When Edward Lewis Williamson Johns inherited the Armitage pottery in 1893, he chose a different path from his father. Rather than expanding production, he championed fashionable and highly decorative sanitary ware. His brief ownership produced some of the pottery’s most striking designs before the business passed from family ownership in 1900.
Tag: Armitage
A Closer Examination of the South Aisle
Unlike the rest of St. John the Baptist’s medieval church, the south aisle is entirely Victorian. Built during Henry Ward’s rebuilding of the 1840s, it was carefully designed to harmonise with the Romanesque character of the older church. This article explores how Norman-inspired architecture, the remarkable south doorway and later additions combined to create one of the most successful parts of the rebuilding.
A Closer Examination of the North Aisle
The north aisle preserves the strongest impression of St. John the Baptist’s Norman origins. Although rebuilt by Henry Ward in the 1840s, its heavy round arches, massive pillars and Romanesque character echo the medieval church described by Stebbing Shaw. This article explores the aisle’s architectural development and its later transformation into a place of remembrance, where the history of the church and the parish meet.
A closer look at the chancel
The chancel of St. John the Baptist reveals a different chapter in the church’s history. Contrasting with the heavy Romanesque nave, it preserves the character of a later medieval Gothic rebuilding that was carefully reinterpreted during the Victorian restoration. Drawing on architectural evidence, early drawings and contemporary descriptions, this article explores how centuries of rebuilding, patronage and worship shaped the church’s most sacred space.
A Closer Examination of the Nave
The nave forms the architectural heart of St. John the Baptist Church. Although rebuilt in the 1840s, its massive pillars, round arches and chevron carving preserve the powerful impression of the Norman church described by Stebbing Shaw half a century earlier. This article explores how Henry Ward recreated the Romanesque character of the medieval building while producing the unified interior that visitors experience today.
St. John the Baptist Church
As St. John the Baptist church was largely rebuilt in the 1840s, and little documentary evidence survives from before that time, it is necessary to turn to alternative sources to reconstruct the form and chronology of the earlier building. Stebbing Shaw, writing in the 1790s, provides a detailed and informative description of the church, including… Continue reading St. John the Baptist Church
The tunnels
The tunnels beneath Hawkesyard have fascinated generations of local people, giving rise to stories of secret passages, hidden nunneries and underground routes stretching for miles. The reality is no less remarkable. This article uncovers their true Victorian purpose and reveals how they formed part of one of Staffordshire’s most ambitious ornamental gardens.
A House of Two Gothics: Hawkesyard Explained
Hawkesyard did not arrive fully formed. It grew by addition and adaptation, shaped by changing taste, belief, and circumstance. From Lister’s ordered Georgian Gothick to Spode’s confident Victorian Gothic, the house records how architecture, like family history, is built in layers rather than moments, across generations and acts of ambition
Inside Hawkesyard in 1839
What was life like inside Hawkesyard in 1839? Using a remarkably detailed sale catalogue, this article reconstructs the house room by room, revealing elegant reception rooms, servants’ quarters, libraries, kitchens and private apartments while exploring how Thomas Henry Lister lived between the worlds of fashionable society and Victorian public service.
A Window of Faith and Craft: The Lost Stained Glass Commissioned by Josiah Spode IV
A lost chapter of Armitage-with-Handsacre’s heritage survives only in a 1988 video: two stained-glass windows commissioned by Josiah Spode IV for his private octagonal chapel. The Marian and narrative windows formed a rich devotional scheme, now vanished, yet still revealing Spode’s faith, craftsmanship, and late-Victorian Catholic identity.