The Bedford Park church of 1878, St Michael’s, is more or less Queen Anne, at least not at all Gothic. But at Ilkley in Yorkshire Shaw’s St Margaret’s of the previous year is a remarkably personal essay in the Perpendicular, low and broad and elegantly detailed. In quality this is well above his earlier Bournemouth church and rather more original in its proportions than the standard work of Bodley and his imitators at this time. Somewhat similar, and still more original, is St Swithin’s in Gervis Road in Bournemouth, also of 1877; while All Saints’, Leek, of 1886 carries almost to the point of parody the Shavian stylization of English Late Gothic proportion towards the broad and low—visually, that is; ritualistically they are quite as ‘High’ as Bodley’s.
Next Shaw produced his finest and most creatively conceived church, Holy Trinity, Latimer Road, comparable in quality to his early church at Bingley but wholly different in character. This was built in 1887-9 for the Harrow Mission in a poor district of western London. The interior of Holy Trinity is a single vessel, very broad and moderately low, covered by a flat-pointed wooden ceiling which is tied by vigorous horizontal members of iron cased in wood and heavily buttressed externally (Plate [106A]). Behind the chancel, which is no more than a square dais on which the altar is raised, rises an ecclesiastical version of the Shavian window-wall, broad and low like the space it terminates but arched and lightly traceried at the top. The result could hardly be more different from Shaw’s domestic Queen Anne of these years. It is on such things as this church, in which his basic architectural capacities are revealed unconfused by frivolous elaboration of detail, that his claim to high talent, occasionally to genius, must be based.
If Shaw did not cease to design churches while continually extending the range of his secular practice, it is a still more notable testimony to the breadth of his approach that he built in 1879, in Kensington Gore between the Albert Hall and Lowther Lodge—and with a characteristic disregard for both—the first really handsome block of flats erected in London; the first, that is, unless one prefers the Second Empire ones of the late sixties in Grosvenor Gardens. The tall and extensive mass of this block, like that of most of his houses of the period, is extremely picturesque in silhouette because of the very tall and ornate gables that face the Park. But these are quite regularly spaced and the walls below them, with the multitudinous segment-arched, white-sashed windows all evenly phrased in threes, illustrate Shaw’s Queen Anne of the seventies at its most disciplined (Plate [104A]).[[271]]
As has been noted, Shaw was by now the preferred architect of most of his fellow Royal Academicians. Webb had built houses for several of the Pre-Raphaelite painters who were his friends and associates. Less successful and more advanced painters employed Godwin. Small though it is and now much remodelled, the White House in Tite Street round the corner from the Chelsea Embankment, which Godwin built for his friend Whistler in 1878-9, has one of the most original façades of the decade. As its name implies, although all of brick, it was not ‘red’ like Morris’s and Stevenson’s famous houses, but ‘white’ because the walls were so painted,[[272]] recalling perhaps the white-painted Colonial farmhouses of Whistler’s New England youth. The sparse detail is related in its vaguely eighteenth-century character to the Shavian Queen Anne, but it is much more delicate and linear, indeed almost Late Georgian in inspiration. Most significantly, the composition of the façade as a whole, and even more evidently the asymmetrical placing of the door and windows, owes a great deal to those abstract principles of Japanese art which both Whistler and Godwin had been studying for almost twenty years.
Whistler had to sell his house almost as soon as it was finished in order to pay the costs of his unhappy libel suit against Ruskin, a legal battle in which the Late Victorian and the High Victorian came to violent grips. But Godwin went on to build several more studio houses in Tite Street at Nos 29, 33, and 44 in the next few years and also the Tower House in 1885. Similar, but inferior, is No. 31 by R. W. Edis, which John Singer Sargent later occupied. Also in Tite Street is the commonplace terrace house at No. 16, of which the interiors were decorated by Godwin for Oscar Wilde,[[273]] the greatest aesthete of them all. Wilde’s influential ideas in this field, carried to America on a lecture tour in 1881-2, were largely derived from Godwin, it may be noted.
When Shaw turned again to commercial work it was to design in 1881 the offices for the bankers Baring Brothers at 8 Bishopsgate in the City of London. This small building was as discreet, as orderly, and almost as domestic as Cheyne House. But the next year, so chameleon-like was his development, he gave the more conspicuous Alliance Assurance Building at the corner of St James’s Street and Pall Mall opposite St James’s Palace broad, low, banded arches of brick and stone below and elaborated the vertical articulation of the upper storeys with profuse sculptural ornament.[[274]] Very tall and scallopy gables provide a Neo-Picturesque effect only too comparable to the most vulgar ‘Pont Street Dutch’ houses designed by his rivals or even to contemporary Northern Renaissance work on the Continent. To emphasize his variousness further, there is diagonally across the street a later edifice for the same clients, built in collaboration with his pupil Ernest Newton (1856-1922) in 1903, so quietly academic in the Neo-Georgian taste of the early twentieth century that one can hardly believe it is also Shaw’s.
