An interwar basilican design by George Drysdale, externally unremarkable but with an extraordinarily rich interior of marble and mosaic, for which the driving force was the aptly-named parish priest, Mgr John Power. The baldacchino at the east end is based on that in Sant’ Ambrogio, Milan. Much of the mosaic decoration post-dates the substantial rebuilding done very quickly after wartime bombing. The tower over the crossing has a carillon of twenty three bells. 

Mass was said for Belgian refugees in Saltley from 1914 in a room over a bank, and later a priest came from Sparkhill to say Mass in Highfield Road School. It was only after the appointment of the indefatigable Mgr John Power in 1930 that the development of the parish gathered pace. A presbytery had been built in 1931-2, and on 4 April 1932 Archbishop Williams of Birmingham blessed the foundation stone for the church (the stone having been acquired from the church of the Annunciation, Nazareth). The design, Lombard Romanesque in character, was by the London architect George Drysdale, of Leonard Stokes & Drysdale.

At the outset, in April 1932, all the internal marble work for the church (columns, pulpit, altar rails etc.) was ordered from Pietra Santa, Carrara, Italy. Unfortunately, the chief sculptor went bust soon after the work had been completed; he was unable to pay the subcontractors, who would not release their work. Extraordinarily, Mgr Power travelled to Rome and through the offices of the British Embassy obtained an interview with Benito Mussolini, who promised to intervene. This he did, and the marble was packed off from Livorno in February 1933, arriving at Saltley a month or so later.

The crossing tower, bearing a carillon of twenty three bells by Gillett & Johnston of Croydon and given by members of the Power family, was completed by the end of 1932. The bells were consecrated by the Archbishop on 2 January 1933. The completed church was consecrated by Archbishop Williams on 8 June 1934 (the mosaic and opus sectile consecration crosses were designed by Elphege Pippet of John Hardman studios). The total cost of the church, fully fitted out with its four altars, was in the region of £43,000, all raised in a short time; a remarkable achievement in this poor parish, and a tribute to Fr Power’s energies. Many of the donations came from Ireland. A school was also built, opening in 1935 (architect J. Arnold Crush).

In 1937, statues of St Anne, the Virgin Mary, St John Bosco, St John de la Salle and a brass memorial to St Oliver Plunkett were unveiled.

The church was badly damaged by wartime bombing, notably in December 1940, when the south transept and west front were badly damaged (including further mosaic roundels by Pippett, originally placed outside the west doors). A landmine similarly ruined the north transept in 1941. Despite the privations of wartime, the parish set about rebuilding. Marble was salvaged and repaired or replaced, the mosaic work restored. Rebuilding had been completed by May 1943, when the altar to St Anne in the south transept was reconsecrated by H. E. Bernard Griffin, Cardinal Archbishop of Westminster. On the third anniversary of the bombing, Mgr Power brought back into the church two Portland stone statues of St Peter and St Paul by Fr Vincent O.C.R, monk of Mount St Bernard Abbey. The bells, which had also been stored for safe keeping at Mount St Bernard, were reinstated in the tower in August 1944. Later in the same year, the Sacred Heart window in the north transept was restored, followed in 1945 by that in the south transept. The west window (St Anne and St John Vianney, copies of the originals) were restored in 1946. War repairs were completed by Easter 1947, when a new organ was played for the first time.

Enrichment of the interior continued in the early 1950s, with the completion of the mosaic decoration on the Sacred Heart and Lady altars, together with that of the east and west transepts. The new consecration crosses in these areas are framed by wild flowers, in honour of St Thérèse. In 1954 mosaics of St Pius V and St Pius X were set on the Epistle and Gospel columns of the sanctuary.

In 1958 the school building of 1935 was replaced with a new Junior and Infant school, while the secondary school pupils moved to a new school (now Parkfield School).

Description

Church in Lombard Romanesque style by George Drysdale, built in 1932-4 and much rebuilt in 1942-3 after bomb damage. Red brick with reconstituted stone or plaster dressings, Westmorland slate roofs. On plan the church consists of a nave and aisles with western narthex and baptistery, crossing with tower over, north and south transepts with side altars, and an apsidal sanctuary. A separate Adoration Chapel gives off east side of the south transept.

The west front (rebuilt in 1942-3) has three arched openings with plain inscribed tympana and a large blind arch above encompassing two single-light windows, the papal arms in mosaic, and a statue of St Thérèse under a timber canopy. Arches under the eaves are of Lombard Romanesque character, rising to a statue of the Virgin and Child at the apex of the gable. The side elevations are plain, with paired windows in plastered surrounds to the aisles and clerestory. The gable ends of the transepts have triple windows and Lombard eaves, while the apsidal east end is of plain brick. Rising over the central crossing is the broad square tower, with arched openings for the twenty-three bell carillon and surmounted by a shallow pyramidal roof. It has a staircase turret at its northeast corner.

