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© Mr Duncan Miller

IoE Number: 481428
Location: CHURCH OF ST MICHAEL AND ALL ANGELS AND ATTACHED WALLS, VICTORIA ROAD (north side)
  BRIGHTON, BRIGHTON AND HOVE, EAST SUSSEX
Photographer: Mr Duncan Miller
Date Photographed: 04 July 2007
Date listed: 20 August 1971
Date of last amendment: 26 August 1999
Grade I

The Images of England website consists of images of listed buildings based on the statutory list as it was in 2001 and does not incorporate subsequent amendments to the list. For the statutory list and information on the current listed status of individual buildings please go to The National Heritage List for England.

BRIGHTON TQ3004NW VICTORIA ROAD 577-1/31/948 (North side) 20/08/71 Church of St Michael and All Angels and attached walls (Formerly Listed as: VICTORIA ROAD St Michael and All Angels Church) I Anglican church. In origin, this is 2 churches, the first designed by George Frederick Bodley in 1858 and built in 1861-2, the second designed by William Burges in 1868 but not built until 1892-c1900, after Burges had died; the architect responsible was John Starling Chapple. The first building became the south aisle of the second. Both buildings for the Rev Charles Beanlands, one of Fr Wagner's curates. Red brick set in English bond, with dressings and bands of stone and blue brick to the first building, and of stone to the second; roofs of slate. PLAN: nave and chancel under a single roof; north-east vestries; north aisle; south aisle formed from the first church with its own south aisle forming an outer aisle; porches at the north-west and south-west corners; arcaded fleche over the south aisle. EXTERIOR: the character of the first building is given by the banding of the walls and the treatment of the windows which are usually formed of grouped lancets and a circular window over, with plate tracery, the whole set under an arch or archivolt; in these respects the exterior of the second church follows that of the first. The east end has 3 stepped and chamfered lancets set back under a pointed arch, a single lancet in the gable and a cross to the apex; vestries of 2 and 3 storeys with canted bay to east, upper windows in the form of paired cusped lancets with sexfoils over, parapet and low tower with conical stone roof in north-west corner; south aisle east window has 5 lancets under a quasi-rose window consisting of a quatrefoil surrounded by 12 circles, the whole set back under a pointed arch with voussoirs of brick and stone and a stone hoodmould; cross to the apex of the gable; the outer south aisle has a window of 2 lancets with a small circle in the spandrel under a round-arch with voussoirs of brick and stone. The south side of the church presents a wall to the original south aisle, unwindowed apart from a pair of low cusped lancets; the aisle runs through a gabled buttress attached to the body of the first building between nave and chancel. Clerestory of 6 bays, the windows with 2 lancets under circular openings, set under round arches to the former chancel and pointed arches to the former nave; the former chancel and east chapel have bands of nailhead carving to the eaves. The north side of the church has a broad aisle of 4 bays, the windows consisting of 2 lancets under a cinquefoil, the window openings only dressed in stone and the whole set back under a pointed arch of brick with stone springing band; clerestory of 6 bays with buttress and gabled chimney between the second and third; the first 2 bays have single lancets set back under broad, linked pointed arches with heads of stone; the nave windows are 2 lancets under a circle set back under a pointed arch of brick with stone springing bands. The west end has an offset below the west window except to the sides where the wall continues up as gabled buttresses; west window of 4 lancets and a wheel window under a pointed arch of stone; the west end of the north aisle has 2 lancets under a blank rose window and billets to the parapet; the north porch has a flat-arched entrance to the right, with 3 linked windows to the south: 2 lancets with engaged columns and a circle under a pointed arch of brick and stone; low walls to this part with chamfered stone coping. The west end of the first building has a similar arrangement of offset and buttresses; 2 windows of 2 lancets under a sexfoil, the whole under a pointed arch of chamfered stonework; rose window in the gable in the form of a sevenfoil surrounded by 7 circles. The outer south aisle has a window of 2 lancets with a small circle in the spandrel under a pointed arch of chamfered stone with hoodmould. Porch with flat-arched entrance having a stone lintel supported on engaged columns with a circular window over; 2 windows facing west and matching those of the north porch. Ramped wall to steps with chamfered stone coping, and outer iron railings now missing. Low wall of brick with gabled coping extends eastwards from the east end of the south aisle and northwards in Powis Road to the vestry gate. INTERIOR: the second building has a chancel of 2 short bays, 4 bays to the nave and a short west bay occupied by an organ gallery; except at the west end, the bays consist of an arcade, triforium and clerestory and the whole is French C13 Gothic in style. The chancel is stepped up on 3 levels above the nave, with only the sanctuary proper east of the chancel arch, so that the choir occupies the first bay of the nave. Sanctuary walls lined with banded and gilded alabaster; altar of red and grey marble with fluted columns by Temple