Roman Catholic Church of St Mary Mulberry Street Manchester (The Hidden Gem)

The Church of St Mary, known appropriately as "The Hidden Gem", was built on a confined site in central Manchester and replaced a Catholic Chapel built there in 1794. Constructed of brick with stone dressings in a German Romanesque style, the church was solemnly dedicated on 19th October 1848.

The design was a modified version of that originally published in The Rambler magazine. This design had so enraged Pugin that he found it necessary to publish a pamphlet entitled Some Remarks on the Articles which have recently appeared in the 'Rambler' relative to Ecclesiastical Architecture and Decoration. Pugin's attack on the design was scathing. He wrote that the design had "all those features which would be considered objectionable in a pointed building without any of its beauties." The external appearance was considered "even below the ordinary run of nondescript churches..... The spire is of the ugliest possible form, owing to it being practically bad in construction. This kind of spire is peculiar to Germany, and when it is transplanted among the buildings of an English city it becomes detestable.... It only shows into what depths of error even good men fall when they go whoring after strange styles."

As with St John's Cathedral by the same architects, details were borrowed and amalgamated into the design. The tower, 120 feet high was copied from one in the Netherlands while the doorway to Mulberry street was a replica of that in a church at Andernach.

ST MARY’S CATHOLIC CHAPEL, MULBERRY STREET A lofty tower rising rapidly between Brazennose Street and John Dalton Street led us to explore its site, and we find it belongs to a building which has sprung up within the last few months, on the site of the old Catholic chapel, Mulberry Street. The new edifice, like the old one, is dedicated to St Mary; and though from a local situation, in a narrow back street, it is almost lost to public view, it is an elaborate piece of architecture, in a style little used in this neighbourhood, - the Norman style, which prevailed from the middle of the eleventh century. The design is by Messrs Weightman and Hadfield, architects, Sheffield, the architects of St John’s catholic church, Salford. The new edifice in Mulberry Street is of brick, enriched with stone dressings, courses, arches, niches, windows, etc. The principal front and entrance is on Mulberry Street, at what in architectural and ecclesiastical parlance would be called the west end; but it is really the south. The elevation of this front is very striking and pleasing. The chief characteristics of the Norman style are semi-circular arches, often richly ornamented with zigzag and other mouldings; narrow and deeply splayed or recessed windows; and massive piers, either cylindrical, square, or polygonal. The centre of the front is distinguished by an elaborate semi-circular door, highly enriched by carved stone mouldings in the style of the period. Over the door and within the arch, is a basso-relievo, in stone, representing two angels, supporting a medallion, on which are represented the lamb and the cross. Over the door is a three light window, and over this again a singular circular wheel window of eight lights, exclusively of the nave-light. The east wing consists of the tower, which is square and rises to a height of 115 feet from the ground to the top of the cross. This is a favourable specimen of the Norman tower, from an example in the Netherlands. On the principal floor it has a two-light window; above this is a niche to receive a stone statue of the Virgin and Infant Jesus; above this again the belfry windows; and then the tower has the usual Norman termination, - four gables, and between them a lozenge-shaped roof slated up to a point, from which point springs the surmounting metal cross. The west wing is small, and its chief ornaments are a small circular window, and over this a two-light window. Inside the edifice is divided into a nave with clerestory and two side aisles. At the upper or northern end (technically called east) are the chancel, where the altar will be placed, two small chapels and an adjacent sacristy or vestry, - a separate building on the east side of the church. There will be a gallery across the east end, entered by stairs within the tower. The inside dimensions of the chapel are 67 feet 3 inches by 56 feet 9 inches, and there will be three avenues giving access to four ranges of pews or open seats, furnished with back rests and Akneelers,@ but without doors. They will seat about 800 persons. The roof and clerestory are supported on each side upon seven semi-circular arches by six stone columns, the stone capitals of which are varied considerably in their ornamental design. Besides the windows already mentioned, the building is further lighted by the clerestory windows, seven on each side, which (as well as the wheel and other windows) are to be of stained or diapered glass. The roof, which is 42 feet from the floor, is an open-timbered one; and it is highly decorated. The wall behind and above the altar is to be richly ornamented in fresco. The whole interior, in short, is to be covered with that profusion of decoration which marks the ecclesiastical edifices of the Roman Catholic communion. The old chapel was closed about the middle of August; and after some delay (arising from an unsuccessful negotiation for a frontage to John Dalton Street) the present works were commenced in September; Mr Hollins of this city being the builder, and Mr Morgan the clerk of the works. The exterior of the edifice is nearly completed, even the roofing timbers of the tower. In the interior most of the heavy work is done, except the erection of the end gallery. The building is to be opened for public service in August next; but much of its internal decoration must be postponed to a subsequent period. [Manchester Guardian 14 June 1848 page 5]

A tower of Rhenish Romanesque style, in red brick, with gabled top, attracted us to the small Roman Catholic chapel in Mulberry Street. It has no constructional chancel whatever, and the interior is gaudily ornamented, and most unorthodoxly arranged. The west facade is ambitious; having, besides the tower, at its south-west angle, a huge Romanesque portal beneath a triplet of round-headed lights, which in turn is surmounted by a wheel-window. The arches have voussoirs of alternate red and black bricks. [AN ECCLESIOLOGICAL DAY IN MANCHESTER. The Ecclesiologist Vol 15 1857]

