Edward Schroeder Prior

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Edward Schroeder Prior
Arts and Crafts Movement

Edward Schroeder Prior

theorists
of the second generation of the movement, writing extensively on architecture, art, craftsmanship and the building process and subsequently influencing the training of many architects.

He was a major contributor to the development of the

Cambridge University he established the School of Architectural Studies
.

Home Place, Kelling (also known as Voewood)

Initially his buildings show the influence of his mentor

Norman Shaw and Philip Webb, but Prior experimented with materials, massing and volume from the start of his independent practice. He developed a style that was intensely individual and a practical philosophy of construction that was perhaps nearer to Ruskin
's ideal of the "builder designer" than that of any other arts and crafts architect.

The buildings of his maturity, such as

Exmouth, and Home Place, Kelling are amongst the most original of the period. In St Andrew's Church, Roker
, he produced his masterpiece, a church that is now recognised as one of the best of the early 20th century.

Biography

Family

Edward Schroeder Prior was born in

Croom's Hill, Greenwich to Harrow, where Edward's eldest brother John Templer was at school and where local resident families paid reduced fees for day boys. Here, next door to the house of Matthew Arnold, she started a school for children whose parents were in India, and Edward was one of its first pupils.[1]

Harrow School

In 1863 at the unusually young age of 11, Edward entered

Museum of St Albans.) Prior remained connected to Harrow School and was later to design two buildings for the school.[1]

Cambridge University

In 1869 Prior won the Sayer Scholarship "for the promotion of classical learning and taste" to Gonville and Caius College, Cambridge to read the Classical Tripos. He augmented the Sayer Scholarship by also gaining a college scholarship. He matriculated in 1870, graduating B.A. in 1874, M.A. in 1877.[2]

In the same year B. F. Westcott was appointed

Slade Professors of Fine Art. Wyatt's lecture programme for 1871 included engraving, woodcutting, stained glass and mosaic. Prior's interest in the applied arts was probably strongly encouraged by Wyatt. Colvin, a friend of Edward Burne-Jones and Dante Gabriel Rossetti
, was elected Slade Professor in January 1873.

At Cambridge, Prior was also exposed to the work of

All Saints Church
in 1864–1866 and to design the glass for others of his Cambridge buildings.

Prior was a noted

and won the British Amateur High Jump in 1872.

Norman Shaw's pupil

In the autumn of 1874 Prior was articled to

Royal Academy
exhibitions. As Chief Draftsman, Newton was probably the major influence on the drawing style, but Prior may have made a contribution.

By 1877, however, Shaw's health was deteriorating. Prior was appointed

Clerk of Works for St Margaret's Church, Ilkley
, administering the work from November 1877 to August 1879. He was responsible for the contract drawings and possibly for the design of the roof reinforcement and some of the detailing and furniture, such as the font. Prior was eager to gain practical experience of construction, and the craftsmen at Ilkley made a deep impression on him:

He [Prior] went (to Ilkley) and then found that the idea of wonderful construction was all an imposture: there was no science of construction, but there was an experience of construction to be gained by the man who worked with his hands and not the man who made the drawing.

Practice and private life

Prior only stayed a few more months with Shaw on his return from Ilkley. In 1880 he began his own practice at 17, Southampton Road, near Shaw and others of his former employees; Reginald Blomfield leased an office on the second floor. Prior occupied the building until 1885 and again in 1889–94 and 1901.

His early commissions were primarily located in areas where he had connections, in Harrow and around Bridport in Dorset, where his father had lived and his mother's relatives, the Templers, were prominent inhabitants, and in Cambridge where he had been at university. The opening of the Metropolitan Railway to Harrow in 1880 and his connections with Harrow in particular encouraged Prior to work in the Harrow area.

His work in Dorset was to lead to his marriage. Whilst designing Pier Terrace at West Bay, Prior met Louisa Maunsell, the daughter of the vicar of nearby Symondsbury. They were married in Symondsbury Church on 11 August 1885, Mervyn Macartney being the best man.

The Priors lived in 6 Bloomsbury Square from 1885 to 1889. Here his daughters Laura and Christobel were born. Prior leased Bridgefoot, Iver, Bucks, as a country residence in 1889, but on the birth of his second daughter it was leased to the architect G. F. Bodley.

