Edmund Sharpe
Edmund Sharpe | |
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Born | Knutsford, Cheshire, England | 31 October 1809
Died | 8 May 1877 | (aged 67)
Occupations |
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Edmund Sharpe (31 October 1809 – 8 May 1877) was an English architect,
He also designed secular buildings, including residential buildings and schools, and worked on the development of railways in north-west England, designing bridges and planning new lines. In 1851 he resigned from his architectural practice, and in 1856 he moved from Lancaster, spending the remainder of his career mainly as a railway engineer, first in North Wales, then in Switzerland and southern France. Sharpe returned to England in 1866 to live in Scotforth near Lancaster, where he designed a final church near to his home.
While working in his architectural practice, Sharpe was involved in Lancaster's civic affairs. He was an elected
Sharpe achieved national recognition as an architectural historian. He published books of detailed architectural drawings, wrote a number of articles on architecture, devised a scheme for the classification of
Early life
Edmund Sharpe was born on 31 October 1809 at Brook Cottage, Brook Street in Knutsford, Cheshire, the first child of Francis and Martha Sharpe. His father, a peripatetic music teacher and organist at Knutsford parish church, came from Stamford in Lincolnshire. At the time of marriage his wife, Martha Whittaker, was on the staff of an academy for young ladies, Belvedere House, in Bath, Somerset.[1][2][3] During his childhood in Knutsford, the young Edmund played with Elizabeth Stevenson, the future Mrs Gaskell.[4] In 1812 the Sharpe family moved across town from Over Knutsford to a farm in Nether Knutsford called Heathside, when Francis Sharpe then worked as both farmer and music teacher. Edmund was initially educated by his parents, but by 1818 he was attending a school in Knutsford. Two years later he was a boarder at a school near Runcorn,[5] and in 1821 at Burney's Academy in Greenwich.[6][7] Edmund's father died suddenly in November 1823, aged 48,[8] and his mother moved to Lancaster with her family,[9][10] where she later resumed her teaching career.[11]
Edmund continued his education at Burney's Academy,
Architect
Lancaster practice
Edmund Sharpe started his practice at the end of 1835 in his mother's house in Penny Street, moving into premises in Sun Street in 1838.[26][27] In October that year he took as his pupil Edward Graham Paley, then aged 15.[28][29] Later in 1838 Sharpe took a house in St Leonard's Gate large enough to accommodate himself and Paley;[27] the practice continued to use the premises in Sun Street until after Sharpe's retirement.[30] In 1841 Thomas Austin also joined the practice as a pupil, staying until 1852 when he left to set up on his own as an architect in Newcastle upon Tyne.[31] In 1845 Sharpe made Paley a partner, and in 1847 effectively handed the business over to him.[32] At about this time also, John Douglas joined the firm as Paley's assistant, and stayed with the firm until about 1859, when he moved to Chester to establish his own practice.[33] Sharpe retired completely from the practice in 1851, leaving Paley as sole principal.[34] Also in 1851 Paley married Sharpe's sister, Frances.[35]
Churches
In his letter of December 1835 to William Whewell, Sharpe also mentioned that plans for at least one church, St Mark's at Witton, west of Blackburn, were already well advanced, and that he was working towards another one, St Saviour's near Bamber Bridge, south of Preston. In addition, he was in contact with the Earl of Derby with a view to designing a church for him near his seat at Knowsley, northeast of Liverpool.[23]
Four of Sharpe's earliest churches – St Saviour, Bamber Bridge (1836–37);[36] St Mark, Witton (1836–38);.[37] Christ Church, Chatburn (1837–38);[38] and St Paul, Farington, near Leyland (1839–40)[39] – were in the Romanesque style, which he chose because "no style can be worked so cheap as the Romanesque".[23] They "turned out to be little more than rectangular 'preaching boxes'... with no frills and little ornamentation; and many of them were later enlarged".[40] The only subsequent churches in which Sharpe used Romanesque elements were the chapel of All Saints, Marthall, near Knutsford (1839); St Mary, Conistone in Wharfedale (1846); and St Paul, Scotforth in south Lancaster (1874), the last built towards the end of his life.[41]
By 1838 Sharpe had begun to experiment with elements of English Gothic architecture, initially in the