His next important secular works after the first Alliance building, both begun in 1887 like the Latimer Road church, contrast with each other almost as markedly as they do with that. Characteristic of the essentially private patronage—patronage from successful artists, patronage from business, patronage from the professional classes—responsible for the best English architecture of this period is the fact that Shaw’s first public commission came only at this advanced stage of his career. London’s Metropolitan Police Offices in New Scotland Yard, of which the original block was built in 1887-8 and the second block to the south added in 1890, have a splendid site on the Thames Embankment. Remembering, it would seem almost for the first time, his own Scottish birth—or possibly in apposite reference to the familiar name of the London police headquarters—Shaw designed Scotland Yard somewhat like a Scottish castle with corner tourelles and tall curved gables, but using throughout heavy and rather academic later seventeenth-century detailing of a much less regional sort (Plate [106B]). Red brick and stone in combination make it also as colouristic as the Alliance building, the solidity of the proportions makes it weighty, and the high gables and tower roofs give it great variety of outline. As a result, the total effect is almost High Victorian in its vigour and its massiveness. Shaw is said to have regretted the need to build a second block; certainly it must have been more impressive when the original block stood alone like an isolated riverside fortress.
Scotland Yard seems to look backward somewhat, at least in relation to that gradual development towards orderliness and restraint of an eighteenth-century sort which can be discerned in Shaw’s work of the seventies despite all its variousness. On the other hand, the house that he built in 1887-8 for Fred White,[[275]] an American diplomat, at 170 Queen’s Gate, so near to that strikingly aberrant terrace house of the previous decade at No. 196, seems to look forward into the early twentieth century, when the eighteenth-century Georgian would provide the basis for a quite archaeological revival. This plain rectangular block of red brick, orderly and symmetrical on the long façade towards Imperial Institute Road and also on the end towards Queen’s Gate, with three ranges of large sash-windows below an academic cornice, is therefore as much a historical landmark, if not an original creation, as was Glen Andred twenty years before (Plate #105:pl105). The suave and well-scaled ornamentation is concentrated at the doorway in the eighteenth-century manner, and the hip roof is unbroken except by regularly spaced dormers. Yet, curiously enough, the plan is somewhat less completely regular and symmetrical than one might expect from the exterior; for example, the large drawing-room towards Queen’s Gate is L-shaped.
Only the excellence of the craftsmanship here, based not on the Sussex vernacular but on the most sophisticated work of around 1720, the prominence of the tall chimneys, and the wide central dormer with its curved top reveal Shaw’s hand and suggest, perhaps, an early date; otherwise such a house might well have been built forty years or so later by many other architects, English and American (see Chapter [24]). However, Webb at Smeaton Manor[[276]] in Yorkshire, built in 1877-9, had already arrived at an almost identical regularity and formality of design (Plate [102A]). Characteristically, however, he did not elaborate the exterior with borrowed eighteenth-century detailing, and the house remains almost undatable on internal evidence, like much of his best work.
Scotland Yard is an all but unique example of an English public building of distinction erected in the eighties. Before continuing with the account of Shaw’s work in the nineties, two prominent features of the London skyline, the most striking additions made since Butterfield’s spire of All Saints’ rose in Margaret Street in the fifties and the Victoria Tower of the Houses of Parliament was completed in the sixties, should be mentioned. Both the Imperial Institute, towering over Shaw’s contiguous Fred White house in South Kensington, which was built in 1887-93 in honour of Queen Victoria’s first jubilee, and the Catholic cathedral of Westminster, not begun until 1894, are especially notable for their very tall dome-topped towers. The cathedral, which was designed by J. F. Bentley (1839-1902), a pupil of Clutton, has also a magnificent domed interior. The Institute, built by T. E. Collcutt (1840-1924), was perhaps of less over-all interest but extremely refined and elegant in its detailing compared to the contemporary work of George & Peto, which it most closely resembles. Curiously enough, the very underscaled membering and even so dainty a trick as the use of single courses of red brick here and there in the stonework does not make the 280-foot tower petty. It may be compared to its own very great advantage with Haller’s contemporary tower, in a somewhat parallel Northern Renaissance vein, on the Hamburg Rathaus. Collcutt’s own earlier tower on the Town Hall at Wakefield in Yorkshire of 1877-80 was less successful than this London landmark, which has happily survived the rest of the building.