In 1894 Prior moved to 10 Melina Place,

Voysey
, resulting in the development of a long term friendship and exchange of ideas between the two men, to the extent that Voysey is recorded as having painted the roofs of Prior's seminal Model for a Dorsetshire Cottage.

Prior moved to Sussex in 1907 initially living in an early 18th-century house at 7 East Pallant,

First World War. On his appointment as Slade Professor at Cambridge Prior also bought a house, Fairview in Shaftesbury Road, Cambridge
.

After the First World War Prior unsuccessfully tried to restart his practice with

H. C. Hughes. He started a commission for a house outside Cambridge but got into a dispute with the client over the materials for the boundary hedge. Hughes took over the job as his own. Prior's scheme for the ciborium at Norwich Cathedral
was dropped, a deep disappointment for him.

In the post war years he only undertook the design of war memorials at Maiden Newton in Dorset and for Cambridge University R.U.F.C.

The Arts and Craft Guilds

Prior played a crucial role in the establishment of the Guilds that were the intellectual focus of the

Arts and Crafts Movement. The St George's Art Society, 1883–1886, was founded by a group of architects who had seen service in the Shaw's offices, Ernest Newton, Mervyn Macartney, Reginald Barratt, Edwin Hardy, William Lethaby and Prior, to discuss Art and Architecture. It initially met in Newton's chambers by St George's Church, Bloomsbury
. Prior was on the committee. Monthly meetings were held and papers read, Prior speaking on "Terracotta" and "Tombs". Trips were arranged to see buildings.

At the October 1883 meeting it was decided that it would be preferable to found a new organisation that would bring together "craftsmen in Architecture, Painting, Sculpture and the kindred Arts." The proposals stemmed from the members' alarm at the lack of relationship between architects and artists and their dissatisfaction with the

Royal Academy. Prior wrote in November 1883,

Painters, Sculptors, and Architects are in danger of settling permanently into three distinct professions, oblivious of one another's aims. A Society is wanted to restore their former union with one another with a programme of cohesion such as the Royal Academy

hardly now suggests, and which the Institute of British Architects has deliberately rejected.

After various consultations invitations were sent out to 24 artists including members of The Fifteen, founded by the designer and writer Lewis Day and the illustrator and designer

Art Workers Guild" was accepted at the meeting of 11 March 1884. Prior also wrote the Guild's first prospectus.[3]

The Guild was highly influential on the architecture of the

Arts and Crafts Movement, but Prior remained only a minor player for some time, until he was elected to the governing committee in 1889. However the contact with other members of the Society certainly encouraged Prior to rationalise and develop his theories. He was also able to call on the skills of a wide range of craft practitioners from the Guild for the design and construction of furniture for many of his buildings. Prior became Master in 1906.[4]

Prior was also active in various other organisations of the time, including the

Church.

Scholarship

During the late 1890s Prior's practice received few commissions. The study of Gothic art and architecture became one of Prior's major concerns the period. In 1900 he published A History of Gothic Art in England, which as rapidly recognised as a standard text. This was followed by The Cathedral Builders in England in 1905, An Account of English Medieval Figure-Sculpture in 1912, which provided an exhaustive account of figurative sculpture from the 7th –to the 16th Century for the first time.

A History of Gothic Art in England made Prior's scholastic reputation and contributed to his appointment as Slade Professor of Fine Art at

Cambridge University
in 1905.

Stained glass

In 1889 he developed Prior's glass, also known as Prior's Early English glass, a slab glass which is similar to the "luminosity and varied colouring of early medieval glass."[5]

It was made by blowing glass into a rectilinear box and then cutting off the sides. This yielded flat panes of uneven thickness, often streaked with colour. Whereas the prevailing style of glass relied on meticulous draughtsmanship and line control to create rich backgrounds of flat surface decoration such as gothic mouldings or foliage, the new glass could be used to create backgrounds with a more abstract pattern, as in the St Pancras roll of honour, or combined with lead alone to create bold and dramatic effects such as the wings of the four archangels at St Andrew's, Chippenham.

Education

Prior first became involved in architectural education during the debate over the professionalisation of architectural practice in the 1890s. The protest against examination and registration was launched by the

Art Workers Guild, whose members believed, quite correctly, that RIBA
wished to establish itself as the sole arbiter of the profession culminating in the publication of a collection of essays Architecture: A Profession or an Art in 1892, to which Prior contributed a chapter criticising the common use of "hirelings" to do the architect's work. In the same year Prior, amongst others resigned from the RIBA.