Sharpe was one of the architects who designed churches for the Church Building Commission, which had been established by the Church Building Acts of 1818 and 1824. The resulting churches have been called
Although some architects designed the earlier Commissioners' churches in
Sharpe's early Gothic Revival works were pre-archaeological, including Holy Trinity, Blackburn, built in 1837–46 for Revd JW Whittaker.[53] Hughes expresses the opinion that this church is Sharpe's pièce de resistance,[54] it contains "a mongrel mix of Gothic styles".[55][C] Simultaneously Sharpe was involved in the design of about twelve more churches in Northwest England, which increasingly incorporated more "correct" Gothic features.[56] In 1841 he obtained a contract to build three churches and associated structures (vicarages and schools) for the Weaver Navigation Trustees, at Weston Point, Runcorn; Castle, Northwich; and Winsford. All three were in Cheshire, and built between 1841 and 1844.[57] Between 1835 and 1842 Sharpe designed about 30 new churches in Lancashire and Cheshire, all to a low budget, and all to a degree pre-archaeological.[58] In 1843 Sharpe was able to fulfil his promise to build a church for the Earl of Derby; this was St Mary, Knowsley, which was completed and consecrated the following year.[59] It is described by Hughes as "one of Sharpe's loveliest creations".[60] About the same time he designed a new steeple for St Michael, Kirkham;[61] the steeple and St Mary's Church contained much more in the way of "correct" Gothic features, and both were praised by the Camden Society in The Ecclesiologist.[62]
In the early 1840s Sharpe was invited by John Fletcher, his future brother-in-law, to build a church near Fletcher's home in
Towards the end of his life, Sharpe designed one more church incorporating terracotta, St Paul, Scotforth, Lancaster (1874–76). For this he returned to the Romanesque style, and used terracotta as a building and a decorative material. By this time he was living in Scotforth, then a separate village to the south of Lancaster, but now absorbed into the city. The new church was built within 300 yards (274 m) of his home, and again terracotta was not the only material used. It is used for the dressings, windows, doorways, the upper part of the tower, and internally for the piers and arches of the aisle arcades, but the walls are of stone.[4][66][67]
Other structures
During his time as an architect Sharpe was also involved in the building, repair, and restoration of non-ecclesiastic structures, including houses and bridges. In 1837 he was appointed bridgemaster for the
Architectural historian
Sharpe studied and wrote about ecclesiastical architecture throughout his adult life, both sketching and measuring historical churches and ruins. This resulted in a systematic series of published drawings in twelve parts between 1845 and 1847 entitled Architectural Parallels, containing measured drawings of abbey churches in the early Gothic style, and reissued as a single work in 1848. Sharpe intended to produce a further version with text, but this never transpired. Also in 1848 a Supplement to Architectural Parallels, was published, containing yet more detailed drawings.[1][73] Simultaneously, Sharpe had produced the two-volume work Decorated Windows, the first volume being published in 1845, and the second in 1849. The work, which was praised by the art critic John Ruskin in The Stones of Venice, consisted largely of drawings by Sharpe's pupils – Paley, Austin, and R. J. Withers – with text by Sharpe describing and analysing the tracery of Gothic windows.[1][74]
In 1851 Sharpe published a monograph entitled The Seven Periods of English Architecture, a small book of about 50 pages suggesting a new scheme for classifying the styles of English ecclesiastical architecture "from the Heptarchy to the Reformation".[75] It was intended to replace the scheme then in use, which had been proposed in 1817 by Thomas Rickman.[1][76] Rickman had divided English architecture into "four distinct periods, or styles" which he termed "Norman", "Early English", "Decorated English", and "Perpendicular English".[77] The Norman style lasting until about 1189, was characterised by its arches usually being semicircular, although sometimes pointed; the ornamentation was "bold and rude".[78] The Early English style, continuing to about 1307, was distinguished by its pointed arches and long narrow windows without mullions. He called the characteristic ornamentation "toothed" because it resembled the teeth of the shark.[78] The following period, the Decorated English lasted until 1377, or possibly 10–15 years later, was characterised by large windows with pointed arches containing mullions, and with tracery "in flowing lines forming circles, arches and other figures". There was much ornamentation, carved very delicately.[78] The final period identified by Rickman, the Perpendicular English, lasted until as long as 1630 or 1640. This was distinguished by the mullions and the "ornamental panellings" running in perpendicular lines. The ornamentation was in many cases "so crowded as to destroy the beauty of the design". The carving was again "very delicately executed".[79]