The entrance doors lead into a narthex below a western gallery, separated from the main space by hardwood glazed doors. In the narthex are two large marble holy water stoups, and mosaic on the perimeter wall up to dado height, a hint of what is to come. The nave arcade is of three large bays, with five pairs of clerestory lights above, and an open timber roof of Early Christian character. The square piers of the nave arcades are clad with coloured marble panels, the arches themselves plain. A mosaic dado runs around the perimeter wall, incorporating fleur de lys and roundels with the arms of the pope, the bishops and archbishop who consecrated the church, old Catholic families of Saltley, and modern benefactors. At the west end of the nave the gallery has a projecting timber front, also with painted armorial shields of cardinals etc. In the northwest corner is the baptistery, complete with its wrought iron gates, marble font with domed marble cover, mosaic dado and stained glass of the Baptism of Christ.

At the east end, a full width arch opens onto the crossing, with similar arches to the short transepts and sanctuary. Side altars are set in apsidal recesses in the transepts, Sacred Heart to the north and Our Lady to the south. There are also altars to St Anne (corner of south transept) and St Thérèse (north transept). The sanctuary apse is lined with marble; at its centre is a baldacchino/ciborium based on that in Sant’ Ambrogio, Milan, carried on pillars of green Alpine marble, the semi-dome inlaid with blue and gold Venetian mosaics. Beneath this, the tabernacle is placed on an antependium depicting the Lamb resting on the Book sealed with seven seals, all again in white marble. The marble altar is forward of this, presumably a post-Vatican II reordering, carried out with care. On either side, carved oak sanctuary benches. This area and the side chapels are lavishly fitted out with marble furnishings and mosaic decoration, to remarkable cumulative effect. There are numerous mosaic and other inscriptions recording donors, including the Power family, who gave the communion rails (which survive, with their gates), marble altars and pulpits, in memory of Mary Power. The foundation stone (from the church of the Annunciation, Nazareth, and protected by a grille) is set into the wall of the Lady Chapel. Giving off the south transept, the Adoration chapel houses a notable collection of relics and treasures. The stained glass windows (more information above) were all designed and made by John Hardman Studios, the mosaic work was carried out by Richards Tiles Ltd of Tunstall.

List description (the church was listed Grade II in 2016, following Taking Stock)

A Roman Catholic parish church. 1932-4. Repaired and restored in the 1940s. Designed by George Drysdale in the Lombard style, an amalgamation of Early-Christian and Romanesque styles. The stained glass windows were all designed and made by Hardman and Co. and the mosaic work was carried out by Richards Tiles Ltd of Tunstall, with mosaic roundels by Elphege Pippet. The attached presbytery is not of special architectural or historic interest and is not included in the listing.

Reasons for designation: The Roman Catholic church of Our Lady of the Rosary and St Therese of Lisieux, of 1932-4 and designed by George Drysdale, is listed at Grade II for the following principal reasons: * Artistic interest: its rich internal decorative scheme demonstrates a high degree of artistic quality and craftsmanship, and includes Italian marble work, mosaic roundels by Elphege Pippet and an extensive scheme of stained glass by Hardman and Co.; * Degree of survival: although partially rebuilt and restored in the 1940s, this has been done with sensitivity and much of the historic fabric has been retained and includes a complete suite of fixtures and fittings; * Historic interest: for its association with leading political and religious figures including the Grand Mufti of Jerusalem, Amin al-Husseini and Benito Mussolini.

History: Mass was being said to Belgian refugees in Saltley from 1914 but it was only after the appointment of Monsignor John Power as priest in 1930 that the development of the parish gathered pace. A presbytery had been built in 1931-2 and on the 4 April 1932 Archbishop Williams of Birmingham blessed the foundation stone for the church. The stone had been acquired from the church of the Annunciation in Nazareth with the permission of Palestine’s political and religious authorities, including the Grand Mufti of Jerusalem, Amin al-Husseini. The stone arrived in Saltley on 7 October 1931, the Feast Day of Our Lady of the Rosary. The church was designed by the Catholic architect George Drysdale in the Lombard style (an amalgamation of the Early-Christian and Romanesque styles). At the outset of the building works, all of the internal marble for the church, including the columns to the baldacchino, pulpit and altar rails, was ordered from Pieta Santa, Carrara, Italy. Unfortunately, the chief sculptor went bust soon after the work had been completed and he was unable to pay the subcontractors, who would not release their work. To resolve the issue Mgr Power travelled to Rome and through the offices of the British Embassy obtained an interview with Benito Mussolini who promised to intervene. This he did, and the marble was transported from Livorno in February 1933, arriving in Saltley a month or so later. The crossing tower, bearing a carillon of twenty three bells by Gillett and Johnston of Croydon and given by members of the Power family, was completed by the end of 1932. The bells were consecrated by the Archbishop Williams on 2 January 1933, the birthday of St Therese. The church was completed at a cost of approximately £43,000, and was consecrated by Archbishop Williams on 8 June 1934. After its consecration the extensive scheme of mosaic decoration to the church’s interior was carried out by Richards Tiles Ltd of Tunstall, under Mgr Power’s direction, using tesserae ordered from Venice. In December 1940, a bomb damaged the south transept and west front, including mosaic roundels by Elphege Pippett, originally placed outside the west doors. A landmine similarly ruined the north transept in 1941. The parish immediately set about rebuilding and marble was salvaged and repaired, or replaced, and the mosaic work restored. In 1943 the Portland stone statues of St Peter and St Paul by Fr Vincent O.C.R, monk of Mount St Bernard Abbey were returned to the south transept. In August 1944, the bells were reinstated and the north transept window restored, followed in 1945 by that in the south transept. The west windows were restored in 1946. A new organ, a replica of the original was installed, and by Easter 1947 the repairs were complete.