As a result of the controversy members of the Guild became very interested in architectural education. The

Architectural Association
established a School of Handicraft and Design to extend its training scheme. It had been criticised for being too geared to the RIBA's examination system. Prior was one of the architect-visitors who drew up projects and gave the "crits".

He became increasingly interested in education, giving lectures at various conferences, to the RIBA and schools of design. Moves were instigated to establish a School of Architecture at Cambridge in 1907. The syndicate seeking the establishment of the school included Prior's old headmaster Dr H.M. Butler, who was by then Dean of Trinity College, Charles Waldstein, Slade Professor of Fine Art and William Ridgeway the Disney Professor of Archaeology. The establishment of examinations were approved in 1908. Waldstein favoured Prior as his successor. Prior was elected Slade Professor on 20 February 1912 with the role of developing the new School of Architecture. In 1915 the tenure of the Professorship was extended to life.

Prior established the syllabus for the School, oversaw the establishment of the Department and instigated a research programme. The latter included experimental studies into the performance of limes and cements.

Works

Cambridge Medical School
The Moorings, West Bay, Bridport

Early buildings 1880–1894

Date Building Location
1880 Carr Manor Meanwood, Leeds
1880–1881 Highgrove House Eastcote
1881–1882 & 1889–1891 St Mary and St Peter Kelsale, Suffolk
1883–1884 The Red House Middlesex
1883–1884 St Mary's Mission Hall, West Street Harrow
1883–1884 Manor Lodge Harrow
1884–1885
Quay Terrace, West Bay
West Bay, Dorset
1884–1889 Holy Trinity Church, Bothenhampton Bridport
1885–1887
Henry Martyn Hall
Cambridge
1885–1889
Church of St Michael the Archangel
Framlingham, Suffolk
1885 Elmside Grange Road, Cambridge
1886–1887 Woolaston Road houses Cambridge
1887 Middle Terrace Harrow
1887–1889 Harrow School Laundry, Superintendent's House and Worker's Dining Hall Middlesex
1888 Herschel Lodge, Herschel Road Cambridge
1889 Billiard Room, Mount Park Road Harrow
1890 Harrow School Music Room Middlesex
1891–1892 & 1895–1896 Pembroke College Mission
Walworth, London
1891 Kelsale Village Club Suffolk
1893 Downe Hall Bridport
1899–1901 Prior Hall Walworth

Later works

Date Building Location
c. 1894 Club, Promenade and Baths at West Bay Dorset
1895 Model of a Butterfly Cottage
1896–1897 The Barn
Exmouth, Devon
1895–1897 St Mary's Church, Burton Bradstock Dorset
1897–1900 All Saints' Vicarage Westbrook, Kent
1899 Cambridge Medical School University of Cambridge
1901–1904 Winchester College Music School Hampshire
1903–1905 Home Place, Kelling near Holt, Norfolk
1905–1907 St Andrew's Church, Roker
Sunderland
1907–1909 St Mary & All Saints Whalley, Lancashire
Combelands, Pulborough Sussex
The Small House, Lavant Sussex
1909 Dysart House Cambridge
1910 The Oaks, Goudhurst Kent
1911 Windacres, Warren Road, Guildford Surrey
1911–1914 Greystones & Greystone Lodge, Highcliffe Dorset
1911–1914 Mount Joy, Highcliffe (Demolished but photograph available) Dorset
1913–1916
Church of St Osmund
Parkstone

Final years

Prior remained as Slade Professor until his death from cancer on 19 August 1932. He spent his final year writing letters about architectural education. He was buried in an unmarked grave at St Mary's Church, Apuldram. Few of his friends remained, Lethaby, Newton, and Horsley were all dead, and none of his former architectural colleagues attended his funeral.[1]

His obituary in the Architect and Building News perhaps best summed him up:

And he could be something of a grizzly old bear at times, for he was pertinacious and his opinion once formed was hardly to be changed. To hear an argument – and we have heard several – between Prior and Leonard Stokes was an education. Yet it was a kindly bear withal, that would emerge, honours divided, from a wordy warfare with a joyous twinkle in its eye; and for any small personal attention or service, it could be immensely grateful and appreciative.[1]