OPENING OF THE ROMAN CATHOLIC CHURCH OF ST MARIE, MULBERY STREET – This church, erected on the site of the old Catholic chapel in Mulberry Street, was opened and dedicated on Thursday last with the usual ceremonial service, a pontifical high mass. …. The style of architecture adopted for the new edifice may be said to be entirely new as regards Manchester, The site presented insuperable difficulties for the usual arrangements required for a church in the Old English or Gothic style; and it was therefore determined, notwithstanding the strong feeling which at present exists in this country on the subject of ecclesiology, to attempt an adaptation of the quaint and picturesque architecture of the Lombards; and every visitor to the Rhine will recognise in this church the strong characteristic features of the building which lend an additional charm to the scenery of that noble river. The church has nave and aisles, a tower at the south-west end, and a chancel with side altars. The general dimensions are as follows: Nave 75 feet by 27 feet; aisles 14 feet wide; tower 120 feet high. The nave has a clerestory, and there is at the west end (in reality the south) a capacious tribune or gallery, with a balcony at the south-east corner for the choir and organ, The piers and arches are of stone, richly carved, the floor is laid with tiles, and all the fittings are church-like and appropriate throughout. By far the most striking feature of this new edifice is its south or principal front, in Mulberry Street. The entrance is a magnificent pillared doorway, the circular arch of which is richly carved. In the tympanum is an alto-relievo, representing angels adoring the Agnus Dei; beneath which is inscribed “Ascendamus in montem Domine et adoremus in loc sancto ejus.” The doors have massive scrolled hinges. This beautiful doorway is, we believe, from one of the churches at Andernach. Over it are three windows, to light the tribune, and in the gable, is a wheel-window of eight lights of very pleasing composition. The tabling is crenelated and surmounted by a cross. The tower at the south-east corner consists of several stages, with arcades. It is capped by a slated spire, rising from four gables, and is surmounted by a cross and vane. The material used is red brick, with chequered black and white arches. The work appears to be exceedingly well executed throughout. The interior is less remarkable for its form than for that which was especially designed by the architects who have superintended it – its unrivalled and complete decorations in the rich and gorgeous style of the early Byzantine school. The difficulties in the way of any artist of any artist who boldly undertakes to trad a path for ages disused, and almost forgotten, are necessarily great; but there can be little doubt that in giving a faithful reflex of this antique, and we might add, obsolete style of decoration, the architects and the artist have been eminently successful. Our limits preclude a full description of the intricate workmanship by which this design is so ably brought out in this interior. Owing to the difficulties of obtaining additional land, it was necessary to omit the semi-circular apses at the altar end, with its aisles, which formed part of the original design. Hence the east (or rather the north) end of the church presented a blank wall, without window, or other feature, to give to the building the slightest architectural character. Upon this part of the church, therefore, it was necessary for the artist to concentrate his powers. In the gable are quaint representations of our Lord, and the four evangelical symbols. Below, on a rich gold ground, is a figure of the Blessed Virgin, enthroned and holding the infant Jesus; on each side are figures of St Henry and St Matthius, divided by palm trees; the former a memento of the Rev Henry Gillow, for many years the pastor of this church. Under the figure of St Henry, king and emperor, is the inscription, in Lombardic capitals, “Orate pro anima Henrici Gillow, sacerdotis;” under the figure of the Virgin and Child is “Sancta Maria, intercede pro nobis,” under the figure of St Matthius “sancta Mathis ora-pro benefactoribus.” Still lower, and immediately above the arcade behind the altar, there is to be a painting of the Annunciation, which, however, is not yet more than outlined. Over the figures of the Annunciation are the following inscriptions: Over the angel “Ave Maria gratia plena dominus tecum benedicta tu in multieribus.” Over the Virgin, “Fiatmihi secundum verbum tuum.”

The pilasters, bordures, and general lines are richly diapered with quaint patterns. The arcade has emblems of “Our Ladye,” the ancient Greek sacred monograms, etc. The general tone of the interior is cool and refreshing; admirably calculated to heighten the effect of the more decorative points. The windows are slightly stained a rich mosaic pattern. The capitals of the columns, (seven on each side, dividing nave from aisles), are richly painted and glided, and the spandrels have a flowing and elegant scroll pattern. The church is well-lighted by five iron coronas, of design adapted to the general style, and which are to be richly painted and gilt.

The architects are Messrs Weightman and Hadfield, of Sheffield. Mr Taylor Bulmer is the artist, in whose able hands the decorations have been carried out. The builder is Mr Hollins of Hardman Street. The stone carving is by Mr Cox of Wakefield.

{In the above description, we have assumed the whole of the decorations to be a successful achievement of what we may term a “foregone (Byzantine) conclusion.” But we must here enter our protest against the style itself: we regard it as puerile, defective in form, meretricious, and inharmonious in colour, and such as we have no desire to see another specimen of in this city. We accord to all concerned the highest credit for their successful embodiment of it; we only join issue with the taste that can admire and adopt a style which should have been left in its quiet and long forgotten tomb]. [Manchester Guardian 21 October 1848 page 5]

The old Roman Catholic Chapel in Rook Street, erected in 1774 (now razed) being found to be inadequate, St Mary’s Mulberry Street was erected by subscription in 1794 on land purchased from John Leaf, and was then regarded as a large handsome chapel, being adorned by some fine paintings. This chapel, having become somewhat dilapidated, was partially rebuilt in 1835, but in August that year the roof fell in. A temporary roof was then constructed and the chapel continued as a place of worship until the middle of August 1847, when it was closed. After some delay, arising from an unsuccessful negotiation for a frontage to John Dalton Street, demolitions commenced in September in order to erect on its site the present, larger building. A burial ground, the only Roman Catholic place of interment in the town, formerly existed at St Marie’s until the building of St Augustine’s, Granby Row, in 1821. The floor of the new church is raised six feet above the level of the burial ground.

Reference    Manchester Guardian 14 June 1848 page 5
Reference    Manchester Guardian 21 October 1848 page 5 - opening