Moore of 1914; elaborate late-Gothic reredos by WH Romaine Walker, c1900, framing a painting of Christ in glory; choir stalls designed by Burges for the first church; rood beam to chancel arch; low alabaster walls to the sanctuary and choir, decorated with marble and mosaic, the choir walls with brass gates; wrought-iron screens in a Renaissance manner between the choir and both aisles. The arcade to the west bay of the sanctuary and to the nave consists of coupled columns with shaft rings, vault shafts, foliage capitals and pointed arches with an inner order; blank circles to the spandrels, bisected by the vault shafts. The triforium has an arcade of 4 flat-arched openings in each bay, grouped in twos, and flanked by engaged columns with foliage capitals carrying a stilted-arched archivolt. Triforium and clerestory are linked by a secondary, detached, inner arcade which echoes the main tracery. An arcade of 2 arches carries the organ gallery: short columns with foliage capitals and pierced quatrefoils to the gallery; the central spandrel has a statue of St Michael by Thomas Nicholls, the outer spandrels trumpeting angels with the date 1912; north and south entrances with a shouldered arch under a segmental arch. Wooden, cross-vaulted ceiling. The north aisle has a similar ceiling carried on vault shafts; entrance to vestries shoulder-arched under a stilted arch; twin entrances to porch flat-arched under a segmental arch. The south aisle or first building consists of chancel, nave, south-east chapel and its own south aisle. It is faced in brick with dressings of stone and blue brick, and is early Italian Gothic in character. Chancel east wall lined with plain red encaustic tiles up to the level of a painted frieze of angels in an arcade, now partly obscured by the reredos; over the frieze, a cornice of foliage ornament which continues on the side walls of the sanctuary; reredos of late Gothic character; sanctuary floor paved with grey and white marble and coloured encaustic tiles. The south wall of the chancel has sedilia under a single cusped and pointed arch; west of that, 2 pointed arches to the south chapel set under a single pointed archivolt, the voussoirs partly of brick and partly of inlaid marble, the spandrel decorated with a circle filled with a cinquefoil in coloured marbles; wooden waggon ceiling painted by William Morris and Philip Webb; low wall to the chancel of grey, brown and chestnut marble decorated with segmental inlays in green and white marble, and pierced by 2 pairs of low cusped arches; wrought-iron gates to the chancel; chancel arch with inner order carried on short corbelled columns. The former nave has a 4-bay arcade, now only on the south side: stout columns with foliage capitals supporting square abaci, except for the easternmost which substitutes a pair of granite columns; arches completely unmoulded and banded with blue brick; blank stone circles to spandrels; walls to the clerestory banded in brick and stone as for the exterior; pair of west doors, flat-arched under a pointed arch, with decorative wrought-iron hinges and strapping, the tympanum painted with St Michael and angels. Waggon roof with cross-beam and king post. South-east chapel entered through internal buttress; panelling to east end of c1920, C16 Flemish reredos; black-and white-marble floor; ceiling painted in the style of Temple Moore; light wrought-iron screen between former chancel and aisle. Pulpit designed by Burges: a simple cube faced in green marble with plain grey and white marble coping, the whole carried on a complex Burgesian arrangement of stumpy engaged columns and marble banded with tiles. Font, in the south aisle and presumably designed by Bodley for the first church; octagonal, in grey marble, the drum decorated with blank arcading and carried on an arcade of short columns. Triangular painted panel over door between vestry and chancel, showing the Annunciation in Pre-Raphaelite style, presumably ex situ. STAINED GLASS: by Morris and Company of 1862 in the east window of the south-east chapel (designed by William Morris and Philip Webb); in the south windows of that chapel (designed by Burne-Jones); in the west window of the south aisle of the first building (designed by Burne-Jones) and in the principal west window of the first building (designed by William Morris, Ford Madox Brown, Peter Paul Marshall and Burne-Jones). By Clayton and Bell in the principal east window of the first building, c1862. By Lonsdale and Saunders in the principal east and west windows of the second building, the west window of 1895. By CE Kempe in the 3 westernmost windows of the north aisle, 1914. And by Jones and Willis in the easternmost window of the north aisle. The south chancel windows of the first building are similar in style to the east window. The glass in the clerestory of the first building, of c1890, and in the eastern clerestory windows of the nave of the second building, is of comparable interest. The place of St Michael and All Angels in the church history of Brighton, the architectural quality of both buildings and of their fittings, and the range and quality of the stained glass, make this a building of outstanding importance. (Fawcett J (ed): Seven Victorian Architects: London: 1976-: 86-7; Mordaunt Crook J: William Burges and the High Victorian Dream: London: 1981-: 209-15; Hyde-Smith J: Typescript listing of stained-glass windows in St Michael's: 1990-; Pevsner N & Nairn I: The Buildings of England: Sussex: Harmondsworth: 1965-).

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