In his classification, Sharpe first identified two main classes, according to whether the arches were "circular" or "pointed". The class characterised by the circular arch was the Romanesque class; that by the pointed arch was the Gothic. He divided the Romanesque class into two periods by date rather than by stylistic differences, the dividing date being 1066; this divided the "Saxon" from the "Norman" stage.[80] Whereas Rickman allowed pointed arches when they occurred in the same building as round arches in his Norman period, Sharpe separated buildings that contained both types of arches into a separate intermediate style, the "Transitional".[81] When it came to the Gothic class, Sharpe identified four styles, in contrast to Rickman's three, using the windows to differentiate between them. The earliest style was characterised by windows resembling a lancet "in its length, breadth, and principal proportions". These windows might be single, or in groups of two, three, five, or seven. This style he termed the "Lancet Period".[82] During the next period, tracery appeared in the windows, and originally consisted of simple geometric forms, in particular the circle. This period he called the "Geometrical Period".[83] Later the tracery became more complex, including the ogee curve; the characteristic feature being the "sinuosity of form" in the windows and elsewhere. This Sharpe termed the "Curvilinear Period".[84] Finally, the transom appeared in the windows, and the curved line in the tracery became replaced by straight lines, an "angularity of form", and a "square edge was preferred". This style he named the "Rectilinear Period".[85] The approximate dates Sharpe gave for his periods were, following 1066, the Norman Period up to 1145, the Transitional Period to 1190, the Lancet Period to 1245, the Geometrical Period to 1315, the Curvilinear Period to 1360, and the Rectilinear Period to 1550.[86]
In comparing the two classifications, Sharpe divides Rickman's Norman period into two, the Norman and the Transitional periods. Then Rickman has three Gothic periods in contrast to Sharpe's four. Comparing the descriptions of the styles and, approximately, the dates, Sharpe's Lancet Period corresponds generally with Rickman's Early English; and Sharpe's Rectilinear Period with Rickman's Perpendicular English. This leaves Rickman's Decorated English style divided into two periods by Sharpe according to the complexity of the tracery, the Geometrical and the Curvilinear Periods. Following the publication of the monograph, Sharpe read a paper to the Royal Institute of British Architects describing his system. The monograph and the paper led to "a bitter controversy".[87] The debate between Sharpe and his followers on one side and supporters of Rickman's scheme on the other was published as a series of letters to the journal The Builder until the editor called a halt to the correspondence.[88]
In the same year as Sharpe's short book, An Essay on the Origin and Development of Window Tracery in England, a much larger work on essentially the same subject, was published by the distinguished historian Edward Augustus Freeman, which proposed the terms "Flowing" and "Flamboyant" (the later already in use in France) where Sharpe used "Curvilinear". Although Rickman's scheme remains in general use, despite recognition of its deficiencies, Sharpe's terms "Geometrical" and "Curvilinear" are very often used in addition to distinguish styles or phases within Rickman's "Decorated". They were used by Francis Bond in his 1905 book Gothic Architecture in England, and are used in various recent works including the Pevsner Architectural Guides.[89]
