the exterior, but also perspective views of the interior of the great loggia, and various other features. His full-size details, although Classic in spirit, are essentially modern in character; every suite of mouldings received due consideration as to its placing, and its ultimate relation to the scheme as a whole. Nothing could surpass the beauty of the Neo-Grec ornament selected for terminating the dominating attic. The whole building fulfils the highest canons of the academic style, and is unsurpassed by any other modern building in Europe. Albert Richardson[52]

See also[edit]

  • Grade I listed buildings in Liverpool
  • Architecture of Liverpool
  • List of public art in Liverpool
  • Baths of Caracalla

References[edit]

Citations

  1. ^ "Welcome to St George's Hall - Liverpool's landmark venue", St George's Hall, retrieved 22 March 2020
  2. ^ "St George's Hall", Visit Liverpool, retrieved 22 March 2020
  3. ^ "St. George's Hall (Liverpool) - 2020 All You Need to Know BEFORE You Go (with Photos)", Tripadvisor, retrieved 22 March 2020
  4. ^ Historic England, "St George's Hall, Liverpool (1361677)", National Heritage List for England, retrieved 7 April 2015
  5. ^ The City of Liverpool Conservation Areas (PDF), City of Liverpool, retrieved 26 March 2008[permanent dead link]
  6. ^ Quoted in Sharples & Pollard 2006, p. 247.
  7. ^ Liverpool – Maritime Mercantile City, UNESCO, retrieved 27 March 2008
  8. ^ a b History of the Hall, BBC, retrieved 26 March 2008
  9. ^ Sharples & Pollard 2006, p. 291.
  10. ^ UK Retail Price Index inflation figures are based on data from Clark, Gregory (2017), "The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)", MeasuringWorth, retrieved 2 February 2020
  11. ^ a b c d Knowles 1988, p. 6.
  12. ^ Pollard & Pevsner 2006, p. 294.
  13. ^ Sharples & Pollard 2006, pp. 291, 293.
  14. ^ a b St Georges Hall, The Mersey Partnership, retrieved 26 March 2008
  15. ^ Dictionary of British Sculptors 1660-1851 by Rupert Gunnis
  16. ^ Knowles 1988, p. 3.
  17. ^ a b c d Sharples & Pollard 2006, p. 297.
  18. ^ a b Sharples & Pollard 2006, p. 294.
  19. ^ Watkin 1974, p. 238.
  20. ^ Liverpool Daily Post 15 December 2005 (from the FreeLibrary)
  21. ^ Knowles 1988, p. 16.
  22. ^ McKean, Charles (1990). Banff & Buchan: An Illustrated Architectural Guide. Mainstream Publications Ltd. p. 163. ISBN 185158-231-2.
  23. ^ a b c Sharples & Pollard 2006, pp. 295–296.
  24. ^ a b Facts & figures, BBC, retrieved 26 March 2008
  25. ^ Kitty Wilkinson Statue Unveiled, Liverpool Express, Liverpool City Council, archived from the original on 2 October 2013, retrieved 24 September 2013
  26. ^ Knowles 1988, p. 24.
  27. ^ a b Sharples & Pollard 2006, pp. 296–297.
  28. ^ St George's Hall, Liverpool, World Monuments Fund Britain, archived from the original on 4 December 2008, retrieved 26 March 2008
  29. ^ a b St George's Hall, Concert Room, Royal Liverpool Philharmonic, archived from the original on 30 June 2010, retrieved 27 March 2008
  30. ^ Knowles (1988), pp26-27
  31. ^ Sturrock, Neil S., St George's Hall, Liverpool, The Victorian Web, retrieved 21 February 2014
  32. ^ a b Knowles 1988, p. 30.
  33. ^ Knowles 1988, p. 31.
  34. ^ Braddock, (Bessie) Elisabeth, Liverpool History Online, archived from the original on 16 January 2009, retrieved 26 March 2008
  35. ^ The Magic of St George's Hall, Northwest Vision and Media, archived from the original on 26 July 2008, retrieved 27 March 2008
  36. ^ a b Cromwell, Peter, The Organ in St George's Hall, Liverpool, archived from the original on 30 April 2009, retrieved 26 March 2008
  37. ^ The Great Hall, BBC, retrieved 26 March 2008
  38. ^ St George's Hall organ to be restored, The Organ, retrieved 27 March 2008
  39. ^ David Wells, Organ Builders, David Wells, Organ Builders, retrieved 27 March 2008
  40. ^ Carrington 1981, pp. 35–39.
  41. ^ Carrington 1981, pp. 27–29.
  42. ^ Carrington 1981, pp. 39–41.
  43. ^ Webb, Stanley & Hale, Paul (2001). "Rawsthorne, Noel". In Root, Deane L. (ed.). The New Grove Dictionary of Music and Musicians. Oxford University Press.‎
  44. ^ Biography, Ian Tracey, archived from the original on 21 September 2010, retrieved 27 October 2009
  45. ^ St George's Hall scoops heritage 'Oscars' double, Liverpool 08, archived from the original on 15 July 2008, retrieved 27 March 2008
  46. ^ Williams, Lisa (22 December 2007), "Ice rink opens inside St George's Hall for Christmas", Liverpool Daily Post, Trinity Mirror North West & North Wales, retrieved 27 March 2008
  47. ^ Perrone, Pierre (15 January 2008), "Liverpool 08: The People's Opening, St George's Hall", The Independent, retrieved 26 March 2008
  48. ^ Knowles (1988), p4
  49. ^ Hemm (1949), p46
  50. ^ Hitchcock (1954), pp311-312
  51. ^ Hitchcock (1954), 336
  52. ^ Richardson (1914), p86

Sources

  • Carrington, Douglas R. (1981), St George's Hall: The Hall, Organ and Organists, Liverpool: Liverpool City Council, OCLC 30775781
  • Hemm, Gordon (1949). St. George's Hall, Liverpool. The Northern Publishing Company.
  • Hitchcock, Henry-Russell (1954). Early Victorian Architecture in Britain. Yale University Press.
  • Knowles, Loraine (1988), St George's Hall Liverpool, Liverpool: Liverpool Museum, ISBN 0-906-36732-8
  • Pevsner & Pollard, Nikolaus & Richard (2006). The Buildings of England Lancashire: Liverpool and the South-West. Yale University Press. ISBN 978-0300-109108.
  • Richardson, Albert (1914). Monumental Classic Architecture in Great Britain and Ireland. Batsford.
  • Sharples, Joseph (2004). Pevsner Architectural Guides: Liverpool. Yale University Press. ISBN 978-0300-102581.
  • Watkin, David (1974). The life and Work of C.R. Cockerell. Zwemmer. ISBN 0-302-02571-5.

External links[edit]

  • St George's Hall Site
  • Conservation of reliefs
  • History of the ventilation system
  • Panoramic images of the hall from the City of Liverpool website
  • Panoramic images of the hall from the BBC website
  • Photographs (47) from Art and Architecture
  • Organ Specifications