Church Street, Old Glossop, Derbyshire
A good example of a late Georgian church, built in 1836 in Greek Revival style. Paid for by the 12th Duke of Norfolk, the church and the contemporary presbytery, known as Royle House, are notable examples of the early Catholic Revival, expressing increased confidence boosted by aristocratic patronage. The church is an early work of the Sheffield architects Weightman and Hadfield. The interior of the church bears similarities to Joseph Ireland’s church at Hassop (qv) and retains its original spatial character and some good late 19th century fittings, but has been somewhat compromised by the 1960s-1970s sanctuary reordering and current decorative treatment.
The great patron of Catholicism in Glossop in the early 1800s was the Howard family; the Duke of Norfolk’s estate developed Glossop for textile manufacturing. The architect M. E. Hadfield was born in Glossop and was a nephew of Matthew Ellison, agent for the estate, which had enabled Catholics to hear Mass in a chapel at Glossop Hall from c.1810. All Saints was built in 1836 for the 12th Duke of Norfolk, and was early fruit of Hadfield’s partnership with John Gray Weightman, who had trained in the offices of Charles Barry and C.R. Cockerell and who may have influenced the choice of a Classical design (characterised by Little as an enlarged version of Joseph Ireland’s church at Hassop, qv). The later ecclesiastical work of Weightman and Hadfield was usually Gothic.
The church was a private chapel until 1925 when the estate transferred it to the Diocese. The school was built in the 1840s. The church interior was refitted in 1888 and the sanctuary reordered in 1960-61 and 1979.
The principal elements of the church are referred to in the list entry (below). The liturgical east end is to the west. Inside, the church retains the character of a late Georgian church with a well-proportioned nave beneath a shallow segmental-arched vaulted ceiling. The apsidal sanctuary has a vaulted ceiling; now plainly over- painted; devotional paintings in five panels were created in 1875, then re-painted in 1936 (attributed to the Manchester artist Adolphe Valette). Historic images of the sanctuary depict the walls painted to resemble ashlar, now papered. The oak sanctuary rails with vase balusters and wide rail, oak parquet nave floor, oak pews and stained glass were provided in 1888. The Stations of the Cross are oil paintings on wood in oak frames, early 1900s, attributed to Rene Janssens of Belgium. The Hopton Wood stone altar dates from 1936, made by Alberti of Manchester but altered and moved forwards in the 1979. The sanctuary floor was re-laid with hardwood blocks at the same time. The west gallery has its original staircase with continuous mahogany handrail and cast-iron balusters.
Royle House, dating from the early 1830s, retains some original features including a staircase with stick balusters and mahogany handrail, dining room with arched buffet recess, moulded cornice, four-panelled doors, door architraves and marble chimneypieces with paterae. The passage from the sacristy in the house to the church follows the outer curve of the sanctuary apse.
Original Date: 1836
Conservation Area: Yes
Listed Grade: II