In 1869 Sharpe joined the Architectural Association, established in 1847 "by a group of dissatisfied young architects ... to provide a self-directed, independent education at a time when there was no formal training available".[1][90] He then proposed and organised a series of six annual expeditions to study and draw buildings in different areas, which took place between 1870 and 1875. In 1870 the expedition was to Lincoln, Sleaford, and Spalding;[91] in 1871 to Ely, Lynn, and Boston; the following year to Stamford, Oundle, Wellingborough, and Northampton; and in 1873 to Grantham, Newark, Southwell, Ashbourne, and Lichfield.[92] The final two expeditions were to France: in 1874 to the northern part of the country, visiting places around Paris including Soissons, Laon, Rheims, and Chartres; the following year it was to the Charente district of southwest France, including Angoulême.[93] In 1876 Sharpe gave a lecture on this expedition in London, linking the architecture of the region with Byzantine architecture elsewhere.[94] Following Sharpe's death in 1877 the Association complied with his wish that the expeditions should be continued;[95] and in 1882 it published Charente: In Memory of Edmund Sharpe, 1875.[1][96]
Having been a fellow of the Royal Institute of British Architects since 1848, Sharpe was awarded its Royal Gold Medal in 1875. This was presented to him by Sir George Gilbert Scott, largely in recognition of his writings.[1][95] In addition to those recorded above they include: The Architectural History of St Mary's Church, New Shoreham (1861), An Account of the Churches visited during the Lincoln Excursion of the Architectural Association (1871), The Mouldings of the Six Periods of British Architecture from the Conquest to the Reformation (1871–74), The Ornamentation of the Transitional Period of British Architecture AD 1145–90 (1871), The Ornamentation of the Transitional Period in Central Germany (1877), and The Churches of the Nene Valley, Northamptonshire (published posthumously in 1880).[1][97] Other writings by Sharpe were published in The Builder and The Architect. He also delivered papers to the Architectural Association, and to the Royal Institute of British Architects.[98] Among other subjects, he argued for restraint in the use of colour in the decoration of churches, in the painting of walls and the stonework, and in the stained glass.[99] He was very critical of recent restorations of medieval churches, which had been a major occupation of architects during the previous 20 years, and was particularly caustic about the removal of whitewash from the interior of churches, and the damage thus caused to the underlying stonework.[100] Between January 1874 and February 1875 Sharpe published The Architecture of the Cistercians, which dealt in considerable detail with the design and functions of Cistercian monasteries built in the 12th and 13th centuries in Britain and in Europe, most of which he had visited.[101] In addition, Sharpe attended several meetings of the Archaeological Institute, and was a Vice-President of the British Archaeological Association.[102]
Railway developer and engineer
England
While Sharpe was designing churches, he was augmenting his income by working as a sub-contractor in building railways. These were the lines between Lancaster and Preston, Lancaster and Skipton, and between Liverpool and Southport. He first became involved with the Lancaster and Preston Junction Railway in 1838,[103] two years after Joseph Locke was appointed as engineer for the line.[104] Sharpe submitted a tender to supply the masonry work for the "Lancaster Contract", the northern section of the line; and Peter Perry from Durham submitted a tender for the earthwork. Locke insisted that both earthwork and masonry work should be under one contract, which Perry accepted and subcontracted the masonry work to Sharpe.[105] Subsequently, Perry reneged on his part of the contract, resulting in serious disputes between Sharpe, Locke, and the directors of the railway company concerning the costs involved and the quality of the work. The masonry for this section of the line included 15 under-and-over bridges and the six-arch viaduct over the River Conder at Galgate. The eventual outcome of the conflict was that Sharpe was dismissed from the work in 1839 with agreed financial compensation, having built most but not all of these structures.[106]
Sharpe's next venture into railway building came in 1845 when, with others, he promoted the building of a cross-country line from Lancaster to Skipton to join the
About this time, the amount of trade handled by the Port of Lancaster was declining, largely owing to