Prior's writings

  • Architecture; a Profession or an Art, Jackson, T.G. and Shaw, N
  • Cathedral Builders in England, Prior, E.S., 1905
  • An Account of Medieval Figure-Sculpture in England, Prior, E.S. and Gardner, Arthur, 1912
  • A History of Gothic Art, Prior, E.S., Geo Bell & Sons, London, 1900
  • The Origins of the Guild; Lecture to the Guild, 1895, in Masse, H.J.L.J., The Art Workers Guild 1884–1934, Oxford, 1935 p 11.
  • Church Building as it is and as it Might Be, The Architectural Review, Vol. IV 1898
  • The Architectural Review, Prior, E.S., The Decoration of St Paul's, 1899, vol. 6, p. 43
  • The New Cathedral for Liverpool, The Architectural Review, Oct 1901, vol. 10.

Bibliography

  • Cook, Martin Godfrey, Edward Prior: Arts and Crafts Architect, 2015
  • Davidson, T.R., Modern Homes, 1909
  • Davidson, T.R. (ed), The Arts Connected with Building, 1909
  • Fellows, R., Edwardian Style and Technology, Lund Humphries, 1995
  • Franklin, J, Edwardian Butterfly House, 1975 pp 220–225
  • Grillet, C, Edward Prior, in Edwardian Architecture and Its Origins, ed Service A., The Architectural Press Ltd, 1975, pp. 143–151
  • Hoare, G, and Pyne, G. Prior's Barn and Gimson's Coxen, 1978.
  • Muthesius, Hermann, Das Englishe Haus, vol. II, 1904
  • Naylor, G, The Arts and Crafts Movement, 1971
  • Saint, A., Richard Norman Shaw, pp165–171
  • Service, A., Edwardian Architecture and Its Origins, The Architectural Press Ltd, 1977
  • Sparke, P. et al., Design Source Book, Macdonald Orbis, 1986.
  • Valinsky, David, An Architect Speaks: The Writings and Buildings of E. S. Prior, 2014
  • Walker, Lynne, E.S. Prior 1852–1932, PhD thesis, Birkbeck College, London University, 1978
  • Weaver, Lawrence, Small Country Houses Their Repair and Enlargement, 1914
  • Weaver, Lawrence, The Small Country Houses of Today, 1919

Periodicals

The Architect
  • 24 May 1889, vol. 42, p. 299
  • 19 July 1889, vol. 42, p. 35, Manor Lodge Harrow
  • 2 May 1890, vol. 43, p. 277, Carr Manor, Meanwood Leeds
  • 5 September 1890, vol. 44, p. 141
  • 3 October 1890, vol. 44, p. 205
  • 30 January 1891, vol. 45, p. 71
Architectural Review
  • 1897, vol. 2, pp. 246 & 253
  • 1898, vol. 4, pp. 106–108, 154–158
  • 1898, vol. 5, pp. 132–134
  • 1899, vol. 6, pp. 42–44
  • 1900, vol. 7, p. 202
  • 1900, vol. 10, p. 79
  • 1901, vol. 9, p. 256
  • 1901, vol. 10, p. 145
  • Feb 1906, vol. 19, pp. 70–82
  • Jan 1924, vol. 55, pp. 30–1
  • 1952, vol 112, pp. 302–308
British Architect
  • 4 September 1885, vol. 24, p. 106
  • 17 May 1895, vol. 43, pp. 348–9
  • 21 December 1900, vol. 54, p. 452
  • 5 May 1899, vol. 51, p. 307
The Builder
Building
  • 14 June 1884, vol. 46, pp. 866–7
  • 25 October 1890, vol. 59, p. 328
  • 5 December 1896, vol. 71, p. 470
  • 12 October 1907, vol. 93, p. 386
Builders Journal
  • 4 June 1895, vol. 1, p. 259
Building News
  • 21 July 1882, vol. 43, p. 81
  • 8 December 1882, vol. 43, p. 700, High Grove Harrow
Northern Architect
  • Vol XVII, 1979, pp. 19–24, Walkew, A., The Church of St Andrew Roker.
The Studio
  • 1901, vol 21, part I, pp. 28–36, part II, pp. 86–90, 93–5, part III, pp. 176, 180–86 189–90

References

  1. ^ .
  2. ^ "Edward Schröder (PRR870ES)". A Cambridge Alumni Database. University of Cambridge.
  3. .
  4. ^ The Book Collector, Volume 29. 1980. p. 213.
  5. ^ Lest We Forget. Building Conservation. Retrieved 1 October 2012.

External links