Details: A Roman Catholic parish church. 1932-4. Repaired and restored in the 1940s. Designed by George Drysdale in the Lombard style, an amalgamation of Early-Christian and Romanesque styles. The stained glass windows were all designed and made by Hardman and Co. and the mosaic work was carried out by Richards Tiles Ltd of Tunstall, with mosaic roundels by Elphege Pippet. The attached presbytery is not of special architectural or historic interest and is not included in the listing. MATERIALS: built of red brick with reconstituted stone or plaster dressings, with Westmorland slate roofs. PLAN: the cruciform/basilican plan is roughly orientated on its ritual compass points, with the sanctuary at the north-east end of the church, but the ritual compass points will be used throughout the description. The narthex, with organ gallery above, leads into the three bay nave with north and south aisle. Off each aisle is a confessional, and off the south aisle is the south porch. At the west end of the aisles is the baptistery and side chapel. To either side of the central crossing, with tower over, are the north and south transepts with side altars. The chancel and apsidal sanctuary are to the east end, with the sacristry to the south-east corner. A separate chapel is off the east side of the south transept. EXTERIOR: the gabled west elevation is flanked by the lean-to north and south aisles. The west entrance has three, arched openings with plain inscribed tympana. Above, is a large, recessed arch encompassing two single-light windows, the papal arms in mosaic, and a stone statue of St Thérèse under a timber canopy. The arches under the eaves are of Lombard character, rising to a statue of the Virgin and Child at the apex of the gable. The side elevations are plain, with paired windows in plastered surrounds to the aisles and clerestory. The gable ends of the transepts have Lombard eaves, offset buttresses and three, tall, single-light windows set within a shallow recessed round arch. The south transept has a Portland stone statue of St Peter and St Paul set within a niche to each buttress. Linking the east end of the south transept with the presbytery is the single-storey chapel, with two, triple-light round-arched windows with plastered surrounds. The apsidal east end of the church is of plain brick. Rising over the central crossing is the broad square tower with arched openings for the twenty-three bell carillon and surmounted by a shallow pyramidal roof, with Lombard eaves cornice beneath. There is a staircase turret to the north-east corner of the bell tower. INTERIOR: the entrance doors lead into a narthex with a mosaic dado and two large marble holy water stoups. The narthex is separated from the nave by hardwood glazed doors, and above the narthex is the organ gallery with projecting timber front painted with the armorial shields of cardinals and two plaques in commemoration of the International Eucharistic Congress. The nave has a three-bay arcade of plain round arches on square piers clad in coloured marble. Above are five pairs of clerestory stained glass windows, which together with the windows in the transepts and sanctuary depict the Mysteries of the Rosary. The Annunciation window in the sanctuary is a later addition. The roof above the nave is formed of open timber trusses of Early-Christian character. A mosaic dado runs around the perimeter wall of the church incorporating fleur de lys and roundels with the arms of the pope, the bishops and the archbishop who consecrated the church, old Catholic families of Saltley, and modern benefactors. Above the dado are mosaic consecration crosses of the twelve apostles, designed by Elphege Pippet. The Stations of the Cross are of hand-carved oak frames with French terracotta plaques. The baptistry is at the west end of the north aisle and is complete with its wrought iron gates, marble font with domed marble cover and stained glass window of the Baptism of Christ. There is a replica of Michelangelo’s Pieta at the west end of the south aisle. It is set within an arched recess with a marble altar beneath. Each transept has two side altars set within round-arched recesses with marble altars and altar rails: Sacred Heart and St Therese to the north and Our Lady of the Rosary and St Anne to the south. The foundation stone, from the Church of the Annunciation in Nazareth, is set into the wall of the Lady Chapel and protected by an iron grille. The chancel is separated from the nave by an arcaded, white marble altar rail with iron gates, and to either side of the chancel is a marble pulpit with blind arcading. There are carved oak chancel benches to either side of the set-forward marble altar. The sanctuary apse is lined with mosaic and at its centre is a baldacchino carried on marble Corinthian columns, with the semi-dome inlaid with blue and gold mosaic. Beneath this, the tabernacle is placed on a marble altar depicting the Agnus Dei resting on the Book of Revelation sealed with the seven seals. To the east of the south transept is the separate chapel with a wrought iron screen at its east end.

Sources

Books and journals: Pevsner, N, Brooks, A, The Buildings of England: Worcestershire, (2007), 201. Other: The Architectural History Practice Limited: Churches in the Roman Catholic Archdiocese of Birmingham: An Architectural and Historical Review Prepared for English Heritage and the Archdiocese of Birmingham (2015); The Church of Our Lady of the Rosary & St Therese, Saltley, Birmingham, 75th Anniversary July 2007 (CD).

Heritage Details