Sharpe then turned his attention to the Liverpool, Crosby and Southport Railway (LCSR) and acted as its company secretary. When in 1854 the Lancashire and Yorkshire Railway discontinued leasing its rolling stock to the LCSR, Sharpe arranged the manufacture of its own locomotives and carriages. Also in 1854 he submitted proposals for a branch line running from Bootle to the North Docks in Liverpool, part of which was built in March 1855, though the project was never completed.[118]
North Wales
In early 1856 Sharpe moved with his family to Llanrwst, North Wales with the intention of building a railway along the
Abroad
In 1860 a horse-drawn tramway had been built by Charles Burn, an Englishman, in Switzerland between Geneva and Carouge, a distance of about 4 miles (6 km). This proved to be a success, and Burn planned to build more lines. In 1863 he was joined by Sharpe as a partner, but after a short time of working together the partnership was dissolved, and Sharpe continued with the project alone.[124] By March 1864 a line from the centre of Geneva to Chêne-Bougeries, a distance of about 6 miles (10 km) was under construction, to an innovative design. The line to Carouge had two grooved rails. Sharpe's line had two flat rails, with a third grooved rail between them, along which ran a wheel allowing the tram to be steered. The wheel could also be raised to permit the tram to deviate from the track to pass around obstacles, or come to the pavement. This line was Sharpe's sole venture in Switzerland.[1][125]
In August 1863 Sharpe was granted the concession for building a railway line in southern France from Perpignan to Prades in the Pyrenees, a distance of 26 miles (42 km).[126] Work on the line began in 1865, but proceeded very slowly; progress was blocked by local landowners, legal processes, and financial problems. Sharpe was managing the project largely from Paris, through a series of agents. By the latter part of 1864 the stress was adversely affecting his health, so in 1865 he spent some time in Italy to recuperate. Following his return the difficulties continued to mount, and in 1867 he renounced his concession.[1][127] The line was eventually taken over by the State, and was not fully completed until about 1877. At some point Sharpe bought property and iron ore mines along the route of the line.[128]
Civic life and sanitary reform
Concurrently with designing churches and building railways, Sharpe was heavily involved in the civic life of Lancaster, particularly in pioneering sanitary reform. By political persuasion he was a Conservative, and in 1837 he joined the local Heart of Oak Club, the core of the Lancaster Conservative Association.[129] He was elected a town councillor for Castle Ward in 1841, a post he held for ten years, and in 1843 was appointed the town council's representative on the local Police Commission. He was also a visitor to the national schools, and in November 1848 he was elected as mayor for year, at that time a position more like that of a "chief magistrate".[130][131] Through these offices he became aware of the unsatisfactory state of sanitation in the town, and resolved to improve it.[130] The town was overcrowded, it suffered from poor housing, open sewers, overflowing cesspits, and a very poor water supply, mainly from wells polluted by infiltration. Many people suffered from typhus,[132] and in 1848 there was an outbreak of cholera.[133] The Police Commission had been established in Lancaster in 1825 with a wider role than suggested by its title, including "cleansing, lighting and watching" the town.[134] However, there was constant friction between the Police Commission and the Town Council, the former tending to block any necessary reforms on the grounds of cost to the ratepayers. The conflict was unresolved until the two bodies merged in 1849.[134] The functions of the new body included the establishment of the first Lancaster Board of Health.[135]
Before, during and after his mayoralty, Sharpe played a major role in promoting sanitary reform, often meeting considerable opposition and needing to use his oratorical, political and persuasive skills to the full.
In 1859 Sharpe was appointed as a
Personal and family life
On 27 July 1843 Sharpe married Elizabeth Fletcher, second sister of John Fletcher, at Bolton Parish Church.[150] The couple had five children: Francis in 1845, Edmund junior (known as Ted) in 1847, Emily in 1849, Catherine (known as Kate) in 1850, and Alfred in 1853.[1][151][F]
When Sharpe moved his family from Lancaster to live in North Wales in early 1856 he was aged 47. The seven years he spent there were later described, in a Memoir published in 1882 by the Architectural Association, as "perhaps the happiest years of his life".
