Showing posts with label lanchester and rickards. Show all posts
Showing posts with label lanchester and rickards. Show all posts

Thursday, 7 July 2011

Methodist Central Hall, Storey's Gate SW1

I've never been sure what to make of the Methodist Central Hall. It was deliberately designed not to look like a church so heathens would not feel detered from entering, and the design competition specified a non-Gothic style to avoid competing with Westminster Abbey.
Matthew
Mark
However, the design, by Lanchester and Rickards, is not just secular - much of the symbolism is actively militaristic. Bunches of spears, arrays of Roman swords, helmets and flags. This would not be surprising on a Government building in the England of 1905 when the design was started, but it is very odd for Dissenters with their tradition of pacifism.
The high point from an artistic point of view is the pair of angels at the centre of the main facade. By Henry Poole, they float serenely in lovely calm over the bustle of the tourists in Parliament Square.
John
The entablature on the giant order of columns on the Central Hall is eccentric to say the least, with windows and the symbols of the Gospel writers. The eagle is John, the ox is Luke, the human, Matthew and the lion Mark.
I originally assumed they represented the the continents but that is clearly wrong.
Luke
It is not clear who is responsible for them, but Henry Poole was busy with the angels so I imagine they were designed by H.C. Fehr who was also involved with the project.







Tuesday, 20 April 2010

144 New Bond Street W1

 When the extremely upper class art dealers Colnaghi built a new gallery in 1911 they initially employed a member of a dynasty of dull architects called Ridge, but sacked him in the early stages of construction and brought in Lanchester & Rickards. They designed a new facade in a chic continental style, and got their regular sculptor Henry Poole to put a lovely porcelain doll above the front door.
She is the Goddess of Painting - the palette she is holding is a symbol of authority rather than a tool of her trade, as she has no brushes, paints or canvas.
Behind her is a flourish of anemones, symbol of love and loss; a jar (which Poole has signed); a fan with a small pot and a watch to remind us that life is short but art lives on.