Elizabeth Sharpe died on 15 March 1876, a month after the consecration of St Paul, Scotforth where a plaque to her memory can be found in the chancel of the church.[155] A year later, Sharpe travelled to northern Italy with his two daughters, his youngest son Alfred, and three research assistants, to make drawings of 12th-century churches in the region. During the trip he became seriously ill with a chest infection and died on 8 May, in or near Milan. His body was taken to Lancaster, where he was buried on 19 May, alongside his wife, in the municipal cemetery.[1][156] "Glowing obituaries" were carried by the local newspapers and the architectural press, including The Builder, The Building News, and The Architect.[156] His estate was valued at "under £14,000" (equivalent to £1,400,000 as of 2021).[1][111] A plaque to his memory was placed in the chancel of St Paul's, next to that of his wife.[157]
Other interests
Throughout his life, Sharpe took an interest in sport, as an active participant and as an organiser. At Cambridge, he was a member of the
In early 1843 Sharpe bought Lancaster's Theatre Royal (now the Grand Theatre), the third-oldest extant provincial theatre in Britain, which had opened in 1782. He spent £680 (equivalent to £70,000 as of 2021)[111] on converting it into the Music Hall and Museum. It was the only place in Lancaster, other than the churches, able to accommodate 400 or more people, and so was used for a variety of purposes, including concerts, lectures, and religious meetings.[165] In 1848 Sharpe founded the Lancaster Athenaeum, a private society for "the promotion of public entertainment and instruction",[166] to which end it organised lectures on literary and scientific subjects, concerts and exhibitions. It held its meetings in the Music Hall, which was at one period renamed the Athenaeum.[167] In 1852 Sharpe became the proprietor of the Phoenix Foundry on Germany Street, which among other things supplied cast iron pipes for the Lancaster waterworks, sewers and drains, and shells for the Crimean War.[1][168]
Appraisal
Hughes considers that Sharpe was never in the "first division" of 19th-century church architects; his designs were "basic, workmanlike, and occasionally imaginative, though hardly inspiring".[169] There is no such thing as a "typical" church designed by Sharpe. He was an innovator and experimenter, and throughout his life a student of architecture. The architectural styles he used started with the Romanesque, passed through "pre-archaeological" Gothic to "correct" Gothic, and then back to Romanesque for his last church. The sizes of the churches varied, from the small simple chapels at Cowgill and Howgill to the large and splendid church of Holy Trinity, Blackburn. During Sharpe's earlier years in practice, between 1838 and 1842, Britain was going through a period of severe economic recession, which may have been why he designed many of his churches to be built as cheaply as possible.[169]
As an architectural historian, Hughes considers Sharpe to be "in the top rank".[170] His drawings of authentic Gothic buildings were still in use a century after his death.[169] The architectural historian James Price states that Sharpe was "considered the greatest authority on Cistercian Abbeys in England".[171] Some writers have regarded Sharpe as an early pioneer of the Gothic Revival,[G] although in Hughes' opinion this is "probably more for his books than for his buildings".[170] In 1897, 20 years after his death, Sharpe was considered to be sufficiently notable to merit an entry in the Dictionary of National Biography. In the article, the author refers to his being "an enthusiastic and profound student of medieval architecture".[172] As a railway engineer he was "hardly an unqualified success";[173] but his administrative and persuasive skills were considerable, as is shown in his planning of railways in Northwest England, and in the sanitary reform and water supply of Lancaster.[173] As an amateur musician his "gifts were prodigious".[173] Hughes considers that Sharpe "used his talents to the full",[174] and in view of the ways in which he employed his many gifts, Price describes him as Lancaster's "Renaissance man".[4]
See also
- List of architectural works by Edmund Sharpe
- List of works by Sharpe and Paley
- Sharpe, Paley and Austin
Notes
A A Worts Travelling Bachelorship (now known as a Worts Travelling Scholars Fund) is the result of a bequest by Wiliam Worts, who died in 1709.[17] It makes grants "for the promotion or encouragement of investigations in countries outside Great Britain respecting the religion, learning, law, politics, customs, manner and rarities, natural or artificial, of those countries, or for purposes of geographical discovery or of antiquarian or scientific research in such countries".[175]
B A further Commissioners' church was later designed in conjunction with Paley, St Saviour, Ringley (1850–54).[176]
C Holy Trinity is now redundant and is in the care of the Churches Conservation Trust, the only one of Sharpe's churches to be so preserved.[177]
D Unfortunately the spire was not as durable as the rest of the church. By 1936 it had become unsafe, and was dismantled. In 1966 the lantern and bell-tower were also demolished.[178]
E The tower was not completed until 1850. It was built from terracotta of inferior quality, and was later found to be unsafe, having to be rebuilt in 1912.[179]
G An example of this is given in Bumpus, T. Francis (c. 1920), A Guide to Gothic Architecture, London: T. Werner Laurie, p. 76, which states "Mr Sharpe (d. 1877) was one of the earliest, ablest and most zealous pioneers of the English Gothic revival".[180]
References
Citations
- ^ Oxford Dictionary of National Biography, Oxford University Press , Retrieved on 18 February 2012 ((subscription or UK public library membershiprequired))
- ^ Brandwood et al. 2012, p. 7.
- ^ Hughes 2010, p. 1.
- ^ a b c d Price 1998, p. 23.
- ^ Hughes 2010, pp. 22–24.
- ^ Hughes 2010, p. 27.
- ^ Brandwood et al. 2012, pp. 8–9.
- ^ Hughes 2010, pp. 19, 33–34.
- ^ Brandwood et al. 2012, p. 9.
- ^ Hughes 2010, pp. 34–36.
- ^ a b Hughes 2010, p. 41.
- ^ Hughes 2010, p. 31.
- ^ Brandwood et al. 2012, p. 10.
- ^ Hughes 2010, p. 50.
- ^ Hughes 2010, p. 60.
- ^ Brandwood et al. 2012, p. 11.
- ^ a b Hughes 2010, p. 68.
- ^ "Sharpe, Edmund (SHRP828E)". A Cambridge Alumni Database. University of Cambridge.
- ^ a b Hughes 2010, p. 70.
- ^ Brandwood et al. 2012, pp. 12–15.
- ^ Hughes 2010, p. 112.
- ^ Hughes 2010, pp. 110–111.
- ^ a b c Hughes 2010, p. 111.
- ^ For example Edmund Sharpe, Dictionary of Scottish Architects, retrieved 22 March 2012
- ^ Hughes 2010, p. 69.
- ^ Hughes 2010, p. 128.
- ^ a b Hughes 2010, p. 534.
- ^ Brandwood et al. 2012, p. 19.
- ^ Hughes 2010, p. 129.
- ^ Hughes 2010, p. 538.
- ^ Hughes 2010, p. 178.
- ^ Hughes 2010, p. 202.
- ^ Hughes 2010, p. 240.
- ^ Price 1998, p. 4.
- ^ Price 1998, p. 29.
- ^ Hughes 2010, p. 116.
- ^ Hughes 2010, pp. 115–16.
- ^ Hughes 2010, p. 122.
- ^ Hughes 2010, p. 125.
- ^ Hughes 2010, p. 112.
- ^ Hughes 2010, p. 128.
- ^ Hughes 2010, p. 130.
- ^ Hughes 2010, pp. 136–38.
- ^ Port 2006, pp. 15–43.
- ^ Port 2006, pp. 331, 334–35.
- ISBN 978-0-300-12663-1
- ^ Hartwell & Pevsner 2009, p. 28.
- ^ Hartwell, Hyde & Pevsner 2004, p. 54.
- ^ Price 1998, pp. 38–39.
- ^ Hughes 2010, pp. 145–49.
- ^ Price 1998, p. 41.
- ^ Price 1998, pp. 38, 49.
- ^ Hartwell & Pevsner 2009, p. 125.
- ^ Hughes 2010, p. 152.
- ^ Hughes 2010, p. 158.
- ^ Hughes 2010, p. 162.
- ^ Hughes 2010, p. 181.
- ^ Hughes 2010, p. 201.
- ^ Pollard & Pevsner 2006, p. 223.
- ^ Hughes 2010, p. 207.
- ^ Hartwell & Pevsner 2009, p. 355.
- ^ Hughes 2010, p. 209.
- ^ Hartwell, Hyde & Pevsner 2004, pp. 157–58.
- ^ Hughes 2010, pp. 242–57.
- ^ Hughes 2010, pp. 258–70.
- ^ a b Hartwell, Hyde & Pevsner 2004, pp. 466–67.
- ^ Hughes 2010, pp. 270–81.
- ^ Hughes 2010, pp. 166–168.
- ^ Hughes 2010, p. 234.
- ^ Hughes 2010, p. 227.
- ^ Hughes 2010, pp. 230–231.
- ^ Hughes 2010, pp. 237–240.
- ^ Hughes 2010, pp. 282–283.
- ^ Hughes 2010, pp. 288–289.
- ^ These are Sharpe's own words, quoted in Hughes 2010, p. 289.
- ^ Hughes 2010, pp. 289–292.
- ^ Rickman 1835, p. 39.
- ^ a b c Rickman 1835, p. 44.
- ^ Rickman 1835, pp. 44–45.
- ^ Sharpe 1851, p. 4.
- ^ Sharpe 1851, pp. 4–5.
- ^ Sharpe 1851, p. 5.
- ^ Sharpe 1851, pp. 5–6.
- ^ Sharpe 1851, pp. 6–7.
- ^ Sharpe 1851, pp. 7–8.
- ^ Sharpe 1851, p. 8.
- ^ Hughes 2010, p. 293.
- ^ Hughes 2010, pp. 292–308.
- ^ Hart, 1–2
- ^ Hughes 2010, p. 616.
- ^ Hughes 2010, pp. 616–620.
- ^ Hughes 2010, pp. 616–622.
- ^ Hughes 2010, p. 622.
- ^ Hughes 2010, pp. 622–635.
- ^ a b Hughes 2010, p. 635.
- ^ Hughes 2010, pp. 670–675.
- ^ Hughes 2010, pp. 635–636.
- ^ Hughes 2010, p. 636.
- ^ Hughes 2010, pp. 640–648.
- ^ Hughes 2010, pp. 648–651.
- ^ Hughes 2010, pp. 651–663.
- ^ Hughes 2010, p. 663.
- ^ Hughes 2010, p. 309.
- ^ Hughes 2010, p. 312.
- ^ Hughes 2010, p. 316.
- ^ Hughes 2010, pp. 316–341.
- ^ a b Hughes 2010, pp. 349–367.
- ^ Hughes 2010, p. 367.
- ^ Hughes 2010, p. 371.
- ^ Hughes 2010, p. 392.
- ^ a b c UK Retail Price Index inflation figures are based on data from Clark, Gregory (2017). "The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)". MeasuringWorth. Retrieved 11 June 2022.
- ^ Hughes 2010, p. 393.
- ^ Hughes 2010, p. 368.
- ^ Hughes 2010, p. 394.
- ^ Hughes 2010, pp. 395–396.
- ^ Hughes 2010, p. 400.
- ^ Hughes 2010, p. 408.
- ^ Hughes 2010, pp. 409–410.
- ^ Hughes 2010, p. 557.
- ^ "No. 21946". The London Gazette. 2 December 1856. p. 4096.
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- ^ O'Donoghue, Freeman Marius, Sharpe, Edmund (1809–1877), architect, Oxford University Press, retrieved 18 March 2012 ((subscription or UK public library membership required))
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Sources
- Brandwood, Geoff; Austin, Tim; Hughes, John; Price, James (2012), The Architecture of Sharpe, Paley and Austin, Swindon: ISBN 978-1-84802-049-8
- Hartwell, Clare; Hyde, Matthew; ISBN 0-300-10583-5
- Hart, Stephen, Medieval Church Window Tracery in England, (2010), Boydell & Brewer Ltd, ISBN 1843835339, 9781843835332
- Hartwell, Clare; ISBN 978-0-300-12667-9
- Hughes, John M. (2010), Edmund Sharpe: Man of Lancaster, John M. Hughes. Although this is self-published, it is a scholarly work and fully referenced throughout. As of 2012 it is available only as a CD.
- Pollard, Richard; ISBN 0-300-10910-5
- Port, M. H. (2006), 600 New Churches: The Church Building Commission 1818–1856 (2nd ed.), Reading: Spire Books, ISBN 978-1-904965-08-4
- Price, James (1998), ISBN 1-86220-054-8
- Rickman, Thomas (1835), An attempt to discriminate the styles of architecture in England from the Conquest to the Reformation (4 ed.), London: Longman, Rees, Orme, Green and Longman, retrieved 19 February 2011
- Sharpe, Edmund (1851), The seven periods of English architecture defined and illustrated, London: George Bell, retrieved 2 April 2011
External links
Media related to Edmund Sharpe at Wikimedia Commons